A spectator is handed a blank card (business or visiting size) on which he is requested to write or draw something of his choice. Then he is given a drug envelope into which he is to slide the card face down, sealing it within.
The performer experiences some difficulty in receiving the thought and blames the spectator for thinking too much about the card and envelope and not concentrating sufficiently on the writing. So the card and envelope are burned whereupon the performer immediately reproduces whatever was written by the spectator.
All that is required is an unprepared stack of about 15 cards and a white drug envelope, also unprepared, into which one of the cards will fit.
Give the spectator the stack of cards and ask him to choose one for use in the effect. While he is making his selection, remove your pencil. As you hand the pencil to him, indicate that he should lay his card on top of the stack, using the latter as a rest or base for his writing.
Turn away slightly during the writing and bring the envelope from your left coat pocket, holding it at your left fingertips. When he has finished, tell him to turn the card face down. Then extend the envelope toward him and take the stack in your right hand, completing the latter action just a second before he can grasp the envelope and accompanying the procedure with a statement to the effect that you want the card sealed in the envelope.
Don't give him possession of the envelope, however, but turn your left side toward him (he naturally being at your left) and lift envelope up between his eyes and a light, stating, "See, there is nothing in it. But, here, take it yourself and look it over. "
At the very instant that you misdirect his attention and under cover of the upraised left arm, quickly turn the stack over. Then bring the arm down and hand him the envelope. Before he has an opportunity to examine it, say, "Just a second. Put your initials on the back of your card before giving me the pencil. "
Once he is satisfied the envelope is O.K. , slide the initialed card into it and have him seal the flap. While he is thus engaged, turn the stack over once more and lay it down.
Set the envelope to one side and pick up the top card (actually the one on which the spectator wrote) and pretend to write the thought he is trying to send, really reading what is thereon. Apparently having no success, cross out what you have written, crumple the card and place it in your pocket, complaining that the spectator is thinking too much of the card and envelope and not enough about what he has written.
Assist with the destruction of the sealed envelope and then select a fresh card from the stack and write or draw what you just saw.
It is all a matter of correct timing. Properly presented, the effect is astounding.
NOTE: A subtle twist can be added by drawing a circle on the card in which the spectator is to write and exerting considerable pressure as you do so. If the card for which it is to be switched is similarly prepared previously, later, when the stack is turned over, the impression of the circle will show on the back and will be noticed by the spectator when he affixes his initials, thus dispelling any idea he might have had regarding a change.
LIVING AND DEAD TEST by
Place a sheet of paper on the table in front of you. Square a ruler even with left-hand-edge of paper and draw a line along right side of ruler. The lines, are of course, drawn widthwise of sheet. Move ruler until even with line just made and draw another. Continue until your sheet is exhausted.
"With a pair of scissors cut to the right of each line, commencing with the first line at left of paper. The last slip will bear no lines so discard it, quite likely it will be a different width from the other slips anyway, or use it as an example of how the slips that are to be used should be folded.
All the slips that you are going to use will have a line along one edge on one side while the other side is perfectly blank. Fan the slips out with the plain sides uppermost. Spectator is seated at a table ready with a pencil. Ask him to choose one of the slips. When he has signified what slip he desires to use, place it on the table in front of him with the blank side up. Tell him to write on it the name of some departed celebrity and fold it in four with the writing inside. While he is doing this you turn the remaining slips, which you are holding, over so the marked sides are uppermost. When he has finished with the first slip you place the remaining ones in front of him, one by one, for him to write the names of living persons on. Note that these slips bear the marked side uppermost as they are laid on the table, just the reverse of the first slip.
When all the slips are folded the "dead" name slip will be the only one bearing a pencil mark along one edge, as the marks on the other slips are folded inside with the names. This is the clue that makes the effect possible, no matter how much the slips are mixed. The presence of the line is quite natural and if noticed at all by the spectator is overlooked as bearing no significance.
PSYCHIC TOUCH by
Following are the barebones of an easy-to-do effect . . . Give it the proper presentation and you will have a real pleaser.
Two packs of cards are on the table . . . the top card of each pack is identical. For example: Pack No. 1 has for its top card, the Ace of Hearts and, the top card of Pack No. 2 is likewise the Ace of Hearts.
The performer requests two spectators to assist him in a test of Psychic-touch . . . Performer false - shuffles each pack so that the top card (Ace of Hearts) remains on top of the packs . . . When this has been done, performer steps between the two assisting spectators, takes hold of the right hand of the spectator on his left and, the left hand of the spectator on his right . . . Performer announces that he is thinking strongly of the Ace of Hearts and is sending through his body such a thought vibration, to the assisting spectators.
Performer instructs the assisting spectators to turnover, with their free hand, a third of the top portion of the pack that is on the table in front of them, so that it will be face-up now on top of the pack that is two-thirds face-down; then to turn over the top portion once again, this time a half of the pack, so that half of the pack will have faces up and half faces down . . . When this has been done; performer releases his hands from the assisting spectators . . . He then instructs them to spread their pack of cards that is in front of them (the top half will be faces up) until they come to the first card of the face-down group. They are told to remove that card and turn it face-up . . . Both cards are seen to be the Ace of Hearts.
The secret is based on a little known principle; that of the top card of the pack, when the top portion of the pack has been turned over twice, will be the first card of the turned down group of cards ... A third of the pack is first turned so that it is face-up, and again a deeper portion is turned (half of pack) so that a supposedly half-of-the-pack is now seen to be face-up on top of the face-down ha'lf-of-the-pack ... It is a subtle way to force a card and very effective.
Was this article helpful?
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