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Top Secrets by Terri Rogers

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Terri Rogers

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Dedicated to

Dennis Tubbs, David Britland, Martin Breese, Paul Daniels,

Max Maven, Bob Neale and Billy McComb

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Contents

Contents... 5

Publisher's Note ...6

Introduction ... 7

A Letter from Terri Rogers ...8

Top of the Bill ...9

The Boromian Link ... 15

Buckled Bunkum ... 25

Chess Mate ... 31

Mind Game ... 35

StarGate...38

Twisted - The Afghan Border Race...44

Word of Mind...49

The FlexiCard... 61

Blink ...69

BlockBuster ... 77

The Anatomy of a Magic Trick ...86

The Magic Oblong ... 87

The Colour Changing Ring...90

The Three Colour Changing Rings... 91

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Publisher's Note

Terri has been unbelievably patient with regard to the production of this book. It has taken so many years to put it all together that I would be ashamed to state the number of those years. Bob Gill played a great part on the editorial side and he helped to create the basic structure of the book. David Britland, back after many years of holiday from the magical book world has more than shared the editorial chair and restructured all of the illustrations.

To Terri, David and Bob I extend my warmest thanks - without the genius of the first there would have been no book. Without the help of the second we would never have completed the task and without the help of the third we would probably never have started - and that is a topological statement in itself!

A handful of the effects described in this book have been released commercially by me. I have included full details of them here. This is not because of a paucity of material but because all were published in small and ephemeral booklets. Booklets deteriorate or become lost. This large volume will protect and preserve these amazing effects for the next one hundred years or so - truly they need to be preserved for ever.

Guard this book with all your might. Hope that I have overpriced it. Pray that only a handful of copies will be sold. Herein are some of the most wonderful effects of magic and it is purely by chance that they are published in this book and not simply reserved to be released individually as highly expensive top-selling dealer effects. This is a remarkable book from a remarkable magical creator. She has one of the keenest minds in magic and is a dear friend. To Terri so many thanks for her wonderful kindness for allowing me to be the person to present so much of her magic to performing entertainers around the world. Thank you Terri.

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Introduction

As its title suggests, this is a book of secrets. It is therefore somewhat curious that I begin this introduction with a piece of information that is not a secret at all: I am a fan of Terri Rogers. The reason that it is no secret is easy to explain. The quality of Terri's creative work is so terrific, it is virtually impossible to keep quiet about it.

The history of magic includes a vast range of clever inventors, but within that number there is a rarefied group of innovators who think differently than the rest of us. Such extraordinary people as Stewart James, Bob Hummer and Robert Neale are able, somehow, to look at the world around them and see things in ways that are strange and beautiful and new. For them, the universe can twist and turn in directions most of us can barely imagine, and through amazing leaps of insight and whimsey, they can discover hidden patterns, make unexpected connections, and thereby produce wonders. And without question, Terri Rogers is a member of that very special group.

If you already know that. Then it is quite unfair of me to extend this introduction any further, because surely you are chomping at the bit, eager to explore the amazing ideas that await you on the pages that follow. And, if Terri's work is new to you, well, there is even more reason for me to shut up and get out of the way.

So, I shall quickly jump to my summation, which is simply this: The world of conjuring is lucky to have Terri Rogers, and you are lucky to have this book. Now, turn the page and start appreciating why that is so.

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A Letter from Terri Rogers

Throughout my magical life, I have created some magical effects that have been made, sold and performed by some of the greats in the magic world. As time has gone by my dear friend Martin Breese has persistently presented, parcelled, pushed and paid for my effects, and published my books Secrets, More Secrets and Wipe Out. And together we created what undoubtedly turned out to be the most successful of all my creations, The

Key.

Although I have never made a living as a professional magician, I started as a magician's assistant/ventriloquist, and I used to think up ideas and earn a few pounds for my trouble. Lots of magicians have asked me how I think up new effects or new methods, and there is no simple answer. Many of my ideas came about through sheer necessity. For example, whilst I was working one of the world's top cruise liners I was booked to do my usual ventriloquist act but I had to work five spots. This caused me some worry and I knew I would need additional material. One problem was that I was working for a largely American audience, who generally do not go much on English humour. I really had to start thinking of a new act, other than ventriloquism, to perform.

The obvious solution - magic - was out as the passengers already had some excellent American, German and English magicians on board, so I had to think again. What I came up with was a 'mind reading' spot and, boy, was I in for a surprise. Over the years I had heard magicians talk of mind reading as bad, boring and to be generally frowned upon. Well, I can tell you they were wrong; the passengers absolutely loved it and plagued me to read their cards and tell their fortunes. They believed in it completely. When the cruise was finished the act was taken apart and distributed amongst my books.

But other effects are often created because of deep study. I have long been interested in topological principles and applying them to bring about magical presentations. Several such ideas have already been marketed - including Blink, Squaring and Star Gate - plus several dispersed throughout my previous two books. In one of my books I had a green triangular ghost tube that changed into a red triangular ghost tube full of holes. The design came about after studying a coin puzzle!

To help give an insight into the evolution of a magical effect I have included a section called The Anatomy of a Magic Trick. It examines the path I took and the thought processes involved in taking someone else's trick, adding improvements and eventually transforming it into a completely new effect.

This book, although relatively slim, contains what I regard as my favourite mathematical and topological effects. I hope you enjoy them and will be motivated to explore the possibilities they offer.

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Top of the Bill

The Effect

Two sets of name plates are displayed. One set for the performer and one set for a spectator. Each pair bears the name of the famous comedy duo Stan Laurel and Oliver Hardy.

Laurel and Hardy, or should it be Hardy and Laurel? As the performer tells the story of the battle for 'top of the bill' the name-plates magically shrink and grow in size. The final change is totally impossible as what begins as an optical illusion becomes very real indeed.

The Secret

This is an optical illusion from the 1790s transformed with a little 1990s cunning. It's a twist on the old Boomerang optical illusion which is very well known. The difference is that this routine finishes with a genuine difference in the size of the cards.

Preparation

Photocopy the drawings (1) and use them to make up the four name-plates. You can enlarge them to make up any size prop you require. The name-plates I use are 8 to 9 inches long. I make mine out of cardboard and laminate them with self-adhesive transparent plastic film. The plates are double-sided with the same name on both sides. It is very important to note that one set is longer than the other. You need to mark the Stan Laurel plate from the long set and the Oliver Hardy plate from the short set. The marking consists of a dot nestling in the lower right corner of the border. This can be seen clearly in the illustration on page 12.

Presentation

Before you try to vary the routine I urge you to follow it exactly as I have written it. The patter has a great deal to do with the working of the trick and covers the moves in such a manner that you may not even realise that you are doing them.

This particular handling is best done across the table with the spectator sitting opposite you. Begin by saying. 'I had the most amazing experience a little while ago. I was going to put on a film show for the kids starring Laurel and Hardy. They asked for a Lenny Bruce film but I wanted to see Laurel and Hardy. Just to give it a good presentation, I asked a sign writer to make up a couple of signs to advertise Laurel and Hardy. These are the results.

Place the two sets of cards on the table (2). One set is shorter than the other but if you overlap the cards in each set no one will spot the difference.

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If the spectator hesitates just pick up the long set and push the short set in front of him. Take your set and hold a name-plate in each hand, holding the hands well apart.

'I asked the sign writer why he had put the names on both sides.'

Turn the name-plates over to show the other side and then turn them back again.

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Turn the cards again as if bemused by this remark.

'I said you must think I'm an idiot. The names look the same size as each other.' Place the names together on the table with Stan Laurel uppermost (3).

'Ah,' he said, 'But you're showing the sides that are the same size. If you tell me who is on top of the bill I will show you what I mean.' I said, 'Stan Laurel, everybody knows that!' 'Don't shout at me,' he said, 'Not everyone follows boxing you know. Now watch very

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You now separate the cards on the table so that Stan Laurel appears to be shorter than Oliver Hardy (4). This is the original Boomerang cards illusion.

'There you are,' he said, 'Stan Laurel is the top of the bill.' 'I can see that,' I said, 'but he is smaller than Ollie by at least one letter.' Point to the 'Y' in Hardy.

'Ah,' he said, 'If you want him longer all you have to do is turn him over.'

Pick up the Stan Laurel card and slowly turn it over (propeller wise) and then place it below the Oliver Hardy card (5). Now Stan Laurel appears to be the longer card.

'See it's simple when you know how,' he said. Having finished this part of the demonstration you casually pick up the unmarked name card (Oliver Hardy) and place it on top of the marked one (Stan Laurel). Now gesture to your helper's cards and say, 'See if you have the same effect, try putting Stan on top of the Bill.' If he has trouble you help him until the cards are arranged on the table as in 4.

Then ask him to pick up the Stan Laurel card, turn it over and replace it under the Oliver Hardy card (5). The cards have apparently changed size just as they did when you used your cards.

'It's impossible isn't it? Do you know why it is impossible?'

Pick up his unmarked card (Stan Laurel) and hold it up as you point to each letter in the name as you count them out loud, 'One, two, three ...' through to ten. When you have finished counting place the card on top of your pile and then use this bundle as a pointer as you count the letters on the remaining tabled Oliver Hardy name-plate. This name has eleven letters.

'See they are different lengths because they have a different number of letters in each name.' Drop your bundle of cards on the tabled card before picking them up again. At this point the two marked name-plates will be at the bottom of the four cards.

Push the top two name plates towards the spectator as you say, 'I can see that you don't believe your eyes. I don't suppose you will believe me when I tell you that the name-plates are still growing as I speak. Try putting Stan top of the bill now.'

When he spreads the cards on the table and puts Stan over Laurel he will see that the Oliver Hardy plate is even bigger than it was before (6). Say, 'Look! Ollie has got even bigger. It has grown two more letters.'

Pick up the two name-plates from the table before he has a chance to do anything with them and then put them away out of reach.

'Now would you believe that I can not only put Stanley on top of the bill but make him bigger than Ollie? Watch.'

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Adopt a look of triumph and then let it slowly fade as you say, 'You're not happy are you, why?'

Wait for the spectator's query about the cards now being displayed upside down and then explain, 'No, you are wrong my friend. What we forgot is the sign writer's instructions. They are a different size on the other side.'

As you say this pick up each name-plate, one in each hand, and at the fingertips slowly turn them over. Keep them parallel to each other (8). Then place them back on the table

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with Stan Laurel on top of the bill (9). Finish with, 'How about that Stanley? That's another fine mess I've gotten us out of!'

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The Boromian Link

The Boromian Link was originally published as a manuscript by Martin Breese in

1986. It is an incredible card effect based on Paul Harris' Immaculate Connection. The Harris original is a great impromptu effect but if you are not working impromptu and can use your own cards, you will find this method even more visually deceptive. The linking effect looks excellent and in fact fools those familiar with the Harris original. It can be performed with any size cards and looks spectacular when done with Jumbo cards.

The Effect

The performer takes three playing cards which have their centres cut out leaving just three cardboard frames. They can be examined and the spectators confirm that each frame is unbroken.

Taking the cards back the performer arranges them so that they form a star pattern, he shakes the cards and one falls becoming inextricably linked onto the other two. The cards are held out towards the spectator who is asked to take hold of the lowermost card and check that it is indeed linked onto the other two. To finish, the performer unlinks the three cards which can be examined by the spectators. No tears or secret joins can be found in any of them.

Preparation

You need to prepare three cards. Two of the cards should be identical, say two Jokers, and the third should be an effective contrast, for example the Eight of Hearts.

Lay a ruler across the diagonal of each card and score a line across its back from the upper right to the lower left corner (1). Cut out the centres of the cards so that you are left with just three cardboard frames (2). Fold the cards along the score marks so that the faces of the cards are inside when folded. Now unfold the cards and flatten them out. Don't fold the cards in the opposite direction as this will weaken them and eventually they will split.

If you wish to perform the trick impromptu then fold the cards across the diagonals and then use the fold as an excuse to start a tear. Flatten the cards out and continue to tear the centre out until you are left with just the frame.

The Linking Move

Let's start by learning how to link and unlink the cards. I'll assume that the duplicate cards are Jokers.

1: Take the two Jokers so that the left hand holds one face down and the right hand holds the other face up. The Jokers are held at their scored corners (3). Bring them together so that they are back to back and parallel to the floor.

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2: Hold the two cards together with the left hand and pick up the odd card with the right hand. Slide this card over the lower Joker (4). Move the card along until it is between the outer corners of the two Jokers (5 shows the position. The hands have been omitted for clarity). The formation looks something like the Star of David when held vertically between the hands (6).

3: Now raise the hands so that the cards are held vertically and the Star of David faces the spectators. The forefingers of both hands now slide between the two cards. This is not difficult to do.

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Just push forward with the right forefinger and back with the left and you'll force the two Jokers apart enough to allow the fingers to slide down between them (7).

On the opposite side of the scored line the third finger of each hand performs a similar task. The left third finger pushes forward on the Joker furthest away from you and the right third finger pushes inwards on the Joker nearest to you. Practise will make the move automatic.

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stage. The right hand and the odd card have been omitted for clarity. Release the thumb pressure so that the Jokers can fold completely. As soon as the Jokers have folded flat press with the thumbs so that the cards are again held securely between both hands (9).

The first time you attempt to do this it will seem to be a little difficult. Do it slowly and you'll soon see exactly what has to be done. In practise the move is done very quickly and you'll find that it works automatically without you having to think of where to place each

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4: The end result is that the odd card appears to drop onto the lower sides of the other two card frames and visibly link onto them. 10 reveals an exposed view of the linking and shows how the Jokers are folded.

You can do the move quickly as you give the cards a shake and it appears as if the odd card just drops onto the lower frame of the Jokers. I prefer to do the moves slowly. I set the cards as described but complete the left hand movements first and then quickly follow by completing the right hand movements. Done this way it looks as if the performer is turning the cards over and in turning them the linking has taken place. There's no need to rush it, if that's not your style. A slow linking is just as effective. Try the moves without the odd card when practising.

Note by David Britland: I use the fast method of linking the cards together but instead of inserting the forefingers of both hands between the cards I only set the cards at their left corner. Start by holding the Star of David formation in the right hand only as you display it. This gives you an excuse to regrip the cards at the left corner in the following manner: the left second finger goes between the upper part of the two Jokers and the left thumb goes between the Jokers just under the scored line. The cards are kept from folding by the left forefinger which is at the near side of the cards and the left third finger which is at the outer side (11). When ready to do the linking, merely squeeze the left thumb and finger together. If you slide the first and second fingers out of the way the cards will fold as in Terri's version. The right hand relaxes its grip entirely and allows the cards to pivot freely as the fold takes place. A slight shake covers the folding action and both hands regrip the cards as soon as the link is completed.

Unlinking

Having got the odd card linked onto the Jokers you'll need to know how to remove it. 1: Hold the linked cards out towards a spectator and ask him to take hold of the hanging card. Slide the forefinger of the right hand between the two Jokers just as you did for the linking effect. Similarly, insert the left third finger between the two Jokers. Don't force the cards to unfold yet; just be prepared.

2: Move the Jokers to the left and bring the right hand down slightly so that the odd card is nearer to the right thumb (12).

3: Whenever you are ready, move the hands apart. The right hand takes the upper Joker and moves it to the right where the forefinger unfolds the card instantly by pressing it against the right thumb. The left hand moves to the left and unfolds the Joker by pressing the third finger and thumb together. In both instances the second finger of each hand will have to move out of the way slightly in order to allow the cards to unfold. You'll be left with a Joker in each hand while the odd card remains with the spectator.

4: Although all the cards can be examined you don't want to leave them all in the possession of any one spectator in case they try to reconstruct what you did. I find that if I just pull at the frames to show they are solid the spectators are just as impressed with the effect as if they had examined the cards themselves. If you are going to leave them

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The Boromian Sequence

I use this immediately after the linking and unlinking if I am working under close up conditions. The spectators have to be in a position to examine the cards (visually at least) fairly closely for this particular sequence to register. It also serves to get the cards out of the spectators' hands. It was inspired by Martin Gardner's writings about a mathematical puzzle known as the Boromian Rings.

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1: Place all three cards under the handkerchief and secretly tear one of the Jokers at a scored corner. The score line makes the tearing easy. Slide the other two cards onto it (13).

2: You had better check the diagram again and make sure you've positioned the cards exactly as shown. Now twist the torn Joker so that the three cards make up a 'Y' formation (14).

3: Again, take a good look at 14 and the cards in front of you. No two cards in the arrangement are actually linked together. Unless you are already familiar with the puzzle known as the Boromian Rings this should surprise you. Run your finger along the frame of each card and you'll see that although the cards appear linked - in fact they won't come apart unless you separate them via the tear - they are not linked in the usual sense. In performance you cover the tear with the left thumb and finger (14) and then ask the spectator to try and find any two cards which are linked together. The cards are not linked but cannot be parted. Here is my patter for presenting this mathematical curiosity in conjunction with the linking effect.

Presentation

'Have you heard of the 'Boromian Rings'? No! Oh well the 'Boromian Rings' is the name of a topological paradox. It uses three rings which when in a certain position appear to be linked in as much as you cannot get them apart. The strange thing is that they are not linked - they just look like they are. I bet you're confused. Wait until you see what hap-pened when I tried it.

'The other day I tried to make it work with these three open-plan playing cards.' Count the three frames.

'So here are the fruits of my efforts, these three frames.' Display the three rings singly, showing both sides.

'Now you may think that they are not very impressive but I'll show you what I have discovered.

'If I place the three rings like this...' Arrange the cards so that they form the Star of David. '...we finish up with a pattern with six sides...and if you look you will see that it also creates a Star of David.' Hold the pattern with the left hand and point out the points of the star with the right forefinger.

'But let's see if we can make a star of Terri Rogers!' Obviously use your own name here as you perform the Linking Move.

'Success! You can see that one ring is now linking the other two.'

Hold the cards out so that everyone can appreciate what has occurred. 'Would you like to hold onto that hanging ring?' You can see that it really is linked to the other two.' The spectator takes hold of the hanging ring and you pull up lightly on the others to show that

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Prepare to perform the Unlinking Move. 'Hold on tight. One, two, three!' Unlink the cards. 'You see they are not linked at all. And no tears to be seen.'

Hand the three frames to three separate spectators so that they may examine them. Make sure that no one gets hold of the two Jokers together or they may fold them and discover the method. If you have only one spectator then give him two of the cards and hold one of the Jokers back. 'As you can see the only holes are in the centre of the cards

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'Now for the big finish, hold these two like this.' Have a spectator hold the two cards (One Joker and the odd card) as in 15.

'I will have to draw a veil over what happens next...anybody got a veil? No? Oh well this hanky will have to do.'

Drape a handkerchief over the spectator's hand and the two cards. 'I will take this remaining card and place it under the veil as well.' Once the card is hidden from view you tear it and link it through the other two as described in The Boromian Sequence.

'And now you can let go of the cards and remove the blindfold. What has happened? No. They are not linked, believe it or not the cards are not linked and yet they will not come apart. Look.'

The Boromian Link is displayed with the three cards in an upright position and the spectator is allowed to look them over. 'The only way to get the cards apart is to tear them like this.' Pretend to tear the corner of the already torn card but don't unlink any of them. Hand the arrangement over to the spectator saying, 'You won't be able to get them apart without tearing them and yet if you look closely you'll find that none of them are actually linked.' Leave the cards with the spectators so that they can ponder the paradox.

I have also made up a set of Boromian linked cards by splitting, cutting and gluing one card through two others. This follows the precedent started by Roger Crabtree's Crabtree

Connection in which a set of cards really is linked together. This set of Boromian linked

cards can be given out at the beginning of the routine for the spectators to examine. You then offer to show them how the cards got into this position and proceed to take out three other cards and perform the routine as described.

A Link with Four Cards

When you can perform the link well you might like to try the following version. It uses the same method but links four cards together.

When you have placed a card-frame over the first Joker in the set up you take out the fourth card and place it onto the other Joker. See step two of the Linking Move. Now Execute the Linking Move as described and you will end up with one card linked onto the lower edges of the Jokers and one card linked onto the upper edges of the Jokers.

Notes

I have experimented further with the Boromian Link and discovered one or two points which may be of interest. For instance, when the odd card is linked onto the Jokers you don't have to hold the cards with both hands. Because the cards are folded along a score-line you'll find that you can release the grip of the left hand and just hold the cards with the right hand, if you place your right forefinger against the upper edge of the cards this will guarantee that the formation will not accidentally split at the now exposed left corner (16).

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Another bit of business can be used after the spectator has been left with the odd card in his hand at Stage 3 of the Unlinking. As he examines the card you secretly fold the Jokers in your hands. Ask the spectator to raise the thumb of his left hand. You hook the Jokers over his thumb and then ask him to grasp the top of his left thumb with his right hand. It seems impossible to remove the Jokers from the spectator's thumb without tearing the cards or injuring him. Of course you merely repeat the unlinking sequence to bring about a penetration of the cards through his thumb. A similar unlinking can be done with the Jokers and a length of ribbon.

I have also found that the following gag goes down well with magicians. After the unlinking you secretly fold the Jokers and then move the hands together, sliding one frame across the other (17). Anyone watching will see that the cards appear to visibly shrink to patience card size (18). Look up and say, 'It even works with small cards...' and then slide the Jokers back to position so that they appear to expand again, as you say, '...But I prefer this size.' Secretly unfold the Jokers to finish clean.

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Buckled Bunkum

The Effect

A strange topological puzzle is demonstrated which uses a continuous cloth belt on which is threaded a large buckle made from flexible plastic. The buckle is red on one side and black on the other. At the moment the red side faces the spectators. The magician poses a problem. How can you turn the buckle over without cutting the belt? It seems to be impossible yet the magician shows that by folding the buckle it can be mysteriously turned inside out until the black side is now facing the spectators and the red colour is now on the inside.

Now that the spectator understands how the puzzle works the magician teaches the spectator how to fold the buckle so that it can be turned inside out. Putting that belt away the magician takes out a second belt but the buckle on this one is absolutely solid, it does not fold or flex in any way. The spectator cannot turn this buckle inside out at all. The magician can though. He puts the belt and buckle behind his back for just a moment. When the belt is brought back into view the buckle is seen to have reversed so that the opposite side is now showing. A complete and utter impossibility.

The Secret

This is based on another topological idea of Bob Neale's. The buckle on the first belt can actually be turned inside out by following a series of simple instructions. The solid buckle, of course, cannot be turned over in the same way. A different, quicker method is used. The presentation though prevents the spectators seeing the obvious solution and that is why the finale of the trick is so baffling.

Preparation

The two belts are identical. They are made out of a tough but flexible cloth. The buckles are identical in shape and size but are made out of different materials (1).

The flexible buckle is made out of a very supple leather or a plastic artificial leather such as rexine. It is really two pieces of leather or plastic glued together so that the buckle shows a different colour on each side.

The solid buckle can be made out of metal or wood or rigid plastic. It doesn't fold or flex in any way. Again it shows a different colour on each side. You might like to make it up in the same colours as those used for the flexible buckle. Thread each buckle on one of the cloth strips and then glue the ends of the strips to form a loop so that the buckle cannot be removed (2).

Handling

The folding procedure for turning the flexible buckle inside out was devised by Bob Neale. It is his Get out of Jail/Floppy Buckle technique.

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The flexible buckle should be red side out. Hand the belt to the spectator and ask them to hold it loosely between their hands (3). You'll need to have some slack in the belt to fold the buckle inside out.

In the illustrations that follow, the sides of the buckle are labelled A and B while the centre spine is labelled C (4). This labelling should help make the instructions simple to follow.

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Begin by grasping the buckle at its narrow ends, the thumbs above the fingers below. Working with both hands you fold side A of the buckle up and past the centre spine C. Now fold the same side back again (5). If you were to examine the buckle from the side it would have a 'Z' shape.

With your thumbs you push side A under side B (6). Continue by pushing on the corners of side A until it has been pushed right through to the other side (7 and 8).

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Now the thumbs pull up and out on the narrow ends of the buckle (9). This has the effect of pulling the buckle straight. The buckle has now reversed around the belt completely and is now black side out (10).

That's it. If you follow the moves carefully you will see that they have a simple elegance to them. Don't be tempted to twist and pull the buckle just any old how in order to reverse it. It won't look as interesting as the method described here.

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Terri's Quickie

The second part of the effect is a complete swindle. You can't fold the solid buckle inside out but there is a simpler and quicker way of bringing about the effect.

Begin by displaying the buckle red side out. The belt is stretched between your hands (11). Now put the belt behind your back. While there one hand holds the buckle while the other grasps the belt just above the buckle spine.

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Now pull the buckle to the opposite side of the belt (12 and 13). Finally grasp the sides of the belt and stretch it out between the hands. When you bring the belt from behind your back you can display it between your hands just as before only this time the buckle is black side out (14).

It is very easy to do, very fast and very baffling.

Presentation

The flexible buckle begins red side out and the belt is rolled around it. The solid buckle is in your right pocket and set so that it is also red side out.

Bring out the flexible buckle and show it to the spectators. Hold it between your hands as you tell them about this unusual puzzle. Say,

'Look at the state of this belt. The buckle is on the wrong way round. Now how on earth am I supposed to put it right. Do you think it is possible to reverse the buckle without cutting the belt?'

The spectators may examine the buckle for a while. Don't let go of the belt while he does this. When he gives up, you demonstrate how you can fold the buckle inside out as described earlier. Then say, 'Do you think you can do it.'

Guide him through the procedure so that once again the buckle is red side out. 'Well done. Do you think you could do it again on your own?'

When he says yes you roll the flexible buckle up and place it away in your left pocket as you remove the solid buckle from your right pocket. 'Okay, let's see you do it again.' Hold the belt outstretched between your hands as you allow the spectator to examine the solid buckle. Obviously he can't turn this inside out in the same way. When he gives up, you quickly put the belt behind your back, execute Terri's Quickie as described, and bring the belt back again to show that the buckle has magically reversed.

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Chess Mate

The Effect

The performer shows a transparent clock which has two faces side by side. It looks something like a chess clock. Each face bears the numbers 1 to 10. Each face has a single pointer or hand (1).

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A sealed prediction is handed to a spectator for safe keeping. A second spectator is asked to set the hand of each clock to any number they choose. Let's assume that he sets one clock at 5 and the other at 9.

Now the performer tells the spectator to move the hands a total of seventeen times. Each move takes a clock hand from one number to the adjacent number. He can either move one hand seventeen times around the clock or he can split the number seventeen into any two numbers and perhaps, for instance, move one hand four times and the other thirteen times. Any combination of numbers totalling seventeen can be used.

When the seventeen moves have been made the spectator calls out the numbers to which the two hands are now pointing. He totals these two numbers and arrives at the number 11.

When the prediction is opened it reads, 'The two numbers you finished on, when added together, equal eleven - which is a pair of ones.' But there is more to come.

The spectator is then asked to turn the clock around. One the reverse side the numbers of the clock are replaced by images of chess pieces. On this side of the transparent clock the hands are pointing to two identical chess pieces, two kings for instance.

Now the rest of the prediction is read out, 'Turn the clock around and you will see that the hands point to identical matching chess pieces. Another matching pair.'

The Secret

The outcome of the trick is always the same in that the predicted number is always eleven and the hands of the clocks always point to identical chess pieces. You control the outcome when you tell the spectator to move the hands of the clocks a certain number of times. In the above instance the performer asked the spectator to move the hands seven-teen times. This number is calculated by the performer as the trick progresses using something I call The Gemini Factor.

The Gemini Factor

The Gemini Factor is the title I've given to the mathematical principle that lies behind

both Chess Mate and Mind Game.

The number you call out ensures that the final numbers that the hands point to will always add up to a total of 11.

The formula for calculating this number is as follows. Let's assume that the spectator has set one hand at 5 and the other at 9. You add the two numbers together which gives you a total of 14.

If the total is larger than 11, as it is in our example, you start by deducting 10. Therefore 14 - 10 = 4.

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Finally, you add the 10 to produce a final total of 17. This is the number of moves you tell the spectator to make. He must make the moves in a clockwise direction.

Here is a summary of the formula:

Total the numbers the spectator has set the hands to. Deduct 10 if the number is larger than 11. Deduct this new number from 11. Add 10 to arrive at a final total.

The Props

The clock is made from transparent perspex (1). Mine is eight inches long by five inches high for close up work. It sits in a wooden base which has a groove cut into it to take the perspex sheet snugly.

The hands are made from plastic and will stay in place when moved around the clock face. The numbers are printed on circular labels which are then stuck onto the clock face. The chess piece symbols are printed on labels too. These are affixed on the rear of the transparent clock. The positioning of these symbols is very important so study the front and rear illustrations of the clock very carefully (1 and 2). Matching chess symbols are always to be found on pairs of numbers that add up to eleven, for instance 9 and 2, 5 and 6, 7 and 4 etc.

My clock is for close up use but you can build the clock any size and perhaps hang it rather than fix it on a stand.

The prediction is divided into two parts as follows:

'The two numbers you finished on, when added together, equal eleven - which is a pair of ones.'

'Turn the clock around and you will see that the hands point to identical matching chess pieces. Another matching pair.'

Write it clearly on a sheet of paper and seal it in an envelope.

Presentation

Hand the prediction to someone for safe keeping and then introduce the clock. Show that it is transparent and free from guile but be careful not to turn it around and reveal the chess symbols.

Move the hands around the face of the clock and demonstrate what you mean by 'a move' i.e. moving a hand from one number to an adjacent number constitutes a single move. Ask the spectator to set the hands at any two numbers he chooses. If by chance he sets them at two numbers which total eleven you don't have to use The Gemini Factor. Simply have the prediction read out and conclude the routine as per the effect.

Let's assume though that he has set the hands to the numbers four and five. Mentally total them to arrive at nine. The number is not larger than eleven so you can go straight

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to the next stage of the calculation which is to deduct it from eleven. This gives a new total of two. Add ten to arrive at a final number of twelve.

Tell the spectator he is now to move the hands a total of twelve times. He can move one hand twelve times, or both six times, or one nine times and the other three times. The choice is entirely his. The only thing he has to remember is to move the hands clockwise around the clock.

Watch him to make sure he is following your instructions. When he has finished moving the hands you ask him to total the numbers and call it out. The total will be eleven. Have the prediction opened and the first part of it read out. Surprise, you have accurately predicted the final total.

Next turn around the clock and show that there are two more faces on the other side. Point out which chess pieces the hands are pointing to. They are identical. They will always be identical. Now have the second part of the prediction read out to confirm your prophecy.

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Mind Game

The Effect

A sealed envelope is placed on the table. It contains a prediction. Also on the table is a board game which depicts the names of famous movie stars. The names are arranged in a circle on the board.

The spectator is now handed two markers and invited to place them on any two of the movie star names. The performer now asks the spectator to move the markers a number of times clockwise around the board, in fact twelve times. But exactly how the two markers are moved is entirely up to the spectator. He may move one marker twelve times, or both of them six times or one nine times and the other three times. It's all entirely in the hands of the spectator.

When this has been done the performer asks for the prediction to be opened. It reads, 'You have found the Comedy Mates.'

And the prediction is absolutely correct because one of the spectator's markers now lies on Stan Laurel while the other one resides on Oliver Hardy. A perfect match.

The Secret

This is another application of The Gemini Factor. While the names on the board are not overtly numbered it is easy to think of them as being numbered one to ten. When the spectator places his markers on the board you note the numbers of the names he has placed the markers against. You make The Gemini Factor calculation (as described in

Chess Mate) and tell the spectator to move the markers a certain number of times. The

markers will always end up on a comedy duo.

Preparation

The board bears the names of ten movie stars taken from five well known double acts. Reading around the board you can see that Tom Cat represents number 1, Stan Laurel number 2 and so on to Oliver Hardy at number 10. It is the equivalent of the clock used in Chess Mate. You don't need to mark the numbers on the board. Just keep them in mind.

The markers can be coins, counters or anything else you feel is appropriate to the routine. The prediction simply says, 'You have found the Comedy Mates.' Again, it can be varied to suit your own tastes.

Presentation

Hand the prediction to a spectator for safe keeping. Introduce the board and point out the famous names it has upon it. Hand the two markers to one of the spectators and ask him to place them on any two of the names at random.

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He may place them on a comedy duo, e.g. Dean Martin and Jerry Lewis, in which case you can immediately go to the opening of the prediction. But usually he won't. You make a mental note of the numbers associated with the names he has marked. Let's assume he has placed markers on Bud Abbot (number 3) and Jerry Mouse (number 10).

Using The Gemini Factor you total the numbers to arrive at 13. Deduct 10 to give you a remainder of 3.

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But you stress that it is entirely up to him whether he wants to move one marker eighteen times, or both markers nine times, or one ten times and one eight times etc. I find it is best to ask him to divide the number first, say into 10 and 8, and then move the markers one at a time.

When he has finished moving the markers call out the names they are resting upon. They will be the partners of a famous movie duo. All that remains is to have the prediction read out and shown to be correct.

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StarGate

The Effect

The performer shows two jumbo playing cards, unusual in that they are glued back to back. In addition there is a square window cut right through their centres.

'You're probably wondering what the window is for,' says the performer, 'watch.' Slowly the top card of the pair is folded through the window and seems to turn over as it pops out the other side. It's like a strange version of Card Warp. When the card is unfolded the pair of cards are still glued firmly together but now instead of being back to back, they are glued face to face.

No extra flaps, tears or gimmicks. The cards really are glued together. In an instant the performer repeats the effect, again popping the card through the window until once more the cards are glued back to back just as they were when the effect began.

The Secret

This effect, which was released commercially by Martin Breese, was developed from Bob Neale's Trapdoor Card which was published in a booklet of the same name by Karl Fulves.

The effect is purely topological. One card really does fold through the window and end up seemingly glued in a different position from where it started. It seems impossible even when you do it but it will work every time if you just follow the directions.

When this effect was marketed by Martin Breese the cards were made up by Patrick Page who used a special (and still secret) glue to fix the cards together. But the invisible tape will work just as well as the gluing agent. Just make sure the cards are prepared properly and you will have no trouble.

Preparation

Two cards are used, each with a square window cut through the centre (i). One of the cards is scored in preparation for folding. The score lines must be made in a particular way otherwise the trick won't work. The heavy lines indicate on which side of card the scoring is made (ii). The other card - the 'rigid' card - is unprepared except for the window.

You don't have to be too exact about the location of the window in the cards but there is one vital measurement. The length of the sides of the window (measurement C) must be greater than the distance from the edge of the window to the narrow end of the card (A and B). The reason will become obvious if you play about with the cards. You will see that the card will have to fold through the window and so any part of the card passing through must be smaller than the window itself. Okay?

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scoring made from the face of the card. The dotted lines represent score lines made from the back of the card. The score lines follow, and are extensions of, the edges of the square window. It is a simple matter to make a new card and takes only a few minutes.

I have found that the European cards are best for this effect perhaps because most of them are plastic coated. The cards popular with cardicians (Tally Ho, Bicycle, Aviator) tend to fall apart after a few performances.

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Use tape to join the cards back to back. The tape is fixed around the inside edges of the square window (iii). As well as securing the cards together the tape acts as a hinge. That's it. Now you're ready to begin.

Handling

1: Take the cards in your left hand, folded card uppermost (1). The score lines on the card will only enable you to fold the card in one particular way. Test it by trying to fold the section marked A in the diagrams towards the window (2). if it doesn't fold then turn the card around end for end and use the opposite side.

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2: Fold that section inwards (3).

3: Next fold in one side section followed by the remaining section (4 and 5).

4: If you now press on the centre section of the cards (5) an amazing thing happens. Part of the upper card folds through the window and emerges under the second, rigid, card. 6 shows an exposed view of the fingers unfolding the section as it pops through the window. The spectators, however, view this from above and the first thing they see when it pops back into view is what appears to be the face of the card (7). It seems to be warping and looks very peculiar because they can see the back of the card above the window but the face of the same card below the window. Don't turn the card over at this stage. It looks very mysterious so keep it that way.

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5: Now fold the upper section until it is flush with the rigid card (8).

6: Working from underneath the rigid card you open the side sections of the folded card with your fingers (9).

7: This leaves you free to push the window with your thumbs so that your fingers below the rigid card can unfold the top section of the scored card. The cards are now face to face (10).

8: Turn the cards over bring the scored card back to the top. By repeating the moves you will be able to reverse the positions so that the cards are once again back to back.

I have gone into detail about the moves but really it is very simple. Never force the card to fold. It folds easily where it is supposed to. You'll have the thing working in a matter of minutes, the various folds being logical rather than something you will have to memorise. Once learned you will never forget it.

Presentation

To present this take out the cards so that they are set up back to back. Hand them to a spectator saying, 'Let me show you something I don't quite understand. Will you just check these cards and confirm they are stuck back to back. They are aren't they? And that's what I don't understand.'

Take the cards back and hold them ready for folding. 'There's also a window in the middle of the cards but it's not an ordinary window. You see if I fold this here, and this, and this...a curious thing happens.' This brings you to stage 4 diagram 7 of the handling. You say, 'I can't understand how the card is face down here and yet face up here. It's as if it's twisted inside out or something.' You point out the face up/face down nature of the card as it passes through the window.

'What's even more amazing is if you fold this part,' complete the folding until the two cards are face to face (10), 'the cards are no long back to back looking out but face to face looking in.' Show the cards on both sides and then hand them to the spectator, saying, 'And they are still stuck together aren't they?'

Do not let the spectator have the cards too long. Take them from him before he starts to do any folding. Fortunately because the card only folds in a certain sequence he is unlikely to stumble on the method accidentally. 'Some people think they must have been mistaken the first time, that the cards were never back to back to start with. Just for them, I always do it twice.' Repeat the folding procedure until you reach stage 4 diagram 7.

At this point the card is seen face up and face down. You comment on it and say, 'Now I know what you're thinking because I thought the same when I first saw it. If only I could see the other side of the card as it goes through the window because then I'd see how it's done. But it doesn't make any difference because it looks just the same on the other side.'

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You continue folding, this time working the folds from below and pushing the card up through the window instead of down through it. It is just as easy to do.

Finish by displaying the cards in their back to back condition and giving them a slight tug as you say, 'And that's what I can't understand. They are still stuck together.'

Notes

David Britland made up a Star Gate with which you couldn't do the trick. The intention was to switch the cards at the end so that the spectators could play with them but be none the wiser. All you need do is make a second set of cards but make the square window too small. It need only be fractionally smaller than the working set but that's enough to make the trick impossible to do. A dab of glue between the cards themselves, as opposed to just being around the edges of the window, also produces a spectator-proof set of cards. The problem now is how to switch them.

My solution is as follows. After performing the trick you take the cards from the spectator and say, 'Well of course that was easy, but what I would really like to do is try the same trick with a person, a human being. So do we have a volunteer?' The spectators will laugh a little and no doubt put forward one of their number to be experimented on.

You continue,. 'Excellent but before I do anything I would just like you to confirm that you don't mind me pushing you through the hole in this card.' If he says anything funny you can top him by saying, 'I can see I'm going to have trouble getting your head through.'

Eventually you get the response you want which is that he doesn't mind at all. You now address all those present in a somewhat grandiose manner, saying, 'Ladies and gentlemen watch closely as I push a full grown man through the hole in these cards.' Holding the cards with one hand you put them close to the volunteer. Hold them there for a moment as you look through the window at him. Then with the other hand you slowly reach through the window and give him a hefty poke against his shoulder. Just in case the spectators have not realised the implication of this, you say, 'And there you are ... pushing a man through a hole ... thank you very much.' This old gag will get a reaction from the spectators. They may laugh or they may groan. The point is that they have been temporarily distracted from the main trick. You can now put the cards away in the same pocket as the duplicate. Later someone will ask if they can look at the cards and you say, 'Of course,' and bring out the duplicate.

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Twisted - The Afghan Border Race

This is more a puzzle than a conjuring trick but it is a puzzle which is under the control of the performer and can be used as a piece of entertainment.

The Effect

Four pictures are shown and each is surrounded by a border design which resembles a winding path. Four spectators are asked to assist and each chooses one of the pictures. They are told that they are going to take part in a race. Each of the spectators now takes a pen and places it on any point of the path which makes up the border of their chosen picture. Their task is simple, to follow the path around the picture as quickly as they can until they are once again back at their chosen starting point. They mark the path they have taken with the pen.

'One, two, three, go!' And all four volunteers try to complete the simple maze-like borders as fast as they can. The trick is that the performer already knows who will win the race.

The Secret

The race is always under the control of the performer because although all the borders appear to be identical they are not. One can be navigated in half the time of the others. Take a look at the two illustrations (1 & 2) The winning border surrounds the Princess. Starting at any point on the path it takes only one lap around the picture to bring the spectator back to the starting point. The border around the other picture takes two laps to complete.

So clearly the person who chooses the picture of the Princess will be the winner (Editor's note: clearly the Princess track differs in some way from the others but when I compare one with another I can not see where the difference lies and Terri Rogers isn't saying). The concept of the game is easily explained to the spectators, everyone at some time or another has drawn his or her way around a maze. The rules which you need to explain are simple:

'Pick a starting point anywhere along the path and draw your way around the path until you arrive back at your starting point.'

'You must not leave the chosen path.'

'You can, however, pass over and under paths. You just can't leave the one you are already on.'

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Preparation

You can copy the borders from this book, enlarge them or reduce them as necessary and paste them onto card. You need one winning border and as many losing borders as you think fit. You can choose whatever pictures take your fancy to place within the borders. There is plenty of copyright free clip art available from art supply stores and on computer disk and cdrom.

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The cards should be covered with transparent Velleda or Conte self-adhesive film. The pens used by the spectators are also made by the Velleda company and are the wipe-off pens used in presentations. You can obtain them at any office supply store. The lines that the spectators draw are easily wiped away with a dry cloth and the cards can be used again.

If you want you can copy the rules onto the back of the cards (3). A brief study of these should clarify the game to any of the spectators.

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Presentation

The race theme suggested here is an obvious one. It can be used as a light hearted piece of mental magic in which you predict the winner. You can indulge in a running commentary as the volunteers race around the tracks but keep an eye on the 'Princess' who should always be leading and make sure no one tries to cheat. If they do, simply disqualify them in as humorous a way as you can.

The Afghan Border Race also makes a great children's effect. Force the Princess card on

the birthday boy or girl. There's no reason why you can't make up pictures for everyone at the party.

Notes: That is the bare bones of the idea. I leave it to you to devise a presentation which

suits your performing style and show.

The deceptive Twisted border design was discovered while doing the art work for another effect. Whether there have been other one-dimensional Afghan designs that actually work I have no idea.

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Word of Mind

Word of Mind was marketed by Martin Breese in 1986. It was a development of an

earlier effect which I had marketed privately under the same title and it was the precursor to another great book test. Both of these owe a lot to Sam Schwartz's use of interlocking anagrams in his lncredibook Test. Max Maven takes all this back further and notes that it was Stanley Collins who used the Progressive Anagram Principle in his

Nonpareil Book Mystery marketed in 1920. In Word of Mind this idea is used to arrive

at a very direct mental effect: They think of a word and you divine it!

The Effect

A spectator is handed a theatre review containing several hundred words. He freely chooses one of the words and concentrates upon it. The choice is a mental one and is not written down or noted in any physical form. Nevertheless, slowly, letter by letter, the mentalist is able to spell out the thought of word.

The Secret

The original marketed effect came with a specially printed theatre review which appears to be made up of several hundred words. When the spectator chooses a word he is asked to avoid those that only consist of three or less letters. Words like 'and', 'to' and 'the'. What he doesn't realise is that this restricts his choice to only one of forty-four words which are repeated throughout the review. What's more these forty-four words are made up of interlocking anagrams which allow the performer to hone in on the chosen word very quickly.

Preparation

In this age of computers and desk top publishing you can make up a far better theatre review sheet than the one that was supplied ten years ago with the marketed effect (1 and 2). Just key in the text as given in the Appendix to this volume and paste it into a desk top publishing package. Be very careful that you key in the words exactly as given. You must follow the layout of the text exactly, including carriage returns. If someone chooses a word that you didn't even know was there you will be in big trouble. Some computerized grammar checkers (such as Grammatik) actually allow you to make an alphabetical list of all the words in your text and thus help avoid errors when preparing special texts such as these.

You also need to key in the Crib Sheet (3). This is a list of the forty-four words that the spectator can choose. You use the Crib Sheet to divine which of the words has been chosen. But first you need to understand how interlocking anagrams work.

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The Anagram Principle

So how do you know which one of the forty-four words the spectator is thinking of? Easy - you ask him. The secret of the whole trick is a subtle form of interrogation. First memorise the phrase A TERC SOILD. The spelling may be out but this phrase will enable you to home in on the selected word with just a few subtle questions.

Whichever word the spectator selects you ask him if it contains certain letters. Of course you don't appear to be asking him, as the mentalist you appear to be telling him. You call

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out letters one at a time and the spectator merely confirms whether or not those letters are in his chosen word. The letters you call out are in the phrase, A TERC SOILD.

For example let's assume that the spectator is thinking of the word ACTORS. The dialogue between you and him would go like this:

MENTALIST:'I think I can see the letter A in your word. Am I correct?'

SPECTATOR: 'Yes.'

MENTALIST:'And a letter T.'

SPECTATOR: 'Yes.'

MENTALIST:'And a letter E.'

SPECTATOR: 'No.'

As you can see the mentalist has called out the letters A, T and E. These are the first three letters of the phrase A TERC SOILD.

During the routine you, as the mentalist, call out the letters in the same order as the key phrase until the spectator tells you that you are wrong. In the above example the spectator told the mentalist that there was no letter E in the chosen word which was ACTORS.

The Negative Answer and the Crib Sheet

So what happens when the spectator tells you that you've guessed the letter incorrectly? Well the spectator has done you a big favour, he's put you on the track of the chosen word. Refer to the Crib Sheet again. You can see that the first four letters of the key phrase, ATER, head four columns of words. At the side of each column is a vertical list of letters. These again refer to the key phrase A TERC SOILD.

So under column A is a vertical list of letters which comprise TERCSOIL which is the rest of the phrase minus the last letter. Don't worry about the missing letter. Just remember that it is exactly the same phrase except it starts after the letter A which is the letter that heads that column.

I won't labour the point as a short study of the Crib Sheet (Appendix 1) should make it obvious that all the columns are made up in a similar manner.

So let's continue with the spectator who is thinking of the word ACTORS. You told him that the letters A, C and T were in his chosen word but then he stopped you when you called out the letter E. Consult the Crib Sheet and look at column E (the letter he stopped you on). Call out the next letter R (at the top of the vertical column) and the spectator will admit that that letter is also in his thought of word. Call out the next letter in the column, C, and the spectator will be surprised because that letter is also in his word. Similarly call out the letters S and O and each time you will get an affirmative answer.

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So far so good. Now, following the system, you call out the letter I but the spectator tells you that that letter is not in his chosen word. It is this second 'no' from the spectator that enables you to pin-point the chosen word.

If you consult the Crib Sheet you will see that right opposite the letter I is the word ACTORS. As soon as you get a second negative answer from the spectator you look at the Crib Sheet and you know that the word adjacent to the final letter you called will be the chosen word. Reveal the word in as dramatic a manner as possible.

Note that some words on the Crib Sheet have a small s after them. It means that the spectator's thought-of word may or may not have an s after it. Therefore he may be thinking of 'PETERS' or 'PETER'. It doesn't really matter because in either case you can call it close enough to be successful.

A More Advanced Example

Sometimes, after you have had two 'no' responses from the spectator there will be more than one word that could be the chosen one. For instance let's assume that the spectator thinks of the word 'CREAM.' You call out letters A and T and the spectator tells you that there is no T in his word. Looking at the Crib Sheet you start to call out letters in column number two (the T column). You call out E, R and C and get a 'yes' to each. But the spectator stops you again when you call out the letter S. When you look next to letter S on the Crib sheet you find two words not one.

The words are CREAM and RACE. You now have to fish for the correct word. Ask the spectator one question which will pin-point the word. In our example you could try the following dialogue:

'I think I have it. It is a four or five letter word but I'm not sure which. Is it four or five letters.'

When the spectator tells you that the word contains five letters you know that the word is CREAM.

Try to fish in such a way that you're not getting another negative answer from the spectator. Better to let him tell you something from which you can deduce the correct word rather than resorting to calling out another letter. In the above example you could have called out the letter M but the spectator would have responded 'no' if he'd been thinking of the word RACE instead of CREAM and two incorrect guesses in a row doesn't look good.

Fishing is very much a matter of practise but because you know which pairs of words are likely to crop up (just go through the Crib Sheet) you can prepare your excuses in advance. For instance had the spectator been thinking of the word RACE he would have answered your question by telling you that the word has only four letters. You could then reveal that you didn't know whether he was thinking of RACE or RACES. If you picked up a large marker pad and wrote down RACES and then crossed out the letter S before revealing the word it would look as if you knew the word all along.

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The Cream on the Cake

You are probably wondering how you are going to get access to the Crib Sheets during the performance. When I first devised this effect I used cribs written on the sides of fat marker pens. There were four marker pens each of which had one column on it.

In this improved version you will be delighted to learn that the Crib Sheet is actually built into the Theatre Review that the spectator chooses his word from.

The Crib is hidden on the reverse side of the Theatre Review (2), the side entitled 'Theatre and Art.' You will see that the page is divided into two vertical columns. The first column is the one that concerns us.

This first column is divided into four articles. The initial letter of each article is also the letter that heads each of the four columns of the Crib Sheet.

ATTRACTIONS? = A

TERRIFIC SHOW, EVE = T

EX ACTOR, NOW TOP WRITER = E RUN ACTORS RUN = R

The first letters in each line of the articles contain the same letters used in the Crib Sheets. For example, if you read the first vertical line of letters of the article which appears under the heading ATTRACTIONS? you will see the combination TERCSOIL. Exactly the same letters that appears in column one of the Crib Sheet under heading A. This is the case with all four articles that appear in the left hand column. Each can be read as one of the four columns on the Crib Sheet.

Furthermore, each line also contains the word that is being thought of by the spectator. Let's take the second article entitled TERRIFIC SHOW, EVE. This contains the same information as that in column two of the Crib Sheet. The article is reproduced below. TERRIFIC SHOW, EVE!

Eve Paul, plays the pop star in 'POP'. Really her appeal is to the audience that can really get players to the top.

So the cream in the race to the top, can owe it all to 'researches' in that play! if it 'encroaches' on any play at all,

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Directors of 'CORIOLAENUS' say so too.

The article begins with the same letter as column two in the Crib. That letter is T which starts the phrase TERRIFIC SHOW, EVE!

If you read the first vertical row of letters in the article you will see ERCSOILD exactly as in column two of the Crib and forming part of our key phrase, A TERC SOILD.

The first line of the article is 'Eve Paul, plays the pop star in 'POP'.' Now look at the word adjacent to the letter E in column two of the Crib Sheet. There are two words PLAYs/PAUL.

Now whenever you read the line in the article it will contain the same word or words as indicated on the Crib Sheet. In this case you'll find both the name 'Paul' and the word 'plays.' None of the other words in the line are long enough to be one of the key words because the spectator was asked to choose a word with four or more letters. A little fishing will tell you which of the two words he has chosen.

The key word or words will always be the first words with four or more letters in any particular line. There is a slight exception to this but it's a great help rather than a hindrance. If you are dealing with the last four lines of the article you will find that there will only be one possible key word in the line. Not only that but the word will appear in quotation marks. This is the key word and the quotations marks help highlight it for you.

Final Notes on the Crib Sheet

If you've read everything carefully you'll now be able to read the reverse side of the Theatre Review just as if you had the Crib Sheet in front of you. That's all you need for the performance, the Theatre Review. You don't even have to memorise the key words. It's all on the Theatre Review sheet and a little effort on your part will enable you to work out which is the key word every time.

Presentation

This is where you begin your input. The trick is worked out and now your presentation will make it successful. You'll need two Theatre Review sheets for the performance. Hand one of the sheets to a spectator saying that it is a theatrical review sheet and contains well over a thousand words.

Ask the spectator to tear the sheet in half, then into quarters and then into eighths. Tell him to mix them up and take one piece from the middle of the resulting pile. The other pieces he can screw up into a ball and toss back onto the stage upon which you are working. Don't pick up the pieces and don't look directly at the spectator as people may think that you're trying to catch a glimpse of the piece of paper he is holding.

Say, 'I want you to choose any word on the piece of paper. Don't choose one, two or three letter words because that would make the experiment too easy and no one here will be very impressed.' This restricts the spectator to choosing one of the forty-four key words.

References

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