Prestige Pen Projects by Shawn Evans

Prestige Pen Projects DIY Gimmicks: Flash, Smoke, PSI & Other Writing Instruments

Shawn C. Evans

Prestige Pen Projects

Etymology of PRESTIGE: 1650s, "trick," from Fr. prestige (16c.) "deceit, imposture, illusion" (in Mod.Fr., "illusion, magic, glamor"), from L. praestigium "delusion, illusion".

Copyright © 2012 Shawn C. Evans All rights reserved. ISBN-10: 1477473149 ISBN-13: 978-1477473146

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May Your Deceptions Dare to Dazzle and Delight

DEDICATION

This book is dedicated to my beautiful (on the inside & outside) daughter CaShawnna *SNUG* Evans The real magic in my life I love you Snuggie, Always have, always will -DedarP.S. I still haven’t figured out how our imaginations got on the wall?

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Other Books by the Author: Card Through Window – A Magical Look at the Other Side of the Glass Real World Card Control Magic – The Locators [Mnemonic Module of Moves] Build Your Own Psychic Calculator and Various Mentalist Tricks

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CONTENTS Introduction Chapter 1: DIY: Sure-Lite Flash Pen Chapter 2: DIY: Recessed Flash Pen Chapter 3: DIY: EZ #3 Flash Pen Chapter 4: DIY: Misty Smoke Pen Chapter 5: Effect: Misty Burnt Card Chapter 6: DIY: Multi-Utility Pen Chapter 7: Effect: Sparkle, Jell-O, Snow, Wine & Space-Time Chapter 8: DYI: Chameleon Pens Chapter 9: Effect: Interference Chapter 10: Science Fiction with Frixion Chapter 11: Effect: Phoenix Angels Chapter 12: Zig Pen Chapter 13: Effect: Flushed Queen Chapter 14: DYI: The Re-light-able Match Chapter 15: RM Effects Chapter 16: DIY: Magnetic Pen & Reed Switch Chapter 17: DIY: PSI Capsule Marker Chapter 18: Ash Pen Chapter 19: Effect: Angel Dream Catcher Chapter 20: Pen Patter List of Mimesis Instructional Video Links 5

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Introduction We humans have a long history of using writing instruments to record and transfer our thoughts and impressions. We magicians have a long history of gimmicking writing instruments to deceive thoughts and create magical impressions. Though this book is not a comprehensive listing of all current gaff and gimmick writing instruments, it does contain the ones that are unique to my ideas, designs, and applications --- the ones that I’m qualified to explain through my efforts (failures & successes) of experimentation. The DIY projects in this book are followed by chapters containing corresponding applications and effects. May your deceptions dare to dazzle and delight! Disclaimer: The contents of this book are for informational purposes only. The responsibility for the use of any and all information contained in this book is strictly and solely that of the user. 6

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Chapter 1 Sure-Lite Flash Pen The Sure-Lite Flash Pen was the first pen that I hacked for igniting flash paper products. As the story goes, I was shopping at Walgreens and noticed a Windproof, Flameless, No Gas, Cigarette Lighter, which I purchased out of curiosity because I thought that the ignitor was made of nichrome wire --- hopefully, I could use it to repair a custom-made flash pen that I had recently purchased at a whopping $65. I went to the rear of the store to get some extra batteries and came across the Duracell Penlight and I immediately knew that the two items could be combined to make a sturdy, flash pen --- a true eureka moment. With this pen, the caged, dual-ignitor filament extends beyond the pen’s bottom opening and if one filament burns out the other one keeps burning, hence the name of Sure-Lite. 7

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Currently, the dual-filament (wire) bulbs are hard to find but the single-filament bulbs are now the new standard and available. As in all things, there are pros and cons between the Sure-Lite Pen and the Recessed Pen (chapter 2). The SL- Pen uses the Duracell Penlight as a housing frame. This penlight is the standard that medical workers use and therefore the model will remain current for some time. The RPen uses glow-plug technology, which is an industry standard, so the glow-plug is here to stay. Yet, a glow-plug is too small (in diameter) to casually fit into the opening of the Duracell Penlight without using soldering methods to make the connections. The SL-Pen is ideally adapted for parlor or stage magic because the ignitor tip, as mentioned, is extended from the pen’s barrel. This extended version allows easy aim and surface contact with flash paper. Also, it doesn’t have to be loaded with a miniature wad of flash paper to ensure a directed burst of flame as does the R-Pen in some applications. See end of chapter 2 for flash paper tips.

Materials Needed: A. One, Duracell Pro-Cell Industrial AAA Penlight. Cost: $6.00. You can remove the

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Duracell name by wetting the logo (with saliva), while using fine-grade sandpaper to gently rub it off (in a circular motion). This procedure takes no more than 2 minutes. B. One, AAA Flameless Cigarette Lighter. If you Google the description, you can find a host of retailers selling this item from $3 $5.

C. One, nail punch (size: 2/32). Punches usually come in set of 3 (1/32, 2/32, 3/32). Cost for a set: $2.25. Source: Most Hardware Stores. Purchase the set because the R-Pen (chapter 2) uses the 3/32 punch.

How to Construct: Step-1: Split apart the lighter and remove the ignitor bulb. This step is easily done by finding the seam line between the two housing frames and then plying apart the unit with a small flat-head screwdriver.

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Step-2: Prep the Penlight 2A. Insert a thin rod into the mouth (bottom hole) of the pen to push the mini-light bulb out through the top opening. 2B. Enlarge the mouth of the pen by inserting a nail punch (size:2/32) into the bottom end of the pen with the left hand firmly holding the pen barrel and the right hand gripping the punch while making a twisting and turning motion to enlarge the hole. This procedure will take less than 2 minutes. Once the stud of the punch becomes flush with the pen mouth, the proper size hole has been made.

Step-3: Prep & Install the Ignitor Bulb 3A. Take a pair of needle-nose pliers and gently “squeeze” the sides of the bulb to reduce its circumference. Note that the top section of the bulb contains the burning filament (wire) attached between to two connector post and that these parts are housed in a “cage” – this encasement is too large to exit the mouth of the pen (from inside the barrel), so the cage needs to be “squeezed” inward to a smaller size.

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The proper reduction in size can be measured by placing the bulb into the barrel and using a plunger to gently poke the bulb outward. The cage of the bulb will only extend slightly beyond the mouth of the pen, therefore you can take the pliers (or a pick) and gently pull the bulb outward until you feel strong resistance --- this is as far as the bulb unit needs to extend. 3B. At this point, take a pick (scratch awl or knitting needle) and “flare out” the sides of the cage. The pick is placed through (under & up) the cage frames in order to widen the framing. This procedure will situate the bulb and will ensure that it won’t slip back into the barrel. During this process the cage framing will become distorted, which is normal. You can take the pliers and reshape the framing. Note that the filament will buckle a little, this too is normal. The filament is rather sturdy but throughout this entire procedure, extreme care should be taken to avoid damaging the filament. 3C. Insert 2-AAA batteries (-/+ & -/+) into the pen and then screw on the push-button cap. Now, press the push-button downward [on position] and the ignitor will glow (burn red). 11

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Press the button again [off position] and the filament with stop glowing. Trouble Shooting: If the bulb doesn’t glow and the batteries are good, then the most common problem is that during the process of compressing and expanding the cage frame, the filament rods are now touching the inner side of the frame. This situation causes the unit to “ground out”. This problem can be visually detected by closely inspecting the two filament rods. The simple fix is to take a pick and gently nudge the rods inward and away from the frame.

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Chapter 2 Recessed Flash Pen It’s not very magical to light flash paper with a match or lighter. Yet, lighting flash paper products (powder, paper, cotton or string) with a pen, adds a little more mystery (maximizing your magic) to an effect. The construction of this pen is very durable and will withstand real-world working conditions. The igniting filament (glow-plug) is industry made and has been “true, tried and tested” over the years. The glow- plug, if burnt-out can be easily removed and replaced into the pen without specialized installment. The overall pen is elegant in design and has no soldered parts or traditional wiring. In the Recessed Flash Pen, the glow-plug is protected by being depressed into the mouth of the pen. This construction is very beneficial to the longevity of the plug. 13

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Most custom-made flash pens are constructed as well as the design will allow. But the main problem is that the protruding igniting wire (fuse) is very fragile and exposed. This type of construction isn’t built for my style of performing. Meaning, that when I’m done using a pen, I like to toss it into my pocket and forget about it. The Recessed Flash Pen can be tossed aside and lovingly forgotten until the next performance. There’s one perceived limitation of this pen and I do mean “perceived”. A lot of inexperienced magicians always want to over-prove their props by handing them out. Having made (modified/hacked) is type of pen for the last 10+ years; I get numerous emails with the same question of, “can the pen be switched in and out for a regular, identical pen?” My answer is a simple: “No, the pen is a wand” and I leave it at that. Have you ever seen a magician wave a wand over an object and make it vanish in a flash of light or flame? More so, have you ever seen that magician hand out his wand for inspection? A Flash Pen is a miniature, modern day wand --- make the flash (physical misdirection) and causally place it into your pocket a la Tommy Wonder. If they ask were the pen went to, tell them in a bewildering look that it vanished also. And if they 14

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see you putting it in your pocket, well… that’s where you put a pen when you’re done with it!

Materials Needed: 1. One Energizer LED PEN LIGHT (uses 2-AAA batteries). Cost range: $5.50 -$7.25. Source: Lowes, Home Depot, Walgreens and most Hardware Stores. This pocket “flashlight” pen will be the main housing (hollow metal tube, push-button cap, & pocket clip) for our modified Flash Pen.

Tip: The newer package on the left has the LED PEN without the ENERGIZER logo on the body of the pen --- this is ideal because you don’t want a pen with the logo showing. The package on the right has the pen with the logo. It’s the same pen and if it’s the only one available or at a good price, you can remove the logo by wetting it (with saliva), while using fine-grade sandpaper to gently rub it off (in a circular motion). This procedure takes no more than 2 minutes. But you can 15

Prestige Pen Projects

save yourself some time by purchasing the newest packaging / pen. 2. A 3/32 Nail Punch. Punches usually come in set of 3 (1/32, 2/32, 3/32). Cost for set: $2.25. Source: Most Hardware Stores. The nail punch will be used to “flare” open (enlarge) the mouth of the pen to allow the glow-plug to be fitted. The glow-plug will replace the LED (light bulb). 3. One Fox Glo-Plug, Standard Long, 1.5 volt (Fox #4201). This plug can be ignited by 2-AAA batteries. Cost: $4.00 Source: Hobby Shops for radio- controlled cars, boats and aircraft. Website source: http://www.towerhobbies.com The Tower Hobbies stock number for the glow-plug is: LXG902. A glow plug (or glo-plug) is a device, similar in design to a spark plug, used to ignite fuel in small internal combustion engines as is typically used in model cars, model aircraft and similar applications. The glow plug has a durable, platinum, helical wire filament recessed into the plug's tip. When an electric current runs through the plug, the filament glows hot, enabling it to ignite the fuel used by these engines. In our case, power will be 16

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applied using a DC power source --- 2 AAA batteries installed in the modified PENLIGHT.

Reference Guide

How to Modify the LED Pen: Step 1: Remove LED (mini light bulb) from Pen Barrel. 1A. Twist off the pen’s push-button cap and pocket clip. Note: Once the cap is off, look into the 17

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hollow shaft of the pen and you will see the grooves that hold the cap in place. It’s important not to damage the internal grooves. I once inserted a pair of needle-nose pliers to hold the pen in place. Later, I found out that the cap would not screw back on because I had scratched the grooves. 1B. Insert a thin rod into the mouth (bottom hole) of the pen to push the LED out through the top opening. The LED is secured tightly, so it will take some force to push it outward. For a rod, you can use an unraveled coat hanger or a long thin wooden dowel. The rod will need to be as long as the pen in order to remove the LED.

Step 2. Enlarge Mouth of Pen 2A. Insert the punch nail (size:3/32) into the bottom end of the pen with the left hand firmly holding the barrel and the right hand gripping the punch while making a twisting and turning motion to enlarge the hole.

As you twist and turn the nail punch into the opening, you’re grinding away the metal 18

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casting. This technique will take about 10-12 minutes of on and off work. Before I suggest a short-cut option, it’s important to state that you must be careful not to widen the opening (hole) too large or the glow plug will not fit. Please carefully read section 2-B, so that you won’t make this mistake. To save time, you can use a handdrill with a 15/64 size drill bit to enlarge the hole. Once the hole is drilled, you still have to finish the job with the nail punch --- it takes about 2 additional minutes. I have not found a common size drill bit that will drill the hole without having to use the nail punch. Ironically, the next larger size drill bit (1/4) will create a hole too wide. 2B. In this step, you’re going to continue enlarging and monitoring the size of the hole, so that it will eventually be wide enough to allow the glow-plug to be fitted properly. You should monitor your headway by stopping at short intervals and testing your progress by temporarily inserting the glowplug into the pen to get the visual feedback as to how close the foot of the glow-plug is to the mouth of the pen. Note: The glow-plug is inserted into the barrel from the top opening of the pen, not from the bottom opening.

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Here’s how to get the proper circumference for the mouth of the pen: The foot of the glow-plug should be recessed about 1/8 of an inch from the pen’s bottom opening (mouth). The best way to gauge this small distance is to scratch a mark on the nail punch. The mark is ¾ inch long from the tip of the punch across the shaft. You can actually see the tread marks on the punch from the past wear & tear from making numerous flash pens. So, in other words, when the punch goes ¾ inch deep into the pen’s mouth, at that point, you will have made the proper circumference to fit the glow-plug. If the hole is too large the plug will fall out and if it’s too small the plug won’t situate correctly.

Step 3. Insert and Embed the Glow-plug

[The photo above is an “outside look” on how the pen is assembled on the inside.]

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3A. Insert the glow-plug (foot-side down) into the top of the pen. Then, take a plunger (plastic type pen, such as a Bic Pen) and firmly tap the glow-plug in place. This action will ensure that the plug is aligned properly and will embed the plug against the pen’s inner walls for a good ground --- power connection. As you situate the plug by tapping downward on the tip, you can test the fit by turning the barrel over and if the plug doesn’t fall out with a firm shake, then you have a secure fit between the plug and the metal tubing. 3B. Insert 2-AAA batteries (-/+ & -/+) into the pen and then screw on the push-button cap (with pocket clip.) Now, press the push-button downward [on position] and the glow-plug will glow (burn red). Press the button again [off position] and the plug with stop glowing. Trouble Shooting Should the glow-plug not activate: > First, test the batteries and replace if necessary. > The glow-plug may be recessed too deep into the barrel, which means that the connector (coil type spring) in the cap is 21

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not making contact with the tip [+] of the second battery. The solution is to take the cap and expand the spring - stretch it longer - by using needle-nose pliers to grip and pinch it forward about 1/8 of an inch. Note: This procedure should be done very carefully so as not to pull the spring out of the cap.

Burning Flash Paper Because the glow-plug is recessed into the pen, igniting flash paper should be done with a little consideration as to the method. > Flash paper crumpled into a ball with creases and folds is easy to ignite by poking the lit pen/plug into the bulk of the paper. > Flat, “one-dimensional” paper should be lit by aiming the glow-plug onto the edge or corner of the paper.

Mini- Cannon Approach: > Flash powder can be lit by loading the pen with a very small sliver (wad) of flash paper – about half the size of a gain of rice. The wad is gently “stuffed” into the cavity of the glowplug.

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This set-up will allow an actual flame to discharge from the pen when needed. The live burst of flame will ignite the powder. When using your flash pen with flash products, the pen should be turned-on to ignite the products and then immediately turned-off. Excessive, prolonged burning of the glow plug will quickly shorten its life-span.

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Chapter 3 EZ #3 Flash Pen I call this Flash Pen, EZ #3 because there is no modifications made to the pen other than “remove & replace” steps and the key to the construction are 3 copper washers fitted on the glow plug to ensure proper installation. This pen is a very inexpensive, generic medical penlight that can be found on eBay by a number of retailers out of china. The pen has a design similar to the Recessed Flash Pen. The main difference is that the EZ #3 has a wider mouth opening which allows a glow plug to be fitted without manually widening the opening. To ensure that you purchase the right pen, here are the key words in the ad description: 24

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* Medical Penlight, Pen Light Torch, Diagnostic Pen light. * Anodized aluminum body/off switch. * Length: 12 cm, Diameter: 12 mm.

Before modification, the main identifying difference between the two pens is that the Energizer LED PEN LIGHT (modified Recessed Flash Pen) has a LED for a light source, whereas the generic medical penlight (modified EZ #3 Flash Pen) has the older miniature light bulb technology.

Materials Needed: A. One generic Medical Penlight. See description & photo above. Cost: $1.00. Source: eBay. B. One Fox Glo-Plug, Standard Long, 1.5 volt (Fox #4201). This plug can be ignited by 2-AAA batteries. Cost: $4.00 Source: Hobby Shops for radio- controlled cars, boats and aircraft. Website source: http://www.towerhobbies.com The Tower Hobbies stock number for the glow-plug is: LXG902. Note: For more information on glow plugs see chapter 2. C. Three copper glow plug washers. Glow plugs come with one washer, so you’ll need two more. 25

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The washers are also referred to as glow plug “gaskets” and extras can be bought from the same sources as the glow plugs. The specifications of the washers are: copper, outer diameter: 8mm (or 10mm), inner diameter: 6mm and thickness: 1mm. Source: Grainger (www.grainger.com), see sealing washers.

How to Assemble: Step-1. Place 3 copper washers onto the threaded stem of the glow plug. The washers act as spacers situating the glow plug to the correct depth within the pen’s barrel. Step-2. Insert a thin rod into the mouth (bottom hole) of the pen to push the mini light bulb out through the top opening. The bulb is swapped in a spring sleeve and secured tightly, so it will take some effort to push it outward. For a rod, you can use an unraveled coat hanger or a long thin wooden dowel. The rod will need to be as long as the pen in order to remove the LED. Step-3. Insert the glow plug (foot-side down) into the top end of the barrel. Hold the barrel horizontally when first inserting 26

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the glow plug and then tilt it downward to ensure that the washers don’t slip off the plug. Step-4. Insert two AAA batteries (-/+, -/+) into the barrel and recap the pen. Now, press the push-button downward [on position] and the glow-plug will glow (burn red). Press the button again [off position] and the plug with stop glowing. See end of chapter 2 for tips on lighting flash paper with this type of pen.

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Chapter 4 Misty Smoke Pen In the photo, which pen houses an electronic device for producing smoke? The answer is the thin white pen and not the larger markers. The Misty Smoke Pen is a gimmick pen that will allow you to secretly load “a puff of smoke” into your mouth to be produced for a magical effect. The smoke isn’t real smoke but rather a vapor. The vapor is produced by an electronic cigarette (e-cigarette). Because this cigarette is disposable, it cost only $10 and will generate 375 to 500 puffs. Here’s the ad info: The 21st Century Smoke™ electronic cigarettes, also known as e cigarettes or vapor cigarettes, are the modern alternative to traditional tobacco products. Flameless, smoke-free and tar-free, our electronic 28

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cigarettes allow you to satisfy your nicotine craving in most places where tobacco products are not allowed. Driven by microelectronic technology, 21st Century Smoke™ electronic cigarettes produce a water vapor instead of smoke. Our vapor cigarettes look, feel and taste like cigarettes, providing the same satisfaction that you would get from smoking a traditional tobacco cigarette. Available in Regular and Menthol flavors, 21st Century Smoke™ electronic cigarettes let you conveniently enjoy a smooth and enjoyable "vaping" experience that is similar to smoking. Cartridges contain 1.6% Nicotine per ml.

Currently, there are some effects on the market that use the electronics of the refillable type cigarette (with a rechargeable battery, wall charger and cartridge refills) placed inside a large marker. The cost for this setup ranges from $45 to $55. As you can see, for various reasons, I’ve taken a different approach to generating “smoke” --- my method is to camouflage the e-cigarette as a pen itself and not to house it in a marker. Also, the Misty Burnt Card (see next chapter) effect that I created for this unique pen does not need two identical pens for switching in and out during the routine.

How to Construct the Misty “Smoke” Pen Materials Needed: 1. One 21st Century Smoke™ Disposable Electronic Cigarette – Regular. Cost: $10.

Source: Local Tobacco Stores. We will 29

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modify this e-cigarette by simply camouflaging it as a pen. If you decide to use this tobacco product, see the listed FDA WARNINGS on the package. 2. A roll of white, adhesive laminated tape. This is the tape used for printing small labels with a handheld labeling machine. In the illustrations, I use the Brother P-Touch Labels, Black on White- 12mm. Source: Office Supply Stores. Alternative materials include all colors of Duct Tape, general packaging tape and you also have the choice of painting the pen --- as detailed at the end of chapter. 3. One black, Sharpie® Twin-Tip Fine Point and Ultra-Fine Point Marker. Cost $1.55. Source: Office Supply Stores. We will be using only the smaller fine-point cap. Yes, only the cap! Through trail & error, I found that this cap perfectly fits (covers) the filter of the cigarette and it has vents that will allow the user to inhale through the cap. In other words, this cap allows you to draw in “smoke”. 4. One pocket clip, cut from a cheap plastic pen cap. This clip will be glued to the Sharpie cap to give the appearance of a single unit 30

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(cap & clip).

Step 1: Strip & Assemble the e-Cigarette Unscrew the filter off the base (stem) of the cigarette. Now, strip away (unpeel) the orange filter paper. As you remove the paper, the filter’s stainless steel construction is exposed.

Step 2: Blacken the Bottom End of the Cigarette Take a black marker and blacken the grey, bottom end of the cigarette. This grey colored area (plug) is made to simulate the look of ashes. By coating this black, it will look like the end plug of a normal ink pen.

Note: When you inhale on the filter, the grey plug will actually glow green due to an internal LED. This LED will still give off a noticeable glow even after the grey is blackened. If you take a close look at the grey plug, you will see 2 vent openings (slots) around the circumference. It’s important to note that these 31

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vents allow air to be sucked into the stem of the cigarette, in order to activate the vaporizer mechanism. It’s important not to block or clog the vents. To cover any noticeable glow during performance, simply hold the end of the pen in the middle of your palm when you go to secretly inhale on it.

Step 3: Camouflage the Stem of the Cigarette At this step, we’re going to camouflage the entire surface (stem, silver joint, printed logo and filter) of the cigarette with white, adhesive laminating strips --- the type that are used for labeling things (material #2). Another option is to paint over this area as explained in detail at the end of this chapter. It will take 3 strips (each 4.75 inches long) to cover the length and width of the cigarette. The strips are placed on vertically (from end to end) and will slightly overlap one another. When applying a strip, if it becomes wrinkled or misaligned, just unpeel it, make the adjustment and then re-stick it. Next, take a short strip (1.5” long) and wrap it around the middle of the cigarette. This added 32

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strip will cover the visible logo and joint of the cigarette to ensure that there is no transparency.

Step 4: Cap & Clip the Pen Firmly place the cap (material #3) on top of the pen (cigarette filter). As you push downwards, if the cap crumples the lamination strips, you can take a cutting blade and trim the excess off, in order to fit the cap properly. Now, take the pocket clip (material #4) and glue (Super Glue) it next to the pen cap to give the look of the cap & clip as being one solid unit.

Painting Option: The stem and filter of the cigarette can be camouflage by coating it with Krylon Indoor/Outdoor Gloss White Paint. Care must be taken to ensure that the open end of the filter (hole) and the bottom grey cap aren’t accidently painted. These areas can be taped off with painters tape or masking tape. Only one partial side of the pen should be painted and dried before rotating it to paint the next section. This procedure is 33

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done to ensure that the wet paint doesn’t run, creating paint wrinkles over the surface of the pen. Here’s the video links for visual referencing: Misty Smoke Pen Part 1 (How to Make): Watch Video (http://www.youtube.com/watch?v=up4NIiEb-eo)

Misty Smoke Pen Part 2 (How to Paint): Watch Video (http://www.youtube.com/watch?v=8BBfCr9XCGc)

The video link for the performance of the Misty Burnt Card can be found in chapter 5.

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Chapter 5 Misty Burnt Card Effect: The performer shows the back of a playing card and talks about how cards are marked for card cheating and what to look for. The card is then placed in the spectator’s hand. The performer states that he has a special method for marking cards by using friction (heat). And with a snap of his fingers, the card becomes burnt --- a true magical moment indeed. But wait, the performer takes the card from the spectator and rubs it under his chin, whereupon, volumes of smoke come out of the performer’s mouth.

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Preparation: Take a red-backed playing card and scorch the back design with a flame. Example: Ace-of-Hearts (A-H). The card will warp due to the heat; therefore you may want to straighten it by placing it under a press (stacks of books) for a day or two. Method: Use of a double-lift card control and the Misty Smoke Pen. Performance: The scorched card (A-H) is placed or controlled to the bottom of the deck. The performer turns the deck over and holds it in his left hand face-up, in mechanic’s grip. Patter: “Let me show you something interesting” [attention is directed to the face-up deck, showing the A-H and the performer executes a double-lift displaying the back of the second card --- a regular card]. “When I was younger, I actually thought that marked cards were marked with a pen [performer reaches into his pocket with the right hand and removes the gimmick pen]. Yea, really… that’s what I thought at the time [the performer uses the pen to make comical writing gestures over the back of the card to pantomime how cards could be marked]. But, I have a very unique way to really mark cards. Here, hold this card in your 36

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palm and place your other hand over it [the performer executes another double-lift and places the A-H face-up on the spectator’s palm]”. Note: The double-lift can be done by re-positioning the pen in the hand while performing the double-lift or by placing the pen in the pocket and then making the double-lift. Here’s a video link of the method: Watch Video (Misty Burnt Card Performance) (http://www.youtube.com/watch?v=MsnduwYJ8GM) At this point, the performer uses his thumb and fingers to mimic the rubbing motion of making friction --- under and around the spectator’s hands. Finally, the performer snaps his fingers and points to the spectator’s hands, exclaiming, “Look at your card! Turn it over, look”! This is the moment of perfect misdirection. As the spectator takes notice of the magical appearance of the burnt marks on the card, the performer places the gimmick pen to his mouth and inhales on the cap for a load of “smoke”. The performer then reaches for the card and brings it up to his face and scratches the card against his chin. This action is done because at this moment, the performer can’t talk but needs to direct attention to his mouth --- as he 37

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slowly exhales the smoke, pattering: “Wow, those marks are hot off the press!”

Other thoughts: Scenario 1: As you bring the pen into your mouth, you should scan your performance area and determine if someone notices you placing the pen in your mouth. If they do, just keep it in your mouth as if you placed it there in order to take the card from the spectator. Remember, your left hand is still holding the deck; therefore you have the rationale to free-up your right hand. In this scenario, as the right hand brings the card to your chin, the left hand (with deck) removes the pen. Scenario 2: If you determine that no one has noticed anything, then simply remove the pen from your mouth and pocket it while taking the card from the spectator to produce the smoke. It’s also important to control the spectators’ lines-of-sight --- as they look downward at the transformed card; your hand (and pen) goes upward. You can achieve a higher vantage point for controlling sightlines by performing for spectators seated at a table while you stand to perform.

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Chapter 6 Multi-Utility Pen Writes as normal pen.

Powder Loads

Simulated ink line

Slotted cap allows powder load to be dispensed with cap on.

Mental Effects

Main barrell of pen holds powder load or magnets.

Water to Wine PK Effects

Bottom cap holds magnetic setup

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Form & Function This pen’s basic construction has many applications for creating magical effects. Its overall form allows numerous conversions into other types of gimmick pens. The basic Multi-Utility Pen has the following functions: 

Functions as a normal writing pen.



Functions as a dispensing pen --- allows various powders (Slush, Snow & Mentalist Trace Particles) to be loaded and dispensed from the barrel. See restrictions at end of chapter.



Functions as a classic PK /Tilt Pen because of the magnetic setup in the bottom cap.

The form of the pen can be converted into a: 

Magnetic Pen (to be used with a reed switch)

 Chameleon Pens

How to Make the Multi-Utility Pen The regular pen needed for this hack is generically labeled as an Office Stick Pen or an economy, transparent ballpoint pen. I have seen this pen and similar constructed pens (BAZIC Stick Gel Pen, OMNI) from time to time at Dollar Stores under various name brands.

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A pen of this type can be spotted by the extended bottom cap and it features a writing tip that can be unscrewed --- allowing access to the pen’s inner barrel. The pen’s overall design allows it to be hacked for numerous applications.

Hacking Steps: 1. Take the ink stem and cut it down to 1.5 inches long. 2. Take a ½ inch of painters tape and wrap it around the nib’s edge of the ink stem. Next, place glue over the sides of the tape. The tape & glue will anchor the ink stem when placed back into the tip. 3. Place a drop of super glue on the cut end of the exposed stem --- when dried, the glue will stop the ink from leaking.

4. Insert a black, drinking straw and cut it to fit the barrel. The straw is used as an inner holding barrel for various powder loads and it creates a simulated ink line. Once cut, place a dab of silicone glue [or any adhesive/sealant glue] into the 41

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bottom end of the barrel. The glue goes into the inner sides of the barrel and into the hole of the straw. When dried, this “glue plug” will situate and seal the end of the straw. The seal will ensure that powder loads will not leak from the end of the pen. Note: Drinking straws can be found in restaurants in various colors and sizes. The sizes (diameter) are generally small, medium, and large. [The drinking straw shown in the illustrations is slightly over 1/8” in diameter, which is a medium size straw].

5. Screw the tip on the main barrel and then do the same for the bottom cap. 6. Cap your pen. The pen comes with a cap that is vented at the tip and allows powder to be poured forth. I prefer the cap from a PAPERMATE, 1.2-M pen. This cap fits perfectly and the tip is slotted and angled with a larger hole.

Other Notes: > As described above, Step-2 can be simplified if using the OMNI pen. There is no need for anchoring tape 42

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--- just place super glue on the washer area to secure it to the inside of the tip.

Inner Seals After inserting and cutting the straw, if there is spacing (at the tip opening) between the inner barrel and outer circumference of the straw, you can use super glue to seal the fit. This procedure is to ensure that powders do not outflow and “cloud” the transparency of the barrel.

* Tilt Pen Setup > The bottom cap can be fitted with a cylinder magnet (1/4”diameter x 3/8” thick) for PK or mentalist effects. The installed magnet enables the pen to be used as the classic tilt pen with a strong, PK Finger Ring.

* Magnetic Pen Once the first magnet is glued into the bottom cap, you can easily attach (by attraction) other magnets onto it, thus building a row of magnets which is hidden into the simulated ink line (straw). This setup allows you to convert (by not adding the glue plug in step 4) the pen into a magnetic wand or what I call a Magnetic “Reed Switch” Pen as described in chapter 16. 43

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* Chameleon Pens The simulated ink line can be utilized to make a set of Chameleon Pens as described in chapter 8.

Powder Load Limitations The pen’s inner barrel can be used to pre-load and dispense various powders for magical applications but there are restrictions that should be noted: Flow Rate & Straw Size & Powders: The Multi-Utility Pen uses a small straw (3/16” diameter) to create a simulated ink-line. The straw also acts as an inner holding container. Drinking straws can be found in restaurants in various colors and sizes. The length of the straws range from 8 - 8.5 inches. The sizes (in diameter) are generally, small (3/16”), medium (1/4”), and large (1/3”). Slush & Snow Powder (see chapter 7) will not flow freely when being dispensed (poured) from small and medium size straws. The powders tend to “cake”, thus not allowing a fast, fluid flow for practical applications. The powders will flow rapidly out of a large straw but then you must have a pen that will accommodate the larger size.

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Unsweetened Drink Mix (aka Kool-Aid), as used for Wine Powder, will flow evenly out of a small straw because it contains silicon dioxide, an anti-caking ingredient. In the following chapter, the Multi-Utility (Dispensing) Pen is used in the Sparkle, Jell-O, Snow, Wine & Space-Time effect.

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Chapter 7 Sparkle, Jell-O, Snow, Wine & Space-Time (A Highly Visual Use of Slush & Snow Powder)

I can predict that most expert and even intermediate level magicians will overlook this effect from the start because they are somewhat familiar with the properties of Slush & Snow Powder and that same familiarity will bias their thinking on this subject. I make this statement based on my experience of presenting this effect to lay audiences in the presence of other magicians. The magicians always have that condescending look at the beginning but by the end of the routine, they nod their heads in agreement with want they witnessed. My response is: “Hey what did you think … did you think that I was going to really entertain the guest with an ACANN trick”? 46

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However, the following routine uses every-day objects (at the dinner table) for a very visual presentation at each interactive phase. Each effect flows into the next effect, thus maintaining the attention span audience. This effect can be done with or without the Multi-Utility Dispensing Pen. Main Effect: At the dinner table or in a restaurant setting, the conversation casually turns to ESP and Psychic Phenomenon. Being the Magician / Mentalist, you are asked whether or not you can psychically bend spoons? You remark that such a feat is interesting but more interesting is the ability to effect matter at the molecular level. You demonstrate just that by: Taking any borrowed packet of Sweet & Low and turning it into “gunpowder” like substance – which sparkles over a flame (provided by a candle, a match, or cigarette lighter). Then you take a glass of water and pour two packets of sugar into it and by stirring clockwise, the water instantly changes into a solid Jell-O substance.

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Proceeding, you pour 2 packets of any sugar substitute (Sweet & Low) into another glass of water and by stirring counter-clockwise, the water instantly turns to “snow”. As the spectators’ excitement dies down, someone will invariably ask, “Can you turn wine into water”? At that moment, you do just that --- you pour water into an empty glass and as it fills, it turns into “wine”. And as if that’s not enough, you continue by saying: “Well, I didn’t bend any spoons, but maybe I can bend space and time”. You demonstrate such by: 

Instructing a spectator to take a single packet of sugar and to hold it with a closed fist.



Then, you borrow any dime and make note of the date.



You then openly vanish the dime.



The spectator immediately opens the packet of sugar and pours out the contents. A dime drops out with the sugar. The date matches!

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One of the most important things to know about magic done at the dinner table or in a restaurant setting is that during the time spent conversing and eating, you have all the opportunity to setup and perform your trick(s). Preparing an effect during meal time is possible because realworld misdirection is part of the performing conditions. Looking at the menu, passing the salt, handling the silverware, food being served and waiters approaching the table --- all these situations help facilitate opportunities for the performer, in terms of loading, concealing, lapping, and mainly, the overall ease of setting-up materials and methods.

1. The Sparkle Effect:

Secret: Most people are unaware that Sweet & Low ,when sprinkled over a flame will sparkle similar to gunpowder --- not as pronounced, but it will flash / spark when consumed by flame. This is a natural property of Sweet & Low. This effect is done first because you can freely borrow any packet and perform the effect, which helps generate the impression that everything has been “borrowed” throughout the routine.

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Action Step 1: Have anyone take a packet of Sweet & Low, tear the corner open and lightly sprinkle it over a flame. You provide the flame via candle, matches or a pocket lighter. As they sprinkle the contents of the packet, make sure that you snap your fingers or make a magical gesture --- something that causes the sparks to happen. Note: If you can produce the flame in a magical fashion (a la Match-Pull, see chapter 15) this will enhance the overall routine. Small enhancements to an effect are often the difference between doing a trick vs. producing a miracle in the minds of the spectators. Patter: “Ok, let me demonstrate how to effect matter at the molecular level. We’ll take a packet of Sweet & Low, make a flame, snap my fingers and … we have caused Sweet & Low to sparkle. Alchemist of old would be de-lighted.” [Pun intended]. Immediately proceed with the following effect: 2. The Jell-O Effect: Secret: This effect is done by using Slush Powder (nope, not with Jell-O) --- which is a chemical that will instantly turn a glass of water into a solid mass of gelatin. Slush powder is used 50

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to create numerous effects in magic. Its’ use is mostly hidden from view. But in this routine it is uniquely used to create a highly visual transformation.

Action Step 2: You have a spectator hold a glass of water while you casually pick up two packets of sugar from the condiment holder. You have the spectator take a knife or straw and stir the water in a clockwise direction. As you pour the sugar packets into the water, it instantly transforms into Jell-O. Setup 2: Prior to starting this effect, you simply place (load) 2 prepared- sugar packets into the condiment holder (see note below). You have the prepared packets thumb clipped in your hand and as you reach to get some sugar, you leave behind the loaded packets. A thumb clip is where you have an item in the palm of your hand and you use your thumb to hold (clip) the item against the palm so that when the hand is held palm-down with the fingers outstretched, the item is hidden from view. Of course, the sugar packets have been prepared well in advance by emptying out the sugar and replacing the contents 51

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with Slush Powder or Snow Powder. Also, it is expedient to fold or cease the corners of the sugar packets so that they can be tracked and identified when needed. See End of Chapter for How to Prepare Packets of Slush & Snow Powder

Note: During the entire routine, you’ll need 2 prepared packets of sugar (loaded with Slush Powder), 2 prepared packets of Sweet & Low (loaded with Snow Powder), 1 prepared packet of sugar (loaded with a dime) and preparations for producing “wine”. All of these prepared packets can be covertly stacked into a condiment holder at the start of the routine. It’s expedient to fold or cease the corners of all the preloaded packets so that they can be identified when needed and tracked to ensure that no one accidentally uses them. The whole business about stirring the water in a clockwise fashion is used as a magical-gesture-technique --- which conveys that you have a secret knowledge that allows you to perform the magical transformation. Also, having the spectator participate by holding the glass adds to the interaction of the effect. 52

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Patter: “We can effect matter even more, by taking a glass of water and … let’s see, some sugar (packets). We’ll stir the water in a clockwise direction. The secret method of transformation is to stir in a clockwise direction. And… with a magical wave, we have transformed the molecules of water into… Jell-O.” Immediately proceed with the following effect: 3. The Snow Effect: Secret: This effect is done by using Insta-Snow --- which is a chemical that will instantly turn a glass of water into what appears to be snow.

Action Step 3: As the glass of Jell-O is finally passed around for viewing, you have another spectator hold a glass of water. You have the spectator take a knife or straw and then to stir the water in a counter- clockwise direction. As the spectator stirs the water, it instantly turns to snow. You’ll need to prepare in advance two packets of Sweet & Low (or a similar sugar substitute) with Snow Powder. Most restaurants have a variety of sugar and sugar substitute brands which is favorable for advance preparation and being able to track and differentiate between packets. 53

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Secret Move: Casually bring into play the pre-loaded sugar packets. Note: It’s important to wait for everyone to view / inspect the glass of Jell-O before doing the Snow Effect. If you don’t, some spectator’s will miss the start of the present effect. The proper timing will allow everyone to comprehend what’s going on. Many good effects have been ruined by assuming that spectators are paying attention at the right time or they comprehend what’s going on. Spectator management is simply directing attention at the right time and in the right place without making assumptions as to what they are seeing or not seeing. Patter: “Ok, so far, we’ve effected matter at the molecular level with transformations of sparkle and Jell-O. Let’s see what will happen if we just stir water in a counter-clockwise direction with a magical wave of the hand (straw or spoon) and an extra snap of the fingers… snow”! 4. Wine Effect: This is a good time to wait (a la Malini), to create a time delay in order to prompt farther conversations as to what has happened. 54

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Invariably, after the snow has been produced, someone will say something to the effect: “Well, that’s great but can you turn wine into water?” And then you do just that. The spectator’s reactions are truly magical. Action Step 4: You take an “empty” glass and pour water into it. As the water fills the glass, it instantly turns to wine. Patter: “Oh, turning water into wine is an easy one. I get request for it all the time. You just pour water into an empty glass and give three magical snaps of the fingers and… instant wine!” Secret: This effect is done by using the Dispensing Pen loaded with “Wine Powder” --- which is simply sugar free KoolAid. In the past, I used a clothing dye (Rit-dye, Purple 13) to simulate wine, but because of the chemicals, the “wine” couldn’t be consumed. By using Kool-Aid, you can drink the wine and comment on the great taste, to add to the realism of the effect. Note: The color of the wine (Kool-Aid) should be red or a blend of red. The reason is that a black-ink pen connected to the production of a dark colored wine (grape) will create suspicion.

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If not using the gimmick pen, another option is to use Easter Egg Die Tablets.

Multiple Methods for Producing Wine: Method 1: You setup this effect at the very beginning of the entire routine before you do THE SPARKLE EFFECT. After you drink a glass of water (leaving just enough water to cover the bottom surface of the glass), you covertly drop the die tablets onto the bottom of your glass. Within minutes the tablets will dissolve. The tablets have to be of a wine color and the type that doesn’t need vinegar to dissolve. If you’re concerned about this setup being spotted, you can position the glass next to (or behind) various tableware (condiment holders, shakers, napkin dispensers). The glass “sits” ready to be used. You have to be alert to anyone trying to clear the table of empty glasses. Method 2: You use the Multi-Utility Pen to dispense the wine powder. See, How to Use the Dispensing Pen at the end of the chapter.

Notes on Managing Water Glasses: As this point in the routine, you will have needed two glasses of water and one empty glass. The setup of having at least 3 56

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filled glasses available can be anticipated by noting how many guests are at the table. If you have 3 or more guest the glasses are ensured to be available because most people don’t drink all their water served at the beginning of the meal because they have another beverage to drink. But water is becoming a common choice, so you can offset this by requesting another glass of water for yourself or ordering one (or two) for “non-existent” guests --- who may or may not be arriving. 5. Space & Time Effect (Dime to Sugar Packet) At this point you have changed Sweet & Low into sparkle, water & sugar into Jell-O, water into snow, and water to wine. Now…, for the finale:

Set-up: The classic effect: Dime to Sugar Packet is accomplished by preparing in advance, a sealed packet of sugar that contains a dime, then misreading the date on a borrowed dime, and performing a Slydini type vanish.

See End of Chapter for How to Prepare Packets of Sealed Sugar with Dime

Action Step 5: Casually grab a sugar packet from the condiment holder and ask a spectator to safely hold on to it with a closed fist. 57

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Next, ask to borrow any dime. Display the dime in your open palm, read off the date on the dime and ask another spectator to help you by making a mental note of the date. Vanish the dime a la the Slydini method. Have the spectator immediately open the packet of held sugar and pour out the contents --- a dime drops out with the sugar. The date matches! The Moves: The sealed sugar packet (with dime & memorized date, example: 1990) has been pre-loaded into the condiment holder. You borrow a dime and misread the date. The date may actually be 1995 but you read out-loud (misread) the date of: 1990 (the date of the dime in your prepared sugar packet). Then you do a Slydini type vanish or your favorite type of coin vanish with the dime.

See End of Chapter for How to Do a Slydini Vanish With a Dime

Notes: When you misread the date on the borrowed dime, do it casually, not as if you were about to prove something. Make a joke about the date being the date that the wine was made. When the dime drops out of the sugar packet, wait for the 58

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spectator to make note of the date. If not, make the statement: “Let’s see if time can fly, what’s the date on the dime: 1990! Magic indeed… space and time have been bent.” Patter: “Well, I didn’t bend any spoons, but maybe I can demonstrate how to bend space and time. Will someone hold onto this sugar packet and can I also borrow a dime from anyone? Thanks, hum … 1990, a good year. I think that’s the date our glass of wine was made? Please hold your fist tightly. Like this. Like the way I’m holding onto my dime. So tight, that it has… dematerialized…VANISHED. Please open up your packet of sugar and slowly pour out the contents. There’s a dime? What’s the date on the dime? 1990! See, time can fly!”

End of Chapter Material How to prepare packets of Slush or Snow Powder > Take a packet of sugar or sugar substitute and shake (downwards) the contents so that that the bulk of the sugar is crammed to the bottom end of the packet. This bulk / lump allows you to cut open the packet without slicing through to the other side.

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> Cut a vertical line across the lump, staying within the frame of the packet or the logo design, in order to camouflage the cut. > Pour out the contents. > Replace with Slush or Snow Powder. > Reseal the packet with Elmer’s School Glue. > To identify the packet, fold and crease one of the corners. If making packets of both powders, you can fold the corners on the sugar packets (Slush Powder) and then fold the corners on the packets of sugar substitute (Snow Powder). Note: It takes about 1 teaspoon (1 heaping packet) of Slush or Snow Powder per 8 ounces of water. As a rule, if the glass of water is wide & tall and about full, you’ll need two packets of the same powder. If the glass of water is normal in size (holding about 8 ounces of water) then a packet will do. When in doubt, use two packets.

How to prepare packet for Sealed Sugar with Dime: > Take a packet of sugar and shake (downwards) the contents so that that the bulk of the sugar is crammed to the bottom

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side of the packet. This bulk / lump will allow you to cut open the packet without slicing through the other side. > Cut a vertical line across the lump, staying within the frame of the packet or the logo design, in order to camouflage the cut. > Slide a dime (make note of the date) into the opening and reseal with Elmer’s School Glue. Of course, you don’t remove the sugar from the packet. > To identify the packet, uniquely fold one of the corners. How to Load the Multi-Utility Dispensing Pen: Remember, the substance that we will be loading is “wine powder”. See end of chapter 6, Flow Rate & Straw Size & Powders, for details. > Twist off the tip of the pen. Use an eye or ear dropper to collect the powder by squeezing the dropper bulb. Place the dropper tip into the black barrel of the pen and squeeze out the contents. Also, once the dropper is filled, you can remove the plastic bulb and gently blow the contents out of the glass stem into the barrel of the pen. Another loading method is to cutout a small paper funnel for use.

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The easiest method is to cut the tip corner off the Sugar-Free Kool-Aid packet and shape it into a funnel. The packet’s inner foil allows it to be shaped as needed. > The contents are sealed within the pen by twisting the tip back on. How to Dispense Powders with the Pen: When ready to dispense, twist off the pen tip and pocket it. Then place the cap back on the pen. Place the pen, upright in your shirt pocket --- your pen is now setup to dispense. The top of the cap is vented, which allows for the contents to be unloaded while the cap is still on the pen. > To unload the powder, hold the pen upright and use the lower portion of the pen to stir the water counter-clockwise. You do the stirring on and off for a few moments as if “conditioning” the water. Rigorously stir the water in the glass to create a miniature whirlpool and as the water spins, you remove the pen, take a look at the whirlpool and then invert the pen (cap downward) into the glass without the cap entering the water. Do not submerge the pen into the water --- the powder will solidify in the barrel of the pen.

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The pen’s cap is positioned to within a 1/8” of the water, to allow the powder to flow forth. The water vortex will carry the dispensed powder down into the water, mixing it evenly throughout the glass. Once the water becomes densely colored, you can submerge the pen cap into the water. This action will solidify any remaining powder so that you don’t create a visible “dust trail” as the pen is removed. How to Dispense Powders with Wrapped Straws: Besides using loaded sugar packets to deliver Slush & Snow Powder, for diversity of method you can use wrapped drinking straws. > Take a wrapped drinking straw and make a small slit at the top end (we’ll call this end: A) of the straw. The slit is made at the side of the wrapper and only large enough to allow the plastic straw to be removed. Save the wrapper. Note: The straw should be of a solid, non-transparent color: black or red. > Take a wad of paper and plug the bottom end of the straw (end: B). The wad should be pushed up into the straw about half an inch. This plug will keep the powder from spilling out the bottom. 63

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> Fill Slush or Snow powder into the top end (A) of the straw. The powder should fill ¾ the length of the straw. > Place the straw back into the wrapper and seal the slit with glue. On the wrapper, make a small identifying mark to indicate the proper orientation of the straw --- end: A, upward. This will prevent the powder from spilling out of the top end of the straw. During performance, you take the straw (A-end upward) and remove the wrapper. Next, stir the water with the end (B) of the straw. Do not submerge the straw beyond ½”. After stirring the water for a moment, remove the straw and turn it over end-to-end and submerge the top end (A) into the water and blow through the bottom end (B) of the straw. Even though the bottom end is plugged, enough air can be blown through the straw to dispense the powder outward into the water. Do not blow excessively hard because you will create an air bubble that will splatter the powder and water. As the powder gels in the glass, leave the straw standing in the middle of the solidified water for a magical display. How to do a Slydini Vanish While Sitting at a Table:

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> With your left hand, place a dime in the center of your right palm. > While placing the dime, position you right hand about two inches above the edge of the table with your finger tips about two inches overlapping the edge of the table. At this point, you’re going to turn your right hand palm down, letting the dime drop into your lap, as you make a fist and with the same continuous motion, you extend your hand towards the center of the table or towards the spectator who is holding the sugar packet. When you make a fist (after turning your hand palm down), it appears as if you are merely grabbing hold of the dime (which gravity has landed in your lap). > The straightforward movement of your hand and arm naturally covers the dime being lapped. The larger motion (extending your hand) covers the smaller motion (the dime being lapped). Added misdirection: Look at the palmed dime. Then look up and make eye contact with the spectator. As you execute the move, say: “I want you to hold the sugar packet as tight as I’m holding this dime” [while demonstrating how to do so].

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The move that you just made is justified in that you are showing the spectator how to hold the sugar packet by example.

Chemical information:

Insta-Snow is NOT a food grade product. DO NOT INGEST or INHALE. Keep out of the reach of children 9 & under. Non-toxic material. If powder gets in eyes, flush with water.

Slush Powder is NOT a food grade product. DO NOT INGEST or INHALE. Keep out of the reach of children 9 & under. Non-toxic material. If powder gets in eyes, flush with water. Wine Dye is NOT a food grade product. DO Not INGEST or INHALE. Keep out of the reach of children 9 & under. If powder gets in eyes, flush with water. Update: Use cherry favored (sugar free) Kool-Aid in place of the Wine Dye. Note: It takes about 1 teaspoon of Slush or Snow Powder to congeal 8 ounces of water.

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Chapter 8 Chameleon Pens Chameleon Pens are gaff / gimmick pens that write in a different color than what is designated on the pen. An example would be a red pen that “on the sly” writes in blue ink. I’m quite sure that in the magic literature, this type of pen is an old idea and one applied to numerous mentalist effects. For lack of knowing the formal name for this type of pen, I’ll refer to the setup as Chameleon Pens. Making a Chameleon Pen ranges from easy to difficult, depending on the brand of the pen. The classic Cristal BIC pen comes in a variety colors and it’s very easy to swap the “color” of the pen. Note that on these pens the nib (ink tip), regardless of ink 67

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pigment is silver-tan in color, which is favorable for swapping. The color of the cap and end plug matches the actual writing ink of the pen. Making a red pen write in blue ink: > Remove the ink unit (nib & ink stem) from the transparent barrel of a blue BIC Cristal pen and also one from a red pen. > Place the blue pen’s stem into the red pen’s barrel (which has a red end plug) and cap it with the red cap. Thus, for all appearances you have a red pen that will covertly write in blue ink when needed.

Simulated Ink Line I like to give the pen a more noticeable “red look” by inserting a plastic, medium size (1/4” in diameter), red drinking straw into the barrel. The straw is trimmed to the desired length.

With the BIC pen, the drinking straw has to be inserted through the plug end. If the plug cannot be easily plied out at the rear end of the pen, then it has to be removed by sticking a plunger (unwrapped coat hanger) into the barrel, through the tip opening, to poke the plug outward.

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Note: Drinking straws can be found in restaurants in various colors and sizes. The length of the straws range from 8 - 8.5 inches. The sizes (in diameter) are generally, small (3/16”), medium (1/4”), and large (1/3”). If the straw fits (1/4” diameter), you’re good to go. If the straw barely fits, you can slice the straw down its entire length and it will curl inward, making a smaller circumference to work with. The straw should be cut long enough to align with the plug or else the first couple of magnets will be noticeable. And as magnets are added, the ink stem is clipped down to make room for the additional magnets.

Tip-Middle- End Magnetic Pen Once the straw is inserted, the pen can be used as a Magnetic Pen (see chapter 16) by placing and gluing the first cylinder magnet into the hollow of the end plug and adding more magnets --- a string of magnets --- as needed into the straw’s inner cavity. Finally, a magnet can be situated into the tip of the pen’s cap. The cap has a vent hole that will accommodate a magnet. Once the magnet is inserted flush with the cap’s tip, the exposed end of the magnet can be painted red. With the embedded magnet, the pen can still be capped normally.

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Cylinder Magnets Needed: The first magnet (1/8” diameter X 1/4” length) is glued to the inside of the end plug as an anchor for attaching other magnets (3/16” diameter or 1/8” diameter) into the barrel of the pen --- hidden by the simulated ink line. The individual lengths of the magnets within the barrel can vary depending on preference and availability. The cap’s vent hole will situate a 1/8” X 1/4” magnet. If you decide to make the enhanced version of the Chameleon Pen as describe above, you will also need to make a regular matching pen. This enhanced but normal red pen will write in red ink and will be switched in and out for the gaff (red>blue) pen as outline in the Interference Effect (see chapter 9).

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Chapter 9 INTERFERENCE - Impossible Prediction Under Impossible Conditions Effect: Any deck is borrowed and completely shuffled by the spectator. A note with a written prediction is handed to the spectator for safekeeping --- before the deck is returned to the performer. Once the deck is returned, the performer does not shuffle, cut or arrange the order of any cards. The performer merely presents the cards for a selection to be made. Any card (out of 52) is freely touched (no influence) by the spectator as a selection. He can change his mind as often as he likes. Once the card is selected, the spectator keeps it --no switching.

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Finally, the spectator opens the note (that he has held the entire time) and the prediction therein matches the spectator's card. I created this effect to fool “those in the know”, not necessarily magicians per say, but a group of sophisticated lay persons, who I knew were wise to card forces in general. If you don’t believe that lay people are familiar with the more common, commercial materials & methods of magicians, then as a test, during a performance just stick your right thumb into your left fist without someone whispering, “thumb-tip thingy”. Interference uses a gambler’s peek with a subtle, on-the-fly force --- the top-slip force. The use of the Chameleon Pens enables the performer to modify a prediction note in real-time per feedback from the gambler’s peek.

Props Needed: * A borrowed deck of cards. * A set of Chameleon Pens: 1 regular red pen and 1 gaff red pen that writes in blue ink (red>blue pen). Take the gaff pen’s cap and cut a small portion off of the tip of the pocket clip in order to distinguish it (by touch) from the regular capped pen.

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* One Index Card (for prediction note). The prediction note should use stiff stock paper for writing support and should be folded with a paper clip to conceal the prediction.

Set-up for Prediction Note: > On the inside of the note write the following: In blue ink: The card that you will select is the [leave center space blank], 00/00/2012 [mark through last week’s date in red ink] …. In red ink write: 00/00/2012 [today’s date] and your signature. > Now, fold the note and on the outside, in blue ink, write the word: PREDICTION. The second half of the note is for the spectator’s signature which will be in red ink. Place a paper clip on the folded note. The card that you will select is the: . (Last week’s date): 00/00/2012 (Today’s date): 00/00/2012 Your Signature

PREDICTION ______Fold_______ Space for Spectator’s Signature

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Performance: 1. Present or borrow a deck of playing cards. 2. Present the paper-clipped prediction note with the normal red pen. Take the pen and while pattering, circle the word PREDICTION a few times to highlight it --- stating that the note is a prediction that was actually made about a week ago. Take your time to indirectly ensure that the spectator notices the word PREDICTION in blue ink and the circling of the word

PREDICTION _____Fold____ Joe A. Spectator

in red ink. The implicit rationale for the different inks is that the note was written last week and the only pen currently available is a red ink pen. 3. Have the spectator sign the other half of the note, while pattering that you want to make sure the note can’t be switched. Make sure the note is paper-clipped so that the insides can’t be glimpsed. At this point, the prediction note has been signed in red ink by the spectator. 4. Table the note in open view or have it held securely by the spectator. 74

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5. Have the deck thoroughly shuffled while emphasizing the fairness and randomness of the process. 6. Simultaneously take back the deck in the left hand and pick up the prediction note in the right hand. At this point, no one knows the identity or location of any card in the deck. 7a. The right hand moves to hand the prediction note to the spectator while the left hand executes a gambler’s peek of the top card on the deck [let’s say it’s the 3-of-clubs]. This movement allows the larger action of the right hand to cover the smaller action of the left hand. As the spectator reaches for the note, you keep it and immediately table the deck while pattering: “Hold on a second… I want to make sure that The card that you will select is the:

3 of clubs 00/00/2012 00/00/2012 Your Signature

we have the correct date, since this note was written last week”. At this point the prediction note will be updated (with the name of the peeked card) with blue ink by the gaffed red pen.

7b. Remove the gaff pen (you’ll be covertly writing in blue ink), open the note from your viewpoint and clearly write: 3-of-clubs, in the center of the note. Then patter: 75

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“Ok, we got the right date and I’ll sign the note also … so we have my signature and your signature… a great souvenir”. Mimic signing your name and the date. 7c. Pocket the gaffed pen. 8a. Pick up the deck in left-handed gambler’s grip and state that you want the spectator to have a totally free choice of any card in the deck by using the tip of the pen to make a very precise cut. 8b. Un-pocket the normal pen and have the spectator take the capped pen and insert it at any point in the squared deck. Emphasize that he can change his mind as often as he likes. 8c. Once the selection (cut) is made, execute a top-slip force bringing the 3-of-clubs to the left hand’s portion of the deck. The pen is used to help facilitate the top-slip because as the spectator holds the pen to make his cut, the performer moves the deck away from the pen to open the cut, thus making the top-slip force. 8d. Have the spectator hold on to the pen because at this point, you end clean by having the regular pen in play. 8e.The spectator takes his card and now the performer summarizes the events before the prediction is revealed.

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That’s the written explanation for Interference. Here are the video instructions for the details on the gambler’s peek and top-slip force: Watch Video (http://www.youtube.com/watch?v=nMQ0uQBHJVU)

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Chapter 10 Science Fiction with FriXion Without a doubt, the FriXion Erasable Gel Pen by Pilot is a performer’s dream come true. A committee of magicians and mentalist couldn’t have designed a better off-the-shelf pen for magic applications. The pen is “rewritable” --- which means that you can erase and rewrite repeatedly without damaging the paper because the thermo-sensitive ink formula will “disappear” when friction is applied by the pen’s eraser. Actually, when heated, the ink becomes clear and thus blends in with the paper’s background. Additionally, the “cleared” ink can be made to reappear by exposing the ink to cold environmental temperatures (14°F), such as in a freezer.

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The basic application of the pen is to write words or symbols in permanent, regular black ink and then to disguise the writing with the FriXion ink. When heat in the form of a flame is applied to the inks, the FriXion ink will disappear and the regular ink will remain in place.

For example, in preparation for a Wrong-to-Right Prediction type effect, the 3-of-c (3 of clubs) would be written on a business card in regular black ink and then the FiXion ink would be used to convert the writing into the 8-of-d (8 of diamonds). During the performance, a flame from a lighter would be used to heat the back side of the business card and as the spectator concentrates on the writing, it visually morphs from the 8-of-d into the 3-of-c.

As the cliché goes, the effects possible with this pen are only limited by your imagination.

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Chapter 11 Phoenix Angels In keeping with the theme of this book, this effect exploits the properties of the FriXion Pen.

Watch Demo

(http://www.youtube.com/watch?v=xj4Z9Cz-p3s)

This effect has become one of my favorites, given the highly visual elements of this routine, along with the spectator's reactions. This effect has multiple phases that have built-in misdirection. How so? The misdirection comes from the spectators thinking that the trick is over. They relax; they attempt to mentally reconstruct what they have seen and then the next phase immediately comes into play. Phase 1A: A deck of playing cards is introduced and a prediction note is shown. This note is placed face down and

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kept by the spectator for future reference. Now, the spectator selects a card. Phase 1B: The face of the prediction card is revealed to have random inkblots --- the type that psychologist use on the Rorchach Inkblot Tests. You inform the spectators that you can't really predict their chosen card but you can have them visualize their card by concentrating on the inkblots and with a little imagination and magic, something special will happen. As they concentrate on the inkblots, the image visually forms into their thought of card, the 2-of-Hearts. Phase 2: You inform the spectators that the 2-of-Hearts is a very special card because it has a story associated with it. The story is about two lovers (2 hearts) that have been eternally separated. The hearts belong to the two bicycle riding angels on the back of the card. The angels long to be together but they are trapped in their circles/spheres forever, never to be together. Yet ... with a little magic you unite the angels. The united-angel-card can be examined completely. Phase 3: At this point in the routine, you can simply wait a few moments and the spectator will most certainly ask if you can separate the angels again. A common response is: "Put them back to where they were" (as if the balance of the universe needs to be restored). As a Magician, you do so in a very 81

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visual manner. This "restored" card can be given out as a keepsake. You end clean. Materials Needed: 

Blanks cards for noting a prediction: You can use any of the following: blank index cards or blank playing cards or blank- back business cards.



One blue & one black FriXion pen (see chapter 10).



One Twilight Angel (TA) playing card. This is a specially printed Bicycle blue-back playing card that has one of the center circles empty because the missing bicyclist/angel is printed /positioned next to the other bicyclist in the design – the two angels are riding together. This card and the well-known Twilight Angel effect were created by Paul Harris.

Other items needed: 

One regular felt tip pen – black ink (made by Paper Mate). The ink in this pen will match the black FriXion pen (as will other types of pens).

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

If you want to do the third phase of this routine. You will also need to prepare a “fake” Twilight Angel card. See preparations below.



A pocket lighter. This lighter can be a regular plastic lighter or a shiny, silver lighter. A reflective lighter can be used in place of a pocket mirror if you chose to display the TA Card as outlined in the classic Twilight Angel Effect. I mention this option because it’s perfect in terms of pocket management.

Preparation: I. Preparing your prediction card: Take a blank card and write “PREDICTION” with the regular black pen on one side and then turn it over and draw the a 2of-hearts symbol (#1) with the same pen. Once the symbol is drawn, take the FriXion black pen and fill in the symbol (#2) and the surrounding area with dots until you have a dotted square (#3) in which the symbol is completely unidentifiable. This square is about 1 inch wide and 1 & ½ inches long.

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Notice in the upper left corner of the dotted square (#3) there is a small “tip” drawn. This is to mark the right orientation of the card so that the spectator sees the symbol appearing upright (as in photo #1) when heat is applied to the prediction card. The spectators will be instructed to stare at the inkblot (#3) and to visualize the selected card. As you apply a flame to the underside of the card, they will see the 2-of-Hearts magically appear (#1). II. Preparing your Fake Twilight Angel Card: > Take your blue FriXion pen and “blue- out” one of the main angels on a spare blue-back 2-of-Hearts.The angel is white, therefore it’s easy to color the angel blue to make the circle look empty. The proper technique for applying the ink is to press down on the pen tip and let the ink flow smoothly --- apply it like a paint brush with fluid brush strokes. If you go over a dry area, you will scrape off the ink inadvertently. When done, let dry for 5 minutes and then go back to touch-up any weak spots by daubing on more ink. > Take a spare card and cut-out one of the angels with a pair of scissors. Once this cut-out is made, you can split off a layer (cards are made with 3 layers) to make the angel thinner in thickness. On the back side of the 84

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angel, place a small dab of magician’s wax or candle holding wax and press the cut-out angel next to the normal angel on the above prepared card. Now you have a card that appears, at causal glance, to be identical to the Twilight Angel Card. Note: Scotch Restickable Glue Stick is an ideal adhesive for using on cards if you don’t have wax available. Set-up for Performance: Place your Prediction Card on top of your deck and the TA Card on the bottom of the deck. Then place the deck into your classic style tuck case (card box). Next, place the Fake TA Card inside the cellophane of your tuck case. The card goes on top of the bicycle back design of the box. This hides the Fake TA Card and ensures that the angel cut-out doesn’t accidentally un-stick from the card. Performance Phase 1A: Remove the deck of cards from the card box. Place the box with the red SPADE design facing upward on the table or back into your pocket.

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Display the Prediction Card and hand it to the spectator for safe keeping. Instruct him to keep the card face down. At this point, you’re going to force the TA Card (2H) on the spectator by using a thumb- corner riffle force or any force that you can show the face of the card but not the back of the card. The 2H is on the bottom of the deck. The deck is held in left-hand mechanic’s grip. The right hand takes the deck and swing cuts the top half of the deck into the left hand as the right hand continues in motion to place its half of the deck onto the top of the left hand’s portion, while squaring the deck and maintaining a pinky-break under the 2H. Basically, you have just positioned the 2H in the center of the deck. Now, the left thumb riffles down the outer left corner of the deck. The spectator is instructed to say “stop” at any time. No matter where the cards are riffled to in the deck, the magician makes the break by picking up the portion of the deck at the pinky-break and shows (only to the spectators) the 2H as if it was the actual card stopped at. 86

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The card is noted by the spectators. The cut is returned and the deck is squared. Then the performer thoroughly over-hand shuffles the deck. Performance Phase 1B: The performer asks the spectator to turn over the Prediction Card and to everyone’s surprise they see only inkblots. The performer patters something to the effect that he can’t predict the future, that the future can only be seen in one’s imagination a la Rorchach Inkblots. The spectators are asked to gaze into the inkblots and imagine the “freely” selected card. The spectators state that they can’t see anything. The performer replies that more energy is needed to see the card and as an after-thought, he produces a lighter to help energize things – heat being energy. The bottom of the prediction card is heated with the lighter flame and the 2H symbol will materialize. The normal ink remains and the FriXion ink disappears. At this moment, the trick is perceived as done. Let the moment shimmer. Then, as another after-thought, patter: “It’s interesting that you choose the 2H because it has a story about 2 lovers …” Performance Phase 2: 87

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In this phase you can use the patter as previously described in the introduction. Here are the action steps: Spread through the deck face up and as you come to the 2H, under cut all the cards to the bottom of the deck. Now, you have the deck face up with the 2H showing. This is an important point in the routine because you want to show the back of the TA Card (2H) as normal. You do this by making a double lift – the back of the second card in the lift shows as the back of the 2H. So, as stated, execute a double-lift (with the 2H face-up) to show the “back” of the card as normal while pattering about two separated lovers trapped in separate circles. Make sure that the spectators clearly see what you are explaining as you point to each angel. Once you return the double lift (2H face-up again), you point to each pip (the hearts) on the card, stating that they desire to come together in love. The pointing to the pips is the rational for turning the card back over so that the single TA Card can be removed face-up. Now, you remove the TA Card and turn it over while simultaneously placing your right thumb directly onto the implied angel (empty circle). In this position, the base and 88

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knuckle of your thumb will naturally cover the specially printed angel on the opposite side of the card. And now it’s all about acting. You can act as if you’re dragging or gliding or lovingly helping the angel to meet its lover on the other side of the card. Note: You can make an “orientation mark” on the back-side of the TA Card to ensure that when you turn over the card, you will have it on the proper end for the thumb to cover the extra angel without having to readjust the card. Performance Phase 3 (a la Malini): Finally, after the TA Card has been totally examined in amazement, return the cards back into the tuck case and wait for someone to invariably ask if the angels can be “moved back”. If the request is made, reopen the tuck case and tilt the case towards the spectator’s view so that about ¼ of the deck slides outward and then tilt the case back towards your body and remove the Fake TA Card from the cellophane -- giving the appearance that you simply retrieved the TA Card that was just in play.

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This card should be shown casually when face-up but handled with constant movement when the back-side is shown, so as not to expose the cut-out angel to prolonged examination. When you turn over the card, drawn attention to the joined angels and immediately cover the cut-out angel with your thumb and act ask if you’re trying to rub it away. In actuality, you’re dragging the cut-out to the side edge of the card (pinched between the ball of your right thumb and index finger). Stop at this point and freeze your position on the card. Do not remove the cut-out entirely from the edge of the card – you want to make it look as if you’re rubbing the angel into the card and not away or off of the card, which might become suspicious. At this moment, the right hand maintains its hold on the edge of the card (thumb hiding cut-out) while you retrieve the lighter from the spectator with your left hand. You draw attention to the empty circle as you place a flame to the underside of the card. The “blued-out” angel will burn white and reappear. Now, you hand the card to the spectator and as the spectator takes the card, he will drag the card away from the cut-out leaving it hidden, pinched between your thumb and index 90

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finger as you tilt your hand slightly downward, towards your body. You then gesture with your other hand, while telling the spectator that he can keep the card as a souvenir. Note: Once during a performance, I lost the cut-out angel on the Fake TA Card. I recovered by placing my right thumb over the area were the angel should have been and I acted as if I was rubbing it away. The implication was that the angel was there because it was previously shown as such and the reappearance of the angel back to its original position validated the suggestion.

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Chapter 12 Zig Two-Way Glue Pen The ZIG 2 WAY GLUE pen contains special glue that is restick-able and leaves little or no residue. Beneficially for card applications, the glue, when dried on a playing card will not transfer any residue to another card when that card is stuck and un-stuck to the glued card. The ZIG pen has a chiseled tip and the glue spreads like a liquid not a paste. The chiseled tip allows precision application of the glue. Also, the glue goes on blue for visibility and dries clear. As you can imagine, this type of glue allows unlimited creative applications for card work. The overall properties of the glue 92

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make it superior to using other traditional adhesives such as double-sided tape, magician’s soft or hard wax or candle holding wax and blue tack. Other glues to consider are the Elmer’s brand glue stick: Washable School Glue – Repositionable, along with Scotch’s Restickable Glue Stick. These types of glue sticks are in the paste form and aren’t as precision applicable as the ZIG glue stick.

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Chapter 13 Flushed Queen Effect: The magician attempts to demonstrate his gambling skills by dealing himself a royal flush. The cards are spread showing the AH, KH, 4C, JH & the 10H. Well, it’s almost a straight flush-- the odd 4C should have been the QH. No problem, the magician states that he will attempt to vanish the 4 and produce the Queen. With a magic wave of the hand, four of the cards vanish, leaving a single card: the QH. The magician looks puzzled and explains: “I changed the 4 into the Queen but I didn’t mean to vanish the other FOUR cards!” Materials Needed: One regular card (10H) & one gaffed Spread Card – this is a single double-faced card. On one side, it “appears” as a spread of card 4 cards in Royal Flush order (AH-KH-4C-JH) 94

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with the exception of the misplaced 4-C. On the backside, the card shows as a Queen. If you’re familiar with cardsplitting, you can make this gaff or you can obtain one from the Mimesis Card Workshop. These two cards (Spread Card & 10-H), working as a unit, will allow you to show a 5- card spread and when sealed together, the unit appears as a single card, the Queen-of-Hearts. How do you seal the cards? You seal the cards by using repositionable or restick-able glue (the type used for mounting photos). Which means you can glue something and then un-glue it. The Elmer’s brand has a glue stick called: Washable School Glue – Repositionable. Also, you can use Scotch’s Restickable Glue Stick. I prefer the ZIG 2 WAY GLUE Pen as discussed in the previous chapter. Preparation: 1. Take a regular card (10-of-hearts) face side up and apply the ZIG glue to the entire border of the card. Basically, you’re going to draw a frame of glue around the edges of the card. 95

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You can make the glue line as thick as the width of the pen’s tip or thinner by overlapping the tip on the edges of the card. Let the card dry for 5 minutes or more. 2. Hold the Spread Card face- up (Queen side face-down) and take the 10-H and turn it face down onto the Spread Card. Slightly press the cards together --- you have what appears as a single card (unit), the Queen. This card can be shown front & back in the sealed position. Performance: The Spread Card has been designed to be removed from the deck with the back design showing (as a face-down card) because this keeps the Queen unseen (and the gaff side hidden within the unit) throughout the handling. Based on your presentational style and handling, you may have a personal preference for bringing the gaffed card into play. > Here’s one method to openly bring the gaffed card into play: In order, place the deck’s regular AH (2nd) KH (3rd), 4C (4th), JH (5th) & the 10H (6th) on top of the deck. Then place the Spread Card 96

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(1st) as the top most card. While holding the deck in left hand mechanic’s grip, spread out a group of 5 to 6 cards – act as if you’re counting them as your left thumb pushes the cards into your right hand. Get a pinky- break under the group of cards and square them with the right hand. You’ll notice that when squaring the cards most of the deck is covered by the right hand. Instead of picking up the group of cards, the right thumb and fingers lifts off only the top card. This isn’t a move; you do it in a casual manner. The right fingers over extend on gripping the card. This slight exaggeration covers the gaff card from the front angle and also conveys the image that you’re holding a small packet of cards. The left hand discards the deck and the right hand immediately returns its card(s) back to the left hand. Now you’re in position to open the unit --- to display it as a 5 card spread: 1. With the card tilted slightly towards your body, hold the Queen (unit) face down in gambler’s grip with the left hand (in the same manner that you would hold a deck of cards). The right hand is positioned so that the right middle-finger grips the card at the 97

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upper center edge while the right thumb grips the card at the bottom center edge and the right index finger is slightly pressing down on the very center of the card. 2. The thumb buckles the top card upward thus separating the two cards and while lifting the top card, the right index finger moves to the left-side, middle edge of the card, turning it over onto the spread. Basically, you turn the 10-H over onto the Spread Card. At this point, you square the two cards and then spread the cards into a straight fan, tilting the cards toward the spectators so they can see the “movement” of the cards spreading. In reality, you’re just moving the 10-H card over the gaffed Spread Card, giving the illusion that you are spreading 5 cards. 3. At this point, you’re displaying the spread, pattering that you don’t quite have 98

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a flush because of the odd 4-C in the middle. Now, tilt the cards back towards your body and turn the 10-H over onto the Spread Card. Notice, how the left thumb’s position and grip acts as a pivot point to help in turning over the 10-H. Square the unit. The position of your hands should be back to the position of holding the unit in mechanic’s grip. In this position, you can use your right index finger to slide or wipe over the left side of the card with a little pressure to seal the unit together as one. 4. In this position, you can do a Palm-Push-Through Production. It’s not a move, you just turn your left- hand palm downward (maintaining hold of the unit) curling the fingers slightly inward as the left thumb pushes the card out the left side of your loosely held fist. The card will come out face-side up, showing the Queen. As you remove the Queen, you have another opportunity to press the unit together with the right thumb and fingers holding the card in a pinch grip. Here’s the sequence at a glance:

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You can emphasize the singularity of the card by doing a twirl spin or causally turning the card over from hand to hand. To take the heat off of the gaffed card, immediately point to the tabled deck and ask the spectator to remove the top four cards. It’s the royal flush with the odd 4-C. Of course, before performance, you placed the cards on the top section of the deck as outline in the above handling.

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Chapter 14 Re-Light-able Matches I use these matches as a back-up option to the Flash Pens (chapters 1, 2 & 3), should the battery die prior to or during performance. The matches can be included in a routine to add that extra enhancement to any effect in need of a flame. This simulated “burnt” match is a realistic, disposable gaff that will give confidence to the performer who values the best in his props. The matches are made to appear as burnt. They will relight when struck against the striking surface of the matchbox. Each match has a burnt, flamed stem with charcoal spotting. 101

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This is NOT just a match that has been blackened with a marker. The reduced, small head is used to approximate the size of a burnt match. Materials Needed: Strike-On-Box Wooden Matches (32 Count).

How to Make Re-light-able Matches A & B. Select the Irregular Matches If you search through a box of matches, you’ll find some very irregular matches that have small heads --- these are the matches that you want to collect and alter. C. Flame the Match Take a match and hold it over a candle flame to light the middle section of the stick while rotating the match. The trick is to not char the stick to deep and to ensure that the flame doesn’t ignite the head. This procedure will give the match a true burnt look. D. Blacken the Match Take a black marker and blacken the unburnt portion up to the head and then blacken the head completely. The blackening should be put on to make a complete covering but shouldn’t be overdone because excessive coats of ink will cause the match to smolder when struck on the matchbox. 102

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E. Ashen the Match Take some acrylic, silver paint and dab on the smallest amount possible to give the match an ash, charcoal look. The paint should be applied sparingly because an excessive amount will cause the match to be useless. This type of paint can be purchased in a small bottle at a craft or hobby store. The brand that I use is: FolkArt- PLAID, 506 Silver, 2 fl.oz bottle. How to use: 

Strike the Relight “Burnt” Match against the striking

surface of the matchbox, as you would do with a normal match. Grip the match at the center of the stem. This will ensure that the match doesn’t break in half. If this occurs, simply take the tip of the match and light it --- an even more magical effect. 

Do not hesitate when striking. If you do, the match may

only smolder / smoke. Other notes: > The simulated burnt matches should be kept in the same box as the regular matches. The contrast between the matches (burnt & unburnt) aids in the visual deception of the gaff. This set-up also leads into the introductory patter of: 103

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“You know [open matchbox] some people throw away the burnt matches [remove “burnt” match] but I like to keep them, their as good as the un-burnt ones [display both matches together], you just need to reactivate the flame by blowing hot air onto the burnt ones [blow on the gaff match and strike it on the box]. There you go, a penny saved is a penny earned.” > If the gaff match breaks in half when you try to strike it, you can exploit the moment by taking the remainder of the match and re-striking it --- this situation becomes even more dramatic. > Should the gaff match smolder when attempting to light it, you can capitalize on the situation by pattering: “Ok, the burnt match almost lit… but someone here is a non-believer when it comes to things magical. Let’s try another match and this time everyone needs to truly believe”!

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Chapter 15 RM Effects Terms: Re-Light-able Match = gaff match or RM gaff. This chapter is about effects that use the RM gaff. A disguised, blackened match is an old idea, seemingly nothing of major consideration for the run-of-the-mill performer. Yet, in the real-world of impromptu (little or no set-up) or spontaneous, creative magic using every-day-objects, a matchbox and its contents will definitely entertain. To scoff or to scorch, your choice! Ambitiously Back In Time The Re-Light-able Match gaff is a great utility item to use in an Ambitious Card routine: During an Ambitious Card routine, you can control the selected card to a double-lift position, turn the card(s) face-up (as one) and have a spectator light a match --- waving the flame over the card to “shine a light on the moment”. The spectator is asked to remember the scene as if taking a picture. 105

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A second double-lift is executed, whereby the indifferent card is then placed in the middle of the deck and tabled. Next the performer takes the burnt match [switched for the gaff] and magically relights it, waving it over the top card on the deck. The spectator is asked if the scene is familiar. Video Instructions: Real-World Tips & Techniques for the Double Lift: http://www.youtube.com/watch?v=P9Zv2GNQMlU

The performer exclaims that time has been reversed as demonstrated by the match relighting and as farther proof the spectator is instructed to turn over the top card --- the selected card as revealed back in time.

Using a Matchbox as a Switching Device A matchbox can be used to cover the switching of matches. > The box is held in the left hand, slightly tilted upward. The right fingers & thumb opens the box sleeve and removes a regular match and the gaff. The removal of the 2 matches is covertly done as one unit and when the matches clear the box, the gaff is dropped to the right side of the box as held in the left hand.

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>The left index-finger closes the box as the other three fingers drag the gaff under the box. > The box is tilted sideways into a striking position and the fingers continue to drag the gaff to the center, underside of the box. The match is lit and allowed to burn down to approximate the look of the gaff before blowing or waving out the flame. At this point, the match is held 2 to 3 inches in front of the box as the left fingers kick (tilt) the gaff outward from under the box --- this is done by cover of the right hand. The next moves will look as if the right hand’s match is being re-struck on the matchbox. > As the right hand approaches the box, the fingers curl inward and the match is trapped into finger palm position. Simultaneously, the fore-finger and thumb grabs the gaff as the left-hand turns the 107

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box sideways (in striking position), while the right-hand continues the motion to re-strike the seemingly burnt match. Before striking the match, there should be a prolong pause to let the audience clearly see a burnt match resting on the striker-pad before it’s magically re-ignited.

Match Production & Steal with A Double-Match Pull Set-up: A double-match pull is loaded with a regular match in the normal position (head of match under clip) and the gaff match is clipped with the head facing outward /downward. This setup allows the performer to openly show both hands empty while producing a lit match and at the same moment, steal the gaff match in order to be in position to “re-light” the burning match once it’s extinguished. The match-pull is penned under the armpit seam of a shortsleeve shirt. The performer can show an imaginary match taken from a real matchbox held by the spectator and patter that it can only be lit by striking it against the hairs of the armpit. As you reach into the shirt sleeve, the right hand’s fore-finger and thumb locates the pull and removes the gaff match by 108

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tucking the match into the fist (finger-palmed), which frees the forefinger and thumb to pull the regular match downward from the pull, causing the match to light as it exits the sleeve. Once displayed, the lit match can be extinguished by rapidly waving it up and down. On the last downward motion the burnt match is thumb-palmed and the gaff match is allowed to fall from the fist as the fingers extend and open (while maintaining thumb-clip position) into the open palm of the spectator. Now the spectator can strike the “burnt” match on the matchbox. A match can be thumb-palmed but it’s very hard to do it and then switch it out for the finger-palmed gaff match while displaying the gaff in same pinch position (thumb and index finger) as the regular match was previously held. So, as describe above, it’s more practical to execute a thumbpalm and then to do the switch by simply dropping the concealed gaff into the spectator’s open hand.

Light a Match 3 Times Over If you take a match, blow it out and quickly touch the tip to flash paper, the paper will ignite into a burst of flame and the match will be set ablaze. The cause of this effect is the still glowing embers within the heated match. So when you blow out a match, the burnt head

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still contains glowing embers and if the embers are immediately contacted to flash paper, the paper will ignite. The secret to getting the match to re-light from the flame of the paper is to tightly crumple (make into a ball) a piece of flash paper to the size of a small marble. When the heated match is pushed deep into the paper ball, the resulting compacted volume of flame will re-light the already heated match. You can create the illusion of lighting the same match 3 times by taking a regular match and lighting it on the match box. Then proceed by blowing it out and switching it for a gaffed Re-light-able Match. Then, the gaff match is set alight, blown out and touched to flash paper to become ignited again.

Multiple Do as I Do Effects The RM gaff can be used in a series of Do As I Do effects. The performer states that he is going to hypnotize the spectator with the special ability to “do as I do”. > The performer lights a match and extinguishes it. The switch is made and the spectator is given the burnt match [RM gaff] to strike it on the match box as if it were a regular match. The match relights and the performer states that the spectator is now “in the right frame of mind” to do a few more magical experiments. 110

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> The performer now does a variation of the classical Cigarette Ashes to Palm trick. The ashes are stolen from the available ashes of the burnt match and the performer covertly loads a smudge onto the spectator’s palm while having the spectator turn over his hand and make a fist. The performer openly places a smudge of ash onto his palm and closes it into a fist, mimicking the spectator’s closed hand. The performer patters, “Now, in the right hypnotized frame of mind, do as I do”, and opens his hand (as does the spectator). Both palms have ash marks --- “ashes to ashes”. > As a finale, the performer presents the classic Do AS I Do Card Trick.

Mis-Made Match

In an impromptu situation, if you opened a box of matches and spotted a mis-made match, one where the heads were fused together, what would you do? Here’s what you can do. With your right hand, you remove and hold (between the thumb & forefingers) the mis-made match as if it were a regular one. Then you extend the matchbox drawer and place the box onto the open palm of the spectator’s hand.

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Now, reach into the box with your left forefinger and thumb while fumbling around with the matches, causing a shuffling noise. Perform a false-take of a match and mimic holding it (in a pinching grip) as the right hand’s match comes together with the left hand’s “implied” match. Magically, the matches become fused together!

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Chapter 16 Magnetic Pen & Reed Switch The magnetic pen and reed switch are two complimentary tools that can inspire the imagination but also deliver on the implementation. Most direct current (battery operated) electronic devices that have magical applications can be covertly controlled in realtime by the use of a magnetic pen or concealed magnet triggering a reed switch, which in turn activates power to the circuit. Here’s a video link showing the effects that can be done with a Flash Matchbox --- a simple electronic device using a magnet - reed switch setup: WATCH VIDEO (http://www.youtube.com/watch?v=nJ7v32QiEtY)

See end of chapter for more details on the Flash Matchbox. In chapter 17, we’ll be using a reed switch to make a PSI Capsule Marker.

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A magnetic pen strategically placed in proximity to a reed switch is a sure thing when compared to the various limitations of infra-red or radio-controlled devices. The magnetic pen that I speak of is not a simple pen with a magnet hidden in the cap. This type of pen is very limited when creating an overall magnetic field. The pen that I’m referring to is a pen that has it’s entire barrel stocked with a string of magnets --- the Magnetic Reed Switch Pen. This pen will generate enough magnetic force (repelling or attracting) to produce the desired outcome. I base this statement on the fact that when two smaller magnets are stacked together, they will behave exactly like a single larger magnet of combined strength. The total magnetic strength that you can build with a string of magnets is only limited by the pen’s barrel length and width. All in all, without venturing into the science of pull forces and Guass measurements, a string of magnets will create a “length” of magnetic flux that will definitely activate a concealed reed switch without concerns of having to place the magnet parallel or perpendicular to the switch.

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For do-it-yourself details, the Multi-Utility Pen (chapter 6) and the Chameleon Pen (chapter 8) can be converted into a magnetic pen.

Magnetic Reed Switch Basically, the reed switch is an electrical device operated by an applied magnetic field. The switch contains a pair of magnetize-able, flexible, metal reeds hermetically sealed in a tubular glass envelope. The reeds are separated by a small gap when the switch is open.

A magnetic field (from a magnet) will cause the reeds to come together, thus completing a closed electrical circuit. As the magnetic field is removed, the stiffness of the reeds causes them to separate and thus break the circuit (open circuit). Reed switches come in a variety of types and sizes. The leg length of the switch is the size of the glass bulb that contains the reeds. The standard size switches range from 12mm to 14mm in length. A leg length of 14mm is about ½” in length (not including the leads).

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I usually work with the 12mm or 14mm size switches: KSK-1A46 Reed Switch (12mm) KSK- 1A66 Reed Switch (14mm)

Micro switches in the range of 7mm -10mm are hard to handled when soldering. * Other reed switch specifications for direct current electronics: SPST(single pole/single throw), low voltage and NO (normally open) type reed switch. See Meder Electronics (www.meder.com) for a large selection of reed switches.

Flash Matchbox This simple electronic device consist of a battery holder, a AAA battery, connectors for housing a model rocket-igniter [upper right corner] and a reed switch [bottom center] --- all contained in a matchbox. Effect: The performer in need of a light, removes a matchbox and opens it. As he looks into the box, he closes it, exclaiming 116

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that the box is empty as he shakes it. Undaunted, the performer proceeds to use the empty matchbox to flash some paper or light a candle. Here’s another video showing effects that can be done with a magnet – reed switch setup:

WATCH VIDEO (Matchbox Magic) (http://www.youtube.com/watch?v=g2CqKsHcoCU)

Finally, I’ll end this chapter with a little teaser. Remember in chapter 4, we disguised an e-cigarette as a pen? The question is, can a reed switch be disguised as a single match? Check out this video: Pyro-Mental Matches (http://www.youtube.com/watch?v=dEKW72ndxJ8)

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Chapter 17 PSI Marker Capsule I call this simple electronic gadget the Capsule. It consist of a plastic battery holder (used as a black box), a magnetic reed switch and a mini vibrator motor. Once constructed, the capsule is inserted into the inside of a permanent marker to create a PSI Pen. The total cost of this marker is less than $7.00. Watch Demo (http://www.youtube.com/watch?v=qE7aCPDVo0Q) When a magnetic field comes in proximity to the reed switch, the mini vibrator is activated. The pulsation of the motor will cause the marker to “shake and move”. This marker can be used to:

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> Create PSI effects. The marker can be made to “telepathically” move by use of a magician’s magnetic finger ring. This isn’t much of an effect given that the same general effect can be achieved with a magnet or steel rod inserted into a marker. Yet, when this marker is rubber-band together with a magnetic pen, the two writing instruments will “dance together” on a table top. And by attaching a disguised magnet, the pen can be made to travel across a surface. > The marker can be used to send a message to a “contributing” spectator. As the spectator holds the marker, the performer controls the activation of the marker to influence the moment that the spectator “feels the vibes” in order to locate a hidden object, find a selected card or to make a controlled response to a question. The activation of the marker is done by the performer wearing a magnetic finger ring and strategically touching or holding the spectator’s hand to trip the Capsule’s reed switch. > The marker can be used as a “magnet detector”. Any strong magnetic object hidden in the hands of the spectator can be determined by the covert vibration of the marker. The performer uses the marker as a “wand tool” to casually gesture with, to point towards the spectator’s closed hands and to make notes on paper of “psychic” impressions.

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Parts Needed: 1. One mini-pancake, vibrator motor (10mm diameter x 3mm thick). Operates on 1.5 - 4 Vdc. Designed with two 12mm wire leads. Cost: $1.00 For soldering preferences, the following vibrator can be used. A mini-vibrator, pancake style (10mm diameter x 3mm thick). Operates on 1.5 to 4.5Vdc. This vibrator is designed with a 21mm long flexi-ribbon cable and has two easily accessible solder spots for voltage connections.

2. One battery holder for a single, AAA size battery (1.95" long x 0.50" x 0.50" high). Black plastic with 6" wire leads. Cost: $1.00 All of the above components can be found at: www.allelectronics.com 3. One AAAA battery. Cost for 2 battery pack = $3.00 Note: The battery holder is for an AAA (triple) battery and the actually battery needed is an AAAA (quadruple) battery. The larger holder will allow space for the reed switch to be nested in the holder (next to the AAAA battery). This savings of space will allow the capsule to fit into the barrel of the marker. 120

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4. One magnetic reed switch. Specifications: As discussed in chapter 16, there’s a lot of highly technical “specs” applied to the various types of reed switches. To keep things simple, you’ll need a general purpose reed switch with the following requirements: SPST, low voltage, NO (normally open), leg length (aka glass length) ranging from: 12mm to 14mm. A leg length of 14mm has a glass bulb of about ½ inch in length. This is the size that will be needed to fit suitably into the capsule.

Meder Electronics (www.meder.com) has the following reed switches: KSK-1A46 Reed Switch (12mm) KSK- 1A66 Reed Switch (14mm)

5. One Permanent Marker. The best brand of marker to use is the generic type found in Discount Dollar Stores. These markers can be easily disassembled. The width of the bottom opening of the 121

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marker should be a lest ¾” (about 19mm) in diameter to allow the capsule to be inserted into the barrel. The marker is prepared by removing the bottom plug and the wick. The wick is cut down to ¾” in length. The wick is reinserted into the barrel and pushed flushed against the inner end of the felt tip. A piece of folded foil is pushed against the wick to keep it in place. This arrangement will ensure that the marker’s ink will remain moist --- able to write. Should the tip dry-out, it can be dipped into an ink well (bottled ink) to absorb enough ink for performance applications.

How to Make the Capsule The hardest part of this project is soldering together the various leads given that the leads to the vibrator motor are very thin. But anyone with a steady hand and a little soldering experience can complete the task within 30 minutes. Here’s a simple schematic of the capsule:

AAA Battery Holder Reed Switch Vibrator +

AAAA Battery

--

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[Capsule Shown Actual Size]

Connect All Leads Step 1: Cut the battery holder leads to a length of 1.5 inches. Strip off about 1 inch of the wire coating per lead. Twist the wire strands together. This exposed wiring is easy is shape and bend.

Step 2: Shape the reed switch leads into an omega shape

(Ω). This shape allows the reed switch to “sit-up” inside the battery holder next to the AAAA battery.

Note: Care must be taken when shaping the leads because the glass tube can be easily cracked in the process. It’s best to use two needle nose pliers to bend the leads --- one plier to hold the lead steady and the other plier to do the bending.

Step 3: Connect (solder) the lead of the vibrator motor to one lead of the reed switch. To create some working space, use a ½ inch of connecting wire between the vibrator motor and reed switch. Use the excess wire from Step-1. 123

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Step 4: Connect the remaining lead of the reed switch to the negative (-) lead (black wire) of the battery holder.

Step 5: Connect the remaining lead of the vibrator motor to the positive lead (red wire) of the battery holder.

Step 6: Glue the adhesive side of the vibrator motor to the outside end (+) of the battery holder.

Step 7: Tuck and shape the wires and reed switch to the insides of the battery holder. Insert the AAAA battery into the holder. If needed, use electrical tape to secure the components.

Step 8: Slide the capsule (vibrator end first) into the barrel of the marker and secure the end plug.

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*Important note: As you place the capsule into the barrel of the marker, rotate the barrel’s printing (PERMANENT

MARKER) to align with the reed switch so that you will have an indicator as to where to aim a magnetic field on the outside of the marker.

Other note: When replacing the battery (because of the tight fit) the capsule will need removing with needle nose pliers. This procedure can be eliminated by fastening a pull (fishing string loop) to the end of the battery holder.

Working Limitations * When the marker is hand-held and the vibrator motor is activated, it emits no perceptible sound. When the marker is placed on a hard surface the vibrator will emit a buzzing sound due to feedback of surface vibrations. This limitation can be overcome by padding the surface with a magazine or a stack of papers. * To get the marker to “move & dance together” with the magnetic pen or a disguised magnet, make sure that the surface area is level or else the marker will stall. When using the magnetic pen, a rubber band must be used to keep the pen and marker together or else the marker will move away from the pen and lose the connection. 125

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A disguised magnet will attach itself to the outside of the marker (attracted to the reed switch) and will visually look as if it is pulling or moving with it. A disguised magnet is any small object that conceals a magnet.

Example: Dice or a small stainless steel ball that is actually a spherical shaped neodymium magnet. Strong magnetic coins can be used with the marker to create various effects.

* The marker can be made to move from under a table-top by using a strong 2” X 2” neodymium magnet.

* When using the marker as a magnet detector the success of the detection will depend on the strength of the disguised magnet. The challenge is to find an object that can be magnetized or embedded with a magnet strong enough to activate the reed switch when held in a closed fist.

Using a NO Reed Switch vs. a NO Switch All of the effects described thus far, are done with a NO (normally opened) reed switch as part of the Capsule’s electronics.

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A NO reed switch “turns-on” when activated by a magnet. In contrast a NC (normally closed) reed switch “turns on” when a magnet is removed from proximity of the switch. This difference in operations allows for different applications. In theory example: A NO PSI Marker can be used to find (by vibrating) a forced card (magnetic), whereas a NC designed marker would travel (continuously vibrate) across a group of cards and then stop on the magnetic card.

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Chapter 18 Ash Pen Most magicians are familiar with the classic Card to Ashes on Arm trick, whereby a selected card is revealed while rubbing ashes onto the forearm. The card revelation is achieved by a card force and the prior preparation of writing the name of the card in soap or some type of substance to collect the ashes. In the past, there have been published or marketed effects of the basic trick using methods to make the trick all most impromptu by having the preparation done “on the spot” with various materials before the start of the trick. In the effect Angel Dream Catcher (chapter 19), I devised a method to do the preparation in real-time with no card force. The method consists of using an ASH PEN (Chap Stick) and the novel use of a tea bag to create passive misdirection.

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* Classic Chap Stick. You will be using the stick as a pen and the chap-stick paste as “glue” to secretly write (in real-time) and form the number / letters of the freely chosen card. I only use the Chap Stick brand lip glosses. The Moisturizer (blue label) and the Classic (green label & black label) brand sticks allow you to place the cap on the tube about half-way and still have a secure, firm fit. This is important because when you set-up prior to performance, you’ll need to twist the barrel of the tube to slightly extend some paste to be able to “write” with it in realtime. If the cap is snapped on completely it will smash the protruding paste.

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Chapter 19 Angel Dream Catcher In this effect, a playing card is freely chosen and as the cards are being shuffled, the performer states that he has no way to determine the identity of the card and therefore must call on his guardian angel for help, by way of a magical portal --- a dream catcher. The performer explains that he only has a picture of a traditional Indian Dream Catcher but has learned how to use a tea bag as a substitute dream catcher like the gypsy fortune tellers do when reading tea leaves. The performer dissembles the tea bag and pours the tealeaves onto a table. The empty tea bag (conduit for entering the portal) is set on fire and the burning bag floats upward (10 or more feet) to communicate with the dream world --- a “tea bag telegram” sent to the heavenly dimension. 130

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The performer takes the ashes from the burnt tea bag (returned telegram) and along with the tea leaves, places the mixture on his forearm. As the performer shakes his wrist the tea –leaves form into the shape of the chosen card! Materials needed: * A regular deck of playing cards or a marked deck if preferred. * A small BIC brand lighter (black in color). * A photo of a dream catcher (optional). See end of chapter for cut-out cards. * Tea bags ---the kind that are individually wrapped (good for pocket management). * Pocket Classic Chap Stick. You will be using the stick as a pen and the chap-stick paste as “glue” to secretly write (in real-time) and form the number /letters of the chosen card as per the old classic effect of rubbing cigarette ashes onto the skin to reveal a card. Important note: Chap Stick is the only lip moisturizer that has a cap that will hold in place when positioned on half-way--- this is an important detail. See end of chapter for more details on Chap Sticks. 131

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* The proper use of patter to tell a magical story. Set-up: Grab some playing cards, place the photo of the Dream Catcher into your shirt pocket and place the tea bag into your right pants pocket. Next, take your Chap Stick and make sure that there is about 1/8 of an inch of paste extending out of the tube (ready to use), place the cap back on (but only half- way on) and then place it into your right pocket along with the lighter. Performance: 1. The performer thoroughly shuffles the deck of playing cards. 2. Take back the cards and fan them face-up towards the spectator as you request him to remove any card that he dreams of. As you perform this action, turn your head away. Patter: “Please take any card. Don’t take a card that you can think of. Rather, I want you to take a card that you can DREAM of --- see the card in your dreams, like a day dream. When you can visualize it, please remove it and make note of it”. 3. Instruct the spectator to place the card back into the deck. As the card is being replaced, you will peek the identity of 132

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the card. The section on PEEKS will give you three methods that you can use according to your preference or skill level.

4. Now, have the spectator place the deck onto a table or place them back into the card case and hold on to them for safe-keeping. (At this point you know the identity of the selected card) Patter: “Please take the deck and shuffle the cards so that even you don’t know where your dream card is located. The deck is in your hands and out of my control. I won’t be able to figure out which card is yours and I don’t want to know”. Psychology: The peek is done at the start of the routine but the reveal is made at the end of a 5-6 minute routine. The time delay ensures that the peek isn’t suspected as a method. 5. Produce and display the photo of the Dream Catcher. Patter: “I don’t know the identity of your dream card so I will rely on a dream catcher like the one in this photo. It’s a photo of a traditional Indian Dream Catcher. A dream catcher is made of sacred feathers and beads. It allows the user to enter the dream-world through a portal. That’s why it’s made in a loop, a circle --- it allows the beholder to reach into the dream world, to see into the past and future”. 133

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As you talk about the loop, use your forefinger to point to the photo and make a circular motion. Continued patter: “But as you can see, I don’t have an actual dream catcher. The real ones are hard to come by. I’ve actually learned to use a different kind of portal by using tea leaves like the Gypsy fortune tellers, the ones that read tealeaves to tell fortunes and to see into mystical stuff like dreams. Now, I’m not Indian or Gypsy, so in my world, I’ll need to communicate with my guardian angel and hopefully get some magical response about your dream- card. Do you still remember it, dream it?” Continued patter: “Here, I’ll show you how to make a portal to communicate with the dream- world, the angels above”. 6. At this point introduce the tea bag. Open up the sealed packet and dangle the bag by the string. Let the bag rock back and forth from the string and patter: “Nope, I’m not going to hypnotize you, I’m going to show you how to make an actual portal with a tea bag”. This joking patter (comic relief) is used in a causal, relaxing manner. When your audience is relaxed, they become more engaged and receptive to your performance.

7. Remove the tea bag string, tag, and staple. Open up the bag and table the tea leaves. If 134

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you don’t have a table available, use the spectator’s open palm. Once the bag is empty, unfold it and open it completely. You now have a paper tube.

Patter: “See this is the actual portal that I was talking about”. Show the unfolded tea bag in its new form -- a paper funnel/tube, which symbolizes a portal. Actually look through the tube while aiming it at the spectators. When this tea-bag-tube is placed standing upright and lit, it will burn down to an ash and as the paper burns down, the rising heat will carry the ash-paper into the air. 8. Stand the tube in a vertical position (upright) on a table (or use the card case placed onto the spectator’s palm as a launching pad) and ignite it at the top section. It will take about 3 seconds for the tube to burn down and then another 3 to 4 seconds for the ashes to rise upward. * Here’s where the passive misdirection comes in: you have about 7-8 seconds to reach into your pocket to replace the lighter (a natural action) and then to remove the Chap Stick (minus the cap, see section: E) and then to openly (but unnoticed) write the symbols for the 135

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selected card onto the underside of your forearm (see section: D, below). ____________________________________________ Tips for this moment: (A.) Don’t rush writing the “name” of the card onto your forearm because you have plenty of time and misdirection. The tendency is to rush the writing. You need to accurately write the symbols for the card and to do it on the proper section of your forearm. (B.) Use only two symbols for the selected card. If it’s the three of hearts, write on your forearm: 3 h. If it’s the 8 of spades, write 8 S. * Important note: for hearts and diamonds, write lowercase letters, the letter “h” can be made with two down strokes of the pen (Chap Stick), whereas the capital letter: “H” takes three strokes of the pen to write. The letter “D” uses two broken stokes whereas “d” has a one continuous flowing stroke. Another method is to write only the numeric value of the card and not the suite --- especially for 10 (two numbers to write) and Queens (the “Q” has to be made carefully).You can work this situation by revealing only the number, such as 10 and pretend to “read the leaves”, 136

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pattering that the “10” is so dark and mysterious that it has to be a spade/club, or that the “10” runs along your veins and therefore must be a heart/diamond. (C.) Break down the process of writing into two parts (1). As the tea bag burns down, write the value (number or letter) of the card and then: (2) As the ashes start to rise, point to the moment and state: “Watch, keep your eyes on the floating ashes”, then write the second letter (suite: C,h,S,d) and casually place the Chap Stick into your pocket. Then reach out and upward to catch the largest section of the floating ash. (D.) When writing the letters, the underside of your left forearm is held horizontally towards your body as your right hand cradles inward to do the writing. In other words, the backside of your left forearm covers (shields) the right hand as it writes. *Important note: Throughout the entire routine, as you patter, you should often gesture with your hands held together (similar to how the hands are held when praying). This gesture 137

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should be used numerous times so as to condition the audience to be familiar with the “hands coming together” as when secretly writing the letters. (E.) When you go into your pocket to replace the lighter, you pick-up the tube of Chap Stick and remove the cap. Remember, when you did the set-up, you placed the cap on half-way which easily allows you to use your thumb and forefingers to remove the cap as you grip the stick within your pocket before removing it. The other reason that you put the cap on half-way is to ensure that you don’t smash the lip paste that is slightly protruding out of the stick--- ready to be used as a writing pen. ____________________________________________ 9. Now, with your open palm catch the largest section of the floating ashes and patter: “Look, we have a note (heavenly telegram, burnt offering) from dream land”. 10. Take the ashes and mix them with the tabled tea leaves. Pattering: “The ashes from above, mixed with the tea- leaves from below, are the magical formula that will reveal your dreamed of card”. Then take the tea leaves and sprinkle them unto your forearm --- onto the invisible Chap Stick paste.

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Note: Make sure that you cover all the paste. Do not rub the ashes and tea leaves onto your arm because you will smear the chap- stick. You can gently “pat” the leaves in place if need be. Finally, blow onto your forearm and shake your wrist, the non-sticky tea leaves will fall off and you’ll have an impression of the selected card. The image will distinctly form as shown in the photo, if done as explained. Also, if you have a lot of hair on the underside of your forearm, it’s best to shave the area because too much hair will blur the impression. Final patter: “The ashes from dreamland and the tea leaves reveals that your dreamed of card is the ____ of ____”. Chap Stick details: As mentioned earlier, I use only the Chap Stick brand lip gloss. The Moisturizer (blue label) and the Classic (green label & black label) brand sticks allow you to place the cap on the tube about half-way and still have a secure, firm fit. This is important because when you set-up prior to performance, you need to twist the barrel of the tube to 139

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slightly extend some paste to be able to “write” with it in real-time. If the cap is snapped on completely, it will smash the protruding paste. As shown in the photo, I have the regular blue label stick and another of the same kind but wrapped in black electrical tape. This is for approximating the look of a small BIC brand lighter for those who feel the extra need to disguise the Chap Stick. The other option is to use the black label stick. I can honestly say from experience that this isn’t necessary for the success of the method. The passive misdirection involved (about 8 seconds) and the small size of the lip gloss, along with its hidden use ensures that the deception will be successful. Peek Methods: 1. Marked Deck: Though not technically a peek, a marked deck used properly is a very effective tool. If you have an In-Plain-Sight type of marked deck, such as the Boris Wild Deck, you can glimpse the mark as the card is being withdrawn from the deck or when it is being placed back into the deck. Or you can have the spectator place his card face down onto a table or his palm and 140

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then have enough opportunity to determine the card’s mark while placing the Dream Catcher card on top of it as part of your presentation. 2. Gambler’s Peek: This is a peek that you can execute while the card is being replaced and the deck is handed back to the spectator. Once the spectator has selected and noted a card, you cut the deck; lower half held in the left hand and the upper half in the right hand. Now, you motion with the right hand for the spectator to place the card on top of the left hand’s portion. When done, simultaneously move the right hand’s portion of the deck towards the spectator to take, while the left hand turns downward (photo shown exaggerated for demonstration) executing a gambler’s peek. This technique is done by the left thumb dragging down the top card’s upper left corner while the forefingers remain in place, causing the card to buckle, creating a gap to view the card’s index. 141

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Once the peek is being made, the spectator should be reaching for the right hand’s portion, whereby you combine both portions of the deck (top half of deck placed on bottom half, burying the card in the middle) while pattering: “Here, take the deck and shuffle it please”. 3. Riffle Peek / Glimpse: This is a very simple peek that should be done after the spectator shuffles and hands the deck back. You finger-riffle the right index corner of the cards from the back of the deck to the top of the deck and stop wherever the spectator request. At the stopping point, you slightly tilt the deck (wrist- inwards) and actually peek at the index of the card by looking down on it. The height and tilt that you should apply to the deck will be based on your body height and arm length as determined through experimentation with the move. This move is done without being obvious as to what you are doing. The peek should be done as the spectator is looking at the card to be remembered --- his focus is on the card and not on your viewpoint.

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4. Deck Revolve Glimpse: This method is for glimpsing the bottom card of the deck. A selected card can be controlled to the bottom of the deck or simply placed on the bottom of the deck. During my performances, I take the Dream Catcher Card and place it on top of the selected card and then place the deck on top of both. As the deck is being tabled, the glimpse is executed. Even though the selected card is always on the bottom, the act of covering it with the DC card comes across as “burying it in the deck”. Executing the Move: (A).To start, the deck is held in mechanic’s grip: (B).The right hand takes the deck and revolves it 180 degrees. In other words, you turn the deck around (not over), from end to end. (C). As the deck is being turned, you can glimpse the bottom card.

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Once the deck has been turned around (back to mechanic’s grip), you motion with your right forefingers to straighten the deck. And if a table is available, you continue the motion by tabling the deck. The rationale of the movement is that you are causally straightening and /or tabling the deck. Here’s a video link for more CARD PEEKS : http://www.youtube.com/watch?v=xzfzwijw0PM

Ending notes: This presentation can be shortened by eliminating the Dream Catcher theme and going straight into the Gypsy Fortune Telling Theme (introduction of the tea bag) if there are any time constraints imposed on your overall performance. Credits: This effect makes use of a bar gag known by the derogatory term of: Polish Rocket, along with the old trick known as Card & Cigarette Ash, whereby burnt ashes are rubbed onto the skin to reveal the name of a selected card. The method uses the prior preparation of soap and a card force.

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Speaking of card forces, this effect would be diminishes if a card force was utilized as a simpler method to eliminate the real-time “work”. The theme of using a dream card (a la think-of-a-card theme) effectively cancels out any spectator’s thoughts of using a force. And again, the passive misdirection (visual floating tea bag ashes) provides the modus operandi for the deception to occur. __________________________________________ See next page for cut-outs of the Dream Catcher Cards.

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Cut-outs for Dream Catcher Cards

The cut-outs can be pasted onto heavy stock paper or doubleblank cards.

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Chapter 20 Facts & Trivia for Pen Patter In this chapter, I’ve included some facts and trivia about pens. The information may be of value for creating interesting patter when using utility pens during a magic routine. * Here’s a bit of trivia that Mentalists can use: When someone is offered a new pen to write with, 97% of them will test the pen by writing their names --- it seems that Freud was right about narcissism. * It’s sad but statistically, every year about 100 people choke to death on ballpoint pens. I don’t know how many people die of sword deaths but it does seem that “the pen is mightier than the sword”.

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* In 500 BC, the Greeks invented the reed pen, which had a certain cut to produce different letter shapes. The cut was made flexible by adding a slit --- the same principle used in modern fountain pen nibs.

* The quill pen is the writing instrument used throughout the longest period of history --- 1,000 plus years.

* During the time of the quill pen, writers would keep the pens a good distance from coal stoves to prevent the ink from drying.

* The most common quill pens were made of goose feathers and the premium grade pens were made of swan feathers. The quills were taken from the five outer, left wing feathers of living birds during spring time. The left wing was preferred because the feathers curved outward as used by right-handed writers. * The term “pen-knife” originated from the special knife that was used to sharpen pen quills.

* Thomas Jefferson wrote over 20,000 letters in his lifetime and had a flock of special geese bred to meet his vast need for quills. The United States of America's Declaration of Independence was written using an eagle feather quill pen. 148

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* When a US President signs a Bill, different pens are utilized and the pens are never used again. That explains why the budget cost can’t be balanced! * Ernest Hemingway wrote his novel “For Whom the Bell Tolls” with a Parker Pen.

* When Parker Pens sold their ballpoint pens in Mexico, the ad was supposed to read, “It won’t leak in your pocket and embarrass you”. The agency used the Spanish word “embarazar”, thinking that it meant “embarrass”, so the ad mistakenly translated as, “It won’t leak in your pocket and make you pregnant”. * A pencil can draw a line 35 miles long (about 45,000) words, whereas a ball-point pen will draw a line 4,000 to 7,500 feet long. Black ballpoint pens manufactured by Parker have a lifespan of five miles long before the ink dissipates. * More than 2 billion pens are manufactured in the United States annually. There are 5 main kinds of pens used worldwide; ballpoint, fountain, soft-tip, rolling-ball and specialty pens. As of today, 4 fountain pen producers have a monopoly on the market: Waterman, Sheaffer, Parker and WahlEversharp. 149

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* The first fountain pen was invented by L.E. Waterman in 1883, and patented in 1884. The first ballpoint pen was invented by Hungarian journalist Laszlo Biro in 1938, but the first patent belonged to John J. Loud in 1888. The first American patent for a pen was received by Peregrin Williamson, a shoemaker from Baltimore. * In World War II, pilots used ballpoint pens because they do not leak at high altitudes. * Red pens, pencils or markers are banned in the US Navy. In 1920, one of the worst naval disasters occurred when a shoal was marked with a red pen, which caused a formation of ships to run aground --- ships run at “red light” at night and the ink of a red pen cannot be seen. * In October, 1945, Milton Reynolds, after a visit to Buenos Aires, discovered the Biro pen, (invented by Laszlo Biro). He copied the product in 4 months and launched his own massive campaign in New York City, selling over $100,000 worth in the first day. * In 1954, Parker introduced its first ballpoint pen, called the "Jotter" which was superior to both the Reynolds and Eversharp versions. Because the "Jotter" wrote 5 times longer, annual sales came to $3.5 million.

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* The BIC Crystal, the trendy adaptation of the Biro pen sells world-wide 14 million pieces daily. * Pilot Pen's parent company is actually Pilot Corporation of Tokyo, which was established in 1918 --- the oldest writing manufacturer in Japan. * All Cross pens have been made in Rhode Island, USA for the last 150 years. The newer models of pens include the "Vice", "Morph" and the "Matrix". * Porsche (the car manufacturer) designed the all-aluminum Aero pen (made by faber-Castell). * The Fisher Space-Pens were used by NASA in space because other pens would not work. The pen uses a pressurized ball-point cartridge which allows it to write under water, or upside down.

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List of Video Links When writing this book I was very cautious of including any video links. The reason being that on two past incidents, I’ve had my video links (in books and on websites) deleted by the service provider due to system upgrades or glitches. This situation can possibly lead to the perception that a book is outdated or that the author has deleted the videos on a whim. Therefore, all videos in this book have been copied to an external hard drive and can be requested by email [[email protected]] should a similar fate occur.

Also, the latest videos can be accessed at www.mimesismagic.com, VIDEO CENTER, password: ppp9. *** All videos are for instructional purposes *** There will be no Hollywood productions, no glitter nor neon lights and sad to say, no dancing girls --- only simple, to the point information --- just one man with two hands and a few ideas (& 3 dogs), leaning over a camera, sharing the magic.

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Chapter 4: Misty Smoke Pen Misty Smoke Pen Part 1 (How to Make): Watch Video (http://www.youtube.com/watch?v=up4NIiEb-eo)

Misty Smoke Pen Part 2 (How to Paint): Watch Video (http://www.youtube.com/watch?v=8BBfCr9XCGc)

Chapter 5: Misty Burnt Card Performance: Watch Video (http://www.youtube.com/watch?v=MsnduwYJ8GM)

Chapter 9: Interference: Watch Video (http://www.youtube.com/watch?v=nMQ0uQBHJVU)

Chapter 11: Demo of Phoenix Angels: Watch Demo (http://www.youtube.com/watch?v=xj4Z9Cz-p3s)

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Chapter 15: RM Effects Real-World Tips & Techniques for the Double Lift Watch Video (http://www.youtube.com/watch?v=P9Zv2GNQMlU)

Chapter 16: Magnetic Pen & Reed switch Re-light-able Match: WATCH VIDEO (http://www.youtube.com/watch?v=nJ7v32QiEtY) Matchbox Magic: WATCH VIDEO (http://www.youtube.com/watch?v=g2CqKsHcoCU) Pyro-Mental Matches: Watch Video (http://www.youtube.com/watch?v=dEKW72ndxJ8)

Chapter 17: PSI Capsule Marker Demo Watch Video (http://www.youtube.com/watch?v=qE7aCPDVo0Q)

Chapter 19: Angle Dream Catcher CARD PEEKS: Watch Video (http://www.youtube.com/watch?v=xzfzwijw0PM)

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ABOUT THE AUTHOR The author is a Summa Cum Laude graduate of psychology and a life-long student of magic. He has created over 57 marketed magic effects and currently operates the website: www.mimesis-magic.com. The author is known as the coin guy who “splits” cards and is the sole craftsman who makes all the gaffed & gimmick cards for the popular Mimesis Card Workshop.

“May your deceptions dare to dazzle and delight”

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