Chris Rawlins - Creative Picks PDF [PDF]

Zitiervorschau

THE SINGLE TRUTH The Single Truth is a routine that I originally published in 2010 with Kenton Knepper as part of my very first offering to the community, titled ‘Mind Experiments’. Since then, like all my material the routine has developed over time and grown through performance. What originally began as a lie detection routine has transformed to become a routine with a premise that I feel is much more engaging, combined with a method that I feel is more practical and equally as deceptive. The Single Truth is essentially a utility approach for acquiring information about your spectator, and although within this manuscript I include my up to date presentation, you are of course free to present this in any way that you wish. I’ll also be offering some other presentational suggestions for you to go out and try in the real world. The real strength about this approach that I’ve found is that is only requires a small number of blank billets. No special props are required and every step of the process is logical and justified.

The performer asks the spectator commit to a number from one to five. The spectator is asked to secretly write this number on a blank card and then to cut it into the stack, as an extra measure of security the spectator is asked to turn the whole stack over. At this point their number is face down in the middle of the stack. All this is done whilst the performer faces away. The performer turns back and removes another card with the numbers 1-5 written down its left side. The performer explains that their goal is to discover a single truth about the spectator. The performer asks the spectator to write down the name of their partner next to their thought of number, and to write down other untrue, yet believable names next to each of the remaining numbers. This is completed whilst the performer faces away completely. Once complete, the performer has the spectator shield the list as to not accidentally see it, and has the spectator read out the list, requesting the spectator think yes when they read the single truth and to think no when they verbalise the remaining names.

The performer is now able to with 100% accuracy, discover the single truth about the spectator. This can be done at a distance. You never see their list (openly or secretly). 100% accurate.

METHOD With The Single Truth you obtain the selected number (1-5) giving you all the knowledge necessary to bring the routine full circle. Simply the rest is presentation. In its initial form this routine relied on pencil reading the selected number. Although I firmly believe in pencil reading as a method, it isn’t always best suited to certain environments or spectators. So over time I have reassessed my approach to this routine with the result being a solution that is simple, self contained and 100% accurate and reliable. The only materials required are a small stack of 10-15 blank cards. I ne card stock’ purchase mine either from Amazon by searching ‘blank business a well w with larger or by visiting Ryman’s here in the UK. This would work just as index cards or double blank playing cards. You’ll also need a pen, of any kind. There is some small level preparation required which is as follows: take a blank billet and upon it’s face print the numbers from 1-5 vertically down the billet’s left side. Now take the whole stack, with the numbered billet facing up and bend the stack from end to end giving the whole stack a slight warp. Now take the upper half of the stack and bend end for the in the opposite direction. Now cut the numbered billet and the remainder of its half into the centre of the stack and turn the whole stack over. The end result is: the numbered billet is around half way down in the stack facing down, with a bridge created at the numbered billets location. Before performance be sure to check that the numbered billet is facing down. It is now through physical and verbal explanation that you will shift the pre numbered billet to the bottom of the stack, facedown. This happens as you explain to the spectator that they are to think of a number from one to five, commit to their number by writing it on the uppermost billet. You then cut to the natural break in the stack that you created before the performance. This is done as if to demonstrate what they are to do after committing to a number. As an extra measure, then explain that they are to turn the whole stack facedown and let you know when they are finished. (note that you do not turn

the stack facedown at the point.) The situation is now as follows: the pre numbered billet is facedown on the bottom of the stack. Have the spectator commit to a number from 1-5 by writing it clearly upon the uppermost billet. Whilst they do this you turn away fully. Now instruct them to cut the stack, losing their thought of number and then to turn the whole packet over and place on the table. These instructions are given whilst you face away. By doing this the spectator will have placed the billet with their thought of number next to your pre numbered billet whilst at the same time turning your pre numbered billet face up and leaving their selected number face down. You now turn around and explain that you will attempt to discover a single truth about the spectator that you could not know. As is having a second thought you now pick up the tabled stack and spread through till you see your pre numbered billet. Cut this to the face of the stack and table the remainder. The spectators thought of number billet is now on bottom. Do not peek it yet. You now proceed to explain what they are to do. Asking the spectator to write a single truth next to their thought of number (I prefer to have them write the name of their partner, although this could be anything) and to write other believable untruths next to the remains numbers. It is when the spectator begins to write that you smoothly pick up the tables stack and swing cut the stack simultaneously peeking the number upon the lowermost billet. This should be done with the internal justification of clearing some space on the table and done smoothly and quickly. You now know the thought of number and have placed it into the centre of the stack of billets which is now back on the table. The majority of spectators won’t even be aware that you touched the packet, and if they are they won’t know or understand that you have peeked their selected number. This is because it’s a swift, justified action that is executed at a moment that requires the spectator to complete a task. You are now able to lean back *if seated or even walk away from the spectator to create distance between you and everything else. Now you know the thought of number, the rest is simply presentation. Please note that the thought of number billet is now exactly where it should be - face down in the centre of the stack. Although this is true I do not suggest drawing attention to this fact, and in most situations I prefer to never go back to the tabled stack again.

EXTRA NOTES AND THOUGHTS Although here and in the real world I prefer to do this with a spectators partners name, it could of course be presented as anything. Simply by asking the spectator to follow the same process yet fill out the list with different categories of information you are able to change the entire feel of the routine. Consider using Star Signs, Dates of Birth, Favourite Films or any other possible category. From experience, spectators respond better to this when it’s performed with something a little more personal.

CREDITS Tony Corinda - Thirteen Steps to Mentalism (this is where I first discovered pencil reading, which was my original method for this effect and the method I published in ‘Mind Experiments’ with Kenton Knepper, 2012.

IN THIS ORDER What follows is my take on a classic routine many of us know and use. My chair test is simplified so it’s not confusing for an audience to follow, it’s very easy to perform and it has an original and surprising conclusion that I feel gives the whole routine a purpose.

EFFECT Three chairs are on stage. The performer draws attention n to a large roll of paper tied with ribbon, referring to it as ’The Goal’ that is not touched again. The performer asks for the help of one person from the audience to begin. This person is handed four identical folded pieces of paper. The spectator mixes them freely and selects one to hold, the remaining three are returned to the performer. They are now asked to walk around the room and to give their selected paper to someone in the audience. This is a free selection. Simultaneously, the remaining three folded papers are handed to another spectator in the audience to hold and mix further. Three spectators now seat themselves in any of the three on stage chairs, each then take one of the remaining papers. The ‘my goal’ roll has its ribbon removed and is clipped to the mic stand, located behind the row of chairs. It is unrolled to show the words ‘In This Order’ printed upon it in solid black ink. The three on stage seated spectators open their papers to reveal a matching sequence of words. As a kicker, the spectator in the audience is invited to open their envelope to reveal that it contains a white paper, with the words ‘NOT in order.’ printed upon itself.

THOUGHTS I feel that with chair tests, most performers fail to keep the effects inherent clarity which is that you, the performer were able to predict an outcome selected by people as a collective.

Another struggle I have when watching others perform chair tests is their frequent lack of any plot and the length of time it can take to reach a memorable and logical ending. With this approach can you relax as the methods employed are very easy, but more importantly I’m including my simple yet effective presentation for what is otherwise a pointless process. I begin by stating that inside the paper scroll I have...”My goal that we are aiming to achieve...and that with a selected team of people, that will each make individual choices, I hope to reach this particular goal. This initial ‘hook’ is strengthened by the premise of harvesting the right people to work together to create a desired outcome. I feel that this simple framing gives the whole process that follows a context and meaning. Allowing the rest of the performance to be performed clearly and quickly.

Simply there are two sets papers (seven in total), all of which are identical when folded. (I paper clip these too, to keep them closed - Also please note my choice to eliminate envelopes from this routine. I feel this simple change helps keep the pace of the routine.) These are split into one set of four and one of three. I use A3 (UK size) art paper, with the needed words either printed or in some cases hand written in bold, black ink. The first set of four folded papers all contain ‘NOT in order’ printed on white card and the set of three each contain a word printed in bold upon white paper - in my case, one with ‘IN’ in, one with ‘THIS’ in and one with ‘ORDER’. I mark all my folded papers with a sharp pencil. The set of four are marked with a simple *, and the second set are marked with their contents initial. This allows me to have the papers freely mixed in the audience, yet still be able to locate the needed papers in the performance. Finally, will also need a prediction/goal, which needn’t be touched by you till the end. My prediction reads ‘IN THIS ORDER’ and is made from a roll of fax paper, rolled and tied with brightly coloured ribbon.

You start by drawing attention to the end goal and then the first spectator four white folded papers (the four that all contain a ‘NOT in order’ (white card). The spectator mixes these to their heart’s content which changes nothing, as the contents are all the same. Proceed by getting the spectator to select a paper and hold it above their our ur participant to walk head. You then, take back the other three and instruct your around the room and select someone that would like to give the chosen paper to. Before they head out into the audience, you take back the three unwanted papers. These all contain ‘NOT in order’ papers. At this point, it is a simple matter of switching in the three folded papers with those with the IN THIS ORDER papers. Remember these papers look identical. You have ample amounts of time for the switch as all the focus is on the strolling spectator and the paper they hold. You may also remember that I ask the spectator to option, really walk around and find someone that you would like to give that paper too.’ I like the idea of switching something in as it allows for a true fairness when it comes to which paper is selected at the beginning of the routine. p When you take back the other three papers, and as the spectator walks around the room, you have two options in regards to making the switch: 1. Stuck to the back of the chair nearest you (stage right), you have a pocket attached (which cannot be seen from the front) which allows you to cleanly ditch the three ‘NOT in order’ papers whilst simultaneously picking up the other papers. This, of course, should be done as everyone watches the spectator walk through the audience. I have made my switching pocket from some trusty Duct Tape, cardboard and a little imagination. I have dubbed mine the ‘Switch-master 3000’ (©). It isn’t glamorous but it doesn’t need to be. It works excellently and that’s what’s important. 2. Have the second set of papers on a table that is higher than the audience’s eye line. When you take them back, place them down, walk over to follow the spectator and as you patter just pick up the stack and leave the others. Nobody will notice as long as no one can see the surface of the table. Angling

your table would be adequate here for a solution with a lower table. If you are casual (and confident) about it, either method will work a treat. Assuming that you own a copy of Annemann’s ‘Practical Mental Effects’, turning to page 226, you will find a similar method for switching envelopes. *Please note that I have even just switched these by placing one set into my jacket pocket and removing the other set from another pocket. By this point, you have switched in the second papers and should now hand the switched in stack (each containing the predicted words) to someone in the front row and ask them to mix these further. You now offer the first spectator the selection two more people and invite the three of them to sit in any of the remaining onstage chairs. Whilst this happens you should take back the three papers that have been mixed and you are ready to perform the easiest force in the world... Whilst holding the switched in papers, I spot the markings to see if they have been shuffled into the predictions order. If they have, what follows is a simple matter of handing out the papers in the order they were shuffled into and making a point of this. If they haven’t been shuffled into your predicted order, you can correct this quickly by only having to move one envelope or, do what I do which is to turn my back to the audience, and as I say ‘Please take one’ I just hand the required envelope to each spectator. This forces the word sequence to match the prediction/goal. It really is that easy. Now reveal as you see fit. As you saw in the lecture, I prefer to have the prediction opened to show ‘IN THIS ORDER’ as a large scroll, that I clip to a mic stand behind the chairs. Then I have the spectators on stage open their papers to reveal a match, and finish by having the isolated spectator reveal that he/she and their paper were ‘NOT in order’.

EXTRA NOTES AND THOUGHTS The beauty of this method is that if you wished, you could perform it with any number of chairs and any forced phrase. The method allows you to perform a larger version of this effect without the execution becoming more complex. I

prefer three spectators as it is not so many that all attention in the nearby area is lost. Also consider that you could add an extra revelation by simply having papers under the three chairs on stage to match their ‘selected’ papers. I skip this as I feel now that it slows the routine down too much.

CREDITS Luke Jermay, Tara Whittaker and Dewey Lord forr their t advice, ideas and assistance towards the new framing for the effect. Al Koran & Andy Nyman for the inspiration to hand the required envelope to the needed spectator.

HACK Simply, this is my solution to simplify the newspaper test. I originally published this effect in my first offering to the Magic community and since then there have been a few subtle changes that I feel are worth highlighting here. The main change being that I no longer perform this as a prediction effect, this eliminates any need for spectator guidance towards what word they choose from their selected piece. This is now a simple demonstration of mind reading with an un gimmicked and seemingly freely selected piece of newspaper.

EFFECT FFE FF Everybody is invited to notice that under their seats is a folded piece of newspaper, each taken from one of todays papers. Everyone is asked to hold their papers high and begin to pass them around, mixing them up. The performer calls stop and selects one spectator at random. Now stating ‘Do you have a piece of newspaper (Yes) is this the same piece of newspaper that you began with? Good, so you really did mix yourselves and the papers up. Join me... The performer opens up the paper, showing it to the spectator and begins to tear it into small pieces. He then states, ‘Together we have created a little book with many pages, ideas and concepts. We probably have around 30 pages here, I’d like you to just think of a number between one and thirty. Tell everyone what number you’ve settled upon. I’m going to count each piece to the floor, count with me... The performer counts slowly to just before their number, he then steps away from the stack of papers and asks the spectator to continue the count till they arrive at their selected piece. The spectator is now invited to look over the paper and think about something from it that they can visualise. They do this and the performer is able to reveal with extreme accuracy, not only what the spectator is thinking of but he also makes some smaller yet just as interesting observations about how they were thinking about the information.

METHOD The method comes in two parts. Both are forces. First, I feel it’s important to mention that with newspapers it’s important that you find something either relevant or interesting or ideally both of the above, to force. Although this can be done with any piece of paper at a moment notice, from experience Ive found it best to search for an image that falls in the top right corner of one whole newspaper sheet. I usually go for an image and never fail to find something within one newspaper. Once you have found something to force, remove this sheet and fold it into four, with the force corner on the inside. Now mark this piece in two ways: with a simple bent corner and a sharpie dot. I also pay attention to what falls on the outside of the folded sheet as this itself acts as a mark that you will be able to notice from the stage. Now you must fold the remainder of the paper, or in most cases when I perform, repeat with various newspapers so that most or ideally, all spectators can have a piece of news paper under their seats to begin. It’s now simply a matter of knowing where the force piece begins and also just visually following where that piece ends up. When I ask everyone to stop passing the papers around I simply ask the person now holding the force piece to stand and deliver the following scripting: ‘Do you have a piece of newspaper (Yes) is this the same piece of newspaper that you began with? (No (No) Good, so you really did mix yourselves and the papers up. Join me...’ Now you need to force the known corner. I do this simple by tearing in such a way that laces the known piece second from the top on one side of the stack. This is achieved by opening the paper so that the force piece is top right, whilst displaying it to the now on stage spectator. I now tear directly down the middle of the piece and place the force corner nearest to my body. I now rotate 90 degrees and tear again. You will now be holding two similar sized pieces in each hand. Now move one piece from the left hand to the pieces in the right as you bring both hands together and place the remaining left hand piece behind the rest of the stack.

The situation is now as follows: the force piece if second from the closest to your chest. Now tear vertically again and place everything in your left hand to the back, furthest from your body. Rotate 90 degrees right and tear 2/3 more time, being careful not to tear through the force piece. The force piece will now be second from the top on one side. Now as you display the pieces, rotate the stack so the force piece is second from the bottom. Now count to the named number minus one piece and pause. You must now roll the stack as you place it on a nearby table or the spectators hands. Placing the force piece second from top, meaning that when the spectator finishes counting to their number, they will arrive at the force piece. You are now free to reveal in any way that you would like. I always try to connect the image to something in the spectators life and usually reveal as a drawn image before having them verbalise what they were imagining. This in some cases can create the illusion that the spectator thought of a word or read some text, yet you know they were seeing this as an image.

CREDITS Al Koran - Headline ead Countdown

3S1D This is a drawing duplication that I omitted from my book ‘Drawing Thoughts’ back in 2016. As at the time of publishing I wanted to keep this for myself and play around with more. It has since become a state in my performances of Mind Reading at private parties and something I truly enjoy performing. Although it is very simple in method, I can’t stress enough just how strong this is and I thoroughly recommend that you go out and try this. The title 3S1D stands for ‘Three Spectators One Drawing’. I use this whenever I am booked to perform at a house party, where I tend to perform multiple short shows for small groups rather than for everybody at one.

EFFECT The mystery performer invites the small group to take part in an exploration of shared thought. The performer removes a golf pencil and a blank piece of card. They explain that out of the group, the first spectator is to think of a simple image that they are able to draw. And that it should be something that isn’t complete, or an image that has room for extra details. Before the spectator begins the performer explains that once finished they are to pass the card and pencil to a second person who is to add a small detail to the image, this could be to create a context for the initial image, or it can be an extra detail to make the shared thought more unique. This is repeated with the person next to them. The last person in the group, furthest right is to stare at the image, and decide upon a name for the piece, and then commit to the title by writing it under the image. This is all completed whilst the mystery performer is out of the room. Once completed the performer is to return. The image is then placed face down into a small envelope and placed into a wine glass behind the performer. The performer is now able to work with each spectator, having them focus on their elements of the image and finally the title to reveal that he or she has perfectly received the shared though from the group, piece by piece.

METHOD For this effect I personally prefer the use of a Shaxon envelope combined with a flapless window envelope. This allows the spectator to place the completed billet face down into what is apparently the uppermost envelope of a small stack. In actuality the completed billet is loaded into my flapless window envelope. I am then able to have the spectator seal the envelope

apparently containing the shared thought whilst I move the window envelope to the bottom of the stack via a casual over hand shuffle. I now, under the instruction of having the spectator check the envelope they hold to be opaque, bring the window envelope up to my eye line, peek and remember the information. I now place the stack of envelopes away. The envelope containing the shared thought is placed into a wine glass, usually somewhere behind me but in sight. It is important to note that any impression device or pad would work extremely well here, and I have explored all the options. However I feel that by having the group create the shared thought on a single blank billet, there is no danger of not getting a clear impression or having a spectator remove the page from the pad prematurely. Simply, by using a very old and trusted envelope switch and peek we eliminate all potential for anything to not work in your favour. It was Luke Jermay (a friend and mentor) that brought my attention back to the combination of a flapless window envelope with a Shaxon Luke axon xon envelope. x e ru uc has some incredibly important details, thoughts and construction tips for this combination that can be found on his Vanishing Inc DVD ‘Jermays Mind’, alongside other various notes. I also feel that in a formal setting, such as a dinner or private party, it is perfectly justified and normal to use envelopes to seal ideas and thoughts as part of your process as a mystery performer. For those of you that do not own Luke’s wonderful and landmark DVD’s, or already know how to construct and use this exceptionally useful envelope combination, I would suggest that you refer back to Annemann’s Practical Mental Magic and seek out ‘Modernized Reading’. Although Annemann doesn’t make use of a Shaxon envelope here, and instead just flapless window envelope, it achieves the same effect. However, any method for secretly obtaining the drawn and written information will work here, so feel free to experiment. You are now back in the room, and your spectators have completed their shared drawing with it’s title. Regardless of your chosen method of acquisition, you now know what the finished drawing is and its title. It is now very easy to ask each spectator to focus on their part of the shared thought, and to work backwards to reveal who added what. It is that simple, but extremely effective. I enjoy performing this routine so much, I wish I could express with words just how strong this is in performance.

You are usually able to see the different styles of drawing to determine who has drawn what, or in most cases it is very easy to make educated guesses whilst working with each individual to create multiple moment’s of mind reading from one billet. I like to work with a letter sized pad and sharpie marker to reveal each impression that I receive from each spectator. Beginning with the spectator that drew the initial image and working my way across the group to finish with the spectator that titled the piece. You are, of course the guaranteed finish to this routine by being able to reveal the freely selected title of the shared though. This is very strong. I will usually encourage the group to add details that are a little abnormal or out of the ordinary although still within the context of the initial image. It’s important to encourage the spectator that names the image to give it a title that is not too typical, as this will give you more to work with at the climax of the routine.

EXTRA NOTE NOT NOTES AND THOUGHTS I tend to hold a drawing pad facing me whilst asking each spectator to focus on their element to the image, I’ll then verbally play around with the information whilst drawing each part to the drawing. On occasion I’ll pause and show the rest of the group or sometimes just the person I am working with. I always make sure that once I am more than halfway done ‘receiving’ the image, that I don’t show my drawing till after I have received the whole picture and title.

CREDITS C

Annemann - Practical Mental Magic, Luke Jermay - Jermay’s Mind

BONUS As a bonus here I wanted to include something simple and effective that I’ve had fun with on and off, over the past couple of years. This works as a very fair and simple prelude to a larger routine although it can be fun in its own right. I created this after re reading through The Jinx. In Issue 4 (January 1935), there is a small article titles ‘Something to work on’. This is a letter cam up with Annemann received from a reader. Upon reading this is came workable solution that allows the performer to know when en a spectator is nd complete co telling the truth or lying, whilst using a shuffled and deck. The original article can be seen below.

MY SOLUTION My solution to this problem is very simple, and uses a technique that I favour whenever using a deck of playing cards.

EFFECT The spectator is invited to shuffle a complete deck of playing cards. The performer then spreads the deck face up on the table to show the deck to be full and complete. The performer gathers the deck and turns it facedown. The performer gives the deck one straight cut and hands it to the spectator. They are asked to peek at the top card, and ignoring suit, to announce the cards

value. They can either be truthful or lie. The performer is able to with 100% accuracy know when the spectator is lying or telling the truth.

METHOD Simply, I crimp one card that is easy to spot. I prefer to crimp a court card. I use a negative breather crimp and create this by holding the card facedown and dragging my fingers on top of the card, and thumb beneath the card from the centre to the outer corners of the card. This creates a crimp that will always cut to the bottom of the deck. Once the spectator shuffles, spread the deck face up. Visually locate the crimped card and memorise 5-10 cards that immediately follow to the right of the crimped card. This is much easier than it sounds as you are not memorising colour, suit and value. Instead just value. I suggest you begin with memorising 5 cards and build to 10, although you’ll find it very easy, I assure you. You now gather the deck, cut at the crimp with the deck face down and hand the deck to the spectator. The following 5-10 cards will be the memorised slug. Meaning that with you facing away and the spectator calling either real or imagined values, you will know when they are speaking truthfully or not. To give this simple and short demonstration a finish, you can memorise 5-10 cards by value and then the full card in the last position from within the slug. Allowing you to reveal the whole card to finish.

CREDITS Annemann - The Jinx, Issue 4 Vincent Dalban - For the original letter to Annemann