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34 Miracles plus 2 thought-provoking Essays 90 Pages - Illustrated!
George McBride David Forrest Jim Cuthbert Peter Duffie Jackie McClements Peter McLanachan Alan Innes Scotty Johnston Ian Kendall Euan Bingham David Lees
Roy Walton Paul Lesso Drew McAdam Peter Arcane David Walsh Max Gordon Gary Middleton Dave Robertson Alan Rorrison Gavin Ross Val Le-Val
Contents Click on a Name or Chapter
Chapter 1 Chapter 2
Chapter 8 Chapter 9 Chapter 10
Streamlined Who Knows the Card Mirakill Have a Drink on Me Book Test 34 Mating Season Invisible Opener Dicychometry Killer Finish Al-Together Now Snap! Draw Your Own Conclusions Devil Lived 1 & II Wedding Present The Shoe She Connection
Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter
Reversed Card to Named Number Mine’s a Half! One from Three The Collector of Souls The Gobbolino Principle Fiend Stack Multiple Book Test Scipio's Fiendish Prediction Customer Care for Conjurors The Gentle Art of Audience Handling Traffic Light Personality Test
Slightly Off Target
Pointing at Moe
The 21 Card Trick Psychic Paper
14 15 16 17 18 19 20 21 22
Copyright.© Peter Duffie 2007 No part of this publication may be copied, translated, transmitted or re-sold in any way whatsoever without the permission of the publisher and copyright holder.
Guardian Ghost Roy Walton (May 2007)
A dead Pharaoh summons a frightening object to deter tomb raiders from robbing his tomb. In this case it is a ghost; the ghost of the Pharaoh himself!
Preparation The face card of the pack must be reversed and its value similar to the third card from the face. For example, the third card from the face is the 9 spades and the reversed face card is the 8 spades. The procedure I use to get to this position is as follows: Run through the face up pack and cull a similar card to the second from face to the lower side of the pack. As you turn the pack face down between the hands, use the left fingertips to push the lower card sideways, so that the main pack can settle above it as it is revolved face down by the right hand onto the face up card (Figs 1 & 2).
This action leaves the lower card face up below the main pack.
Working 1. Talk about the importance of a Pharaoh’s burial in ancient Egyptian days and say you will try and illustrate the procedure with a pack of cards. With a tongue in cheek type of delivery say, “Of course it will require a lot of imagination.”
2. Get a break above the lower two cards of the pack with the left little finger and spread the cards face down between the hands, the lower two being kept together as one card. Request a spectator to remove a card from the spread, which you say will represent the deceased Pharaoh. Once he has taken a card, square the pack and take it into the right hand, the hand being curved over the pack, thumb at the near short end and fingers at the
far one. The break above the lower two cards is taken over and held by the tip of the right thumb.
3. Take the chosen card from the spectator and after showing it to all the spectators, leave it lying face down on the left hand. Place the pack face down on top of it and pick up the break again with the left little finger. This break will now be above the lower three cards of the pack. The little finger tip should be actually inserted into the pack above the three cards.
4. You now turn the pack face up by placing the left thumb below it and pushing upwards on the left hand side of the face of the pack, whilst the right hand supports it at the outer short ends as the pack swivels face up. The right thumb picks up the break at the near short end and moves a little to the right maintaining the break, which is then retaken by the left little finger. This time the little finger is keeping the break by pressure on the side of the pack, rather than being inserted into the pack. The right hand now moves away from the pack for a moment. Again pointing out that the face up card will represent the deceased Pharaoh, it is turned face down onto the pack by the right hand, and really all three cards are turned over, an easy action because of the break. The face down card is now thumbed off onto the table in a very fair action and then the balance of the pack turned face down in the hands. Say, “The Pharaoh is now buried in his tomb.” As you say this, thumb off small packets of about half a dozen cards from the top of the pack and drop them one by one on top of the face down tabled card to bury it. Do not place the packets on top neatly, scatter them abound a bit to form an untidy group of cards on top of the face down one (See photo on right). Continue this action until all the pack is used up, the final packet you place on top of the others should be neatly squared.
6. Now explain that to deter tomb raiders some sort of frightening object was placed near the entrance to the tomb. Say, “In this case it was a ghost, the ghost of the Pharaoh himself.” As you say this patter line, use both hands to move the top cards of the pack apart until the face up card shows up (Fig.4). Fig.4
Check out Roy’s shop: Tam Shepherd website.
Streamlined Who Knows the Card George McBride (May 2006)
A card mentally chosen by one spectator is found by another spectator.
This is a streamlined handling for Eddie Joseph’s “Who Knows The Card“ (Dumbfounders with Cards page 9, Paul Gordon edition).
Working 1. Borrow a 52-card deck that has been shuffled by the audience. Ask spectator `A` to name any number from 25 to 40. They must remember this number. Let’s say they name 30. As soon as `A` names a number mentally subtract this from 40. In this example, the result will be 10. This is your key number. You must remember this number for later.
2. Now, ask a second spectator - B - to remove from 1 to 12 cards from the deck and place them into his/her pocket. You should look away while this is being done. Turning to face the front, you explain to spectator `B` that you will show him 12 cards and he is to remember the card that falls at his secret number.
3. Hold the deck face down in left hand dealing grip and remove cards one at a time (faces towards the spectator) from the top of the deck. The face of each card is shown to the spectator (Fig.1). The order of the cards is retained throughout. After 12 cards have been shown, the packet is placed back on top of the deck and a break is held below this packet with the left pinky. Double Undercut this packet to the bottom of the deck.
Fig.1 4. You now shuffle the deck as follows: Recall the key number (in this example = 10) and Overhand Shuffle this amount to the bottom of the deck. Continue with a false shuffle if you wish. The deck is now handed to spectator `A`.
5. Ask spectator `A` to name his number again. Instruct spectator `A` to count down to his number and both spectators will be surprised to find the mentally selected card residing at this position.
End Note To gain B’s secret number, glimpse bottom card of deck before commencing the effect and when `A` deals, ensure that he deal the cards face up. Sight how many cards fall after the key card and this will tell you B’s secret number.
Mirakill George McBride
This excellent prediction effect first appeared in George’s book Cardville (January 2002). Beforehand make up two predictions. The first one is as in figure 1.
5 REDS 3 BLACKS Fig.1 The second reads as shown in figure 2.
THERE WILL BE 4 MORE BLACKS THAN REDS Fig.2
These two predictions are just two pieces of folded paper. Make sure you can tell one from the other!
From a 52-card deck discard any two Red cards. These two cards are hidden out of sight. They are not required in the routine. The top 16 cards of the deck are stacked as follows: RED – RED – RED – BLACK – BLACK – BLACK – RED – RED – RED – RED – BLACK – BLACK – BLACK – RED – RED - RED.
Working 1. Begin by showing your two folded predictions. Hand the `5 REDS 3 BLACKS PREDICTION` to a spectator on your left, requesting that he place it into any convenient pocket. Hand the other prediction to a spectator on your right, requesting that they also place it into their pocket.
2. Bring out the deck and give it a false shuffle retaining your top stock. Deal out two hands of eight cards each. Deal the cards alternately, as in a game. The deck is placed aside for the time being. Explain to the spectator on your left that your require him to make up his own eight card hand from these two tabled hands. He is to do this by taking cards one at a time from the tops of the two-tabled hands in any order he wishes. Note: Incidentally, if the spectator wishes, one packet may be placed on top of the other and the 16 cards may be dealt out again. As long as the cards are dealt alternately this deal-mix procedure may be repeated as often as the spectator wishes. When the spectator is happy, allow him to make up his 8-card hand. These 8 cards are not looked at but are placed into the same pocket that contains the prediction.
3. Pick up the unwanted cards and drop them on top of the main talon. Hand this to the spectator on your right for shuffling. Tell the spectator to turn the deck face up and to hold it in dealing position. He is to take cards off in pairs; if both cards are Red, he places them to the left, if both cards are Black he is to place them to his right, if the pair is odd, these cards are to be discarded as they are not required.
4. When the spectator is finished, ask him to open and read out his pocketed prediction, then have him count both packets. This prediction of course proves to be correct. Turn back to the spectator on your left and ask him to remove and read out the prediction that he has in his pocket. Finally, ask him to remove the cards from his pocket and this second prediction proves also to be correct.
Credits Stewart James `Miraskill` The Jinx, Sept 1936. Roy Walton “Poker Prediction,” Abacus Vol.6 No.2.
Have a Drink on Me Jim Cuthbert
Effect Three envelopes are sitting on the performer’s table. The first one has the name ROB ROY HOTEL, the second has WILLIAM WALLACE HOTEL and the third has ROBERT BURNS TAVERN.
The performer invites a volunteer to come to any of the hotels he would like to choose and have a drink. There is not a large selection of drinks in any of these hotels. They can have a whisky, a Guinness or a coke. It is their choice. The volunteer selects the hotel he would prefer to visit and his preferred drink. Let us assume he selects William Wallace Hotel and a Whisky. The performer picks up the envelope and allows a card to fall out. It matches the selected drink. A second volunteer is invited to select a Hotel and a drink as the previous volunteer. Explain that he has a free choice of any of the three drinks. Let us assume that he selects Rob Roy Hotel and he would like a Guinness. The performer picks up the Rob Roy Hotel envelope and turns it over to allow a card to fall out. The drink matches. The same process is carried out for the third time. The performer emphasizes that the volunteer can choose any of the drinks even if the drink has already been selected. His is a completely free choice. Again the selection matches the card in the envelope.
Requirements Three publicity packs of playing cards I use Grants Whiskey, Guinness and Coke packs. One card from of each is required for each envelope. Alternatively, you could create the cards using your computer/scanner from a home shopping catalogue, or computer graphics. Three Kismet Envelopes. The Kismet Envelope was developed by Norman Houghton and allows a three-way choice of content.
A divider inside an envelope shaped like a V with the front side being slightly shorter than the rear. This should fit snugly inside the envelope (see left). This allows the envelope to be changed into a three way changing bag. The envelopes I use are four x 4.25. These are available from any stationery shop.
Technical point: You need to press the side of the envelope at the sides which will then open the envelope in the centre position or slightly press the rear of the envelope at the same time to force the card at the rear and of course a little pressure on the front of the envelope to produce the card at the front.
The cards are set up as follows: Front is coke, centre is Guinness and third is whiskey. In other words alphabetical it is easy to remember. Now simply follow the presentation as outlined above and produce the appropriate drink card from each envelope..
Book Test 34 Jim Cuthbert
Effect What you see is a volunteer selecting one number from the grid (no force). This number is noted at the side of your clipboard. All the other numbers on the same line up and down are marked off. The volunteer then selects another number and the same process as the first takes place. Four numbers are selected in this manner. The numbers selected will total 34. The volunteer is shown the books and the mentalist reads the name of the book, the author and the number. The volunteer is given a free choice (no force) The volunteer will open the page at 34. The mentalist takes his prediction from the envelope and reads out what was written. The volunteer verifies this to be correct.
Requirements A clip board, a sheet of paper. Three unprepared books with a number 1, 2 or 3 marked on the front cover, one envelope and a pen.
Set-up A sheet of paper clipped to the clipboard has a grid showing 16 squares and numbered 1 to 16. This is the old 34 Matrix Force described at the end. Create one Kismet Envelope as described in previous routine - with book one prediction in position front - book two in centre - and book three at the rear. The envelope is also clipped onto the clipboard with the prediction. This means it can be seen at all times. Now proceed as outlined in the effect above.
End Notes Many mentalists ask the volunteer to read out the passage from the book and then show their prediction. I prefer to read out the prediction and let the volunteer agree. This means I do not have a problem if the volunteer can't read, needs reading glasses but does not like other to see they need glasses or other reading problems. This way I can't embarrass my volunteer. A short description of the Matrix Force follows below for those unfamiliar with it.
Matrix Force (Walter Gibson & Maurice Kraitchik)
This is repeated two more times leaving four numbers. When these are added together the total will always be 34.
Mating Season David Forrest
Effect A spectator freely chooses a card from a thoroughly shuffled deck. The mentalist divines the identity of the selection. The mentalist then reveals that he had predicted which card would be chosen by removing the mate of the selection from his pocket.
Set-up You need to arrange all the red cards in the following order, from the top down:
KD, QD, JD, 10D, 9D, 8D, 7D, 6D, 5D, 4D, 3D, 2D, AD, AH, 2H, 3H, 4H, 5H, 6H, 7H, 8H, 9H, 10H, JH, QH, KH. Place the red packet on the table and place all the black cards in any order on top.
Working 1. Bring out the deck and begin to casually overhand shuffle the deck without disturbing the red stack. To do this simply shuffle small packets from the top of the deck, stopping before you reach the half way point, then throw the remainder of the deck beneath the shuffled off cards.
2. Turn the face of the deck towards you momentarily and run through the faces, splitting the deck between reds and blacks. Place all the red cards face down in front of you. Give the black cards a brief overhand shuffle by way of demonstration as you hand the packet to your spectator for shuffling. While they shuffle all the black cards, pick up your packet, the red cards, and begin a ‘false’ overhand shuffle. The shuffle is false in that you must run thirteen cards singly and then throw the balance on top, holding a break between the two halves. Step all the cards above your break inwards for about a borders width and place the cards on the table in front of you. If your spectator has not already copied your actions, instruct them to place their cards on the table.
3. Reach over and cut half the spectators cards to the table, making a new pile. Cut off exactly half of your cards (easy because of the step) and place them on top of the new pile. Place the remainder of the spectator’s cards on top but again, step it inwards for about a borders width. Finally complete the deck by placing your remaining thirteen cards on top. Pick up the entire deck and secure a pinkie break under the stepped packet. The order from the top of the deck is now: Ace through King of Diamonds, thirteen black cards, pinkie break, Ace through King of Hearts, thirteen black cards.
4. Now separate the deck at the break and Faro* the two halves together ensuring that the top card (Ace of Diamonds) remains on top (Out Faro). All the red cards are now on top of the deck, arranged in pairs with the suits alternating – AD, AH, 2D, 2H, 3D, 3H etc.
*The Faro does not have to be ‘perfect’. Only the red cards must interlace perfectly. During all this you are pointing out to your spectator how thoroughly the cards are being shuffled. First, both halves are shuffled, then the two haves are cut into one another then the deck is thoroughly weaved together. You may like to use the Tamariz idea of spreading the elongated deck (after the weave) and allowing the spectator to push all the cards together.
5. Place the deck in front of the spectator and ask them to cut it into two equal piles.* When they have done this, place the lower half onto the upper a la ‘Cross Cut Force’ (Fig.1). Take a moment now to explain what you would like them to do next. They are to pick up the cards and begin dealing from the point at which they cut. They will deal single cards face down in a pile on the table, stopping whenever they wish. Lift the upper half of the deck off and push the lower half of the deck towards them. Of course, this is really the top half but thanks to the ‘Cross Cut Force’, they won’t know that. Fig.1 *It doesn’t really matter if the spectator cuts more or less than the stack. If they cut into the stack you still have the remainder on top of the other half, which is fine. If they cut more than half and pick up some black cards this is OK too as it is very unlikely that they will choose to deal all of their cards. As long as the cut is close to the centre – it’s all good.
6. All you do now is to silently count how many cards they deal into the pile. There are two possibilities. They may either deal an even number of cards or an odd number of cards. If an even number of cards is dealt. They have stopped on a HEART. To determine the value, simply half the number of cards dealt. The mate to the stopped at card is underneath it in the dealt pile. If an odd number of cards is dealt. They have stopped on a DIAMOND. To determine the value, simply add one to the number of cards dealt and half the result. The mate to the stopped at card is on top of the packet in the spectators hands. So, let’s say you count twelve cards. They have stopped on the Six of Hearts and the card under it in the dealt pile is the Six of Diamonds. Likewise, if you count 17 cards they have stopped on the Nine of Diamonds and the Nine of Hearts can be found atop the un-dealt cards.
7. Ask them to slide the top card of the dealt pile towards them, peek at the face and then cover the card with their hand. You will now re-assemble the deck making sure that the mate of the selection ends up on top. As you know whether it is on the dealt pile on the table or the un-dealt cards the spectator holds, this is an easy matter.
8. Now begin to give the deck several tabled riffle shuffles, preserving the top card, as you begin to divine the spectator’s selection - you are basically destroying any evidence of the stack.
9. All that is left to do is reveal that you somehow predicted the outcome by revealing that the mate of the selection is in your pocket (or in your wallet or under the card case or wherever - it’s up to you). In the naturally occurring off beat, after you have revealed the name of their freely selected card, simply palm off the top card of the deck and produce it from wherever you like! For completeness, here’s what I say when revealing the mate prediction. I have just revealed the name of their selection: “A freely selected card from a deck we both shuffled! Even I have to admit - that’s pretty good but what if I told you that there are only 51 cards in this deck? You see there is one card that I definitely know you DIDN’T choose! As I’m sure you know, every card in the deck has a mate – The King of Clubs has the King of Spades – two black kings. The Nine of Spades has the Nine of Clubs, the Three of Hearts and the Three of Diamonds and so on. Every card has only one mate in the pack…” I have now top palmed the mate to their selection in my right hand. “…every card that is, but yours!” I spread the deck face up on the table with my left hand. “That’s because I predicted ahead of time exactly what the outcome of this experiment would be but I knew you wouldn’t take me at my word so I made sure I could prove it!” My right hand goes to my inside left pocket and removes the palmed card. Keep it back towards them for a moment. “As you can see, the mate of your card is not in this deck…” Push a few cards around in the spread, allow them to confirm this. “…that’s because before we even started I placed it here, in my inside pocket!” Turn the card face up and drop it onto the table. Fin.
Credits On Page 42 of John Bannon’s brilliant Impossibilia you will find a sterling effect entitiled ‘Shock Treatment’. This effect leans heavily on ‘Shock Treatment’ as far as method goes but the effect is quite different. Needless to say, if you don’t already have Impossibilia (all four of you!) then I recommend you get your hands on it immediately.
Invisible Opener Dave Forrest
Effect The spectator names any card. The mentalist proves that he has predicted ahead of time which card would be named. This effect is akin to the Invisible Deck as far as effect is concerned. It’s not as clean as the ID (not much is!) but on the up-side, the deck is completely regular and after the effect you can proceed using the same deck. It makes an ideal opener as it requires a set up that cannot be easily obtained through normal handling. Anyway, here’s how it goes.
Set-up Remove the Two through Nine of Hearts and arrange them in the deck as follows. The Two of Hearts is face down on top of the deck. Underneath this is the Three of Hearts. The third card down is indifferent. The fourth card is the Eight of Hearts, face up. Then we have half of the deck followed by a face up Seven of Hearts. The rest of the deck follows, then we have the Four of Hearts, face up followed by the Nine of Hearts on the face of the deck, face down. So, here is the set up from the top down where ‘X’ is indifferent and ‘fu’ means ‘face up’:
2H, 3H, X, 8Hfu, half the deck, 7Hfu, rest of deck, 4Hfu, 9H. I know what you’re thinking – what about the Five and the Six?* Place the Five of Hearts under the cellophane at the back of the card case with its face showing. Place the Six of Hearts on top of the deck and slip the whole thing into the case. When you remove the deck you’ll leave the 6 behind which is why it is not included in the set up above. *I have another option for the 5 and 6 that I will describe briefly in the End Notes. With the deck/card case set up as above you are ready to begin.
Working 1. Remove the cased deck from your pocket. As you remove the deck from the case simply push the top card back in a bit allowing you to remove everything but the Six of Hearts which remains behind. Place the deck on the table in front of you. Close the flap on the case and place it aside on the table – don’t put it away!
2. You’ll now force the Hearts suit on your spectator via equivoque. Don’t panic though – it’s a good equivoque, not the tacky, see through kind! Explain to your spectator: “Before we begin I’d like to test your imagination. I’d like you to imagine that as well as this deck here (indicate the deck) I also have a second deck here (gesture with your empty hand) which is invisible. Can you imagine that? Good. Now imagine that I’m beginning to sort through the cards, separating them into two piles. One contains all the red cards and one contains all the black cards. Are you imagining that?...” At this point you should have both hands extended as though they hold two packets of cards. “…I’d like you to reach over and take one of the packets from me.” The spectator reaches over and takes an invisible packet from you. “Good. Which colour did you take away?”
If the spectator says ‘red’. “OK, now sort through your invisible red cards and hold all the Diamonds in one hand and all the Hearts in the other. Done? OK, hand me either pile. Which suit did you give back to me?” If the say Hearts continue: “OK, I’m going to shuffle up all the Hearts, please choose a number between one and ten.” Let’s say they say 7. If they say Diamonds continue: “OK, please shuffle up all the Hearts and name a number between one and ten.” Now you go through the act of mixing all the Hearts back with all the Diamonds and finally mix all the reds with all the blacks again. Of course, you act all this out with the invisible cards. At the end of all this, congratulate them on their very vivid imagination and explain: “I know all this may seem a little foolish but what you have done is imagined a card. From an invisible deck that doesn’t even exist you have merely imagined the Seven of Hearts! Very well done!” Let’s go back a bit.
If the spectator says ‘black’. “OK, I’ll sort what’s left into two piles, Hearts and Diamonds. Reach over and take another pile. What did you take this time?” If they say Hearts ask them to mix all the Hearts up and to name a number between one and ten. When they have done that, again go through the act of mixing all the invisible cards back into one another. If they say Diamonds continue: “OK, place them over there with the black cards. I’ll mix up the Hearts and while I do that please name a number between one and ten.” Either way, they end up choosing the Hearts suit and a number between one and ten.* The above procedure is a little obscure in that you never really reveal where any of it is going. This is OK though because you told them you’d be testing their imagination and at the end you explain what’s happened – they’ve imagined a card. By this time, it’s too late for them to question the procedure by which the card was arrived at and, because the entire sequence revolves around them making free choices, it all seems very fair. *You say a number between one and ten because you don’t have an out for the Ace or Ten. In the unlikely event that someone says either one or ten. Simply reiterate, a number between one and ten.
3. You will now reveal that you knew which card would be imagined. If the named card is the Four or the Eight you will need to gain a pinkie break under Seven of Hearts in the centre of the deck. To do this, casually run your thumb up the back of the deck stopping when you see the Seven of Hearts. Pick up your break under the 7. Let’s look at each possibility individually and the correct procedure for each one. If the named card is the Two of Hearts: Explain that you previously placed one card on top of the deck by way of a prediction. Invite the spectator to turn over the top card. If the named card is the Three of Hearts: Explain that you previously placed one card on top of the deck by way of a prediction. Turn a double to reveal the Three of Hearts. If the named card is the Four of Hearts: You will have a break beneath the 7 of Hearts. Cut the deck at the break, completing the cut. Explain that you reversed one card in the centre of the deck. Begin to run through the face down deck until you come to the face up Four – out-jog it. You have four more face down cards after the Four that may be shown before you must push over a small block of cards to hide the reversed Eight. Spread through the remainder of the deck but don’t go to the very end because there is a reversed Seven on the bottom of the deck. If the named card is the Five of Hearts: Explain that you placed one card aside by way of a prediction. Flip the card case over to reveal the Five under the cellophane. If the named card is the Six of Hearts: Explain that you placed one card aside by way of a prediction. Open the card case and remove the Six of Hearts.
If the named card is the Seven of Hearts: Explain that you reversed one card in the centre of the deck by way of a prediction. Begin to run through the face down cards but start by pushing off a small block so as not to reveal the reversed Eight. Up-jog the Seven when you come to it and continue spreading. Stop short of the end though, you don’t want to reveal the reversed Four second from bottom. If the named card is the Eight of Hearts: You will have a break beneath the Seven of Hearts. Cut the deck at the break, completing the cut but HOLD THE BREAK. Explain that you reversed one card in the centre of the deck. Begin to run through the cards. When you are about six or seven cards away from your break push over everything above the break as a block. Three cards after the block the Eight will appear. Out-jog it and continue spreading to the end but be aware of the reversed Seven at the bottom. If the named card is the Nine of Hearts: Explain that you placed a card at the face of the deck by way of a prediction. Turn the whole deck over, revealing the Nine of Hearts.
End Notes That’s it in a nutshell. Don’t be put off by what must seem like a lot of outs to memorise. In actual performance this is a very easy effect to do and is a real puzzler for the spectator. So much so that when I showed it to my wife Jo, she actually liked it (and guessed that the deck must have been heavily gaffed!). In fact she commented: “That’s amazing! It’s not like your other ones – there’s not too much going on.” Perhaps a subtle hint that sitting through short, mental card effects is rather more appealing than sitting through a six phase ‘Oil & Water’ routine. Food for thought… I mentioned earlier that I had another option for the 5 & 6. As an alternative to the set-up already described you could place the 5 & 6 back to back and place both inside the card case, remembering which way round they are. If either the 5 or 6 is chosen simply open the box and remove the back to back double in such a way that only the named card is seen. The double can then be placed onto the deck, cleaning up the extra card. Basically this puts every card back in play. The prior set-up (although it is the one I prefer) means that one of your ‘box outs’ cannot be easily re-introduced to the deck. P.S. One more thing: If you are feeling confident and are performing for a female simply asking them to name ‘their favourite suit’ will, most of the time, allow you to complete the effect without the equivoque. This is because women always seem to choose Hearts – predictable little things that they are! Awwww. P.P.S. This will also work if you are performing for Manchester based, underground close up aficionado, Iain Moran. His favourite suit is Hearts. He openly volunteers this information when asked. Presumably he doesn’t know that Hearts is the ‘ladies suit’.
Check out David’s website
Dicychometry Jackie McClements
Effect Four different coloured dice are given to four spectators. Each spectator gets a slip of paper. The mentalist turns his back and gives the following instructions: “I want each of you to roll your die a few times to make sure that everything is above board and your die comes up with different numbers. “Once you’ve done that, throw one last time and write down the number that comes up on your die. “Fold up the piece of paper and drop it in the glass … Now cover up the die with both hands so that I cannot see the number that you threw. “OK, all dice covered?” The mentalist turns around, opens up one of the paper slips and asks a question of each of the spectators, then proceeds to tell the spectator what colour his die is and which number he threw. This is repeated three more times and the mentalist scores 100%.
Requirements One sheet of A4 (or letter size) paper. Four dice, each a different colour. I use Blue, Green, Red and White. Four pencils and a glass.
Introduction Two principles are at work here; a time misdirection swindle and an ingenious marking system of Jules Lenier. The swindle is that YOU gave the dice out! After all the instructions have been followed and the effect is brought to its conclusion, you state to each spectator, “You threw a _______ on the _______ die.” Although you don’t make any claim to be divining the colours, the spectators will go away remembering your revelation. Even if some don’t buy that part, you haven’t made a big thing of it! You did the impossible by divining their numbers. The second principle is the real secret which allows you to get their numbers.
Preparation Put the dice and pencils in the glass and place the glass on the table. Take the sheet of A4 paper and fold it in half lengthwise and also width-wise so it is creased in quarters. Open it out flat again then tear along the folds to make four pieces of
paper. Put three of them aside to use at another time and fold the remaining piece in half and width-wise as before. Keep it folded and put it in your wallet or pocket. That’s the end of the preparation. If you do a few shows each night, you could fold up another three pieces and stick these in your wallet, too.
Performance 1. Having selected four suitable (?) volunteers, tip out the dice onto the table and hand each spectator a die in this order: The spectator to your extreme left (spectator 1) is handed the Blue die. Moving left to right, hand the Green die to spectator 2. The Red die goes to spectator 3 and spectator 4 is given the White die. You can use any order you like, but I prefer the above order as the colours are in alphabetical order.
2. Take the paper from your wallet or pocket, open it up and hold it with a torn edge at the bottom and torn edge to the right as shown in Figure 1. Tear down the vertical fold. Now rotate the right hand piece 90 degrees counter-clockwise and, while resting it on the left hand piece, tear down the vertical fold (Fig.2 left hand drawing).
Hand this right hand piece (labelled ‘4’ in figure 2) to spectator 4. Hand the other small piece to spectator 3. Turn the remaining piece 90 degrees clockwise and tear down the centre fold. Hand the right hand piece (labelled ‘2’ in figure 2) to spectator 2. Then hand the final piece to spectator 1. Note: Although the above may appear complicated, if you try it with paper in hand, you will find that it’s quite simple. The object is to match the pieces to the spectators by following the ‘code’ below in figure 3. You could use your own method, but I worked out the above sequence as it appears natural. Most importantly: do not scrutinise the pieces as you give them out! By all means work out your own sequence if mine doesn’t suit you, but make it look natural. You don’t want to tip the method!
The ‘coding’ or marking is done. On pieces 2, 3 and 4, the number of torn edges indicates that piece’s number. Number 1 is the exception; it has one short straight edge.
3. Turn away as the spectators now roll their dice a few times to check them out. They then finally decide on their final throw – take a pencil from the table, and write the number that is showing on the top of their die on the slip of paper. Tell them to fold their slips and drop them into the glass. Ask one of them to mix the slips around a bit, and then they all cover their dice with their hands. After asking if all has been done and having been answered in the affirmative, turn around and start working the miracle!
4. Pick up the glass and tip the slips onto the table. Pick up one of the slips, unfold it and read the written number aloud, e.g. “Six,” and note which number is coded by the torn edges. For example, ‘2’. The spectators think you only know the number written, but you also know who the slip belongs to.
You could tell spectator 2, “Sir, you rolled a six with the green die.” Unless, of course the spectator is a woman! And, so on, until you have dealt with all four spectators.
Suggested Presentation Ideas a) Read the number on the slip, e.g. “Six,” and then ask each spectator to say, “I can honestly say that I did not roll a six.” You, being brilliant, can apparently pick out the slight wavering in the voice of the person who told the lie! b) Get each spectator to slowly count from 1 to 6 and suddenly point to the correct one stating, “You rolled a six on the green die!” c) Shake hands with each spectator to pick up their ‘vibes’ and then reveal what everyone threw. d) Swing a pendulum over each spectator’s hand (asking if they are left or right handed first so you know which hand to dowse), then dowse over each slip and make your stunning disclosure. Have fun with this. These are the bare bones but you can use your showmanship to the full here using any silly explanations you desire.
Killer Finish Based on Your Favourite Method: A Wee Bit of Simple Arithmetic and a Big Stripy Lie This fits well with the above routine. It adds a kicker finish and lengthens the whole procedure, eating up some valuable minutes if need be.
Effect A spectator called Jim is given all four dice to throw while your back is turned. He totals the top numbers of the four dice and writes this down. The dice are returned to the glass and the Dicychometry routine is performed as described. At the conclusion of the effect, you go into the Big Fish, as follows: You tell Jim, “On the blue die you threw a six … on the green die you threw a two … on the red you threw a four … and on the white a three … therefore, “ mindreader counting on his fingers, “…you threw a total of 15!” Answer, “Yes.” Thunderous applause!
No way! How can you do that? Simple. 1. Jim writes his total on a piece of paper which is then ‘Centre Torn’ and burned. Or an impression is picked up from a clip-board, or a peek is made from a peek wallet, or a peek from an envelope with a big chunk of the back missing…I could go on. Check out Corinda’s 13 Steps to Mentalism if you don’t know about these devices. Anyhow, you know the total.
2. Break it into four separate numbers which add to that total and save it till the end of the main routine. Instead of naming Jim’s total, name the four separate numbers that you concocted, and associate each with one of the coloured dice.
3. Now, pretend to add them up and announce the total.
Most people will not remember what number was on each of the dice after such a long time, and if you get called on it, does it matter? You got the right total!! I’m sure there are more uses for this lying thing. Note: You could use my tearing sequence for an excellent routine utilizing the same paper coding system that can be found in Self Working Paper Magic by Karl Fulves.
Check out Jackie’s Website
AL-Together Now Peter McLanachan This solution to the current trend of the “Any Card At Any Number” problem (aka “The Berglas Effect”) was my solution to a problem set by Al Smith in his magazine Abacus (“Desperately Seeking Solution”, Volume 5, Issue One). This method uses the Bottom Deal to create the desired effect, but since it is done when nobody is looking at the cards in your hand, it does not need to be a perfect one in the style of Roy Walton or Gordon Bruce.
Effect A spectator names a card, a second gives a number between one and fifty-two and a third spectator takes the cards and deals down to that number in the deck where the named card is found.
Working 1. Where possible, the cards should be borrowed. Have someone give the cards a quick shuffle and then as you ask the first spectator, whom we shall call Thom, to name a card from the deck, spread the cards onto the table (or floor if you’re at a magic convention) upon which you are performing. As you do so, start to look through the cards as you spread them. Try to remember the values of the cards, so that if the value named is one of the ones you remember as you are spreading through the deck, you can give it a little double check to make sure whether or not it is the named card. When you finish the sentence, you should still have around half the cards to spread. The timing should be as follows:-
“Would you please…” start to spread the cards “…name any card in the deck…” continue to spread through the deck, looking through the top half of the deck as you do so.
2. When Thom names the card, if you do not manage to glimpse the card immediately and you require a second look, very quickly raise your eyes from the cards and ask “The…?” as if you did not hear what Thom said. When he repeats the card’s name (say Queen of Hearts), give the deck another scan and you should now find the card, however you should practice this effect until you are able to get any card first time.
3. The next thing to do is control the named card. As you close the spread, keep an eye on the named card. When you reach the named card, your thumb makes contact with the selection and in-jogs it (Fig.1 below). When the deck is picked up and squared, pick up a break at the selection. Control the card to the top by whatever means you wish. The whole business of glimpsing and controlling the card should only take a couple of seconds.
4. Start to shuffle the cards, keeping the selection on top. As you do so, explain to spectator 2, named Dick, that you want him to think of any number between one and fiftytwo, but not to tell you the number until after you have stopped shuffling. As you shuffle, emphasise that you have given them a free choice of number and a free choice of card. You can explain that you, as a performer, have to take on two different roles: the one of the Card Mechanic who can control any card in the deck and the one of the Mindreader who can reach into Dick’s thoughts and get Fig.1 the number that he is thinking of. Stop shuffling the cards, making sure that the selection is still on top and ask for the number (in this example, we shall assume that the number is 29).
5. Give the deck to the final spectator, Harry, and ask him to deal 29 cards face down into your left hand (or whatever hand you hold the deck in during dealing). As the cards are being dealt into your hand, try to position them so that they fall into the dealing grip you use for a Bottom Deal. When Harry finishes dealing cards, square up the cards fully and get ready to execute the Bottom Deal. Ask Harry to turn over the top card of those that are remaining in his hands to show what card you would have arrived at if the number named had been 30. At the moment that the card is being turned over, execute the Bottom Deal and use the card in your hand (the selection as a pointer). Use the same card to flip over the top card of the section in your hand to show what card you would have arrived at if the number were 28. Finally, cleanly turn the unnecessary cards face down once again and reveal the card in your hand to be the selection.
End Notes This solution hit me some 20 minutes after reading the original problem in Abacus. I thought “…if you have the card on top, the have the cards reversed counted to the required number, then Bottom Deal – it’ll work!!” It then took me another couple of weeks to get the routine to being a workable, performable piece. The initial glimpsing of the selection may frighten some of you, but if you give it a try a few times, you will be surprised at how quickly you can get the card on a regular basis.
I originally learned how to glimpse a card in a spread through Jerry Sadowitz’s classic effect “Name A Card Triumph” from his book Cards On The Table. Granted, the glimpse made in that effect is from around two thirds of the deck, but I have found it easy to adapt to this effect. One piece of indispensable advice that Jerry gives in his book is that if you ignore the cards of the opposite colour to the named selection, you can find the card a lot faster.
Snap! Peter McLanachan
Effect A card is placed face down on the table as a prediction. The deck is spread in front of the spectator who is then invited to move one card out of the spread. This card is placed on top of the prediction. The two cards are found to match.
This effect is, without any apology, not designed for performance at table after table in a restaurant or in a walk around setting. This is for those rare moments where you have an audience of one or two people who are sitting directly in front of you. The perfect place would be the other side of a table in a restaurant or bar. This is the sort of thing that could make people think you have complete control over their action.
There are two ways of presenting this. One requires a blank faced card, the other is completely impromptu. I’ll explain the impromptu handling first. As ever, I’ll give you the technical details and allow you to come up with your own presentation.
Impromptu Handling Working 1. Have a spectator shuffle a deck of cards. When you get them back, spread through the deck looking for a pair of “mate” cards together in the deck. E.g., two black Sevens, two red Kings, etc. Around 70 to 80% of the time you will find a pair of “mate” cards sitting together in the shuffled deck. Cut these cards to the back of the deck. If you cannot find a pair of cards together, note the card at the back of the deck, re-spread the deck looking for its mate and transfer it to the back so that these two cards are on top when the deck is held face down.
2. Lift off the top two cards as one in Biddle Grip and place them face down as one on the table explaining that this card will come into play in a little while. The double card should rest about 2 to 4 inches from the back edge of the performance area. From now until near the end of the effect, make no mention of “card” sitting just in front of you. A further 6 – 8
inches in front of the double, spread the deck across the table – from your left to right – making as wide a spread as you can.
3. Ask the spectator to point to one card and ask them to start removing it from the spread. When the card is around halfway out of the spread, stop the spectator and ask them if they wish to change their mind. If they do, have them replace the card back in the spread and move another out around halfway out of the spread.
4. When the spectator has settled on one card, the performer reaches over and removes the card fully from the spread, holding the card in readiness for performing Lennart Green’s “Snap Deal”. Bring the card back and apparently deal it onto the prediction card sitting nearest you, actually using the Snap Deal technique to steal the card in Lateral Palm. As this happens, the right 3rd finger touches the back of the upper card of the double, allowing the double to split (Fig.1) so that when your right hand moves away completely, it looks as if the card has simply been placed on top of the prediction.
Fig.1 5. Close the face-down spread, adding the palmed card back on top of the deck as you do so. You may find it easier if you transfer the card from Lateral Palm to Tenkai Palm as your hands move towards the spread. Turn over the cards and re-spread them explaining that the spectator had a free choice of any card. Push these cards out the way to one side and focus all attention on the two cards in front of you. Turn over the bottom card first to show your prediction, followed by the other card – the apparent selection – to show that they match.
Not-So Impromptu Handling Set Up Have a blank faced card, with the same back as the deck you are using, on the top of the deck. The card you are going to force sits in your right hand jacket pocket, along with a marker pen.
Working 1. Remove the card from your pocket without exposing the face of the card explaining that it is a prediction of things to come. As you get the card out of your pocket, get a break under the top card of the deck (the blank faced card). Place the card face down on top of the deck so you now hold a break under two cards. Ask the spectator if they would like to find out what your prediction is, retrieving the marker pen as you do so (this is the motivation for you to place the card on top of the deck). Whatever their answer, place the pen onto the table and do a Double Turnover to show the blank face, explaining that the future is yet to be written, but you’re going to do so just now.
2. Raise your left hand so the blank face is hidden from the audience’s view and write the name of the force card onto the card. Move the double card so that it is up-jogged for just over half its length, blow on it a little to apparently dry the ink, then turn the double face down end-over-end with your right thumb and first and second fingers, using your left thumb and third fingers as the pivot points for the double turning over. As you turn the double face down, lower your hand back down so you are holding the deck horizontal to the table once again stopping the spectators from seeing what is written on the card. The card will be in-jogged a little, allowing you to easily pick up the double.
Proceed as from step 2 of the Impromptu Handling.
End Notes The technique I use to table the double card is R Paul Wilson’s method that is discussed during “Three Cards Found” which is on his Twists Of Fate DVD and Lennart Green’s wonderful “Snap Deal” can be found both in the monograph of the same name and in volume 6 of his excellent DVD set.
Check out Peter’s website The Cardman’s Blog.
Draw Your Own Conclusions! ©Alan Innes 2005
Effect 26 cards are shown to be blank on one side with basic drawings on the other side. All drawings are shown to be completely different and random! A card is freely selected and while your back is turned away from the spectator you and the spectator both duplicate the chosen drawing. The spectator keeps the card they have drawn on. No stooges or preshow work and resets immediately. “You’ve probably heard of lip reading but have you heard of pencil reading? This is where you observe the movements of a pencil to tell what is being written down, often used in courts to discover the notes that other lawyers are taking!. When you use two pens that are the same then one actually transmits to the other and we’ll try a little experiment to show how this works. I’ll shuffle the cards and you can cut them a few times. In a moment I’d like you to select one and I’ll turn away, I’d like you to have a look at the drawing and try to do a similar one on the other side of the card you freely selected, your card will then have two similar drawing on each side. While facing away from you I will see if my pen can pick up the vibrations from your pen...” A card is freely selected; you turn away and do a drawing on another blank card as he draws on his. The spectator then shows his drawing and you turn over your drawing and they match! Your drawing is placed on top of pack. Take the spectator’s card and sign/date it and they keep it as a souvenir of your artistic and magic skill! Deck is reset to go…
Requirements You require 26 double blank cards plus a one other blank for each performance. Business cards could also be used. A memorised stack (see end for details) and a peek are the mechanics of this effect that has now evolved into a very commercial routine. The stack is cyclical so you know what card comes after a card. When the cards are fanned for a free selection you cut the pack at the point of selection then peek the bottom card; this tells you the chosen card. I know some people will give up at this point because it you have to learn a stack! Please give it a go as it is fairly simple and worth the small effort. The inspiration originally came from Max Maven’s “Mind’s Eye Deck” (Videomind Vol.2) and I believe Richard Osterlind and Peter Arcane have similar systems’ i.e. memorised stacks. From a working point of view my first thoughts on drawings were; “what does a spectator draw on?” Carrying two pads was a bit bulky and I also used napkins and menus, etc but finally opted for doing the drawing on the back of the card they selected. Also, since I am drawing on another card it allows the effect to reset, another big consideration for me.
The memorisation of the stack is via simple word associations of each object using a story. This is a standard memory technique from the likes of Tony Buzzan et al, check out some of his books for more details. Make each object as big and as bright as you can in your mind.
Set-up Have the pack and one pen in one pocket and spare blank cards and another pen in a different pocket.
Working 1. Show the spectator the pack consists of blank cards with silly drawings on one side, comment on a few as you do. “A mountain in the Alps, a bottle of fine Moet,” etc, And then say you will mix them up a bit. A pack of 26 cards is small enough to make “running cuts” look like a convincing shuffle. Just hold the pack in overhand shuffle position in the right hand and pull a bunch off into your left then throw the rest on top. Continue a few times face up then face down pulling off a different number of cards each time. Done quickly it looks like a proper shuffle. Finally the spectator can cut the pack a few times.
2. Explain what is going to happen using the top card, i.e. a card will be selected and a similar drawing is to be done on the other side. Spread the cards, have one selected then separate the cards at the selected point placing the cards in your right hand under the cards in your left. The card on the bottom is the one before the selection in the stack.
3. Casually get the cards into an overhand grip in your left hand and get a glimpse of the bottom card as you get the pen and other card from your pocket. I have the pen in a right pocket and look to this pocket as I turn slightly to the pocket catching a glimpse just before placing the deck face down. Just try different ways of doing this.
4. Once you have the pen and blank card turn round and tell spectator to start drawing as you do the same. Because you have glimpsed the bottom card you know the selected card was the next in the stack. Do the drawing, show it to be correct and place it on top of the pack. Sign the spectator’s one and take applause…
Sample Story This is the story I use but feel free to amend or change it. You can of course use more or less cards if you want.
An easy way to come up with objects is to imagine you are walking through your house. You know the telly is beside the couch which is beside the fireplace which is beside the door, through the door is the stairs, up the stairs is the bedroom, etc, etc. You walk through your home every day so linking objects is easy as you take an imaginary walk. A happy man was driving his car when it changed into a bike. It was a mountain bike and went up the mountain. It was a sunny day so he put on his skis to ski down through the trees to the hotel. In the hotel he was hungry so he had some fish washed down with a tasty bottle of wine. Someone recognised him and took a photo with a camera. It was actually a camera phone. The phone was mobile and fitted into a van. In the back of the van was a bed on which there was a huge chicken. The chicken was playing the piano but stopped as the traffic lights turned red. The lights were at a bridge over which was a train running. The train was driven by a man who was smoking a big pipe. The pipe was shaped like a cup and was being stirred with a banana. Two bananas placed side-by-side look like a ladder. The ladder goes up to the sky where a plane was flying. The plane flew through a giant door behind which was a happy face. The happy man was driving his car…..
Devil Lived 1 Alan Innes
Effect The major Arcana cards from a Tarot deck are shuffled by the spectator while the magick man shows four ancient parchments. The spectator freely selects one card to signify the start of their journey. Cards are then taken from the pack one at a time and a reading is given for each card and the spectator says stop at any point. The stopped at card is put to one side. One piece of parchment is placed between the spectator's hands, the stopped at card is shown to be the devil. When the parchment is removed from the hands it now contains an image of the Devil.
Requirements The basics are an old force and an Elmsley count. Four old parchment papers are needed (I used a sheet of Papyrus from a holiday in Egypt but you can buy old looking paper in craft shops or just use blank cards.) and an image of the force on one of the cards (Fig.1).
You also require a Tarot pack. You will only use the 22 cards of the Major Arcana (Fig.2)
Working 1. Use an Elmsley Count to show four pieces of paper blank on both sides. Place one piece between a spectators’s hands – the piece with the Devil on the underside. The other three pieces are tossed aside as they are no longer needed.
2. Give the 22 tarot cards to a spectator for shuffling. After the cards have been shuffled, show them face up to the spectator to show that they are well mixed and casually cut the Devil to the top.
3. Turn the cards face down and spread them for a free selection. If they pick the top card then just finish as above. If not then get a break under the top card and take back the selection placing it face up on top of the pack. Do a reading based on the card they selected e.g. "You have chosen the Tower and this indicates your journey will start soon possibly near an old building?" Good opportunity to do some cold reading throughout! Holding the double in an overhand (miscalled Biddle) grip, slide it back about a third of its length (Fig.3). Fig.3
Now pull cards off from the front and place them face up on top of the injogged double (Figs 4 & 5) as you babble-on about life, money, love, etc. until they say stop. Position check: You have a pile of face up cards with a face down Devil back-jogged. Slide this packet forward and deal off the cards recapping on the story so far until you come to the stopped at face down card. Fig.4
Finish as in the effect above. I am unsure who the Force belongs to, but it was originally used with playing cards and it works very well with Tarot cards as it is quite a logical way to do a reading - i.e. taking cards of one at a time and describing what they mean.
Devil Lived II Alan Innes
Effect Numbers have fascinated people for hundreds of years, if not for centuries in both religious and scientific fields. Numbers are very important in farming fields as well. To demonstrate, three people are asked to write down a four digit number while four parchments are shown The numbers are added to give a total of 7734 and this is written on one of the parchments. The magick man explains that 7734 has a special meaning for those who study the occult because when viewed from below (turn the number over) the numbers spell hell! And who lives in Hell...The Devil, parchment is turned over to reveal the Devil himself.
Working At school we used to laugh when you typed in 5318008 and it looks like "BOOBIES", and I still laugh now. Other calculator words were shell and hell and I'd actually forgotten this until I read "Spiritrump" by T.A. Waters in Mind, Myth & Magick. Although his effect is different it reminded me of the fun you could have with upside down numbers. Using an Add-a-Number pad or forcing calculator you have the total 7734 forced and just
continue as above. I use a Post-It Pad for my force, stick two or three pieces to the back of a pad, with different handwriting write in three numbers that will total 7734. Hold the pad behind your back and have three spectators write down three numbers, best if the spectators are not too close together! Flip the pad over as you bring it out, take of the top Post-It sheet and then have somebody else add the total.
Wedding Present Alan Innes
Effect Six cards are shown each with a month and number on each side giving a choice of all twelve months, Jan 1/ Feb 2, Mar 3 / Apr 4, etc. A list of 50 different wedding presents is shown along with a small box. Spec is asked what month they would like to get married and that month is placed aside. The spectator then mixes up the remaining cards turning some of them over to get a random total, say 48. The number is checked against the list of presents to give a gold coin. Inside the box that has been in full view is a gold coin!
Requirements This uses a range of force numbers and a list of nulls/synonyms. Six cards, a box and a golden chocolate coin are required. Each card has a month and a corresponding number on each side. E.g. Jan 1/ Feb 2, Mar 3 / Apr 4, etc. See figure 1.
Fig.1 Also a list of numbered wedding presents. This list should contain 50 random objects such as knives, towels, plates, table, T.V., holiday, etc. with the following at numbers
28,30,32,34,36 & 38 : gold, money, sweets, coins, half dollars (or whatever gold coins are) & chocolate."
Working 1. Shuffle the cards and lay them out in a row with the odd numbers uppermost. Place the list of objects on the table.
2. Invite a spectator to select any month and remove it from the row of cards. The chosen month's card is set aside.
3. Of the five remaining cards, the spectator now chooses three cards to turn over to create a random set of five numbers. He can turn over any three cards.
4. The numbers now showing are added together - the total will always be one of the force numbers - 28, 30, 32, 34, 36 or 38.
5. Finally the spectator locates the number in the list and the box is opened to reveal your prophesy has been fulfilled. __________________________
Alan Innes is one half of the award-winning double act The Two Allans – visit their site.
The Shoe She Connection Scotty Johnston
Effect The spectator removes a card from a shuffled pack. The selected card is placed face down to one side. The spectator then randomly deals three piles of cards. When he has finished doing this he chooses any pile he wishes. The top card of the chosen pile is turned face up and is shown to be a King. The original chosen card is turned face up and is shown also to be a King. The two cards on top of the other two piles on the table are then also turned face up they are also Kings. The performer offers to try the trick once more. The Kings are placed to one side and a new card is selected just as before. The spectator cuts the deck into three different piles and again chooses any pile. This time when the cards are turned face up they do not match. The performer then picks up the Kings placed aside earlier and performs a magical gesture. The Kings change to the three mates of the chosen selection.
Set Up Remove the four Kings and the four Fours from the deck. From the top down the set up is as follows, four Kings face down, three Fours face down, rest of the face down deck and at the bottom the last face down Four. The order of the suits in your set up is not important.
Working 1. Start by giving the deck a shuffle remembering to keep your set up intact. Place the deck in dealing grip and cut the cards whilst maintaining a pinky break between the two halves. You now need to force one of the Kings from your set up. I like to use the classic force but any force you are comfortable with will suffice. Once the card is selected by the spectator request that they do not look at the card and that they simply place it face down to one side. You now need to re-assemble the pack so your set up is back as it was at the beginning. This can be done by simply giving the cards a cut. Position check: One King lies face down on the table and from top of the deck, three Kings, three Fours, rest of the deck followed by the last Four on the bottom.
2. Explain to the spectator that you want him to deal three different piles of cards. As you are explaining this you deal the first three cards face down in a row from left to right. Now you explain to the spectator, “It does not matter which way you deal the cards, you can start on the centre pile or the right pile or even the left pile it is entirely up to you.” As you are explaining what to do you deal the next three cards on top of the three cards on the table in the order you previously mentioned.
3. Ask the spectator to cut of about half the pack, saying, “We will just use half the cards otherwise this might take to long.” As a final note before they start to deal you mention, “You can also deal as many cards as you want onto a certain pile. You could deal three in a row on one pile and just a single card on another pile, it’s up to you.”
4. While the spectator deals the cards you table the half pack you are holding behind the centre pile on the table. The layout of the cards is depicted from the magician's perspective in figure 1 below.
5. When the spectator has exhausted the packet they cut off you ask them to point to any pile they wish. Once a pile is chosen you pick it up and give it a square. Perform a double deal of the top and bottom cards and show that they have randomly chosen a King. Table this packet with the King (in reality a double) still face up on top. Ask the spectator to turn over the card that was placed to the side at the start of the trick. The spectator has successfully managed to match up two Kings. Say to the spectator, “It wouldn't have really mattered which pile you chose as there is also a King on top of this pile.” Pick up one of the other piles and again perform the double deal and place the packet on the table. Finally perform the same actions and presentation for the final pile. (Note: if you are lucky the pile chosen by the spectator with have the same colour King as the forced King, however this doesn't really matter as you will be revealing all the Kings).
Position check: the cards are laid out as in figure 2 below. On the top of each pile is a face up King with an indifferent card face up below it. On the bottom of each pile is a Four spot. On the bottom of the packet behind the three piles is another Four spot.
Fig.2 6. As you continue with your presentation pick up the far left pile and place it in dealing grip. Turn the double face down and bottom deal the supposed King to the right of the King forced at the start of the trick. Place the packet you are left holding onto the packet at the rear closest to you. Repeat this procedure with the other two piles. Finally pick up the original forced King and place it face down on top of the three supposed Kings and square the packet. The above procedure is carried out in a very nonchalant manner. The spectator is lead to believe that the effect is over therefore there is no heat on the bottom deal which in fairness is much easier due to the size of the packets.
7. Now you offer to try and repeat this amazing coincidence but this time you say, “I will leave the Kings out as you might get suspicious if per chance picked a King again.” As a convincer here you can turn the top card of the four card packet briefly face up as you say the above statement. Pick up the deck and place it in dealing grip. The last Four is on the bottom and you need to force it on the spectator. For this force I use Jerry Sadowitz's Slip Jog but again any force you are comfortable with will do. As with the forced card at the beginning of the trick, this card is placed face down to one side without anyone seeing it.
8. Now place the deck on the table and ask the spectator to cut the deck into three piles and choose any pile they wish. (If you want here you can even get the spectator to shuffle the cards before they cut) Once they have chosen a pile you pick it up and say, “Wouldn't it be a huge coincidence if once again you have randomly picked out two cards that match.”
9. While you are explaining the possibilities of another such coincidence you peek the top card of the pile. This is purely just in case there is a King on top. If the peeked card is not a King simply turn the card face up, if it is a King simply Double Lift. As before have the spectator turn over the forced selection (the Four). This time it is clear that the cards do not match. Turn the single or if your unlucky double card face down and table the pile. Pick
up one of the other piles and have a look at the top card if it is not a King you can freely show it. If it is a King just miscall the card and place it back face down on the pile. Carry out the same action for the final pile.
10. It appears that you have failed to replicate the coincidence. As a final thought pick up the supposed four Kings and say, “Well I guess I will have to use a little bit of magic this time.” Give the small packet a magical gesture then turn the packet face up and half pass the bottom card (the King). A Four will show at the face of the packet. Thumb over the top two cards into the right hand without reversing their order keeping them slightly fanned. Place the double underneath side jogged to the left of the other two cards so the three cards are spread in a slight fan. The three mates of the chosen card have magically appeared. Square up the small packet and deal each of the Fours separately onto the top of each one of the three piles the last Four being a double. You’re done and have finished ever so clean.
End Notes Essentially this is a coincidence effect with a kicker ending. I don't normally use these types of effects so I pretty much came up with this idea from scratch. You don't have to use the Kings and Fours; the choice of cards used is up to you. I have to thank my good friend Luke Dancy for his help in coming up with the idea for the kicker ending and general help with structuring the routine.
References: The Double Deal:
Jean Hugard & Fredrick Braue, Expert Card Technique, Dover, Softbound Edition, Page 27, Chapter 2.
Jean Hugard & Fredrick Braue, Expert Card Technique, Dover, Softbound Edition, Page 96, Chapter 11.
The Classic Force:
Jean Hugard & Fredrick Braue, Expert Card Technique, Dover, Softbound Edition, Page 186, Chapter 16
The Slip Jog:
Jerry Sadowitz, Cards Hit (Breese Books)
Check out Scotty’s website
Spice Rack Ian Kendall The following arrived from Ian Kendall who obviously has too much time on his hands…but I’m glad that he has! This is a branching anagram table and Ian has developed several of these for various subjects, such as the game of Monopoly – see Ian’s website for further information about this, and other topics: www.virtualmagicshow.com/vsession. This example is for determining a type of spice that the helper has selected from their kitchen rack. If you are feeling adventurous, or have inordinate faith in their spelling ability, you could have them merely think of their favourite spice, but the table was designed for radio or telephone; the helper would be asked to select a bottle from their shelf, either at random or the one they use most/least/last night. All kinds of cold reading skills can be thrown in here as well, but I'll leave that up to you. Also, because this is a remote routine, there is less importance placed on memorising the table (although this is not a bad thing if you decide to use this regularly). The list used is the complete range of the Schwartz spice rack range that is popular in the UK. It has the largest number of items that Ian could find, and there's a good chance you'll get one of the bottles. If you want a better chance of getting one of these, as opposed to, say, an Oxo cube, you could suggest that the helper choose a _bottle_ of spice. For those unfamiliar with progressive anagram systems, there is a brief explanation below the table. It is also recommended that you check out the work of Max Maven and Terri Rogers for further insight into this fascinating principle. Our spice table has seven columns, but there are a few instances where there are two possibilities for the second negative answer. In these cases another slight fish would be required. I hope this will not put off too many people. Anyway, here's the table. You can arrange the columns in this table to suit yourself by retyping it so that all seven columns are side by side. However, the arrangement below works fine. I couldn’t get seven columns side by side on this page! Column 1:
Header A E: Cumin N:R: Tyme M: Chervil Turmeric (see note 1) I: Nutmeg U: Ginger Juniper
Header E R: Basil or Cinnamon O: Caraway or Paprika S: Marjoram or Tarragon C: Saffron Cardamoms
Header R L: Sage or Aniseed I: Bayleaf or Lovage C: Applemint N: Allspice Anjelica
Header N O: Parsley M: Borage T: Rosemary Bergamot
Header O Spearmint
Header I Oregano
How it Works So, how does it work? The short answer is that you can have a list of words that all have common letters, but these letters 'fall away' and during a series of questions (and occasional fishing), allowing us to determine what word is being thought of. The table has seven columns with decreasing numbers of words. There are letters at the top of each column, and letters going down the left sides. Now, get your victim to think of a Spice. Let's imagine that they have chosen ROSEMARY. Here's how it works:
1. We see the top letter of column one is A, so we say that we can see an A in the name. This is confirmed. Every time they say YES we move forward to the next column. 2. We go to the next column and call an E. Another hit. 3. We move to the next column and call out a R. Another hit. 4. Moving to column 4 we call out N. This time they say NO. Once they say NO we stop at this column and start moving downwards. 5. So, moving down this column, we call out an O. They say YES. For every positive answer we move down another letter. If they say NO we stop because we have located their thought-of spice. In this case, we move down. 6. We now see a letter M – again they say YES – again we move down. 7. We see a letter T – this time they say NO. The spice next to letter T is the one they are thinking of – in this instance, ROSEMARY.
That's the general idea; move along the top until you get to the first NO, and then down until you get to the second NO. There are a couple of exceptions to this rule: a) Tyme is the worst case scenario, as there are three negatives in a row! In this case, you could suggest that they are sending the reverse of the letters in the word, and you are getting the ones that are _not_ in the name. Then you can spell out Tyme with all hits. b) Column 2 has three doubles, which is less than good...Basil and Caraway are sufficiently different from Cinnamon and Paprika to get a secondary hit - subtle against strong flavour. Marjoram and Tarragon require a more basic fishing expedition.
Reversed Card to Named Number Euan Bingham
This is inspired by Jerry Andrus's “To Any Small Number” from his Card Control books. It is essentially the same effect but doesn't require so many esoteric sleights. I sometimes present this as a demonstration of mind-power – causing a card to move within the deck.
Working 1. Spread the deck out and have a selection taken. Close up the spread, reversing the lower half using Roy Walton's Spread Half Pass. Square up the deck and buckle the bottom three cards so that you can obtain a break above them (Fig.1). Or, riffle off three cards from your right thumb as you square the deck. Next, have the spectator name any number between one and ten.
2. Take the card back and apparently place it on the bottom of the deck. Really the position you place the card changes depending on what number they say.
If they say: 2 – drop your break and actually put the card on the bottom. 3 – drop your break, single buckle, insert to break. 4 – drop your break, double buckle, insert to break. 5 – insert to break. 6 – insert to break, pinkie count two cards obtaining break. 7 – insert to break, pinkie count three cards obtaining break. 8 – insert to break, pinkie count four cards obtaining break. 9 – insert to break, pinkie count five cards obtaining break.
If the spectator said a number from 2 to 5: Square up and Half-pass everything below the top card. If the spectator said a number from 6 to 9: As you are executing the pinkie count go over the situation with the spectator. "You had a free choice of any card and a free choice of any number. Now, for the first time, will you please name your card?" When you have obtained your break below the correct number of cards, Half-pass everything below the break as you place the deck on the table. You should have set the
deck down before the spectator names his card; which, from the spectators view point makes it appear outside of your control.
3. Now simply deal cards one at a time until you reach the spectator's number. The card will appear face up at that point. It's spookily clean, assuming you do a neat Half-pass (see next item). Plus it leaves you set up to repeat with a different number.
Communication Breakdown Selection, Half-pass lower half, catch break above lower three cards, ask for number. Return card to correct position and catch break at the top. Half-pass below break. Count down to the face up selection.
Mine’s a Half Euan Bingham This Half-pass handling makes use of three concepts. The idea that the lower half is rotated without a dipping action comes from Harvey Rosenthal's half pass (Packet Switches part III – Karl Fulves (1977) pp 199). The reversed right-to-left action was inspired by the Ken Krenzel ('Mechanical reverse' The Card Classics of Ken Krenzel – Lorayne (1978) pp 207-209). Finally the use of gravity to allow a lighter touch and handling comes from the work of Aaron Fisher ('Gravity Half-pass' The Paper Engine – John Lovick (2002) pp 15). Also, check Card Conspiracy, Vol.2 (Duffie & Robertson, 2003) for a reverse action Half-pass.
Handling 1. The deck is held from above in Biddle grip by the right hand. Your right thumb holds a break above the cards to be reversed. Your right pinkie is held against the side of the deck at the outer right long edge so that it contacts only the group of cards held below the break. 2. Your left hand is held palm up with the fingers extended in a relaxed manner. Bring the right hand over to the left so that the inner left corner of the deck touches the base of the left pinkie, on the crease where it meets the palm. The outer left corner of the deck touches the index finger approximately halfway between the first and second joints.
When you reach this position, allow the cards below the break to fall onto the left hand by releasing pressure with your right thumb (Fig.1).
The lower half of the deck is now free and held in position by the left hand at three separate points; base of the left pinkie, centre of the index finger and tip of the right pinkie. This grip allows you to have maximum control over the cards, while needing minimum finger movement in order to reverse the lower half. 3. If you maintain this grip and move the right hand to the left you will find that the lower half starts to pivot on its side as if it was about to turn over (Fig.2). You'll use this to your advantage when executing the Half-pass.
To complete the Half-pass, move the right hand to the left moving the deck into left hand dealing position, however as soon as you feel the lower half begin to pivot, gently close your left hand fingers against the packet and you will find that the lower half flips face up (Figs 3 & 4). _________________________________
Done swiftly in an unstudied manner, the Half-pass looks like you are merely placing the deck into the left hand. Extra cover can be given by dribbling the upper half on top at the end of the half pass. Also, if you find there is a tendency for the lower packet to flash at the front edge, move the upper half forwards very slightly as you do the move thus shielding any flare at the front edge. You can also do the move starting with the deck in the left hand. Simply, catch your break and move the deck in the hand from right to left in a mock squaring action executing the half pass undercover of this motion.
Check out Euan’s website The Magic Den.
One from Three David Lees
Basic Presentation I try to save it for the right occasion. That occasion is usually in a relaxed social gathering, for example at a friend’s house, usually having a few drinks and chatting. The conversation usually comes around to psychic abilities (at least it usually does for me) and if asked to "do something" I will often present this. I ask the host to collect some family photographs, perhaps from an old photo album. Preferably of individuals. One person to each photograph. Too many people can confuse the psychic vibrations (!) I want them to select three photographs preferably produced on the same film or card stock. In other words, I want the cards/ photographs to be the same shape and size, and to look identical from the back. If this is not possible I will have them placed into envelopes. More on this later. I now proceed as follows.
1. Once the photographs are produced I will collect them, face down, placing one on top of the other and peek at the bottom photo. This will act as my "key card". 2. I deal the photographs face down onto the table from left to right. This places my "key" to my right. 3. I turn my back and ask the host to pick up any ONE of the photographs remember the individual they have selected and to place the photograph back into the same position. 4. Then I ask them to swap over the OTHER TWO photographs. This ensures that each photograph has been touched by the host.
I turn around to face them and give them the opportunity to slide the photographs around thereby mixing all of the photographs around a little more. I become very psychic (?) passing my hands over the photographs, picking them up to hold them in my hand and then placing then face down onto the table. Eventually I begin to describe personal qualities and characteristics which I feel may well relate to the person they are thinking of. As I relate my psychic impressions I push two photographs aside and concentrate more on the remaining face down photo. Eventually I begin to describe the person’s appearance, and finally I ask them to confirm that the remaining photograph is indeed the person they were thinking of by describing the person and the photograph they chose. I turn the photograph face up to conclude the demonstration. In order to relate their personality and life experiences I am of course utilizing cold reading.
As this was originally shown to me as a playing card effect I have included my original notes on it first, plus it’s easier to follow with cards.
One from Three with Cards This is a fascinating piece of mentalism. It is one of these effects wherein the method is as fascinating as the effect itself. It can be performed impromptu and completely surrounded. You may wish to follow this routine with a few cards in your hand. For purposes of explanation you will need three playing cards. First, I will give you the basic effect.
Effect A pack of playing cards, which may be borrowed, is completely mixed, shuffled and cut by as many spectators as desired. Eventually any three cards are selected from the deck and the deck is put aside. The three selected cards are placed face down in a row on top of the table. You explain that you will turn your back, and the participant is to pick up any one card, look at it and remember it, and then place it back on the table face down in exactly the same position. They have then to swap over the OTHER two cards. In that way all three cards have been touched once. Once they have done this you turn around to face them again and give them the opportunity to move the cards around again if they wish. Once they have done this and are satisfied. You pick up the three cards one at a time, and hand them one card. It is their chosen card. It is a remarkable and very clean looking effect and is of course instantly repeatable. The method is very clever indeed. The handling is based initially on the Al Koran effect "Note Under Cup" (At least it was made famous by Al Koran).
Working 1. When the three cards have been selected by the participant, you take them from them, and at that moment you secretly have a peek at the bottom card. Remember this card. No need to make a big thing out of this, just take the cards from the participant and angle the cards enough that you can see the identity of the bottom card. Deal the cards face down onto the table from left to right, in this way the sighted card, which we will now call the key card, will be at the right hand side.
2. Now you turn your back and have the participant go through the procedure of looking at and remembering one card, replacing it in the same position and swapping over the other two cards. For example, if they look at the card on the far right, they then swap over the other two cards to the left of it as shown in Figure.1 below.
To determine the thought of card: 3. At this stage, if you were to pick up the key card and have a look at it, and it was still your key card, you know that this would have been their card, as it is still in the same position and the other two (which had not been picked by the spectator) had of course been moved. If, on the other hand, you had picked up your key card, and it had been moved, and then look at what position it was now in, you would know that the remaining card had been the chosen one (because it had not been moved) In the Al Koran version with three cups and a rolled up piece of paper, you would have marked one of the cups. A piece of paper is hidden below one of the cups and the other two are swapped over. When you turn around and have a look, if the marked cup is still in the same position, the note is hidden under there. If the marked cup has been moved, then where it was and where it now is does NOT contain the note. Try it and you will see how effective this is. Well the cards have exactly the same principle involved. However we take it a little stage further. The above sounds a little bit complicated, but try it for yourself, once you have done so you will see how simple it is. So back to the three playing cards. The spectator has selected and remembered one card from the three, and swapped over the other two You have peeked at your key card and it is on the right end of the row.
4. Turn around and face the participant. Now at this time you do not know if they have chosen and replaced your key card in the same place or whether they chose one of the other cards and swapped over your key card and the remaining card. The strange thing is, it doesn’t matter. As far as you are concerned you simply imagine that the card to your right is still your key card. You now give the participant the opportunity to swap any/all of the cards around, by sliding them about the table, and you simply keep your eye on what you believe is your key card. When they have finished mixing the cards around, pick up the one that you think is your key card.
If it is still your memorized key card: Then that is the chosen card because the other two were moved. If it is not the key card: You know that this card is not the chosen one (because it was swapped with your key card earlier) neither is your key card the chosen one, so the remaining card is the selected one.
If this sounds confusing, practice with three cards and mark the back of one of the cards, use this as your key card, and go through the procedure outlined above. It will all become clear. Once you understand the principle it is very simple, and very effective.
You may want to experiment with the effect and presentation now. For example, you could also use say a dozen post cards or simple picture cards, have three selected, from the packet, and then follow the procedure, once you know which picture was selected, you can draw it on a notepad, as though you are picking up psychic vibrations. This could also be performed with tarot cards. Have them select three tarot cards which they would like to choose as their POSSIBLE destiny. They finally settle on one, which represents their true destiny. You could conduct a little character reading, and then study the cards and through your understanding of their character, you can 'find' their selected destiny. The possibilities are endless.
Using Photographs and Envelopes 1. I place at least one of them into the envelope and peek at the photograph as I do so, and I also nail-nick this envelope. I gather the other two envelopes placing them on top of my "key" envelope.
2. I apparently mix the envelopes whilst talking, what I actually do is to basically perform an "Elmsley Count" with the three envelopes, and then repeat, this brings the envelopes back into the original order, so that I can keep track of the "key". I know that this is not really necessary when the envelope has been marked, but it means that I don't have to watch the envelopes as I mix them. I know exactly where the envelope is going, and I don't have to worry about telegraphing the marking or the fact that I need to look at the envelope to perform the effect. (Actually I do not have to mark the envelope. I could simply remove the photographs after all the mixing is completed)
3. Now, I deal the envelopes onto the table placing my peeked at envelope/photograph to my right. I then follow the procedure described above.
The Collector of Souls David Lees This is based on a well known card effect which I loved, but I wanted a different presentation to take it away from playing cards. This one appears in Karl Bartoni's web site "Dragonskull". This is “last two cards match” dressed up a little. This is actually a little bizarre presentation. However it may be of interest. When this was first written I was heavily into bizarre magick. Today I would just tell the story and perform the effect with business cards or even a few sheets of blank paper, making it an impromptu presentation. ____________________________________________
“Let me tell you a tale of strange occurrences.” “The little Inn was a safe haven, or so it appeared, on this dark stormy night. I had received some strange looks from the inhabitants as I had entered their little shelter from the ensuing storm. I ordered some fire water from the proprietor and settled in front of the roaring log fire in order to chase the chill from my bones. It was a strange little place. The lights were very dim and the conversation was muted. The shadows flickered and danced across the walls. The locals cast many a dark glance in my direction. These were a dangerous people. I spent the evening drawing them close to me through the influence of mystic powers and enchantment. I told them many tales and provided much of the wine and gradually they began to trust me. Finally I began to ply my trade. "I can offer you much in this life" I said "You can have all that you Desire. Fame, Wealth and all the physical pleasures you wish, for the rest of your life. If you will but consider my offer. In return for this life of pleasure you must gamble with a soul. Not necessarily your own soul of course, but a soul never-the-less. Should I win, the soul shall belong to me and my master, for eternity. Should you win, you shall receive the prize of earthly pleasure for a life time, and the payment shall be forfeit. “I knew that these fools would accept my wager. They were hard drinking men. They lived hard and played hard with no thought or belief in the human soul, or of eternity. “I gazed around the table at my five drunken companions. Their souls were already lost. Soon I would claim them. You must nominate a soul as payment for this pleasure. It may be your own soul or that of someone else. There are five of you here. Each of you write down a name on this piece of paper. The names you have written are your nominees…(The poor fools wrote down each others names). “As they were writing, I removed from my traveling bag a battered and beaten wooden box from which I removed an ancient looking altar cloth, of course my altar, skulls and accoutrements. Also five miniature coffins of intriguing design and laid
them in a circle around the cloth. I collected the cards with the nominees thereon. They were gathered together and torn in half as I explained: "Each nominated soul will take the risk of being destroyed, in order that you may enjoy earthly pleasure for a life time. Perhaps one of these shall be given over to darkness, or depending on the outcome all may go free. You however shall receive the pleasures of the flesh throughout your life simply for having the courage to involve yourself in our wager." The torn cards are split into two separate piles (sorry packets, Magicians don't have piles). The first packet is counted onto the table, as they are, the order of the cards is reversed, i.e. what was top card now becomes the face card of the packet. The second packet is counted but retained in the same order and then placed onto the table. "We shall spell the words WHEN THE DEVIL CALLS and for each letter we shall move one card from the top of a packet to the bottom of the same packet, at each letter you can decide which packet we shall utilize. When we have completed spelling a word we shall discard the top card of each packet, and place them aside. Then we shall spell the next word and so on until two portions of a card remain. We shall turn them face up and if the two pieces of card bear the same signature (or halves thereof), that soul shall be given to darkness in payment for your reward." This is done. As each word is spelt out the two discarded portions are placed together at one side (you will end up with four packets of two half cards plus the chosen half cards). When the chosen cards are turned up, they of course match i.e. they are the same name. "It appears that we have been successful. We have chosen a soul, which shall be condemned to darkness and reside with the master in hell. However my master is a greedy entity and one soul is never enough" As you say this the discarded pairs are turned face up. Each is found to be a matching pair. "Five souls would be better, may you enjoy your life of pleasure and your eternal stay in hell. You need not worry about the payment. It has already been taken care of. "Never gamble with the Devil". This is followed by a Vincent price laugh, as each name is carefully folded and placed in a coffin (one name to a coffin). Each coffin is placed into the old wooden box and you wander off into the darkness with your prize. My children love this presentation. It was inspired, of course by the self working card trick (spit) “Last two cards match.” The set of coffins were available via Karl Bartoni, (but now only through The House Of Secrets or Mary Tomich) although you do want five of them not four, (It does not matter if one is a duplicate and I think these outlets could provide the extra coffin box) and a routine by Brother Shadow, “Seven Deadly Sins.”
The Gobbolino Principle Paul Lesso I do like the Si Stebbins stack but I've always disliked the periodically rotating suits. I spent a long time looking at various different methods of alternating the suits and I came up with the Gobbolino principle.
The Gobbolino principle Any tetravistic periodic stack that does not use card suits to determine the next card can have a staggered suits by even cards rotating the suits normally but odd cards cause to suit to stay the same colour but change to the other suit of that colour. One odd card needs to be selected to rotate the suits as normal. Any odd card can be picked to be the exception card. Some experimentation is required in picking the exception card depending on the stack.
Gobbolino's Stack This stack has the card values incrementing in steps of three but has the suits periodic with a length of 26. The Gobbolino principle is used to determine the exact sequence of suits. Card values increment in steps of three, Suit rotate CHaSeD unless previous card is odd in which case the suits change to the next but one suit. i.e. JH – >AD whereas 2D >5C . If the value is odd, the next card is the same colour/different suit, unless it is a King. Kings cause the stacks to rotate normally. This idea can of course be applied to other step sizes and suit ordering. e.g. Hungry Jackass etc.
Gobbolino's Eight Kings This stack is based on the following mnemonic to determine the card value rotation: Eight kings threatened to save, nine fine ladies for one sick knave 8-K-3-10-2-7-9-5-Q-4-A-6-J The Gobbolino principle is used to determine the next suit. The exception card is the five.
The Fiend Stack Paul Lesso The Fiend stack was born to fulfil a certain route to a memorised deck. I wanted a stack that could be a cyclical stack whilst I learned the algorithmic stack. I then wanted to use it as an algorithmic stack whilst I memorised it. I also wanted several numerical forces to use for Book tests and prediction effects. Ideally it would also be stack-stay. After much thought, I came up with the Fiend Stack. It has a variety of interesting properties: 1) 2) 3) 4)
Method to calculate next card given current card Method to calculate position of any card Method to convert position to card value Alternating red/black for Gilbreath
5) 6) 7) 8)
Can use stay-stack principle on full deck Can use stay-stack principle on half-deck Several Numerical Forces As per Si Stebbins card mate are 26 apart (apart from Kings)
Cyclic Stack Suits rotate SHoCkeD If top card is black: card + next card sum to 14 If top card is red: card + next card sum to 13 Exception: Red Kings are always followed by a black king (SHoCkeD still observed)
Numerical Forces Sum of any two sequential cards The sum of any two cards is either 13,14 or 26. This can be changed to just 13 or 14 by either of the following methods: 1) Remove the black kings from the stack 2) Tell the spectator to cut the deck and try again if they pick two identical cards 3) Only use half the deck (from 1 king to another king)
Kruskal Force By cutting the deck at a random point and performing a Kruskal Count the card ended up at will either be a 9, a black King or a Black Jack (which ever of those 8 cards is closest to the bottom of the deck). Spell all face cards normally i.e. count Q-U-E-E-N for a queen and A-C-E for ace.
Sequence Force If the deck is ribbon spread and then two card are removed and their values added, then a card above and below the cards just removed are removed and their total added, and so on only three sequences are possible. 13 -> 15 ->11 14 -> 12 ->16 26 -> 2 -> 24 the sequence beginning 26->2 can be eliminated by removing the black kings or by using just half the deck. If the black kings are removed from the stack, the cyclic property is retained with the change that the exception rule is ignored. Since the numerical forces do not use the suits (apart from the final cards of the Kruskal Force) the suits of the stack can be disordered as desired to eliminate the periodic rotation.
The Fiendish Algorithm or The 1 hour memorised deck Here the idea was to use mnemonics to come up with a easy way to calculate the position of any card or vice versa. With a little practise the system is easily learned. Learn red cards first.
How to calculate position of any card Ideally King of diamonds is crimped (breather?) to allow resetting of deck order. In order to aid estimation I prefer to use a deck with a one-way design that I can arrange 13 cards one way, 13 cards the other way etc. This means that I can quickly spot the position of the 13, 26 cards 39 as an aid to determine the position of a known card. Red Cards position = card value times 2 If card is diamond and value is odd add 26 If card is heart and value is even add 26 The mnemonic for the red cards is “Add RED DOves in HEll” for red card add 26 if Diamond and Odd or Heart and Even. Visualize somebody trying add red Doves to a deck
of cards whilst surrounded by the fires of hell. Make the image as bizarre as possible to lodge it in your mind, Black Cards Position = 27 – card values times 2 If card is spade and value is odd add 26 If card is club and value is even add 26 The mnemonic for the black cards is “add BLACK SEeds in COncorde”,i.e. add 26 for Spades that are Even and Clubs that are Odd
Examples Red Cards 4D = 2*4 + 0 = 8 Double the value 4. No modifier. 7D = 2*7 +26 = 14+26 = 40 double the value 7, add 26 since DOves. Black Cards 4C = 27 – 2*4 = 27-8 = 19 27 – double the card value. No modifier. 4S = 27 - 2*4 + 26= 45 27 -double the card value, add 26 since SEeds.
How to calculate card at any position This is done differently for odd and even cards. even cards position divisible by 4 = diamond ( a diamond has four points) position divisible by 2 but not 4= heart ( a heart has two “points”) if the position >26 then position = position-26. Finally value=position/2
odd cards position+1 divisible by 4 club (club-1 = 3, a club has thee “points”) position+1 divisible by 2 spade (spade-1, a spade has one “point”) if position >26 then position=position-26. Finally value = (27-position)/2
Examples Even Cards position 36 This is an even card. 36 is divisible by 4 so it is a diamond. 36 is greater than 26 so subtract 26. Resultant 10 when divided by 2 gives 5. Hence in position 36 is the 5D. position 14 This is an even card. Divisible by 2 but not 4 so a heart (two “points”). 14 is less than 26 so no subtracting needed. 14 divided by 2 is 7. Hence in position 14 is the 7H. Odd Cards position 25 This is an odd card. 25+1 = 26 (divisible by 4) hence a club. (27-25)/2=1 Hence it is an AC. position 7 This is an odd card. 7+1 = 8 (divisible by 4) hence a club (three “points”). (277)/2=5. Hence it is the 10C. position 37 37+1=38 (divisible by 2 but not 4). Hence a Spade. 37-26 = 11. (27-11)/2=8. Hence it is the 8 of spades.
Multiple Book Test Paul Lesso
Effect The deck is ribbon spread and the first spectator is directed to draw out two cards at any point. The second spectator takes one card above and below the cards removed, the third spectator also takes one card above and one below the cards just removed and the fourth spectator takes the cards above and below the cads just removed. Each spectator add their cards together and this decides the age in the book they will look at. The first spectator selects a book and looks at the first word on the page indicated. The Performer proceeds to reveal it. The spectators in turn each think of their word and the performer proceeds to reveal them.
Working This is based on the Fiend stack. Due to the properties of the fiend stack there are only three options for the selected cards. A book is forced via equivoque and the performer needs to pump for the first word, “Is the last letter..?.... is the middle letter...” etc. Once the first word is known all the others are known. This can be extended for many spectators as needed. The three possible paths are: 13 -> 15 ->11 14 -> 12 ->16 26 -> 2 -> 24 Again the path starting with 26 only occurs for one starting pair. This can be avoided as in the Fiendish book test. This can be extended to more spectators as needed.
Scipio's Fiendish Prediction Paul Lesso
Effect The performer removes the deck from its box, shuffles and cuts the deck. The performer studies the spectator for a moment and writes down a prediction. The spectator is then invited to cut off a a small number of cards from the top of the deck. The card on the bottom tells how many more cards to remove from the top. The next card stopped at is then used to tell how many more cards to cut off. The selected card if the card arrived at when more cards can be counted. The prediction card is turned over and revealed to match the card
Working This uses the Fiend stack. This is based on the fact that is the above count is followed the card ended up at will be either a 9 , black jack or black king (whichever is closest to the bottom the deck). The deck is false shuffled and false cut. The performer knows in advance which of the eight cards is closest to the bottom of the deck and uses that as the prediction card.
Customer Care for Conjurors Drew McAdam My pathological loathing of anything remotely connected with conjuring is a direct result of my father being a conjuror – and a very good one, too, I hasten to add. Andrew Wood McAdam was a huge fan of magicians such as Houdini, Fred Kaps, Cardini, Channing Pollock, Robert Harbin and Al Goshman. He had a towering bookcase stuffed full of magic books which he had been collecting since childhood. He was very much from the borrowed silk handkerchiefs and rice-from-ashiny-container school of magic. And, like all fathers, he thought his son was going to grow up to follow his interests, and perhaps even improve upon his achievements. Well, if that’s what he thought, he couldn’t have been more wrong! I had already worked out for myself that to most magicians the spectator is simply an ear, from which can be produced a coin. Big deal. But what finished it was when I was 9-years old, and Christmas rolled around. More than anything, I wanted Father Christmas to bring me a Beatles wig and a model of a James Bond Aston Martin DB5. (I also wanted a flame-thrower, but I wasn’t too hopeful on that score.) Still, as long as I received the wig and the toy car everything would be fine. What most definitely was not top of my list was what I woke up to find on Christmas morning: a magician’s table, complete with embroidered cloth and a box of magic tricks. Hoping it was all a bit of a joke, I opened the box in the vain hope of finding the wig and the car. But, no, all it contained was plastic rings, bits of ropes, playing cards and a plastic thumb. That thump you just heard was the last nail going into the coffin. However, moving forward about 5 years, I discovered something entirely by accident. I was carrying out an experiment in ESP with my school chum, Alan Ferguson. It started out as little more than a lark in the park, driven by an adolescent curiosity, but I discovered something of great value that day. Our experiment was quite simple. Alan and I would stand back to back with a gap of a few inches between our shoulder blades. He would sketch out some item on his drawing block, then we would both close our eyes – tightly - and concentrate. He was the sender, I was the receiver. At first, I didn’t get anything. But then, with the exception of only a couple of misses, I started getting an increasing number of hits. It was incredible! All that afternoon and most of the next day, I enthused about how amazingly gifted he was at sending these mental images. He got a real kick out of that. Okay, so it was achieved by the simple expedient of taking advantage of the fact that his eyes were closed to aid his concentration. I simply stepped up on my tiptoes and squinted backward over my shoulder at what he had drawn. I would then face forward again, and a few minutes later I’d start “getting” the target drawing. Slowly at first, then building up with a growing excitement until I identified it. It was bold and it was brassy. But, hey, Alan really impressed himself with his ability to mentally transmit images! In fact, he was so impressed with his ability that, while I did nothing more than keep my mouth shut, he told everybody who would listen about our experiments in the realm of ESP, and his incredible ability. Of course, it didn’t take too long
before our fellow school pupils started to work out that the really amazing thing about the experiment was that I could actually pick up on the images. For a while, I was a local celebrity. Had I simply wandered down the well-trodden magicians’ path and taken all the credit, then: (a) He wouldn’t have been such an avid and energetic salesman of my “powers.” (b) He wouldn’t have experienced a euphoric sense of wonder and delight in his abilities. (c) He would have started thinking about how I had done it; and it wouldn’t have taken him long to figure it out either. Instead, I bet he’s even now telling his grandchildren about his powers. How cool is that? The lesson was clear: Use a simple, but bold, effect. Build in some showmanship. Take as much delight in the impossible as your participant. Let them take the credit. By doing those things you let the participant’s sense of wonder bloom and flourish. They are touched on an emotional level – that place where childhood curiosity and amazement resides. They smile. They feel it. And they never forget the experience. You are connecting with the customer. You are giving them something they want, so they are willing to pay you for the experience, and that has to be more impressive than offering them ten minutes with an irritating, smart-assed coin-puller - don’t you think?
The Gentle Art of Audience Handling Drew McAdam If I may, I’d like to share a couple of thoughts with you on the intricacies of “Audience Handling”. This “audience handling” is often spoken of in the same terms as “snake handling”. In some cases the same advice would apply to handling live electrical cables or leaky bottles marked “poison”. But that needn’t be the case. Now, there has been a great deal already written on this subject, with whole books dedicated to the subject, covering such topics as winning the spectators’ approval, what to do with your hands, masking mannerisms, and how to handle hecklers. So, who am I to offer my views? And what might my qualifications be?
Well, all that matters at this stage is that I am a working professional. My manager looks after my diary and has organised jobs the length and breadth of the country; from corporate functions in the North of Scotland to after dinner, black tie events on the South Coast. I’m “doing it” week in, week out. The fact that this is my fulltime profession is not based on either skill or ability. Moreover, much as I would love to be a charismatic figure, I’m not. Instead, I’m short, balding, over 50, and not particularly quick-witted when it comes to comedy and repartee. Believe me; if I hadn’t learned how to handle my audiences I would have been little more than a small greasy spot on some hotel function room a long, long time ago. So, let me make it easy for you. If there is one thing I’ve learned, it’s that you need know little about Audience Handling as long as you stick to one, simple, clear rule. And that rule is: Enjoy your audience. There have been, and still are, numerous Scottish magicians who applied this rule: the late Steve Lindsay, Gary James, and Douglas Cameron to name but a few. Just watching them in action, you cannot miss the fact that they “enjoy their audience.” They really enjoy the company of the people they are entertaining – and that’s the point. They are NOT showing off. They are NOT expecting to be admired for their skills and carried shoulder-high from the room. Rather, they are working. They are entertaining. And they are enjoying their audiences’ enjoyment. Hopefully, you see yourself not as someone who should be held in high esteem by both the public and your peers as a Worker of Wonders (God save us from them), but as a working entertainer whose job is to offer your audience a good time – and to take pleasure in their enjoyment. If you can also instill a childlike sense of wonder in them, then that’s an added bonus. As a mindreader, I’ve had the absolute pleasure to have worked with, and alongside, such luminaries in the mentalism world as Marc Salem, Ian Rowland, Uri Geller, Banachek, Marc Paul and John Archer. And do you know the one thing I noticed about each and every one of them? They ENJOY their audience. No matter how good, or clever, or skilled their act and effects might be, one thing comes over more than any other… THEY ENJOY THEIR AUDIENCE. And that is why everything else falls into place for them. The audience is on their side. Hecklers are few and far between, and only rarely does some smart-alec intentionally try to mess it up for them. And when they inadvertently do end up with an undesirable on stage with them, the audience is solidly on the side of the entertainer. They like their audience. Their audience likes them - it’s reciprocated. The same is true of other disciplines. I have a paying hobby; I write reviews for the Scottish Press. Now, for me that’s great because it gives me the opportunity to select acts that I want to see (and get front row tickets – how cool is that?) And having seen thousands of performers over the years, do you know what I came to realise differentiates the Good from the Great? Quite simply, it’s a Great act if I find myself thinking: “I’d like to sit down and share a meal and a chat with that performer. I would love to spend some time in their company.” It’s a personality thing, and it really IS that simple. If you enjoy your audience, every individual member of that throng will instinctively realise that you like them! They will feel an affinity with you, and they will want your act to work - and to work well. They will take
you to their heart. If you can make them want to take you home with them, you’ve won their heart, their admiration, and their loyalty. Now, I’m the first to admit that I have neither great manipulation skills, encyclopaedic knowledge of our art, nor an ability to invent clever techniques and effects. However, my saving grace is that I like people. I genuinely do. And when it comes to audiences, they seem to instinctively realise this fact, and they like me right back! Thank God for that – I work non-stop and I keep getting booked, not because I’m a great performer, but because I enjoy my audience. And they sense that. So, with that out of the way, would you like a great little tip that I picked up almost by accident? You would? Great! I was hired to do an after dinner cabaret in a Glasgow hotel. It was one of the worst venues I have ever had to work because, although there was a good stage area, the room had pillars that would hide me from those near the back, PLUS it had a little ante-room in which some of the diners were seated. Now, I could have thought: “Oh, well, that’s their problem.” But, perhaps because I enjoy my audience, I realised that some of them were going to feel that they had paid good money and only had a view of a pillar to show for it. So, during the dinner, between courses, I introduced myself to the tables that had the restricted views and I explained that I was going to be providing the entertainment later that evening. I also told them that I realised they were stuck away in a corner, and suggested - if they were happy with the idea - I could perform a couple of close-up demonstrations by way of compensation. Of course, they accepted. So, having bent a couple of spoons and told a couple of people the names of their first pets, I thought I had done my job. But do you know what happened? As I was introduced on stage, those with the restricted views moved to the back of the room where they had an uninterrupted view. Those who had been ensconced in the ante-room filtered out and joined them… I had a standing ovation before I even started! Who would have thought it? But let’s not forget that it all came about because I enjoy my audience. May I suggest that during the next few performances you attend – whatever those might be – you take the time to ask yourself if the performer is – or isn’t – connecting with their audience. And if they are connecting, it will be because they are enjoying their audience. If they are connecting, you can tell because the performer will have a genuine, crinkly smile. He’ll have a twinkle in his eye… and so will the audience. It will be like a meeting of old friends. So, if you want to “handle your audience”, simply enjoy them! _______________________________ NOTE: Watch out for a forthcoming book from Drew! Visit his website.
Traffic Light Personality Test Peter Arcane A colour freely chosen by a spectator is divined during an entertaining personality test.
Requirements One ‘peek wallet’ of your choosing. Two or more blank (both sides) cards which fit above wallet. Three round stickers/labels (red, orange, green). One Sharpie or suitable marker pen.
Preparation Take one of the blank cards and on one side stick the labels/stickers so they resemble a traffic light (Fig.1).
Fig.1 The set-up of the wallet may need to be tweaked to suit your particular wallet.
Working 1. Remove the wallet. Open it and remove the ‘traffic light’ card (TLC).
2. Hand the TLC to your volunteer asking them to place a cross in one of the three circles. Turn your back while they do this. Once they have done this ask them to turn the card face down. You now turn around, take the card and place it face down into you ‘peek wallet’ ready for the peek.
3. I now find it interesting to create some ‘time misdirection’, so I explain to the volunteer what has taken place.
“You have selected one of three colours. These three colours actually represent three different personalities and are used in something called the TLPT, the Traffic Light Personality Test. We have green which represents someone who is always on the go. The orange/amber represents someone who tends to sit on the fence. While red is the type of person who digs their heels in.” You can get some wonderful laughs with the meanings for the three colours. And there is some natural humour in there with the ‘sitting on the fence’ and ‘digging heels in’ lines. I’ll leave you to experiment, and it is more than possible that you can hit the chosen colour when you describe its trait from their facial expressions.
4. So some time has now passed. Pick up the wallet explaining that you need to ask a few questions to confirm your initial thoughts! Open the wallet removing a blank card and take your peek.
5. You are now going to ask a series of ‘silly’ questions, recording their answers on the card. Hot or cold? Black or white? Left or right? Blonde or brunette? High or low? Hard or soft? …the list can go one as long as you want. Once you have enough answers on the card ‘total’ them up as if you were adding up some numbers. Now nod your head and say, “Yep, exactly what I’d first thought! You’re a ______ person.” Hey presto, a miracle!
Tips If you want to play this for real and use it as a form or ‘reading’ I’ve included some basic colour definitions at the end. Check to see if your volunteer is OK with colours. It wouldn’t be the first time I’ve selected someone who is colour blind. If you want to reuse the card, laminate it and use a dry-wipe marker or chinagraph pencil. Test the dry-wipe maker as some do not wipe off of laminate! If you use the chinagraph pencil – start thinking about thumb-writers!? On the ‘traffic light’ card you could print the Stroop effect.
Colour Definitions Red Elemental fire, deities of love, passion, sexuality and war. Courage, will-power, determination, speed, assertively, aggression, masculinity, independence, physical strength, sports, competition, conflicts, health, sexual attraction and potency, love and passion, fertility.
Orange Deities of good luck and good fortune. Charm, kindness, encouragement, stimulation, optimism, success, abundance, prosperity, feast and celebration, achieving business goals, investments, success in legal matters.
Green Elemental earth and elemental water. Nature and fertility deities, Mother goddesses. Nature, fertility, growth, rejuvenation, recovery, healing, harvest and abundance, prosperity, harmony, balance, peace, hope, home, plants and animals.
©2001 Arcane Magick
Foreknowledge Peter Duffie You show a packet of business cards, each with a letter printed on it. The letters spell the word “FOREKNOWLEDGE.” The cards are laid in a circle on the table. At this point – and before anything else occurs – you place a coin on one of the cards. You now show a deck of playing deck for what it is – a regular 52 card deck. After shuffling it you give it to a spectator who gives the deck a straight cut. There is no coercion. He then deals three cards in a face down row on the table. These cards represent Past – Present & Future. Deck is discarded. “As there’s no time like the present, please turn over the middle card.” The spectator does so, the value is noted, and she then counts around the circle using the coin that was in place from the start. The spectator turns over another card and counts round further. Finally the third card is turned and the coin moved further round the circle. Due to the free selection of the three cards, the outcome can only be random. However, when all the business cards are turned over, they are blank (or have question marks on them). The card they chose is the only one with a goodwill message.
Requirements 13 business cards with letters on them that spell FOREKNOWLEDGE as shown below (Fig.1). Note: once you understand the workings of this you can vary the cards to suit any other presentation of your choice. See End Notes for a more impromptu version. On the back of the “W” card, write a message. For example: “If you are happy, you are successful.” Leave the other 12 cards blank, or draw a “?” on each.
Fig.1 A deck of cards stacked as shown below – only the values matter. This is a variation on the classic 13/14 Force Deck and I first published this stack in an abridged format (26 cards only) in “CoVersion” that appeared in Covert Concepts. The X cards are court cards and Ten spots.
9-A-X-8-2-X-7-3-X-6-4-X-5-5-X-4-6-X-3-7-X-2-8-X-A-99-A-X-8-2-X-7-3-X-6-4-X-5-5-X-4-6-X-3-7-X-2-8-X-A-9 If you take any three cards together from any point in the deck, the total will either be 19 or 20. You also know what the total will be as soon as the middle card of the trio is turned over. More on this later.
Working 1. Start by saying, with tongue firmly in cheek; “Earlier today I had a premonition…a foreknowledge of something that was yet to happen…in fact I have brought that foreknowledge with me. Foreknowledge is a wonderful thing…when it works!” Bring out the business cards and show that they spell the word FOREKOWLEDGE.
2. Now deal the cards into a circle as shown below (Fig.2). The illustration is from an audience point of view. Imagine this to be a 13-digit clock with the letter “O” at position one. This means that the letter “W” which has the message on its underside will be at position “7”.
Fig.2 3. Remove a coin and place it on the latter “O” as shown above (start). It is important to emphasise that the coin is in its position before you proceed further.
4. Bring out the deck of cards and false shuffle if you can. Alternatively, a few false cuts are just as effective. Spread the cards with the faces towards the audience so that they can see that this is a normal deck. Now place the deck face down on the table. Ask the spectator to give the deck a few straight cuts. Now tell him to deal the top three cards into a face down row on the table, saying, “The first card dealt will represent the
past ,,, the next card will represent the present …the third card will represent the future. The past is when I had my premonition – the present is now – and the future will reveal if my premonition was correct….time will tell.” The rest of the deck is placed aside. At this stage you should mention the values of the cards: Aces count as one – court cards count as 10.
5. Say, “There’s no time like the present, so please turn over the middle card.” If the middle card is a King, Queen, Jack, Ten or Nine, the final total of all three cards will = 19. Any other card and the total will always be 20. OK. So, if they turn a King, Queen, Jack, Ten or Nine, ask the spectator to move the coin that many places – so they will move the coin either 9 or 10 times. And they must move clockwise. If they turn any other value, they must move counter-clockwise. However, do not tell them to move clockwise or counter-clockwise. Instead, simply tap the cards with your finger to show them how they are to move the coin. They will move the coin in the same direction that your finger moved. Now ask the spectator to turn over another card – comment on whether it is past or future – and then tell him to move the coin further (same direction) counting that value. Then he turns over the final card and moves the coin accordingly (same direction). The coin will always finish on the “W” card.
6. Now turn over the other 12 cards to either reveal nothing, or question marks. Finally ask the spectator to turn over the card that he arrived at purely by chance and have him read out the message. Conclude, saying, “It seems that foreknowledge is, indeed, a wonderful thing.”
Almost Impromptu Version If you don’t have your business cards with you, you can still do the routine using 13 coins. Any coins can be used; they do not need to be of the same value. Place a sticker on the underside of a coin, or mark a cross with a marker pen. Lay the coins in a circle as shown below. The layout is the same as the cards – make a mental note of the coin at position one and place the marked coin at position 7 (see Fig.3). Bring out a small amulet and place it on the number one coin. Now proceed as outlined in the main routine.
End Notes a) You can have any message you like on the target card. b) The message does not need to be on the letter “W” nor do the cards need to be laid down in order. For example, you can have the cards shuffled by a spectator and then lay the cards down, ensuring that the force card is placed in position. c) The cards do not need to spell the word FOREKNOWLEDGE (as the coin version demonstrates), It just happens that this word spells with 13 letters, and you require 13 objects for this to work. d) You can use 13 playing cards, but it’s nice to get away from cards when performing mentalism-type effects.
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Slightly Off Target Max Gordon As with many routines I use, they start with something I have read or heard described. I have tried them out and then developed a handling that suited me and the environment within which I work most often. This is exactly what happened with an effect called “Chairvoyance” in Peter Arcane’s Centre Tear magazine (sorry I can’t locate the issue to credit the creator). Basically, you predict the description of someone who will sit in a chair in the audience. This is in an envelope taped under their seat. I loved the effect, but as I am usually arriving after guests are seated, I rarely got to use the routine. I then listened to Ted Karmilovitch describe his routine he called “Target number” where he would predict a number chosen by a person in the audience. Ted had a “Target” number written on the outside of the envelope and a description written inside. I tried this a few times, but felt it didn’t work as well as “Chairvoyance” did for me. I’m not sure if it was the accuracy of the target number aspect or the fact that the number was on the outside or what. I did not want to drop the routine, but needed to rethink my presentation to suit my own needs. Hence “Slightly off target” Before I get into the effect and method, a couple of points: We don’t always have to be exactly spot on. Sometimes we just have to be prepared to miss out a routine if the circumstances don’t permit. Let me clarify. Magicians need to get things right every time. Imagine the dilemma of a half restored watch or a dove production where the dove gets stuck in the gimmick. Magicians have to get it right, (assuming this is not part of a comedic routine) in mentalism however it is quite acceptable and sometimes more believable to get it just a little bit wrong or slightly vague. A miss-spelt name, a drawing of a yacht instead of a rowing boat, a telephone number with two digits reversed for example will get the same response as if you got it exactly right. By thinking like a magician we miss a valuable tool, the audience’s acceptance that everyone is fallible, to be right all the time is not the norm, we are apparently dealing with unseen forces, intuition, a hunch etc. Everyone has “experienced” these things and they know they are not exactly cut in stone, so why not use this to your advantage. In a conversation, Andy Nyman describes an effect where he has paid for an expensive newspaper advert, only to miss it out because circumstances did not allow it. It was this comment which got me thinking.
Effect Throughout the show, the performer has been asking members of the audience to select the next person to take part in the experiment to follow; thus excluding any possibility of the use of a stooge. (As an alternative you could use a soft ball tossed around to pick
people at random). He also asks them to name a two digit number out loud and to remember their number. At some point a person is chosen and following a successful routine the performer asks the assisting spectator to name a two digit number. Let’s say they choose “46” This process continues throughout the show “OK we have: 46, 98, 22,” and so on pointing to each person as he has them name their selected numbers, Performer then explains that he was in fact attempting to influence an audience member to choose a two digit number that meant nothing to them. The fact that everyone chose different numbers proves that there was not a contrived answer that everyone would pick. As the performer delivers this explanation he removes an envelope from his pocket as he once again asks the spectators to shout out the numbers they chose. The performer explains that over a year ago; he wrote a two digit number and some additional information on a card and placed it in this envelope where it has remained until now. However he confesses, that as it was such a long time ago, he is not entirely sure how accurate this will be now, but he has been attempting to mentally influence someone to choose his “target number” however no one has managed to receive the number he was transmitting, “however, I think tonight may be different, I think you will find this interesting”. He hands the envelope to a lady (the one who called “46”) and asks her to remove the card from the envelope and read the number on the back; She reads“45” “Pretty close” states the performer “Please read the details on the other side”
From all of the spectators chosen at random, I get the impression that the person who will be closest to my target number will be a lady with short dark hair wearing a black skirt, and light blue blouse. Signed (Max Gordon)
The lady keeps the card and the envelope as a souvenir.
Preparation The envelope: This is prepared in such a way as to allow you to have access to an area of the card on which you can nail write a number one digit away from the person you have described on the other side of the card. (fig 1). The secret is to have a slit torn across the front of the
envelope, about 1/2 way up the envelope. Do not cut this slit as this has to match the back of the envelope after the card is removed by the spectator. The card, (I use 3 x 5 blank index cards) is inserted into the envelope upside down (the blank side top edge will protrude through the slit). This allows you to have as little of the white card exposed as possible. Now place the envelope in your inside right jacket pocket (assuming you are right handed) with the torn side at the top, facing your body. A paper clip will ensure the card stays in line.
Working Firstly you must get a glimpse of an audience member; ideally not someone with whom you have had any previous contact. On the card, write the text as above describing three clearly obvious features and sign your name at the bottom.
1. When you are ready to perform, reach into your jacket pocket and remove the envelope as you talk about the random numbers chosen. As you do this the right hand loads the nail writer. The envelope is then held between both hands as you ask for the lady who you have previously sighted, to join you on stage. As soon as you have written the number, you keep the envelope mouth downward pin the left hand and remove the paperclip keeping your thumb behind the envelope. Ditch this and your nail writer into your right jacket pocket and then flip the flap of the envelope open and withdraw only about 2cm of the card before you have her remove the card, as it is upside down (Fig 2)
Fig 2 She will not be able to read the information before you instruct her to turn the card over and read the number you were attempting to send. As she is doing this you casually tear the envelope across its width in line with the tear on the front. This is done as a casual gesture as you are obviously finished with the envelope. After she has read both the number and the prediction, you can either hand her the envelope or leave it where it can be found by anyone who may suspect it as being prepared in some way.
It should not need to be said, (so why am I bothering), that the card should be written with a pencil which matches your nail writer.
Final Thoughts What happens if no one picks the lady you have described? You do nothing. The strength of the effect is that you had no control as to who would be selected; this is the mental cut-off point that stops the suspicious members of the audience retracing your steps. They can’t accuse you of pre-show, pre-knowledge or manipulating the choice of audience members, this was all done out with your control. What happens if you are asked why you were asking people to pick numbers throughout the show, well although I have never been asked, I decided that if I were questioned, I would tell people that I was experimenting with trying to guess in my head what they would say before they said it? Ok, I am feeling a little guilty that I have strayed a little from my path of: making the premise, clear. i.e. “I am sending you an image; you draw what you think I am sending” etc. etc. I have stated that I am attempting to influence the selection of a two digit number, so where did the spectator’s description come in. Well remember I said in the blurb that I wrote some additional information, the implication here is that it was so long ago, you forgot that you wrote down an impression of who would be closest. The image shows a crisp new envelope; in performance the envelope is definitely worse for wear, as though it had been carried around for a long time. Do I hate it when no one chooses my “target” spectator? Of course I do, but never mind better luck next time. You invest very little in pre-show set up and the only cost is one index card, so no great loss. NOTE: Watch out for a forthcoming book from Max, tentatively titled: Close-up to Corporate, Magic to Mentalism.
Check out Max’s website.
Pointing at Moe Gary Middleton
Here is a version of Moe’s Move a Card trick. This one uses a full deck stack, but it does have an added bonus of being able to tell the spectator where card was moved from. This trick came about from me being fooled by Douglas Cameron and Iain Girdwood doing a ‘stooged’ version on me! Take 22 pointer cards i.e. cards that are not symmetrical and add four Kings so you have 26 pointer cards (while Kings are not Pointers, they will act as such because you will see if one has been moved). Faro the pointer stack into the remaining 26 non-pointers and that is your stack the deck can now be cut by a spectator as many times as he wants as long as each cut is completed
Working 1. Spread the deck face up across the table and pretend that you are memorizing the cards. Take your time, as you would were you really memorizing a full deck.
2. Now ask a spectator to move any card from one side of the spread to other (Fig.1) – left to right - and to remember the card and also the cards on either side of where it came from. As he does this you turn your back or it’s not much of a trick.
3. When he is finished ask him to close up the spread and square the deck so there are no obvious breaks. You now turn back to face the front.
4. Take the pack and re-spread it face up. You will now discern where the card originally was positioned and the name of the card (in that order). Starting at what would have been top of the face down pack, let’s suppose that a pointer was moved and also that first card in the spread is a pointer. Therefore we now know that all the odd cards are supposed to be pointers. So I say in my head – “pointer” - and then
jump two cards – “pointer” - and so on. Eventually you will jump to the second card and it will be a non-pointer. You now know where the card came from. Continue spreading through and you will come to two pointers together. At this point, you will have to ask one question and that question depends on what these two pointers are. It could be as easy as a red and a black. In which case, just say, “Was it a red card?” If they say, no, I make a joke and say, “No, I meant the back!” as I always use red backed cards anyway. It could be that the cards are two of the same suit or colour. If so, you can ask if the card is high/low. Or, if one is a spot card and the other a court card, you can ask if they moved a court card. Or, they could be odd and even. Occasionally, you will encounter a problem where the two cards cannot be identified by a single question - for example; Six of Clubs and Eight of Clubs. In which case, I just have a guess. It’s 50/50 and if I’m wrong it’s no big deal because I’m instantly going to tell them the card anyway.
5. You can now reveal the card and then backtrack and reveal the position where it was removed from at start.
End Notes I always clock the top card as I spread at the start just in case the spectator moves it and I always spread from left to right. So I gesture for a card to be removed from my left half and be moved to right hand side I always false shuffle the deck before I let them do any cutting. The idea of adding four Kings to the 22 pointers was suggested to me by Peter Duffie. Various other methods are in Moe and his Miracles with Cards.
Predictriple Dave Robertson
The performer has a deck shuffled by a spectator. He then places three business cards on the table which have writing on their underside. These are three predictions. The spectator now cuts the deck into three piles. The predictions are turned over – 3C – QH – 9D. The spectator now turns over the top card of each pile revealing: 3C – QH – 9D! This is a variation on a previous effect of mine called, “Spectator Makes Good” (Five Times Five – Scotland, Kaufman & Co. 1998). The cutting concept belongs to Ed Marlo and was used for cutting to the Aces.
Requirements Three blank business cards – an envelope to keep them in – one deck of cards. Note: the envelope should be larger than a playing card.
Fig.1 Place the predictions into an envelope stacked together in the above order, with the 3C on top and 9D at face. Now remove these three cards from your deck and place them below the envelope (cards are in the same order as the predictions). Now place all in your wallet. You should be able to remove the envelope along with the three concealed cards without problems.
Working 1. Hand out the deck for shuffling and as the spectator is doing this, bring out your wallet and remove the envelope along with the three concealed cards. Put the wallet away again as it’s no longer needed. Hold the envelope in your right hand. 2. Take back the deck with your left hand, saying, “I had a strange dream last night and in this dream I saw three playing cards … I told you it was a strange dream! … when I awoke I wrote down the names of the three cards.” As you are talking, casually place the envelope on to the deck adding the three concealed cards to the top. Now open the envelope and remove the three predictions. Place the envelope aside.
Lay the three predictions in a row on the table, writing side down – dealing left to right. 3. Place the deck on the table in front of the right hand prediction - 9D (Fig.2).
Ask the spectator to cut the deck into three piles – one for each prediction. He does this by lifting off a section and placing it in front of the middle card (Fig.3), and then a section from the middle pile which is placed in front of the left hand card (Fig.4). The left hand pile now has your three force cards on top.
4. Recap, saying, “Remember you shuffled the deck and you freely cut three piles…resulting in three random cards.” At that, you appear to lift off the top card from each pile, as follows:
With your right hand, lift off the top card from the far right pile – the card should be taken in a Biddle-style grip. Place this card into your left hand dealing grip. Now lift off the top card from the middle pile and place this card on top of the first card in your left hand. You now appear to lift off the top card from the left hand pile; however, you really lift off AT LEAST THREE cards as a block. There should be no hesitation – just dig in with the right thumb and lift. If you take four or five cards, it doesn’t matter – so long as you lift at least three. In a continuous action – matching your previous actions – place this block on top of the two cards in your left hand. Now pause, and say, “Oh, I better let you see my predictions first.” You now deal the three(?) cards back onto their piles. Deal the first card onto the left pile – the second card onto the middle pile – and the block onto the right hand pile. This, seemingly innocent, oversight has now placed a force card on each pile. And each card will match its respective prediction.
5. Turn over the three predictions to show – 3C – QH – 9D. Finally ask the spectator to turn over the top card of each pile to reveal that you have been successful.
Check out Dave’s website Darro’s Den.
Past Thoughts Alan Rorrison
In recent years Mentalism has become very popular. I have no doubt in my mind that one UK magician has been a huge influence in this and I must thank him because my volume of gigs and overall turnover has nearly doubled. So, thank you, Derren. Now allow me to move on to this little gem. I was holding back on releasing this one because it’s part of my current repertoire. However, this project seems to be the ideal vessel for it and there is not a better man in this world to fix my stroppy spelling and grammar than Peter.
Effect You ask one spectator, or several, to bring out a £5 note (or dollar bill). You instruct one person to fold their note into eights so that the serial number is facing inwards and completely hidden. You produce a small Dictaphone (small voice/ note recorder) and simply state; “I have random thoughts some times. I notice one thought would come through more than most and I started to record it each time. All I say is my name a date and a number…” You now hand the Dictaphone to the spectator and ask them to press play. To their surprise, and under complete test conditions, the serial number matches the one on their bank note, even though you have never seen this note before, never mind the serial which is concealed inside. They can also check any other recordings on the tape as there are none; just that one recording.
Preparation Let’s move right on into the dirty work. I will explain this in the same fashion that I like to learn. The basic workings the hints and tips on how to make it even better that you can add or leave out depending on your style. The method here is as old as the hills and YES it is a bill switch. The reason it plays so well in this context is due to how open it appears. No attention is on the bill and unlike most that depend on difficult sleight of hand or heavy misdirection this is a simple, natural action. Ok, all you need is one Dictaphone or voice recorder. You can pick these up for £7 these days online and for the reaction it is a steal. You also need a £5 of your own. The set up is simple. Take the Dictaphone and record the following onto it; “Hello. My name is (say your name here) and it’s the (say the desired date here.) and the serial number to the bank note in your hand is (say the serial number of your own £5).” Now rewind the tape and place this to one side. Now take your £5 and fold it in half so the serial is on the inside. Fold it in half again to make quarters and then one more time. I do it this way as most Dictaphones will hide the bill behind its self this way with ease and you can use it as the perfect reason to make it impossible for you to see what it possibly could be. When you are ready to perform take the bill and place it in your right hand side pocket along with the Dictaphone. Now all you need to do is ask for a bank note.
Working Here is the scripting I use to make it seem like a free choice of note: 1. “If you all would be so kind, could you bring out a bank note… In fact for this a £5 note would be perfect as the serial number will be on one side and not both. Please make sure I do not see it.” This fact is true. On some £1, £10 and £20 notes the serial is on both sides. On a £5 it is never on both sides.
2. Now ask one person to fold their note into eights - as you did yours - making sure the serial is facing inwards and hidden from you. If you asked more than one person to bring out a bank note ask the others to put them away. Thank them for the participation and invite them to enjoy the rest of the trick.
3. Take the bank note in your left hand. Hold it up at your fingertips and show the fact that its impossible for you to see the serial. As you do this, reach into your pocket with your right hand and pick up your own bill in a loose finger tip rest and bring out the Dictaphone. The Dictaphone should cover your bank note. I prefer to conceal my one bank note more to the bottom of the Dictaphone.
4. Now for the switch.
Bring your left hand over with their bank note resting on your finger tips. This goes under the Dictaphone as the right hand comes away with your own bank note (Figs 1, 2 & 3).
So, basically all seems to happen is that the Dictaphone and bank note are swapped from hand to hand. Saying it like that makes it seem really bold, but it is what you say that makes it fly right by: “So there is no way I can see your serial at all (bring out the Dictaphone) now this is a voice recorder (your left hand comes over and places the spectator’s note underneath) I use this to...Ooh sorry please hold onto this for me (you’re right hand comes away with your bank note leaving the Dictaphone in the left hand) I use this to record random thoughts…….. “ The switch is done. The afterthoughts help erase any notion of a switch and make all motions seem really natural. That one little beat makes everything seem so fair and clean.
4. Now all you have to do is hand them the Dictaphone. Keep in mind the left hand has the bill under it so I recommend taking the Dictaphone from your left hand with your right then hand it to them. This puts all attention on your right hand allowing you to casually drop your left hand to your side hiding the note and then simply placing it in your pocket (See End Notes). Now your hands are clean, they are holding what they think is their note and a recorder with a thought from weeks ago on it. Once this is played to reveal it matches the effect is done and your hands are clean.
End Notes Try to buy a tape style recorder. The digital ones will do the job just fine but the old tape style ones add an extra touch. They can keep the tape and they will find that the only thing on it is you stating the serial number. Also, as you hand them the Dictaphone and drop your left hand, pause a beat with your left hand. Wait until they have taken it from you and then step back and, in the same motion, place both hands in your pockets. It is more natural this way and leaves an impression of openness. The moment when anything could have happened is passed and the hand going to the pockets passes by easier.
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Cubism Gavin Ross
Effect A spectator rolls three dice until he is happy with the result. Using the total of the three dice, he selects a card from the deck. After genuinely losing his card into the middle of the deck, the performer takes the Joker and instantly changes it into the selected card!
Requirements Three dice and a deck of cards. A small stack as follows is required, from top down: 3S - KH - 10C - 7D - 4S - AH - JC - 8D - 5S - 2H - QC - 9D - 6S - 3H - KC - 10D - 7S. This is obviously a reverse Si Stebbins – the values increase by three and the suit order is CHSD (CHaSeD) repeated. Place this packet on top of the deck and then add any two cards to the top of the stack. The final set-up is as follows: X – X – 3S - KH - 10C - 7D - 4S - AH - JC - 8D - 5S - 2H - QC - 9D - 6S - 3H - KC - 10D 7S - rest of deck. Finally, a Joker is placed about half way down in the deck.
Working 1. Three dice are rolled until the spectators are happy. Instruct them to arrange the dice with any three numbers showing on top and to change the numbers as they see fit until they are satisfied that they are a random choice. Let’s assume they are as shown below.
2. Have the top numbers added together – in this example the total is 15 - and then to count off that number of cards from the top of deck. The Last card dealt (15th) is their selection which they have to remember. The selection is then placed amongst the 14 dealt off cards and the packet shuffled and replaced in the centre of the deck.
3. Take the deck back and Overhand Shuffle (or Double-cut) the top card to the bottom. Now look through the cards, noting the face card and using it to work out the name of the selection. This is easy due to set up – simply add three to the value and the suit is the next one in CHaSeD order. So, if the face card is the Ace of Hearts, then the selection is the Four of Spades. As you look for the Joker and upjog it, cull the selection to the top/rear and then remove the Joker.
4. Point out that the Joker is really an under used card and that sometimes in games it can be used as a wild card where it takes on the value of any card in the deck. Place the Joker face up on top of the deck (on top of the face down selection). Finally change the Joker into the selection in any manner you wish - I use a classic snap change.
Check out Gavin’s excellent Photography website.
Monte Car-Lo Val Le-Val
Effect You give a spectator three different coloured model cars along with your car key. You then turn your back on the proceedings. The spectator attaches your car key to any car, then he lays the cars on the table in any order. You see nothing and know nothing. You now tell the spectator to move the cars about, and then you direct him to pick up one of the cars. Despite the impossible conditions imposed, the car he is holding is the one with the key attached. You turn your back again. The spectator detaches the key and now he lays out the three cards plus the key in any order. So there is now a row of four objects rather than three. Again you tell him to move the four items about. And, again you see nothing and know nothing. This time you direct him to pick up three of the items. Incredible as it may seem, he now has all three cars in his hands. He has left your car key on the table for you!
This routine is based on ideas by Bob Hummer (Three Note Monte) and Karl Fulves’ Linear Blackjack. In this routine there is no counting, no positions are known to you, nor do you need to know what the target object is during the first phase.
Requirements You will need three model/toy cars of different colours. I use Red, Blue and Yellow. Plus one elastic band and an instruction card which is described later/below. Loop the rubber band through the key and place this in your pocket.
WORKING Phase One 1. Place the three cars on the table and have them examined by a spectator, who will assist you in a moment. Next bring out your car key, saying, “This is the key for one of the cars.” Toss the key onto the table. Now bring out the instruction card, saying, “This trick is easy … all I have to do is read out the instructions and it works.” How true! Turn to the spectator and say, “Please attach the key to any one of the cars using the elastic band.” Turn your back on the proceedings.
2. Ask the spectator to lay the cars in a row on the table in a random order. An example is shown in figure 1.
Now slowly read out the first five commands on side (1) of the instruction card, starting with, “Swap the yellow with what is on the left.” Ask the spectator to say, YES, after completing each action. Also – if he cannot make a move, e.g. the yellow car may already reside at the far left of the row – he is still to say yes, but to indicate to you that no move was made. Continue to emphasize this throughout. Once you have read out all five commands, point out that your back was turned BEFORE he even laid the cars on the table; therefore you could not have known the whereabouts of any car, nor the key. The audience will agree. Finally read out the sixth and final command: “Pick up the middle car and hold it.” Before turning round, say, “Congratulations! You have just won a toy car and a key that is too big for it.” He will, in fact, be holding the car that he attached the key to.
Phase Two 3. Begin by saying, “Actually, the key is for my own car.” So, to make it more interesting, I’ll throw the key into the game of chance.” Turn your back again and tell him to detach the key from the car, then to lay the three cars plus the key randomly on the table in a row. There are now four objects on the table, rather than three and you do not know the position of any one of them. Example shown in figure 2.
4. You now turn the instruction card over to side (2) and read out the first six commands. Remember to emphasize that if he cannot make a move, he leaves the object where it is but still says YES.
Having made the five initial moves, and due to the principle involved, the key will always be on the far right.
5. You now have the spectator eliminate three of the objects by reading out the final three commands. He will be left holding all three cars and the key will remain on the table. So, to conclude, you say, “Thank you very much … it looks like I will be driving home again tonight.” At that, turn round and pick up the key and take your bow.
Instruction Card for Monte Car- Lo You may need to vary the instructions depending on the colour of your cars. Mine are red, blue and yellow.
NOTE: KEY IS ATTACHED TO A CAR
NOTE: KEY IS DETACHED TO MAKE FOUR OBJECTS
1) Swap the YELLOW with what’s on the LEFT.
1) Swap the BLUE with what’s on the RIGHT. 2) Swap the KEY with what’s on the LEFT.
2) Swap the RED with what’s on the RIGHT. 3) Swap the YELLOW with what’s on the RIGHT. 3) Swap the BLUE with what’s on the LEFT.
4) Swap the RED with what’s on the RIGHT. 5) Swap the FAR LEFT with the FAR RIGHT.
4) Swap over the two cars without the key. 6) Pick up the FAR LEFT 5) Swap the RED with what’s on the LEFT.
7) Pick up the MIDDLE of the three. 8) Pick up the left of the remaining two.
6) Pick up the MIDDLE car and hold it. THE KEY WILL BE LEFT ON THE TABLE.
The 21 Card Trick David Walsh This version of the twenty-one card trick should work better for an audience knowledgeable of the workings of the effect; everything occurs one step ahead of when it's supposed to. It's great for showing magicians and for trying to replicate after someone who doesn't know you’re a magician shows it in company. There is a little alteration to the standard procedure that keeps the effect working as normal and also makes this possible. A normal deck of 52 cards is used with a little set up. Eleventh from the face is a reversed card with its matching mate being the face card of the deck. Now reverse the nine cards between these two cards. Figure 1 below shows an example of the set-up.
Working 1. Hold the deck face down in your hand and deal the top twenty-one cards onto the table, forming three rows of seven face up cards - the first three cards are close to you then the rest are dealt away from you, overlapping each other, towards the audience to create a more aesthetically pleasing display for them to see (Fig.2).
Fig.2 The hand holding the deck turns palm down and sits it face up on the table to the side.
2. They think of a card that they can see and tell you which pile it’s in as per the standard version. Sit the other two rows on top of each other first, and then sit the row they indicated face up on top of all. Lift and turn the twenty-one card packet face down using the same action as a Turn-over Pass, which we will use at this exact moment when it comes round again. The naturally repetitive nature of this effect makes it an ideal candidate for the preconditioning actions of false moves. Uniformity is the key. Sit these cards face down on the face up remainder of the deck.
3. Lift the deck and again deal the top twenty-one cards in the same manner as before. Again sit the deck face up to the side. The card they are thinking of will be one of the last seven you dealt. Again ask which row their card is in, and again sit the other two rows on top of each other. When lifting the last row there will be two options; either their card will be one of the two cards at the face or one of the three at the face. Note and remember these three cards along with their order. Normally you will only need to remember the values. Only if two values are the same do you need to remember their suits If there are three cards, let your thumb sit on top of the fourth card from the face and create an in-jog with it as they are closed. If two, let the thumb sit of the third card from the face and do the same. Create a break above the in-jogged card as the packet is lifted. Retaining the break sit it on the other two piles, lift them up, do a Turn-over Pass and sit the face-down twenty-one card packet on top of the face up remainder of the deck.
4. The deck is lifted by the palm down left hand, while being lifted it turns palm up reversing the deck (see End Notes for covering thoughts). Again go through the procedure of dealing the top twenty-one cards as before. This time there are only twenty cards on top of the remaining face up portion of the deck. The thought of card has vanished.
5. Spread the deck widely between the hands to show a single face down card in the middle of the face up spread. Don't expose the last two (or three if that's the case) cards while the deck is in view. Necktie the spread a little first and note the values of these cards and their positions.
6. Look up and into the eyes of the person who thought of a card and ask which card they thought of. Meanwhile, cull the named card under the spread as it is again lowered and before looking down. Separate the hands as you look down and take all the cards in the spread above the reversed card, the reversed card and the culled card in one hand and the rest of the cards remain in the other.
Look back up saying, “Could it be?” or similar that suits you. As you do, let the reversed card and the culled card drop off the fingers reversing and landing on the top of the other half. As this happens, extend the hand holding the face up cards with the new reversed card on top and raise it up for all to see.
End Notes If you are showing this to an audience that you know is familiar with the workings of the original effect you just go through the actions as showing them another variation. When it reaches time to reverse the deck as you lift it you look them in the eye pointing out that its normally necessary to ask them one more time which row their card is in to be sure of getting it right. Reverse the deck as you do and continue the deal pointing out, or just insinuating, that you will do it without doing so. This is true and offers room for play depending upon different presentational styles when the card has vanished at the end of the deal. When showing it to an audience who haven't seen it before at the deck turning moment you may want to look them in the eye stating that you think you have their card but will need one more confirmation of rows to be sure. This is especially good if you have a polite member of the audience who knows it but hasn't said anything. This person will know this and be pleasantly surprised at the climax. This also holds true if you have an unsuspecting magician friend with you who at this moment is curious but thinks your mad as you definitely know some better tricks than this one. If someone shows the old original in your company it's fun to act surprised or a little arrogant (what ever can be played best) as you run through the deck trying it on someone else. Acting as though you think it's one of those “works for anyone” procedures is good. They will think you have it wrong when you pick the piles up in what they believe to be the wrong order. ________________________________ When the card is seen to have vanished, they are asked what card they are thinking of and it’s of course the one that's gone. This way you know exactly what position their card lies at from the face before spreading and a bottom deal, second from bottom, third from bottom, multiple minus bottom, buckle and cull, whatever, can be done going into the spread. I prefer this as the thought of card can be in position before the reversed indifferent card is reached in the spread.
Psychic Paper David Walsh For this you need a few items. First is Steve Draun’s Real Man’s Wallet. Second is a blank face deck of cards and one normal card with a matching back design. Third is either a
permanent black marker or a sheet of very thin black paper. You need to make a special card. Here are two possible ways to do this. Colour the face of one of the blank face cards with the marker. If you do this you will need to allow for multiple coats (allowing the marker to dry between coats) to build up a flat even block of colour. The second way is to cut a rectangle of black paper and glue it to the face of the card. I find looking for a picture in a magazine with a large plain black area works well. Either way leave a border of a few millimeters at the edge of the card, this way when it’s in the deck it will look normal from the sides (Fig.1).
Fig.1 Make a pencil dot marking on the back. As usual this goes on the border, at the corner, on the reverse of the non index side. You need one on each end of the card. The wallet is in a right inside jacket pocket; if you normally use a slide/loader in the wallet remove it as it won’t be needed for this effect. The normal card (Seven of Clubs in this example) is face down on top of the face down deck. The special card is face down somewhere in the middle of the deck.
Working 1. Tell your audience you will show them a “magic trick” then tell them how it is done. Spread the deck face down on the table and remove the card with the corner dot, sit it aside without showing its face.
2. Take the wallet from the pocket, and show its empty compartment, do this by holding the side of the wallet with the compartment in the palm up left hand. The other side, for the credit cards hangs forward towards the audience. Show that the card can fit in the compartment by placing it half way in and face down (obviously not from the gimmicked end). Remove the card telling them that you want it in there face up but they cannot yet see the value of the card as it’s going to be a prediction and can’t be allowed to influence
the rest of the trick. Hold the forward-hanging end of the wallet back with the thumb of the left hand and turn the hand palm down. This way everyone can see the card going into the compartment but can only see its back (Fig.2). Close the compartment cover, close the wallet, and sit the wallet to the side of the spread.
3. Close the tabled spread from both ends with both hands. When you meet in the middle take half the deck in each hand, then reassemble the deck in the dealing grip with the original top card (Seven of Clubs) in the middle. Hold a break above this card, and Classic Force it on someone.
4. Ask the spectator to show the card around then open the wallet to show the prediction. But, the wallet is seen to be empty. Quickly gather your thoughts and explain that the prediction must have been perfect. For them to have chosen the exact card that you placed in the wallet it must have dematerialized and returned to the spread before they could take it. A card has vanished from the wallet, that’s all that’s really happened. Verbally you have told them the effect is even better than that, and for the moment this is enough. But, very soon it’s all going to fall apart, cause confusion and be seen as the big incomplete blag that it is.
5. Place the wallet back in the pocket, pulling the card that’s inside out a little to act as a slide/loader while telling them you will go back to the start and explain how it’s done. This is enough to put their minds on hold for a minute.
6. Take the card back and place it in the middle of the deck executing a Diagonal Palm Shift, then, without pause, reach forward and spread the deck face down on the table as you remind them that the first thing you done was to spread the deck on the table. As you spread reach inside the jacket releasing the palmed card from classic palm and load it in the wallet as you remove it. Remind them that you then removed the wallet, took a card from the spread, placed it in the wallet and sat it on the table. As you say this - mime taking a card, mime placing it in the wallet and then actually sit it on the table. Point out that the secret is to follow. Remind them that they next chose a card from the
spread but this in fact was an irrelevant choice as it’s a special mentalist’s trick deck. Turn over the spread showing all the blank cards saying that they are made of the very same psychic paper as used by Doctor Who. This is great for Doctor Who fans, but for anyone else just tell them they are made of psychic paper that shows whatever you want them to see.
7. Open the wallet showing the Seven of Clubs, and remove it. Tell them that this psychic burst, combined with the illogical event of matter, seemingly existing in two physical spaces at the same moment in time subconsciously released their own psychic power that completed the circle allowing them to believe what they wanted (or even needed) to believe and psychically see that there was no card in the wallet when in fact, being the only real card in the deck, it was really in there all the time!