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An amazing effect, utilizing a pen-and—placing—cards. The-cient.a 1 1&t-write&-a prediction, which may be held by the spectator. Spectator'is ¿iven some playing cards and a pen with instructions to place the cards and pencil behind his back and mark a circle on the face of one card. The spectator does so and hands the cards back to the performer.

The spectator opens and reads the prediction and then looks through the cards himself and finds that only one card in the deck has a "0" on it. It is the predicted card. This is one of the most natural and 'unfaked' mental effects we have ever seen.

Examine the pen that was sent with this trick and you will find that it is two pens in one. By a slight turn of the pe~, another point comes out. The proper way to handle the pen is as iollowr:. Fen is held comfortably with hand in palm up position. The writing end is pointing away from you. Third and fourth fingers bend in to hold pen near rear and thumb and first finger hold pen near writing end. If third and fourth fingers hold firmly, you will find it an easy matter to turn the front end of pen in either direction with only the thumb and first finger. This withdraws one cartridge and exposes the other. Practice a bit, so that you can expose the cartridge you want ; without looking or checking.

There are, of course, many ways of presenting this Let me give you some of my ideas on the standard methods and then I'll give you the presentation I use most often.

Prepare by drawing circles cn the back of one card (I suggest always using red-backed cards, since tr.ainl; shows up better; unless you presant this by having the face of a card circled). This card is placcd in the deck according to how you wish to present this. Here is the standard presentation. Place the prepared card anywhere in the deck (except on top). Shuffle without exposing it. The safest way is to shuffle the deck face up. Bring out a piece of paper and the pen. The pen, or .-.ourr.«, is set so thai the vjriting cartridge is out and ready to write. Write your prediction without allowing spectators to see which ca":d you predict. Turn the paper face dow.:- Hand the pen to spectator asking him to sign or iririal t!:.? reverse side.

Take pen frcta hi^u v.ci-13 it Lo ¿a.-j'n.'e wicli, as ycu tell him to place the deck, face down, behind hia bark (or under the table) while talking andges-turing, turn the pen eo that. ¡.he r.:pty c.:..:trid-e is erposed aed the writing cartridge withdrawn. Make a Vig tur'.Tig ¿-.hou". hi:; getting a completely free choice of a card to the cop of the ceck(since he really does). Have him shuffle and cut, etc. When he's n:\i3fic-ds hand bin the pen and instruct him to make a circle on the back of the top card of deck. Tell him to go over it a few times as if he were practicing penmanship - to make sure the circle will be visible. Take the pen from him as yj-a tell him to cut the deck a few times in order to lose that card. As you talk ai'td gesture, turn the pen so that the writing side is exposed again, ileve hin briag the deck forward as you recapitulate. When you talk about hia initialing your prediction, circle his initials and/or check them, etc,. This is the strcr.g point showing (without mentioning it) that the pen writes at ail'?) times.

Have him run through the deck cc find the card he (?) circled. As you talk replace the pen into your pocket. Th?.n end by showing that, your prediction is correct. That'0 • the-baslc -p-veseutc?:ion. Be sure to always do soica-wfcfcting -with the-pen -after tha,jspectator has—clrx.1 ed-a-card.—Iiow^_some--thcrughts~-on--this-.

I imagine that some of you will think it necessary to show the backs of all the cards to 'prove' that none are already circled. I don't think this is at all necessary, as a matter of fact, I think its wrong to try to prove what should be taken for granted - however, you might have the prepared card set at 12th from the top. Give the top 13= cards a slight crimp so you can cut them from the deck easily, or - simply start with the 13 cards already in hand. Patter to the effect that you haven't learned to do this with the entire deck yet - but you've learned to do it almost perfectly with 12 cards. Count the cards face down onto the table, one by one, doing a buckle count on #11. This will show 12 cards and the back of the prepared card is never seen. That's all.

So far as I'm concerned, the buckle count is unnecessary. Simply spread the cards into a face down fan. If this is done neatly, the circle won't show, since only a small part of the backs of the cards are visible. Do this nonchantly, show back and front of the fan, and the same purpose has been served. Also, this way - its not necessary to mention amounts; you're simply using a small packet of cards. The same holds true if you're using the full deck. A pressure fan or spreading from hand to hand neatly will not expose the prepared card. Or, have it near top or bottom and simply make sure not to spread that particular area too widely.

Now, here's the presentation I've used for some time. The inspiration for this was the fact that there is one method of doing this which utilizes a pencil that writes on paper but not on a playin- card. This presentation will 'throw off' those who know what particular method. You will ruin two cards when you do it, but I think you will find the effect is worth it. Prepare one card, say the 2H, by making the circles on its back - and then put a lar£i= X of^ center, as per the illustration.

Place this card second or third rrom the bottom of the deck. Also place the 2D (matching card of the one you've prepared) either on top or at any known position near the top. Riffle shuffle, keeping the two red deuces in place as you patter to this effect: "Large industrial firms have devised a new way of testing the emotional stability of their personnel, They use a deck of cards; and since I have a deck handy, perhaps you'd like me to test your emotional stability level," Here you must pull out the 2D making it look as if you'"re removing ANY card from the deck. If you have it on top, simply take it and place it face down onto the table. I prefer to have it, say, 5th from the top - then I ribbon-spread the deck face-down (this will not expose the prepared card, if its done neatly)-spotting the 5th card from the top. Then I nonchalantly push it out as I talk -as if it doesn't matter at all which card I remove. (Some of you may want to force this card. Okay, if you like. I just don't feel that any importance at all should be lent to the selection of this card. Nonchalance is the key here.)

All right,; leave the 2D face down (be sure you never show its face) and hand the spectator a pencil whichhas-a light J_ead (#3 pencil is fine). Tell

on the 'back. of tha-card—. J1^ ^ocrt-e-rî^ wait a minute,, that's too light; here, use this." And hând him the pen. This is all geared to make it-appear as if. it doesn't isettsr what you \?rite with. Do it all nonchalantly. When heJ s-made -the-circles, tell him to draw a large X centered inside the circle. When that 's done, say, "See hc<tr easy that is when you're looking? The idea Is to try it without looking." (You've demonstrated that the pen does «rite on a card without mentioning that fact.) Have him place the deck behind his back and shuffle and eui;R etc. Leave the 2D face down on the table. As you y-.lk and gesture, turn the pen so that the empty cartridge is exposed. Whei/he's satisfiedt hand ^iim therpen and tall him 'to; make the circles. Then tell fcia to fry to draw tîts X in the exact center of the circle. Now take the per. iron. Ma as» ycu tell lïin: to cut the deck a few times. As you talk, g*st the vrritSLcg..c&rtirLdge.,out again.

Have him bring the deck. .forward.* Tell him to run ■ through, looking at the backs, until he finds the one be-circled. When he dees, place it face down on the table, near the face dean 2D, Point out that hr, âj.dn't do too badly; that the X is only slightly off center. Say, r'You,.U l*i'"£urprised how difficult it is to center that Z„ Some people go way outside t±;-. circlef like this, or like this, or like this." As yon 3p<irik suit act ici toxoids, waking X's outside the circle on the back of the 27). This proves- (a^i-n without mentioning it) that the pen always (?) writes.

Now patter as yc-j. put the pen away. "You did .fairly--well. However, there's one final part to the test that few people pass. I ¿onIt lif-ow^-^'hat this card is (point to the 2D) neither-do you. We certainly- d-orJt know Trhat~thls"""

card is (point to the 2H) . If - ar.d the odds are ahoat,_a r.iillion to one - these cards.happen to catch in v„-.iue and color, you would be air 3d im ©¿lately by any firm for any executive position. Let's check and oar..." • soca port of magical gesture and turn the cards oyer e.imulfcaneouslT^howins the two red deuces! I End with any appropriate .jceiasck, such as "Well, you're one In a million! You'll never haïe a problem securing an oxecutiv&..p_oait±eii»" Or -"You'll.never have • any emotir.nal problems, etc."

One more presentation idea: In my book, "Close-r pI included an.effect wherein the apecVitor"X'd tl:a came c^rd.you did f^j. a -ccripletoly darkened room. Thin entailed tfc» nee' of a 'ntran^er' d(rck,.^?.tc., You can do the same effect easily with thin peri. Or, as I prefer no>s,__i:o ;have o?.e spectator circle the back of any card ¿.-¿d atic the.z- spectator the. -f&cii-^cf any card,'and show that they've circled the sectza r.at-J. Tt;.* beauty of thic-ie .that no preparation is necesoary except to ha-** the rendy to fcTite, You cm borrow a deck or have youro examined* Thec-nive-th^ fir^t spactator^^HC-jseeJthoice of a card. Keep _it face .dc-wa on the table. Ilax -1 his the pen an! have .h.ia_circle the back.

Now have him .replace-the.card (without looking-at and you control, it to the bottom of the deck. Turn to the second-speeiatoiH^ni-sx^lain that he .will have, to do -the -sa-ne ■ thir-j-n/ithout looking - end, he's'»to circle the face of any card. Here you placs the deck either behind - yem-s- bcj<ik or under-"the table, turning it face up, to-demonstrate. Explain.that he's to ^huffL?..and cut. Here you do one or two loud riffle shuffles, but keep iisat.-lç.'ird at the face. When he's satisfied, he's to take the p<?n and circle the fA:e card. As you 4«lk, takfe-thfv, pensas if ÏHE ¡#ACE CAST! This must all be done iSoneîaàlaritiy. ksr..ember - y:u:re rdîojsji^uexsxLaiî^^L^J^-dsiactistrat-ing.

Now, cut the deck and hand it to the spectator. Have hint-place it behind his back or under the table and shuffle and cut. As you talk and gesture, turn the pen so that the empty cartridge is exposed. That's it. Continue as in the standard presentation. When you take the pen back, turn it once more. When you find the circled card, check it or doodle on it as you talk about it - just to show that the pen writes. Then turn the card over to show that the spectators circled the sane card!

There are many presentation possibilities open to you here. You may prefer to have the first spectator look at the card he circles. Then, using an ESP patter, he's to try to send that thought to the second spectator, and so on.

The important thing is that you must do some acting as you supposedly explain and demonstrate for the second spectator. Be nonchalant; don't hesitate or pause as you actually circle that face card. What I usually do is - as I bring the deck forward, I do a one hand Charlier pass to get that circled card out of sight. If you can't do that, simply turn the deck face down as you bring it forward, and tell the second spectator to put it behind his back.

Another idea is to pencil dot or corner crimp any card and force that card to the first spectator. Then you can let him lose the card into the deck after he's circled its back. All you have to do is get it to the face before, or as, you go behind your back to demonstrate.

. Well, I've given you some basic presentation ideas -I'm sure you can manipulate them to fit your otto way of working. Have fun!!

MENTAL CHOICE Audley Walsh - George Brand (Louis Tannen, Inc.)

EFFECT; A sock effect with a knockout finale that even floors magicians. Eight freely selected cards are clipped to the sides of a stand approximately 10" x 12". You write a prediction on the back of the stand! A number is chosen and the card at that number is placed at the top of the stand. The stand is turned around and your prediction matches the card selected. BUT WAIT! You then remove the remaining cards in the stand and scale them into the audience.

APPARATUS NECESSARY: A specially constructed stand that looks like a slate on both sides. One side has numbers stenciled on it from 1 to 3. At the sides of the stand are slats for the insertion of eight cards, four on a side. At the top is another slot, but this one is rather special. It has a little elevator inside (see illustrations). You'll find that if you place a card back out in the back of this slot, you are able to push it all the way down out of sight.. For future reference, the front of the stand is the side with numbers. Now, if you'll push another card down in front of this one, it'll cause the first card to rise up even with the front card. (Figure 1.)

SLcrr FOR CARPS

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