All that is needed is a pack of cards and five extra cards to match. These five are all DUPLICATES. For example we shall call this duplicated card the Ace of Spades. First, take from the deck five cards (among which is the Ace of Spades). Place this Ace at the FACE of the packet of five and place packet in your inside coat (breast) pocket, faces TOWARD BODY. ALSO PLACE IN THIS POCKET, SEVERAL PAPERS OR LETTERS.

Have the upper RIGHT VEST POCKET empty.

On top of the deck place the FIVE DUPLICATES and between the third and fourth cards from top place a CONTRASTING card from deck. For instance, a red picture card. You

The Mentalist Card Staggerer are now ready.

First, turn deck face up and slowly run through it from front towards back, showing cards and saying "If I were to ask you to merely think of one of these cards and then find it, it would be a very wonderful feat. However, I haven't yet advanced to such a stage, although I am very successful upon a smaller scale."

By this time you are NEARLY through deck (although NOT THE LAST SIX) and you close pack up and turn FACE DOWN. This introduction serves to show the cards all different and well mixed. It also SUBCONSCIOUSLY impresses them with the fact that you are handling the cards freely and carelessly.

With deck FACE DOWN, riffle shuffle once or twice, LEAVING THE TOP SIX CARDS INTACT and on top. Hand deck directly to spectator asking him to deal five cards FACE DOWN in a row. This is a bold move but a SAFE ONE under the circumstances--and he unsuspectingly deals the top five cards out faces down.

Taking deck back you tell him that when you turn your back you want him to turn up and look at ANY ONE of the five cards he wishes--then to replace it--then to move all the cards slightly-- so that POSITION OF CARDS can give you no dues.

Caution him not to turn up a table width="90%" and look at a card as that might bend it so it can be noticed--but to carefully turn over the card so it does not change it at all.

As you say this last you ILLUSTRATE by turning up and showing the FOURTH CARD dealt in the row (which is the contrast card). As you are about to return it you apparently get an after thought, push it into deck and deal another fresh from top into its place. This is one of the principal points of the effect and nothing is said except as stated. THE CARDS IN THE ROW ARE NOW ALL ALIKE! Naturally when you turn your back, one is looked at and returned. Although you do not know which of the five, they are all the same. You pick up the five face down cards. Without a word you hold them with RIGHT HAND while your left hand openly goes into inside (breast) pocket and removing papers or letters therefrom, lays them aside. STAND SO YOUR RIGHT SIDE IS TOWARD THE AUDIENCE.

Left hand takes cards and as you start to put them in pocket you LOOK AT SPECTATOR and ASK HIM DIRECTLY IF HE IS THINKING OF THE CARD THAT HE LOOKED AT in the row. This momentary thought for all takes absolute attention away from your exact actions although subconsciously they notice everything.

Your RIGHT HAND is holding coat open about five inches from body and LEFT HAND (holds cards between thumb and forefinger at end) with faces towards body (See Figure 1).

Immediately turning TOWARD RIGHT the coat is opened a little further SO THAT THE INSIDE COAT POCKET IS IN VIEW--and the audience SEES THE HAND COMING AWAY (See Figure 2) with FINGERS COMING OUT OF THIS POCKET.

But this is what the audience does not see, in that second before coat is swung open. As the left hand goes OUT OF SIGHT into the space between coat and vest (See Figure 1), the cards are PUSHED DIRECTLY down into UPPER RIGHT VEST pocket (See Figure 3) and the left free fingers go in to the coat pocket MAKING A VISIBLE "BULGE," which is slightly noticeable from the audience' view of outside (See Figure 1).

This visible "bulge" of the pocket is taken by the audience to be EVIDENCE of cards going into the breast pocket.

DO NOT MENTION POCKET OR WHAT YOU ARE DOING! Give your audience credit for SEEING you first empty your breast pocket and go through all evidence, of putting the cards there. Later, they will see you take them from there also. Therefore, there is no reason for you to mention the action.

Next, ask spectator to HOLD OUT HIS HAND, and with your free LEFT HAND, openly reach into pocket and bring out TOP CARD of heap there. Lay it face down on his open hand.

Repeat with the next three. Do it SLOWLY and OPENLY counting them "TWO"--"THREE"--"FOUR"--as they are removed. When FOUR are out, state that but ONE is left in the pocket.

Tell gentleman to reach in with his free hand and TAKE HOLD of the one card left BUT NOT TO DRAW IT OUT. When he has it, ask him to NAME for the first time the card he was thinking of. Then have him draw out the card and hold it up. IT NATURALLY HAS TO BE HIS SELECTED CARD!

At once they can examine all the cards, the cards in his hands, and the deck. It is now (3 sur 4) [13/04/03 13:28:55]

The Mentalist Card Staggerer complete with 52 cards and there is nothing suspicious to find. YOU HAVE PERFORMED A MIRACLE WITH 100% CHANCE OF SUCCESS!

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The Psychic Writing

I have here a really new principle for effects of this nature. It occurred to me in the latter part of 1927 while conversing with Max Holden on a principle of which he is the originator.

The first thought was to use the trick as herein described, with two blank cards of a calling card size, and as a possible publicity stunt to be used impromptu and at random when the opportunity was forthcoming. For a while I used it as a sort of "self introducer" where my own name would appear upon the blank and numbered cards. Then I discovered it much more effective to use the observer's name when possible, as it takes but a second to get it ready. I first introduced the effect to magicians at the 1928 Lima convention where I was continually "loaded" for as many as 16 names at one time. So upon meeting a performer I could work the effect apparently impromptu. So much for presentation possibilities.

In short, it is the only effect of its kind where with a pencil and two cards, four blank sides are shown and numbered, the spectator actually seeing four blank sides with a different number on each. Yet a name appears, filling one side of a card and everything may be kept and examined. There is neither anything else to add nor get away with.

Use two blank business cards. Beforehand, on the upper left corner of one card, write the figure 1, and then diagonally across card write the name or message desired (Fig. 1). Place the two cards together with the writing on the underside of top card and the numbered end nearest your body (Fig. 2). With spectator in front of you, you are ready.

Mention the two cards in hand, carelessly showing top and bottom of the two together and spreading them apart so top of lower card is seen. Ask party to hold out his hand, and very deliberately deal them onto his hand singly (fig. 3) and remark that only two are used and not three as some think. Pick them off hand and lay on your open left hand and writing is now on the bottom card against your hand with numbered end nearest your body.

Stating that you will number each side, take pencil in right hand and openly mark a figure 1 in upper left corner of top card. Make sure he sees full surface of top card numbered 1. Now lift left hand up (1 sur 3) [13/04/03 13:29:04]

towards you so he cannot see face of top card and make this move apparently bringing another surface up.

With left thumb slide top card a little to right as in dealing. Take hold of lower right corner of this card with right thumb underneath and forefinger above (Fig. 4). Now turn this top card outward as if opening a note book until thumb comes to top and forefinger is underneath (Fig. 5), then, still holding card, bring same down behind the other card, not letting go until card is down entirely behind the other (Fig. 6).

The writing is now on underside of the top card and the figure you just wrote is on the underside of the lower card. Practice this move as it is very simple and natural in making. A clean surface is now on top, and still holding left hand up, remark that this will be side No. 2. Write the figure 2 in upper left corner and then lower hand and show the full surface of card bearing figure 2. Once more raise your hand and make exactly the same move as before, turning top card outwards and bringing it down behind other. For a moment, the writing will be seen by you. but only for a flash and not by spectator as he sees nothing. A new surface will be before you on which you mark the figure 3 and then lower hand so that all may be seen fair. Once more hand comes up and the move takes place again-- BUT THIS TIME THERE IS A SLIGHT DIFFERENCE. AFTER TURNING TOP CARD OUTWARD, INSTEAD OF BRINGING IT DOWN BEHIND THE OTHER, BRING IT DOWN IN FRONT. To the spectator, the move appears the same as always.

This brings back to the front the side you marked with the figure 1. NOW RIGHT HERE IS YOUR SUBTLE MOVE AND PRINCIPLE. You mention that this side is number 4, so you make a figure 4 RIGHT OVER THE FIGURE 1, IN SHORT, CHANGING THE FIGURE 1 INTO A FIGURE 4 BY THE ADDING OF THE TWO SHORT LINES. Drop your hand and show this side perfectly blank numbered. Repeat that you have shown and numbered all four sides and hand cards to spectator to hold. WHEN OPENED HE FINDS THE NAME OR MESSAGE ON A NUMBERED SIDE AND ALL NUMBERS CHECK AND CARDS MAY BE KEPT BY THE SPECTATOR, AS NOTHING CAN BE FOUND WRONG.

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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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