Boris Wild - Principle of the Boris Wild Instant Memorized Deck

MIRACLES WITH THE BW INSTANT MEMORIZED DECK

Principle of the Boris Wild Instant Memorized Deck TECHNIQUE As it is the case with other memorized decks on the market, the BW Instant Memorized Deck allows you to: - Know the exact position of a given card in the deck; - Know which card is located at a particular position in the deck. Why should you consider adopting this particular system, when there are already so many other clever arrangements in print on the market, who profess the same features? Consider that this particular arrangement can be assimilated in not 6 months, or 6 days, or even 6 hours (!), but in 15 minutes. Many may do so in 6 minutes! Members of the underground scene have already dubbed this the "super-easy card memorization technique". WHAT YOU NEED A regular deck. QUICKSETUP OF THE BW INSTANT MEMORIZED DECK To quickly set up the BW Instant Memorized Deck, do as follows: . Sort the cards by suit and then in numerical order with the cards in four face up piles with Aces on top of each . Arrange the piles from left to right in the CHaSeDorder: Clubs, Hearts, Spades and Diamonds.

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. Now cut the Clubs pile to bring the 4 of Clubs on top. The order becomes from top to bottom 4, 5, 6, 7, 8, 9, 10,J, Q, K, A, 2, 3, . Cut the Hearts pile to have the 3 on top, . Cut the Spades pile to have the 2 on top, . The Diamonds pile remains with the Ace on top. Then proceed to assemble the deck by picking with your right hand one face up card from the Clubs pile and place this card face up in your left hand. This process is continued from left to right with the Hearts, Spades, Diamonds then again back to the Clubs until all cards are in your left hand. Your deck in now ready! Here is the actual stack for the deck in a face down position: 12345678910 1112 1314 15 16 17 18 19 20 138

4 of Clubs 3 of Hearts 2 of Spades Ace of Diamonds 5 of Clubs 4 of Hearts 3 of Spades 2 of Diamonds 6 of Clubs 5 of Hearts 4 of Spades 3 of Diamonds 7 of Clubs 6 of Hearts 5 of Spades 4 of Diamonds 8 of Clubs 7 of Hearts 6 of Spades 5 of Diamonds

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21 - 9 of Clubs 22 - 8 of Hearts 23 - 7 of Spades 24 - 6 of Diamonds 25 - 10 of Clubs 26 - 9 of Hearts 27 - 8 of Spades 28 - 7 of Diamonds 29 - Jack of Clubs 30 - 10 of Hearts 31 - 9 of Spades 32 - 8 of Diamonds 33 - Queen of Clubs 34 - Jack of Hearts 35 - 10 of Spades 36 - 9 of Diamonds 37 - King of Clubs 38 - Queen of Hearts 39 - Jack of Spades 40 - 10 of Diamonds 41 - Ace of Clubs 42 - King of Hearts 43 - Queen of Spades 44 - Jack of Diamonds 45 - 2 of Clubs 46 - Ace of Hearts 47 - King of Spades 48 - Queen of Diamonds 49 - 3 of Clubs 50 - 2 of Hearts 51 - Ace of Spades 52 - King of Diamonds

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MIRACLES WITH THE BW

In order to use the BWInstant Memorized Deck, you just need to follow the three steps below: First: Remember the Suit Values: . Diamonds = 0 . Spades

= 5

. Hearts

= 10

. Clubs

= 15

. Spades has one sharp point, so: 1 x 5 =

5

2 x 5 = 10

. A Club has three leaves, so:

3 x 5 = 15 . You can draw the pip of a Diamond within a "0" (or you need to make a check with a lot of zeros if you want to buy a diamond i). So: 0x 5= 0 Second: Memorize the multiples of 4 until 64 That means: 4, 8, 12, 16, 20, 24, 28, 32, 36, 40, 44, 48, 52, 56, 60 and 64. 1 x 4= 4 9 x 4 = 36 2 x 4= 8 10 x 4 = 40 44 llx4= 3 x 4 = 12 4 x 4 = 16 12 x 4 = 48 13 x 4 = 52 5 x 4 = 20 14 x 4 = 56 6 x 4 = 24 15 x 4 = 60 7 x 4 = 28 8 x 4 = 32 16 x 4 = 64 Third: You will need to memorize two mathematical rules. One rule will help you find a card at a position. The other rule will permit you to name the card at a position.

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BASIC WORKOUT FOR THE BW INSTANT MEMORIZED DECK THE RULES First Rule: What card is at a given position in the deck? If someone calls out a number from 1 to 52, what card is in that position?

The mnemonic "hook" which I use to commit the progression to memory is extremely simple; I remember "5".That's the extent of it! Building on this concept, note that: . A Heart has two ventricles, so:

INSTANT MEMORIZED

The mathematicalrule is the same for all numbers and the best way to understand it is by practicing the examples that follow. . A spectator calls out "21". Remember the number, and successively add 0, 5, 10, and 15 to it until a multiple of 4 is obtained. 21 + 0 = 21; 31 is not a multiple of 4. Go on; 21 + 5 = 26; 26 is not a multiple of 4. Go on; 21 + 10 = 31; 31 is not a multiple of 4. Go on; 21 + 15 = 36; 36 is a multiple of 4, STOP! 15 is the value for Clubs, therefore the 21st card is a Club. To discern the value, divide by 4 the multiple obtained: 36 divided by 4 is 9; therefore, the card at the 21st position is the 9 of Clubs! . A spectator calls out "38".Again,remember the number, and add successively0, 5, 10, and 15 to it until a multiple of 4 is attained. 38 + 0 = 38; 38 not a multiple of 4. Go on; 38 + 5 = 43; 43 not a multiple of 4. Go on; 38 + 10 = 48; 48 is a multiple of 4, STOP! 10 is the Heart value, therefore the 38th card is a Heart. Dividing 48 by 4, we get twelve; twelve represents a Queen. Thus, the 38th card is the Queen of Hearts. . This time, consider "7". Remember the number, and add successively 0, 5, 10, and 15 to it until a multiple of 4 is attained. 7 +0 = 7; 38 not a multiple of 4. 7+5 = 12; 12 is a multiple of 4. STOP! Therefore the card is a Spade. (5 corresponds to Spades) Dividing the multiple of 4 by 4 02 divided by 4) gives 3; the value of the card is 3. The card in the 7th position is the 3 of Spades. 141

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. Should the spectator call out a number which you immediately recognize to be a multiple of 4, the card will be a Diamond. 40 is called out: 40 divided by 4 is 10. 10 of Diamonds! 52 is called out: 52 divided by 4 is 13. 13 stands for the King. King of Diamonds! N.H.: Tbesame mathematical rule worksJar all the numbers, but an adjustment must be madeJar 6 oj them. Tbesecases are numbers: 41 - 45 - 46 - 49 - 50 and 51. In these cases, you will apply the same method to find the multiple of 4 but the division by 4 will yield a number greater than 13. In these cases, simply subtract 13 from that resulting number and you will obtain the right value! . 41 : 41+15 = 56 14 - 13 = 1 56 / 4 = 14 ~ The 41st card is the Ace of Clubs. . 45 : 45+15 = 60 60/4 = 15 ~ 15 - 13 = 2 The 45th card is the 2 of Clubs. . 46 : 46+10 = 56 14 - 13 = 1 56 / 4 = 14 ~ The 46th card is the Ace of Hearts. . 49 : 49+15 = 64 16 - 13 = 3 64 / 4 = 16 ~ The 49th card is the 3 of Clubs. . 50 : 50+10 = 60 15 - 13 = 2 60 / 4 = 15 ~ The 50th card is the 2 of Hearts. . 51 :

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51+ 5 = 56 14 - 13 = 1 56 / 4 = 14 ~ The 51st card is the Ace of Spades.

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Second Rule: at which position is a given card in the deck? If a card is called out, where is it in the deck? This rule is even easier!Just look at the followingexamples and you will be convinced! . A spectator calls out the 9 of Clubs. Committhe card to memory. Multiplyits value by 4: 9 x 4 = 36 From the resultant number, 36, remove the value associated to the suit. Clubs being 15: 36 - 15 = 21 The 9 of Clubs is the 21st card! . A spectator calls out the Queen of Hearts. Commit the card to memory. Multiply its value (12 for a Queen) by 4: 12 x 4 = 48 From 48, subtract the suit value, 10 for Heart. 48 - 10 = 38 The Queen of Hearts is in the 38th position. . The 3 of Spades is called out. Committhe card to memory, and multiply its value by 4 : 3 x 4 = 12 From 12, subtract the suit value. 12 - 5 = 7 The 3 of Spades is in the 7th position. . You'll love Diamonds. Allyou are required to do, is to multiply the card's value by 4. 10 x 4 = 40 10 of Diamonds? card is in 40th position. King of Diamonds? 13 x 4 = 52 card is in the 52nd position.

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N.B.: This mathematical rule will workfor all the cards but an adjustment must be madefor 6 of them. Theyare the same cards corresponding to theparlicular cases exposedin Rule #1: Ace of Clubs, 2 of Clubs,Ace of Hearls, 3 of Clubs,2 of Hearls and Ace of Spades.

Easy Applications

Actually, if somebodycalls out one of thesecards, you willget a negative number, so here is what to do: The3 of Clubs,for example, willyield a negative3 value: 3 x 4

= 12

12 - 15 = -3 A card obviouslycannot be at a negativeposition in the deck... unlessyou count from the bottom!Subtract 3from 52 (the bottom position) and you will get 49: the 3 of Clubs' position. That's it! So, whenfaced with a negative value, subtract the numberfrom 52. Easy!

T

he real life applications of the Boris Wild Instant Memorized Deck, or simply the BWIMD,are innumerable. Any routine whose pre-requisite is the use of a memorized deck is presentable with this technique. It will sustain casual examination as for the Si Stebbins stack. FLASH MEMORIZATION

This simplest application is to simulate the memorization of a full pack in a few seconds. Rapidly false shuffle your memorized deck a few times, spread the cards in your hands with fierce intensityand ask a spectator to call out a random number from 1 to 52. While simulating intense recall of the pack's order, mentally perform the "number to card" calculation as per the FirstRule and announce the appropriate card. Hand over the pack, instruct the spectator to count down to the position: the called out card will be there! REVERSE FLASH MEMORIZATION

The reverse operation is just as effective! Ask a spectator to call out a card of her choosing. After a few seconds' concentration while applying the method from the Second Rule, announce the card's exact location in the deck! COVERT LOCATION

It is at times advantageous to be able to secretly locate a card, speciallywith a simple cut. Imagine that you are intend on forcing the 4 of Diamonds. You quickly calculate its position mentally and know that the card is (Quick?Have you done it?) 16th from the top. You may estimate the cut and cut to either under the 15th or over the 16th, depending whether you wish for the card to be on top of 144

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the deck or at the bottom. If you are new to estimation as a card handling technique, do not be intimidated, it is really quite easy. A trick to make the estimation easier is to mentally divide the deck's side in four quarters. Thus,S references points are present: - The 1st position (!) - The 13th position - The 26th position (middle of the deck) - The 39th position - The 52nd position (1) With these, you may learn to cut to any position at will. . If, for example, a spectator calls out "28",estimate to 26 and add two more cards. . "20" calls for a cut between the points where you visualize 13 and 26.

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intercepted! The Clubs - Hearts - Spades- Diamonds may be put to contribution as well in helping localize the card. If you are attempting to locate a precise card, the markings will give you immediate feedback as to whether you are successful or not. Similarly,if you are attempting to cut the deck at a precise level, the markings will allow you to know if you are right on or off; and if you are off, the cards tell you how much of a correctionis necessary. An excellent training routine is to prepare a Marked Deck / Memorized Deck and try to: . Cut to a card which corresponds to a randomly chosen number (the markings will tell you how close your estimate was); . Cutting to a specific position and "aiming" to a specific card. Again, the markings will give you immediate feedback. Do indulge in these exercises. As you try them out, your estimation and calculation proficiencies will quickly improve. It is now up to you!

. "36";spot 39 and cut 3 cards above it. Since most routines call for a given card to be brought to the top, you might prefer erring on the minus side, i.e. not cutting enough cards. This makes it more likelythat the card will be on top, or near the top. Overestimation,on the cut, would send the card to the bottom of the deck. To verify the effectiveness of the cut, there are 2 methods: . You may quickly peek at the face of the 2 or 3 first cards and adjust accordingly if the required card is not the top one. A simple double cut, or a pass, will fix things up nicely. . If your deck conveniently happens the be a BW Marked Deck, things are a lot simpler! A casual spread of the top cards will reveal their identity, thanks to the markings. No need for furtive peeks! However, you will rapidly appreciate that the Marked Deck / Memorized Deck combination will allow you to systematicallycut the appropriate card! Why? Because when cutting the handheld deck, it is relatively easy to read the marks off the top card of the bottom half, and riffle off cards is necessary... so the right card is 146

The French Connection Yannick Lacroix, Michel Huot, PatriceMeunier and PatriceDemers

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Coincidence

A

blue deck of cards is displayed, put back in its case and handed to a spectator for safe keeping. A prediction is written on an opaque index card and put face down on the table, its actual message hidden from view. Whilst the performer faces away from the audience, a spectator freely selects a card from a red deck and writes its identity on another index card. Once she is done, the magician faces the audience and the spectator is requested to turn her card over; the spectator's card is inscribed King of Clubs whilst the performer's card is seen to be inscribed with a number... 37. The spectator holding the blue deck is requested to take it out and to count down to the 37th card: it turns out to be the King of Clubs! WHATYOU NEED . An ordinary deck and its case (e. g. blue) . A BW Marked Deck whose back pattern is different from the first (e. g. red) . Two opaque index cards or business cards . A black Bic ball-point pen, whose cap has been doctored: Photo 78. The tip is PHOTO 78 cut off so that the pen will write even though the cap appears to be in place. A Stanley@knife will allow you to make the initial cut readily, and soft sandpaper will round up the profile and make your surgical intervention less apparent. Fear not; a truncated cap is not unusual. Most pen caps bear a hole at the cap's point nowadays, as a safety feature to protect toddlers against choking following accidental aspiration. If noticed at all, your cap - and pen - will be perceived as a standard Bic pen. 148

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PREPARATION . The ordinary deck must be stacked in the BW Instant Memorized Deck order and inserted in its case. . The BW Marked Deck must be stacked as per the Double Personality write-up (a reverse Si Stebbins). This deck is cased as well. . Two index cards or business cards are on the table, along with the Bic pen whose cap is pointing towards you. The stage is set... PERFORMANCE Extract the Memorized Deck from its case and show its cards as all different. Put it back in its case, throw it to a spectator and ask him to put it in a pocket. State that you will write a prediction on one of the index cards. Take the pen in hand. You absentmindedly start writing with the pen's cap still on the tip. Take off the cap, offhandedly punctuating the action by saying something to the effect that "it works better without it". Holding the card nestled in your hand in horizontal position, pretend to write something onto the card. The simplest technique consists in jamming the ball's point onto the first phalanx of your second finger, and to rub that finger's nail onto the card. The idea create a credible illusion of writing. Do not write big; limit the movements' range. Do not actually "write" anything which may decipherable from the pen's movements. Simply be seen writing something quickly (use PHOTO 79 your nail to simulate the noise): photo 79. The writing sequence is quick, less than three seconds. Once done, do put the index card aside, "writing"side down so that no one realizes that nothing is actually written. Put the cap back on the pen's tip, pushing it in fully so that the point pokes out of the cap: photo 80. Introduce the stacked deck into play (the reverse Si Stebbins) and spread it faces towards the audience, casually men149

THE COMPLETE BORIS WILD MARKED DECK

tioning its shuffled state and the fact that all the cards are different. Perform a few false shuffles and cuts, culminating by enlisting a spectator's help on the last cut "to be on the safe side". Give the deck to a spectator to hold and turn away from her and the audience. Ask her to cut PHOTO 80 the deck on the table, complete the cut, and to look at the new top card. She is to memorize it and to place it away in her pocket. Then, face the audience and explain to the spectator that she is to reproduce her chosen card on the other index card - by drawing it. As you say this, take the tabled deck and put it back in its case after taking a peek at the current top card of the deck reading off its markings. Figure out the name of the selected card through application of the reverse Si Stebbins progression (+3 to the value, next suit in the CHaSeDsequence). Calculatethe positionof this card in the BWInstant MemorizedDeck, and committhis number to memory. You will now secretly write that number on your index card under guise of explaining to the spectator what kind of drawing she is to do. There are many subtleties involved which will cover you nicely. Take your index card in hand, the "writing"facing you, but hold the card verticallywithout looking at it. Take the capped pen in the right hand and "mime"writing on the index card. This is the reverse of the original situation; you were initially seen writing on the index card (when you were not). Now, you will actually write on the card, but will be perceived to be "miming"- illustrating what you expect from the spectator. As the card is held vertically, you will have to write vertically as well... without paying overt attention to the writing!So a little training may be necessary before you actually attempt the routine. Holding the card vertically is quite logical, as you profess to explain how to re-create a playing card: Photo 81. A two step approach is what I recommend: first write one digit, pause, then the other. 150

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With both card and pen in hands, I explain that it is not necessary to draw the indices if the card is a spot card; a figure card only "needs to vaguely resemble the original article".As you say this, you (actually)write on the card. A casual demeanor is key here. You professedly go PHOTO 81 through all this to be helpful and make your spectator at ease. The interplay with her will provide additional misdirection. Rehearse a real miming approach to get the feel, and then incorporate the real writing while keeping the exterior appearances of miming.When you are done, hold the index card in the left hand, vertically,writing towards you. Hand the pen to the spectator. As she reaches for it, you will pull it back toward you and pull out the cap, again using the "itworks better without it !" line. Change the grip on the index card for the maneuver, as per photo 82. Once more, you have subtly conditioned the spectators to notice that the pen could not have possibly been used to alter your prediction, as the pen was capped, this a clear non-verbal message.

PHOTO 82

PHOTO 83

Hand out the uncapped pen to the spectator as you slip the cap into your pocket, awaiting completion of the drawing. You humorously comment on the fact that the time taken for the drawing is proportionally suggestive of either an Ace or figure, as the case may be. During this time, pivot the wrist so that the card is in the horizontal position, the inscription strictlyvisible to you: photo 83.

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When the spectator has finished her drawing, retrieve the pen, putting it aside. Tell the participant that you are going to both turn the cards over simultaneously, revealing both inscriptions to the audience. Do so. Read aloud the spectator's index card, and ask her to read off your card. Repeat aloud both the card and number, and recapitulate the conditions of the effect: . Your prediction was written long before the spectator selected a card; . You have never looked at the face of the cards, and have never seen the spectator's selection, as your back was turned; . A deck was put away for safekeeping at the very beginning of the effect. Ask the spectator holding the memorized deck to join you, to extract the cards out of the case and look at the position indicated by the number C37in the example): it is the card drawn by the spectator!

NOTES What if, when the two index cards are turned over, you do not get a match? It is possible that you've encountered a playful spectator (or one with a mean streak, or simply slow) who has drawn a card which differs from the selection. Asking the spectator to withdraw the card from the pocket will allow you to remain on top of things, and complete the effect in honorable fashion, gently chiding the spectator and extracting humor out of the situation.

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the position. It is a solution pretty close to the initial effect; even though taking the deck in hand does affect the routine's directness, you still salvage it without the spectator being aware of the difficulties encountered.

Psy-Show This routine makes use of an under utilized technique; the subliminal message. Initiallyemployed in the publicity arena as well as in behavioral studies, the subliminal message is an apparently imperceptible element which is nevertheless picked up by the subject and acted upon in a predictable fashion. In this particular routine, the cap is subtly brought into play in an insidious fashion. The first time the spectator sees you attempting to write with the cap on, you casually mention that "it works better without it". This is not delivered as a "line", but as an off-handed casual remark. It must not feel scripted; its efficacy lies in its casualness. It should barely register with the audience. The line pops up again as you offer the pen to the participant. Again, the line is underplayed, but it acts as an insidious convincer that the writing on your card could not be altered once the pen is capped. The subliminalapproach allows to anchor certain perceptions in the audience's mind. Consider including it in your arsenal of psychological techniques.

The other possibility is that you might have goofed on the calculations. Bouncing out of it is hardly an insurmountable challenge, especially since the spectators do not know how you plan to finish the effect. Calculate the position at which the new card should be as you ask for the memorized deck. Figure out the difference between the position and the number written on the card. Spread the deck face up, secretly counting the appropriate number of cards (the difference between the new number and the prediction) and take a break at that point. Double cutting the deck will bring the card to the appropriate position, as written on your index card. Hand the deck to the spectator and ask him to count the cards to 152

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Miracle! blue deck is shown and shuffled. It is placed in its case and tossed to a member of the audience. A red deck is shown .and given to a spectator for verification and shuffling. The performer then requests a third party to name any number from 1 to 52 (e.g. 13) as he takes the red deck back and asks the shuffler to take a card out of the red deck (e.g. the 7 of Clubs). The magician then asks the keeper of the blue deck to take the deck out of the box and to count down to the 13th card... It is the 7 of Clubs! WHAT YOU NEED . A red BW Marked Deck. . A regular blue deck. PREPARATION The blue deck must be in BW Instant Memorized Deck order. Both decks should be tabled in their respective cases. PERFORMANCE A woman is by your side to assist you. Display the two decks in their cases. Take the blue deck out of its case and show the faces to the audience, establishingthat the cards are all different. Perform a false shuffle sequence and put the cards back in the case. Point to someone in the audience and ask him if he plays basketball. Regardlessof the answer, gently toss him the deck and asks that the deck be put in an appropriate safe place such as a pocket. Extract the red deck from its case and show all the cards as different. Give this deck to the spectator next to you and ask her to shuffle continuously until you tell her to stop. In the interim, ask another spectator in the audience to call out a number from 1 to 52. As the lady continues shuffling, determine the card at the number called out. Your calculations are covered by the light banter you 154

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trade with the spectator, as you ask her why she chose this particular number, does the number have any special significance,ete. As the calculations of the stacked deck are simple, this should cover you sufficiently. Once the card crystallized in your mind, ask the spectator to stop shuffling and to hand you the deck. Start spreading the cards face down on the table, with an eye on the Level corresponding to the target card's suit. In our example, of the 7 of Clubs, it would be at LevelL As you spread the cards, looking for the target, comment to the effect that no one may know the order of the cards. Since you are playing for time, get the spectator to acquiesce. Now you will force the card matching the position in the blue deck. The two options are: . First option: as soon as the card is spotted, close up the spread, keeping a break at the card (actually, above or below the card - it depends on the technique you wish to use). Proceed to force the card onto the spectator, and get the spectator to show it to the audience. Use your favorite force. . Second option: this is the method I use. As soon as the card is spotted, close up the spread, and cut the deck using estimation to have about 7 to 10 card above the spotted card, the force card. Now, spread the cards face down and look for the card to be forced and Hofzinser Cull it under the spread (as explained in Peek Sandwich) as you turn toward the spectator. Ask her to point to a card with a finger and, as soon this is done, separate at that card the spread in the right hand, then square them against the cards in the left hand. This will bring the pointed card second to the culled card as now the Force Card will appear to be the pointed card. You now rise your right hand packet and ask her to take the card (the last card of the packet), and show it to the audience. N.H.:Asyou never lookat the cards' faces, aforce seemsto be out of the question. Besideswhy wouldyou force a specificcard? Technicallyspeaking, the effect is almost over for you. .. yet it seems to begin now for the spectators!Ask the spectator to call out loud the name of her card and to keep it in hand, facing toward the audience. Insist on the fact that her selection was taken out from a freely 155

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Psy-Show This is not a new theme, The "anycard at any number" problem has been attacked from different angles. This particular approach has its strengths: the cards' faces are not seen by the performer, the deck is freely shuffled by one of the participants. The decks may be examined after performance. Manipulating the spectators' memories will allow to extract maximum effect out of the routine; here are a few ideas on how to "nudge them in a favorable direction. When asking the spectator to name any number (in a range of 1 to 52 but only call attention to that if she calls a number greater than 52), it is obvious that it could have been any number. The card selection process should appear, ideally, just as free. And the shuffling should not feel limited at all. The spectator stops only when she is convinced that it is enough shuffled. Should the spectator drop a few cards during the shuffle, you can exploit this humorously, but this will again underscore the liberty given to the spectators in the choosing and shuffling. This makes the routine impossible to reconstruct. Since you never touch the other deck after the selections are done, the effect does become a major stunner.

DECK

X-Rays!

shuffled deck. Then ask the spectator in the audience to repeat the number he has freely selected at the beginning of the performance. Ask the spectator with the blue deck to come forward, to extract the whole deck from the case and to count down to the number called out by the other spectator. He stops on the last card and keeps it, face down, in his dealing hand. Do not touch it!!!Show the rest of the pack, emphasizing the fact that all the cards are different. Ask the spectator to turn the card over and to show it to the audience: it is a match!

INSTANT MEMORIZED

he performer shows a deck, shuffles it copiously, and cuts it at a point determined by a spectator. He tables the rest of the deck, stipulating that he will not touch it until the effect is over. The cut off half is put in the card case as the performer gazes away; the tabled stock is put in the performer's pocket as he still looks away. Once this done, the performer dons a strange looking pair of glasses, which he claims allows him to see through matter... or at least cards and card cases!He looks fixedly at the closed card case and announces a number: 19. The cards are extracted and counted out; there are indeed 19 cards in the case! But that's not all!As the performer walks away, he asks the pal1icipant to deal the cards on the table and to stop at her leisure. The card stopped at is inserted in the card case. Once more, the performer dons the extravagant glasses and stares at the case. He announces that it is a "black card... a Spades... the 4 of Spades!" Of course, the glasses are examined at the end... to the spectator's contentment! WHATYOUNEED . A BW Marked Deck . The most outlandish pair of looking glasses one may find. PREPARATION . Put the BW Marked Deck in a BW Instant Memorized Deck order. . The deck is in its case and glasses in a pocket. PERFORMANCE Extract the deck from its case, dropping the case in close proximity of the spectator you plan on using. (She must be on your right). Rapidly show the deck, and present it as a normal shuffled deck. Go through a false shuffle sequence as you patter to the effect that

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you are about to show them something very unusual. You may indulge in complete cuts as well - just make sure you have a good idea how deep in the deck the 4 of Clubs is (top card of the stack).

you do this, transformthe card into a number and subtractone from it. (For example, should the card be the 5 of Diamonds, you know that this corresponds to the 20th position, so 19 is your target number).

Spread the deck face out to show its shuffled conditions; take this opportunity to locate the 4 of Clubs. Close the spread, keeping a little finger break above the 4.

So after a few moments' mugging (and calculating...), announce the number: 19.

With the deck still held in dealing position, riffle down the left upper corner of the deck with the thumb as you ask the spectator to say "Stop!".When she does, the right hand comes over the deck and cuts it at the break. The right hand fingers cover the front edge of the deck, hiding the actual thickness of the block. The block of cards is immediately slid under the deck proper, and the assemblage squared up. This sequence nullify the cuts and puts the deck back in stack sequence. Phase one: Part of the deck hidden in the box Table the deck in front of the spectator and mention that you will not touch the cards until the end of the effect. Face away from the deck and instruct the participant to: - pick up a slug of cards; - insert it in the card case; - close the case. When she is done, turn around for a brief instant and look at the top card of the rest of the tabled deck. As soon as you have identified the card, turn away and point towards the deck, asking her "Could you, possibly, put the rest of the cards in my jacket pocket, so that they cannot help me?" Approach the spectator, still gazing away, and get her to slip the cards in your jacket's side pocket. You may then face the public, and thank her. Take out the glasses out of your jacket pocket. Explain that the glasses have quite an unique particularity; to see thru matter. Add that they were not conceived to see through ladies' clothes, but strictly for magical purposes. Propose on the spot... to make a demonstration. Donning the glasses, stare fixedly at the case's edge, Move slightly to the left, then right, as if you were trying to get a better look. As 158

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Explain that you've counted 19 cards in the case and ask the spectator to extract all the cards in a bunch and to count them, dealing them onto the table in one pile (the cards are therefore reversed). phase Two: The Sequel, one card hidden in the box Into the second phase: walk away from the table, while still keeping the spectator within your visual field. Ask her to pick up the pile of cards, and to start dealing onto the table, one card at a time. As she deals the first card, think "19". On the next, think "18"... and. continue so until the spectator stops dealing. Once she stops, asks her if she wants the last dealt card or the next one in line for dealing. Remember the number corresponding to her choice. Ask her to look at the card, remember it, and to slide it into the card case. She is then asked to close the case. Ask her to scoop up the tabled cards and walk back to her, without really looking at her or the cards. Position yourself as you did earlier and get her to place the cards, again, in your jacket's side pocket. Turn to face her and thank her for her assistance. Pull out the glasses, put them on and stare at the card case. Take advantage of your staring routine to change the number into the card. 11, from our example, translates into the 4 of Spades. After a few moments, ask the spectator whether she inserted the card face up in the case. Most of the time, she will answer in the negative. In this situation, ask her to turn over the case for you - as you do not want to touch it. As soon as she does, sigh and exclaim something to the effect that "it is a lot easier like that!" Successivelyannounce the color, suit and value of the card to recap by revealing that the card is the 4 of Spades! Invite the spectator to take out the card and show it to everyone in the audience! Immediately offer the glasses to the spectator and ask her if she, as well, can see through your devices. She will not. 159

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Psy-Show When you table the deck in the beginning of the routine, you announce that, "you will not touch the deck at all". The subliminal statement is that the effect has yet to begin and that your prior manipulation of the deck is not part of the routine. This will reinforce the recall memory of the spectator, who will be convinced that you, indeed, never touched the cards! When you get physically close to the spectator, the action is motivated by your requests to place the cards in your pocket. This conveniently puts you in visual range of the cards you need to identify. Choosing your pocket as a receptacle for the cards makes the whole procedure appear fair and above board. Additionally, as all the cards but one are pocketed, the stack's existence is secreted from prying eyes. And you are in a great position to proceed with a deck switch... Since the unused cards are put out of play in your pocket, the effect is crystal clear as there is nothing but the case on the table! It would look the same if the glasses were truly magical. The glasses do misdirect the spectators away from the actual method. By focusing on this object, rather than on the cards, suspicions will truly be directed towards the glasses... The ironic use of "speciallooking glasses", in conjunction with a marked deck, makes for potent entertainment for your spectators, doubled with deliciously guilty pleasures for you.

INSTANT MEMORIZED

DECK

Pure Telepathy

T

he performer shows a deck of cards, puts it on the table and walks away from the spectators, isolating himself in a corner of the room. A spectator is requested to cut the cards and to look at, and remember, the bottom card of the packet she is hold. mg.

Then, the performer asks the participant to shuffle the cards she is holding, and to hide the rest of the tabled cards in the card case. He then walks up to her, takes the shuffled cards out of her hands, and spreads them faces towards her. Never, at any point, does the magician look at the face of the cards. The spectator is asked to concentrate on every single card presented in the spread while keeping the identity of her chosen card in the back of her mind. Without asking any questions, the performer drops consecutively cards from his hands until he is left with only one: the spectator mental selection! WHATYOU NEED A BW Marked Deck PREPARATION Assemble the deck in BW Instant Memorized Deck order. The deck is in its card case, on the table. You are set to go. PERFORMANCE Extract the cards from the case, show them to be all different and perform a false shuffle sequence while keeping a constant stream of patter. Put the cards on the table and walk away from the deck so that you may not see what the spectator is doing. Ask her to cut up a portion of the deck and to look at the card which is under this upper half. Insist on the fact that she must not

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DECK

forget it and that she may show it to the others if she so wishes. Then request her to shuffle the cards she is holding and to keep them on the table close to her.

Gradually drop, little by little, cards which do not correspond for the one you are seeking. Pause for a beat before dropping while looking at the spectator directly in her eyes.

Ask her to take the lower half of the deck, still on the table, and to hide it in the card case.

Stop by keeping only a few cards in hand. Drop the last few cards keeping one in each hand. Pretend dropping the right card, by lowering that hand and pause, then let the other one drop.

Get verbal confirmation that the rest of the cards has been put away and go back to the table. Take the card case and put it in your pocket without looking at it. Then gingerly retrieve the shuffled pack while keeping it at arms' length (more or less extended) and do not do anything suspicious, either in your gestures nor in your gaze. Insist. on the fact that you have never seen these cards, which implies lithe face of the cards", and that you shall never look at them. Gradually spread the cards in front of the spectator's eyes, asking her to concentrate on what she sees and to feel something when she sees her card. Insist on the fact that she must not say anything, nor do anything which might give you a clue as to the card's identity. From your side, explain that you will not ask any question and that she will not hear the sound of your voice from this point onward. I like to use music from that moment to the end of the performance. At this stage of the routine, all which is necessary for you to do is to count the number of cards that you have in hand as you display them to the spectator. As soon as the number is known, it is easy for you to translate it into a card via the method explained for the BW Instant Memorized Deck. This card was the one below the group of cards she has cut to earlier. It is therefore the one she has seen and the one she is thinking of at this moment! For example, if you are holding 17 cards, it means that she saw the 17th card and this particular card is the 8 of Clubs. Spread the deck anew in front of the spectators' eyes and spot the card which you have in mind. This is easily to achieve as the markings are on the left edge of the spread cards and in the spectator's visual axis. You are supposed to be concentrating on the spectator's gaze, but in reality, you are searching for the card that you have in mind.

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Stay immobile for few seconds, then as the hand containing the selected card raises to her eye level, look at the face of the spectator and nod in an interrogative fashion so that she confirms that it is really her card.

NOTES This routine may be repeated two or three times without any further preparation! When you have completed a first performance, scoop up all the cards that you had dropped on the table, square them up and drop them onto the rest of the deck. Suppose that there was 18. You may without any problem reiterate the experience with another spectator inasmuch as she cuts deeper than 18 cards. Effectively, the stack's 29th card is still in 29th position, only the first 18 cards are not in their initial positions!!! To make sure that the spectator cuts a larger group of cards, simply ask her to take a larger part of the pack litomake things more complicated". This action will make things a lot easier for you! Finally, should you consider a bold, reckless soul, you may attempt a third time with, this time, a very large portion of the deck. The routine's process remains of course identical for each supplementary presentation.

Psy-Show Although this effect can be repeated immediately, I never do this because it would be anticlimactic to the theatrical presentation of mine. Most often, I like to close my show with this effect or as an Encore (d the performance on the Companion Video for this book). 163

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This routine's impact is particularly strong because of the clarity of the effect: a card is simply peeked into a deck while you are away from everything. The cards are shuffled, hidden and, when you come back, you divine the one which was seen without looking the faces, nor asking any questions! The revelation is very powerful since there are no apparent clues. Because of this, the climax becomes a particularly intense moment that one should nurture. For this, I use a musical accompaniment which is cued on at the moment before I start to spread the cards in front of the spectator. The cut is a calm piano piece taken from the soundtrack of a romantic movie. The music never fails to engage a seduction game between you and the participant. Passionate gazes exchanged and coy smiles will not fail to amplify the intimate climate which you aim to create. Furthermore, the fact that not a word is uttered accentuates the "dramatic" aspect of the situation. The audience is not witnessing a card trick but a privileged moment in which magic and emotion meet in true symbiosis. Finally, it is important to keep in mind that your goal is to IIphysically" find the card that she is thinking of, but its identity is of little consequence. Indeed, you are supposed to feel deep in yourself something which tells you; IIThiscard which has just passed in front of her eyes is hers". However, you are not supposed to know what card it is (a Heart, a Club, a figure.. .). This is of no importance as the experiment's goal is to perceive a strong feeling on a card, whatever its nature may be. That is why it is crucial - after the revelation - to briefly look at the face of the card as if you were curious to know what it is!

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