Dee Christopher - Proximity Effects

Proximity

Effects

By

Dee Christopher

CoverDesignby MilldLapse

Tabl

e of

Contents

Action= Reaction:Introduction Cold - The tele sthesi a Cards

... 3 4 TheBarnum Effect - ReactionEnhancementwithreading technique 9

WordsThat Go Unspoken - Impromp tu Boo kTest 11

TheSyntheticArcTechnique 16

SolitaryCon fe de rate . 20

Deviance-Vis ualPip Thru Window 22

Pr

oximity

Effe

cts

Acttone Reaction. Thisisn'tanewidea,butit'satits most rele vantherein magical performance.The amo unt you put into a performanc eisequalto theamountyou willgetoutin theformofreactionfrom yourspectators. Thisseemslike straightforward logicalthinking.It's asimple idea,but I'm hereto discussavarietyofwaysyoucancreatetheforce, ortheaction to triggerthemostoutlandish reactions youcanconceive.

Kenton Knepper discu sses in his book 'Mind Read ing' the things tha t mentalistsjust shouldknow .IhighJyrecommend that one should read this manuscrip t,aswithinits pages aresomeoftheclever est conceptsin the field of coldreading. ThereasonI mentionthis text isthatherewewillbe discussing somesimilar themes,but with relevance togeneralperformance of magic and mentalismeffects as oppose dtoreadi ngs .

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As one should learn fro m mistak es, oneca n also learn a gre at dealfrom serendipitous triumphs.

The idea I'm trying to put across is best illustrated in an example.Iwas performinganeffectwhereIwould tella spectato rthename of the cardthey looked atinthedeck. A simpleeffect, Iadmit-but withthe correcttheatrics a simple forcedcar d revelation canbeworth its weight ingold.

On this occasion Iha dtakentheideaofcontact mindreading and appliedit, Iwould seeming lydiscoverthevalueandsuitofthe card theymerelylooked atin thedeck(we'llcomebacktothislate ron,)byrealizing thefluctuations intheirpulse.

Atthebeginning ofthenightIwouldsay: "ThisisthehandyouwritewithSir?"

Iask thiswhenchoosing whichwrist tousewhenreadinghis pulse.However ononeoccasion(afterperformingtoseveralpeople)Iwas wit hsomevery receptivepeople andIreached down,tookthe irrightwristandsaid: "Thisisthehandyouwritewith,isn'tit?"

I foundthat-just bymakingthisassumption Ihad hitonareallynicesubtlety by completeaccident A vast majority ofthe publicwrites withtheir right hand,butpeoplecanfmdthe simplestthingstobeimpressive.Like Kenton's idea,you know things amen talistsho uld justknow.

I used this simpleaction throughout thenight from thispointand didn't drawanyattention toit myself.Iftheydidn'twritewith theirrightha nd it didn'tmatter as becauseofthe waythe phraseisworded itcouldbe takenas aquestionorastatement.

Sometimespeoplethought nothingof it,but moreoftenthannot,someo ne watch ing orthe spectator who's helping in the effect would notice little subtletieslikethisand these arethelittlepiecesthatmakeup thebigaction. This actionistoprovokean equallyimpressivereaction fromthe spectators. Themor albehindthisanecd oteisthatyoushould pay attentiontotheway youraudiencereactsto everyelementofyour performance,sometimeswe ad-lib linesoractionson the fly whichca n beinvalua ble to our overall reactions.Ican honestl y say thatI havecome across some very powerful sub tletiesthisway,asI'msureyouwill too.

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Co ld -

The Telesthesi a Cards:

Ichosetoincludethis effectof mine asit includestheusage ofword ingas in the exam ple above to a greaterextent. The same wordi ng allows you to retrie ve information from a specta tor's reactio n to the sta te ment, thus appearing youareread ingtheirmind.

Eff ect:

Thedeck is shuffled,5cardsaredealtoffinto apile on thetable or intothe spectator's hands.Thespectator merelyTHINKSofone ofthese.Thecardis never touched, selected physically,written do wnorspokentoanyone. Themagicianeerilyrevea lsthespectator'sTHOUGI-IT OFcard,thefirsttime thecard's value isspokenisfrom themagician' slips.

Set - up:

There isn' t much set up required , The effect could be performed with a borrowed deck -however, it's a lot easier to pre-load the 5key cardson the top ofyou rown deck.

The5key cards are: 6 of hearts

Ace of clubs

Queenofdiamonds 9ofhear ts

Jack ofspades

Ifyou useBicyclecar ds,havethejoker with theace of dubsunder his foot in you rpocketorleaveit in the ca rd box.

It is recommende d tha t Bicycle ca rds be used for this reason.Impromptu presentationsare included la teron.

Method :

Thiseffect uses a clever wording technique used more commonly in cold reading or book teststyle effects. Certain wording is used to retrieve the val ueandsuitof the card in an inconspicuousway.

Thedeckisset withthe 5key cardson top, youcanshuffle andcu t thedeck as much as you like as lon g as you retain this top stack intact.You could even palm off the keycardsand havethe spectatorshuffle the deckbefore repla cing themon top.

Oncethe ca rdshave been'shuffled' you must deal offthese 5top cardsonto thetable,barorsimplyonto the spec tator's waiting hands.Todealintotheir han ds is a good technique to get them involved, as a little conv ince r. Alternatively, why not ask yourspecta tors to deal off5cards - again ,the more the spectato r doeswiththecards thebetter.Even ifyou tellthemexactly whichcards todeal, because they're the one's who have dea lt them out it ap pears much fairer .

Youask yourspectator to pickup these 5'rand om' cards and just look at them.You couldhimaro undat this poin t-youdon'twant tosee the cards

theyhave chosen.Ask the m tocommitoneof themtomemory.Thenshuffle all5back intothedeck.

Now the spectatorhaschosenonecardoutofyoukey5. Tothem andeveryone elseit willappeartha tthey' ve simplythought ofonecard outofthedeck. You turnbackaroundand lookthe spectator in theeyes.Her e's when the scriptingbeginsto discover thecolourandvalueofthecard .

Youbegin to getanimageinyourmind, orso yousay.

"I'mstarting to getsomething,itsratherhazy -Yourcard'sIIotIIred card.isit." Theimpo rtancehereisthatthestateme nt'yourcard' snotaredcard,isIt.' can betaken aseithera questionorasheerstatement.Thisisa very basic, butvery effective principleusedoftenbycold readers and mentalists. You must becarefultosaythewordinginavery neutralway,so yo urspectator cantakeithow is relevant tothem.

Sofromherethey canans we r oneoftwo ways: "No,It's1I0t."or"Yes,Itis."

If thespectatoranswers 'No' then youhavejust made yourfirsthitstraig ht off- they willstart to get alittle freaked out as it's pretty eerie thatyou mana ged toguessthat.

Ifthe specta tor answers 'Yes'don't worry, you'vestillmadea hit-it just seemslike you've askeda casualquestion.Don'tforget theythinkthey are thinkingof anyoneof 52cards-not justone offive!

So,nowyou knowthe colourof thethoughtofcard. Redorblack, sonaturally now wecontinuetofindoutthe value .

"l'm starting to getallimage,apicture - YOllrcardisn'ta picturecard,isit."

Agai n,the sameprincipleisused - Itcouldbetakenas eithe raquestionora statement.Trynot tothinktoomuchaboutitasascript, it seemsreallycheeky butno onewill have any ideaofwhatyou're doin g.

"No,it'snota picntrecard."

"Ah,yourright.Isee now.It'sa joker, theimage I'm seeing. You see,in every pack ofbs-yclecerdsthereisonecardunderthejoker'sfoot (you bring out thejoker).This card istheaceof dubs! This is yourcard?"

"res,

You'vejust madea HUGE hlt, it's theblack pictu re card,SOboth of the sta tements soundlikesheerstatements,turning youintoamind reader! So youwillsay:

"Yes, it's startingtotakemoresllapt /lOW.1I'saroyalcard, aspode :Olltof aI/52, tireCIIrd yor,merelytllOllg/ltof istile jackofspades!"

Ifthe card isRED,youshouldanswerasfollows: UNo,it's110ta picturecard."

UNo,YOllrrigllt -it's still alittlehazy.Tilepipsareall blurringilltOone,soltoanted tobesure(there's yourgetOllt clause!).1'11/seei/lg a heart,a 6 ora 9.AmIa/lyUJllLrt' close?"

Becausea 6 and a 9 areso similar,andobviously yourvisionscometoyou in variousform sit's easy to understand youmay see the shape upsidedown. Another sneaky trick,but who'scounting!

"Yes,itisapicture card."

"Yes,it's becoming clearer/lOW.1'111 seeingdiamonds-bllt 1101 jvst thesuit. 1'111 seeinga qlletll,cornet IIIe

if

Bo rrowed deckvari ati ons:

This effect is really nicely done with a bo rrow ed deck, as it's a pretty impromptu trick. Aslong as youcanget5 cards uptothetop yoursorted. The onlydifficultiesare that you mustensure that allthe car ds areinthe deck, somepeopledon't takemuchnoticeif oneor2cardsaremissingbecause all theyplayis snapeverynow and aga in.Always ask -Ifthey thinkoneor

2 may bemissing,it's theperfectexcuse tobring outyourfulldeck~to make things evenharder for yourself,orso you say . In reality,you haveallthe cardsreadytogoonyourdeck.

Iftheydo have a fullpack haveaskim throughtolocateyourkey ca rds,feel freeto do one or two warm uptricks before-it'llgiveyoulotsofleewa yto get the ca rds up tothetop.

Theonlyotherthingisthe script ing forif they choose theaceof clubs.A way aroundthisistodrawalittlepictureof theaceof clubson thebackofyour busin ess ca rd and haveit inyour wallet atalltimes,or quickly scribblea quickpicturebefore performanceandhaveit inyour pocket. Thenscripting willgo asfollows:

"No, it'sllOta picturecard."

"Ali, yourrig/lt- I see/lOW .I'IIlcatcllillg tire remuall ts of alittle pictureI sketclied

earlier;Iwasll'tsurewllat itwas atfirst.But I'd likeyou to I/Uve alook at it." Youbring outyourpicture oftheace of clubs.

"Tile ace of clubs.Wasthat your tllOllght of card?" Final Notes:

Sothere'sthebasic script to createthislittlemiracle.It's something I devised when trying to come up withanoforcethought ofcard revelationthat doesn't use gaffeddecks, etc. There' s stilla force involved, butbecausethe spectator justtakes ajumbled pileof a few randomca rds and merelyTHIN KSofone of them ,it's stillextrem ely powerful.

Thereare various waysto enhance thefeelingthatyou are readingthemind ofthespecta tor.You'llnotethatthrou gh the scr iptI haveexaggera ted the freedom of the spectator'sselection, as far astheyare concerned theyhave effectively just thoughtof acard outof a fulldeck and thisiswhatwillbe relayed when theword about your'powe rs' is spread.

The Barn um Effect - How To Enha nce Reaction s Thro ug hCold Readi ng Technique:

The(P.T.) Barnumeffect isthe namegiven to apsychologicalphenomenon in which aspectator orsomeone who is being 'rea d' finds ch aracteristics aboutthemselves or their pastexperiencesin very vaguestate m en tsspoken bythemagician or'reade r'.

P.T.Barn um wasa circusperformeroftenregardedasone of thebestmind read ers of his time.Thisis atechniqueheoftenused,hencethereason they namedthistechniqu eafterhim.

This is the way thatTarot readings work,or horoscopes in your favorite newspa per .This is also the way that claimed psychicsoften prove their powers; sometimesnot even realizin g wha t they are doin gisjust extensive generaliza tionofpeople'straits.

Think abouthow using techniques like this could build upon yo ureffects demonstrations.Inabooktestsitua tion, imagine revealing thingsaboutyour volunteeras well astheword they chose from thatbook.May beyou could build up a reason why they would choose such a word, it's relevance to something that ha ppened to theminthepast,or maybe insec urityor trait' theyfeel conscio us about. Ofcoursetheword theychosewasa force,butif you aregoing to force a word why not choose the right word to'forceto makealmostafuJI readi nga possibility.This could giveway to a multiple kickereffect-imagine your spectator's goingaway saying;

"1chosethe word'walltillg'beCall seofthatpromotio n1'//1goingforandhepllllcdif

n'g1lt out of my head -andhetoldmeI'dchosentilewordbecauseoj achange I'm

10llgillg for atthe moment,my promotionobviollsly.1don'Lknow IUlUl hecould

knourthat aboutme!"

Natu rallythat'sa fictitiousexampleincorporating thesimplestof ideas.In this exa mple, the magician would have told the spectator the reason that wordjumped out at themor wasmoreprominentwasduetoachangethey have been working to wards recently which made them pick that word subconsciously.

Take no te ofthe way I've written the above statement, to anyonein the

aud ienceitwillsound asifyouaregettingthemto verifyyouraccuracyin the reasonthey chosethatpar ticularwordfrom the book.In realityyouare

merely askingthe spectatorif thereissomethingthey wantat themoment, which natu rally theanswe r isgoing to be a positive,aseverybody wants

somethingatanypointintime. Itmaybeapromotion at work,to winthe lottery,toovercomeillnessorevenforworldpeace!

Alsothereisan importancein theway ithasbeenworded. Forextrasecurity

ingetti ng theansweryouwantthereistheuse ofsugges tion. 'I'mcorrect;' and'Thereis'arebothsta tementsthatsuggesttothe spectator thatthey should

sayyes,you aretellingthemthatyouare correctandpeoplepick up on that subconsciously.

Anotherbonusinusin gthis kind oftechniqueon stageisthatpeo plewill

genera lly feeltense and won' t want to messup and makeafoolofthem selves.This often works wonders, asthey willtakesuggestionswithapinch ofsalt,soto speak.

Evenifthe spectatordoesn 't feelitapplies,therest of theaud iencewill think

itdoesastheyhaveprovided apos itive answertoyou rstatement.The best waytofindouthoweffective thisreallyis wouldbeto workitinto aroutine of your ownor use itwhenperfo rm ing'CoM:

,

other sim ilartechniques itwillbecome simpleto use these on thefly. For

instance,it'squitepossible youuseabook testwitho ut aforce. In this case

it's quitepossiblethat they willselectaword thatyouwillbeable todra w somethingrelevantfro m.Generallyyouwillwantthem to selecta word5or moreletterslong,howmany wordsof thisdescriptioncanyouthinkof that

doesn 't hold some value orcould beinterpreted in such a way to hold

relevan ce.

Try reading further into the methods ofcold reading and suggestionas

applying simpletechniques canemphasizeyourmagic/menta lism's effect

and rea ctionstenfold.

WordsThatGoUns poken - Imp rom ptuBookTest

HereI have included asimple booktest I devisedinwhich one mightuse

Barnum'stechniqu eto expandintoafull reading.Thisisaforce dword book test;Ioriginally designed it forimpromptudemonstrati on.

Effect:

A book is selected from the shelf of a store or from the spec tator's own possession.Themagician proceeds to flickthroug hthe pages to show that theyarealldifferentandcontaindifferentwords.

He explains tothe spectator thata pagenu mber will bechosenat random and thathe(themagician)will thendivin ethefirst substan tia l wordon that pa ge, he goes throu gh a few examp les of this to dem onstrate how the

experimentistobecarriedou t.

Thepageischosen, either bymathematical sumorsimply byflickingthrou gh the pages and askingthespectato r tocallstop at anypoint.

The magicianthenslowlyandmethod icallyrevealsthe first substan tial word on that page with the utmost accuracy -If the page contains a pictur e,he could also revealwhatthisillustratesor thecaptio n. . Set-Up:

Thereisno setupinvolvedhere;itisultimatelya very simple practicalway of per forminga booktest experimen t with a randombookatanytime,in any environ men t.

Method:

Thereare twoparts to this method that are keyin crea ting the illusion of

remoteviewing.

Thefirstisapeek,orglimpse at anypageroughlyinthemiddle and mentally

notingthefirstsu bstan tial word on this page. For moreadvan cedperformers,

it'sworth not inganyotherkeyinformationonthepage,forinstance: ...Apictu re

...The captionthere of ...Alarg equote ...A gra ph/ table

These canbeusedastoolstoenha ncethefeelingthatyouarereallyremotely view ingthepagethrough thespectator's eyes.

Thepeek atthepageisareallyquicklittlemot ion that's easyto practiceand

becomesasecondnature.Duringtheeffectdescriptionyou'llnoteI mentioned the magician running thro ugh var ious pages as a demo nstrationof the procedure.Thisiswhere the peektakesplace.

Asyou run throughthree orfour examples,peek atan extra pageinabout

the middleof thebook.Thiscanbedonewhiletalking. youcould alternatively

lookattheleft pageon thespreadand mentionthefirstwordonthat page andbeforecarry ing on, notethefirstwordoftherigh thandpagewhichyou

willforce.

Ifyouwouldrathernot run throughthebookgivingexamples,youcouldat thebeginn ing of the performanceflickthrough the book and note apagein

themotionofexaminingthebookanicelittlephrasetoquotetolightenthe mood is:

"You'resure ithas all ti,epages?"

This givesyou areasontobeexaminingquicklythecontent,andnomatter wha t theyreplyrespon d positively andcarryon with the experiment. The Force:

Now comesthepoint where yOllhavefoundyour word,thefirstsubstantial

wordon any onepage.Let's assume you havefoundtheword"Ha ppened"

onpage112.

Thereare vario uswaystoforcenumbers,Ifindthatthe eas iestway istotake

yourdeck ofcardsand locateacoupleofcardsthatwillrelatetoyourpage number.

This ca nbedonein the sameway aslocatingthewordspokenabove.You will runthroughthedeckdemonstrat ingtotheonlookers thatallthecards aredifferent,allyou havetodo isfinda coupleofcardsduringthis. Thereare fourof everycardSO itshould n'tbetoomuchofa stretch, itusually takes me about5-10seconds.

Trynottothink too much aboutit,forthepage112, you wouldbesensibleto findan ace and aqueen(1 and 12,respectively).Iwouldchoose theseovera jackand a 2for insta nce as you rea d thenumber"One-Twe lve", however

whateverhooks you mayusewill dofine.

AUyou have todonow isforce these 2 cards us ing a simple card force,I wouldrecommenda slipor riffle forceasthismakes sureyoucut thedeckso youcan literallyjust dea12 cardsout.

For othe r meth ods of forcing,tryreading "Anneman's 202ForcingMethods". Whentheselectionsareinthehand s ofthe spectator alwa ysmake sureyou maintaincontrol,make sure YOU say:

"All ace,Wllicll isequalto 1anda queen,iohich:isequalto12 -wouldyouliketo

tumtopageene-tuxtoet"

By sayingit one-twelve, itmakesit sound muchmorelogical.Practicewith otherpage outcomes.

Ialsomen tionedthatflicking throughthe pages andcallingstop is applicable-. Thisisjust the usage ofa simple riffleforce (mo recommonly used incar d magic) toforcethepage. Nomatterwhere they callstop during.yourriffle, alwaysstop on yourforce page.

Ariffleforce canbe a good methodto emphas ize thefree dom of the choice, anditmeans you candothis effecteven whenyouhaveno cardsonyou. PsychologicalForces:

Aperfect psychological force for booktest use isthe 37 force.Ifyou ask someo netothi nk ofa 2-digitnumber between1and SO, where bothdigits are odd and bothdifferentfro moneanother, thereisabig chance they will choose37.

Ifyouwish to have extrasecuritywiththis technique, youshould notedown allthe possibleoutco mesofthisquestionandgatherenough booksso that you have one bookon yourtable for each outcom e. Youcou ld writethe relevantword fromeach bookonabookmar k orthe backofthebookitself if youdon' twish tomemorize eachoutcomeand relevantword.

Whensomeoneanswers with anumber,simp ly'pick abookatrando m'and askhimorher toturn to a page - whenrecapping,yousay:

"YOIlselected litrandoma page froma ralldomlyselected book,IIl1deoenunder these impossiblecondinons- Olltof tileTHOUSANDSof wordsilllidsbook yOIlfreely selectedone word. IunilnmnIn)alldditnnetltis word. Thisisthehand yOllwrite

unlh,isn'tit?"

Uyoudon't already,Isuggestyou pickupa copy ofBanachek's'Psychological

Subtleties'or the successfulfollow up 'PS2'There is a wealth ofinformatio n onpsychologicalforcing in boththe volumesand they are staplereading for anyperfor merinterested intheuseofpsychology withinmenta lism. Makingitreal:

Fromhereit'sallshowmans hip really,you havehadyourspectatorturn to

yourdesired page andyou are aware of the firstsubstantialword on that page.Youmusthoweverbesurethatthey chooseyourword.

ThebestwayIfindisto takethis script,assumingthefirstfe w wordsare: "Andasithappened"

Andyour word is"happened " you willwanttosay:

"IWlllltyOIltolooktothefirstselltellce011

tne

To your spectators this isa fairenough patter- revealingthe word "it" wouldn't makefor a very impress iveperforma nce now wouldit!(Feelfree torationalizeusing thisreason.)

Ok, so your spectator has yourchosen word in mind.You will then say somethingalongthe linesof:

"YOII've got olle?Falltastic - would yOIlliketoclosetilebookIlOWandstepfOlWllrd ? Could I takeYOllnorist?"

You takethespectator'swristandlook themdirectlyintheeye, youmay ask for silence,but generallyit'smo re powerfulwhenyoulettheaudiencefall quietoftheir own accord .

"(Slawly) I'mstartingto catch sometllillg-It's jllsta jllmbleof letters, it's quitea sizableword is ituott"

We already know this - youasked them to choose a sizable word,but in differentwording. Simple thingslikethis can help tobuild themood and impression thatyou're just catching a glimpse ofsome thing, thatyou'r e confide ntin your'powers: butatthesametimerealizethat youcould be mistaken.

"I'mseeing all'H'. Isthereall'H'ittYOllrw ord?"

Obviouslythey willsay yesastheyhave selected theword"H appened". "There'sdefinitelyfl"P"illthere-I'mcatcl/iugtheletter"P"very strollg ly,perhaps there's2?"

Tha t's where theybeginto freak- always act asifyou justhave inkling

-you'rejust'drawn' tocertain lette rs.Itmakes it appearfa rmoregenuine and buildstension.

"It's comillgtogether110 10,alld"A"isit'Happen'?No,it's 'Happened'! Ollt of the thousand s of words ill tllat book, off YOl/roum sllClftheaileword you merely· THOUGH T of is theword'Happened'!"

FinalNotes:

There 'sthebasic effect, likeI mentionedearlierthis couldbe expandedupon, dependingon howmuch information youcan process duringthe flicking

period . Anideaifyou wish torepeatitagain istonote2wordson 2pages

duringtheflicking.

Forthis youwillneedtonotethefirstwordasmentioned above,andfor the second word you could loo katasepara te page say page214 onwhich the

keyword is"marching" and whileyou are notingthis say: "And0/1page18 7, thefirsteubstantia iword is'doomed'."

Say a pagenear by to the actual page,and invent a random word which

couldbeonthispage -The specta torcan'tchoose thatpage, sodon'tswea t whetherthewordis eveninthebook.

Don' tbereckless however,there'sno real need torepeat aneffect liketh is-it'sfarmorepowerfulasingletime.

Todemonstrate yourpowersfurther,useadifferent effectthat invo lvesmind reading.Or maybeeven explainthatthe effectisachievedthrough noncontact

mind read ing andthen doacontact mind readingdemonstration-a pulse

I

muscle reading effect for instance,you canexplain theworking behind a contacteffectasitisscience-itcanbafflespectators eve nmore than some

thingtheycanput downas being just a'trick'.

Havefunwiththeeffect.I have not designedit forstageuse, though it would

work inanyenvironment,I have designed itfor a casualdemonstration at somebody'shomeormaybeina bookshop .Somewherethatsuch aneffect

wouldusually be verydifficult to pulloff,unlessyoucarry your favori te-gimmicked booktest everywhereyou go!

ForStagedemonstrations, youmay prefertouse yourgimmickedbook test. Here,however,isa great littleeffectthat'svery organicand simpletodo, which leaves you lots of timeto concentra teon theother aspects ofyour performance tobuildtiledesired reaction.

This effect would also work perfectly with LukeJerm ay's 'Burst Bubble Suggestion: that waythespectatorcould actua lly FEELthe word leaving their headand coming into yours.Thisis abrilliantsuggestiondescribedin various publications ofLuke's and alsoon hisDVD"Skuld uggery" thatI would highlyrecommendto anyone!

"'

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TheSynthe tic Arc Bend- The Non BendingSpoon Bend

We' veallcome across cutlery wejustcan'tbend.It'smadefromlonglasting,

hardenedsteelforged in anoldenVikingcivilization in Norway hellbent

(forgivethepun)ondestroyingthelivelihood ofthemetalbendersamong us.

Snapping back toanamo untofreality,ithappens -andit'snot alwayseasy

to getoutofa demonstrationlikethat.Itend toca rry arounda bent l0pence

piece so Ialways have someth ing I can bend whensomeo ne asksfor that

Theclosest thing sofar that Ihave found to counte rsuchcircumstanceisthe absolutelyfantastic"GaUer ian bend" created bytherenownedErickCastle.

Ihighlyrecommend purchasin gtheDVD.It'sahighly visualbendand is as

impro mptuasitgets.

Theonlydownsideisthat youdo stillhave tobend the spooninyourhands, which withsome spoons / for ksis animpossible task. So,I've setout to

create a visua lspoonbend(orfo rk bend -I fee litactua lly looksbetterwith forks!) where the spoonnever actuallybend s.

Thisis ametalbendi ngrou tine geared towardsthe perfo rmer whoiscaug ht

offgua rd;ifyoucanusearoutine where thespoonactually bends Ihighly recommenddoingso. Whenthisisnotpossible,thisisthe only routine ofits

kind.

Method:

The bend is based onamove taught inErick'sGallerianDVD,but inthis case the spoondoesnothavetobebentfor the visua lbendi.ng.

Uponstudyingtheshapeof aspoonorfork, you'llnotether e is alreadya slightbendas the metal formsintothebo wl of thespoonorthetinesofthe fork.

Youshouldholdyours poon(orfork,fordem onstrativepurpose, we'lluse a spoon)over thebowl,so thefour fingershide it.This is so that when the

spoonisrota ted forward,it appear sthatthebowl staysinthe sameposition.

Using positive linguistics - youcantellpeople that they 'can' seethe spoon bend.Howeverthis isnot thebest techniquetouse.I willexplainsuitable

suggestivetechniquesandemphasislateron.

Thelittle bendshould bevisible,as should aboutacentime tremore.You'll notice thatifyouuse yourthumbtomove the hand leforward, inthemotio n

itis bending,becausethebowlishiddenandthereflection ofthelightofthe bend it really looksasifthe hand le is bending.Practice this in front ofa

mirro rto perfect theillusion-it's alloptics.

The only problemvisually isthatifyouwanta nicenoticeable bend,youwill

begin to see your thumb pok ing out from behind your hand. You are essentially moving your finger and thumb in a slow moti o n fingerclick mo tion.

Tohidethe conspicuousnessof thethum b, youwillwan t to wave your fingers infront of thebend-ina similar motiontoifyouwereru bbi ng the bendto soften it. I find it looks more impressive to waveyourfinger abouta hal f

inch in front ofthe spoonas it looks much more magicaland itgives no

feasibleway foryou tobebend ing the spoonas you are holding itinone

hand.

Fina lly, be carefulofang les,natura llythe effect mustbeperforme dheadon

asatothe rang lesit is possible tosee what is happeni ng. A way to coun ter

suchdifficultiesisto workonthepositioni ng ofthearmsto obstructanyone elseview, sothey canjustseethehandle.

"Straighte n ing"thespoon:

Obvio usly, thereisnowaytohandoutyour"bent"spoonforexamina tio n, so you must straigh tenit outagain.

This cansimplybedone insucha way, as youwould normally benda spoon

backtonormal.

You sho u ld practice the motion in a mirror witharealbentspoo nso youcan

seehowitnaturallylooks.Then move onto practice with anon-bentspoon,

doingthe "bend" and then"str aig htening" the spoononce more. linguistics:

Thewaythis effect isperformed rel iesheav ily on the show manship and the patter.Ifyou believe thatthe spoonis bend ing andusepositive suggestion,

SUGGFSI'INGtothe spectatorthatthey cansee thespoo nbending,tha t it' s

incredible and the like, they WILLsee the bend ha ppen, they willfind it incredible and won' t question whe the ryou ractu ally bending the spoon or not as they have thesuggestion matched withthevisibleaspectof the trick. A key idea likeI mentioned earlier isto not tellthe m directl ythe spoonis

bendingNOW.Introdu cethetrick asametalbending featby allmea ns,but

never atonepointsay"Thespoon is bend ingat thismom entintime."This allowsthe spectato rto seeithap penthe mse lves, they expectthe spoon to bendand ifyou gazelong enough intothat littlebend it ap pears todee pen, itsjust youreyes go ingoutof focu sin reali ty.

So ratherthan say"it's bendi ng, look!" gofora"Watchclosely, yo uWILL see it happen- sometimes it happensfaster than others butyo uwillsee it happen." Thenas theybegintoreactchangeyour patter ,"See,thereitgoes (suggests movem ent), You cansee it - Watch closely (allows eyes to get confused)"

Atthispointthe spoonisapparentlybend ing; youcouldevengo as farasto beginwith thespoo nin the spectato r'shands - if theyclencha palm upfist around the spoon and slowly release their grip it feels as if the spoo n is moving. This shouldonly reallybe used afteranother effectinwhichthey have got into the swingofbelievingand taking yoursuggestio ns. Yo ucan then goontotheopticspa rtoftheillusion.

For information on suggestionand particularly thatwhichappliesto metal bending,tryKentonKnepper' s "The MiracleofSuggestion."

When it co mes to the spoo n being bent, allow thefact to sink in, then immedia tely explain how the spoon's particles partallow ing for a flexible substancetomanifest. Thisishow youbendthe spoonback - thenyoumay handthe spoonout toaspectatorsay ing :

"YOlitn) and bendit-wi thout the correctmindect,it's "earimposs ible!" By sayingnearimpossible youclearyourselfifyouhavean incr edibly strong manto whomyou handedthe spoon whomthen proceed stobenditoutright. Also, sayingwithout thecorrectmindset sugges tsyou bent the spoonwith your mind .

Ifyo urstrong man doesmanageto bend the spoon, take itwith a pinchof salt;lightenthemood by sayingsome thing like:

"Now tn) itwit/lOu t tile otherhonat"

As thisis exactly whatyou did - it creates a perpl exing puzzle for the onlookers,andyourstrongman!

FinalNotes:

LikeImenti onedat the beginn ing oftheexplanation, ifyou can bend the spooncomforta bly,do so.Thisisaneffect desi gne dto counter thespoonsor forks we cannotbend.

Thefollowi ngtwo routinesare in aslightlydifferen tstrainfromthe former

effects.This nexteffect beinga niceanywhere,anyti me(aslongastheprops

areinyou pocket,)twist onthe ca rd throughwindow plotwe haveallseen

so manytimesbefore .Myidea wastoputonly an amountof the card throu gh

thewindow,leavingthe spectator with a reall ynicelittle souve nir.

•

•••

Devi ance- Visu alPip Thru Wind ow Effect:

A spectatorselects acard and signs the face - the card theyselectisfully exam inable andhasnoga ffs.

Takingthespectator'ssignedcard , the magiciandraws attentionto a glass

door /window/pane ofglassand asks the aud iencetowatch carefully.

The card is slap ped again stthe windo w and oneof the pipsflies visually

straightthrough the glassin tothemagician' swaiting han d.

Preparatio n:

Preparatory materials:A deckofcards, a duplicate of oneof these cards(4H in thisinstance), a sha rpcraft/ Stanleyknife.

You mustfirst remove one of thepipsfrom the duplicate card (figure1);I tend tochoose eithe rofthe red su itsto workwith,asthe pipsshapesare

muc hsimplertocu taround. Alsoit's an idea touse fou rsas the pipsare

evenly sp read and it's easy to cover amissingonewithyourthumb.

Hea rts and diamondsare simplexshapes whereastheclubs andspades can

bedifficult tocutaround withoutmutilatingtherestof the card.

Thisis yourgaff cardandyourpip-the ca rd the spec tatorwillsignandthe pip, whichwillbeseen totravelthroughthewindow.

Then you must set upthedeckas so;

•The gaff, pipless cardonthebottom ofthedeck,

eThedupli cate. Norma lcardon thetop (readytoforce),

e

stoleneas ily.

Thisis allthe necessa ry set-up for the effect,youcould even use thisasa

finisherto acardroutine-if the gaffandduplicate cards arepocketed,they

couldeasilybeadded tothedeckwithsuitable misdi rectiontechniques.

Alterna tively,it's afantastic effectto openwithasyouca nhave yourcards setas youwalkuptoyou r'victim'and performareally sharp,visualeffect

to grab theirattention.

Sle ightsNeeded:

This effectco mprisesof afewreally easy moves,butoncethe basicconcept

islearn t itcanbeexpanded upongreatly-Iwillshow youlate r onabonus methodtopenetr atethepip into a wine glass.

Themoves areeasy tograsp, butmake sure you practiceuntil you have all

themovesdo wnand flowing.

The Sli p Force:

Any force canbeused togetthe spectatortoselectthedesired card,but my

prefer red fo rcefor this effectistheslipforce as itlooks likeaveryrandom

selection,italso getsthe spectatorto physicallytouchand hold thecard in

theirhands.

WithaneffectLikethisit's veryimportant the specta torhasthe cardintheir

handsand then thereisnofeasible way fortheca rd to become mutilatedlike

With the selectedcardonthetop ofthedeck you hold the cards inalefthand mechanic's grip.

Youaskthe spectator to stopyouas you rifflethroughthedeck(figu re 2).

Figure.If.3

Whe n theydo say stopyouhold still.Ma kesu reyouask them iftheyare hap py withtheirselection, or if they wishtocontinue the riffle.This is an extraconvincer- ifthey think you'vestop ped in aspecific place foryou to continuethe riffle,choose a differentcardandstill dothe effectwillbedoubly imp ressive.

When theyare happy with the space you've stop ped at astheirselection, you need todoaspecialmove ~thisisthe slipin thetitle. • Youhaveyourforceca rdon the top of the deck and youwant it inthe mid d le whe re they' ve stopped, the top ofthe bottom packet, Soallyou havetodois liftupthetoppacket,as you would ifyoureallywer e getting themto choose a card fromthe centre,but reta in the top card withyou r thu mb andslip it onto the bottom packet.(figure2)

You askthem totakethe cardthey' ve stop ped at-it'saniceideato say"Ok, so if you'd like totakethe card youstopped at," orsomething alon g those lines,justas an extra conv incer.

Now theyareholdin gtheduplica teoftheplplesscardand canexamineit to the irhearts content,as itisjust aregular card!

TheReverse Glide:

1wastau ghtthismovein a magic sho p inLimerick,Ireland ye arsago but

r

wasnever sureon whatit was called-ifind ee d it had a technicalname.

I feltthebestway to describethemotion is a'reve rseglide' asa glidemove

istoremove the secondfrom bottomcardasthe bottom card.

Thismove istoactasif you're puttingthe cardon the bottomof the deck,

when rea lly you're slid ing it insecond from bottom.

You willtake the ca rds in a left hand mecha nic' sgripagain and withyour

righthan d takethe spectator'sselection-Ioftenletthemknow thatitdoesn't

matterifIseeit as so me canbe quitegua rd edabou tyou findingthevalue of

theircard.

j

.

.

~

Figure4,15

Withyo ur leftforefinger,gentlypulldo wnthetop rightco rne r ofthe card as

in the photo(figure4).

This givesyouthespaceto slide the cardinasifyouwere justputting itonto

the bottom ofthedeck, when the cards areturned face up after this moye

they seetheface of theduplicat eptpless card so think nothing of it.

Whenyo u holdthedeckfaceup,it'sagood ideatotry andkeep themissing

pip covered - try and be loose and naturalabout it however.The card

und erneathhasthesameprintsothe cutcard isonlyjust visiblein ve ryclose

The Signa tu re:

There is nofun nymovestogo onwhile thesignatu re is madeasit's go ing stra igh ton to the gaff card,but be carefu lto coverthemissing pip at this pointasthe spectato ris lookingcloselyat thecardto sign their na meacross theface .

TheFlick Move:

You needtoslide the signed gaffcardfrom thebottomofthedeck withou t revealing the du plicateundernea th it. Ifind the easiestwaytodo thisisto flip the deckand withyou r right mid d le fingerslide the card offfrom underneath asinthe photo (figure 6).

Figu~6/l

Make su reto useyour thum btohidethemissingpipatthis po int and hold theca rd byjustgras ping thatcorne r.Thisgives you themaneuverabilityto show boththefrontand backof thecardeas ilyandgetinto thepositionto performthe flick move.

Holdthe card as sho w n andthen move you r fingersuptheback ofthe card so youareabletoholdit withaslight bend as in the photo(figu re5),this bend is importan t as it providesthe velocity to 'slap' the card against the window.

Hold the cardup to a windowand thensqueezethecardgentlybetween the two endsandreleasethepipless endyou'rehold ingwithyourthum b.This willcause the card 10 rotatevertica lly and slap the window revealing the missing pip,toany specta tor itreally loo ks as if a hole hasjust ap peared visually in the card-at the same time youshou ld performthe 'd rop' move.

Figure8/9

TheDrop Move :

Whenyouslide the signed card fromthedeck placethedeck away inyour

pocket orona table (ma kesure no-onecanseethe duplicatebottomcard,or

do aquick onehandcut ifyouliketobedoubly sure l],you will then want to

dra w attention to the nearby windo w / glass door or what ever your penetrating.

Asyou dothis youwillwant to stealthepipfro myo ur pocket, or where ever

you' vewaxeditto.Dothiswithyo urleft,freehandandslip itintoa"Tenkai' .

palmposition(figu res10&11).

Figure10/11

This isdemonstratedinthe photo (the first picture isthespecta to r's view,

thesecondisthetop view),but look up theTenk aipalmonthe net orsearch through your oldcard/coin manipu lationbooksfo r furtherexplanation.

An alternativesleight touse here is the Cos hman pinch, though Iwould recommend the Ten kai for easeof use and angles sakewhenbringin g you r hand aroun d theotherside ofthe window. Whenon the othe rsideofthe windowthe Cashman pinchwillallowyou to spreadyour thumb wide like the other fingers,butusewhichever is most comfortableto you .

Thedrop isperformedwhen youslapthecard againstthe window(thecard hol d ingthepip ison the othersideof thewindo w ).

As it hits, youjust dropthe pipfro m theTenkaiintoyour waiting palm.It looks tothe spectato rasifit' sjumped from thecard(w hich now hasahole in) into yourhandonthe othe rsideof the glass(w h ich was previous lyshown tobe'empty' )

You can now hand the specta tor a grea tsou ve nirofyo ur perform ance ensu ringyouwillbetalkedabouttofriends.

Recap :

.. Caffcard on bottomof deck, Duplicate on top,pipin pock et orwaxed elsewhe re.

.. Forceduplicate .

.. Reverse glidetoslideundergaff. .. Turnoverpackandaskspec tatortosign.

.. Slideoff signe d card and dum p deck in pocketorontable. (Makesure missingpipiscovered.)

..Drawattention towindow ortothesign edcardwhileyoustealpipfrom pocketandslipinto Tenkaipositio n.

.. Mov e you r hands eithe rsideof thewindow andgetreadytoperform the flickand dropmoves.

..Askspectato r to watchcarefullyandexecu te themoves so itap pea rs that the piphas penetrated the glass.

FinalNotes:

That's howto perform my visua l pipthrough windoweffect,I'v efoundthat inthecorrectcircumstanceitgets great reactionsandis perfect whenpeople ask;

"Canyou puta card through a window like Davi d Blaine! Criss Angel! PaulZenon! This guyonTVdid?"

Nowyoucanshowthem something even moveimpressiveby putting par t ofacard thatthey'v e verified isrealand signed througha window in the mostvisualmanner.

Iwishyoueverysuccesswith the effectand hopeyou havefunwithit; itisa great little effectand reallydoesbaffleonlookers.

Bonus Effect:

Sauvignon Devi ance - TheWineGlassPenetratio n:

This isto havethepip penetra teintoa wine glass,oranyothe rtype of glass forthatmatter.The set up is just the sa me,as isthefirst part ofthetrick -howeverinstead ofslipping the pipinto a Tenkai palm, you will havethe piphidd eninyoulefthand as youpick upanind ifferentcard. • . You place this indifferent ca rd over the mouth ofa wine glass, secretly sandwichingthepipin betweenthe cardandtherimofthe glass.Be cereful to get thebalance rightbefore letti ng go.

This time,instead ofslapping the cardagainsta window,youslapitagainst the side ofthe glassor thetop ofthe ind ifferentcard.

Thismotion dislodgesthe pipandcauses it to drop intothe glass asthehole 'a ppea rs' inthesignedselectio n.

This slightly different approach tothe effectisbasedon the old idea ofmaking a coinpenetra te a card intoa glassinthe samemanner,this appearconjoined withasimplecoinvanish madethis effect possible.

Bonus NotesandCre dits:

I'd been toyingabout withthe idea of twisting thecard through window effecta littleforsomemonths preced ingmy creating of this effect.Whynot putjust partof thecard throughthewindow,lea vingthespecta tor witha

nice souv enirofyour performance.

Ioriginallysetabouttakingacard, the4Hforinstance,withjust 3ofthepips printedonthe card . Then I woulduseth isinconjunctionwitha pre-placed pipontheothersideofthe window - it stillinvol ved anamount ofset up, but asmall pipona window ismuch less conspicuo us tha nhaving afull cardplacedthere.However,thisinvolved usingspeciallyprinted ca rdsand pre-placingthepip on thewindow.

Iwanted a more orga niceffect, which was much more workable in real

situa tio ns and wherethe specta toris leftwithsomething a bitmore special. Also, theideathatthis effectcou ldbeusedon any glasssu rface atanytime was a thou gh tofmine,insteadof havin gto choose exactlywher eand when

youwill perform the effect intimetoprepareforthis.

The loo k oftheactualpenetrationof thepip in'Deviance' is loosely based around thelookof Kevin Par ker's 'Edge'effect.

Whe n I first saw the 'Edge' demoanamount ofmonthsago,Ismiled-Though it'snotsomuch of amagician fooler astherestofhis effectsIcouldse(the potentialithad to astoundlaymen .SoItookto buildingasimilarlook tomy pipthrough window, whileretain inga usable specta to rdrive nrou tine, en voila!'Dev iance' wasborn.

For thosenot famiIiarwithKevinParker's effects,heis averytalentedmagical

creator whom co mes up with some fa ntastic visua l mag ic . Visit www.Kevi..Parker ProdlictiOIlS.COIllforfurtherdetail, orconsultyou r favourite magicdea ler.

•••

•

Sh ift- Signed CardTra nsport ation

This effectisa really nicecard transpo rta tionIoftenhave setup readyfor performance. It's asimplemethod, sim pleeffectand withthe correctpatte r and theatr ics itcanbemadein to a miracle.I'msure therearemany creative ways theconceptofthis effectcouldbeused,it'savery versa tile move. Good new sisthere' s absolutelynopalminginvolved !

Effect:

The spectatorselectsandsigns thebackofacard, whichislostin themiddle

of thedeck.

The Ca rd isthen IMMEDIATELY,withemptyhan dsand no funnymoves,

removedfrom your toppocketoryo urwallet or practicallyanywhere else.

The spectatorverifies the value of their card, the card is flipped and the

spectator'ssignature revealed provingitisin factthevery samecard.

Prep ar ation :

Youneed toha vearegular deck ofcards,aduplicateofoneof these cards

-for dem onstrativepur pose we'llusethe 2of clubs.(Figu re1)

Also adoublebackedcardisuse d,these canbepurchased from mostmagic

dealers orsimply madeby sticking 2regularcards face toface -thedouble

backed cardwillalwa ysbeusedinconjunctionwiththerestof thedeck so

thicknessisn 'treallyan issue.

Fig"..,12 Set u p:

Haveone oftheduplicates faceforward inyour top pocket orwhereever

youwishtopull thecard from.In thedemonstra tion,Iha vethe cardappear in my business cardcase.

You will havethe spectatorsign thebackofthe ca rd,so you need tomake surethe side they see comeoutofyour pocketisthe face.Itishoweverjust

Youneedto set thedeck withyou rothe rduplicateon thetopreadytoforce

followed byyou rdoub lebacked card,2nd fromtop .

This is all theprepyouneedto cr eatethtsmiracle.Thismakesitreally usable in most environments - aslongas you have2decks ofcardsonyouandthe

double backed card,you have enoughduplicat esfor52 performa nces!

Method:

Youfirst needtoforcethedupl icate youhave onthetop ofthedec k -I tend tousethe slip force,it's areally solid simplelittleforce.

The below pho tosdem onstratetheforce(figu res13&14); yousim plyaska

spectato rtostopyouatanypoint during yourrifflethroughof the ca rds.

Instead ofcutting directlytotherealselectedca rd,you retain theto pcard andslipit downontothebottom packet. Thetop'force'cardnowloo kslike atotallyrandomselectio n.

Fip"1,vl4

Anyforcewillwork though aslong as youcan retain thedoublebackedcard

onthetop afterthecardhas beentaken.

TheCard(2ofClubs)hasbeenselected,sonow youwantitsigned.Ta kethe

card and lay itfacedown on the top of the deck - tellthe specta to r that thoughallthefaces of thecardsaredifferent,thebacks areident ical

"Cou ldyousignyou r nam e acrossthebackofthe cardhere,justtomakeit

Italso reinforcesthe idea thatyou can' tdo any funny moves. There's no

need tosay, howe ver:

"Nowthere'snoway Icouldoverha ndshufflecontrolthe ca rd tothetop of

thedeck topalmoffand placeinmy pocket!"

The ideaisthatthe card has va nished and re-mate na lizedin your pocket,

notthatyou'vedonesomespecia l movestoputitthere.

Always try and remem berto thinkof your magic as sheer magic,notas a sleight ofhand display - though su perslick passesare impres sive,they' re

muchlessimpressivethan making realma gicha ppen.

TheFlip:

Theflipmove is an integralpartto makingthis trickwork;thisiswhy we

mustuseadouble backedcard.

In theaction ofcutting the signed selection into the centre of thedeckwe

mustflip theselectionand doub le backed card overso the selec tionisleft

faceup in the facedown deck.

This is done by cuttingthedeck,andsliding the 2cardsoffas oneinto the

hand holdingthebottom half-as in thephoto(figures14&:15). Asfa rasthe spectatoris concerned,you willbejuststressingthatthe card really'is going straightinto the centre byre-showing thesigna ture.

Asyou lo werthe bottom halfontopof thetophalfto complete the cut,yo u allowa swiftrotatio n ofthe 2 cardsat the sametime -asillustra ted .Takethe

timetoreally perfect thismove and makeit look natural.

Figrm:17(1 8

Now you needto getthe 2cards back up to thetop of thedeck,Itend touse anund erh andpass and thenaseriesof falsecuts-soit justlooks as ifI'm thoroughlyshuffling the deck . Anycontrolwillsuf fice,but it makes sens e

that you'd want to shuffle the deck afte rcutting a card in so you lose it

complet ely.

Thespectator isn'tgoing to sus pect thatyou'vecontro lled the card upas they see ononeofthesidesofourdoublebacked card. Thedeckshouldbeas follow s:

Doublebacked card(top)

Faceup signedcard Facedown rest of deck.

Now youexplainthat theircard islostsome wherewithinthedeck.Youask

them towatch,bu ilda bitoftens ion-I find agood techniq ueisto go over the steps thathavetakenplaceandemphasize them:

"Youfreely selected any single card outofa1152, yousigned the cardacross

thebackmaking thecardcom pletelyuniq ue- theonlyoneofit'skindinthe world.Thenwe lostit in the decksomewhereand thoroughl y shuffled it throughout. Now, watchclosely.I want youtosee thishap pen slow." You'reholdingthedeckina lefthand mechanic's grip,youaretosho wyou r righthand unmistakably emp ty-don 'tstress this, just allow thespec tatorto experience what's about tohap pen.

Youslow lyreachup and withyourveryfingertips;beginto slide the card outof you r top pocket-facing thespec ta to r. Do notallow them tosee the backofthe card,as it willgive awayyourusin ga duplicat e card.

When the amazementhas sunkin,takethe card fullyoutand la yiton top of thedeckinyour left hand. The order willbeasfollows: Faceupduplica tefrom pocket (top) Doublebacked ca rd FaceupSigned duplicate Facedo wndeck. Yo upointto theface of thecard and say,

"Sir, can Iaskyouto verifythat isthevalueofyourcard?"

"(PRE'ITY AMAZED)Yes,itis"

Thenyouquicklyflipover all3 ca rds asone,re vealing the signature. "Andcanyouverifythatis yoursignature?"

"(VERY AMAZED)Yes,itis!"

Youca nthenha ndout the cardasaso uvenirand thankyour participant.

Fina lNotes :Thisbas ic conceptcanreallybeexpa nded upon, oncethebasic

routine is down you can play about with where you make the card

re-materialize.

• Tryinthe card box whichhas beenlaying one thetable atalltimes

• Undersomeo ne'sdrink • Yourwallet

• Yourshoe

• Stuck toyourspectator's back

• Tapedtoyour necklace

• Absolutely anywhereelse!

Allyou needtomake sureofisthatyouwillbetheone whopicksitup, you

don'twantyourspectatorca tchingglimpseoftheunsign ed back !

•

•••

As Banacheksay s atthe end of his ne west book PSZ. with the relevant

information,your bra inhasjustprocess ed10,231wordsor44,189letters.He

suggests a rest,Isuggestyoupickup apackofcards andgogetsomeawesome

reactions!