R.

BLACKMASS

Present

1
 INTRODUCTION

In that wonderful book by Eddie Fields, The Artful Dodges Of Eddie Fields, one finds
a statement by John North Hilliard that reads: "The greatest effects that have ever been achieved
They are not performed at all. The audience simply thinks they see them.

Almost all the effects you will find in this book fit within this statement. The trick in
reality begins before execution, and this allows you to completely surrender to what is
considered the central element of a mentalism effect: the presentation. And the presentation
plays a particular role in these effects, which are all centered around the theme of control or of
mental conditioning, a theme that has always fascinated people of all ranks and levels
cultural.

I wrote 'Five Effects of Pure Mentalism'. What I mean by this (I mean, let's be clear)
a mentalism that can be performed anywhere, in any circumstance, without the aid of gimmicks or
particular expedients, without any belongings to carry, but simply doing
reliance on what surrounds us and, above all, on oneself.

All effects are personal reinterpretations of ideas taken from the repertoire of great mentalists such as
Banachek, Anneman, Hoy, Fields, Maven and others. All have contributed, in part or in whole,
to the realization of what you are about to read. I won't go any further, and I hope you will stay.
satisfied.

Happy reading!

2
 ONE IN FOUR

The idea came after reading a Banachek effect.1The effect described in the book is briefly the
following: after writing the letters A, B, C, and D on a piece of paper or on a business card, the
The mentalist asks the spectator to draw a circle around one of these letters. Once done, the
the mentalist flips the piece of paper showing that he had previously written the letter that it
audience would have selected.

1) The principle is the one on which we tend

always choosing an element that is not placed at the
extremity. In this case, the letters A and D would be
avoid, while the preference would fall on B or C.
2) If the spectator had to choose one of
these last two letters, then the mentalist asks to
circle two more letters (first out) and the one left
without a circle could correspond to the prediction
on the back.
……………………………………………

3) If this opportunity does not materialize either, the

mentalist resorts to the second out: claims that he
the viewer had a completely free choice,
without forcing, and that will now move on to the experiment
truly and really. He pretends to write something behind.
the little ticket (since the prediction is already written) and offers

to the viewer to repeat the test, deleting the choices

previously. At this point, proceed as above,
exploiting the two possibilities that are offered to him.

1
ABCD Test in Psychological Subtleties

3
4) If even this second opportunity should fail, don't worry. Since it
the spectator does not know what the effect consists of, the mentalist 'catches up' (third out) an evaluation
psychological profile of the subject based on the letter that the subject himself did not circle. After all, it
it's a test!

The effect is beautiful because it does not consist in the usual magic choice. It is a completely different choice.

free and, obviously, the ending is much stronger. I just didn't like the idea of writing a single
letter (for example the B) behind the card: if the viewer circles the B, then it is a miracle; but
if it does not, leaving B as the only unchecked letter, the final revelation loses its effectiveness,
As one could easily deduce the ambiguity used. The letter B alone does not say anything.
Furthermore, if the experiment fails, the ploy of resorting to a psychological profile description
it is no longer acceptable since the viewer has seen that something has been written on the back of the ticket, and therefore

will be curious to know what it's about.

I have therefore thought of remedying these (in my opinion) "weak points" by introducing a few others.
in order to make the final revelation more "impactful".

The first is the one quite well known of the

negation that is concealed: in the case the viewer
immediately circle the letter B, then simply turn
the sheet being careful to cover with the thumb (or with
the index) the writing No; in this case leave the letter B as
the only unencircled letter, then just ask to the
spectator himself to turn the ticket and read the
prediction (since only now will we talk about Prediction, or if you prefer, about Mind Control).

This device allows me to actually show something I had predicted, without

give rise to any doubt. This until the choice, in one way or another, ends up on the
Letter B. If this does not happen, then I resort to this trick:

From the moment I take the ticket to pretend to write something (point 3, according to out),
I clearly state that I am "taking a note." I will proceed with the second opportunity.

4
that is offered to me and, if that also fails, I take the ticket back and I really write something on it:
I modify the word 'cerchierai' to 'cerchiata' (point 4, third out) and I add a few letters like
in the figure below. The viewer will not look at this action with suspicion, since it is already
conditioned by my desire to take some notes, and does not know anyway what it is about
it consists of the test I mentioned at the beginning.

I therefore proceed to create the psychological profile of the

spectator by showing him, quite casually, the notes taken behind the ticket, and
using them as a prerequisite for reading.

Note:

In the first part of the game, if the viewer

circle a letter that I did not predict, I ask him
to circle another one, then another and then again
one more, one at a time. If it runs out of circle one
letter that does not correspond to my prediction, then
I'll have him circle that too. This is for needs.
of 'completeness'; in fact, if I use the first out, and it
should the same situation occur again, that is to
leave as the only letter not encircled
the aforementioned, the viewer could intuit, after the revelation, the device used.
By instead circling all four letters at the beginning, the thing will not be noticed, because
it will only seem like a "test run".

Banachek states that if you ask the spectator to circle letters, one at a time,
moving with the body (or pointing with the hands while speaking) in the direction that corresponds
to the position of the letter, or the letters that you want to be circled, very likely it
the spectator will do what they are suggested at a non-verbal level. Therefore, the following is an excellent
effect to practice the technique of conditioning the will of the spectator at an unconscious level, and
to learn a little more from his reactions.

5
 QUINTUPLE DIMENSION
(renewed)

The effect that follows is very personal and I have never seen anyone do it. The principle on which it is based...

Basa is not new, but it is cleverly disguised in a way that can deceive even the shrewdest. The idea comes to me

I came across a trick from an old book on magic, a trick that – when I
executed - it has found pleasant consensus but also numerous criticisms: according to the viewers it appears
too mathematical. And indeed the effect is based precisely on a mathematical principle. The effect is that
to arrange five objects on the table, invite the viewer to mentally choose one, and while
the executor is turned away, change its position (the object) several times. Through a
particular exclusion process, only one object remains on the table which turns out to be that one
chosen.

One thing is the description of the effect, another is the execution: there are some very forced elements.
"explicit" which, in some respects, diminishes its effectiveness. However, it presents itself very well, it can
to be executed anywhere and, once in a while, tools are used that are not cards. Therefore, I have
I decided to make it more miraculous by slightly changing the procedure and adopting another one.
principle.

Presentation and execution:

The mentalist introduces the discourse of psychometry, which is the branch of parapsychology that
it affirms how an object absorbs the vibrations of the person wearing it, vibrations
who can then be perceived and recognized by the psychic. Thus, call a person to
assist it and borrows five objects from the public (which we assume to be a lighter, a
ring, a tie clip, a coin and a pen). Pile the five objects on the table, turn around.
making sure not to look, and asks the viewer to think of one:

6
I ask you to think of one of these objects. Take it and hold it tightly in your hands. I can't
Absolutely need to know which object you chose since I'm facing away and I'm far from you.
from the table. Now I want you to think intensely about that object, so as to transfer part
of your energy in it. Imagine its shape, its color... imagine the use you could make of it.
fare, or your personal memories related to that object. Try to visualize carefully the
images, try to perceive the emotions that may be related to the memory of the object, even
they are memories from the past and years old. Now place your object on the table and mix it together
to the others so that I cannot reconstruct their original position. Done?

The mentalist turns to the audience and arranges the objects on the table in a line, one next to the other.
He then begins to pass his hand over them, without touching them:

I am running my hand over these objects, trying to perceive the energy that one of them has.
accumulated. Please focus intensely. I feel that it is an object that not everyone
they carry around, because not everyone has your needs... it can be useful in many contexts, but in the
this in particular is essential, because without it you wouldn't be able to light your precious ones
cigars... yes, you chose the lighter!

The audience confirms and you receive the deserved applause.

It is definitely an interesting effect. The trick is actually very simple, and consists of
effectively in sensing the energy that the viewer has left on the object. In this case
let's talk about thermal energy! You will only have to try to leave the object in the hands of the
audience for as long as possible, so that the object itself 'warms up'. Under the pretext
so - unspoken - to arrange the objects in a row, it will be extremely easy to 'feel' the one more
warm compared to the others. The rest, as you will have understood, is pure presentation.

Important points.

I believe it is a very strong effect that, if well presented, can become a reputation maker.
However, it is necessary to emphasize some points in order to understand why it works.

7
 First of all, the objects are PILED on the table and NOT arranged in order. This
because, subsequently, you need to have the opportunity to 'feel' them by lining them up. The next
the act of passing your hand over them provides you with an excuse to do so, and it will not be looked at with

suspicion. The act of lining up objects must not be justified in any way: it is justified
of itself. If you were to try to say something at this moment, the viewer would be led to ask you
Attention, this would represent a break in the principle of uniformity. Furthermore, you can remain
don't worry that the spectator, after mixing the objects, will leave them in disarray on the table, because
this is how he saw them at the beginning of the experiment.

Before revealing the intended object, allow some time to pass, so that even the most attentive viewer...
sharp cannot reconstruct your actions. I can assure you that if you meet the right timings, it
the spectator will not remember at all that you touched the objects. This is a subtlety for us magicians:
I noticed that in the eyes of an outsider, it makes no difference whether you touch them, even in a more or ...
less flashy.

One last tip: have them give you objects that are good conductors. Rings, coins, and clips.
Ties are the best, but lighters and pens are also fine, even if they are plastic. Avoid
cards, cigarettes or other items that do not retain heat.

Good luck!

8
 MUSCLE READING

Here is a deadly effect that will leave your audience stunned. I don't know whose version it is.
original, it is probably much older than one might think. The following is mine, streamlined.
a little here and a little there, to achieve a more direct effect. In reality, I simply limited myself to
remove some questions - in my opinion - 'too many'.

Effect:

Choose two spectators, whom we will call A and B, and explain that: "There are typically two types of
"There are two types of people in this world: those who always tell the truth and those who always lie."

Then turning to the two spectators, you continue: 'I want each of you to decide, mentally,'
What type of person does he/she want to be, that is, whether he/she wants to be someone who always tells the truth or someone who lies.

always.

As soon as the viewers have informed you that they have decided their role, borrow a ring and
put it in front of the two spectators saying: "While I will be turned around, I wish for one of you to take
"the ring and put it in his pocket, completely hiding it from my view." Hand over the ring.
and turn your back, returning to the audience only when they have confirmed that they have
hidden the ring.

One of you has a ring in your pocket, and everyone has decided which role to play in this little
demonstration of muscle reading; however, for the experiment to work, it is necessary that everyone
of you knows exactly what role THE OTHER has decided to play. I will turn around again and
each of you will communicate to the other whether you have decided to be honest or a liar.

Let the viewers exchange information and turn back to them. 'Good,
To sum up: one of you has the ring in their pocket, and I have no way of knowing who it is.
Moreover, both of you have freely decided to play a role, and in this case as well, I do not
way of knowing anything. There are numerous choices you may have made. You, madam,
He could have chosen to tell the truth and you, sir, to lie. Or vice versa. Or both.

9
You may have decided to tell the truth or to lie. There is no way for me to know who is with me.
telling the truth and who isn't: only your body, your eyes, and your tone of voice tell me
they will be able to help.

Now turn towards the first person, look at them closely and say: "Madam, remember: if you have
decided to tell the truth, be honest, if he decided to lie, say a lie and answer: are you perhaps
"playing the same role?" Listen to the response and then address the second spectator:
“Did she take the ring?”. Listen to the answer and then affirm: “Good, I know which one of you two has it.”

the ring. You see, the gentleman slightly moved his finger when I asked him the question, and
this betrayed him, because he was lying to me. Moreover, the lady unconsciously pointed me out.
with the eyes of the one who had the ring. Sir, may I have the ring that you have hidden on yourself?" The sir
he will give you back the ring and you will receive your applause.

Execution:

The effect is extraordinary and can be performed on any occasion. But how do you arrive at the solution?
Read carefully.

Following the presentation, you are at the point where one of the spectators has the ring in their pocket, all and
two have chosen whether to be sincere or deceitful and, ABOVE ALL, everyone knows exactly the other one that

what it has decided to be.

Therefore, the crucial question is the first: "Are you both perhaps playing the same role?" If
the first spectator answers YES, it means that the other is telling the truth, if instead they say NO, it means
that the other tells lies. Let's see better how it works:

Look at the illustration on the following page. Suppose that A has the ring (the asterisk
represents someone with the ring) and who tells a lie ( ), while B tells the truth (☺at first glance
question directed at A 'Are you both possibly playing the same role?', A will have to lie
answering YES, which tells us that B is sincere and therefore, when asked the second question 'Does he...
"Did she take the ring?" If she replies NO, we will know that she does not have the ring.

10
In the second case, we have that both decide to lie: even in this case, at the first
question A will be forced to answer NO, which tells us that B is a liar and that his YES to
the second question means that he does not have the ring.

In the third case, A decides to be honest, B deceitful: A will answer NO to the first question.
, which tells us that B is lying, and therefore to the question of whether he has the ring he will answer
YES. A B☺

In the last case, both spectators decide to be honest: YES NO

thus A will answer YES to the first question, which means that B is A B
sincere and to the question "Do you have the ring?" will answer NO,

confirming that A has the ring. NO YES

A☺ B
As one can easily guess, it does not matter who possesses the ring.
Whether A or B, the possible solutions are always the same. Just substitute.NO YES
in table A with B to verify this. Once known the A☺ B☺
the answer to the first question is that the effect is practically over.

YES NO
Do you have the ring?
in this case, however, pay attention to remember her answer, which will take on meaning when the second
the spectator would have answered the question 'are you playing the same role?'.

NOTE

Present the effect as a demonstration of muscle reading. It has a tremendous impact.

Obviously, once you know who has the ring, you can play a little longer, doing other
questions, just to divert some genius of binary systems, or just to prolong the broth. In short,
You must be able to do it, because it's a blast!

11
 DOUBLE PREDICTION

One of the most astonishing mentalism tricks is a predicted card. Since it couldn't be missed
a card effect, here is one in which two cards are correctly predicted.

This is also an effect that can be presented as a demonstration of mind control. One
the spectator hides a previously shuffled deck of cards behind their back or under the table,
Turn one card face up at any point in the deck and bring the deck back into full view.
He fans the deck and draws the two cards that are on either side of the card he turned over. These
they correspond to a prediction previously placed in the hands of a spectator.

Preparation: Turn over the second and fourth card from the top of the deck. Now write on a
a piece of paper the name of the third and fifth card from the face of the deck itself. These are the
your two predictions (in the photo the 3 of Spades and the 8 of Diamonds). Deliver the note to someone
spectator and place the deck in the case.

12
Method: 1) By dropping the conversation on mind control techniques, propose to
try an experiment of this nature. Explain that you have already made a prediction. Show the
Fold the sheet and give it to someone.

Take out the deck of cards and shuffle it, keeping the position of the last cards.
Give the deck face down to a spectator and tell them to place it behind their back or under the
table.

3) With the deck hidden like this, instruct him to remove the last card and place it anywhere
deck point (justify the action by saying that you will do a test to verify that the spectator
he can perform these actions with the hidden deck). Then tell him to pick another card again.
from the bottom, turn it face up and insert it into another spot in the deck. Now tell them to cut.
the deck a couple of times. Take the cards back and recap what has been done: "You turned a
letter inside the deck and you placed it anywhere. Isn't it true?" He will answer yes.

4) Spread (or have spread) the cards face down in a row on the table and point out the card.
upside down. Remove it from the ribbon along with the other two cards that are next to it.

5) Address the spectator holding the prediction and say: "Would you kindly read my
forecast?" As soon as you have read it, ask him to turn the two cards face down. These
will be correct!

The effect can be performed on the fly, with a borrowed deck. If you want to add a
touch of "micromagic" to this mental effect, make sure that the third and fifth card have the
backs of different color. In our case, the spectator will insert their card right in the middle of the
unfold two red cards. In this case, there is not even a need for the written prediction, since
The effect explains itself. If you want, with a double cut you can bring the last card to the top after the
mix (point 2). This way you will eliminate the 'test' part. Just be careful that the
The spectator does not turn the deck noticing the card reversed at the bottom.

Don't be deceived by the simplicity of the execution. Remember that in a performance of this
In mentalism, the most effective and direct effects are the simplest ones. The audience must not...
suspect any manipulation. Only in this way will you completely mislead him. Present it to him.
well - maybe as a demonstration of mind control - and look at the reaction!

13
 SUPER BOOK TEST

The following effect is a reworking of an idea by David Hoy2, and I believe it is one of the most book tests
effectiveness never conceived. It can be performed anywhere, with anyone and, above all, with books taken from.
loan.

The effect is the classic book test: the spectator chooses a page from a book, reads a word.
while you are turned away and, after a moment of concentration, you reveal it to them.

Execution:

1) Take two books, choose a page (let's say page 126) and memorize the first word of the
first line on page 126 of both books. Try to find a page whose word of the first
rigo is a complete word with meaning (this must apply to both books).
Then ask the spectator to choose one of the two books. There is no pressure: just ask him
to choose the book that he will keep for himself and the one that he will give to you.

2) So start flipping through the pages of YOUR book, asking the viewer to tell you
stop whenever you want. Try to ensure that the stop occurs near page 126.
When you hear stop, stop, ask the viewer if they want you to scroll through other pages or if
he really wants to stop at that point. Whatever the answer is, go check the number of the
page e, whatever it is, read aloud 'page 126'. This is the simple yet brilliant
trick. Technically it is called miscalling, and it is absolutely unsuspected if done with
naturalness and without hesitation, especially since the spectator does not yet know what you are about to do.

3) Turn around, then ask the spectator to go to page 126 of HIS book and to
read INSIDE ONESELF the first word of the first line (the word you already know).

2
"Bold Book Test" in The Bold And Subtle Miracles of Dr Faust

14
4) While you are turned away and the viewer is engaged in the search, go actually to
page 126 of your book and, as you turn back towards the viewer after he has done everything,
place the book face down on an open table right on page 126.

At this point, you can let your imagination run wild in guessing the viewer's thoughts.

Important points:

At point 3, do not forget to remind the viewer to read the word within themselves. In fact,
since the spectator does not know what is about to happen, there is a risk that they will pronounce the word 'to'
out loud, in which case the effect would be completely lost!

Point 4 is not essential, however, it is useful in the unlikely event that the viewer might want to
check your page. Its review would dispel any doubts.

I usually perform this effect with books that are not mine. When I go to a friend's house, or I am
When invited to dinner or a party at someone else's home, I never miss a chance to take a look at the bookshelf.
I take a few books and leaf through them casually. These are the occasions when I prepare the effect and
in which the effect itself is more effective. Simply, open a couple of books to the same page
and memorize the respective words. If you cannot find two whole words, memorize the last one.
word of the last line of the previous page, or the first meaningful word in the first one
Rigo and, during the effect, clearly tell the spectator how they should behave. I
I recommend, do not execute the effect right after peeking at the books; wait a while.
Take your time, maybe doing other things, then state that you need two books and take them.
directly from the library. No one will remember that you had looked at them before. I assure you that
The effect will remain in the minds of the viewers for quite some time.

15
page 16

INTRODUCTION............................................................. p. 2

ONE IN FOUR…………………………………………………………………………page 3

QUINTUPLE DIMENSION...............................................................page 6

MUSCLE READING……………………………………………………………………page 9

DOUBLE PREDICTION..........................................................page 12

SUPER BOOK TEST…………………………………………………………………………page 14

16