JAZZMENTALISM

by David Humphrey
 Copyright 2016 by Michael Murray
All rights reserved. No part of this book may be reproduced in any form
without written permission from the author.
For television performance rights and further information, please contact -
info@mindfx.co.uk
 By David Humphrey

CONTENTS

• Introduction - (Page 4)
• The Effect - (Page 5)
• The Method - (Page 6)
• Additional Thoughts - (Page 11)

Page 3
Jazz Mentalism

INTRODUCTION:
As mentioned in the introduction to my Tattle Tailed effect, Jazz
Mentalism has long been one of my favourite ESP effects to perform.

This type of effect has seen a steady rise in popularity since Derren’s
take on this was aired on national TV:

https://youtu.be/YhXTqTPuGQ4

For the sake of keeping crediting correct, it appears that many have
stumbled upon a similar methodology; the first to do so I believe was
Karl Fulves and Marc Salem is also deserving of a mention here, too.

The handling I present below was independently created by my good

friend David Humphrey in 1985 and was subsequently included on my
Submodalities DVD, which was released in 1990. Special thanks go to
Dave for allowing MindFX to release this as an independand pdf.

Page 4
 By David Humphrey

THE EFFECT:
This is the classic ESP matching effect. Two sets of ESP cards are
introduced, one of which is handed to your spectator. You begin
by placing one of your cards sight unseen onto the table, and the
spectator follows this by placing one of their cards next to yours. This
is repeated with the four remaining cards; each time the mentalist’s
card is placed down first. Despite the odds the mentalist appears to
have predicted the exact order that the spectator would deal their
cards. Everything may be left for examination!

Page 5
Jazz Mentalism

THE METHOD:
Note: This effect requires the use of marked ESP cards such as the
Beyond ESP deck; alternatively you could choose to mark a set of your
business cards prior to performing this effect. Please note that only ten
cards (two of each symbol) will be required for this effect.

You will begin by handing one set of the ESP cards (one of each
symbol) to your spectator, keeping the other for yourself.

Requesting that the spectator may give their cards a mix, you will
begin by dealing your Star card face down onto the table. Once you
have done this you will request that the spectator place any of their
cards face down behind it as in Figure 1.

 Figure 1 Figure 2
First Cards Match: You will now read the mark from the back of the
spectator’s card to discern which card they have dealt to the table.
Should the spectator deal their Star on the first deal, you will casually
flip over both cards to reveal a perfect match. Both Stars can then be
returned to their respective packets, allowing you to begin the same
process again. In doing so, you will still place your Star card down first
(It is unlikely that your spectator will choose this card twice in a row).

First Cards Don’t Match: If the spectator’s first card is not the Star,
you will simply identify which card this is using the marking system
and then place the matching card from your set as your next card (see
Figure 2).

Note: The marks on these images are for clarification purposes only.

Page 6
 By David Humphrey

Notice how this card is overlapping the first. You will now request that
the spectator place another card face down, overlapping their first.

Second Cards Match: Should the spectator deal their Star as their
second card, then you will pick up both of your cards, holding them
face down. Your right hand will take the bottom card and your left
hand will take the top one. Both hands will now separate, and as they
do so both cards are turned face up.

The positions of these cards have now been discretely changed and
these cards are then used to flip over the spectator’s cards. The right
hand flipping over the spectator’s rightmost card and at the same time
the left hand mimics these actions with the other card, revealing two
perfect matches (see Figure 3).

Second Cards Don’t Match: If the spectator’s second card is not their
Star card, you will simply identify which card they have dealt using the
marking system and then place the matching card from your set as
your third card as in Figure 4. You will now request that the spectator
place another card face down, overlapping their second card.

 Figure 3 Figure 4
Third Cards Match: Should the spectator deal their Star card on their
third deal, you will now have three cards each resting on the table and
two cards remaining in your hands. You will propose trying something
a little different with the remaining two.

You will now take one of your remaining cards in each hand; these
cards are held in a face-down position. Whilst facing the spectator, you
request that they mimic your actions (taking one card in each hand)
Page 7
Jazz Mentalism

with their two remaining cards. You can now use the marking system
to check whether the card in your left-hand matches the card in your
spectator’s right hand.

If they do (as in Figure 5) then you will place your left hand card onto
their right hand’s card, and likewise you will place the card from your
right hand onto the card in their left hand (see Figure 6). The spectator
can then flip over both pairs to reveal a perfect match. These are then
placed onto the table.

Should you find that your right-hand card does not match their (mirror
opposite) left-hand card (see Figure 7), then you will simply give them
the option of placing their left-hand card on top of their right-hand
card or vice versa. Whichever decision they make, you will slowly and
deliberately follow suit. Handing your pair of cards to the spectator,
(see Figure 8) they can now flip both pairs over to reveal a perfect
match. You can now proceed to “Concluding the Effect”.

Note: The above sequence is my only contribution to Dave’s

wonderful effect.

 Figure 5 Figure 6


 Figure 7 Figure 8
Page 8
 By David Humphrey

Third Cards Don’t Match: If the spectator’s third card is not their Star
card, you will simply identify which card they have dealt using the
marking system and then place the matching card from your set as
your next card (see Figure 9). You will now request that the spectator
place another card face down, overlapping their third card.

Fourth Cards Match: Should the spectator deal their Star on their
fourth deal, then the single remaining card that each of you hold
must match. You can now reveal this amazing coincidence before
proceeding with “Concluding the Effect”.

Fourth Cards Don’t Match: Assuming that the spectator’s fourth card
is not the Star, you will now deal your final card on top of the other
four slightly overlapped to the right (see Figure 10). You will then
request that the spectator deal their final card (which must be their
Star) on top of their pile.

Concluding the Effect:

To conclude the effect you will firstly use both hands to square your
(face-down) tabled packet. Taking the squared packet in your right
hand, you will gesture for your spectator to gather up their cards. As
the spectator is doing this you will discretely displace your bottom
card.

To do this you will apparently place all of the cards except the top card
into your left hand. However what actually happens is this:

Your right thumb pushes over all but the bottom card to the left (see

 Figure 9 Figure 10
Page 9
Jazz Mentalism

Figure 11). The left hand takes these side jogged cards into a left-hand
dealing position as your right hand retains the bottom card. This move
should be complete by the time the spectator has gathered their
cards.

Note: Although Figure 11 displays a five-card packet, the exact

number of cards you have will vary depending upon when the
spectator chose to deal their Star.

The right hand now concludes by flipping its single card face up onto
the table (This will be the Star). Request that the spectator deal their
top card face-up onto the table, this will also be a Star. Each of the
remaining cards is now displayed in turn, revealing a perfect match
throughout.

Figure 11

Page 10
 By David Humphrey

ADDITIONAL THOUGHTS:
One of the great things about this routine is that it can be presented in
a number of different ways. For example:

A Prediction Effect - Using the standard presentation above it will

appear that you have predicted each of the spectator’s choices ahead
of time.

A Mind Reading Effect - If you ask the spectator to think of any of the
symbols before you deal each of your cards onto the table, this can be
passed off as a direct mind reading effect (check out the YouTube clip
detailed in the introduction to this routine).

An Influence Effect - By scripting some patter that discusses certain

aesthetic qualities of each of the shapes, you can easily pass this off as
an influence effect.

I sincerely hope that you have fun using this routine!

Best Wishes Michael Murray - 10th January 2016

Page 11
Jazz Mentalism

If you enjoyed this work please check out some of the other effects
available at www.mindfx.co.uk

While you are there, why not sign up to my free monthly newsletter
too!

Best Wishes Michael Murray (May 2016)

Page 12