## Affinity in Numbers

The foUowfrjg effect is based on an idea described in John Seamed wonderful book Scarne on Can! Dicks} Its underlymg principle Is mathematical, so I present this item not only f, ,r those readers searching for a simple trick, bat also as an example of how such an effect can l ,resen,e( U1 a «V ** ol**™es its mathematical basis to the point tlwi such a solution is eliminated from the audience's thoughts.

### Effect I H

The performer and the spectator each place one card face down on die teble, fonning a collective prediction. The sj>ectalor is Uien asked to think of a can] and go through a few mental calculations, the result of which is confirmed by die two prediction ourls, which conclusively proves dial the magician knew which card the spectator thought of

Constriiction} Management and Script

"Numbers detainine more of our lives than 106 might realize. Our age is (/¡ten in a number, as well as our uvight awl our height Our social security mtntber identifies us worldwide, our house number tells where we live anrl our income is an indication of our jjjxtfessional success. By numljers alone, mote can be known altaut us than toe would pivbaUy like» In ttiefollowing experiment I uxmld likr to show you how it is even possible to read thoughts with the help of numbers."

As you make this introduction, take out any T\vo from die deck—let's say the T\vo of »Spac les—and place it face down on the table in front of a spectator. Doing diis while you are speaking saves time and avoids drawing undue attention to die card

Without interruption continue: "Ami this is why I will ask you to think of any numUrfwm one to ten, any number at all. "Using die conjunction "and* Ls an elegantly simple method of linking one statement linguistically to another, even when the statements mfijy not be a strictly logical tit. In tixis case it allows you to lead smoothly from mind reading to dunking of a number and later to the tabled card

The spectator can actually think of one or ten; however, the wording will almost always influence her to t J link of a number from two to nine, because one and ten have been mentioned

When she confirms that she lias a number in mind, ask her to remove from the deck any can I widi a value equal to her number. Tb avoid any kind of misunderstanding, help her by giving an example: if you thought qfthe number Jive, you mn take out tlu Fur of Hauls, Spades, Diamonds or (lulis—whateivr cant ooirespmds to yem thought nwtiber"

As soon as she is holding die r.uxl point to die one you previously placed lace down on the table and slide it in front of her, explaining "litis is half of a prediction about a eartL You will make the otiur half '."

slide her card next to your Portion rani, i . the two now rest face down on the - ?Ze by Side, and in front of the spefr 131 ' vZ needn't worry about which canl t3l0r' uorp__an annoying matter, especially

Uf Lvent performed this trick for a few if y° Ice you are going to take care of dayS^ later in the presentation As an UUS iTlot's assume the spectator is think-¿¡a and that she has placed the Seven ofClubs on the table next to your1\vo of Spacles. m^^M

"Yuu must admit, "you continue, 'that this canl on the table has been determined entirely by the thought you have in your mind. And your mind is a ¡Aace I ain't jrossibly enter. However, them is a uvy. And it is The Way of the Numbets. Although your canl lias been determined by your five thoughts, it is linked to its value, which is a number, correct?" The spectator must agree with your last statement, and with tills she finds herself implicitly agreeing until the previous statements linked to it. You will now ask tire spectator to perfomi a fp\v calculations, lite numbers in brackets in the text below indicate the numbers the spectator will be thinking if she mentally chose seven

Continue: "Reuse think of this number |71 and double it to make everything twice as interesting. You now Nape a new number 114]. Please add two, one for you and one for me (16). llnwyou done that? Good. Then please multiply your number by ten; that is, simply add a zem to it (ICO), because we liaiv ten fingers and this is all alnut sleight-ofminii Divide the number you now have by two, because our prediction consists, ivmember, of tow raids 180]. Hcnvtjou got your new number now? Good. This is the last step: Deduct (Vjhtfivm it; for eight is M sign of eternity |72]."TWs last number, in our rase eight, is

Sri °f >0Ur nUmbf'r t0 tca Smce your ran I is a TVo, the complement to ten is S)h m 11 T PUt a 0,1 ,he "V number is always eight and Ls easy to remember. m Jl'lr T*dedde ,0 *** ^ curious experiment for the same spectators, you

IL nUmb°r' "d "0W y0U Uie governing it.

^ n!"IP ^ ^ ^culation, leading him to the result of 72, explain. My OunM^f Ix <VUl,M Wtty I«»*' known before, since the ixilue of!/»» different, dr,.^" "7 ^ °f,his Nidation ami the ivsult will (WW

«w '"YourspetST W mr ",imL And '>our 00111 fmiy "mgM

(<vr*ytlung K ^ ^ a&ee With every statement you have just made, beca*» Uuwav ()f ,1 r* y"Ls luJf,mp> because you omitted some vital inform***

"Nonetheless, I can prove I knew well bejme, wlm/ card i/ou would marly thin): of What istliejinnlnundxryou nowhmvin mind?" The spectator answers thai it is ?2. biok at the two prediction cards on the talkie and slowly turn them face up toward youiself. You will then see, lx?fore the audience does, which Is the Two and which Is the Seven As you place the cards far e up in front of the spectator, arrange them to form the numl)er ?2 from the spectators point of view.

When you perform this the first time, you will I* quite amazed at the result. 1 vividly remember when my friend Richard Vollmer performed this trick for me in its original fottn. 1 was surprised far more ilian you would imagine, given such a simple meduxL My experience has been tiiat, With the verbal staging IYe devised, the impact is well above expectation, and more than one spectator lias left lielieving I really divided liis thoughtof card

### Final Notes

1. I would like to comment on file introductory script here, as it illustrates a principle diat can be applied to many effects. The function of the prok>gue is, as always, to create interest in what is alMMt to happen However, it Is also an example of how it Is possible to place sometlling rattier trivial, such its a maJlv emalical pnxvdure, into a new context. Suddenly the relatively weak medtod « >f usinganopen calculation is expanded in its meaning and becomes a It*'hnology to read minds" (Well Tm exaggerating a bit to make the point) Also, many spectators will remember later that you divin«* I their card, whereas all you did, in reality, was discover a nun it »er.

2. I find diLs simple trick quite remarkable in tluit it shows how the perception formed and the impact produced at the end of the performance are responsible for die final impression created m the spectator's mind It will be diese last thoughts dial cliange and acQust the fails perceived in die past, and duu are responsible also for how die information Ls retrieved and reconstructed in die memory Such reo instruction always takes place al h-asi twicts Hist, as soon iis die climax of the effect is reached, becaiee there the final situation is compared to the Initial one, and no causal relationship is discerned (see The Magic IVnunid" in Volume ■>,

page ¡0(2). Therefor astonishment is j>n*1myL The second reconstruct Hon occw when the spectator thinks back or teJls someone else about the nuigie lie has Witnessed It is the per-fivmr's responsibility to stnirtwv his performance in a way that make.s die cíím inlellHtually and ejnotioiiilly as

,1V uoaattm While protectr ing the secret.

a The strategies of deception used by msíltíans and politicians, as men-tioned above, an4 interesting; but we should leave it at that, since 1 ihink we ougjrt to be loyal among our fellow illu-

CARD COLLEGE

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