Trickshop - Business Card Miracles I

Business Card Miracles

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PROBABILITY ZERO

Paul Curry Probability Zero was originally marketed through dealers as part of Paul Curry’s “Sealed Miracles” series. THE EFFECT Here’s the description from one dealer catalog: A bunch of business cards are numbered and mixed number sides down. A truly sensational climax is reached when a spectator although he selects the cards at random and does not know the numbers on the cards, succeeds in arranging them in numerical order! Chance? Not likely — the odds are over 300,000 to 1 against it!! Easy to do. No sleights. SET-UP You’ll require 20 blank business-size cards. Begin by writing the number 1 on both sides of a card using the same pencil you will use later. On the next, write 2 on both sides. Continue doing this up to 7. Place these in a stack in order with the 7 on top. Next, number just one side of a card 8 and place it on top of the stack with the blank side up. Place these on top of the remaining blanks and you’re all set. PERFORMANCE

Fig. 1

Remove the stack of cards from your pocket, blanks on top (prepared cards on the bottom). Show the top few blank cards as you explain that you will number some of the cards. Now remove the first card and holding it above eye level, write the number 9 in the center. The size and position of the writing should be consistent with the pre-numbered set. In addition, you should make your nine so the down-stroke has a curve; allowing it to pass as a 6 if upside down. See Fig. 1. Place this card writing side down without letting anyone see it. Number the next card, also with a nine and place it next to the first. Continue doing the same with seven more cards, until you have numbered nine cards - all with the number 9. The impression given, of course, is that each card has a different number (1 - 9). All nine cards are writing side down in a row. Explain that the cards are numbered at random, so it is impossible for anyone to know the number of any card in any position. Ask the spectator to touch

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the back of any card, emphasizing that he can touch any card he likes. Once he has done so, pick up that card and place it, still writing side down, on top of the stack and openly number it 1. Ask him to touch another card. Place that card on top of the stack and number it 2. Continue in the same way until five cards have been numbered. When the spectator touches the sixth card, say he was doing fine up until that point. Tell him it’s probably your fault for rushing him a bit. Have him touch any other card and then smile, seemingly relieved, as you say “that’s better.” To prove he is back on track, turn this card up and show it to be a 6. It is, of course, a 9; but by turning it over from the outer end and reversing it, it now appears to be a 6. Show it for a moment and then place it down on top of the 5. Write the number 6 on it. Have the seventh card touched, place it on the stack and number it as you did the others. At this point, just two cards remain on the table. Caution the spectator to select the eighth card with care. Pass the pencil to him, eraser side down and have him touch one of the cards. Pick up that card and place it top of the stack. Pause here for a moment and say since he already has the pencil, he should just number the last card 9 himself. As he is doing so, your left hand holding the card stack casually drops to your side for a moment and turns over the entire packet - bring the prepared cards to the top. Remember the uppermost card still shows a blank, but 8 is written on the other side. Take the pencil back and complete the task of writing an 8 on the top card. Then, deal all eight cards on top of the 9 left on the table. This reverses their order, so the cards are now in order 1 - 9 from the top down. You’re now ready for the big climax. Allow the spectator to turn over the cards one and a time. He will see that the numbers on each card correspond and that he chose each card in order, sight unseen. A 300,000 to 1 occurrence! Compliment him on his powers of ESP. If you like, you have ample time while the cards are being turned over to switch the cards in your hand for a packet of blanks, if you like. Do not draw attention to the fact that you did not touch the last card. The savvy spectator will recognize this point and saying so, will just draw unneeded attention to the rest of the handling. Finally, it should be noted that this effect can be performed with your printed business card using the plain side and any open space on the printed side. Just be consistent with the pre-numbered cards and those that are numbered in performance.

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FROM THE SILVER SCREEN

Based Upon a Ted Annemann Effect In Ted Annemann’s original handling of “From Beyond the Grave,” a spectator was given a free choice of any blank business card from a stack and asked to write the name of a friend or relative who was not living. The spectator then returned his card writing side down to the stack and shuffled the cards well, before handing it back to the performer. The person was then asked to spell out the name written on the card, a name only he knew, and one card was dealt for each letter. On the last letter, the card was turned over and it was the one the with name of the departed written on it! It was an uncanny effect. The one sticking point from a performance perspective perspective was that it required anticipating the last few letters of the last name. Although usually not difficult to do, the presentation that follows removes any doubt whatsoever and at the same time, offers a “lighter” premise for modern audiences. Thus, instead of writing the name of a friend or relative who is not living, the spectator is asked to write the name of a celebrity or if you like, any famous person, past or present. The result is, you get a name where you should be able to easily anticipate the last few letters and one which the spectator has no personal or emotional connection. PROPERTIES All you need to perform this incredible effect are two packets of 35 blank business cards, a small pencil, and a slightly larger, rectangular piece of cardboard to serve as a pocket divider. The first set of business card size blanks is normal and unaltered. The second set is trimmed slightly on one of the long edges, thus making a stack of “short” cards. Do not trim from one of the short edges, since these are the edges that will be handled by the spectator if he overhand shuffles the stack and the discrepancy is likely to be noticed. SET-UP In your left coat side pocket, place the cardboard divider. Now place the normal stack on the outer side and the short stack and pencil on the inner side. HANDLING/PRESENTATION Bring out the unaltered stack of business cards and hand them to a spectator, asking him to take any one of them. Take back the remaining cards and

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ask the person to think for a moment of any celebrity. When the person indicates he has a name in mind, reach into your pocket with the hand holding the remainder of the blanks and drop them back in front of the divider and then bring out the short stack with the pencil. From the audience’s perspective, you have simply reached into your pocket to get the pencil. If you do this smoothly and without hesitation and your hand is seen holding the stack of cards the same way as when it entered the pocket, there’s absolutely no reason for anyone to suspect anything has been done. Drop the pencil on the table and ask the spectator to write the first and last name of the celebrity on one side of the card and then turn the card over so you cannot see what he has written. As this is done, turn away for a moment. Note: Annemann made the switch when he turned away and crossed his arms. Have the spectator return his card (it is now wider than the rest), writing side down, and allow him to mix the cards as much as he likes. It doesn’t matter how he does this, as long as the cards stay right side up and in the same direction (so the written name remains hidden). Some people will actually overhand shuffle the cards, while others will simply shift some cards from the top to the bottom a few times. The important thing here is the appearance of fairness. Take back the stack and holding it at the long edges, carelessly cut the stack a few more times, while you talk about how the card written upon will have a slight vibration unlike the blanks, etc. Finally, cut the “wide” (written) card to the top and then place one more single card upon that, so the written card (still writing side down) is now second from the top of the stack. As you ask the writer to spell aloud the letters of the name he wrote, gesture with the hand holding packet and turn it completely over. This is easily done by simply rotating your wrist a quarter turn and allowing the stack of cards to fall on the fingers. The fingers underneath and thumb above then adjust the packet slightly. No difference can be seen. See Figs. 2 & 3 below.

Fig. 2

Fig. 3

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Now deal a card each time the spectator gives a letter. This should be done with a deliberate sweeping motion. When the spectator gets to the third to last letter, leaving two to go, you secretly turn the stack over again. At this point, all of the dirty work is done. Deal off the final two cards with the last one dramatically turned over to reveal it has the name. The freedom allowed the spectator and apparent innocence of the properties transforms this simple spelling effect into a minor mental miracle. And yes, you can use your printed business cards and leave the one he wrote the celebrity's name on as a souvenir. THINK-A-CARD REVISITED

Charles Hopkins This streamlined handling for Charles Hopkins classic, “Think a Card” effect eliminates all memory work, as well as the need to steal cards, use a card system, hand the spectator a short deck, etc. The result is a thoroughly direct approach to having a spectator think of a card, write its name on a business card, and then, produce the thought of card from your pocket. SET-UP You’ll require the following ten cards as well as ten duplicates with matching backs: 2H, 3S, 7C, AD, 4C, 8C, QH, 5S, 9D, 6H. Place these on top of the deck, in the order shown, so the 2H is the top card of the face-down pack and the 6H is the 10th card down. In your pocket however, place the duplicate cards in numerical order with the Ace as one and the Queen representing 10. HANDLING/PERFORMANCE With the top ten cards set up as described, bring out the deck and overhand shuffle - injogging the first card and then shuffling off the remainder of the packet on top. Cut at the jogged card to retain the ten-card stack on top. Repeat a couple of times or you can perform other false shuffles and cuts; as long as when you’re done the top ten cards are in order. Run the cards slowly before the eyes of a female spectator, inviting her to merely think of one. When you have passed the fifth card, pause a moment and say: “Have you got one?” This will tend to make her fix on one promptly as you continue to pass the cards slowly. Stop at ten and confirm she’s made her selection. Tip: If she says he has a card by the time you reach the fifth one, there’s a good chance it’s the Ace of Diamonds. If not, and she makes her selection

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from the next batch, it will often be the Queen of Hearts. Either choice makes your job even easier, since it will be either the top or bottom card of the duplicate packet in your pocket. It should be noted, that this effect has no contingency for a selection after the ten-card stack, so have a back-up plan in the rare event you chose an obstinate helper. When she says she has thought of a card, take out one of your business cards and hand it to the spectator. Instruct her to write the name of the card she has thought of on it and then lay the business card on the table, the written side, downwards. So that there may be no suspicion of your getting any inkling of the writing, turn away while she writes. When the spectator tells you she has put the business card on the table, turn around shuffling the pack. Hand it to the spectator to shuffle as well. As she does this, you pick up the business card and hold it, writing side down, in the left hand mechanic’s grip. Now for the peek technique! As soon as she tables the deck, your right hand with first two fingers on top and thumb below grips the inner end of the business card (closest to you) and immediately, you point to the deck with your left forefinger and ask the spectator to cut the cards. While this is happening, the natural inclination is to turn your right hand vertically momentarily, so the writing is facing you. Casually glimpse the card’s value (no need to be concerned about the suit) as you place the card down with the right hand on the bottom half of the deck. Allow it to extend over the edge a bit and have the spectator place the other half of the deck on top. So you now have the deck with the business card slightly protruding from the middle. Reach into your pocket and count, if necessary, to chosen card. Position it in your pocket for easy retrieval. Please note, there’s no need to count more than five cards, since you count from one end for Ace through Five, and the other end for Queen through Six. Recap what has been done, saying it would be a very remarkable thing for her to have cut at the very card she thought of. Have the spectator take the business card out of the pack and cut the pack at that point. Now ask her to read aloud the name of the card as if you did not know its name. Feign surprise and ask if she's sure that's the card she looked at. When she insists it was, say that's impossible because you removed that card from the deck before you started. Reach into your pocket and bring out the thought of card at your fingertips! Even stronger, remove the card

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face down before it is revealed and then turn it over. You now only have to ditch the duplicate at an opportune moment to restore your deck to normalcy. For an alternate presentation, you can have each card from the ten card stack or a written prediction sealed in its own envelope. The envelopes are then placed, in order, in your pocket instead of the loose cards. For the reveal, remove your prediction envelope after the business card is sandwiched in the middle of the deck. Have the spectator read what she wrote on the card and then, let her open the envelope to show you predicted the card she would think of in advance! The next effect also uses a business card and a deck of cards... PREDICTO

John Scarne EFFECT The performer removes a pack of cards from the cardbox and places them face down on the table. He then takes out his business card and announces that he will write a prediction on the blank side, but he will not tell anyone what is written just yet. He talks about the power of mind control and how sometimes it is possible to compel people to do things without them ever being aware. To demonstrate this ability to control others, he will use only his business card and deck of playing cards. The performer requests the spectator to cut the cards by raising the cut portion only about two or three inches above the rest of the deck. While the spectator has the cards cut and raised up as described, the performer places the business card between the two cut portions of the deck (in other words, he places the business card on top of the cards on the table). He then instructs the spectator to replace the cards he holds on top of the deck. The performer cuts the pack several times and squares up the pack. The performer now says, “Let’s see if my mind control experiment worked,” and he deals the cards one at a time, face down on the table into a single pile. As soon as the business card shows up, he takes it and the playing card underneath it and sets them aside. He then deals out the remainder of the deck to prove to any skeptics that he had only one business card in the deck. Upon turning over the business card, it reads simply, “Four of Hearts.” The playing card that was underneath it is now turned over and it is, indeed, the Four of Hearts!

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The spectator may keep the performer’s business card as a souvenir. PROPERTIES/SET-UP You’ll require two printed business cards. These must be shorter than the length of standard 3.5" US business card, which is the same length as a poker-size playing card. On one, write the name of a card, e.g. the Four of Hearts, opposite the printed side. Now place this business card above that card (4H) in the deck and position the pair about five cards from the bottom of the deck. Make sure the business card is completely covered and not sticking out from the ends or sides. Place the entire deck in the case.

Fig. 4

The other (identical) business card is placed in your pocket. You must place a small bead of soft magician’s wax on the printed side of the matching business card in your pocket prior to performance. HANDLING The handling should be getting clearer now. You take out the business card and write a prediction on the plain side. Next, you have the spectator cut the deck, but lift it up only “two or three inches.” The reason for not lifting the cards higher is we don’t want the spectator to see at what card he is cutting the pack. You insert the business card, printed side up (prediction side down), and the wax will cause it to adhere to the card above it. Just make sure to press the deck firmly together after the cards are put back in top. Now give the deck several cuts and square it up. You now deal the cards face down into a single pile. The spectator never sees the faces, so he never sees the card with the business card stuck to its face. See Fig. 4. When you come to the loose card inserted prior to the effect, the card below it is your force card. Set these two aside and deal the rest of the deck to “prove” there isn’t an extra business card. All that remains is the revelation as already described. Note: Scarne used this method as a double force to predict the card both above and below the business card. The working is basically the same, just note the card above and below the business card when you set up the pack and write your prediction accordingly, such as, “You will cut between the 4H and 8D.”

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CLEVER THOUGHT READING

Eddie Clever Eddie Clever utilized a bold and brilliant thought reading technique that worked with blank, business-size cards and an ungimmicked coin envelope. A spectator was handed a blank card on which he was requested to write or draw something of his choice. He was then given a coin envelope into which he slid the card face down, sealing it within. Clever then attempted to read the spectator’s mind, but apparently experienced some difficulty in receiving the thought transmission. He blamed the spectator, saying the person was thinking too much about the card and envelope, and not concentrating sufficiently on the writing. To remedy the situation, he would set the envelope ablaze; after which, he immediately reproduced whatever was written or drawn by the spectator! HOW IT WORKS All that is required is an unprepared stack of about 15 cards and a white coin envelope, also unprepared, into which one of the cards will fit. Give the spectator the stack of cards and ask him to choose one for use in the effect. While he is making his selection, remove your pencil. As you hand the pencil to him, indicate that he should lay his card on top of the stack, using the latter as a rest or base for his writing. Turn away slightly during the writing and bring the envelope from your left coat pocket, holding it at your left fingertips. When he has finished, tell him to turn the card face down. Then extend the envelope toward him and take the stack in your right hand, completing the latter action just a second before he can grasp the envelope and accompanying the procedure with a statement to the effect that you want the card sealed in the envelope. Don’t give him possession of the envelope, however, but turn your left side toward him (he naturally being at your left) and lift envelope up between his eyes and a light, stating, “See, there is nothing in it. But, here, take it yourself and look it over.” At the very instant that you misdirect his attention and under cover of the upraised left arm, quickly turn the stack over. Then bring the arm down and hand him the envelope. Before he has an opportunity to examine it, say, “Just

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a second. Put your initials on the back of your card before giving me the pencil.” Once he is satisfied the envelope is okay, slide the initialed card into it and have him seal the flap. While he is thus engaged, turn the stack over once more and lay it down. Set the envelope to one side and pick up the top card (actually the one on which the spectator wrote) and pretend to write the thought he is trying to send, really reading what is thereon. Apparently having no success, cross out what you have written, crumple the card and place it in your pocket, complaining that the spectator is thinking too much of the card and envelope and not enough about what he has written. Assist with the destruction of the sealed envelope and then select a fresh card from the stack and write or draw what you just saw. It is all a matter of correct timing. Properly presented, the effect is astounding. BUSINESS CARD TELEPATHY

Fredric Kolb This little gem of an effect, based upon an age-old stratagem, has been a favorite of mine since I first prepared it back in the late 1930’s while performing as a mentalist on the Cunard Line cruises. During five years on shipboard, I had occasion to use this mental nifty on hundreds of occasions and it always left a very favorable impression. My reason for developing this particular routine was to meet the two demands: First, I was constantly being asked by passengers to informally “read their minds” and secondly, I was anxious to get my Business Cards into the hands of interested persons in order to create a clientele during the cruise off-season when I would be at home on shore. This was difficult to do because the steamship line did not approve of any personal publicity for myself. This little effect was always carried with me in my pocket and took care of both these problems. Also, because it utilized no writing, no setting up or any other advanced arrangements, arrangements, it was ideal as a hit and run type of mental mystery. All that is required is a packet of business cards with the usual advertising printing about your show on it. The back side of the card, of course, is blank. I found that a pile of about twenty cards was just right. These are prepared by having a simple design drawn in ink upon the back of each card.

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Each design is different and the more elementary and natural looking they are, the better. They should not be too artistic. Use geometric, ESP or simple designs, such as $, ¢, boat, chair, box, tree, watch, etc. Snap a rubber band around the packet and place them into your pocket and you are always ready to go. Upon being challenged to “Read My Mind,” you produce the cards, remove the rubber band and casually fan through them showing the side with your name printed upon it. This gives you a nice chance to get in a plug for yourself in a good natured manner. Then turn the cards over and show the various designs on the backs and stress that each card has a different design. Hand him the pile of cards with the name side up (designs down) and request that it be given a thorough mixing. When he finishes, ask him to fan out the cards in his hands with the design side up. As soon as he does this, you immediately note the top (face) design and quickly say, “No, hold the cards UP so only you can see the designs.” This is the crux of the matter; you remember this key design that you spotted as you glanced at the spread out cards. Now, ask him to glance over the many designs and finally settle upon one. To aid his concentration, he is to remove this card from the rest and place it on the front of the pile (on top of the “Key card”) and then to close the fan so that he is staring only into the design which he is thinking of. All this is fine, your back has been turned for dramatic effect. Tell him to place the pile face down on the table (or on the palm of the hand in doing the stunt out in the open) and to cut the cards several times so his thought-of card is mixed and lost. You now take up the cards and fan through them before his eyes and ask that he deeply concentrate on the design. Of course, as soon as you see the “key card” you know his design is just above it. Discover the card in your most showman-like fashion and then, as the final payoff, give him the card as a token of his successful “Thought Projection.” He now has your business card and will keep and show it as an interesting memento. At the earliest opportunity, replace the design card in your packet with a duplicate, and you are all set for another demonstration. On review, you will note that this routine has all the elements of the perfect impromptu mental mystery. The only “move” occurs on the off beat and is covered by a natural situation. It may take a few trials for you to get the exact timing on the key move where you direct your helper to “spread the cards out face up” and then quickly tell him to “hold them up so no one else

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can see them.” Once this brief interlude can be smoothly and naturally handled, you have a stunt which you will constantly use. Of how many other mental effects can this be truthfully said? IMPROMPTU VISION

J.G. Thompson, Jr. This is one of those techniques that is brilliant in its simplicity. It allows you to see anything written on one side of a business card after it is covered with a handkerchief. Thompson used it to duplicate a drawing or sketch someone made on a card. He considered it perfect for impromptu performances and press stunts, since everything can be borrowed. Introduce your own business card or borrow one. On the plain side, have someone write a brief two or three word question or a name, or make a simple drawing.

Fig. 5

Take it back, keeping the writing side down and with your left thumb on top and the first finger under. See Fig. 5. With right hand pull out your pocket handkerchief by one corner and cover the card drawing the corner back along forearm until the card is covered at center of handkerchief. Now, with thumb and forefinger of right hand (finger on top) grasp the inner end of the card through the hank close to where it is being held by left fingers. Left fingers let go but immediately re-grip the card but this time through the hank. (The thumb at this point should have two thicknesses Fig. 6

of hank between it and top of card. See Fig. 6.

The right hand now goes forward and picks up the front hanging corner of hank. It is brought directly back with corner along arm to show the card is still there with writing side down. See Fig. 7. With just a glimpse of card, the corner is thrown back over it but BOTH corners on arm are thrown together and they now hang down with the card apparently still held in center of hank. Fig. 7

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Note: Anyone who performs the old “Coin Thru Handkerchief” will immediately recognize this move. The

Fig. 8

difference is that the card is held horizontally and you do not turn it over (like the coin). The right hand simply grasps the card for a moment; which the left hand re-grips, adding the additional thicknesses of the cloth. When both ends are thrown back over, after showing the card underneath; it is actually under the hank, and will be behind the hank and “viewable” when they are turned vertically. See Fig. 8. Right thumb and forefinger (finger on top) now grasp inner end of card and hold the bundle vertically in front of eyes while left hand twists the hanging ends a little. At this time, the card will be on the back of the folded hank with the drawing or writing looking at you! This bundle is then placed in the breast pocket with the corners of hank sticking out. Take hold of the writer’s hand and answer the question any way you see fit or reveal the contents of the card. At the finish, reach up with the right hand, grasp a corner of the handkerchief and pull it quickly from pocket and the card will flutter to the floor. Being impromptu and using an old time coin move, you have quite an effect which also can be done with your business card and left with a spectator. SEE OTHER SIDE

Tom Bowyer Magicians are always on the lookout for a novel and magical way to produce their business card. We’re confident you’ll find that Tom Bowyer’s “My Card, Sir!” fits the bill nicely. It’s clean, direct and may even give your audience a little chuckle in the process. REQUIREMENTS One of your standard business card with the words, “SEE OTHER SIDE,” printed or neatly hand-written on the back (plain side). A stack of blank business size cards cut from matching stock. EFFECT From your case, take out your stack of business cards. The top card is seen to be blank. You turn it over and the other side bears the words “SEE OTHER

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SIDE.” You hand this card directly to the gentleman, and he, upon turning it over, is amazed to find your printed business card! HOW IT WORKS The top (front) card of the stack is blank on both sides. The second card down is your professional card, face up, but on its back (facing down) are printed the words “SEE OTHER SIDE.” Beneath these, the rest of the cards on the stack are all just blank. To perform, you merely make a double lift for the first turnover, and then hand out the top card! See Figs. 9 & 10. Lay the rest of the stack (all blanks) aside. After the printing “appears,” see sample at right, let them reach for the stack to find all of the other cards are blank. To reset, just add another business card to the stack, second from top (per instructions). Don’t let the simplicity of this little gem dissuade you. It’s a truly baffling and entertaining way to produce your business card.