The Punx Prediction8

The idea for this trick comes from Annemann.9 All I have to do is to place an "H" in front of his name, along with one small change, and I can change it into my own. (My everyday name is "Hanemann.")


The performer writes or draws something on a piece of paper (Annemann Billet) and places it into his breast pocket, where it remains VISIBLE.10 - A spectator is then requested to draw a geometrical figure on a second "billet," and to write a two-digit number inside it, while the performer turns his back.

The second piece of paper is given to a lady for safe keeping. Another spectator who is sitting at a distance receives the performers billet.

Now the performer gradually begins to reconstruct in vague terms the drawing and number on the spectator's billet. The descriptions are correct in principle. Then they begin to agree with the contents of the

8 A version of this was published in Lewis Ganson's Magic of the Mind (p. 5) as "The 100% Prediction." BP

9 The principles in this routine are in Theo. Annemann's Practical Mental Effects, edited by John J. Crimmins, published by Max Holden, later by Tan-nen's and now by D. Robblns. The first chapter contains a full explanation of the billet switch which follows (p. 11) and a routine by Orville Meyer which is slightly similar to this one ("Tervll," p. 20). The Punx routine takes this material into a new realm. BP

10 It is placed near the upper right corner of the pocket where the pressure of the outer part of the pocket holds it in place. It protrudes about 2 cm. out of the pocket. By the way, please do not refer to the billets as "billets." That is a term magicians and mentallsts use, a bit of trade jargon. When you are talking to the spectators, call the billets "slips of paper." BP

billet which the lady is holding. Finally, they agree completely! (For example, rectangle and 36.) - First effect!

Now the spectator who is sitting at a distance opens the performer's billet and declares that he, too -previously - had drawn a rectangle and written "36." -Second effect and climax. - BOTH BILLETS ARE GIVEN TO THE FIRST SPECTATOR AND REMAIN WITH THE AUDIENCE.

Here is the vital improvement. In Annemann's version, one billet remained blank and had to be disposed of.

If we include the vague, but correct reconstruction with the first spectator as one of the effects, then this routine contains three effects.

I have used this routine in almost every one of my full evening shows. It has always been a high point. Through several hundred performances, I have honed it to the utmost perfection. I have always observed that during the intermission the audience would stand around the spectator who held the billets and talk about the secret.

The routine has a couple of sure fire laughs, which have been developed during performances. Of course you could work out some gags ahead of time, which might not be so certain. These have developed from accidents, mistakes and slips of the tongue. Nobody could have suspected that the instruction to the lady to place the piece of paper in her purse in some place "where you can find it again later," would be a big laugh. That is, aside from the fact that the paper is really found again later because of this remark. This had previously been the cause of many almost insurmountable difficulties and delays.

This routine requires scarcely any dexterity.

However, more than almost any other routine, you must rehearse it mentally until you have it firmly planted in your memory. - Then rehearse it before empty chairs, imagining that they are filled with spectators. Do this as often as necessary until you have dead certain mastery of THE ORDER OF THE INDIVIDUAL MOVES. If you make any mistake at all in the order of the proceedings, the trick is irreparably ruined.

During the first performances the trick went wrong for me a few times. However, I did not know then, what you know now. I needed to work on it. Later, it went wrong again when a heckler said, "I would like to see the paper in the lady's handbag again!" I made the mistake of getting into a discussion with him. This proved to be an error in reasoning made in anger.

Since this incident I ignore the hecklers and go ahead stubbornly. Do the same thing. - Once you have this routine "down pat," you will never want to leave it out. You can leave an audience of 500 people (use a lavalier microphone!) totally speechless in amazement, with just two pieces of paper! What is there in the art of magic that is more amazing and admirable?

Friendly Persuasion

Friendly Persuasion

To do this successfully you need to build a clear path of action by using tools if necessary. These tools would be facts, evidence and stories which you know they can relate to. Plus you always want to have their best interests at heart, in other words, you know what is good for them

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