Effect. The performer has ten playing cards which he places in a row on the table, some face-up, some face-down. He takes a slip of paper, writes a prediction which states: 44 I predict you will choose the red card." He gives the prediction to the spectator but does not say what it is as yet. He then invites the spectator to give him any number he likes from 1-10 inclusive and the spectator has a free choice. This having been done the performer counts to the chosen card and, having arrived there, it is found that by some strange coincidence it is indeed the only red card out of the ten on the table.

Method. It would be nice to give credit in the right place for this particular effect especially as the method is worthy of some praise. Unfortunately ^ there appears to be a considerable amount of uncertainty as to who really ' has rightful claim to the origination. A similar set-up to this was once described in Abracadabra, the effect being titled 44 Poor Man's Supersonic," and those who have suggested improvements and variations include Arnold Liebertz and Dr. Jaks. However here is a method which works and whosoever may be responsible for the origination let us hand him our respect for a good trick.

The following cards are required and are placed in the order given in a row on the table. First the Queen of Clubs which is placed face-down. No. 2 is the Ten of Clubs which goes face-up. Next the Nine of Diamonds face-down. The Eight of Spades face-up. But this is very important. The fourth card is the only one that has a red back—all the others are blue-backed cards. That is why this face-down, face-up order is used as you will see later on. No. 5 the Two of Clubs which is face-down. The Five of Clubs face-up. The Ten of Spades face-down. The Four of Spades face-up. The Seven of Clubs face-down. The Jack of Ciubs face-up. You will observe that all the cards excepting one (i.e. Nine of Diamonds), are black-faced and that all the cards excepting another are blue-backed. You will also observe that the two cards (the one with the red face and the one with the red back) are positioned third and fourth respectively. Now it so happens that no matter what number is given to you by the spectator it is possible to reach either the third or fourth card by a perfectly free count. However it is necessary to vary the method of counting according to the number given. And so first and foremost write your prediction which simply says: 44 You will choose the red card." Then invite the spectator to give you any number he likes between I -10 inclusive, and adopt the following procedure of reaching a red card according to the following table:

2—Spell t—w—o. 7—Count from the right-hand end

4—Count 1, 2, 3, 4, or spell. 8—Do the same as for seven.

You will see that by virtue of this system it is possible to arrive at a red card regardless of the number given. However there is one little touch necessary. Should it so be that the card you arrive at is the third card (the Nine of Diamonds), you simply turn over all the cards that are face-down so that the spectator can see quite clearly that there is only one red card there. You do not touch the fourth card. On the other hand if they should arrive at the fourth card you simply turn that card over and show the red back, and turn the others over to show all the backs are blue. In doing so you discreetly hide the face of the only red pip card the Nine of Diamonds. In other words you have enough 44 get-outs " to be on the winning end no matter what the spectator may decide. A nice clean mental card trick is thus performed.

44 ACROSS THE VOID" By Paul Marcus (Mew Zealand)

Effect. After speaking of his medium's ability to receive thoughts from a distance, the mentalist writes her name and telephone number on a business card which he places beside a telephone. One card is now mentally selected by a spectator. The identity of this card is not recorded in aoy way and it is known only to the spectator until the completion of the eflcct. A card is selected by a second spectator who shows it to the audience if he so wishes. Any spectator rings the medium who names both cards.

Preparation. To present this effect you will need three packs of cards with identical backs.

Pack No. 1 consists of 44 cards in the following sequence: 10S (Top card); 2D; 9H; Joker; JC; 5D; JD; 6C; 8H; 4S; KH; 7S; 3H; KC; 8D; 10S; QD; 2D; 9H; QS; 5D; 6C; Joker; 8H; KD; 4S; JH; 7S; QH; 3H; 8D; KS; 9D; AS; JS; 2C; 5C; QC; 10H; 3S; 4D; 9S; 6H; AH; (Face card). You will notice that the following eleven cards have been duplicated: 3H; 8H; 9H; 2D; 5D; 8D; 4S; 7S; 10S; 6C; Joker. By using cards that have been handled frequently, and consequently have thickened a little, it will not be noticed that the pack is short of the usual 52. This pack, in a card case, is anywhere at hand.

Pack No. 2 is a one-way forcing pack consisting of any low heart, other than the three. As I use the Five of Hearts in this description I shall assume it is the card to be forced. This pack, also in a card case, is in your right coat pocket.

Pack No. 3 is an ordinary pack of cards which you have loose in your left coat pocket.

Presentation. After setting the mise en scene, write the name and telephone number of your medium on any convenient writing surface which you then put near the telephone. Remove Pack No. 1 from its case, hold it face-down and give it several false cuts. Turn it face-up and fan it casually (remember you are demonstrating a mental effect, not card fanning) allowing the faces to be seen freely. Keep the cards slightly in motion and the duplicates of some will not be noticed. Close the fan and square the cards, still holding them face-up in the left hand. Ask a spectator to take the pack into his own hands, cut it, and run through the cards, 44 like this." Here you demonstrate how he is to do it by running the cards singly into the right hand without reversing the order, i.e. each card goes beneath the one before it. Do this so that the audience too, can see the faces of the cards.

Stop when you reach the Nine of Diamonds. Do not ask him to fan through the cards or he may notice that some are duplicated. Tell him to cut the pack, run through a dozen or so cards, and think of any one. 44 Please do not select the Joker or a court card; they are very difficult to transmit mentally." Direct him to siep away by himself and turn his back while he follows your instructions. When he tells you he has thought of a card, toss the card case to him and ask him to put the pack in it. Take the card case from him and drop it into your right coat pocket. Decide almost immediately, as an afterthought to have a second card selected and remove pack No. 2.

Give the pack a quick casual cut or two before spreading the cards facedown on the table. Turn your back while one card is selected and returned to the pack. Ask a spectator to telephone the medium and ask for the names of the cards as you pick up the tabled pack. While attention is away from you, put the pack in your hand in your left coat pocket leaving it there you bring out pack No. 3. Place this pack facedown on the table. Because of the instructions given for the mental selection of the first card the choice is limited to one of the following ten cards: 3H; 8H; 9H; 2D; 5D; 8D; 4S; 7S; 10S; 6C. The medium does not know which of these cards was selected, but 44 pumps " the spectator on the telephone who repeats each statement , aloud and has it confirmed or denied. Each 44 statement " is actually a question, and she does not proceed until that statement has been confirmed or denied. At the most she can make two mistakes, but a plausible explanation for any errors will be given shortly. Ask the first spectator to answer only 44 Yes " or 44 No to the spectator at the telephone.

The medium learns first the colour, then the suit, finally the value of the mentally-selected card by means of the statements below. As no two suits contain the same two cards, a different procedure is adopted for each. This 44 pumping " may seem obvious, but due to the nature of the effect, it does not arouse suspicion. Each 44 statement " should be made hesitatingly, but not too slowly.

Statement 1. The card is red. (a) If correct: It is a Heart. If the card is red, but not a Heart, obviously it is a Diamond. (b) If the card is not red: It is a Spade. If this statement is incorrect, the mentally selected card is the Six of Clubs.

The procedure for each suit is as follows:

Hearts (a) It is an odd card. (If incorrect: It is the Eight of Hearts).

(b) If correct: It is a low card—below six in value. (If incorrect it is Nine of Hearts).

(r) If correct: It is the Three of Hearts.

Diamonds, (a) It is an even card. (If incorrect: It is the Five of Diamonds).

(b) If correct: It is a low card—below six in value. (If incorrect: It is the Eight of Diamonds.

(c) If correct: It is the Two of Diamonds.

Spades. (a) It is an even card. (If incorrect: It is the Seven of Spades).

(b) If correct: It is a low card—below six in value. (If incorrect: It is the Ten of Spades).

(c) If correct: It is the Four of Spades.

Should the medium make a 41 statement " which the first spectator denies, she can blame the second spectator for concentrating too strongly on his card. Thus, if the mentally-selected card is black, she says she picked up (mentally of course) the colour of the second card which she immediately states is a Heart. Have this confirmed at once. If the first card is a Diamond, she uses the same 44 out." If she wrongly 44 states " the first card is a low one, again the blame is put on the second spectator. Having the second card selected gives you the perfect 44 out " if one of the medium's statements is corrected.

The second spectator's card is named in a similar manner: first colour, then suit, finally value. As the medium knows the identity of this card, she need not wait for one statement to be confirmed before making the next. You may prefer to use three sets of44 force " cards instead of two with fewer indifferent cards at the face of the pack.

In 1957 Charles Wicks of Australia showed me an effect using a pack consisting of six cards repeated. I extended the number to ten, added the elimination of court cards, and finally the selection of a second card. At the time I was using it as a one person effect. The idea of making it a two person telephone thought transference effect was an afterthought.


Effect. The mentalist explains that it is possible to develop the sense of feeling to a very fine degree. To illustrate this the mentalist bends over, his feet about two and a half feet apart, and his hands on his knees. He asks any spectator to shuffle a pack of cards, select one at random, show it to the rest of the audience, and place it face-up on the performer's back, resting on the part of the spine between the shoulder blades. (The mentalist explains that the spine is one of the most sensitive nerve centres of the body). After a few seconds contemplation he names correctly both the suit and value of the chosen card.

Method. When this effect is performed a friend of the mentalist is standing four or five feet directly behind him. As soon as the card is selected, the friend notes its identity and codes the selection to the mentalist in the following way. Because of the mentalist's position he is able to see the feet of his friend who is standing directly behind him. The friend only needs to move his feet inside the shoes very slightly to code the value and suit of the card.

For example a single movement inside the left shoe represents Hearts and two movements Diamonds. One inside the right shoe Spades, two Clubs. The value can then be given in the same manner with either foot. To prevent a mis-reading with the value, it is better to use the foot which has not been used to code the suit. For example if the left foot was used to code a Heart, then the right foot should be used for the value.

Although the method is extremely simple it is an astounding effect on the audience and is an ideal effect for drawing room or party entertainment.

Dr. Thornton's 44 COINCIMENTAL " by permission of Ed Mellon

Effect. The performer shows and shuffles two packs of Alphabet cards. From one pack he chooses four cards and arranges them backs out in full view of the audience. A spectator is allowed to choose cards from the other pack and from them form any four letter word he desires. As soon as the spectator's letters are arranged, the performer turns his around . . .

Coincidence number one: They have both chosen the same letters!

Coincidence number two: They have both formed the same word!

Yes, any of several words could have been formed; the spectator can even change his mind if he likes. ^ There are no confederates, no switches and no sleight of hand. It is as direfct as that.

Requirements. Two packs of Alphabet cards. One is an ordinary pack of 26 letters cards; one for each letter of the alphabet. The other pack contains only 25 cards and consists of five 44 E " cards, five 44 S " cards, five 44 P " cards, five 44 T " cards, and five 44 F " cards. They are arranged in this order: T, E, P, S, F, repeated five times.

Also required are two simple card stands.

Notice that when the spectator has chosen these five cards and is requested to form a word with four of them, he will lay aside the 44 F " as it is impossible to make a word using the 44 F " with this combination of letters. This leaves the letters T, E, P, S. As you can see it is possible to form several words from these letters. The most frequently formed is STEP. The next most frequently formed word is PETS. The third possibility, though not often formed is PEST.

Performance. The performer shows the two packs of Alphabet cards.' Laying aside the stacked deck for the moment, he mixes the pack in his hands by cutting—not riffle shuffling (not so important here, but when repeated with the other pack will keep the cards in their arranged order). Then he looks through the pack selecting the letters P, E, T, S. These letters are arranged on the card stand, backs out, in this order: PETS.

The remainder of the pack is laid aside and the 44 stacked " deck is picked up and 44 mixed " by straight cuts. A spectator is requested to remove several cards from anywhere in the pack. (Of course held out to him facedown). Here you need only be sure that he removes the cards together; not one here, one there. You then ask, 44 How many letters do you have?" and if he has taken five, O.K.; but if he has taken less than five, hand him the other from the same place in the pack. For instance if he has withdrawn three say,44 Here, take a couple more," pushing two more out with the thumb, being sure that they were next to the ones first removed. He now has TEPSF.

Now you state that you want him to use any four of the letters chosen to form a word and ask, 44 Can you form a word from the letters you have?" Obviously he will answer yes, so you add: 44 Form any word you like." He places them in his stand with the faces towaids the audience and as he arranges them you remark about the possibility of a number of words which can be formed by the letters he chose.

If he made the word STEP, you simply pick up the stand in which your cards rest and turn the whole thing around. If he made the word PETS, you begin at the left (facing the backs of your cards) turning around one card at a time replacing each on the stand. If he has made the word PEST, you begin at the left and turn the 44 P " and the 14 E " around separately and remark 44 Well, it seems that we have chosen the same letters." Then you pick up the last two cards at the same time and swing them around at the same time (which reverses them for your climax), 44 And it seems that we have thought of the same word!!!"

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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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