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JUAN PABLO IBANEZ

7 would like to express my special thanks to Federico Ludueha for inspiring me in the creation of these routines -Juan Pablo Ibanez

f INDEX t PROLOGUE CHAPTER I: THE BEGINNING Introduction ......................................................................................................... 2 Effect ......................................................................................................................2 Origins....................................................................................................................4 Basic principle...................................................................................................... 6

CHAPTER III: THE FIRST STEP

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Eciuivoaue...............................

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Only one question........ Double tequila.............. Thought of card............ Double card to number

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Any card at any number................. Book test............................................ Lie detector....................................... A crumpled paper ball....................

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CHAPTER II: THE THREE STEPS

CHAPTER IV: TRIPLE TEQUILA C Copyright 2019 Vcrnct Magic, Juan Pablo Ibanez Printed in Argentina

Even more inbalanccd................................................ Even more inbalanccd with thought of card........

ISBN: 978-987-47316-1 -6

CHAPTER VI: MISCELLANY

Written by: German Dabat & Michel Cover design: Adriano Zanetti Drawings: Damian Rizo

Five drinks................................. Die...... ...................................... Wristwatch.............................................................................................

o c:

CHAPTER V: TWO LIE, TWO TELL THE TRUTH

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BODY MENTALISM - JUAN PABLO IBANEZ

I PROLOGUE* It gives me great joy to write the prologue of this work. 1 have known Juan Pablo Ibanez for about 40 years, and 1 can affirm with certainty that artistically and professionally, he has been the most successful Magician 1 have seen, in an uninterrupted way during ALL that time. I do not know an Artist of our genre more effective than him. Hiring Juan Pablo Ibanez, is knowing that success is assured. I here is only one thing that an Artist is not allowed: boredom. And this is completely clear to Juan Pablo, with whom endless laughs, entertainment and amazement are guaranteed, all simultaneously. I have huge admiration for him, not only because he is the most successful professional in South America, performing at private parties, corporate shows, theater and television, but also because he is one of the most creative and prolific magicians in the world. Do not think I exaggerate, Juan Pablo’s mind is inexhaustible and ALL of his creations are brilliant. I have witnessed the creation and evolution of his incredible magic tricks and routines dozens of times His enthusiasm is unique. I know because I always receive lus calls in which he tells me about new ideas, and after the conversation is over, he will always call again five minutes later with modifications, one better than the other, and always joyful because of these new ideas.

BODY MENTALISM - JUAN PABLO IBANEZ

But above all, he is an EXTRAORDINARY human being. You have a magnificent work in your hands, with a collection of marvelous mentalism routines, all of them being very powerful, practical and extremely adaptable, and for which you will only need some spectators and practically no items. All of these ideas have been tested dozens of times, and have proven to be highly effective for lay audiences or magicians. “Body Mentalism” is a real gem!

CHAPTER I Michel, June 2019

II

BEGINNING

BODY MENTAUSM - JUAN PABLO IBANEZ

BODY MENTALISM - JUAN PABLO IBANEZ

HERE ARE SOME EXAMPLES

t INTRODUCTION 1 “Body Mentalism” is a practical and very versatile mentalism routine that has great impact on people. It can be performed anywhere, any time. There is no set up required and works perfect for Close Up, Parlor or Stage Magic. Almost no items are necessary and it can be performed with 2 to 7 participants. The principles applied are versatile and allow you to perform a single effect or a lengthy routine with various effects of increasing impact. Being so practical and versatile, “Body Mentalism” is an ideal tool, both for the amateur and for the professional Magician.

EFFECT

• The spectators can pass the object on after they are being “discarded”. • It can be presented as a “Lie detector” routine. The spectators can tell the truth or lie, or even change roles (“honest” or “liar”) but the Mentalist always finds out where the object is and reveals the role chosen by each spectator. • Even though the mentalist does not know how many changes of the object’s position were made, any spectator may hide the object, but who has it can always be discovered. • If the object used is a deck of cards, an incredible prediction can be made, name a card they have thought of or perform an “Any Card at Any Number” Routine. • A book might be used, ending the routine with a “Book Test”.

Five spectators go on stage and the Mentalist gives an object to one of them. While the Mentalist has his back turned, the spectators randomly pass the object on among themselves until one of them hides it inside his pocket. Now the Mentalist concentrates and tries to discover who is hiding the object. Finally, the performer starts “discarding” spectators until only one of them is left on stage, the one who is hiding the object. This is the basic effect and its method is so versatile that it can be presented in endless ways.

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• A wristwatch can be used and as a climax, a selected time can be guessed. • Other options are to use drinking glasses containing different drinks or to discover the location of five different chess pieces. • The object may be a crumpled paper ball with the description of the last spectator remaining on stage, written inside. The possibilities are endless!

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BODY MENTALISM - JUAN PABLO IBANEZ

ORIGINS Most of the following routines use the old “parity principle”. Jack Yates published a version (“Match Miracle”, Minds in Close Up, 1954) of "Mathematical 3 card monte" by Bob Hummer, but changed the method used by applying the “parity principle”. In this effect, four matchsticks were arranged in a row facing the same direction. A spectator chose one and placed it facing the opposite side (fig. 1). The Magician then turned his back and asked for the position of the matches in the row to be changed. Then, still facing away, he asked to discard matches until only the chosen one remained on the table.

FIGURE 1

An old principle was used to achieve this effect: you just had to notice if the chosen match's position in the row was odd or even. Let's suppose it was at an even position. The Magician had his back turned and asked a spectator to exchange the chosen match's position with one that was next to it. He could ask for this to be done many more times. If the amount of times this was

BODY MENTALISM - JUAN PABLO IBANEZ

done were even, the match would still be at an even position. I herefore, he could ask the spectator to discard any of the ones at an odd position because none of them was the chosen match, to then continue discarding matches until the spectator's chosen one was the only on left. When this principle is used, it is fundamental to know the amount of exchanges done by the spectator. Mel Stover published a very interesting strategy (New Phoenix, #340, 1957). Various drinking glasses were used, one of them containing some ice cubes. The Magician turned his back and asked the spectators to pour the ice cubes into any of the contiguous glasses. Thanks to the sound made, he could count how many changes of the ice cubes position had occurred and if the ice cubes were in a glass at an odd or even position. Harry Lorayne, John Fisher, Tony Griffith, Karl Fulves, Banachek, Paul Curry and Woody Aragon, among others, published other outstanding versions using this principle. Most of these ideas work great for Close Up Magic. Tony Griffith effectively came up with the idea to adapt it to be performed on a stage, w'ith his version called “Person Move” (“Tony Griffith’s Fantastic Routines” and “Creative Magic Lecture Notes”) where he, instead of objects, used spectators who interchanged their positions in the row. Using these ideas, Paul Green published an excellent v ariation where the spectators passed on a gift, which ended up in the hands of the birthday person (“This Gift’s for you”, Syzygy, #53).

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RHEY MEHTA!15NT JJAM PADLB ISANEZ

BOAT MENTJ1IJ5M - JU«H PftttLD IBHHEZ

The brilliant Magician Juan Esteban Varela a da pled ill as principle so the routine could be performed without using arty objects, but with a lot of audience participation. All the spectators pass on an imaginary ring front finger 10 linger., and the Magician finally guesses on which finger the ring is. This and olhtL fabulous routines are included in bis DVD "Zero Elements77 {Verner Magic). Kart is, the great Argentine Magician, came up with many versions of this routine. Juan Pablo Ibanez learned these ^ersioflS fniil it became rhe starting point in developing tlie fantastic routines iliac follow.

BASIC PRINCIPLE STEP 1 Five spectators walk on stage, an object is given to one of

them and ihe Magician explains that when he says so. the spectator who has the object must pass it to any of the spectators standing next to him. They are asked to pass the object on several limes to verify that they understood the instructions: but for the principle to work, the object must start being held by a spectator standing in an even position (spectator t?2 or-4). Now the Magician will stand facing the audience with the five participating spectators standing behind him (fi",.2). Ask the audience to control that ihe five volunteers actions' are carried out correct! y.

a FIGURE? g

JL. Jell lhem to pass the object once. Make a pause to gkc them enough time to do so, and then ask them to pass it on once again. Repeat the indication foe a third time and finally request for a fourth change. Now ask the spectator holding the object to hide it in his pocket. As the object started being held by a spectator standing in an even position, and ii was passed on an even number of times, it will sliii be held by one of the spectators standing in an even position (because when two even numbers uni added logethei i he result remains even). Therefore, the object will be held either Ij\ spectator ^2 or spectator £4 {Hr. 3)r

FIGURE 3

BODY MENTALISM - JUAN PABLO IBANEZ

BODY MENTALISM - JUAN PABLO IBANEZ

STEP 2 Now the Magician states that the two spectators standing

at both ends (spectators #1 and #5) do not have the object with them and asks them to return to their seats. Again, as the Magician's back is turned, he requests for the object to be passed on one more time to someone standing right next to whom is holding it. As one of the spectators standing at the ends was holding the object, it will end up being held by the spectator standing in the middle (fig. 4). I'M?

FIGURE 4

4 STEP 3 The Magician points out that the spectators now standing at both ends (#2 and #4) are not holding the object. Finally, he reveals that spectator #3 is the one holding the hidden object and asks him to show it to everyone.

OBSERVATIONS If we use the following mathematical rules:

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Odd number + odd number = even number Odd number + even number = odd number Even number + odd number - odd number I his will allow us to start with the object being held by any person. The Magician can ask them to pass on the object and stop doing so whenever they want. Before turning his back, the Magician should only notice if the object's starting position is odd or even. Therefore, he will request the necessary amount of changes so that the object ends in an even position, in order to start the routine. If before starting the actual routine the object is at an odd position, the Magician will have to ask an odd number of times for it to be passed on so it ends at an even position (odd + odd = even). During the routine, you could even ask a spectator from the audience to shout out “change”, for the spectators on stage to pass on the object. The advantage is that the audience spectators can see when the object is being passed on and then ask for a new “change”, unlike the Magician who, because of facing away from the actions, has to ask if the participating spectators have already made the change to be able to request that they do it again. What you should do is simply count the amount of changes requested and add the initial position, thus knowing the final position is odd or even. If you still haven't reached the desired position, an extra change can be required. This method can be easily adapted to be performed with 4, 6 or 7 spectators on stage.

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CHAPTER II

THE THREE STEPS

BODY MEHTALISM - JUAN PABLO IBANEZ

BODY MENTALISM - JUAN PABLO IBANEZ

All the routines that follow carry out the three steps of the basic principle; therefore, the object will always end up in the hands of the spectator standing in the middle.

(io ahead with the three steps of the basic principle. The deck of cards will end up being held by the 22-year-old spectator, standing in the middle of the line.

This method also works as a wonderful way to force a spectator. If we previously find out some information about this person, we will be able to perform incredible effects.

Ask the other four volunteers about their ages. Then ask the spectator holding the deck to tell his age by counting cards from the top of the deck and showing everyone the card placed in the position that matches his age. It is the selected card!

Getting this information before the show is simple; while chatting with the person who hired you, you can ask about their children, or about his wife, for example, or find out other facts as name and age of a certain spectator.

You can adapt this by using the spectator's name instead of his age, and control the card in the position that matches the amount of letters, thus revealing the card by spelling the name. If his name is Philip for example, control the card sixth from top.

Now you are ready to perform any of these incredible effects:

It ANY CARD AT ANY NUMBER t

ft BOOK TESTt Find out the age of a spectator before the show starts.

Before the show starts, find out the age of a certain spectator (he or she has to be under 52). For the routine, Control the card inquired. If the position 22 from

ask someone to pick any card from a deck. to a position that matches the age previously age is 22 for example, control the card to the top.

From any book, which can be borrowed, remember the first lines from the page that matches his age. Make five spectators step on stage, including the one whose age you have found out, making this person stand in the middle of the row.

Ask five volunteers to help you on stage, including the spectator whose age you found out. Make this person stand in the middle of the row. The object will be a deck of cards inside its case.

By using the basic principle, this spectator will end up holding the book. Ask the others about their age. Then ask the spectator with the book to open it at the page that matches his age (without

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BODY MENTALISM - JUAN PABLO IBANEZ

BODY MENTALISM - JUAN PABLO IBANEZ

saying his age/page aloud) and to mentally read the first lines of this page to himself.

Now, as if you were using a “lie detector”, you will ask each of the five spectators if they are holding the object.

Now you can guess what he is reading.

What they answer is irrelevant. You will still use the basic principle and in the first phase, you will “discard” the two spectators standing at both ends.

Another option is to write down those lines as a prediction. You can patter by saying: “Who has ever lent a hook which was never given hack, and then passed on to other people, and no one ever admits having it ? Well, there is a way to detect who has it and recover the hook".

VARIATION

MICHEL

You can ask the spectator to open the book on the page that matches his age and then, by spelling his name, read the line that matches the amount of letters. Therefore, if Philip were 22 years old for example, he would read the sixth line from page 22.

Now you will continue with step 2. To baffle them even more, you can now indicate that if they want they can change their roles and either lie or tell the truth. I his is not a problem because what they answer is irrelevant. f inally, go ahead with step 3, and after asking some questions, reveal who is holding the object. I his variation can be applied to the basic principle as well as the Book Test” or to the “Any Card to Any Number” presentation. GERMAN DABAT

DUE DETECTORt Thanks to the Parity Principle, one knows, in many cases, who does not hold the object. For instance, after step 1 we know that the spectators (#1, #3 and #5) standing in an odd position do not hold the object (figure 3). A baffling way to perform this is to say that you will ask questions but with the following indication: the person holding the object has to always lie when he answers and the rest have to respond truthfully.

tA CRUMPLED PAPER BALL* Before the show, write on a piece of paper, “The person who will finally hold this crumpled paper hall will he..." and complete the phrase by physically describing a certain spectator. It is convenient to choose someone who’s appearance is in a way different to the others, for example a bald person or someone who uses eyeglasses. Crumple the piece of paper into a ball. You will use it as your object. Make five spectators step on stage, including the described person, whom you will stand in the middle (fig. 5).

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BODY MENTALISM - JUAN PABLO IBANEZ

BODY MENTALISM - JUAN PABLO IBANEZ

Use the basic principle and at the end, the spectator standing in the middle will be holding the crumpled paper ball. Ask him to read out loud what is written on the paper.

FIGURE 5

FIGURE 6 , ;>:$

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A

-*

To avoid pre-show set ups, you can memorize the last two digits of the serial number of a paper currency note, which you will crumple into a ball. Then you ask for a borrowed bill of the same value, and as you crumple this one, exchange it by your own bill. At the end of the routine, you will use the two serial numbers to perform the “Any Card at Any Number” or “Book Test” effects. If you use the middle spectator force after discarding the spectators from both ends, you will ask the remaining participants to pass on the object once and then interchange the positions where they are standing. The instructions seem to be given at the same time, but you really wait until they pass on the object once. The middle spectator will certainly have the object, and then you ask them to interchange their positions. This is unimportant as long as you remember the appearance of the middle spectator (fig. 6). IS

JL Sometimes if you ask a person about the age ot another spectator, it is possible he answers one year more or one year less than his real age. In the case of the Any Card at Any Number routine, if his real age is one year less, you should count until you match his age and flip over the following card. If he is one year older, you should transfer a card from bottom to top of the deck before you count. For the Book Test routine, it might be convenient to know what is written, both in the previous and in the following pages of the page that matches his age. Then, by observing which page he is looking at, you will know if it is an odd or even page and if the age that you were told this person was, is correct.

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CHAPTER III

THE FIRST STEP

BODY MENTAUSM - JUAN PABLO IBANEZ

BODY MENTALISM - JUAN PABLO IBANEZ

All the following routines use only the first step of the basic principle, therefore, the object will always end being held by spectators #2 or #4 (the ones in an even position. Fig 3.) From this point onwards, there are many possibilities for your presentation:

ft EQUIVOQUE* This idea is based on Max Maven 's “Kurotsuke”. The object that you will use has to be a small one, so that the spectators can hide it inside their closed hands (fig. 7). After having done step 1 of the basic principle, the Mentalist turns his back, points at spectator #2 and asks him to open his hand. Two situations might occur:

t ONLY ONE QUESTION! After carrying out step 1 of the basic principle, ask the spectator who has the object to answer by telling the truth and ask the others to answer with a lie. Ask various questions to different spectators. The answers you will get to all of these questions have no importance at all, but help to conceal the important question. You'll then ask a key question, which will let you know who is holding the object: As you point at spectator #2, you ask spectator #1: “Is he telling the truth? If the answer is “no”, then spectator #2 has the object. If the answer is “yes”, then spectator #4 is holding the object (fig. 8).

• The spectator has the object: the routine ends. You could successfully guess who was hiding the object. • The spectator does not have the object: without any pause, you ask spectators #1, #3 and #5 to open their hands. None of them will be holding the object. You finally ask spectator #4 to show everybody the object he was hiding.

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