TAROT

PSYCHOMETRY

Created & Written By

Luke Jermay


Edited by

Tara Whittaker

WWW.JERMAY.COM

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TAROT PSYCHOMETRY - LUKE JERMAY 


Copyright 2019 (C) Luke Jermay, All Rights Reserved.

All legal owners in possession of an original copy of this manuscript have the right
to perform these effects, presentations and methods in all performance settings. They
are not permitted to teach, sell, resell, lecture, manufacture, translate or otherwise
use the contents.

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 INTRODUCTION

The routine you are about to learn is disarmingly simple to

perform. In fact, the method is one so easy to operate that, at
first glance, it might seem unsophisticated. I believe it is the
exact opposite. I strongly urge you to try the routine in a real
world performance before making such an assessment. I can
honestly say that when I first created this routine I was unsure
as to its deceptiveness. After only one performance all of my
doubt was erased. I believe one performance will do the very
same for you. The impact this simple, self contained
performance piece carries with it far outweighs the method. I
believe this is partly due to modern audiences’ fascination with
the theme of the Tarot and the inbuilt sense of authenticity the
cards carry with them. Secondly, I believe this is down to the
freedom and theatrical space the simple method allows.
Over the years I have firmly concluded that the ultimate
goal of all method should be theatrical freedom. While that
might sound strange, I can be one hundred percent certain that
every performance I have presented that has been powerful,
compelling and worthwhile has been the result of a feeling of
freedom while onstage.

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 Equally, every time I have fallen short of the mark in
these worthy goals it has been the direct result of the absence
of this feeling.
Often in performance we are not truly free to deliver the
material with the conviction and power it deserves. Personally,
I believe this is due to deceptive methods demanding my
subconscious attention and preventing me from being present
and responsive to the performance as it unfolds.
I am sure you can think back into your own
performances to a routine that felt uneasy as it was delivered to
the audience? It might well have been successful, in as much
as the method deceived the audience, but, for some reason, as a
performer you still felt unease sensing it wasn’t all it could
have been. I would venture, assuming it was not simply under
rehearsed or a technical issue due to lack of practice, this was
probably a trick that required a complex method. The method
itself might well have pulled you out of the present moment of
performance, making the very difficult act of connecting with
an audience impossible.
Contrast those experiences with a time in which the
method was easy and intuitive. I believe that feeling of truly
being able to perform and present the routine with a focus on
conviction and connecting with the audience is a by-product of
breaking free from the demands of deceptive methods. Every
time I free myself of complex and challenging methods I sense
a great feeling of freedom and every time I sense this feeling

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my performances are more compelling, more powerful and
more connected with the audience.
I value this feeling very highly; with the feeling of
freedom onstage I am allowing myself space to fill with my
own delivery of the material. Freedom gives birth to the space
which can then be filled with drama, impact and connection. If
the space is not left open to be filled, if instead it is occupied
by the concerns and attentions of method, the ultimate goal of
performance; connection, seems to be beyond my reach.
This routine offers great freedom and leaves large space
to be filled with powerful performance. Most importantly the
space and freedom it allows gives you the chance to enjoy the
experience of performance. I believe this to be a truly
sophisticated approach to modern mentalism. I hope you enjoy
the freedom this simple performance piece will give to you and
I sincerely hope you enjoy connecting with your audiences.

Luke Jermay
2019

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 THE AUDIENCE EXPERIENCE

The performer removes the 22 cards of the Major Arcana and

spreads them displaying the colourful images to the audience.
He casually mixes them as he begins:
“The Tarot, a mysterious pack of fortune telling cards,
twenty two images each with their own detailed and specific
meaning. No one really knows where they come from. Some
say they were born beneath an ancient Egyptian sun to a
Pharaoh who used their power to control her people. Others
suggest the cards were created by a secretive group of
philosophers who chose to hide the very secrets of the universe
in the symbols inside the pictures. It has even been said they
were painted by the devils own hands. I can not tell you where
they come from but I can tell you where they will take us…”
The performer walks into the audience and begins
distributing groups of the cards to five audience members at
their seats as he continues:
“In modern tarot reading it is thought that the cards are
a reflection of the person who looks into them. They are a
mirror. Even if you do not know the meanings of the cards
themselves something in the images will connect with you on a

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deeper, subconscious level, something that connects with your
life in a meaningful way. Like a moth drawn to a flame…”
Returning to the stage the performer continues
addressing those spectators with cards:
“Allow yourself to be drawn to one of the images you
hold. Remove it from the others and look at the image and its
title, written at the bottom of the card. Remember the title and
allow the image to settle in your mind and then take the card
and hold it flat between your hands and imagine for a moment
that you can somehow form a connection with it. Even if you
do not believe in these types of things enter into this experience
with a spirit of open-mindedness and adventure. Hold the card
between your hands and connect further with it for the next five
seconds.”
The performer counts down from five to one. When the
countdown has finished he continues, addressing one of the
standing spectators:
“I need your help! I would like you to walk to each of
the people standing and collect the card they have chosen.
Once you have them all, mix them up and bring them to the
stage.”
The spectator does as requested. When they have
returned to the stage with the mixed cards the remaining
unused cards are passed forward and gathered. The performer
then comments to the onstage spectator:
“I appreciate your help. I understand you did not know
you would become an unpaid co-star in this evening’s
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performance. However, they say voluntary work is good for the
soul and all of this applause is good for your ego! Please
return to your seat with my thanks!”
The performer leads in a round of applause and takes
the gathered, mixed selections from the spectator who makes
their way back to their seat. The performer drops the entire
packet of cards onto a nearby table handling them very fairly.
He removes the first card from the pile and looks at it before he
continues:
“The first card, a choice made by one of the people
standing, is the Magician!”
The performer displays the card to the audience and
continues:
“A card of deep creativity. A card that reminds us that
almost anything is achievable if we put our minds to it. The
magicians carries with him a secret. A magic word. Everyone,
repeat after me: Abracadabra!”
The entire audience repeat the word Abracadabra. The
performer smiles and continues:
“It sounds so nice, that word has a really interesting
history. If you look back to its origin it actually means ‘I
create as I speak’ literally by saying something out loud that
very thing is manifest in the world around you, let there be light
and there is light! However, the magician’s secret is that it is
not really about the words we say aloud, it’s really about the
words we think inside our heads. The person who picked this
card would have some desire, some need deep in their
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subconscious mind, a need they might not have even recognised
yet but will soon, to make a mark on the world around them
using their natural creativity. A creativity that has been left
unused for some time. I can sense this person will soon turn to
their creativity to solve problems in their professional life and
when these creative solutions present themselves their
professional life will begin to take on a brand new form and
shape bringing a sense of fulfilment that isn’t there presently.”
The performer pauses, holding the magician card in his
hand high in the air. He extends his other hand and positions it
as if shaking someone’s hand, after a moment he continues,
addressing all five of the participating spectators:
“My job right now is simple: to match the energy I feel
contained within this card to one of you. To the person who
was drawn to it. Please, each of you hold your hand out in
front of you as if we were shaking hands.”
The five audience members do as requested, holding
their hands out in a position as if they were shaking someone’s
hand. The performer continues:
“When I say ‘go’ I want you to do exactly that; to
imagine you are shaking my hand right here, right now.”
The performer says ‘go’ and closes his eyes. He mimes
shaking someone’s hand. After a moment he opens his eyes
and continues, pointing directly at one of the standing
spectators:
“I can sense a connection here with you! I can sense a
brand new horizon unfolding in your professional life! Yes or
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no: are you the person I am looking for? Did you find yourself
drawn to the Magician!”
The spectator confirms and the performer smiles and
thanks them. He has them sit down and continues, picking up
the next card from the pile and holding it high in the air for all
to see.
“The Chariot, a card that’s all about forward motion!
A card that reminds us to move in line with the universe rather
than fight against it, a card with a strong energy of someone
who will soon find themselves taking a giant leap into a new
positive direction!”
The performer pauses and holds the card between his
hands. He continues:
“A card with the energy of a man. A Scorpio man, born
toward the end of the month; born on the 20th day of the
month! You!”
The performer points directly at one of the spectators
and sure enough he confirms the Chariot was indeed his choice
and he is a Scorpio born on the 20th day of the month. The
performer then picks up the next two cards from the pile and
displays them to the audience commenting:
“The Fool and The Lovers. The Fool; a card of new
beginnings. The Lovers; a card of self discovery!”
The performer holds one card in each hand and pauses.
He then looks into the audience and continues:
“The Lovers, I am certain, carries with it your energy!
This is your choice correct?”
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 The spectator confirms the performer is correct. He
then continues:
“However, I am unsure about the Fool, I need to check
the energy I am working with,”
The performer leaves the stage and walks to the two
remaining standing spectators. He has each of them take his
hand for a moment before he returns to the stage. He then,
once again, holds the card between his hands and after a
moment points to one of the spectators commenting:
“Now I know! This is your energy! You picked the
Fool! I wish you well on your new journey!”
The performer glances at the remaining face down card
and then to the final standing audience member. He smiles and
comments:
“It doesn’t take much to confidently state that this last
one must be yours! So, I want to try this in reverse. You see, if
the Tarot really is a mirror, if by looking at the cards you can
deduce the types of people who might be drawn to them, then,
in theory, you should be able to look at a person and deduce
what kind of card they would be drawn to.”
The performer focuses his attention on the final
spectator. He looks intensely at the spectator for what feels like
a little too long until he breaks his silence and continues:
“Please take a moment to really focus your mind on
the image you found yourself drawn to,”
The performer closes his eyes and after a moment
continues:
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 “I see a human being interacting with an animal,
however, this is unusual; the human at first glance appears to
be fighting a lion! But this isn’t the case! Instead, in my
imagination, I can see that this human is helping this lion! The
human is removing something from the lion’s mouth! The
human has tamed the wild animal, not with force but with
kindness! This is the lesson the cards have for you! Do not
force things, instead allow yourself to be guided by kindness!
You are focusing on the card Strength! Correct?”
The spectator confirms the performer is correct and the
performer displays the final card to the audience bringing the
demonstration to a successful and satisfying conclusion.

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 OBSERVATIONS

Now you have read the full experience of the audience I am

sure you are already imagining various solutions and methods.
I hope what will follow will surprise you. I suspect after
reading the description of the effect you imagined that the
cards were marked. They are not. I hope this is, by itself,
enough to fulfil the promise of surprise. However, just to be
sure, I will also mention that the method at use was inspired by
listening to Michael Weber talk about a kitchen cooker.
Surprised? If you are not be sure take a moment to check your
facial expression in a mirror. I hope you found your eyebrows
raised and your eyes widened.
Michael Weber is an astonishing magician with a
natural ability to create devious and intuitive method that, in
my opinion, is unrivalled. I was fortunate to accompany
Michael during a lecture tour he presented several years ago in
the U.K. In this lecture Michael referenced a book called ‘The
Design of Everyday Things’ written by Don Norman. I was
impressed with the manner in which Michael had translated the
concepts of this book into his magical methods. I was also
intrigued by the book itself. I highly recommend you read it. I
am certain it is thanks to Michael bringing this book to my

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attention and showcasing his translating of the core ideas from
the book that the method that follows presented itself to my
mind.
Marking the cards seems, at first, to be the logical and
most straightforward method to employ. However, the truth is,
in performance in a stand up setting marked cards can be more
challenging that we often admit. I certainly have found myself
straining to confidently read a mark as the lights hit my eyes.
Equally, marking cards ordinarily requires the performer to
look at and in extreme circumstances seemingly study the back
of the card to read the secret mark thereon. In the context of
this routine studying the back of the card is illogical. It could
be possible to hold the card facing outward to the audience and
in a glance read a secret mark on the back but I feared that the
glance might end up becoming a dead eyed stare, something
that is illogical and impossible to justify with an open action
that is accepted and understood as fair by the audience.
It soon occurred to me that while studying the back of
the card would be illogical, looking at the face of the card was
totally logical. This is indeed the open action that the audience
would accept as fair and justified as it is the action that is
needed in order to do what is claimed. Literally the claim of
returning the cards to the right people begins with first looking
at the card’s identity to provide a short reading based on it.
With this in mind I decided that rather than marking the cards
on the back, marking them on the face would be preferable.

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This meant that on an off night, I could justify looking at the
mark over and over to double check if needed.
Just as as I settled on this idea I remembered Michael
Weber talking about kitchen hobs and ‘The Design of Everyday
Things’ I then realised that there was no need at all to mark the
cards. Surprise!

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 THE METHOD

This routine is very simple to perform. It utilises a few

separate techniques which, in culmination, are larger than the
sum of their parts. Some of these techniques are optional,
however, I do use all of them in my own performances. Feel
free to use as many or few of the optional techniques as you
wish.
I will present each of these separate elements in
isolation and then finally offer a simple, chronological
overview of the performance of the effect.
I hope that by presenting each element in play in this
way I might be able to share some ideas, thoughts and
observations that have larger implications and potential use in
your own work outside of the routine this manuscripts focuses
on.
Equally, consider these separate techniques modular in
their nature. The core demonstration operates with two simple
techniques. Aside from these it is possible to add and subtract
the other elements as you choose to create the kind of
performance that will provide you with the sense of freedom I
sincerely hope you experience when performing.

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 THE MAJOR ARCANA CARDS

To perform Tarot Psychometry you need nothing more

than a standard, unprepared Major Arcana. The Majors will
need both the title of the card, typically appearing at the bottom
of the card, as well as its roman numeral, typically appearing at
the top of the card. Almost all Tarot decks feature both the title
and the roman numeral on the Major Arcana. I personally
make use of a Tarot of Marseille design produced by Jean-
Claude Flornoy. However, this is nothing more than personal
preference and you are welcome to use whatever design
appeals to you and your style.

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 THE STACK & MARKING SYSTEM

The major mode of deception is that which allows you

to know instantly which card belongs to which spectator. At
this point we have already discussed the use of secret marks.
The truth is that the marks we will use are not secret in
the traditional sense. Instead the cards themselves will be
ordered into a secret hidden system that allows the performer to
create 5 distinct ‘sets’ of cards. Each card from each set will
instantly be recognised by the performer as either coming from
set 1, 2, 3, 4, or 5 at a glance with no memorisation of the stack
whatsoever.
The system is based on the roman numerals which
appear on each of the Major Arcana cards. These numerals
will become indicators of the group the card is drawn from.
It is an intuitive system and one that is really pleasing
to use. To create the stacked deck take the Major cards and
look at their Roman numeral. Pay attention only to the I ’s in
each roman numeral. For example, The Magician is numbered
I. This card will be placed onto the table in group ‘1’. Now
imagine the next card you saw was The World, this card is
number XXI; by only focusing on the ‘I’ in the total numeral
this card also belongs to group ‘1.’

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 If we were to look at The Hermit which shows the
numeral VIIII we would ignore the V at the start and only look
at the ‘I’s that follow. We see 4 of them. This card belongs to
group 4. Whenever a cards numeral finishes not with an I but
either an X or V simply place that into its own group which
will be thought of as group 5 in performance. Do this with all
the cards building five groups remembering the final fifth
group is made up of any cards that do not bear either a 1, 2, 3,
or 4 in the final position but instead contain a X, V or in the
case of the Fool does not have a number at all.
You should end with the following cards in their
groups. Their specific order within each group is not important:

Group 1: The Lovers (VI), Strength (XI), The Magician (I), The
Tower (XVI), The World (XXI).

Group 2: The Star (XVII), The Chariot (VII), The High

Priestess (II), The Hanged Man (XII).

Group 3: The Moon (XVIII), The Empress (III), Death (XIII),

Justice (VIII).

Group 4: The Emperor (IIII), The Sun (XVIIII), The Hermit

(VIIII), Temperance (XIIII).

Group 5: The Fool (0), The Pope (V), The Wheel Of Fortune
(X), The Devil (XV), Judgement (XX).
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 The exact order of each card in each of the groups is
unimportant. The cards within them can be arranged in any
order you wish. It is only important that they are grouped
together.
Once you have established each of the groups stack the
deck by placing group 1 onto group 2 and continuing until the
deck is collected with group 5 at the bottom of the pack.
Note that the exact stack included here might be
different from the eventual grouping you see with your own
cards, the reason is that some Tarot decks use different
numbering systems.
For example, in one deck Justice might be card 12 and
in another card 12 might be Strength. So it is better that you
understand the system not as a specific stack of cards but
instead as a system of logic. Simply looking at the cards will
allow you to build the groups for any deck, no matter its
particular numbering system.

Using The System

The system is so intuitive I almost feel this section is

redundant but for the sake of completeness I will include it
here. To use the system in performance you will distribute
each of the groups to 5 different spectators. First spreading and
removing 5 cards and handing them to spectator 1 and then
spreading and removing 4 cards to spectator 2, 4 cards to
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spectator 3, 4 cards to spectator 4 and all remaining cards to
spectator 5.
They will be instructed to remove one of the cards and
remember its title and to spend a few moments exploring the
image on the card. The selections will be gathered while the
remaining cards will be grouped and placed out of use. Once
the selections have been gathered and mixed the performer will
look at the first card of those selected and immediately look at
the final digit in the Roman numeral that appears at the top of
the card.
For sake of example let us imagine the numeral is XXI,
the World. We know that the I is 1 and so this card comes from
group 1. This will immediately tell the performer which group
the card was drawn from, and thus inform him of which
spectator it belongs to.

Distributing the Groups

One thing to be aware of is that in order for the system

to work, you must know which spectator received which group.
If the groups are distributed in an unknown order, the system is
useless. Equally if you forget which spectator was given which
group, the system is useless. While this is self evident it is
something that needs to be considered before performance. I
personally always distribute the cards in the same pattern. In
this way I always know which group is in which position. This
also means I do not have to remember anything about the
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spectators since it is their position in the audience, which
remains constant in all performances, that matters. I distribute
the groups as shown below:

This pattern of distribution is one that I find logical and

intuitive to use. It may not be the same for you. However, one
thing I especially like about this pattern of distribution is that
each group is given to a spectator further away from the stage.
Ultimately this means that I know which group is which simply
based on their proximity to me. The further away they are, the
higher in the group numbers they are. For those challenging
nights, something as simple as this can be a relief in

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performance when focused on powerfully delivering the
routine.
I suggest you pick your own pattern of distribution that
feels intuitive and logical to you and once you have chosen it,
stick to it in each and every performance. Why make things
hard for yourself?

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 THE READINGS

Once the ‘hidden in plain sight’ marking system is understood

the major aspect of the routine, that in which the performer is
able to seemingly ‘sense’ the energy contained within each card
to allow him to hand the cards back to those who chose them,
is apparent.
The next optional aspect to mix in with this is that of
offering short and fun readings to accompany each of the
selected cards. The manner in which you choose to do this is
open to your own artistic vision. You can review the audience
experience to see the manner in which I typically handle this
aspect of the routine.
It is well beyond the intent and scope of this short
manuscript to teach you how to offer tarot readings to an
audience. However, this routine is so simple that it is perfectly
acceptable to offer short, punchy but entertaining
interpretations of the cards’ meanings rather than attempt to
offer detailed, long and intense readings.
Indeed, I believe it would be something of a mistake to
aim for intense and highly detailed readings in the context of
this routine. Rather, view this as a ‘taster’ of the Tarot and
your style of reading.

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 I try to limit each reading to no more than 2 minutes,
with the real attention being placed on pace and interest. I also
make these readings, as you can see in the performance
example script, more about the card and its history than about
the spectator. My goal with this routine is not to offer a Tarot
reading. Instead, it is to demonstrate an ability to connect the
selected Tarot cards with the person who selected them. It is
wise not to lose the wood for the trees. If you already read
Tarot this is a wonderful routine to use to open a demonstration
by involving a larger group before then progressing into
personal deeper readings with people.
I have a friend, with whom I shared this routine, who
uses it as a demonstration at ‘Tarot Parties’ he offers. He first
performs this routine for the group and then offers a short talk
on the history and use of the Tarot before then offering one on
one readings in a separate space.
I personally use the routine as an opening
demonstration before then progressing into one on one readings
on stage. How you will use it will be totally your choice but
regardless keep at the very front of your mind the simple fact
that this routine does not benefit from slow, long, intense or
heavily detailed readings. Instead, aim for pace and
connection.
If you have never read Tarot cards before, this routine is
a nice way to become more comfortable with the cards
themselves and also is a good way to offer very basic short

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reading ‘snippets’ to an audience as you improve your
readings.
To do this I suggest arming yourself with the basic
knowledge of each cards’ meaning and building short readings
from the traditional and shared understanding of the Majors.
To do this all of the information you need, and more, is
readily available online for free or at all bookshops in a simple
book for beginning with Tarot.

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 THE PEEK

The final mandatory deception is that in which you will

discover the identity of the final card from the group of
selections. Without this aspect the routine tends to slowly burn
out rather than culminate with a punch. There are many
options open to you. You may wish to use marked tarot cards,
meaning marks that tell you secretly from the back, the identity
of the card itself. This option would mean that you would not
need to handle the gathered packet of selections and instead
could glance at the final card’s back and then reveal the
identity. Personally, I do not use this option. I find that there is
a need for me to handle the cards in order to keep the routine
moving. I handle the collected packet as I turn the top card
face up and announce its identity before then handing it back to
the spectator who selected it. It is during this moment that I get
a peek of the bottom card of the packet.
Again, there are multiple options available for you here.
You could make use of the peek from Max Maven’s neo-classic
‘Desire’ or Larry Becker’s variation thereof titled ‘Sneak
Thief’.

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 I have employed both of these approaches in
performance but after a few months of performing I made
things more simple.
I simply peek the bottom card of the packet with a
classic ‘all around square up’ technique utilised in traditional
card magic. I turn the top card face up and leave it squared
with the packet. I then perform the square up peek. I find this
works especially well with Tarot cards as often there is a reason
to rotate the card that rests face up on the packet, for example,
needing to do so to rotate the title right way up.
When the card is already the right way up I simply
perform the ‘all around square up’, rotating the packet in my
hands as if I am looking at some aspect of the card.
Once the peek has been achieved I hand the remaining
cards back to the onstage spectator or drop them onto a nearby
table, depending on the staging.
The ‘all around square up’ is a classic technique, whose
origin is lost to antiquity and one I imagine all readers will
already know.
To perform it grip the cards in left hand dealing
position. With the right approach from above and grip the
packet in a Biddle position.
Lift the packet directly up with the right hand holding
them in Biddle position.
Rotate the right hand, still gripping the cards in a
clockwise direction and at the same time, rotate the left hand in
a clockwise direction.
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 The packet will for a brief moment, be held in such a
way that the bottom card is plainly visible to you.
Once you have peeked the card, grip the packet in the
left hand dealing grip, remove the right hand, releasing the
packet into left hand dealing grip and fully rotate the left hand
to end in a position similar to that in which you began.
It appears as if you have simply turned the packet of
cards around in the hands. It is simple, elegant and, performed
with the proper timing and with a guilt free attitude, will fly by
all.

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 THE FALSE SHUFFLE

As with all stack work, the routine’s deceptiveness is increased

with the inclusion of a casual false shuffle before commencing.
I tend to casually mix the cards as I deliver the opening
scripting. I do not draw any attention to this; I simple do it as I
talk. A simple Charlier false shuffle is a wonderful option
when working with Tarot cards. Due to the oversized nature of
the cards it can be somewhat challenging to apply other, more
technical, approaches to them. Additionally, the Charlier is a
shuffle that does not display any level of skill with the cards
themselves. This can be to your advantage when performing as
a mentalist.
Another option I often make use of is to crimp the
bottom card of the final group, that card which is on the
combined face of the deck before the show. In performance I
appear to perform an overhand shuffle as follows: throw a
block of cards, followed by running 6 single cards and finally
throwing everything that remains atop of all. I now pause and
continue talking with the cards squared. After some time has
passed I allow the crimp to open the cards and throw all of
these into my awaiting hand, I then run 6 single cards and
finally throw all atop.

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 Essentially this is a two step false shuffle, that first
mixes the order and then restores the order. An advanced
consideration with this approach is something I call ‘the shape’
of the shuffle. Whenever a false shuffle operates on the
concept of breaking order and then restoring it, there is a direct
relationship between the two acts. I believe the shuffle is less
effective if performed as a two part process, since we
understand on a deeper level the notion of ‘doing and undoing’
as a two part process. I call such shuffles ‘symmetrical’
shuffles and like the ancient Cathedral builders, I avoid
symmetry at all costs. Instead I prefer shuffles that operate in
odd number relationships creating what I call ‘asymmetrical’
shuffles. I believe that by constructing ‘doing and undoing’
false shuffles to operate with an odd number of steps creates a
deeper feeling of mixing and less a feeling of control. I have
no way to check this, other than personal observation, both
from performing such shuffles myself and also seeing them
performed by others. However, it is something I apply in many
routines that require a false shuffle. To apply this theory to this
routine, I simply perform one part of the shuffle before the
show. This means that when it comes to performance I can
repeat the same process three times. To further increase the
feeling of a lack of control I also vary the number of single
cards run between steps 1 and 2 and 3. I urge you to test a false
shuffle that is ‘symmetrical’ against a false shuffle that is
‘asymmetrical’ in your own work and pay attention to the
feeling that the two approaches create. I admit, this could be
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the ravings of a mad man with too much time on his hands,
however, I have always preferred the insane to the sane
anyway. Only trying it for yourself will reveal to you whether
it has the impact that I sense in my own work.

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 THE STAGE WHISPER

One of the great mistakes I have made in publishing my

thinking on mentalism was titling a technique ‘The Dunninger
Ploy’. In truth I should have become more megalomanic and
titled it something like ‘The Jermay Ploy.’ What I titled ‘The
Dunninger Ploy’ was my handling of an ancient technique that
I drew inspiration from a story about Dunninger to create. In
essence, the ancient technique, as used by Dunninger himself,
is simply asking the audience member for some key piece of
desired information under the applause for a spectator
requested by the performer as they join him onstage, thereby
hiding the moment of acquisition. I claim nothing in this. It is
a technique so old it is much like the peek we discussed earlier;
lost to antiquity.
My personal contribution to this technique was to
combine it with some other form of deception to allow the
onstage spectator the experience of mystery rather than the
experience of confusion and disappointment.
If applied badly this ancient technique is one that is
bereft of impact for the participant. You simply ask them
something without the audience hearing and then reveal it; the
audience are impressed and the participant is disappointed

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since for them there is nothing other than disappointment to
experience!
My conceit was that by combining the stage whisper
with some other form of retroactive proof you will increase the
impact of the demonstration in the eyes of the audience at
large, while also providing a solid mystery for the participant
directly experiencing the effect. An easy example might be the
invisible deck. In most approaches the spectator is asked to
announce their mentally selected card prior to the performer
revealing he has reversed one card in the deck as a prediction.
By applying the stage whisper technique to this, it allows the
performer to seemingly, to the audience at large, reveal his
prediction before the onstage spectator announces his mentally
selected card. The two experiences are close enough to one
another that the onstage spectator does not feel in any way
cheated; they are, after all, experiencing the invisible deck in
the manner in which most audiences have since its inception.
In this routine I make use of a stage whisper to acquire
the star sign and date of birth of one of the assisting spectators.
I remember this information and then later ‘reveal’ it as I hand
this spectator's chosen card back to them.
This spectator is the one who brings me their selection,
along with the others gathered in a packet, to the stage. The
sequence of actions is somewhat important to properly present
this in a deceptive manner. I will, for the first time, here
include what I believe is the vital ‘final step’ to the effective

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performance of ‘The Dunninger Jermay Ploy’ that I think will
transform its use for you.
First, instruct the spectator to make their way to the
stage and bring the cards with them. Once they begin moving,
openly call for a round of applause for the spectator saying
something like:
“Let’s make him/her welcome!”
Pause for a beat and then lead in the applause yourself.
By applauding yourself the audience will always follow your
lead and also applaud. Once the applause begins do not stop
your own. Instead keep it going until the spectator is within a
comfortable distance for you to move to. If needed you can
comment along the lines of:
“Keep that applause going it is a long journey! It
could have been you!”
A simple comment such as this will ensure the audience
continue their applause providing the cover you require to ask
the spectator their date of birth.
Next, move with pace to the spectator with your hand
extended in the universal gesture of an incoming handshake.
As soon as the handshake begins use your free hand to grip the
spectators forearm. Gently but firmly squeeze their forearm
and for the first time lock eye contact with them. Ask directly
and calmly:
“When is your birthday?”
I find this question to be more human and easily understood
than asking ‘what is your date of birth’, it is also fewer words.
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Once the question has been asked lean in to the spectator
continuing to hold eye contact. Listen for their answer. Once
you have heard the answer comment;

“Thanks!”
Smile and release the handshake, along with the other hand
gripping the forearm and gesture for them to stand on the
opposite side of you. By this point the applause from the
audience will have ended. You have successfully acquired the
information you desire. However, only half of the deception is
complete.
The final part of the deception is something that sees
print here for the first time. I also believe it is the most
important part for producing a coherent experience for the
audience at large. Consider, the audience have seen you ask
the spectator something, at least they have seen your lips
moving, the spectator’s lips moving and you acknowledge
something they have said. The audience, however, were unable
to hear this exchange due to the applause. Suddenly all they
want to know is what was said! It’s a puzzle for them to solve!
So, to complete the deception we have to ease their puzzle
solving minds away from this topic by giving them the solution
to the puzzle, before they have even begun attempting to solve
it. To do this I only state, for all to hear:
“Sorry, I didn’t catch your name?”
In my experience this is the perfect thing to say. The
audience now deceive themselves into thinking that this was
the question being asked. They assume I was unable hear the
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answer because of their applause, the very reason they were
unable to hear my question. As soon as I say this, the audience
at large stops wondering what was said and close the logical
loop in their own mind. If you have explored the use of stage
whispers in your work, I believe this final step could
dramatically change the way the audience at large perceives the
deception and could ultimately be the single most important
aspect of the technique being useful in performance.
Once the information has been acquired and the stage
whisper sequence successfully concluded I continue with the
routine, remembering the date of birth to later reveal.
When it comes to revealing the star sign and date of
birth, I do this in an off handed manner. I do not want to make
this boastful. Instead, I offer the information and then
excitedly look at the person and conclude by saying:
“Yes! You! This must be yours…”
By clustering the reveal of the information with the
reveal of the identity of who selected it the two aspects blur
into one for the audience at large and the for the direct
participant the experience of mystery remains as they do not
know how you could have known the card they selected.
This really is the ‘icing on the cake’ as English
grandmothers like to say. It is a purely modular addition to the
routine and one that the routine can certainly be performed
without. However, personally, I very much like including it
and think it adds a certain something to the routine.

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 If this feels intimidating I would suggest first mastering
the routine without this addition and then adding it in when
your confidence with the basic structure and performance of
the basic routine is high. There is no point in adding this in too
early if it will become a technique that causes you anxiety, fear
and worry.

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 PUTTING IT ALL TOGETHER

Now you have a solid understanding of each of the

techniques at play it is a simple matter to put them into order.
In just 5 steps the entire routine is complete.

1. Begin by false shuffling the cards as you introduce

the demonstration to the audience and then distribute the
groups of cards to 5 audience members. Instruct them to
remove one card for themselves. Have the remaining cards
gathered and passed to the front of the audience. Have
spectator 5 of those you have directly engaged gather the
selections, including their own, mix them and then join you
onstage with them.

2. Perform ‘The Dunninger Jermay Ploy’ to learn this

spectator’s date of birth and remember it.

3. Perform the ‘peek’ to learn the identity of the bottom

card of the packet, while seemingly studying the top card of the
packet turned face up. Use the roman numeral system to learn
whom this card belongs to. Offer a short reading and return the
card.

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 4. Repeat the reading and returning of the selections, as
detailed in the ‘audience experience’ chapter of this
manuscript. When the spectator who brought the cards to the
stage is identified as the card in use, include the revelation of
their date of birth as detailed.

5. Finally, have the remaining spectator focus on the

card they selected and reveal it seemingly using your telepathic
power.
You have successfully performed the routine and can
accept the applause, adulation, gifts and proposals of marriage
showered upon you from the audience.

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 FINAL WORD

Thank you for your continued support and interest in

my work. As my own relationship to mentalism evolves and
changes I hope you find something that might be of real use in
your own work. By purchasing this manuscript you have the
right to perform this effect in any and all settings.
I do not suggest performing it on TV as it is really
designed for live performance but, for what it is worth, T.V
rights are also included should you wish to.
This routine is easy, fun and intuitive. It allows you to
fill the space its simple intuitive method provides with your
own unique theatrical manifestation of mystery.
Most importantly, it offers a vehicle to connect with
your audience and I can not think of anything more valuable
than connection.

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