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(2) Introduction Welcome to Mind Blasters II Following the success of Mind Blasters, I decided to embark on a follow-up; the result is Mind Blasters II. As before, the enthusiastic response from those I contacted has resulted in a really superb collection of Mentalism, Mental Magic and Bizarre Magick.. 0. To navigate this ebook, simply go to the Table of Contents page (next page) and click on a chapter or a name. The hyperlink will take you straight to the desired chapter. At the end of each chapter you will see a small bomb. Clicking on this will return you to the Table of Contents.. While this electronic book is copyright © Peter Duffie, each chapter is strictly copyrighted by the contributor. No extracts may be taken from this publication without the permission of the copyright holder. I would like to thank Ian A. Thomson for proof-reading and editing. And Martin Jacobs for the excellent cover art work for this book. So, I will leave you now to enjoy this new collection of serious Mind Blasters!. Peter Duffie September 2009. Copyright.© Peter Duffie 2009 No part of this publication may be copied, translated, transmitted or re-sold in any way whatsoever without the permission of the publisher and copyright holders..

(3) Table of Contents. Click on a chapter or name. Chapter 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45. Name Wayne Dobson Marc Paul Simon Shaw Mike Hopley Craig Petty John Holt Andi Gladwin Doug Segal Lewis Jones Tom Lauten Anthony Brahams Mark Ashcroft Steve Cook Barry Cooper Paul Gordon James Ward Christopher Williams Todd Landman Andrew Brown Dan Burgess Sean Carpenter Scott Creasey Roger Curzon Justin Higham Shiv Duggal David Gemmell Joel Dickinson Chris Wardle Stephen Tucker Roger Ferriby Chris Hare Russell Hall Ben Highway Walt Lees Stephen Jones Ian A. Thomson Jamie Dawes Jozsef Kovacs Roni Shachnaey Al Smith Dominic Twose Martin Jacobs Liam Montier David Penn Harold Cataquet. Title Tax / TLC Square Thoughts / T.A.R.P. Squared Stuck for Words Crystal Clear / Beyond Chance Frick Off! / Psychic Paper Clip Hit List / Open Minded Peeked Too Soon The Shadow Knows The Odd Couple / Impulse Stepping Stones Spectator Reads the Pockets The Robber Matched / Auto ESP A Special Place “Mentalist’s” Muldoon Match / Sum Of All (Hidden) Parts Wishful Thinking Dropped Card Trick The Presence of Mind Design Psychometry / The Stop Trick Simulacrum / Enigma unshuffled Zodiac Double Close Up Dupe / The Druid’s Eye Coinomancy Mindreader’s Pipe Dream Psychic Journey / Taste Buds Thanks to James / 3-4-1 Sybil’s Pick It’s a Gift! / Squared Circle Prediction First Spot / Freer Chance Cajun Joe and The Absinthe Bar Taken a Step Further Tri-Psyche The Serial Effect Note a Chance COPS / Droodlesp Bank Nite Congealed Psychological Jukebox Colour Scheme Add a Number, Hate a Number Before the Fire / Beat Tapper A Fruitful Trick Sum the Spots Sleuth / Mapped Out Bluff Headline Prediction Little Miracles. Page 1 5 14 20 27 36 39 42 47 54 61 63 67 73 75 80 83 86 94 103 110 113 117 119 122 128 136 142 147 151 153 156 161 167 169 178 184 189 192 194 204 206 209 213 216.

(4) Tax Wayne Dobson This is a routine I once marketed and, believe it or not, it sold for more than the cost of this book! Originally the effect made use of a ‘Z’ wallet, however it now utilises a very subtle and natural switch. You will need: o o o o. Requirements. A dozen or so double-blank cards. A red backed blank-facer. A blue backed blank-facer A sheet of red and blue labels. I prefer round ones. Set-up. With an indelible marker write the word TAX on one side only of three of the double-blank cards (Fig. 1). Then drop them, blank sides uppermost, onto the rest of the double-blanks. Flip the entire packet over and table it for the moment.. Fig. 1. Stick a red label onto the centre of the blank side of the red backed blank-facer, and a blue label onto the centre of the blank side of the blue backed blank-facer (Fig. 2).. Fig. 2. Place them onto the tabled packet, label sides uppermost, with the blue label showing. Then flip the packet over. You are now ready to perform.. 1.

(5) Working Deal off the top three (TAX) cards, blank sides uppermost in a tabled row. Remove from your pocket the sheet of red/blue labels and peel off one of the red labels as you ask someone to totally avoid one of the three cards and point to one of the other two for you to stick the red label to. Have them now avoid any one of the remaining two cards and point to the other, then stick a blue label on the card pointed to. Gather up the two labelled cards and set them on top of the packet, in your hand, (blue label uppermost). You now make a switch. Your empty hand pushes the tabled card, the one they have avoided, towards them and, as everyone looks at it, you simply turn the packet in your hand over and table it. As it should be, a blue label is seen on the upper surface of the tabled packet. Explain that you'll get back to the card they avoided in a moment, then direct attention to the tabled packet. Lift off the blue labelled card and flip it over to reveal that it has a blue back! Lift off the red labelled card and show that it has a red back! Drop the cards back onto the packet and pocket them all. It only remains for you to direct attention to the card they avoided throughout and explain that everyone tries to avoid it. Flip it over to reveal the word TAX for your kicker finish. This gets a BIG laugh.. 2.

(6) TLC Wayne Dobson This is an application of the age-old One-Ahead principle. Requirements You'll need three double-blank cards (see End Notes). Print a large letter T on one, an L on another and a C on the third. I use a bold black marker pen. Stack them, with the letters side uppermost, in the order (from the top down) T, C, L. (Figure 1 shows the order; the cards should be squared).. Fig. 1. Working Explain that you have three cards, bearing the letters T, L and C. This is not an acronym of Tender Loving Care. In fact the letters represent three things that a magician normally asks people to do: THINK (of something), LOOK (at something) and CHOOSE (something). You now ask someone to THINK of a word, any word. Holding the three cards squared as a unit, you show everyone that the top card bears the letter T (upside-down from your viewpoint). Perform a double turnover, bringing the blank surface of the assumed T card into view. As you do this the card below (actually the third card) will be seen to bear the letter L... as it should do. Angle the packet towards you, so that no one will be able to read what you are about to write. Write the name (or draw) a playing card that you will force later. Flip the double over again and move the top two cards (as one) to the bottom of the packet. The letter L card is now seen on the top of the packet. Ask the first person what word they thought of, then make a comment such as; "Just as I thought." Address a second person and draw attention to the letter L card. Ask them to LOOK around the room and decide on one object. Repeat the above handling, but this time write down the word that the first person revealed to you. End with the letter C card showing on top.. 3.

(7) Ask the second person which object they looked at, then make another suitable comment. Address a third person and draw attention to the letter C card. Ask that they CHOOSE a playing card. But before they do, explain that you will write down the name of the card they will choose. Repeat the previous handling, but write down the object that the second person revealed to you. One small deviation from the original handling... once you have flipped the double face down, leave it on top of the packet, and then table the cards in a squared pile. You now need to force the card that you drew or wrote the name of earlier. This force needs to be as clean as possible. A choice from a face down spread using an all-alike deck (with a different card at the face) would be my choice. Twenty-six duplicates above a mixed regular half-deck would also be ideal. Once you have pocketed the deck. Draw attention to the top card of the tabled pile, the C card. Ask for the name of the card they decided to CHOOSE. Once they tell you, lift off the C card and show that you predicted the very same card! The next card is the L card. Ask the relevant person to reveal which of the hundreds of random objects in the room they decided to LOOK at. Lift of the L card and reveal that you have predicted it! The final card is the T card. Have the person who you asked to THINK of any of the thousands of words available to reveal it. Pick up the T card and reveal that you were correct. End Notes The size of the cards will depend on the size of the audience you are performing to. You will find that jumbo cards are just as easy to handle as bridge or poker size, and they don't even need to be of playing card stock - sheets of thick blank card cut to size will be ideal. The force need not be restricted to playing cards. ANY force that is quick, looks clean etc. can be used. I'm sure you all have your own favourites. If you wish to end with the tabled packet in the correct T, L, C order. once you have flipped the double C card(s) over, move them to the bottom of the packet (as in the earlier handling), then pull out the centre card, showing the C on the back again, as you make a suitable comment, before replacing it to the bottom. Web Site: www.waynedobson.co.uk. 4.

(8) Square Thoughts Marc Paul For years I have been using a cute presentational ploy that links the numbers generated during a Magic Square routine into my next effect. I ask the whole audience to stare at the grid and in their minds to form a three digit number using the numbers on display. I then randomly point to three people ask them to stand and go into my add-a-number routine. It plays well and creates a nice transition between the two effects. It also has a strange sort of logic to it. Of course it’s really a bit of nonsense and yet it has recently led to some other ideas. I wanted to replace the add-a-number routine with another number prediction that did not require me to leave the stage. Audience members would have to be involved but could just call out their selections from their seats. Using the numbers already generated in the square seemed like the obvious way to go. What follows are three effects that explore different ways of achieving this. They all have their merits. I have explained them in the order that they evolved and as a result you will have a clearer idea of how I develop effects and how the creative process works for me.. The Psychedelic Square Effect After dazzling the audience with his ability to create a magic square the performer is able to predict the total of four randomly chosen squares and even which numbers would be in those squares! Working The basic idea here is that 12 out of the 16 numbers used to create the magic square don’t change and are known to the performer before the show. BUT because of the nature of the effect it appears to the audience that these numbers are created on the spot and will change depending on what total has been called out. What more could a mentalist want, a set of numbers that appear to be randomly generated and yet are known in advance? Consider a 4 x 4 grid made up from coloured squares as shown below (Fig.1).. 11. 14. 5. 19. 4. 20. 10. 15. 7. 12. 9. 22. 6. 21 Fig.1. 13. 8. 5.

(9) In this particular magic square only the numbers in the green boxes are going to change and are dependent upon the number called out. In this example the total called out by the audience was 49. Deducting 30 from this gives me my starting number 19 and the other numbers in the green squares follow on in sequence. This magic square is the same as the one published by Chuck Hickok in his book, Mentalism Incorporated. If you are unfamiliar with the construction of an instant magic square then please read Chuck’s description which is very clear and concise. As I’m sure you are aware, the numbers in the other coloured boxes do not change. So imagine you have just performed the classic Instant Magic Square routine and the numbers have been written in a coloured grid just like the one above. You could now ask an audience member to call out a colour. Provided they don’t say green you would be able to predict in advance the total and even the individual numbers in those coloured boxes. All you would need would be three outs. Write the following prediction on a large sheet of paper (Fig.2) then fold it up and seal it in an envelope and place it on your table.. THE COLOUR BLUE WILL INEVITABLY BE CHOOSEN THE TOTAL OF THE FOUR BLUE SQUARES TONIGHT WILL BE Fig. 2. 40 AND WILL CONSIST OF THE NUMBERS 5, 15, 13 AND 7.. Another similar prediction is written for the red squares on a large piece of paper. This is then screwed into a ball and also placed on your table. A third prediction to cover the yellow squares is written on the back of the board that is used to construct the magic square. This is how I handle the choice of colour and the outs. Right at the very beginning of the show I hold up the envelope and explain that there is something inside which will become very relevant later on. It is then placed back flat on the table. The paper ball is thrown out into the audience and used to randomly select two people who each call out a digit and thus generate a random two digit number for the magic square to total. At the conclusion of your magic square routine the outs are all in position and you are ready to go into the number prediction. A simple equivoque is used to handle the green choice. Get the ball thrown again and say to whoever catches it, “You will have noticed that the board is divided up into 4 different colours. I want to eliminate three of these colours; there is red, yellow, green and blue. Please call out just one of them.”. 6.

(10) If he says green you immediately say, “OK Green is the first colour to be eliminated.” You now turn to the person on his right and get a second colour eliminated. This is repeated with the person on his left, whatever colour remains will be covered by one of the outs. If the first spectator says any other colour, other than green, you say, “Great that’s your choice; you’ve eliminated the other three.” It just remains for you to reveal the appropriate out and the effect is finished. Although the above may seem very simple (and it is) the impact on the audience is very strong. Please remember that to them ALL the numbers placed into the magic square appear to be random because they see you working with a random total that they created. When you later prove that you knew in advance what specific numbers they would choose it looks impossible. Try it; you’ll be pleased you did. Some final thoughts The word “inevitably” in the predictions is quite important as it makes the prediction read correctly regardless of the selection procedure that has been adopted. Also the use of the word “tonight” subtly implies that the prediction is different every time. You may be wondering what happens if the envelope out is not used. After all it was openly displayed at the beginning. Well in my show there is another prediction effect that takes place later on. That prediction is also flat on my table and in a similar envelope. When I get to this other prediction effect in my show I pick up that envelope and say, “Do you remember right at the beginning I showed you this envelope?” I prop it up on display and then go into the effect. Of course if you wanted to you could have all three outs in one envelope. This would enable you to prominently display the envelope at the beginning and you just remove the correct out at the conclusion casually discarding the envelope as you do so. To help you make up the coloured squares I have included a blank one. Just print off that page and blow it up on a photocopier to the size you want. Here’s another idea…. T. A. R. P. Squared Marc Paul I have discovered something very wonderful about magic squares. Well I have discovered something wonderful about one particular magic square, but it may well hold true for others. After performing a magic square routine how would you like to go into a number prediction routine like “The Almost Real Prediction” but without the worry of screwing up the mental calculations. “The Almost Real Prediction” was created by Jack London and I advise that you read Jack’s routine first if you don’t already know it. Many performers have created. 7.

(11) variations on Jack’s effect. My first encounter with the principle was in David Berglas’ “Adinfinitum” which he first published in Pabular magazine (Vol.1 No.5 Jan. 1975) This is an “AAA” piece that can be done anywhere. It can be done on stage with a flip chart and a large marker or on some scraps of paper for a friend in the pub. It’s very strong. Here’s how it looks to the audience. Effect After dazzling the audience with his ability to create a magic square the performer offers to try and predict the actions of seven people in the audience. He writes a prediction on a large board and places it on prominent display. A row of seven people are asked to participate but at no time do they need to leave their seats. The first spectator is asked to choose two of the arrangements that the performer has just shown on the magic square, rows, columns, diagonals etc. The DIGITS from the chosen areas are mixed randomly by the remaining spectators. Each person randomly chooses two digits to make up a completely new two digit number. So at the end seven random two digit numbers have been created. The performer points out that no-one could have known what these numbers were and that no-one could have known the total. He quickly adds them up to get a total. When the prediction is revealed it matches the total exactly! Working It is any easy matter to apply the workings of “The Almost Real Prediction” to ANY combination of numbers. BUT the prediction has to be written AFTER the combination of numbers is called. For example consider this magic square in figure 3 below:. 11. 14. 5. 53. 4. 54. 10. 15. 55. 7. 12. 9. 13. 8. 56. 6. Fig.3. Let’s say the spectator chooses the first row and the second row. You would pick up your pad and write the prediction total of 220. That is the total of 1+1+1+4+5+5+3 for the units (0 carry 2) and the total of 4+5+4+1+0+1+5 for the tens column (20 plus the 2 that you carried =22). Those that have read “The Almost Real Prediction” will understand this. If you don’t please go back to the original before you proceed with this explanation. The spectator can now mix the DIGITS according to the rules of “The Almost Real Prediction” to generate seven new and random two digit numbers. Remember during this we are only dealing with digits now. Fourteen is no longer 14 it is a 1 and a 4. 8.

(12) So they might end up with: 41 55 01 15 43 51 14_ 220 Of course this total will match your prediction. But none of this is really new we have just used a cute presentational ploy to move from the magic square effect into “The Almost Real Prediction”. The advantage however is that both the secret calculation and the one done openly are fairly quick as you only have two columns to add. This is exactly how I did it the first few times I tried it…and then I discovered something wonderful. You can actually write the prediction BEFORE the choice of row, column, diagonal etc. This may appear to be complex when you first read it, but really it’s not. Just go over it a few times and you’ll get a clear picture of what is going on. Imagine that the square you have created is the same as before (Fig.4).. Fig.4. 11. 14. 5. 53. 4. 54. 10. 15. 55. 7. 12. 9. 13. 8. 56. 6. Remember we are not dealing with the numbers here but the DIGITS. The digits in the top row total 20 (1+1+1+4+5+5+3) The digits in the next row total 20 (4+5+4+1+0+1+5) The digits in the third row total 29 And the digits in the four row total 29 The first column totals 20 The second column totals 29 The third column totals 20 And the last column totals 29 Both diagonals total 20. 9.

(13) The upper left four squares total 20 The upper right four squares total 20 The bottom left four squares total 29 The bottom right four squares total 29 The middle four squares total 20 The four corners total 20 In other words all the traditional magic square arrangements ALL total 20 or 29 in this particular square. The numbers may vary depending on which variable digits are added to make the square work but they can be summed up as X and X + 9 where X is the total of the top row. The relative arrangements, however, always remain the same. For example the two diagonals will always total X, the bottom row will always be X+9, the corner numbers will always be X etc. As you can see from this there are 10 arrangements that total X and only 6 arrangements of X+9. (If you are interested there are two other X+9 arrangements in the pan-diagonals but I don’t show them to the audience as I think they are confusing) So what do we do with this little bit of strange knowledge? Well it now means that we can write the prediction BEFORE we give the spectator a choice of row, columns, diagonals etc. We are only going to work with the X combinations as this gives the spectator the most choice. Here are a summary of the X combinations: The top row The second row The first column The third column Both diagonals The upper left four squares The upper right four squares The middle four squares The four corners So the spectator has a totally free choice, you can ask him, “What shall we work with the rows, columns, diagonals, four squares or corner squares?” Whatever he says there will be X combinations that can be used to make the prediction correct. Let’s go through every possibility. The Diagonals. If the spectator chooses the diagonals, you are home free. The digits in both diagonals will total X. The Columns. If the spectator asks for the columns I number them across the top from left to right 1, 2, 3 and 4. I explain that we only need two of these so I then ask the spectator to choose odd 10.

(14) or even. Now the odd columns both total X (columns 1 & 3). So if he says odd you’re home free. If he says “even” I simple scribble out the even columns and then go to work with the remaining columns. The Four Corners. If he chooses the four corner numbers you will need to ask for a second set of numbers. He can name anything and I just use the first available set; e.g. if he says rows I’ll just say, “Ok we’ll use the top row as out second set of numbers.” All of the “first” options all total X: the first column and the first set of four. This option is probably the “worst” scenario just because it’s a bit messy, so sometimes I don’t even offer the four corner number as a choice. The Four Squares. I number them as below:. 1. 3 5. 2. 4. This arrangement makes sure that the odd numbers are all X combinations. So I use the “odd or even” bit of equivoque to force the odd numbers. I can then give him a free choice of two of those. The Rows. If they choose the rows I just say, “Ok we need two sets of numbers so let’s use the first two rows.” I hope that is all clear. This selection process is done very quickly and should really appear that the spectators could have chosen ANY combination of numbers. Your attitude should be that you don’t care what they choose Calculating the Prediction. The prediction can be calculated very quickly as you only have to add two single digit numbers to 12. Let me make that clear by using an example: Let’s say the top row of your magic square is 11, 14, 5 and 31 (this would be for a magic square totalling 61). The only NUMBER that changes is the 31. The 11, 14, and 5 are always the same and their DIGITS total 12, (1+1+1+4+5). So just add 3 and then 1 to 12 and you get 16. THIS IS THE VALUE OF X FOR THIS PARTICULAR SQUARE. Now attach a zero to it to give you 160 and add another 16. The result, 176, is your prediction. All of the above has taken me a few pages to explain and yet the actual effect is very easy to do. Here’s a complete example to show you how straight forward and cleanly the whole thing plays. Your audience calls out a total of 76. You mentally deduct 30 and generate this magic square (Fig.5):. 11.

(15) Fig.5. 11. 14. 5. 46. 4. 47. 10. 15. 48. 7. 12. 9. 13. 8. 49. 6. You go through all the combinations showing that the total in every direction is 76. After the applause has died down, you introduce the idea of a prediction. You secretly write down 242. This is calculated by adding 12 + 4 + 6 = 22. Add a zero to get 220 and add another 22. You are done! All that remains is that you ensure that two X combinations are chosen and the prediction will automatically come true! As you can see it really is VERY easy. BUT what if you could display the prediction BEFORE the magic square is even created, BEFORE the audience even chooses the numbers for the total of the magic square. Well believe it or not you can!. The Believe it or Not Number Prediction If you actually try the above routine a few times you will soon start to see that some of the totals get repeated. Believe it or not there are only 15 possible totals that can be created by the spectators. Even though the square can be summed to any number between 30 and 99, but because MOST of the numbers never change the out come of The Almost Real Prediction Squared will be one of these totals: 143, 154, 165, 176, 187, 198, 209, 220, 231, 242, 253, 264, 275, 286 or 297. It would therefore be a relatively simple task to have a prediction envelope that covered all 15 outs and which could be shown at the very beginning of the routine before the magic square even starts! Now that would be something, wouldn’t it? If you are interested in other effects by Marc Paul please visit his website www.marcpaul.com. 12.

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(17) Stuck for Words Simon Shaw Effect The mentalist asks someone to come up on stage to help him. He explains that they are going to try a little experiment in thought transference. Having asked the spectator her name, and thanked her for coming up, the performer explains that he wants her to merely think of a word. “Hi Janet. In a moment I am going to ask you to think of a simple word. It can be any word you like, although to make it more interesting it should be at least four letters in length and should be something everyone in the audience would recognise. Do you have one in mind? Yes? Excellent. “Now, I really want you to focus on this word. I can’t stress enough how important that is. I need you to visualise it, to see it spelt out in big bold letters in front of you. Can you do that for me?” [pause] “Janet, I do hope your spelling is good, because if you are visualising it, and it isn’t spelt correctly, then it really will make my life difficult! I can check you know. I do have a dictionary with me! “After another pause, the mentalist takes out a block of blank business cards and hands one to the spectator, with a marker pen. “This is getting tricky. I tell you what, to help with the visualisation process, I am going to ask you to write down your word. Please write it on this card in big bold letters, and then place the card face down on the table. I will turn my back as you do this, so could you let me know when you have finished. Thank you.” The mentalist turns his back to the spectator and waits for her to finish writing. Then he takes back the pen, checks that the card is indeed face down on the table and asks the spectator to again visualise the writing on the card. After some more mental shenanigans the performer asks the spectator if she is absolutely sure the word has been spelt correctly. Whatever she answers, he goes to his bag, which is on the floor behind the table. He takes out a large dictionary and, without particularly looking, drops it down onto the table. “I did say I had a dictionary with me didn’t I? You know I read the dictionary once. It wasn’t bad, but it kept changing the subject …” [I know. Awful. You don’t have to use it!] As the performer says this, he motions to the dictionary on the table then picks it up. He points to the front and mentions that it is the Oxford English Dictionary (or whatever dictionary you use), and that it contains over 50,000 words (or whatever is correct for that edition). 14.

(18) “Janet, this dictionary is going to help me find your word. First, can I assume that the word you are thinking of is actually going to be in this dictionary?” It is possible that it won’t be. This can occur for example, when the spectator chooses a person’s name or a place, and although it doesn’t make any difference to the effect, it is something to keep in mind. The mentalist places the book back down on the table and starts thumbing through it. “Let’s see. Please think of the word for me again. “ As the mentalist thumbs through the book he keeps looking up at the spectator as if gaining information. “Ahh yes. I am getting a sense of a word now. “ The mentalist closes the book, picks up the stack of cards and starts writing something on the top one. He pauses, then crosses it out. “No that’s not it. “ He then has another look through the dictionary, before writing a new word. “There you go. I am now committed.” The mentalist now turns his card over and hands it to the spectator, asking her not to look at what he has written just yet. He then picks up the spectator’s index card, places it face down on the remaining index cards in his hand and walks to the front of the performing area. He openly turns over the top card and shows the audience. “This is what Janet wrote. Janet, for the very first time, in a loud clear voice, please could you tell everyone what I wrote.” You take your applause and let your spectator return to her seat. Set-up o You have a block of business sized cards, blank on both sides. o The third card down in your block of index cards should have a word written across the middle (lengthways), which is then crossed out. The word I use is “house”. o The top card will be given to the spectator to write on, which will leave one blank card on top, and then the card with your crossed-out word. o The bottom half of the back of the dictionary has been coated with repositionable glue or double-sided sticky tape. I personally like to use 3M Mount Spray Adhesive.. 15.

(19) Fig. 1 Figure 1 shows the dictionary I use, front and back. The white area represents the area that I coat with repositionable glue.. The dictionary is in your bag or case. There will also be another blank business card in your bag. Working As you pick the dictionary up, you also pick up the other blank business card, held in place by your fingers over the non sticky part of the book and totally hidden from the audience. See figure 2 on the left for how this looks. The most difficult part of the effect is dropping the book down on the table, because on the one hand you are making it look like you aren’t really looking where the book goes down, but in reality you need to consider several things. Firstly, you must ensure that the sticky part at least partially covers the card on the table (the card that the spectator has written on). Secondly, you must be careful not to place any part the card you are hiding on top of the tabled card. Thirdly, the whole of the spectator’s card must be covered.. Fig. 3 Figure 3 shows the dictionary after it has been placed down on the table. The cards marked A and B are actually under the dictionary, but shown on top for clarification. The A card is the spectator’s card, and the B card is the one you are going to switch it for.. Once the book is down, you need a little bit of time misdirection. This is easily achieved by asking the spectator whether or not they genuinely felt it was a free choice of word.. 16.

(20) As you pick up the book to highlight the edition and the number of words the dictionary has, you will tilt it up from the top (which is the part furthest away from the audience) and drag it back very slightly in the same motion as picking it up. The reason for this is that it would justify the slight discrepancy as to the positioning of the spectator’s card. So to clarify, you will leave the duplicate card on the table, and the spectator’s card will be stuck to the back of the book. When you point to the front of the dictionary, indicating that it is the “Oxford English Dictionary” (or whatever), you will have ample time to read what the spectator has written. Beware though, that the card could easily be orientated upside down, so it is worth practicing a little if you feel this is something that would throw you. At this point, the dictionary can go back down on the table (be careful not to flash the back), where you will need to spin it around so it is the right way up for you to read. Open the dictionary on the table (so as to keep the back concealed), and flip through while you act like you are trying to divine the word. When you go to write the word yourself, pick up the block of cards from the table and hold them ready to write horizontally. As you go to take the pen, use the thumb of the hand that holds the block to discreetly pull the top card down a few centimetres and then pull the second card down a tiny bit too, as this will make it easier for you to get the necessary break in a moment.. Fig. 4 Figure 4 shows the positioning of the two top cards (outlined in red and blue). “Tree” is the word that the mentalist has divined (i.e. read) from the card stuck to the back of the dictionary.. Pick up the pen, and write the word you peeked across the top of the now exposed second card down. Pause and feign crossing it out. If you have pulled enough of the top card down, you can actually cross out the previously crossed out word some more. Go to the dictionary and pretend to look up a word as you use your thumb to push the top card back up so it is aligned with the second card. Start writing the word again, this time in the middle of the top card. This works well because you have had further justification for using the dictionary, and also it completely disguises the double writing.. 17.

(21) When you finish writing the word on the top card, turn the two top cards as one and hand the new top card to the spectator (face down), expressing that they should not look at it yet. The card you hand them will be the one you prepared before the show, and will have the word they thought of written across the top, and the word you crossed out before the show lower down. Pick up “their” card from the table (actually the completely blank card you switched it for) and place it face down on top of the stack of business cards in your hand. As you walk to the front of the performing area, again turn over the two top cards together. This places the card on which you have just written their word, face up on top of the stack of cards. The audience will, of course, assume it is the card the spectator wrote on earlier. Finally, ask the spectator to reveal what you wrote and to show the audience the card she is holding. Further Thoughts As a preamble to the performance, a discussion on the performer’s fascination of words works well. When asking for a spectator to help, things to consider are that they may be dyslexic, or need glasses to read (and if so do they have their glasses with them?) It is not essential, but it can make it easier if there are only three real business cards in play, and that the remaining block of cards are glued together to form a solid block. For storing the dictionary and stopping anything and everything getting stuck to it, I use the plastic coated backing that is on the back of a sheet of sticky labels. Although the spectator will not see the card you pass off as their card at the end, and the audience will not see the card the spectator originally wrote on, it would still be worthwhile to try and ensure the spectator writes on the card horizontally, as that is how you will be doing it. This is easily achieved by miming the action of writing the word as you explain you want her to write the word down. Variations Think of a Country Numerous variations are possible. One is to ask for the spectator to think of a country instead of word. Use a large atlas that has a double-page spread of the whole world, or possibly even a large map of the world laminated in clear plastic, instead of the dictionary. Their chosen country can then be picked out by moving your finger around the map, sensing when you get nearer the target. You could even use a pendulum, and dowse for it. This variation requires a good general knowledge of geography for maximum effect. However, as you are still writing the name on an index card, you don’t need to know more than the general area in which the country is located.. 18.

(22) Think of Your Birth Date After the spectator has written down her date of birth, bring out a large laminated Zodiac chart. This way you can first divine her Zodiac sign and then go on to pinpoint the actual date. If you get the year as well, you can also add in a sign from the Chinese Zodiac. Tarot Cards Hand the spectator a deck of Tarot cards (maybe just the Major Arcana). Ask her to shuffle the deck, then pick any card and place it face down on the table after remembering it. This time, you bring out either a large book on the Tarot or a large (A3) laminated sheet that has pictures of all the Tarot cards on it. Then, with the laminated sheet or book facing the audience, a few different images from the chosen card can be mentioned, with a brief reading of what that card symbolises, until her actual chosen card is revealed. Films Have the spectator think of a film, and use a book of famous films. You have to love effects with films! The Shopping Catalogue In England, I would tend to use an Argos catalogue, but any shopping catalogue would work. This variation has the advantage that you have a good justification for the spectator to write something down (you can call it an order form). It also makes sense for the book to be involved. You hand the shopping catalogue to the spectator and explain that you will turn your back while she finds something in the book she wants. She is then to write down the name of the item (and the order number too if you like), and place it face down on the table. She keeps hold of her copy of the catalogue. Obviously, you will need your own catalogue to help you divine the item and product code, but you can have great fun going through the different sections. Email: [email protected]. 19.

(23) Crystal Clear Mike Hopley Effect A spectator chooses a card while the deck is held behind your back. A second spectator looks into a small crystal ball and is able to divine the identity of this hidden card. Invited to look again into the crystal, the spectator now announces a number, and a duplicate of the chosen card is found at that very position in a second deck, which has been in full view the whole time. Background This is an elaboration of an idea which appears in the Encyclopaedia of Card Tricks under the title, “The Card and Crystal Ball”, (page 39 in the Faber edition). In that trick you secretly tear off an index corner from the chosen card and note its value as you hold the index face up under a small crystal ball. Having a spectator rather than the performer reveal the card is, I think, more effective; a spectator has no trouble in taking her cue from the index visible under the crystal. The second revelation of the duplicate’s position is achieved by having the relevant number written on the reverse of the index corner. You secretly turn this over and, again, when the spectator sees the number through the crystal, she will readily name it. That then is the basic approach. Here are the details.. You will need:. Requirements. o Two ordinary decks of cards. o Some round, white, self-adhesive stickers. o A crystal ball about 11/2 inches in diameter. Preparation Set up two decks in the same random order (well, to be precise, only the cards at positions 6-45 need to be in the same order.) Place one pack in its case, then mark the case, so that you don’t confuse the decks. Put it aside for now. Have the remaining deck face down on a table with a short side towards you. Remove the top five cards and put them on the bottom of the deck. Fix a sticker at the near left corner of the top card and write on it the number 6. Then place the card on the table next to the rest of the pack. Fix another sticker in the same position as before on the next card, write 7 on it, and drop it on top of the first card. Continue in this way until you complete the forty-fifth card (Fig. 1).. 20.

(24) Fig. 1. Take the stickered cards and mix them thoroughly (making sure none turn end for end in the process), finally holding them face down with the stickers again at the near left corner of the pack. The remaining cards without numbers on them are placed on top of the pack. Working Your audience is in front of you. One spectator-assistant, whom we shall refer to as Kelly, is seated in a chair a few feet to your left, and facing left. Another assistant, Tom, is standing to your right and facing right. Walk round to Tom, give him the cased set-up deck and ask him to hold onto it as it will be needed later. Take out the gimmicked deck and spread the top, non-stickered cards as you explain that you would like him to choose a card. (you could continue spreading into the gimmicked cards as long as you keep the stickered corners hidden.) Close the deck and turn it face up by taking hold of the far narrow end and revolving the deck end-for-end onto the palm of your left hand. “Actually, I think it would be much fairer if you could see the cards when you make your choice,” you comment. “So I’m going to run through the cards like this and you can say stop at any time, and wherever you say stop that’s the card we’ll use. OK?” While talking in this vein you spread the cards from left to right hand, breaking the deck at some point and displaying the card on top of the left hand packet as an example of a card choice. “Of course,” you continue, re-assembling the pack by putting the right hand cards back where they came from, “you would probably feel happier if I couldn’t see your card, so I’m going to hold the deck behind my back!” Turning your back to Tom, you then go through the same procedure, breaking the deck when he says stop. Stress that if he would like to change his mind and have you run more cards, you are very willing to do so (just avoid going as far as the last dozen unstickered cards.) Once he is content with his choice, square the right hand cards under those in the left, so leaving Tom’s card face up on top of the deck. Ask him to remember this card and, casually cradling your left hand with your right, return to your table and turn to face the audience, with the deck remaining behind you. Now address Kelly. “Kelly, I’m going to ask you to tell everyone what card Tom has chosen – without looking, of course! Please raise your hand if you feel confident you can do this.” Kelly’s response to this impossible request will probably create a little light amusement but, even if it doesn’t, you have given yourself the opportunity to tear off the index of Tom’s card, while all attention is momentarily focused on Kelly and the cards 21.

(25) are behind your back (you don’t actually need this misdirection, but it does help make the move more relaxed from your point of view). Incidentally, the best way to tear off the index is to push the card a little way off the narrow end of the deck with the left thumb, then grip it with the right thumb and index finger and push downwards with the right thumb against the resistance provided by the rest of the pack. The card will then tear easily. Trying to pull upwards, on the other hand, isn’t very effective. Concealing the torn index in a right hand finger palm, explain to Kelly that you are going to provide her with some assistance in the shape of a crystal ball. Then remove the crystal (either from your right jacket pocket or from a table behind you), positioning the index underneath it. The left hand stays behind your back holding the deck. Bend over Kelly’s right shoulder and extend your right hand in front of her so that she can see the crystal. Given your position, your line of sight is very close to hers, and this enables you to hold the crystal in such a way that nothing is visible. Ask Kelly if she can see anything in the crystal and she will say no. Remind her that she is looking for the image of a card, as you slowly tilt the ball until the index comes into view and she is able to announce the identity of Tom’s selection. The impression to the audience will be that she gradually succeeded in visualising an image of the card. When she names the card, have Tom confirm that she is right and bring the deck from behind you, holding your left thumb over the area where the index should be. Briefly look at the card, then show it to the audience and dispose of it and the rest of the deck, either in your left jacket pocket or behind some prop on the table. Now, take the crystal in your left hand, breathe on it and polish it on your right sleeve. Under the misdirection provided by these movements turn the torn corner over with your right thumb so that it now shows the number required to complete the final phase of the trick. If required, additional or alternative misdirection can be provided by asking Tom if he is still holding the cased deck you gave him earlier. As you address him, all eyes will turn briefly in his direction. Having reversed the index, place the crystal over it. Using the same moves outlined above, this time have Kelly announce the number she has visualised. Then, ditching the crystal and the torn-off corner in your right coat pocket or onto the table, invite Tom over with the deck, and have Kelly stand up, the palm of one hand extended. Taking the deck from Tom, count down to the given number, dealing the cards face up on Kelly’s hand. With appropriate drama, reveal the duplicate of Tom’s card at the specified number. End Notes The reason for not putting numbered stickers on all the cards is that you are able to show the backs of the non-stickered cards very fairly and so create the impression that there is nothing unusual about the deck. Also, avoiding positions 1-5 and 46-52 ensures that the duplicate of the chosen card won’t appear too early or late in the final deal. Of course, you could simply turn over the index as soon as you tear it off behind your back and move directly into having the spectator visualise a number, missing out the revelation of the card to create a shorter routine.. 22.

(26) Beyond Chance Mike Hopley Effect You introduce a small diary, which has a card from the “lucky suit of Hearts” written against every day of the year, in a random fashion. You say that you will think of a random date. A spectator is then invited to visualise two things; a card and a day of the month. It is the day you had in mind! And when the diary is consulted, the card the spectator visualised is found at that very date. Preparation You need to prepare a diary by referring to the following list: 1 --2 Ten 3 King 4 Queen 5 Nine 6 Ace 7 Two 8 Jack 9 Seven 10 Three 11 Queen 12 Three 13 Eight. 14 Five 15 Seven 16 Four 17 Ten 18 Six 19 Two 20 Eight 21 Five 22 King 23 Jack 24 Nine 25 Two 26 Queen. 27 Three 28 Ace 29 Ten 30 Jack 31 Nine 32 Eight 33 Six 34 Seven 35 Ten 36 Five 37 King 38 Four 39 Three. 40 Six 41 Seven 42 Jack 43 Ace. No suits are given, as they are all, of course, Hearts. To begin with January: on the 1st, using a red pen, you draw a Heart with a 10 inside it. This is because adding the day and the number of the month (1 + 1 = 2) tells you to start with position two on the list. Follow the sequence through to the end of the month, putting each value inside a Heart shape, finishing with the 8 at position 32. Any Aces or court cards are just written with their initial letter.inside a Heart. February 1st ( 1 + 2 = 3) will begin with the card which is third on the list, King, and again you follow the sequence until you reach the end of the month. This process is continued throughout the diary. So, when you arrive at December 1st ( 1 + 12 = 13) you will be starting with the card at position 13 (8) and going through to the final card on the list (Ace) at position 43 (31 + 12 =43), written, as mentioned earlier, simply as an A within its Heart. You also need to refresh your memory of the old Eight Kings mnemonic rhyme: Eight kings threatened to save ninety-five queens for one sick knave 8 King 3 10 2 7 9 5 Queen 4 Ace 6 Jack 23.

(27) Now, the basic idea behind the method is that you make a convincing job of thinking of a random date, while, in reality, you don’t yet have one in mind at all. In fact, you wait until the spectator has visualised a card value and, once it is announced, the Eight Kings rhyme is secretly employed (as described shortly) to provide you with a range of dates that can be offered to the spectator, any one of which will lead to the card she visualised. A date having been chosen, you act thoroughly pleased at the spectator’s “success” in thinking of the date you had in mind, and when the spectator looks at that date in the diary she will, of course, find there the very card she mentally pictured. So, let’s consider further the bare bones of this procedure and leave any refinements until later: The spectator receives, for example, the impression of an 8. Starting with eight you silently move two steps in the mnemonic: King Three. You can now comment to the spectator, “The date I am thinking of is between the third and the thirteenth. Try to visualise it in your mind.” All you’ve done is take the 3 you landed on in the rhyme as the bottom number of the range you offer the spectator and added ten to give the higher number, 13. Now, let’s say the spectator chooses the 10th. “Amazing,” you respond enthusiastically, “that is the date I was thinking of! The 10th March to be precise.” You named March because as soon as the spectator chose the 10th, you mentally took 10 away from the higher number 13, to give 3, and March is the third month of the year. If, on the other hand, she had named, for example, the 7th, you would have taken 7 from 13, to leave 6, and claimed that you were thinking of the 7th June (the sixth month). Other possibilities are 3rd October, 6th July, etc., etc. When the spectator looks at any of these dates in the diary, she will discover the eight of Hearts, thereby bringing the experiment to a successful conclusion. This simple process of moving two steps in the mnemonic, then adding ten to give a range of dates works most of the time. There are, however, three values, Ace, Jack and Nine, where following this process will land you on a court card rather than a number. Here you just move one more step in the rhyme, focusing on the next number and putting a 1 in front of it before adding ten. For example, take the jack. Moving two places brings you to the King, which you can’t use, so you go to the next place, the 3. Putting a 1 before this to give 13, you can offer the spectator a range of dates between the 13th and the 23rd. With the Ace the range is 18 to 28, with the 9, from 14 to 24. Finally, there is the King. There is no obvious reason why this value won’t work in the normal way, so you’ll just have to take my word for it that here, too, you have to move one more step: 3,10 2, giving a range of dates from 12 to 22. Otherwise, the procedure is the same. So, if the spectator visualised a King, for example, and then chose, say, the 17th, you would mentally take 17 from 22 to give you 5. “Spot on! That’s exactly what I was thinking of, 17th May as a matter of fact.” And when the diary is consulted, the King will, of course be found at that date.. 24.

(28) The diary should be the normal pocket kind where the seven days of the week appear across two pages, each day having its date number in bold print at a corner of its section. (The month, on the other hand, appears at the top of the page.) When showing the diary, casually draw attention to the layout, and how for each day there is “a Heart in red here and, by contrast, a date in black here,” actually pointing at the relevant areas with your index finger. “You might find it helpful in a moment to visualise that contrast in colour.” Now, after thinking of your random date, you say, “I can see in my mind’s eye the red Heart but not the value inside it. What do you think the value should be?” When the spectator has made her response, you continue, “I’m shifting my focus now from the red Heart over to the date, that number in black. What do you think it might be?” In this way you are keeping the actual month momentarily out of the picture in a totally natural manner. There is no need, therefore, to say something like, “Let’s ignore the month for now.” Simply don’t mention it yet. Thanks to your stressing the layout earlier, it’s quite logical, if you are mentally focusing on a particular day, just to be concentrating on the number alone. An additional subtlety at this point is to allow the spectator initially to make a choice of a date without any guidance from you. After all, there is about a one in three chance of the spectator choosing one within the required range purely by accident. Also, you can unobtrusively nudge her in the required direction. Let’s say you want the spectator’s choice to fall within the range 3 to 13. “Please visualise a date, you know, the nineteenth, twenty-seventh, etc.,” you say, and, by mentioning dates in the range you don’t want, encourage the spectator to choose one in the range you do. If she nevertheless chooses wrongly, then you can still remark: “That’s not what I’m thinking of, but I realise this is really difficult so I’ll give you a clue – the date is somewhere between ..oh…three and thirteen.” If you’re working with one person you might consider sketching a Heart on a piece of paper and then writing inside it the value he or she has visualised. Then both of you are free to focus on the second phase of the routine without having to remember the card. If others are present, then one of them could be asked to remember the imagined card value. To introduce the diary you could try something like this: “In a pack of cards, Hearts have always been considered lucky. In fact, in the eighteenth century there was something called a ‘Calendar of Hearts’ in which each day of the year had one or other of the Hearts cards associated with it, and I’ve transcribed the Calendar into this diary”….and here you demonstrate the layout as described above… “I suppose there was originally some reason for putting a particular card at a specific date, but to me they just seem to pop up in a random way. Have a look: if you can see any pattern I’d be grateful if you could tell me what it is!” You then hand over the diary for the spectator’s perusal and she will agree with you that, to modern eyes at least, the card values appear to be scattered randomly throughout the year. You can then go on to suggest a simple experiment…. You might like to consider this way of emphasising the ending. After your initial delight in the spectator’s success with the date, you become more reflective: “Of course, that may conceivably have been pure chance, but if the card you visualised, the Four of Hearts, is also at that date, then I think we will have moved beyond mere chance.” 25.

(29) You now open the diary — not as if you already know the outcome, but as if you are genuinely interested to find out what the card might be. Once the spectator’s second success is revealed, you then comment: “Yes, way beyond mere chance. The Four of Hearts is obviously your lucky card!” Email: [email protected]. 26.

(30) Frick Off! Craig Petty Effect A business card is signed and placed in a spectator’s wallet. Another business card is shown and left on the table. Five cards are introduced with an ESP symbol on each one. The audience shuffles the cards and five spectators each take one. While the magician is facing the other way, the cards are gathered up and put away. Following this each spectator draws his or her chosen symbol onto the blank business card. The magician now faces the audience again and by looking at the drawings tells each spectator which symbol they drew. The card is now handed to one of the spectators and they are asked to concentrate on their chosen symbol. When they turn the card over the symbol they drew has vanished completely. Assuming they selected the cross they are asked to remove the business card placed in their wallet from the beginning. Upon doing this they see the card now has the cross symbol drawn on it. History For those of you that do not know, the Frixion pen is marketed by Pilot. The ink from this pen can be made to disappear off a piece of paper or card using heat. A good example would be the heat from a lighter or the heat from some flash paper. Matthew Bich was one of the first performers to create routines with this principle when he released his manuscript Sympathetink. This routine evolved from another routine by Ethan Mark called “Misty”. I have combined the original “Misty” routine with Andy Nyman’s “Magician’s Graphology” routine to create an effect I am very proud of. The vanish and subsequent reproduction of the symbol puts this routine into the category of mental magic as opposed to full on mentalism. Requirements o o o o o o o o o o. A Red Sharpie 5 Blank-Faced Red Backed Cards A Black Sharpie 2 Pilot G2 Pens A Pilot Frixion Pen A Stack of Business Cards that have a blank surface on one side Some Elastic Bands A Pair of Scissors A Lighter A Packet Trick Wallet Set-up. Take the five playing cards and draw an ESP symbol on each one (Fig. 1). On the first draw a circle. On the second draw a cross. On the third card draw three wavy lines. On the forth draw a square. On the final card draw a five-pointed star. For those of you that don’t know, each ESP symbol has a different numerical value. A circle is assigned the number one, as there is only one continuous line. A cross is classed as number two, as there are two lines. Rather obviously the three wavy lines equate to number three. The square is always known as four as there are four sides to a square. Finally the star is 27.

(31) always five as it is a five-pointed star (see Shiv Duggal’s ESP routine elsewhere in this book for another mention of this principle).. Fig. 1. The backs of these cards should be marked so that you can tell one from the other very easily. I use a simple marking system that works well in the context of this routine. If you look at the back of a Bicycle Playing card you will notice that there is an angel in each corner. On the circle card I colour in one of the angels heads with a red Sharpie marker. On the cross card I colour two of the angels heads in. On the wavy line card I colour three of the angels heads in. On the square card I colour all four of the angels heads in. Finally I leave the star card blank and do not colour in anything. This means I can very easily spot one card from another even from a distance although the audience will not be able to spot a thing. Place these cards into a packet trick wallet and place them away in your jacket pocket. Now you need to set up your Frixon pen. Basically, the ink cartridge from a Frixion pen can be taken out and installed easily into a Pilot G2. This will result in a normal looking pen, which will actually act like a Frixion pen. Even better, the Frxion G2 can be switched for a regular G2 meaning you can write in normal ink or Fixion ink just by performing a pen switch. Place both the regular G2 and the Frixion G2 in your inside left jacket pocket making sure that you know which pen is which. Now take one of the business cards and cut it in half for the “Out to Lunch” principle. Take a business card and on the blank surface draw a cross at one end (Fig. 2).. Fig. 2. Repeat this with a few more business cards until you have a small stack of eight to ten. Now assemble a packet of business cards by alternating a cross card and a blank card all the way through. Therefore the face of the packet should have a cross on it, followed by a blank card then a cross card and so on (Fig. 3).. Fig.3 28.

(32) Place the half card over the cross on the face of the stack (Fig. 4) and hold it in place with the elastic bands (Fig. 5).. Fig. 4. Fig. 5. You will be left with a packet of cards, which is set up to repeat the effect up to ten times. Place these cards away in your jacket pocket so they are accessible with your right hand. Finally place the lighter into your outside right jacket pocket. Working The Opening Procedure Bring out the stack of business cards and tell the audience that before you do anything you will have the spectator sign a card. Take out the regular G2 pen and hand it to the spectator. Have them sign the face card of the stack of business cards, but be careful they do not sign the half card. The spectator will assume that the card they have signed is blank while in reality, thanks to the “Out To Lunch” principle, the card has a cross on it. Turn the packet face down and pull out the regular card from under the half card. Place this into the spectator’s pocket making sure that they do not see that their signed card now has a cross on it. Take the pen back and put it away in the same pocket it came from. Now flash the face of the packet of cards and pull out the next business card (which will be blank). Place this card on the table and tell the audience you will get back to it later. By placing this card on the table and letting the audience see it is blank, the audience will believe that the first card was blank as well. Place the stack of business cards away at this point; they will not be used again and are reset for the next performance. The Concept of ESP Introduce the audience to the concept of ESP Cards and what they are used for. Take out the packet trick wallet and bring out the ESP cards, showing them to the audience one at a time. Hand the cards to a spectator to shuffle making sure that the audience knows that they are completely mixed up. During this procedure look at your audience and mentally select the five audience members that are going to assist you with the effect. In your head you are going to number these people one, two, three, four and five. In order to make things easy, I like to pick five people sitting in a row and number the first person on the left number one and the last person on the right number five. Take the cards back that have now being shuffled and tell the audience that you are going to pick five people and each person will take a card. You want it to look like you have picked people at random and handing them playing cards. In reality you are looking at the marks on the back of the cards and giving them to specific people. Remember that each 29.

(33) ESP symbol has a numeric value? You will give each card to the person that has the same number as the numeric value of the card you are looking at. For example, if I look at the back of the top card and I notice one angel has been coloured in I know this is a circle and has a numerical value of one. Whoever I mentally assigned the number one is going to be given this card. The important thing here is to act natural. It should not look like you are studying each card and then handing them to specific people. You should act very laid back, and tell the audience you are going to give cards out to different people. When the audience thinks back to this effect they will remember the cards were shuffled and then given out to the audience. This is also why the marking system can be so bold. Nobody really looks at more than one card at any given time so they have no chance of detecting the system. The Drawings Begin Tell each spectator to look at an ESP symbol and put the cards away in their pockets. You will now tell the audience that one at a time they are going to draw their symbols onto the business card left on the table until all five symbols have been drawn. The important thing here is the last shape to be drawn has to be the cross so ensure that spectator number 2 is kept till last. Take out the G2 and hand it to one of the spectators, telling them at the same time to pick up the business card and draw their symbol. Turn around as this is being done so that you cannot be accused of cheating or peeking. After they have finished drawing tell them to place the card drawing side down on the table. Turn back round to face the audience, take back the pen and hand it to another spectator asking them to do the same thing. This whole procedure is repeated four times until there are four symbols drawn on the business card. After the forth person has drawn their symbol place the pen away in your pocket and start to explain that now everyone has drawn their symbols you can continue with the effect. One of two things will happen, either spectator 2 will say they have not yet drawn their symbol or the rest of the audience will comment. Either way, apologise to spectator 2 and hand them the pen back. This time however you will take out the Frixion pen. This means that the cross will be the only symbol on the card, which can be removed by heat. Turn back round after the spectator has finished drawing and take the pen back placing it in your pocket. The pens are now reset for another performance. Divining the Symbols The rest of the routine is just acting. Tell the audience that you can look at the drawings and get clues about who drew what. One by one start talking about the symbols and how they have been drawn and reveal that you can tell who has which symbol. As you reveal each symbol have the spectator take the card out of their pocket and show it to the audience. This does two things; it shows that you are indeed correct and also serves as an applause cue. Leave the cross to the end so that it is the last symbol. Explain to the audience that revealing that you knew who drew the cross is not a great effect as there is only one person left. Continue to tell them that instead you will try to hypnotise the audience. Take out your lighter in the right hand and hold the card back to the audience in your left hand. Wave the lighter in front of the card back and forth telling the audience to watch the flame. The audience will assume that you are trying to hypnotise them, while in reality you are using the flame to erase the ink off the card. You will find that after a couple of seconds the cross will have totally vanished. 30.

(34) Put the lighter away and ask spectator two to hold their hand out. Place the card in their hand and tell them they will forget about the symbol they chose. Wait a beat ask them what their symbol is. They will tell you they thought of the cross. Turn the card over to show that the symbol they thought of has vanished, proving they never thought of anything. Wait another beat and then ask them to look at the business card that was placed in their pocket from the beginning. When they do they will find their signed card now has a cross on it right across the face. End Notes This is a very commercial effect. All you have to do at the end of the effect is put the ESP cards away and you are reset. There are a number of climaxes, each of which becomes more and more powerful. The actual revealing of the symbols is a very powerful moment, but when the last spectator’s chosen symbol vanishes the reactions are amazing. An important thing to note is that the routine should be done to the correct type of audience. A drunken bar crowd is not a very receptive audience for this type of effect. Likewise it does not make the best opener. However performed at the right time to the right group of people there really are few effects that are as strong as this.. 31.

(35) Psychic Paper Clip Craig Petty Effect. A packet of ten cards is removed from the performer’s pocket. The cards are held in place with a metal paperclip. The clip is removed and handed to a spectator to examine. The ten cards are then shown; each one has a different country on it, as well as the flag of that country. The cards are shuffled and a spectator picks one, which is placed face down on the table. The magician then tells the audience that the paperclip is psychic and can read minds. The spectator concentrates on their chosen country and the magician rubs the paperclip, at which point is turns bright red. The magician admits that he is not sure what that means so rubs the clip again and it turns white. The magician still does not what the clip is trying to say so rubs the clip one final time at which point it turns blue. Red, White and Blue – that must mean the chosen country is The UK as that has a Red, White and Blue flag. However the magician then realises it could be many other countries including France and the USA, which also have Red, White and Blue in their flag. The magician, now getting frustrated, squeezes the clip at which point it turns into a little metal star. The magician now realises that the flag must be the USA as the star must be a reference to the stars and stripes. The chosen card is turned over to reveal The USA. History My friend Russell Leeds and my business partner Ethan Mark created an unpublished elastic band routine, which has a similar premise. This is my adaptation of this routine but with paperclips. Requirements o A normal metal paperclip o 3 paperclips, which match the metal paper, clip in size and shape. The difference is one of these is red, one is blue and one is yellow. o A paperclip that has been bent into a star shape. In Staples you can purchase coloured paperclips that are different shapes, one of those shapes is a star and that is what I use. Make sure you use a blue star o 10 blank-faced cards with regular backs. On each one of these write a different country and draw a picture of the flag of that country. You want to have at least three countries whose flag is made up of red, blue and white. For patter purposes it also helps if one of the countries is China. o A lighter.. 32.

(36) Set-up This works really well as an opening routine as you need to be palming three paperclips in your right hand. Although you can get into this mid-routine it works better as an opener. Palm the three different coloured paper clips in the right hand. They are actually clipped between the middle finger and ring finger towards the base of the fingers. All three clips are stacked up and clipped together as a unit. This means the right hand can move freely but at any time you want you can pull the clips out your hand one by one. The bottom clip of the stack should be blue, which is the final colour you want to change the clip into. Take the ten cards and clip them together with the metal paperclip, place these in your left outside jacket pocket. In your right outside jacket pocket place the lighter and the star shaped paper clip. Working The Opening Procedure Bring out the packet of cards, take off the paperclip and tell the audience it’s a psychic paperclip. Hand the paperclip to a member of the audience and have them examine it. Show the ten cards to the audience, pointing out that there is a different country on each one. Also point out the flags on each card as well. As you spread through the cards spot the USA card. As you close up the spread cut it to the back of the packet. You now have two choices; you can either palm off the top card while having the spectator shuffle or false shuffle the cards yourself. I always palm off the card, as I like the audience to be 100% satisfied that the cards are fairly mixed. As I take the cards back I add the palmed card back onto the top of the pack. In order for the following force to work you need to have the USA card second from the bottom of a face down packet. To shift the card into the correct position, execute an overhand shuffle. Start the shuffle by milking the top and bottom card pulling them off together and then shuffle off. This will always position the card in the second from bottom position. Take into consideration that all this is being done while you have the three clips in right hand palm. To force the USA card you will now carry out the Fortune Force by Paul Hallas. Hold the packet in dealing grip in the left hand and start to deal the cards into a pile on the table. After dealing a couple of cards tell the spectator they can stop any time they want. You will find that if you deal at a fairly quick pace the spectator will stop after about five or six cards. When they stop point to the cards left in your hand and tell the audience you want them to remember the card that was stopped on. Look away at this point so the audience does not think you are glimpsing the card. As soon as you have looked away perform a block push off of all the cards above the bottom card and flip them over to apparently show the card the spectator stopped on. In reality this is the force card second from bottom. Tell the audience to remember the card and while you are still looking the other way rotate your left hand palm down showing the bottom card. Tell the audience that if they had stopped later they would have landed on a totally different card. Rotate the hand palm up again and turn over all the cards above the bottom card again. As soon as you have done this turn back round and pick up the top card of the packet on the table. Show the card to the audience, remarking that one card earlier they would have 33.

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