Table Of Content7
Theodore Annemann’s
Keys to Baldpate
TRICKSHOP.COM
© Copyright 2006. All rights reserved. eManuscript Version
Theodore Annemann’s
Seven Keys to Baldpate
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Seven Keys to Baldpate
Few effects in mentalism have inspired more variations over the years
than Theodore Annemann’s “Seven Keys to Baldpate.” These solutions
have ranged from purely mechanical, marketed versions to variations
on Annemann’s original handling. Ours falls into the latter category
and in performance uses just one genuine padlock and seven keys;
one that opens the lock and six that do not. There are no switches
involved, no extra keys, no gimmicked locks, and no change bags or
similar props. Plus, you start and finish clean.
Theo. Annemann
THE BASIC EFFECT
You begin by introducing a padlock and seven matching keys (or “five” depending upon your prefer-
ence) to your audience. You then proceed to demonstrate that while all seven keys “fit” the lock – only
one will actually open it. The keys are now gathered up, placed in a bag and mixed. Seven different
spectators (or five) are now invited to each take a key. Once all of the keys have been taken, you divine
which spectator has the working key.
LATITUDE IN PRESENTATION
Like all good magic, and mentalism for that matter, the plot is clearly defined and easy for the audience
to follow. It also offers you, as a performer, a good deal of latitude with regard to the presentational
details. For example, in order to add interest, the lock can be secured through a spectator’s buttonhole;
through a spectator’s finger ring (make sure to avoid delicate settings and large stones); or even
around the stem of a wine glass. In presentations like these, the spectator whose coat, ring or wine
glass is used; is “influenced” by the performer to select the key that will “free” his/her property. The lock
can also be used to secure other things, like a small wooden chest that contains your written prediction
revealing the name or “number” of the person who was able to successfully open it. This same chest
could just as well contain a large denomination bill (or currency note). In that case, you would give the
spectators “first choice” of the keys and take the last one for yourself. Of course, only your key opens the
chest, so you keep the money! We could go on, but you get the idea. The point here is simply this, in
building your presentation; you are not limited to the basic divination effect.
Note: Although the title of the effect is “Seven Keys to Baldpate,” some mentalists prefer to perform it with
just five keys - an idea which Annemann himself suggested. You’ll find this option referred to throughout our
description of the effect – usually in parenthesis.
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Seven Keys to Baldpate
ANNEMANN’S ORIGINAL ROUTINE
Here is Theodore Annemann’s “Seven Keys to Baldpate,”
first published in his 1931 book, The Book Without a Name.
Seven Keys to Baldpate
The mentalist states that he has discovered such a force as metallic sympathy which arises between
any metal objects that must of necessity come into repeated contact with each other. With rapidly
moving parts, this has been more or less catalogued as static electricity and produced through friction.
But with articles that merely come into close contact through handling there exists a sympathy, even
though they be inanimate. In this case, the experiment shall be illustrated by a padlock and key.
A genuine Yale, Corbin, or other well known make of padlock is shown and a reward offered if anyone
can prove or show that the lock is not just as it left the factory or has ever been tampered with. With
the lock is a key on which has been tied a piece of colored ribbon to identify it from six other keys that
are lying at hand. Announcing that the tagged key is the only one that can open the lock, the other six
being odd keys, a spectator is asked to take the lock and try them one by one. As he tries each key and
it fails to work, he drops it into a small bag and upon the last one actually fitting and opening the lock,
the ribbon is removed and that dropped in also among the others.
Shaking the bag and mixing the keys well inside, the performer steps to each of seven people and they
reach in and take one key from the bag in their closed fist. Absolutely no one sees the key removed
by each until all seven are out.
Taking the wrist of the party who is still holding the padlock, the performer passes to each closed fist
in turn and merely holds his free hand near it. Suddenly he stops at one outstretched hand. “This hand
holds the key that fits the lock,” he exclaims. The spectator hands the key directly to the party with
the lock and holding the lock in full view the key is tried. The lock snaps open! And immediately the
performer re-offers his reward if any of the other keys which are still being held, will open the lock.
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Seven Keys to Baldpate
This can be built into a real astonishing effect for any audience and it is far from being hard.
The necessaries are one lock, six odd keys that will not fit and seven that will. The bag is a changing
bag – the new P and L Spirit Bag, which is the daintiest and nicest bit of such work ever produced. I
have found no bag better for this effect. It looks rather silly to drop seven keys into a bag big enough to
change a rabbit and this new type just fills the bill.
Now follow this routine closely: prepare by dropping six of the duplicates into one side of the bag
and then change over so the bag is now empty. You are ready. Have a ribbon tied to the other correct
key to prevent its being mixed among the six odd ones. Show the lock and explain about the keys.
The spectator comes up. Ask him to try the six odd keys one by one and as he finds they won’t work
he drops them singly into the empty side of the bag you are holding. He now tries the seventh and
the lock opens. Just at the moment the lock opens you change hands with the bag and switch sides
bringing the six duplicates up. The spectator then removes the ribbon and drops the key in among the
others. As he drops it in, ask him to scoop them out and count them aloud again. Seven. And one of
them fits the lock. Really all seven do that very thing!
The performer now passes among the spectators and asks a man to reach in and take any one he
wishes and keep it in his closed fist. Your telling this first man what to do serves as a slight pause and
the bag is switched side for side again. Now the performer passes to six other people in turn and each
remove a key until the last is taken.
I advise doing this haphazardly and not in a straight row. This is simply because the first selected key
is always the right one and you should be able to eventually pass one or two duds before stopping
at the correct one.
The selecting done, the tricky work is done and the finish is played up as strongly as desired to a climax
as of course, the right party is known and the other six won’t fit the lock.
Thus you start with seven unprepared keys and a lock and end the same way. The use of the bag is
merely incidental and is never mentioned but just used and that’s all.
It might be a good plan when passing from hand to hand at the finish in search of the key, to pass two
duds and hit it the third time. Too much play is bore some. When you touch the first hand, shake your
head and say, “No, there isn’t a thing here. It can’t be the key. Try it.” The party with the lock tries and
it doesn’t fit. This occurs with the second in the same manner. But with the third one the performer
becomes elated and declares that this must be the key itself. It is tried – and works.
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Seven Keys to Baldpate
Various strong presentation points are in this and will be worked up by the enterprising performer.
One is that during the entire effect from start to finish you need never so much as touch a key or the
lock. They are lying in full view and are first picked up by the spectator. Throughout the routine you
only carry them and mix them. The trying of the keys and the opening of the lock is done by your
audience and what could be more fair?
Of course, you can use five keys instead of seven but then I wouldn’t have had such a good title for
this real little mystery.
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Seven Keys to Baldpate
THE CHALLENGE
Even today, 75 years later, Annemann’s construction of this routine still
stands up to critical analysis. If there is an obstacle or challenge in the
original handling for the contemporary performer, it is in the use of seven
duplicate keys and a change bag to force the first key. The more practical
approach, and one that has been adopted by some performers, is to force
the last key. Most of these variations, however, still require the use of a
changing device to bring the working key – sometimes a duplicate - into
play at the appropriate moment.
THE SOLUTION
Our solution builds on this thinking; while eliminating the need for a change
bag, envelope, purse or other device. In addition, no duplicate keys are
required, so you start and finish clean. There is absolutely NOTHING to get rid
of, or for anyone to discover at the end of the effect.
With this handling, only one part of Annemann’s original routine is
modified – the point where the keys are gathered up and placed in a bag
prior to having them selected by the spectators. Everything else remains
essentially the same.
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Seven Keys to Baldpate
Photo 1
WHAT YOU’LL NEED…
The Padlock and Keys
As already discussed, you’ll need one padlock with one working key;
as well as six matching keys (or four) that fit the lock, but will not
open it. See Photo 1. You have two options in this regard. You can buy
one lock that comes with two working keys and have the other keys
custom cut by a locksmith or the key-making department at your local
hardware store. If you do, the blank key stock must match the working
key; otherwise have them copy the working key, too, so it matches the
others. Easier yet, simply buy three or four identical padlocks (depending
upon whether you wish to use seven or five keys in your presentation).
Take one lock with one of the keys that open it, and add the odd keys
from the other packages. How much will all of this set you back? Well, the
40mm Master Lock pictured in Photo 2 at right runs about $4, so you’re
Photo 2
looking at somewhere between $12 and $16 for your lock and keys.
The Bag
Almost any small paper sack will do, from a 10-5/8” (27 cm) plain brown paper lunch bag to a colorful
9-3/8” (24 cm) party bag, like the one pictured in Photo 1. The slightly smaller size of these “goodie
bags” makes them well suited to this effect. They also add a nice splash of color to the proceedings. To
see what’s available in your area, visit your local party goods depot, larger craft shop, or any other store
where birthday party supplies are sold.
Ribbon
You’ll also require a small piece of ribbon, yarn or some form of key tag to attach to the working key.
Whatever you use, make sure it can easily be removed by the spectator with a minimum of effort.
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Seven Keys to Baldpate
Left thumb clips
first (lowermost)
key at base of
two middle fingers,
just before hand
turns over.
Photo 3 Photo 4
HANDLING THE KEYS
After a spectator tries out the six odd (non-working) keys in the
lock, gather them up on your left palm. Make sure to place the
first key near the finger palm position, at the base of the two
middle fingers. The rest of the keys can go anywhere on your
outstretched hand. Although no special order or arrangement is
needed, make sure part of the first key is exposed. You’ll see why
in a moment. See Photo 3. You are now going to apparently
Photo 5
“dump” all of the odd keys into the paper bag. However, as your
left hand turns over, your thumb clips the first key – holding it against the fingers and lets the rest of
the keys fall into the bag. See Photos 4 and 5. This simple action is completely masked by the back of
the left hand; which is to the audience.
Without hesitation, you are now going to transfer the grip of the bag
from the right hand to the left. To do this, first curl your left fingers
inward to hold the key. This is “not” a finger palm; rather your fingers
merely form a small ledge which the key rests on. Next, move your
left thumb to the outside of the bag – pressing inward against the
outer wall. At the same time, flatten out and press your left fingers with
the key inward against the inner wall of the bag. The pressure of your
thumb on the outside and fingers on the inside of the bag will hold the
Photo 6 key securely in place. This key will also be completely concealed from
all angles. See Photo 6.
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Seven Keys to Baldpate
Photo 7 Photo 8
From the audience’s point of view, all that has happened to this point is that the six odd keys have been
gathered up and dropped into the paper bag.
Now, have the spectator demonstrate that the correct (working) key with the ribbon attached actually
DOES open the lock. After the lock is closed again, ask your helper to remove the ribbon and hand you
the key. Extend your right hand, palm up and take the key. If necessary, maneuver it to the finger palm
position at the base of your two middle fingers, as shown in Photo 7. You’re now going to execute the
illusion of dropping the working key into the bag with the other keys. In reality, however, you’re going
to retain the working key in the right hand by once again clipping it with your thumb as the hand
turns over. See Photo 8. At this very same moment, release the key your left hand is holding against
the interior of the bag. The illusion is perfect. The audience SEES the right hand go in and then, they
HEAR the key fall as it hits the other keys on the bottom of the bag. Practice the timing until you get it
down, pat. Magicians will immediately recognize this ploy from the Miser’s Dream; since this auditory
illusion forms the basis of that trick.
As before, you are going to immediately transfer the grip of the bag – this time from the left to the
right hand. The actions with the key in your right hand are exactly as already described for the left
hand. Curl your right fingers inward to form a ledge, move your thumb to outside of the bag, press the
outside of the bag inward with your right thumb as you flatten out your right fingers and press the key
against the interior of the bag. The pressure from both sides securely holds the working key in place,
while concealing it from all angles.
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