JAS JAKUTSCH - COMPLETELY MENTAL - VOL. 1 YAS JAKUTSGCH "COMPLETELY MENTAL” VOL. 1 “THREE 4 ONE” CREATED, WRITTEN, ILLUSTRATED, AND LAYED-OUT BY JAS JAKUTSCH CONTENTS INTRODUCTION «. 3 THE JAJA CENTER TEAR ow. s NOTES ON THE JAJA CT 9 THE ATAW (ANYTIME ANYWHERE) TRIPLE TEST WwW “PUMPING” AND THE PROGRESSIVE ANAGRAM 14 “WHAT'S MY SIBN".. 16 THE RT (REAL-TIME) IMPRESSION DEVICE. 18 UaJa QUADRUPLE TEST. 21 “FOR THE VISUALLY IMPAIRED” «. 24 Bonus Errect : 1.0.U - aka “THE SERPENT". 2s COPYRIGHT 1999 By JAS JAKUTSCH ALL RIGHTS RESERVED including performance rights for television, video tape, lectures, and first person performance rights over conflicting acts. (Except by Express Permission from the Author)WAS JAKUTSCH - COMPLETELY MENTAL - VOL. 1 Please address any corespondence to: Jas Jakutsch 2280 Ave. Regent Montréal, Québec H4A 2R1 CANADA © |a GS SS SRS RSE SS i YAS JAKUTSCH - COMPLETELY MENTAL - VOL. 1 INTRODUCTION 4 My passion in life is performing and creating. What happens with the wealth of material that I've created, performed for some time; and then discarded? The material | use only on occasions? The material which doesn't fit into my current repertoire (too much material, t00 little time)? ! I've decided to publish some of this material now, in this “COMPLETELY MENTAL" series, to keep a tradition of knowledge sharing going on. “Billet work’, in my opinion, is the basis of alist, classical mentalism. What better way to start off this “Completely Mental” series than with a sampling of some of the work I've done in this neoclassical direction? Magicians and some mentalists seem to spend a great deal of money on all kinds of new gadgets, like “peek wallets’, ‘impression devices’, and electronic devices. that are far from 100% reliable. In most cases, these devices deliver the performer only a single piece of information. “Three 4 One” contains material which allows you to get “three and four effects for the price of one” (move). Now that’s value. “Composition” is everything. If | have one strength, | believe its my ability to create logical handlings, routines and techniques - because | have a good understanding of how people think and perceive. \ hope you find the material here stimulating, and practical. Jas Jakutsch Montréal, 1998WAS JAKUTSCH - COMPLETELY MENTAL - VOL.1 JAJA CENTER TEAR 4 Ananytime, anywhere Center Tear Method that can be done with (practically) any business card. Its quick (three tears and you're into the peek), and.the. ‘spectator is left with all the tom pieces at the end. If you've read all the previous Center Tear. methods, you'll realize that this is by far the simplest, most logical, and perhaps, the best handling for the no- steal Center Tear to date. Everyone I've shown it to, has wholeheartedly agreed. A spectator is asked to think of, for example, a childhood friend You pass them one of your business card (with a long oval drawn along the length of the center) and casually direct them to write the name inside the circle: “Actuallly, could you write that down... | find that when people write things down, the idea is fixed more strongly in their mind..." Fig. 1 Tum your head aside as they write. When they're finished, ask them to fold the card in half so the writing is on the inside (demonstratively gesture as if closing a book and they will fold it in the easiest way). Ask them to fold it in half again the other way. Casually take the card back from the spectator. You will now perform the first three tears of the Center Tear, with your head turned welll away from your hands, as you deliver the following line: Fig. 2 “Actually, we won't be needing this any more. Retrieve the card from the spectator, with your righthand, turing 7 it to the positioned shown in Fig. 1, Hold the card loosely, and 1S it will naturally spring open a little. As you bring your hands together with the card slightly open, bend the rear, upper left corner inwards (Fig. 2). The work of a split second (Fig. 3 - the results) Fig.3JAS _JAKUTSCH - COMPLETELY MENTAL - VOL.1 In the first tear, you tear off the right (non-center) end of the card (Fig.4): Get the tear started , and then separate your hands a bit, sliding the very tip of your left thumb to the upper left comer of the card (Figure 5). Because of the bent comer, you'll actually end up holding only the front fold of the card, the rear flap (bent comer) is held momentarily in place with just your thumbnail. Fig. 5 Fig. 6 Fig. 7 THE FIRST TEAR: Fig. 4 ae) £9JAS JAKUTSCH - COMPLETELY MENTAL = VoLs1 Finish the tear with a forward movement of your right hand, backward movement with your left hand. During this action, you release your thumbnail grip on rear flap and the card will Pop open (Fig. 6). As you bring your hands together again, give the left-hafid, in-the- process-of-opening card a 90° rotation (Fig. 7) and open it against your right thumb tip. Slip it under your right thumb, behind the right-hand piece. Fig. 8 Fig. 9 The Second Tear: With your left hand, tear off the very left edge of the center section (Fig. 8), and place it in front of the other pieces. The Third Tear: With your right hand, tear off the very right edge of the center section (Fig. 9) and place the pieces in front of the others. Cc This will leave the half-folded center section facing you Display the tom pieces as in Fig. 10, as you tum back towards the spectator for the first time: ".... It was just an exercise to get the name fixed clearly in your mind..." Fig.10 From the position shown in Fig. 10, you begin to bring your hands together again, and “buckle” the center open with an opposing movement of your right thumb and index finger (Fig. 11). Insert the tip of your left thumb into the opening formed by the buckling action (Fig. 12). By releasing pressure from the ball of your right thumb, the center will apen downwards completely (Fig. 13 - audience view, Fig. 14 - exposed view - note the position of the tip of the right thumb). pC) BUNS RRBRRRESER RRR KAD BD GSESGt JAS JAKUTSCH - COMPLETELY MENTAL - VOL.1 ee Fig.11 Fig.12 You secretly glimpse at the open center using what I've dubbed, "The Archer Technique": In this particular instance, you ask the spectator to hold out their hand. At this very moment, you gesture, bringing your hands directly between your eyes and her hand. You're apparently gesturing and glancing at her hand - in reality you read what's on the open center section of the billet. Try it! If you don't get everything on the first glimpse, gesture to her other hand as well (repeating "The Archer Technique"): ”...Actually, both of your hands..." Pe Fig. 13, Fig. 14 ‘Additional approaches for the "Archer Technique” would be to gesture towards an ashtray that's on the table, asking them to slide it over; orto an envelope that’s on the table, asking them to pick it up and open it. Having gotten your glimpse: Remember the position of your right thumb in Fig. 14. Close the open center and immediately tear it in half (Fig. 15). | ike to put the right hand piece behind the left and give the center section one more tear as I'm placing the pieces into the spectators hand. This assures everything is quite well shredded, should they care to look later.BEERBEBSEBESHE KR KKB BKB RBS JAS JAKUTSCH - COMPLETELY MENTAL - Vo sz semcconemsnors ims E ; Go on and give them a spectacular Cold Reading before eventually. feeding back the information. Fig. 15 Notes: ¢ This is a very simple Center ‘Tear'te¢hnique to leam : ve shown this around to ‘several people, all of whom had tried, unsuccessfully, to leat other Center Tear techniques: (for example the Osterlind, or Al Baker techniques). Everyone I've shown this technique to leamed it very easily and praised its “logic”: * The technique is designed so you can easily do it “by feel", without ever looking at your hands.(Example: The "bent comer pop’, the front pieces acting as a guide for the 2nd and 3rd tears.) + Please note that the spectator is asked to write along the length of the card. Once done - it is impossible to get the writing upside down - it will always be vertical (see Fig 1), facing one way or the other, when you pop open the center. You can always read it this way. * The Center Tear handling | developed prior to this one was very good as well, but people | tried to teach it to had a very difficult time with it, because on the second tear you had to tear through eight layers of card at once. They didn’t want to invest the time strengthening their fingers. This version simplifies matters considerably. After the first tear (four layers of card or paper) the next tears are all through two layers only. 4 The technique is also designed for speed, and nonchalance. You do your first opening of the center on the very first tear. During the next two tears, you just rip, rip. From a performance/logic standpoint, this was a very important consideration for me! +. [mentioned that you can do this with practically any business card, or piece of paper. Clarifications: 1 - The technique is designed to be done with a rectangular business card or piece of paper. 2 - Make sure the card or paper isn't highly textured, rough or ridged. This will make the buckle (Fig. 11) virtually impossible. 3 - Otherwise, offer up your own business cards for use. ¢ By minimizing the size of the pieces that you tear off (the end on the First tear, and the edges on the second and third), you can greatly increase to size of the center that you'll have at the end (enough to cop a drawing, for example). Experiment with the dimensions of the tears.