James Ward Effect
“Wishes”, you inform your audience, “are a very personal part of our make-up. The Shanoni Indians of North-West America believe that when you utter a wish you release part of your soul into the world. And with that part of your soul gone, the thing you wished for will never occur.
“It’s superstition, of course, and in 21st century Britain not something we give credence to. But with Lucy’s permission, I’d like to try a little experiment.”
At this point you ask Lucy to think of something you couldn’t possibly know. That something should be connected with a hope she has for the future; it may be something she’d like to achieve, a job she’d like to have, a person she’d like to meet, and so on. All you ask is that she can express it in a single word. Let’s say she replies, “Australia”, a country she hopes to visit one day.
Removing a packet of business cards and a red pen, you draw a box on the face of one card and write in her word. The thought, you explain, is no longer a thought, it’s been uttered and is out in the real world. Lucy may hope to visit Australia one day, but now, if the Shanoni Indians are to be believed, she never will.
Fortunately, you announce, the Shanoni had another belief, and that was that if a friend wrote down your wish and returned it to you, that wish might yet come true. Removing the card, you fold it into quarters, tear it up, take out a lighter and set fire to it. (Or if conditions don’t permit, tear it up and drop it into your pocket.)
”It’s lucky,” you add, ”that none of us believe in such superstitious nonsense.”
Reaching into your pocket, you remove your wallet. Opening it up, you display a sealed compartment, and inside that you show there’s a business card you placed there some hours before. You ask Lucy to remove the card and read what’s written on it – in dark black ink – and what she says is the following:
”Later today, I feel sure you will think of the word AUSTRALIA. I return your thought and wish you good luck.”
Requirements & Set-up
Though my presentation calls for a card-to-wallet gimmick, the effect can be done without one as I’ll explain below.
To do this you will need a batch of business cards, or blank business card stock. You’ll also need two cheap biros, one red, one black, and of the older variety that allow for the ink cartridge to be easily removed. If you’re unable to obtain these (and at the time of writing, I’m finding it more difficult) then a metal propelling pencil will do; i.e. of the sort that, from a distance, could easily be a pen. Failing that, use any two pens with contrasting colour inks in which the cartridges can be easily switched.
One business card will need to be doctored as follows.
In the centre of the card, draw a rectangular box, large enough to write a relatively long word, then cut it out. (I use a Stanley knife on a solid cardboard base – whatever you do, don’t try this on your gran’s finest mahogany table top!) With a red pen draw round the edges of the rectangle so that it stands out. Make it a little messy, as you would if you were drawing a rectangle quickly (Fig. 1 – the red box should be more ragged).
Fig. 1
On another card, in black ink, print the following words, leaving a gap for the long word you do not as yet know (Fig. 2).
Fig. 2
The gap should line up with the rectangle on the gimmicked business card. Place this card on the face of your block of business cards, and the gimmicked card on top of that. On top of that place an ordinary business card (Fig. 3). Finally wrap an elastic band around the entire block.
Fig. 3
Working
When I produce my business cards, I flash the face of the packet to show nothing untoward. As I remove the elastic band, I “accidentally” drop the face card. I replace this at the back of the block of cards. The new face card is now the gimmicked rectangle. I bring out my “red” pen (secretly containing a black ink cartridge) and mime drawing a red
rectangle, which I show to the audience. (As well as fixing in the audience’s mind the idea that the pen is red, the rough outline also helps hide the jagged edges of the rectangle cut-out.)
When the word is announced, I print it inside the rectangle and, in reality, on the card behind.
The dirty work done, I slide off the gimmicked card, being careful not to flash the hole. I fold this quickly and destroy it. There’s no real heat on the card as, at this point, the audience still has no idea what you’re planning.
I replace the band around the cards, but, in doing so, ensure that the band does not go around the new face card on which my prediction is written.
With the face card no longer flush with the packet, it’s easier to palm. And being small, it’s relatively easy to hide while talking.
With the card safely palmed, I reach into my pocket and load it. End of story.
For those who don’t own a card-to-wallet, there are a number of options. For example:
(a) You could load the card to a small coin envelope, with the flap folded back (and glued with rubber cement so it can then be sealed).
(b) Place a number of small items in your pocket, such as folded paper, train tickets etc, and simply bring out the card with these.
(c) Cheekier still, bring out a real wallet and “remove” the palmed card from inside.
I’m sure you can think of other ways to load/reveal the card. What is vital is that, however you do it, you take your time and present this without fuss and without telegraphing your conclusion.
End Notes
For those who like to delve a little deeper, my starting point for this routine was Syd Bergson’s excellent effect, “El Numero” (as explained by Richard Osterlind on Easy To Master Mental Miracles Vol 1).
Web site: www.jameswardmagic.co.uk