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
or by visiting Ryman’s here in the UK. This would work just as w with larger
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
p is selected at the beginning of the routine.

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 xon envelope.
axon
x e Luke
ru
has some incredibly important details, thoughts and constructionuc 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
Annemann received from a reader. Upon reading this is came cam up with
workable solution that allows the performer to know when en a spectator is
nd complete
telling the truth or lying, whilst using a shuffled and co 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