The basic Timmerman effect somewhat parallels a color and design duplication effect that Anverdi marketed. The Andverdi effect involves a combination of electronics and either an impromptu stooge, or three already-known designs the spectator must draw in a known order. In reality you really only divine the order of the colors. The effect sells for several hundred dollars!
The routines I'll give you here don't use electronics, and are strictly one-man effects with no stooging of any kind. The spectator who participates will be as fooled as the rest of the audience. And, as you already know, I'm giving it to you here as a bonus
— it's not costing you anything!
In the original Timmerman routine, the mentalist begins by showing nine jumbo cards. Each card has four different designs printed on it, and each is in a different color
— black, red, green, and blue. The spectators inspect the cards to see that the design/color combinations are not duplicated — each card is totally different and there are many different designs. You shuffle the cards.
You are blindfolded. The spectator freely selects one of the cards and then mentally settles on one of the four designs on his card. The remainder of the cards are placed aside. Blindfolded, you face the spectator and ask him to pick up one pad of paper and a set of four colored felt marking pens from the two sets that have previously been placed on the table. He may pick up either set; there is no force. The remaining set is handed to you.
The spectator stands well away from you and draws the mentally selected design in the mentally selected color on a sheet of paper from the pad. While he does this, he holds the pad so that you cannot see what he is drawing, even if you were not blindfolded. That being done, you slowly place three of your pens in your pocket and stand holding the only pen matching the color the spectator mentally selected. Then, rapidly, you flip open your pad of paper and draw an exact duplicate of the mentally chosen design. You whip off your blindfold, compare your design to the one drawn by the spectator, and take your bows.
Mr. Timmerman's original routine is a bit easier to do than mine. However, in his routine the cards cannot be mixed by the spectator, and the design cannot be chosen while your back is turned. In my routine, the spectator may freely mix the cards and makes his selection while the cards are in his hands. This always makes the effect stronger in the eyes of the spectators.
I've included the Timmerman routine in this chapter so that you can learn the basic principle before moving on to my routine — you must leam the basic system to do the double revelation at the end of my sequence.
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