CONTRIBUTORS: MAGAZINE TEST (Someeran) FORCED SIGNAL (Rachel Colombini) ASTRO BOOK TEST (Rex Taylor) NEWSPAPER MIRACLE (Arthur Carter) EVERY WORD-EVERY PAGE BOOK TEST (Ian Adair) SIMPLAMENTAL BOOK TEST (Karrell Fox) BOOK - BELL - CANDLE (Floyd Shotts) ONE-HANDED BOOK TEST PREDICTION (Ian Adair) BOOKMARK MENTALISM (Graham Reed) THE ROVI BOOK TEST (Ivor Parry) PAGE 98 - 14TH LINE (Werner Miller) THE TURN-OVER BOOK TEST (Stephen Tucker) THE S.R.R. BOOK TEST (Arthur Setterington) SIX-SELECTION (Paul Daniels) PSYCHO BOOK TEST (Bob Gill) TWO-FIGURE BOOK TEST (Rex Taylor) DIRECT BOOK TEST (Arthur Carter) THREE-DICE BOOK DIVINATION (John Bragoli) THE BOOK TEST (Roy Johnson) A.T.S. MAGAZINE TEST (Karrell Fox) © 2010 COLOMBI NI MAGI C [email protected]
www.wildcolombini.com E book prepared by Lybrary.com: www.lybrary.com
INTRODUCTION Like I said in my first volume, the Book Test is traditionally a classic in any mentalist act. The basic effect was described by writers in the early 1900s but it was not until the 1930s that interest in book tests escalated and they became very popular. During several years of my magic interest, I collected (still do) many book and magazine tests. I put twenty of them in my first book and I have to say that the response from magicians all over the world was overwhelming. So, I decided (pushed again by my husband Aldo) to collect twenty more routines and to offer a second book on Book Tests. I hope you enjoy this book as much as you enjoyed the first one.
Best always, Rachel Colombini Tampa, July 2010
MAGAZINE TEST Someeran This version of the magazine test is suitable for close-up workers as well. Someeran is a very well known magician in India and the routine was published in Magigram. EFFECT: The performer shows fifty cards with digits 1 to 50 printed on them. He requests one of the spectators to select any card. He hands five magazines to the spectators who can check that all the magazines are different. Now the performer requests another spectator to select a magazine. The spectator takes the chosen magazine in his hand and concentrates on the page indicated by the number of the selected card. The performer correctly describes the contents of that page! REQUIREMENTS: You need fifty cards and nine magazines with approximately fifty pages each. Draw numbers from 1 to 50 on the cards. Four of the nine magazines are different, but the remaining five are all alike. SET-UP: Prepare four magazines as follows. Tear pages 37/38 out of four different magazines and replace pages of the four same magazines neatly. Best way to do this, is to remove the stapled-pin of the magazine, exchange its page with the other one and then to fix the pin again. So, you have four different magazines, pages 37/38 of which are alike. Now, add the ordinary magazine with the same 37/38 pages to these four. Place the five magazines on the table. Take the card with number 37 and keep it under the stack of the magazines. You have to memorize the contents of the page 37. It is not very difficult to remember a page or part of it. PERFORMANCE: Shuffle the forty-nine cards and hand them to the spectators with the remark that you have fifty cards with numbers 1 to 50 printed on them. Request one of the spectators to shuffle the cards and to select any one from them. Tell him to place the selected number face-down on top of the packet without looking at it. Now take the magazines with the card underneath and carelessly place them on top of the deck of numbers. With this action secretly adding the card with number 37 on top of the deck. Invite your spectators to examine the magazines and to choose one of them. Now request onecourse of thehe spectators thewith number on the selected card, is on top of the deck (of will looktoatlook the at card the number 37). Give himwhich the chosen magazine and tell him to concentrate on the page indicated by the freely (?) selected number. Naturally, he will open the magazine at page 37 which… is very well known to you. The rest is easy! NOTE: If you cannot depend upon your memory, take no chance, just have a casual glance at page 37 of any of the remaining magazines. Of course, you can force the card with the number 37 in any other way of your choosing.
The Book Of Book Tests 2
FORCED SIGNAL Rachel Colombini The secret is based on a book test published many years ago in Abra. I have a similar version of a book test in my first book and this is offered here as a clever alternative. EFFECT: A book is given to a spectator to examine and a page number is selected. Needless to say you reveal the first three words of that page! REQUIREMENTS: A book of at least 100 pages or more, a pen and a pad. SET-UP: With the method we are about to explain, there are only 28-page possibilities in a way that is never suspected. So print on a piece of paper the first three words of the following pages: 32, 42, 43, 52, 53, 54, 62, 63, 64, 65, 72, 73, 74, 75, 76, 82, 83, 84, 85, 86, 87, 92, 93, 94, 95, 96, 97, 98. Glue this piece of paper on the inside cover of the pad and you are ready. PERFORMANCE: You ask for a number between 1 and 10 (this eliminates 1 and 10). Write the number given centrally on the pad and then ask for another number. This ensures that all duplicate figure numbers, such as 55, are excluded. The second number is written alongside the first number so that the smaller of the two is always on the right. By means of this subtle force the above numbers only can be reached. Glance at the three words on that page and remember them. Tear up the page, close the pad and calmly put it away. Ask the spectator to open the book at that page and memorize the first three words, without saying anything to you. After a few second reveal the three words. NOTE: If you want you can use three books and force one, or simply use three different books and have the page on the pad divided into three with the 28-page possibilities for each book.
ASTRO BOOK TEST Rex Taylor This is a clever method for a book test. EFFECT: After showing a small card with the signs of the Zodiac, you write a word on a pad and conceal it from view. A book is handed to someone, who is requested to open it at any page. You then run this card all over the page and ask them to call stop at any time. When they do so, they look through the hole in the center and read the word, or words, they see, out loud. You turn the pad over and find the word is correct! REQUIREMENTS: An unprepared book, a pad, a pen, and a special fake. This is made as follows: First get a piece of stiff cards and from it cut out a circle. Then cut the middle out. You then decorate the outside with the signs of the Zodiac ( figure 1). You now take a page from a book that has duplicate fonts as the pages you are using in the book, and find a piece that has a fairly long word on it (in the example given: YOURSELF). This you cut out and stick on the piece of paper, which you cellotape onto the back of the circle, so it forms a flap. When the flap is folded back it appears a regular circle ( figure 2, from behind), but when the flap is closed you can see the word through the hole ( figure 3).
METHOD: Show the Zodiac circle making remarks about the signs and if they can see theirs, etc. Pick up the book and hand it out. While they are looking through the pages, write on the pad the word which is on the fake. Tear the page up, fold it and give it to a spectator to hold. Pick up the circle, show the hole, and ask for the book to be opened at any page. As you lay the fake on the page, push the flap into position, moving it all the time (and perhaps covering the hole with your fingers). When they say stop, you show them the word through the hole. Then have the prediction revealed to finish the test!
The Book Of Book Tests 2
NEWSPAPER MIRACLE Arthur Carter Here’s Arthur version of a standard routine by Al Koran. EFFECT: A sealed envelope is given into the keeping of a member of the audience. The outer sheet of a large-paged newspaper is shown and torn in half; the two pages are then placed together, folded and again torn in half, the four quarters are then given similar treatment; two further repetitions result in the performer holding a pile of 32 separate fragments. These are then dealt slowly into a pile on the table, the spectator being invited to say stop whenever he wishes. The remaining pieces are discarded. The performer then picks up the pile and hands the helper the top piece. He then examine it and reads out any prominent headline upon it. The spectator then opens the envelope and from it removes a folded sheet of the performer’s professional note-paper upon which is boldly written the same identical words! SECRET: Take the paper you have decided to use, and fold it into halves, quarters, eighths and sixteenths, creasing the paper well as you do so. Then unfold it and examine it, section by section, until you find one which has a prominent headline upon one side and small print or an illustration upon the other. PERFORMANCE: Now for the actual tearing of the paper. There is nothing complicated about it, therefore, assuming that the envelope has been duly prepared and given into the keeping of the spectator, proceed as follows. Tear the double-page down the center, and take the half which contains the headline in the left hand, with the headline side immediately next to the body; the other page is placed on top of it, that is facing the audience. Both papers are now torn in half, and the pair which do NOT contain the headline placed on top of the other two. You should now be holding four separate pieces of paper with the headlines still immediately facing you. The papers are torn again and the ‘non-headline’ bunch placed on top of the others. The ‘headline’ should still be immediately facing you. Two further exact repetitions of the previous move are then performed; the final result being a packet of 32 pieces, the bottom one of which is the ‘headline’ fragment (the one facing your body). Now for the deal. First of all the packet is turned over so that the ‘headline’ is on top (like in a dealing position as if you would hold a deck of cards). Standing with the table on your right, you commence to deal the pieces in a pile upon it; after some seven or eight pieces have been dealt, you request the spectator to say ‘stop’ whenever he wishes. As soon as he does so, you stuff the un-dealt pieces into your left jacket pocket. At the same time the right hand picks up the packet on the table, REVERSING IT IN THE PROCESS, this brings back the ‘headline’ to the top. These moves are quite undetectable, because at this stage of the proceedings the audience does not know exactly what is going to happen anyway. All that now remains is for the ‘headline’ to be read out and the prediction verified.
EVERY WORD-EVERY PAGE BOOK TEST Ian Adair In this method by Ian every thing is so easy and clean. In my opinion this is one of the cleanest methods to do a book test. Give it a try! EFFECT: You show a paperback book containing about 130 pages, you also show some number cards, having numbers from 1 to 130. You give the book to the spectator to hold and you will never touch it again. You ask the spectator to pick any card (free choice). Whichever number is chosen he opens the book at that page. You also ask the spectator to pick a number for the amount of lines on that page. You can immediately reveal the entire line and also you can reveal the first and the last word on that page, while the spectator verifies this to be correct by referring to the book which he holds within his hands! REQUIREMENTS: Get two identical small books, containing approximately 130 pages. You also need 130 cards slightly bigger than the size of the book. SET-UP: On one side of the cards you write the numbers from 1 to 130, one number per card and in big bold letters and on the other side you paste a page cut out from the second book (behind the card with the number 4 you paste the page number 4, behind the card with the number 76 you glue the page 76 and so on (example in figure below). Of course, this side of the cards is never seen by the spectators. PERFORMANCE: Display the book first outlining the fact that it contains thousands of words. Hand it to a spectator. Now display the cards, numbered 1 to 130 asking a spectator to glance at these and to choose a number. Hold that cards number to the audience and place the other cards away. Ask the spectator to open the book at that page and further request him to reveal a number between 1 and 30/40, the number of lines normally printed on a book of this size (of course if he picks the number 39 and he realizes that there are only 25 lines on that page he will change number). Once known, you can quickly glance at the reverse side of the card you hold (as said keep it vertically face to the audience) and you will get the information you require. You can memorize the selected line and if you want you can also remember the first and the last word of that page. Once you have the information you need to bring the effect to a great conclusion, put the card away. The chosen line is dramatically revealed, the first and the last words on the selected page are also revealed. Emphasize that the book was always in the hands of the spectator during the experiment. If wanted, the book can be closely examined. NOTE: You can prepare three or four sets of these cards and have three or four books. This mean that the spectator can choose a book from three or four thus making the effect more baffling and seemingly difficult.
The Book Of Book Tests 2
SIMPLAMENTAL BOOK TEST Karrell Fox This uses any un-gimmicked book or magazine to accomplish a very clean cut effect. It is one of the cleanest and more direct methods to perform a book test. Anywhere, anytime! EFFECT: You take a book, riffle through the pages until a spectator says ‘stops’ and hand him the book. Have him look at the first three words and you tell him what words he’s thinking! REQUIREMENTS: Several paper books and magazines on your table or on a chair. PERFORMANCE: Call a spectator and have him stand to your left. Ask him to select a book or a magazine among the ones you have on your table. “I’m sure that the total amount of words in all of these books and magazines would total into the millions. In fact, the one you selected (read off its title) has thee hundred and twenty pages and probably many thousands of words in it alone.” As the above is said, you casually flip through the pages to confirm your statement. What actually happen is as soon as the book is handed to you, you take it in your left hand and hold it by its spine. Your right thumb riffles the pages of the book (upper right corner) stop a little over half way through the book. Quickly glance at the lefthand page and scan any large ads, pictures, general layout and if possible the first two or three words on the page. Memorize this information. As soon s you have it, place your little finger on top of the right-hand page and let the book close ( figure 1). What you now have is known in card magic as a little-finger break in the book, at the lower right corner. We now come to the all-important force. So you don’t get confused, positions of hands are as follows. The left hand is holding the spine of the book, the four fingers are underneath the book, and the thumb is on top. The right-hand thumb is on top of the book’s cover. The right little finger is holding the break and the other three fingers are underneath the book. (figure 2). Still with me?
The right thumb starts slowly riffling the pages ( figure 3). When the spectator says ‘stop,’ both hands move the book towards him as this happens, move your right thumb completely away from the book. When you do this, the book will spring open at your little-finger break, and you place the book into the spectator’s hands as you move away from him ( figure 4). The entire action of forcing the page must be done with your head turned away (to the right) from the action. Say, “I would like you to form an image of this page in your mind. Visualize the pictures, the headlines, even the first two or three words of text, if you will. Write these thoughts on the blackboard of your mind.” You then proceed to reveal the information in your most showy manner.
BOOK - BELL - CANDLE Floyd Shotts This is a variation of the previously written book test by Karrell Fox (by the way, the Fox’s effect appeared srcinally in his book Another Book). EFFECT: A spectator takes a card from any deck and picks a word from any book. You divine both! REQUIREMENTS: A book, a deck of cards, two slips of paper, a glass and a pen. SET-UP: First, having decided upon a page and a word in a book, make a small ink-mark with the pen you will use for the effect just above the word. The book is open at this page, out of sight of the audience, perhaps behind another object on the table. Mark one slip of paper, on what will become the outside when folded, with an ink dot. PERFORMANCE: Spread the deck face up on the table, asking someone to merely think of a card. Taking the prepared slip of paper, pretend to write on it the name of a card, but really write the ink-marked word in the book. Fold the slip of paper and drop it in a glass. The book is picked up and at the same time closing it up, but leaving the little finger in place as described by Karrell’s method. Ask the spectator to remove his card (the one he thought-of) from the deck and push it into the book somewhere near the center. Ask the spectator to hold onto the card firmly. You then pull away the book, at the same time opening it to the force page. The book is held open with the covers uppermost. Take the pen in hand and hold it under the open book, at the same time asking the spectator to call ‘stab.’ You are moving the pen in a circular motion and then bring it up, hitting the page, but only the thumb hits the page approximately where your ink-mark is. The spectator will suppose you have put an ink dot somewhere on the page at random. Hand the book to the spectator asking him to look at the page and see if the dot is close to a word. He agrees that it is. Ask him to think of the word nearest the ink dot. You take a second slip of paper and pretend to divine the word, but instead write the name of the spectators’ card; a simple matter since you’ve seen it during the trick. Fold the slip of paper and drop it in the glass. You then review what has happened so far, reminding the audience that you first wrote the name of the card the spectator had merely thought-of and, second, that you have attempted to divine a freely chosen word in the book. The ink-marked slip of paper is taken from the glass, opened up and read out loud by the spectator. You have correctly divined the chosen word. The second slip is opened and you have correctly named the card thought-of by the spectator.
The Book Of Book Tests 2
ONE-HANDED BOOK TEST PREDICTION Ian Adair This particular version is rather simple to construct, yet effective in performance. It doesn’t use the usual gadget aids which so many book test have in the past. EFFECT: The performer displays an envelope, which contains a piece of paper upon which is written a prediction: The page number of a book and some of that page’s contents. He requests a spectator to merely open a book at any page, and demonstrates what is required. The spectator is further asked to note some of the words on that particular page. When the envelope is opened by the spectator, it is seen to contain a written prediction in the form of a piece of paper, bearing words and facts appertaining to that selected page! REQUIREMENTS: A piece of paper, an envelope and a specially prepared book. SET-UP: You need a book of about 300 pages. Approximately half of the book (the upper portion) has been pasted together so that it forms a solid block. Paste should only be applied within the page area, allowing the edges of the pages to be free. This means that when closed, the pages can be riffled through using the fingers. Onto the piece of paper, write down major facts and/or the top words of the page which follows the solid block. Select main entries or indeed anything which you will ultimately request the spectator to look out for. Seal the prediction inside the envelope. PERFORMANCE: The envelope containing the prediction is displayed and handed to the spectator right from the start. You pick up the book and show it to have well over three hundred pages. Furthermore, in its closed state, you can riffle the edges of the pages as you mention the fact that there must be hundreds of thousands of words contained inside. You also open the book just after the pasted section and riffle through the pages in a more open fashion, allowing each page to drop down one after the other. Placing the closed book in front of the spectator, you demonstrate exactly what is required. You request the spectator to merely open the book with one hand, and further demonstrates this action by opening the book beyond the pasted section, pointing out that he could have opened it before or after. When the spectator opens the book, using his right hand only, because of the blocked section, it is found that it always automatically opens just beneath the last page of it. No matter where the fingers are, the upper section always lifts without the spectator realizing so. The rest of the effect comes easy. You merely ask the spectator to think of several facts or words which appear on the page, and when the sealed envelope is opened, the prediction is read aloud and proven correct.
BOOKMARK MENTALISM Graham Reed Give this trick a go and you won’t regret it. In my opinion this is one of the strongest methods for a book test. EFFECT: Using a bookmark with a hole a spectator selects a page and some words. You reveal them in an inexplicable way! REQUIREMENTS: Buy two identical paper-backs books and two identical leather bookmarks. SET-UP: Cut a hole in each bookmark. Tear a page from one of the books and stick a piece of the page behind one of the bookmarks so the words show through the hole (see figure below). Memorize the words. We will call this bookmark, the ‘gimmicked bookmark.’ Put the gimmicked bookmark between the last page of the (undamaged) book, and its back cover. When you handle the book take care to prevent the gimmicked bookmark slipping into view.
PERFORMANCE: Present the trick by, firstly, showing the ordinary bookmark; point out the hole and explain it is to enable a spectator to concentrate on words of his choice. Flick through the pages of the book; let the audience see it is perfectly harmless and above board. Ask a member of the audience to help you on stage. Open the book to any page and show him how he can read a limited number of words through the hole in the bookmark. Keep a tight grip on the back of the book. Put the bookmark into the book and let it slide, out of sight, into the book. Ask somebody in the audience to shout out the number of a page. Turn to that page at the same time extracting the gimmicked bookmark from the back of the book. Keep the hole covered. Turn the book towards your assistant and ask him to confirm it is the selected page. Take the gimmicked bookmark and slip it into the book at the chosen page. Close the book but leave the bookmark sticking out. Ask the spectator to move the bookmark to any position he likes. When he has decided where to stop you then break out into a cold sweat and tell the world what words you think he has chosen. Carefully open the book and ask him to read the words he sees; how can you be wrong?!
The Book Of Book Tests 2
THE ROVI BOOK TEST Ivor Parry (Rovi) Rovi’s book test has everything to make it a classic. The articles used are just any deck of cards and any book; no preparation is needed; it can be performed anywhere at any time. The routine was written in the book The Ganson Book, published by Supreme Magic Co. EFFECT: A spectator chooses any one of several books. A double-figured number is decided upon by cutting a shuffled deck and using two cards to give a page number. The spectator turns to that page in the book and without the performer seeing the page, he successfully reveals the words in the first line! REQUIREMENTS: A few books, even borrowed will do. If using your own books, have them on a table. The only other requirement is a deck of cards and even those can be borrowed. PERFORMANCE: Ask a spectator to go to the books and select any one he wishes. As the spectator is selecting the book, have someone else shuffle the deck. Get the cards back and openly run through the deck quickly, saying, “I don’t need the joker.” Presumably you are just finding the joker which you put in your pocket (if you find it) but actually is an excuse to get a pair of cards say, two Fives, two Sixes or Sevens, one on top and the other on the bottom ( figure 1 shows a pair of Fives). With the deck held face up from above with the right hand (Biddle position), bring the left hand under it, pushing the bottom card to the right with the left fingers then levering the deck face down onto the face-up card with the left thumb (figure 2). There are now two similar cards face-to-face under the face down deck. This takes but a second and appears as if the deck is just turned over to come face down.
Hand the deck to the spectator. As you take the chosen book from him, make suitable comments re: Title, number of pages, etc., as you idly flick through the pages. During this apparently innocent action, you note the first few words on the top of the page which corresponds to the forced pair of cards in the deck (in our example, page 55). Drop the book on the table. Walk well away from the table and spectator. Now instruct the spectator to place the cards behind his back, cut off the top portion at any point he wishes, turn the whole portion face up and place it under the bottom half then bring the deck from behind his back.
Re-cap on what has been done, getting him to agree that he cut the shuffled deck at any point he wished and that you cannot possibly know the two cards which are now face-to-face. There now comes patter which is very important as it convinces the spectators that the two cards could be any two cards. Say, “Please run through the deck and find the two cards which are face-to-face. If they are, say, a Three and an Eight, turn to either page 38 or 83, whichever one you wish. Should by chance one or both of the cards happen to be a picture card, please feel free to make it whatever number you wish. Should you have cut to an Ace, you can count it as one or any other single number.” Although it would appear that the assistant spectator has a variety of pages from which to chose, he will turn to page 55 and, of course, you already know the words in the top line and indeed may be able to give the sense of the next few lines. The rest is pure showmanship. Ask the spectator to concentrate on the words at the top of the page then reveal them in a dramatic manner. Rovi used to say, “Concentrate on the first word, now the second, the third. I get the impression that the first word is….” After revealing the first word separately, he would go on hesitantly then repeat the words or sentence. NOTES: There are several exceptionally strong features to this routine. The free choice of a book which the audience will forget you ever handled. The direct method of arriving at a page number, the appearance being that it was by pure chance. The apparent options given to the spectator when determining the value of picture cards and Aces. All whilst you are some distance away and not even looking in his direction.
The Book Of Book Tests 2
PAGE 98 - 14TH LINE Werner Miller Here’s a method for forcing two numbers, which is suitable for a book test; hence the title. EFFECT: Using a deck of cards a spectator reaches a page and a line of the book and you reveal the words on that line! REQUIREMENTS: Any book and a deck of cards. SET-UP: The bottom 32 cards are arranged as follows: 6, 9, 3, 10, 5, 2, J, 8, Q, 2, 9, 5, Q, A, 4, K, 6, 9, 3, 10, 5, 2, J, 8, Q, 2, 9, 5, Q, A, 4, K. The suits are immaterial. From the balance of the deck, sort out any 10 spot and any 8 spot. Now assemble the complete deck as follows: On top place the 10 spot, followed by ten indifferent cards, next comes the 8 spot, followed by 8 indifferent cards. Now comes the stack, with the 6 spot as the first card (all the cards are face down). Place the deck in its case until needed. PERFORMANCE: Bring out the deck and give it a false shuffle if you want. Then, holding it face down, deal off the top card (10 spot) face up. Call attention to its value and deal ten cards face down, onto the table. down.
Deal the next card (8 spot) face up. Draw attention to its value and deal eight cards face
Hand the balance of the deck to a spectator, asking him to cut the packet and complete the cut. Then request him to do exactly the same as you did, i.e., to deal the top card face up on the table and—depending upon its value—to deal that many cards face down. He then deals the next card face up and follows this by dealing the same amount of cards according to the value of the card, face down on the table (Jacks count 11, Queens 12 and Kings 13). No matter where the person cuts the packet and regardless of the values of the two face-up cards, there will always be 14 cards face down, and the sum of their spots will equal 98. Also the total value of the two face-up cards will be 14. So, ask the spectator to add the spots of the cards and go to that page and look at the first word or words of line 14 and reveal them as dramatically as you can NOTES: You do not need to use a 10 and an 8 for your initial demonstration. Any two cards which total 18 could be substituted. At the start, when you are showing the spectator how to deal, the faces of the dealt cards are never seen. If you wished, you could use letter cards, with backs to match the deck. These could then be turned over, at the finish, and be seen to predict the chosen word(s). Or you may use blank-faced card on which you write the letters.
THE TURN-OVER BOOK TEST Stephen Tucker In a very old Magigram magazine, there was an idea for a book test requiring that a word be written on each page of the book to be used. Steve found a simpler method. EFFECT: You reveal a few words of a page merely glimpsed by a spectator! REQUIREMENTS: Two identical books and a sheet of paper (cardstock probably works better). SET-UP: Merely stick a duplicate front cover on the back of the other book upside down, as in the figure 1. The book can be shown quite normal by showing the pages to be unmarked. Spectator The book showing duplicate upside-down cover
‘And’ is last word on this page. It is upside-down to
Shielding sheet Shielding omitted forsheet clarity
you, but can still be read.
PERFORMANCE: Ask the spectator to insert a large sheet of paper anywhere in the book (figure 2). Take the book and turn it over as you comment on the freeness of his choice of insertion. (This leaves the book appearing normal but the pages inside are now upside down in relation to the cover.) You now instruct the spectator to take a look at the last word on the chosen page by peeking under cover of the large sheet which shields the word from the performer. You illustrate what he is to do by peeking at the top of the book ( figure 3). You know now the word, and all that you have to do now is to turn the book over again and allow the spectator to look at the word and remove the paper. Reveal the word in your favorite manner. You can have the book examined again at the end to show that all the words are different; just don’t let go of the book!
The Book Of Book Tests 2
THE S.R.R. BOOK TEST Arthur Setterington The title given to this effect comes from the fact that dice are used (shake, rattle and roll). All that Arthur wanted in this version was a simple method that was entertaining. EFFECT: A book is handed to a member of the audience and, to another, two dice. He is asked to roll the dice a few times to show that there is nothing wrong with them. When satisfied, he is asked to roll them for the last time. The two face-up numbers are used to find a page of a book. Turning to that page, the spectator looks at the top line and memorizes the words. Taking a large pad, the performer writes a few words, crossing some of them out, until finally he begins to capture some of the thoughts in the mind of the spectator and he is able to reveal what is written on the page! SECRET: Using two dice it would appear that sixty-six pages need to be remembered. This is not so, you will be happy to learn. By this method it is only possible to select 15 pages. You also need a book. When the dice are rolled you say that for this demonstration two different numbers are required so this rules out 66-55-44 etc. Dice do not have zeros, so this rules out 10, 20, 30. etc. As two dice are used this rules out all the numbers below ten, but the greatest eliminator is in always calling first the higher number of the two. If the person has rolled a 3 and a 5, the performer says, “You have rolled a five and a three, correct?” The person will have to agree and immediately the performer turns to the person holding the book and says, “Please turn to page fifty-three but don’t let me see it.” These are the 15 possibilities:
65 64 63 62 61
54 53 52 51 43
42 41 32 31 21
These 15 possibilities are written on a piece of cardstock to be placed behind the sheet on the pad (see figure 1). The person holding the book is asked to look at the top line. To reveal it, a cheat sheet is necessary. Against each page number on the card, prominent details are recorded (some words or the entire first line of that page). You then reveal accordingly to your style of presentation, just a few words or the entire line and ask the spectator if the revelation is correct. He has to say yes! To know the line or words, Arthur used a large pad and a felttipped pen to write. The papers clipped to the pad are two inches shorter than the pad. Between the pad and the sheets of paper there is a sheet of card and attached to the pad by a brass paper clip is the cheat sheet. This card is behind the paper and next to the pad. The cheat sheet Cheat sheet at bottom should not be too thin as the left thumb has to push it out of sight behind the paper (it needs to be kind of stiff, cardstock is just fine) and 1
contains all the page numbers with their words or lines from the book.
Cheat sheet behind sheets of paper
Paper clip allows cheat sheet to swivel upwards
The figures 2 and 3, may help to show how this works. This clever method of using the cheat sheet, can be used in many other book tests written in these two volumes.
The Book Of Book Tests 2
SIX-SELECTION Paul Daniels I’m happy to include a book test from my famous compatriot. This method is simple, to the point and very effective in its own way. EFFECT: Six unused paperbacks books are used and one selected by a spectator. The performer has his back turned to the audience. The spectator is asked to merely open the book at ANY page, to open it flat so a couple of nearby onlookers can see the two pages, side by side. The spectator is further asked to merely look at the first word on either page or both. The spectator is again asked to assist by closing the book, mixing it amongst the others, and then is asked to band them together with a rubber band which is there for that purpose. You not only reveal which book was selected but also the first words of both pages! REQUIREMENTS: Six NEW paperback books, all of the same shape and approximately the same amount of pages and a large, strong, rubber band. No previous set-up is needed. PERFORMANCE: The fact that the books are new means a lot. During performance ask a spectator to assist by simply selecting one of the six books. It doesn’t matter which one is chosen or used. He has to open the book at any page, and as he does so, you ask him to fold back the book so the two facing pages can be seen after the book in question rests on the table. This is most important. You are not looking while he does this. Once the spectator has noted the first word on the page number of his choice (or on both facing pages), he is requested to name the page number. You ask the spectator to further assist by gathering together all six books, mixing them up well, and then finally banding them together. The rest is simple. In un-banding the books you can immediately see which book has been selected. The moment the rubber band has been removed, it will be apparent to you which book it is, for upon release of the band, the one which was used will more-or-less automatically open slightly but enough for the performer to see the difference from the others. Now that you know which of the six books has been used, you can casually pick the books up, flick through the pages at random, stating that there must be thousands upon thousands of words within each book. As you pick up each book, carefully do the same with the book which has been used in the effect, flicking through the pages just as with the others, but, because the page number is known, ponder over the page for a few seconds, then you resume flicking through the other pages, to the end. One can immediately see the first word, not only on that particular page but on the opposite one too, so both can be immediately remembered. The books are gathered together and then banded again. You can now state which book was selected from the six, the first part of the feat, and then which word has been selected on the chosen page. You can even name the first word of the opposite page too, the spectator in question referring to his selected book, to verify this is so. NOTE: With this method and using the same set of books, each time you perform the effect one book must be discarded. Using the same book amidst the others another time, can be fatal, for repeated opening of the books creates too many breaks, which make it impossible for you to monitor. I think that it is worth the effort because the effect is a terrific one. Maybe you may want to keep this presentation for important shows and/or particular circumstances.
PSYCHO BOOK TEST Bob Gill Bob used a Psycho Box (hence the title) for his method but you can perform this great book test using a pad or similar. A few ideas have been given in the first book and also the Setterington idea in this book with a cheat sheet can be used instead. EFFECT: A spectator chooses one of three copies of the Readers Digest, and his choice is free. Next, two spectators stand back-to-back and on the count of three raise any number of fingers, the only condition being that they must raise at least one, and must not raise all ten. Thus each producing a single digit number, and these numbers are put together to give a page number. The first spectator turns to that page in the Digest, uses the first digit to count down to a line, and the second to count to a word on that line. So if 73 is chosen, he looks at the 3rd word in on the 7th line from the top. He remembers the word and closes the book. You correctly name the chosen word! REQUIREMENTS: You will need three identical copies of the Digest, and two different ones. Remove the covers from two of the duplicates, and replace them with the two different ones. You now appear to have different copies which are actually the same inside. A device with a cheat sheet as per the Setterington method. The number of possible numbers arrived at by the spectators is very large, 89 to be precise. This number of possibilities is cut down to only 45 by a simple process: Whatever the two numbers they raise, ALWAYS take the SMALLEST first. Thus if they raise 2 and 9, it is 29 and not 92. The 45 combinations are: 11, 12, 13, 14, 15, 16, 17, 18, 19, 22, 23, 24, 25, 26, 27, 28, 29, 33, 34, 35, 36, 37, 38, 39, 44, 45, 46, 47, 48, 49, 55, 56, 57, 58, 59, 66, 67, 68, 69, 77, 78, 79, 88, 89, 99. Write these numbers down and, next to each, the word arrived at in the book. PERFORMANCE: The working should now be obvious. Show the three books and have any one selected. Have two spectators step up back to back, and on the count of three they have to raise any number of fingers, etc. Take the smallest digit first, thus making up a two-figure number. Tell the first spectator to turn to the appropriate page, looking up the line and word. While he does so, look up the word on the cheat sheet, write it down on the pad and show the miracle!
The Book Of Book Tests 2
TWO-FIGURE BOOK TEST Rex Taylor This method uses (almost) the same subterfuge utilized in the previous routine, but reversing the number; thus using first the larger instead of the smaller. EFFECT: After handing out an unprepared dictionary, you pick up a slate and ask for any number between 1 and 9. This is written down. Next we have another number chosen and this is written down alongside the first number. You now ask the spectator to turn to that particular page. He then decides which column he wants. You then turn the slate over and proceed to write the word that is at the top of the page. Needless to say, you are correct! REQUIREMENTS: A slate, a pencil and a dictionary. METHOD: On one side of the slate, IN PENCIL, and ON THE SLATE (not on the frame) you write down, from your dictionary, the following: A B C
= = =
1 –36 (or whatever page A’s end) 37 - 59 60 - 87
On the reverse side, again in pencil, write the top words of each page, as follows for example: 32 - Atom/Attache 42 - Baste/battle Etc. etc.
ROUTINE: When you get the numbers, always put the LARGER number first (example in figure 1). As he tells you what side he wants, put a line through the numbers and circle his number (figure 2) and say what letter it falls in. e.g. “C”’ then turn the slate over and read the word, and write it down.
DIRECT BOOK TEST Arthur Carter The following book test is one of the strongest as nothing other than books is used and the effect is drawn to a fast conclusion. EFFECT: A page is selected from a book and you reveal the first few words of that page! REQUIREMENTS: Two different paperbacks books. SET-UP: From the long edge of pages (say) 103 and 105 in one book, trim off one-sixteenth of an inch (about a millimeter); pages 145 and 147 in the other book receive the same treatment. This will enable you to locate the pages by a casual riffle. On the front of the first book PENCIL the figure 103 and on the back write the first four words of page 145 in the OTHER book. These will not be noticed by nobody casually handling the books, which is all the chance they will get in the course of the routine. Similarly, on the front of the other book write the figure 145 and on the back the first four words of page 103 in the other book. WORKING: Offer the books to a spectator and request that, having satisfied himself that they are what they appear to be, he retain one of them and hand the other back to you; let’s assume he retains the first book. You now approach another spectator and, riffling through the page of the second book, request that he says ‘stop.’ Actually you time the riffle so that you stop as near to the break caused by the short pages as possible. The move is very similar to the one used in forcing a short card in a deck of cards. Now comes a beautiful subtlety, whichever page has been stopped at, you miss-call it as page 145, and ask the spectator whether he could have stopped you anywhere else? The answer is obviously in the affirmative. While your are addressing the question, you continue riffling until the break of the short page is reached. You are thus able to show that page 145 was the actual page stopped at. Needless to say while this move is being made, you hold the book upright so that the audience cannot see what is happening, and you do not look at the book yourself. The first spectator is now invited to turn to page 145 in his book and make a mental note of the first four words, which, you say, will be sufficient for the purpose in hand. These are the words which are written upon the back of the book you are holding. You are thus able to refresh your memory, assuming you have forgotten them (of course, if you memorize the words in each book, you do not need to write anything on the books). All that now remains is for the words to be revealed in as impressive a manner possible. NOTE: In the event that the other book is selected the procedure is the same, except that the miss-called page is 103. Either way the effect produced is most convincing.
The Book Of Book Tests 2
THREE-DICE BOOK DIVINATION John Bragoli Here’s a convincing book test which involves a little preparation but it is very easy to perform. The divination of two separate words deceive the people thinking of a force. EFFECT: The performer displays a sealed envelope which he states contains a prediction. A book is handed out. The performer produces three dice and explains that there are twohundred-and-sixteen different ways in which they can be thrown. A spectator is asked to test the authenticity of the dice by throwing them on the table. The person holding the book is then asked to turn to a page indicated by the spots uppermost on the dice. For example, if a two, a three, and a five have been thrown, the book is opened at page 235. The performer writes down something on a pad. He then gives this paper to a spectator to be read aloud. For example, he has written, Page 235, bottom line, fourth word. In that instance the spectator holding the book is asked to study the bottom line of page 235. “Please concentrate first on the very first word on that line.” He then names this word correctly, which we will assume is the word SHE. “However, my srcinal impression, which I’ve indicated in writing, was the fourth word of that line. Now please concentrate on that fourth word.” He there upon names correctly the word concerned which proves to be the word OF. A member of the audience now opens the envelope and reads aloud, “I predict that this experiment will be concluded by the selection of the word OF!” REQUIREMENTS: A book and three dice (the bigger the better), a pad and an envelope. SET-UP: Any book may be used provided that the word OF is contained somewhere on each of the following twenty pages: 123, 124, 125, 126, 134, 135, 136, 145, 146, 156, 234, 235, 236, 245, 246, 256, 345, 346, 356, 456. On each of those pages, note where the word OF is easiest to locate, first checking the top and bottom lines before counting down so many lines from the top of the page. A narrowly-ruled memo-pad of convenient size is prepared beforehand, to record secretly on the back of the front cover the key information required to work the effect (similar to many other routines presented in these two books). Fill in the twenty entries consisting of: A) B)
One of the page numbers listed above The position on that same page of the line containing OF
The position of OF on that same line and The first word on that particular line
Thus the entry relative to our given example would be noted as 235/B/4/SHE. I hope this is clear! ROUTINE: Proceed as described. Although there are indeed 216 ways in which three dice can be thrown, a ranging force reduces the outcome here to just 20 possibilities. Announce that the dice are normal and invite a spectator to test them by throwing them several times. Call aloud the numbers thrown and have the spectator repeat the throw until each die shows a different number of spots uppermost (he may simply turn them over until that is accomplished). Then call aloud those numbers, starting with the lowest and in ascendant order. At this point, it is your line of patter which provides the necessary subtlety to misdirect
the audience. Suppose, once again, that 2, 3 and 5 have been thrown. Say to the spectators, “Do you agree that you have thrown a two? Thrown a three? Thrown a five?” Now turn at once towards the person holding the book and say, “Please turn to page 235 and scan the contents of that page.” In the event that three different numbers appear on the first throw, have the book opened immediately to the page indicated. Then invite the spectator with the dice to retest them to his own satisfaction. As the book is opened pick up the memo-pad, ready to write on the first sheet. Hold the pad in your left hand, open it and glimpse the key information. From here it should be obvious and continue as outlined in the EFFECT.
Line 20 Line 18
EXAMPLE OF THE ‘CHEAT SHEET’ GLUED TO THE FRONT COVER OF THE PAD
The Book Of Book Tests 2
THE BOOK TEST Roy Johnson In this version the effect is crystal clear to the entire audience. My husband Aldo told me that, in his opinion, this is the best book test ever. EFFECT: A spectator freely selects one of four paperback books. He opens the book at a page nominated by another spectator and notes the last words of the page and you reveal them! REQUIREMENTS: Six paperback books of equal size as follows: (a) Two of the same title; (b) Two more of another title; (c) One each of two other titles. PREPARATION: Peel the cover from one of (a) and one of (b). These can be disposed of. Now remove the covers from (c) and use these to re-cover the (a) and (b) books. Boldly but secretly mark the (a) books so that you can easily identify them as a ‘pair’ without the need to remember the titles (for example a mark upon the spine would do. Place the books into a stack so that they alternate (a), (b), (a), (b). PERFORMANCE: Ask for a spectator to be on stage. Indicate a spectator in the audience and ask if she likes reading (Roy always used a lady). Whatever her reply, pick up the four books one at a time, read the title and make any comments about the author, etc., and take them into the left hand so that you end with all four books there. Now take two into each hand so that you have an (a) and (b) in each hand. Ask her to select either hand, and stress that you will use her choice. In discarding the rejected pair, you casually place them down in such a way that you can later pick up either in a natural way. You must not put them down in a stack. Toss them down so that they spread apart and then either can be picked up in a natural manner… but that comes later! Now take one each of the selected pair into either hand and again give her a choice, saying, “And whatever you choose, that is the one you will have.” Pass the selected book to her and ask that she place it upon her lap and cover it with her hand for a moment. You, of course, know whether it is (a) or (b). Turn to the on-stage assistant and give him the remaining book. Say that he is to select a page for the lady by opening his book at any page, call out the page, but keep his book open at that point. Let’s assume that he selects page 95. The following is vital, so read carefully! Say, “Our friend here has selected a page for you. This is what I want you to do in a moment; take your book...” Here you perform the actions by casually taking the matching book from the table and using it as you explain, “...and open it at page 95.” She does so, but meanwhile, of course, as you have started before her, you finish first. “Now, I want you to read to yourself, and remember, the last two words on that page; for instance, if you had chosen this book, the words would have been…” Apparently read out, …’and tomorrow’ (or any other two words). Actually, of course, you say these words but actually note the real words and commit them to memory. Turn to the on-stage assistant and ask, “What would they have been in your book?” He calls them out. Ask if she has noted the words and tell her to keep the page open in order to fix the words in her mind. Toss your own book aside, together with that from the second spectator. Pick up your pad and write the chosen words. Do not show them yet. Have the lady call out her words as you turn the pad to show that you are correct.
A.T.S. MAGAZINE TEST Karrell Fox The ‘King of Korn’ (nick name for Karrell) offers here a tremendous method for a magazine test. EFFECT: A current magazine is shown and thumbed through. You stop at any page (no force) selected by the audience. That page is torn out, rolled into a ball, and tossed into the audience. As they concentrate on the selected page’s content, you completely describe it! METHOD: For years magicians have been using a trick deck called the “Mene-Tekel Deck.” It’s a deck consisting of twenty-six pairs of matching cards. Karrell adapted this idea to a magazine. Get two of the same magazine. Take the staples out of the two magazines and put together a magazine with two of the same pages together. Two magazines will make you two gimmicked magazines. When you stop thumbing through and tear out a page, you will be looking right at the duplicate still left in the magazine. Simply…. Describe it! PS– The A.T. S. in the title stands for Almost Two Simple!