2 Robert E Cassidy
There is another technique, called Mental Reservation and Secret Evasion, which is very effective
if you prefer to mislead with the truth rather than tell an outright lie. It is most effective when combined
with the use of a few irrelevant details. According to Dr. Bob,
 It s all a matter of adding details and defining your terms. A few weeks ago, a nosy polygraph
examiner asked me if it was true that my people smoked marijuana during my sermons. Now I could
have said  No, that s against our religion, and prayed for the machine to blow a fuse.
 But why take a chance? The easiest way to beat a lie detector is simply by telling the truth. You
don t have to tell the WHOLE truth or NOTHING BUT THE TRUTH  just THE TRUTH THE WAY YOU SEE
IT. So, I didn t deny anything. I just said,  No one in my church ingests, inhales, or injects foreign
substances or drugs of any kind. It is entirely against our religion and is strictly forbidden. And I was
telling the absolute truth.
What I didn t mention was that our marijuana isn t foreign; we grow the shit domestically in the
church greenhouse.
- From Dr. Bob s Reality is Just the Way You See It
The Black Book of Mentalism 3
The Black Book of Mentalism
By Robert E Cassidy
All Contents Copyright ©2003 by Sacred Chao Productions All rights reserved. The purchaser
acknowledges that this work contains trade secrets of mentalism, and agrees, as a condition of purchase,
that it is not to be resold or redistributed in any form whatsoever.
Table of Contents
The Message of Mentalism 4
Minimalism 5
8
The Mirror Box and Tray 9
The Match Box 13
Mentalism with Playing Cards 20
The Cards to Use 23
Utility Items 25
The Impression Book Error! Bookmark not defined.
4 Robert E Cassidy
The Message of Mentalism
In a culture like ours . . . it is sometimes a bit of a shock to be
reminded that, in operational and practical fact, the medium is the
message.
Marshall McLuhan, Understanding Media:
The Extensions of Man (1964)
Magic has been a popular form of entertainment for
centuries, not because people are inherently fascinated by
tricks or because they like to be fooled, but because the figure
of the magician remains an unconscious symbol of man s triumph
over the relentless and impersonal forces of nature.
On a conscious level it can kindle a childlike sense of
wonder in the most jaded, and inspire the imagination with its
implicit question  What if? (Apart from all that, it s always
been a great way to pick up women.)
The message of magic doesn t lie in the tricks themselves,
but in the sense of wonder and control provided by the character
of the magician himself.
What, then, is the message provided by the mentalist? The
answer, I believe, is what determines if he is a charlatan, an
entertainer, or an inspirational motivator. Unfortunately, I
cannot provide the answer for you; you have to find it for
yourself, within yourself. (I will provide you with a
suggestion, though.)
The reason I raise this question at the beginning of The
Black Book is that the methods and handlings that follow are
ethically neutral. Because of their minimalist nature, the
meaning of which I ll explain shortly, they can be used to
defraud as easily as they can be used to provide thoughtful,
dramatic, and perhaps even inspiring, entertainment.
Just as the true illusion of magic doesn t lie in its
secrets, the methods and handlings of the mentalist are simply
the tools he uses to create his chosen stage persona.
The Black Book of Mentalism 5
I mentioned that I would give you a suggestion that might
help resolve the ethical dilemma of mentalism. Here it is:
You might consider calling yourself a  mentalist.
I can t think of a single charlatan working today who calls
himself that. Do you want to know why? If you look up the word
in a modern dictionary you will find that the word has two
definitions  it either refers to a nineteenth century school of
philosophy, or to  A stage performer who pretends to read
minds. That pretty much explains why no spirit medium or New
Age psychic would get caught dead calling himself a mentalist.
Not that you should read the definition to your
audiences... just read it to yourself once in a while and you
should be okay.
Minimalism
Joseph Dunninger has often been credited with saying.
 Every time you add a prop to your act your price goes down.
His reasoning should be obvious  every additional prop takes
the illusion one step away from what  real mind reading would
look like. And, as I have noted many times in my previous books,
every additional type of mentalism you demonstrate (apparent
telepathy, precognition, psychokinesis, clairvoyance, etc.) also
detracts from the overall illusion.
Recently a so-called mentalist challenged me on the
last point, stating, essentially,
 How entertaining is it to demonstrate the same ability
over and over again? It is much more interesting for an audience
if you do a prediction, then perhaps a blindfold test, a key
bend, a memory test and maybe a picture duplication. My business
is to entertain them  and that means variety. How entertaining
is it to watch the same billet test presented five or six
different ways?
I think the problem with his reasoning is obvious. Why not
throw in a few jokes, a tap dance and a piano solo? There s some
variety for you! (Reminds me of the heckler Dr Bob wrote about
in an earlier book - the guy who yelled at Frank Sinatra after
he finished a song,  So ya can sing, what else do ya do? )
6 Robert E Cassidy
But beyond that, the objection also assumes that the
entertainment is provided by the effects  which, as we ve seen,
is simply not true. To maintain the illusion of mentalism, the
effects must remain secondary to the mentalist s persona. As the
variety of effects increases, the persona becomes less defined.
[Think of a three-ring circus  when the star act appears in the
center ring, the lights go out on the other two.]
The rule applies to the number of effects as well  less is
better  if you do too much and make it look too easy, it just
won t be as believable.
This is what I mean by minimalism. Fewer props, fewer
effects and less variety in the type of effect. The
entertainment value comes completely from the performer himself.
That is why mentalism is probably the most difficult kind of
magic to present well.
The ability to transcend one s material is the hallmark of
excellent performers in all areas of show business, but for some
reason, even well informed  authorities on magic and mentalism
miss this point. A recent work on mentalism contained the
following passage:
. . . Rare is the performer who can mesmerize a crowd
by performing only mentalism. Usually these performers have
some dynamic effect that will be remembered by the
audience. Some performers can do this successfully. Others
try and fail.
The fact is that you CAN T mesmerize a crowd with only
mentalism. The statement that those mentalists who do
 mesmerize rely on  some dynamic effect that people will
remember, simply is NOT true. Those laypeople old enough to
remember seeing Dunninger perform; rarely recall the exact
effects he performed. They just remember that he was able to
read people s minds. As his confidante and behind-the-scenes man
David Lustig once said,  It not what you do, it s what they
THINK you do that counts.
Several paragraphs back I alluded to ethical problems that
could be associated with a minimalist approach. If you have a
ton of props and do twenty-five separate effects demonstrating
every conceivable type of paranormal phenomena, it doesn t
matter if you call yourself a psychic, a spirit medium, or
Nostradamus direct descendant and sole surviving heir  no one
is going to believe you anyway.
The Black Book of Mentalism 7
The more minimalist you get, however, the more likely there
will be audience members who believe you are doing the  real
thing. Think of the leading  psychics and  mediums who
nowadays have their own syndicated television shows. They use no
props and only do one effect - the most popular being the
claimed ability to converse with the dead. They never call
themselves  mentalists and you will never catch them at an SAM
or PEA convention.
If you feel that they operate within an ethical  no man s
land that you would rather avoid, the solution is simple.
Compromise- but just a little. Use a minor prop here or there.
Call yourself a mentalist. Avoid doing private readings. Confine
your  strong performances to the stage and limit your speaking
engagements and so called  educational gigs to memory training,
self hypnosis, and other similar non-paranormal themes.
The effects and handlings that follow reflect the degree to
which I have compromised the minimalist concept while
maintaining a believable illusion of mentalism.
8 Robert E Cassidy

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The Black Book of Mentalism 9
The Mirror Box and Tray
These are two of the most versatile gimmicks you will ever
use. As far as the audience is concerned, one of them is just a
box that has no apparent function other than to hold the
pencils, papers and markers that the mentalist uses during his
performance. The other is a large plexiglas tray.
After reading, and, I hope using the routine I ve
described, you will, it will become apparent to you how these
two items can be used to perform (and in many cases, improve
upon) several standard mental effects.
Readers of my previous books may think they are
experiencing déjÄ… vu upon looking at the following photograph of
a partially opened cigar box. In a previous book I described
how, with the addition of a simple gimmick, it is easily
transformed into an excellent billet switching device.)
Here, however, it is put to
a completely different use. Note
that there is a 3½-inch convex
reducing mirror stuck to the
bottom of the box. (The box
itself measures 6½ x 5 x 1½
inches.) These mirrors are
obtainable for a few dollars at
any automobile supply store.
In performance, there are a
few pencils and slips of paper
in the box to the left and right
of the mirror.
What you really have, of course, is an incredibly effective
and virtually invisible shiner. It is impossible for anyone to
see the mirror in the box unless they are standing right next to
the mentalist s table and looking right down on it. But since
the box is closed most of the time, the mirror is out of sight
should spectators be invited to stand on stage near the table.
10 Robert E Cassidy
The following two photographs show the plexiglas
tray. I have spread some playing cards on the tray to give you a
reference point for its size. It is constructed of TWO clear
plexiglas sheets. Between them is a sheet of transparent blue
paper  it is, in fact, the same paper that is used to protect
the plexiglas when you purchase it. The two sheets are held
together by Scotch Brand blue plastic decorative tape that goes
around the edges as shown. (The color of the tray is not
critical.)
The combination of the box and tray provide an extremely
deceptive, yet remarkably effective, method for several routines
I have used successfully over the years. I ll describe a very
simple presentation just to make the handling clear and then
I ll give you a few ideas on how to elaborate on the concept.
Put five  Sharpie markers, one black Magic Marker and five
3 x 5 inch pieces of opaque white poster board into the cigar
box. Close the box, put it on your table, and you are ready to
go. The tray is on the table next to the box.
EFFECT AND METHOD: Five volunteers, standing next to each
other, are each handed a 3 x 5 piece of poster board and a
Sharpie marker. They are told to print their first names on one
side of the card and then to pass their cards to the volunteer
on the left who is told to mix them up.
The Black Book of Mentalism 11
The performer collects the Sharpies, returns them to
the cigar box, and gets the Magic Marker and tray. He approaches
the volunteer with the cards and asks her to deal them, name
sides down, onto the tray.
The mentalist carries the tray into the audience,
emphasizing that he will not touch the cards at any time. He
approaches a seated volunteer and hands him the Magic Marker.
 Sir, I would like you to make an  X on the back of one of
those cards. The performer holds the tray behind his back, thus
making it obvious that he cannot see which card the volunteer is
marking.
 As soon as you ve done that, put the cap back on the
marker and put it aside for a moment. Pick up the cards, but be
careful not to turn them over  I don t want you to know the
name of the person on the other side of the card you just
marked. Close your eyes and mix the cards around so you don t
know which is which and then turn them over so they are name-
side up. Mix them a bit more and then open your eyes. [The
mentalist s back remains toward the spectator throughout this
sequence, the tray still held behind his back ready for the
return of the cards.]
 Now deal them in a row onto the tray  name sides up, and
tell me when you are finished.
It should be obvious to all that it is impossible for
anyone to know which card has the  x on its back.
The performer carefully brings the tray from behind his
back to the front and, holding it with only his left hand for a
moment, retrieves the Magic Marker with his right. The performer
walks back to the front and places the tray on his table. He
puts the marker back into the cigar box and closes it.
At this point, the performer already knows which card has
the  X on the back. The cigar box was left halfway open  as in
the photo  when he returned the Sharpies and got the Magic
Marker. In placing the tray back on the table, he simply has to
pass it over the box and he will see a reflection in the convex
mirror, which tells him which card, has an  X on it.
12 Robert E Cassidy
The mentalist now steps away from the table and stands with
his back to it as each of the five volunteers are told  one at
a time  to approach the table and pick up their card  being
careful not to expose the underside.
When all of the volunteers have their cards, they are asked
to turn their backs on the audience, secretly look at the other
side of their cards and then fold them up and hold them in their
closed fists.
Using a lie detector theme, the mentalist asks each
volunteer a series of questions. Apparently by listening to
variations in their vocal patterns and observing their body
language and subliminal cues, he is able to reveal whose card
bears the  X .
Now this, as I said, is a really simple approach. Here is a
refinement, which should make the utility of the concept very
clear to you:
A ball, a crumpled up dollar bill, or some other object is
placed under one of five identical paper cups while the tray is
held behind the performers back. The cups are then moved about
by the spectators, apparently making it impossible for anyone to
know which cup covers the object.
Simply by taking the tray to the front and placing it on
the table, the mirror shows the mentalist which cup covers the
object. He casually picks up some loose pencils or papers that
are lying on the table, puts them in the box, closed it and
pushes it to the side.
If a borrowed bill is the target object, it is a simple
matter to switch the bill for a duplicate whose serial number
you have memorized, before having it hidden under one of the
cups. Having determined the location of the bill, you can now
stand away from the table as you instruct a volunteer to lift
the cups you sense to be empty. When you finally reveal the
location of the bill you are all set to reveal its serial number
as a kicker.
As I said at the outset, a little bit of imagination will
show you just how valuable these two simple devices can be.
Use them well.
The Black Book of Mentalism 13
The Match Box
If you already have, or can come up with, a good reason to
light a match during your act, I think you will find this little
device to be very useful indeed.
It s no secret that some of the top names in mentalism and
stage hypnosis go through their entire careers performing
essentially the same routines. (This used to be true for
comedians and other variety acts as well, but television, by
exposing acts to millions of viewers at a time, pretty much put
an end to that with its incessant demand for  something new. )
The main reason that many mentalists and hypnotists still
get by with the same routines (other than the fact that there
isn t much demand for them on television in the first place) is
that their focus on the unique  powers of the performer and
plenty of audience participation make every show seem like a new
experience.
Since they understand well the principle that the
performer s ability to captivate an audience is far more
important than his actual methods, there was (and is) a tendency
among them to rely on classical and time proven methods and
effects, leaving the eternal search for  something new to the
hobbyists and amateurs. I am constantly amazed at how often the
skillful handlings of  classic effects and principles  even
those exposed for years in children s magic sets  are still
among the professional performer s most devastating weapons.
(They didn t, after all, get to be  classics because they were
lousy tricks.)
The oldest device or method, with just the slightest
disguise, can, in the right hands, be just as deceptive today as
it was centuries ago.
 The Match Box I m about to describe provides a perfect
example. If you re a typical magical  packrat , I m sure you
already have one of these devices tucked away in a drawer
somewhere. If not, you can still pick one up in a magic or toy
store for under five bucks  and use it effectively in a fifteen
hundred dollar show.
14 Robert E Cassidy
This is not a regular
size matchbox. It is the
large style of matchbox,
which contains  strike
anywhere kitchen matches.
They re available in any
supermarket  usually in the
same section where they sell
charcoal and barbeque
supplies  the box measures
approximately 4½ x 3 x 1½
inches.
These dimensions, by fortunate coincidence, are almost the
same as the ubiquitous plastic  Magic Drawer Box  the flagship
effect of just about every children s magic set sold since the
end of the nineteenth century, and whose secret is probably
known to more people today than were even ALIVE back then.
They don t normally look like large matchboxes, though. The
photo above is actually a  Magic Marvin s black plastic drawer
box to which I ve taped, and then trimmed the outer shell of a
kitchen matchbox. (Look at the photo closely and you will see
that the original matchbox was slightly longer than the drawer
box. Rather than cut an end off the matchbox  which would
destroy the recognizable symmetry of the design, I cut a small
section out of the middle. That s why part of the word  kitchen
is missing if you look carefully.
Here s a photo of the box with the drawer pulled out.
I am receiving the thoughts
of many of you right now as you
protest,  But wait a minute,
there s a black plastic drawer
sticking out of the box. It s
supposed to be cardboard, isn t
it?
I don t know. Is it
supposed to be cardboard?
The Black Book of Mentalism 15
Are the inner drawers of jumbo matchboxes made of
cardboard? Have you checked lately? What about the ones you buy
in the  Camping Supply section of the store  the ones that are
supposed to stay waterproof? Do they have cardboard drawers?
Forget about it, it doesn t matter! Over the many years I
have used this device, no one has ever questioned it. I keep
matches in it, which I use to light things when the effect or
occasion requires. I sometimes refer to them as  camping
matches but I offer no other explanation or apology for the
box.
It looks like a normal thing and it says  Diamond Matches
on it. That makes it virtually invisible. It used to say  in
big white letters on the shiny black box-  Magic Marvin s Magic
Box , in which condition it was only useful before an audience
of the blind or well separated groups of congenital idiots.
Disguised as a matchbox, though, it is an extremely clever,
yet innocuous device. (For platform or stage shows!  Don t pull
one out of your pocket to light someone s cigarette or burn
their proffered billet during a performance of  strolling
mentalism. )
[STROLLING MENTALISM  a late twentieth century abomination, the very
premise of which destroys the illusion of mentalism. You walk around
performing the same  spontaneous paranormal feats for everyone you run into,
while doing your duty as part of the  hired help at the corporate banquet.
The only  real psychic I know who would even consider going this route
is Dr. Bob  and that s only because he s an accomplished pickpocket and
enjoys mingling (at close quarters) with his  superiors. ]
Again, this is a utility device with many potential
applications, but I use it almost exclusively for this perfect
variation of the  Living and Dead test.
EFFECT: Five to seven people, well separated around the
audience, are each given slips of paper and all of them, except
one, are asked to write the names of famous living people, and
then to fold their slips into quarters. (Or perhaps you will be
original and come up with more interesting categories than
 living and  dead .) The remaining spectator, who may be
anyone you select, as they all receive identical pieces of
unmarked paper, is told to write the name of  a famous dead
guy.
16 Robert E Cassidy
(Which is the way I always phrase it if I am going the living and dead
route. By staying away from the names of dead relatives and referring to a
 famous dead guy , you eliminate the morbidity inherent in this sort of
effect, and get some surprised laughter at the same time. Of course if you
are performing at a private party for some rich people in mourning you may
want to play this up for all it is worth, but I suggest that you first read
the ethics part of this ebook that you obviously skipped over because you
decided it didn t apply to you.)
The slips of paper should be no more than two inches
square. I use slips made of newsprint. They must be thin enough
so that the one bearing the dead name can easily be captured and
held between the front walls of the real and dummy interiors
without jamming the box. (If the paper is too bulky or too
large, the box won t close properly  although this is not
critical if you are careful with your handling and keep the box
above eye level at the times specified in the routine.)
While they are filling out their slips, pick up the
matchbox, dump the matches out (remembering to open it the right
way so the matches appear), pick one up and light a candle,
saying something about putting their selections to  the test of
the flame. Continue:
 When you are done writing, just fold your papers into
quarters and drop them into the match box.
As you approach each volunteer, hold the matchbox above the
spectator s eye level. (This is not critical for the first
volunteer, but you don t want to give the others an opportunity
to witness a vanishing billet trick as you collect their slips.
It is better to keep the action consistent by keeping the box
above eye level at all times during the collection process.)
After each spectator drops his slip in the box, close the
drawer and hold the box high and in full view as you go to the
next volunteer. You open the box to the normal interior for
everyone except the person who holds the  dead slip. For this
person only, the drawer is opened to the dummy side. (The side
that appears empty when you use the box to make crayons and
silks disappear  but you d better not let the Psychic Mafia
catch you doing that!) Remember to hold the box above eye level,
because if this person can see into it he will wonder what
happened to the other people s slips.
The Black Book of Mentalism 17
Close the drawer and go to the remaining volunteers, who
drop their slips into the normal side of the box. Shut the
drawer and hand the box to a nonparticipating spectator, asking
her to shake them up so no one can know which is which. Let her
continue to hold onto the box and bring her to the front of the
room with you.
Take the box from her and give it one last shake. Hold it
above her eyelevel (and yours) and open the drawer to the normal
chamber, which contains all  living slips. Ask her to reach
into the box and withdraw a folded slip. Close the drawer and
put the box on your table.
Tell her to hold the slip in her closed right hand and put
your right hand around hers. Act as if you are trying to sense
whether she holds the name of a living person or  the dead guy.
Announce that you believe it to be a living name and ask her to
give you the slip. At this point comes a clever subtlety that
will later enable you to secretly get the name that is on the
dead slip. Open the living slip she has just give you and
misread it for any common name at all  say  Jeremy. (In fact
you should stick with  Jeremy on the misread, because it is
virtually impossible that the writer of the dead slip has chosen
a famous dead person whose first name is  Jeremy. ) Be sure to
remember the actual living name that is written on the paper.
Say  Jeremy aloud and then address the person who wrote the
dead name:
 And that is not, I trust, the name of your famous dead
guy, is it? I didn t think so. As you are saying the last line,
burn the slip in the candle flame. (It is a good idea to have an
ashtray or other suitable container in which you can drop the
burning slip.)
Pick up the closed box, give it another shake, hold it
above eye level and open it, once again to the normal side,
which contains the remaining living names. Have your volunteer
reach in and select another name as before. Once more, announce
that it is a living name and take the slip from her and unfold
it as if you are going to read out the name. But this time act
as if you are having trouble reading the writing and ask your
onstage volunteer to read it aloud for you. Again, obtain
verification that this is not the name of the  dead guy and
burn the slip.
18 Robert E Cassidy
On the third or fourth selection (depending on the number
of slips you passed out in the first place) open the box to the
side that contains only one slip  the one bearing the dead
name. Holding it, as before, above the eye level of your
volunteer, ask her to reach in and remove another slip. Since
she is following the same procedure for the third or fourth
time, she will just reach into the drawer and take out the only
slip that is there. (Don t worry about her feeling around for
the other slips  she won t at this stage.) Tell her to hold the
slip in her fist as you close the box and put it back on the
table.
Hold her hand in yours and once more announce that you
believe she has another living name. Take the slip from her,
open it, take a look at it and remember the dead name that is
now staring you in the face. Misread the slip by announcing it
to be the name that you secretly noted on the first slip - the
one you misread as  Jeremy. You can get an acknowledgement from
the person who wrote the name if you like. (Actually, you can
do this for every slip except for the first one, but I recommend
you only do it once or twice.) In the meantime, burn the slip.
There will now be only a few slips left in the normal
chamber of the drawer box. They ALL contain  living names. Pick
up the pace at this point. Tell your volunteer to hold out her
hands, cup fashion, open the box to the regular chamber and dump
the remaining folded slips into her hands.
 Hold one in your right fist and keep the others in your
left, you say as you grasp her right had in yours. Continue
with,  You know, this one feels just a bit odd, but trade it for
one of the others for a second just so I can make sure. Keep
the pace up here as you apparently decide by the  vibes you are
getting, which slip bears the dead name. Finally, take two slips
from your volunteer and announce that you believe these to be
living names.
 Let s check, you say as you proceed to open the slips and
read the living names written upon them. Burn the slips.
 Obviously, the paper that Laura (or whatever your onstage
volunteer s name is) has in her fist must be the name of the
famous dead person. Let s not quit there, though. Let s make it
a little harder.
The Black Book of Mentalism 19
 Laura, I want you to set fire to the slip in your hand
without even opening it. That s right  burn it in the candle
flame so that it turns to ash, as did the other before it. Let
the dead follow the living for a change& 
Pick up a pad or piece of poster board and go into your
best trance state as the paper burns. Begin to write on the pad,
keeping your writing concealed from the audience. Print the dead
name in large clear letters and hand the pad to Laura so that
your writing is facing her body  not yet revealed to anyone.
Ask the person who wrote the name of the  dead guy to
announce the decedent s name to the audience. He says, say,
 George Washington. Tell Laura to turn the pad around and show
the audience what you wrote.
If you ve paid careful attention to the routine and
understand its workings, the pad will bear the words:
 GEORGE WASHINGTON
AND YOU WILL BE IN INUNDATED WITH WAVES OF AWE AND PRAISE
IN A MANNER BEFITTING DR. BOB HIMSELF
I guess many of you have already figured out why I like
this routine so much. It makes use of the same offbeat misreads
that characterizes my style of billet work. It s clean, it s
subtle, and it s powerful  what more do you want??
Especially now that the wonderful possibilities of the
classic drawer box are once more available to you.
20 Robert E Cassidy
Mentalism with Playing Cards
As long as I have been in mentalism the argument has raged
over whether or not playing cards can be believably used in
tests of mentalism. The answer to the question  CAN they be used
effectively by mentalists? is YES. They can be and they have
been. Dunninger himself included a lengthy sequence of card
effects in his programs, and cards  in one form or another 
have long been associated with parapsychology testing.
Magicians and some mentalists often object that playing
cards make spectators think of magic tricks. Only magicians and
some mentalists think that way. Do yourself a favor and memorize
the following:
NORMAL PEOPLE DO NOT THINK OF MAGIC TRICKS WHEN THEY SEE A
DECK OF PLAYING CARDS.
NORMAL PEOPLE DO NOT THINK OF MAGIC TRICKS WHEN THEY GO TO
THE STATIONERY STORE.
NORMAL PEOPLE DO NOT THINK OF MAGIC TRICKS WHEN THEY ARE
MAKING LOVE TO THEIR SPOUSES OR SIGNIFICANT OTHERS.
Only magicians and some mentalists (those who are really
closet magicians) think this way.
NORMAL PEOPLE USUALLY THINK OF GAMBLING, CARD GAMES, OR
OCCASIONALLY FORTUNE-TELLING WHEN THEY SEE PLAYING CARDS.
NORMAL PEOPLE ONLY THINK OF CARD TRICKS WHEN SOME SCHMUCK
THRUSTS A DECK OF CARDS INTO THEIR FACE, RUFFLES THE EDGES AND
DEMANDS THAT THEY
 Pick a card! OR
 Think of a card! OR
 Watch something really cool.
The Black Book of Mentalism 21
(The latter is usually uttered in a monotone mumble by this toked out
skinny dude in Central Park who thinks he s an urban Shaman or something, and
tells homeless people that their coffee cups are filled with money before he
goes and pees on them off a flagpole  or something like that. I heard he was
on TV. Probably  COPS . That would be my guess.)
Cards are excellent for mentalism as long as the mentalist
observes some very basic ground rules. Obviously, fancy or slick
handling is a no no. It is not, however, required that he handle
the cards like a bumbling klutz  that serves to draw the wrong
kind of attention as well. Like his brother, the professional
advantage player (read  Card Cheat ), he should handle the cards
in such a manner that would not be out of place in a normal
Friday night card game. He may not show off  EVER.
That being said, you may be interested to know that some of
the finest card workers I have ever met are professional
mentalists  but there probably isn t a magician alive who ever
saw them work with a deck of cards. To create the illusion of
mind reading, the mentalist must never admit to skill at sleight
of hand.
[That brings to mind an unintentionally funny posting I saw
on the Internet last year. A reader suggested that mentalism
could really go through the ceiling and enter a new age if
masters of sleight of hand got into the art!
Reality check time  they ve been there all along, but you
may not have noticed because they don t do coin rolls and
usually shun one-handed faro shuffles. Your NOT SUPPOSED TO KNOW
that they can do that stuff. Apparently the strategy has been
working for it is still a commonly believed myth that mentalism
doesn t require the difficult sleights and moves that are used
in traditional magic. In reality, it all depends on what type of
mentalism you are doing. If you are a straight billet and swami
gimmick man, your sleight of hand should be BETTER than a
magician s  because if you get caught doing that stuff  your
illusion is completely shot. If a magician drops the cards  so
what? Did anyone think he was doing real magic?
The climax of mental effects with cards should ideally take
place while the pack is IN THE SPECTATOR S HANDS, or at least on
the table  apparently away from physical control by the
mentalist. That final image is what will be left in a
spectator s mind.
22 Robert E Cassidy
To my mind, the best mental effects with cards are: the
classic version of  You do as I do (For a lesson in how to
handle it properly, watch the Anthony Hopkins, Ann Margaret film
of William Goldman s Magic  it deserves a place in every
mentalist s library);  Dead Name Speller from Annemann s Jinx
or in the current Dover paperback, Annemann s Card Magic; Harry
Lorayne s  The Moving Pencil from Close-up Card Magic; AND Dai
Vernon s  Mind Reading Card Effect or it s close relative,
Harvey Berg s  Intercept. Presented properly it looks like the
real thing.
If you do the Vernon/Berg effect, try it this way: Invite a
volunteer to the stage and position her to your right. Hand her
a pack of cards and instruct her to shuffle them thoroughly
while your back is turned. Don t provide a table for her,
because it is really convincing if she drops the cards all over
the stage  REALLY. Say, deadpan,  Would you agree that those
cards are pretty well mixed? The audience reaction is excellent.
If you use a cheap pack of super slick and stiff cards, you can
get this to happen all the time!
When the cards are finally all mixed and in a face down
condition in the spectator s hands, take the deck from her, but
keep your head turned way to the left so that it is obvious you
are not looking at the cards. Your body, though, should be
facing directly to the right  your left shoulder is toward the
audience.
Now hold up the cards so they are facing the spectator. If
you hold them in a left hand mechanic's grip, the face card of
the pack cannot be seen by the volunteer. Say, I m going to
spread these cards out and I want you to JUST THINK OF ONE. Just
spread off the top nine cards. From the audience s line of view,
it looks like you spread out the whole pack. Reread the
boldfaced line and you will discover the double-speak that makes
it all seem normal to the spectator. (& Spread THESE cards out& )
This same approach can be effectively used in any routine
where you want to make it appear that the spectator is looking
at the entire pack. (BTW  in the Intercept effect, the
spectator will usually think of the seventh or eighth card from
the top. This happens often enough that it is worth giving it a
try if you aren t in a do or die situation. If you should miss,
you can always act as if you are bearing down and follow with
the standard handling.
The Black Book of Mentalism 23
The Cards to Use
I am often asked what are the best types of cards for a
mentalist to use. If you asked me what the best cards for ANYONE
to use are, I would answer the same way  the best cards are
BORROWED CARDS, or cards that you can give away after you are
done with them.
The next best are used decks from casinos that have holes
punched through them or their edges cut off. I can t think of a
magician who would be caught dead using these things. And that s
why they are excellent, as are the crappy looking packs of 99-
cent bridge cards that you can find in any drug store. Like
these:
These are the commonly
available  Trump brand bridge
cards, which I believe are
distributed by Hoyle, or, more
accurately, the US Playing Card
Company since they bought them out.
About a year ago, I left a tip
about these cards on a popular
magician s Internet site. I got one
positive response  something like
 Wow  thanks a lot, that s great,
but what did you mention it here
for?
The consensus was pretty well summed up by the site s
resident 14-year-old card expert who solemnly observed that if
you were a real magician you used  Bikes. Anything else and its
obvious you re an amateur. (I can t wait until that kid turns 21
and wanders into one of our local card rooms.)
What s so great about these cards other than the fact that
they are made from good quality stock and handle very easily?
24 Robert E Cassidy
Look at the jokers. The one on the left is a white guy. The
one on the right isn t. The pack on the left says  Made in USA
just above the bar code. The pack on the right says  Made in
China. The pack on the right is 1/64 of an inch shorter and
narrower than the pack on the left. The pack on the left has a
linen- type finish. The pack on the right is a smooth ivory
finish. But if you look at both decks and handle them casually,
they appear to be ABSOLUTELY IDENTICAL.
If I need to tell you the how to create miracles by  mix
and matching cards from both decks, you really aren t ready to
be reading this material and should come back to it in a few
years time.
And its not like this is a fluke that will only be around
for a little while until all manufacturing is done in China. The
two variants have been around, in great supply, FOR THE PAST
THREE YEARS. - Usually you will find them in the same bin, all
mixed together because the drugstore clerks can t tell the
difference  the bar codes are identical and that s all that
matters.
While on the subject of cards, I should point out, for
those of you who don t already know, that the classic Bicycle
Wingback cards praised by Annemann for their subtle but obvious
 from across the room if you know what to look for one-way back
designs, are now available everywhere in two-deck sets that the
US Playing Card Company calls  Bicycle Rummy Cards. Here s what
they look like:
I m sure that a few
magicians have looked at these
and thought  Wait a minute,
regular Bicycle cards don t
have those tiny extra indexes
in the opposite corners. The
cards are gonna be
suspicious.
The Black Book of Mentalism 25
Wrong. Look at the card case. What does it say? It says,
 RUMMY. That s what people will think of when they see the
cards. And they will assume you got them at the drugstore, just
like normal people do, because you like to play Rummy.
My Personal Utility Items
I am often asked what
gimmicks I carry around with me
as a matter of course. You can
see most of them in the photo to
the right. You probably
recognize most of them, but I
would like to touch on an
important element that most
mentalists miss when using
devices of this nature.
There are five items that
are missing from the photo. One
is a contact lens case in which
I carry my undernail writers,
and another is a 3x5 pad of
newsprint-type paper. The others
are a pen, a pencil, and my
Remote Viewing Wallet.
On the lower left is an impression device that I will
describe shortly. On the lower right is Mark Strivings SUV case,
which I firmly believe is the most versatile business card/peek
wallet on the market today. I own two of them and I will
probably get another two when I see Mark again. I don t even
want to THINK about losing one of them. (If you are interested,
you can get hold of Mark at MarkyApril@aol.com; the wallets go
for about forty bucks.)
26 Robert E Cassidy
At the top is a Himber wallet modified to look like a
checkbook. (It looks more like a checkbook than it every looked
like a wallet, that s for sure.) It s the same one I use in my
 Dream routine from Dreams and Devices.
So, what is the element of handling that is often
overlooked when using devices of this nature?
CONTEXT
That s it  context. It makes sense to take the pad of
paper and a pen or pencil from your pocket as an aid in
performing an impromptu mentalism demonstration. But if you have
a pad and a writing implement, what reason could you possible
have to use the business card case or the checkbook? (Forget
about the impression book for a minute  that only gets used
when I don t use the pad of paper.)
The answer, for me, is quite simple, if you have NOTHING
ELSE TO WRITE ON, then you can pat around your pockets to find
something, like a business card or a deposit slip from your
checkbook. If you are already using a pad of paper, though, the
other items can only be rung in naturally by creating the proper
context. In a restaurant or bar you would naturally take out the
checkbook to pay for your tab. (Unless you are me, of course, in
which case the bartender usually demands cash.) If you have an
off-the-cuff miracle that requires the use of a Himber wallet,
now is a good time to do it, if all other performing conditions
are right.
Similarly, when someone hands you his or her business card,
it is natural to give him or her one of yours, or to put his or
hers into an empty pocket in your case. This sets up a natural
context for using the case for an effect.
Whenever you use items of this nature, however, you must
keep in mind that your effect will look contrived, and hence
reek of trickery, if the card case or check book are handled as
if they are props that are specifically required for what is
obviously a set performance piece.
The most powerful impromptu mentalism is that which appears
almost spontaneous  like you just made it up as you were going
along.
The Black Book of Mentalism 27
I think you get my point. The main thing is to THINK about
why you are using these items before you start basing entire
routines around them for use in impromptu or casual settings.
The Black Book of Mentalism
I ll conclude THE BLACK BOOK OF MENTALISM with, what else,
a few words about my own  Black Book of Mentalism. I don t
intend this to be a complete set of instructions on how to make
one of these devices. Until I made the one in the picture, I had
no idea how to go about it. But it has always been a very
important point with me NEVER to use an item as a regular
performance piece unless it is easily available or something I
can make or repair by myself should an emergency arise. I made
mine from the same type of Moleskine Journal that I described in
Volume One of Theories and Methods for the Practical Psychic. It
looks like this when you open the front cover:
This particular journal was
made by Moleskine® in Modo, Italy
and, if you are interested in
getting one (or two, if you want
to try your hand at making the
impression book), it is obtainable
at finer bookstores and at
www.modoemodo.com. It is not,
however, necessary that this exact
notebook be used. Any well made
journal will probably serve just
as well.
It is the high quality of the journal that made it easy for
me to dissect with an eXacto knife. I used TWO identical
journals to construct the impression device.
It s hard to see from the picture, but the endpaper on the
inside front cover of the book is actually a pocket. When you
buy the journal the pocket is actually on the inside back cover,
but the gimmicked version has a pocket in the front AND in the
back. The extra pocket came from the extra copy of the journal.
28 Robert E Cassidy
It is this extra pocket on the inside front cover that
conceals access to the impression sheet. In the next photo, I
have folded it out of the way.
Look carefully at these two
pictures, and you will see where a
piece of paper can be slid into
the slot cut into the upper
portions of the concealed
endpaper. When I cut the slot, I
cut completely through the front
cover. I took apart the extra
journal and carefully peeled away
its very thin, yet strong,
moleskine cover and used it to
recover the outside front of the
book, thus concealing the slot.
A piece of carbon paper was
carefully pushed through the slot
and then down and under the double
front cover. (If you look at the
closed journal in the photograph on
page 25, you will see just how
natural the cover looks.)
A sheet of index card stock cut to size was the slid
through the slot- the end folded over slightly to prevent it
from sliding down between the covers and hard to remove.
The actual paper in the book, of course, is too thick to
use for an impression test. That is where I make use of the
pocket on the inside back cover. That contains about six or
eight 2-inch square pieces of newsprint, which can be used to
take impressions, as regular paper billets and for, use in a
standard center tear. The rest of the book is filled with the
remote viewing target descriptions I use in the original version
of my remote viewing dice effect. If you wish to make one of
these for yourself and would like to discuss the finer points of
the books construction, please feel free to contact me at
bobcassidy@mastermindreader.com and I will do my best to be of
assistance to you.
GOOD THOUGHTS TO YOU -
Bob Cassidy, Seattle Washington, April 2003


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