THE CLEANEST, MOST DIRECT MENTAL CARD EFFECT EVER! J. AN ABSOLUTE KILLER MIRACLE!
As the audience sees it: A deck of playing cards is shown to consist of 52 different and well mixed cards. The deck is handed to a spectator who freely examines and thoroughly shuffles the cards. The performer has the spectator freely look at and remember a card. The deck is immediately shuffled by the spectator. The spectator places the cards in the card case which is then sealed with an adhesive backed seal. The performer is handed the case which he places in his jacket pocket. While the audience keeps track of the time, the performer reaches into his pocket and within seconds, removes a single face down card which is placed between the palms of the spectator's hands. The still sealed card box is now extracted from the performer's pocket. The seal is broken and the deck removed. Each and every card is shown to the spectator who confirms that his freely selected card is not in the deck. Revealing the identity of his selected card, the spectator removes and shows the face of the card between the palms of his hands. It is his selected card. The performer immediately proceeds to shuffle and cut the cards which are again handed to the spectator who freely cuts the deck and removes any card which he places in his pocket, all while the performer's back is turned. The deck is returned to the card case by the spectator who then drops it into an opaque manila envelope which he holds for safekeeping. Without any funny business, the performer immediately proceeds to reveal the identity of the card in the spectator's pocket. An unbelievable double barreled killer card effect that will floor any audience. Naturally you can do the second effect all by itself, if you wish.
The deck of Bicycle cards is in no known order. No Si Stebbins, Nikola, Eight Kings, or Osterlind Breakthrough System, etc. The order of the cards is truly random. The card case has no slits or trapdoors and can be shown all around. The performer's back is turned throughout the entire selection process and he truly sees nothing that the spectator is doing. No angles. No secret writing. No mirrors. No stooges. No memory. No electronics. No prompters. And every word of this description is absolutely true. It's that simple, clean and direct. So easy-to-do. All you have to supply is the showmanship and the short amount of time necessary to put it together (approximately an hour). If you're in a hurry...PsiClops is also available complete and ready to go for an additional charge.
Larry Becker's "PsiClops" comes with everything you need to partially do-it-yourself. That's why the price is so low. If you don't mind spending the time required to partially assemble the effect...which is NOT difficult...you'll have a killer test-conditions mental card effect at a partial do-it-yourself bargain price...only $35.00 plus $5.00 S&H. If you wish to order the effect complete and ready to perform, the price is $65.00 plus $5.00 S&H.
Order from LARRY BECKER • P.O. Box 6023, Carefree, AZ 85377 • Phone/Fax: (480) 488-0980 • Email: [email protected] • Visa & Mastercard accepted.
As the audience sees it: A deck of playing cards is shown to consist of 52 different and well mixed cards. The performer shuffles and cuts the deck before handing it to a spectator. The performer then moves 10 to 12 feet away and turns his back. The spectator is instructed to cut the deck several times with the bottom or face of the deck, towards himself. The performer explains that any time, as he cuts the deck, he is to remember the bottom card. The spectator is then instructed to remove his card and to place it in his pocket. The spectator replaces the balance of the deck inside the card box, behind the performer's back. The performer then proceeds to draw something on a sheet of posterboard. The spectator is asked to remove, show and call aloud the card that he so freely selected, for example, it is the Four Of Hearts. The performer immediately turns the posterboard towards the audience and everyone sees a giant drawing of the Four Of Hearts.
The deck of Bicycle cards is in no known order. No Si Stebbins, Nikola, Eight Kings, or Osterlind Breakthrough System, etc. The order of the cards is truly random. The card case has no slits or trapdoors and can be shown all around. The performer's back is turned throughout the entire selection process and he truly sees nothing that the spectator is doing. No angles. No switches. No secret writing. No mirrors. No stooges. No memory. No duplicate cards. No prompters. Nothing is added or taken away. And every word of this description is absolutely true. It's that simple, clean and direct. So easy-to-do. All you have to supply is the showmanship and the time necessary to put it together.
Required: You'll need two decks of blue backed Bicycle Playing Cards. Also the Marking Material for Ted Lesley's marked deck. I was one of the first performer's in the United States to receive Ted's marvelous creation, The Working Professional's Marked Cards. I was also among the first to herald the merits of this wonderful breakthrough in marked cards. Unfortunately, Ted's great idea has been ripped off ad nauseam. Rest assured that it is used here with his permission. The marking material was obtained from him. And I have given him permission to market PsiClops in Europe. In a moment I'll describe how to use the marking material.
A bit of history on this effect. To begin, it has occupied many hours of my thinking time. It actually began when good friend Larry White sent me an idea that he was working on. It was an extension of a clever peek device that Larry marketed many years ago involving twonesting envelopes. The version Larry shared with me was a card box with a built-in mylar mirror. But Larry was stuck. It was a gimmick without a routine. It took a while, but I eventually solved the problems and marketed the finished product as "Out of Body." I can't begin to tell you how many people that effect burned...badly. You could do the dirty right under the audience's nose. And Larry manufactured a ton of them for me while the effect was on the market. Some time later, good friend Richard Osterlind and I had a session when he was working at a resort in the area. Richard told me that he had come up with an ungimmicked version of "Out of Body." He performed it for me, and fooled me with my own trick. When he explained it, there was a small problem. It was not workable if certain cards in the deck were selected. That also took a while, but I eventually solved the problem and the finished product appeared in my lectures as "Out of Body II." The effect had long captivated me and my audiences. But, I still continued to pursue perfection.
I wanted to eliminate any extraneous actions on the performer's part. I wanted it to be clean, simple, direct and totally baffling. This is the culmination of that search. PsiClops. I wanted to call it the Invisible Visible Eye, but I didn't want any confusion with friend Dennis Mark's wonderful refinement on the shiner, the Invisible Eye. Incidentally, I've never tipped this, but I had Dennis make up the effect in Jumbo card size. I'm sure many is the magician who perhaps owns Dennis' poker size version,and didn't recognize it when I used it with a jumbo deck of cards. Now you know.
I don't know what caused the lightning to strike, but it did, as I placed a deck of Bicycle cards back in the box. For the first time, I noticed that the circle designs on the Bicycle box were in perfect register with the same design on the back of the Bicycle cards. The first time I did it for laymen, I heard one spectator exclaim, "No way!!! It fried them badly. But that's enough history, let's get down to the real work.
The cards are marked. Contrary to the way they are usually marked, there are two big differences. (1) The markings are upside down as opposed to Ted's original method of marking. (2) The marking on the back of each card does not provide the identity of that card, but rather the card that is on the bottom of the deck. The hole in the box provides a picture frame for the top card of the face down deck. When the cards are inserted into the box by the spectator, a moment later you display both sides of the box and simply drop the boxed deck in your jacket pocket or place it on your table. Naturally there's a lot of smoke and mirrors attached to the effect, but the mechanics are that simple.
To begin, you display the card box, remove the cards. The deck is shuffled and cut. I'll teach you how to do the simplest, most convincing overhand false shuffle that enables you to clearly establish that the cards are in no particular order. And trust me, even if you've never done a false shuffle before, you'll do this one...thanks to Dan Garrett. Next the deck is handed to the spectator who cuts it (more than once if you wish) with the face of the deck towards himself. At anytime that he wishes he stops, memorizes the face card of the deck, removes it and places it in his pocket...all while the performer's back is turned. The performer then picks up the empty card box, holds it behind his back and instructs the spectator to insert the deck, face down, into the box. The spectator pushes the flap in.
Now, you display the box to the audience as you say, "If I had x-ray vision I would have had the gentleman reverse his card in the deck. Then I could simply see it through the box and the rest of the cards. But, I don't have x-ray vision." The performer drops the boxed cards in his pocket or places them on the table. The performer states that while he doesn't have x-ray vision, he can determine the card in the spectator's pocket by reading almost imperceptible changes in his physiognomy, as you call out the values and suits in a deck of cards. Glancing at the audience, the performer cautions everyone not to attempt this at home (ha!). The performer asks the spectator to concentrate on the identity of the card in his pocket. Continuing, the performer quickly recites the values in a deck of cards, " Ace, deuce, trey, four, five, six, seven, eight, nine, ten, Jack, Queen, King. Did you all see it?" the performer asks the audience. An almost invisible dilation of the pupils of the eyes when I said "six." "Now, picture the suit", the performer asks the spectator. "Diamonds, clubs, hearts and spades", the performer calls out. "The card in your pocket is the 6 of clubs! If I'm right, give me a high five", the performer says excitedly. "Show them!" The spectator gives the high five sign and removes the 6 of clubs.That's it. If you don't get a tremendous round of applause at that point...you're in the wrong business. Since the deck is shuffled. Since it is in a truly random order.
Since the spectator freely cuts the deck. No one could possibly deduce that when the card on the bottom is removed and placed in the spectator's pocket, the top card of the deck will reveal it's identity, even though the deck is placed in the card box by the spectator, behind the performer's back. I'll cover the details later on, but when the performer brings the cased deck from behind his back, the "hole" side is facing the audience.As the performer talks about not having x-ray vision, he revolves the box around so the front of the case is facing the audience. It's at that moment that a quick glance at the bottom circle on the box will reveal the identity of the card in the spectator's pocket. And because of the way the cards are marked, you'll know the name of the card in a split second. Now that I've satisfied your curiosity, I'll address the verbiage in the advertisement that parted you with your money. Every word is absolutely true including the phrase, The card case has no slits or trapdoors." It doesn't...it has a big hole that's all but invisible because of the principle employed and the handling. Both sides of the box can be casually shown, without anyone seeing the window frame.
How to mark the cards:
To begin, arrange the cards in the following face down order, from the top down. 2H-7C-KD-2S-5S-4D-QC-8D-4S-7D-3S-QS-AD-8H-3C-QH-5H-JS-10D-2C-8C-6D-10H-AS-6H-10C-3D-AC-4H-KC-JH-6S-9D-AH-9C-10S-JD-7H-9S-JC-2D-KS-5C-3H-KH-5D-6C-9H-7S-QD-8S-4C.
When you finish setting the deck in this random order, you'll know why I said, it's in no known order. That's true. I shuffled the dickens out of a deck and then, recorded the order. Now, you're going to mark the backs of these cards. Figure A is a scan of an actual marked card. The markings are located adjacent to the feet of the angels. The card markings (KS) stands for the King of Spades. You'll note that the KS in the lower circle reads correctly. That's so the markings will be instantly readable when the circle shows through the hole cut in the card case. That's why the markings are upside down as opposed to the way they are normally marked in Ted's Deck. Now, you're ready to begin marking the cards. Remember, the markings you apply to each card identify a card that's 51 cards away, on the bottom or face of the deck. In the sequence I've noted above, the first card you'll mark is the Two ofHearts (2H).
Here's how you apply the rub-down lettering that Ted supplies: Open the package of Marking Material and remove the sheets of letters and numerals. If you examine the sheets, you'll notice that there are three. Two are made up of letters and one, numerals. Each sheet has a shiny side and a dull one. When you place the sheet against the back of the playing card, you position the numeral or letter to the left of the leg for the value of the card. And the letter denoting the suit, to the right of the leg. You begin marking each card by marking the lower of the two circles. You then turn the card around so you can mark the other circle in the same fashion as the first. You will always be "reading the markings in the lower circle, since that is the one that will show through the hole. To apply the letter or numeral to the surface of the card, you will burnish it down with a sharp, rounded, pointed tool. You will be rubbing the shiny side of the sheet since the actual letter or numeral is on the dull side. Artist Supply stores sell special burnishing tools for this, however, the tip of a ball point pen will do the same thing.
Actually, I use a stylus that comes with handhelds like the "Palm." They can be purchased separately. In fact, there are special pens that have stylus points that are designed to be used for operating handhelds. Try experimenting on a Joker before tackling marking the 52 cards. The markings are not permanent. In fact, if you make a mistake, you can lift off the burnished down letter or numeral with a small piece of Scotch tape. To apply the marking, rub the letter down by moving the stylus point in a circular motion over the area of the letter or numeral you are applying to the card. Be sure to apply enough downward pressure to transfer the letter or numeral. That's why it's also called "transfer lettering." Incidentally, there is enough transfer lettering provided in Ted's package to mark several decks of cards. I would recommend that you mark one, and save the remainder of the numerals and letters to repair any lettering that through use, becomes damaged. To fix it, simply lift the letter or numeral with a small piece of Scotch tape and apply a new letter or numeral.
Here's how to mark the cards: On the back of the 2H, mark it 4C. On the back of the 7C, mark it 2H. From here on, the first set of initials will identify the card to be marked. Themarking that you apply to the back ofthat card will be the second set ofinitials. KD-7C. In other words, mark the back of the KD with the 7C. Got it? Good. By the way, use the letter "X" to represent the number "10." Here are the rest: 2S-KD...5S-2S...4D-5S...QC-4D...8D-QC...4S-8D...7D-4S...3S-7D...QS-3S...AD-QS...8H-AD...3C-8H...QH-3C...5H-QH...JS-5H...10D-JS...2C-10D...8C-2C...6D-8C...10H-6D...AS-10H...6H-AS...10C-6H...3D-10C...AC-3D...4H-AC...KC-4H...JH-KC...6S-JH...9D...6S...AH-9D...9C-AH...10S-9C...JD-10S...7H-JD...9S-7H...JC-9S...2D-JC...KS-2D...5C-KS...3H-5C...KH-3H...5D-KH...6C-5D...9H-6C...7S-9H...QD-7S...8S-QD...4C-8S.
When you're finished marking the deck, deal the above cards face down in a pile on the table, one at a time. The deck should now be ready for use. The card identified on the back of the top card will indicate the card on the bottom of the deck.
Be sure to keep a record of the stack. Before every performance, I check the order of the deck to make sure that nothing is out of order. The easiest way to do this is to hold the deck face down in the left hand. With the left thumb, push off the top card to the right.
The right fingers grasp this card. Note the markings on the back of this card, for example it's 4C. Look at the face of this card (2H). Now, look at the back of the new top card of the deck. It should read (2H). Look at the face of this card after it's grasped by the right fingers. You'll see that it's the 7C. Look at the back of the next card on top of the deck, if everything's O.K., it'll say 7C. Continue in the same fashion with every card in the deck. When you look at the face of the bottom card, it'll be the 4C. Look at the back of the top card of the deck . It'll be the 4C. The deck is in perfect PsiClops order. Once you've completed marking and stacking the deck, place it inside the card box. If you look at the bottom circle (the hole) you'll actually be looking at the back of the top card of the deck. The 4C markings indicate that the bottom or face card of the deck is the 4C. That's the principle that enables you to perform PsiClops. Get another deck of cards. We're now going to teach you how to do a quick overhand false shuffle of the deck. Ready? Let's get started.
To false shuffle the deck:
For practice purposes, use another deck of Bicycle playing cards and an ungaffed card box. This saves wear and tear on the marked deck and the card case.The false shuffle you will give the deck originated with G.W. Hunter many years ago. It was described on page 254 of The Tarbell Course in Magic, volume I. This extremely easy to do, convincing overhand false shuffle was improved by Dan Garrett's excellent modificationwhich
appeared on his video, Close-up Connivery. Believe me, it takes a modicum of prac tice, but it's well worth the effort. Once you have removed the cards from the box, place the box hole-side down on your table. State that you will use a deck of 52 cards, all different from one another. Display the faces of the cards to the audience as you run the cards from hand to hand. Square the deck and give it one complete cut. You are now going to shuffle the deck as you select a volunteer from the audience.
(1) Turn slightly to your right, so the back of the deck is facing the audience.
(2) Hold the deck in the right hand in readiness for an overhand shuffle as shown in Fig. (1). Note that the right forefinger is curled behind the deck. This is Dan's sneaky modification.
(3) Place the lower edge of the deck on the palm of your upturned left hand, just above the base of the left fingers which rest against the bottom or face of the deck. With your right hand, grasp a little less than half of the lower half of the deck, we'll call this packet (B), and lift it up and over the original top half of the deck which we'll call (A)(See Figure 2). You're now going to perform the first half of a two-part overhand shuffle.
(4) Bring packet (B) down until its bottom edge touches the surface of packet (A) and using your left thumb, pull off six cards, one at a time, from packet (B) onto packet (A). (See figure 3). Don't look at the cards as you do this. Appear to be searching the first few rows for someone to assist you. Look to the left and the right.
(5) As you finish milking off the sixth card, bring packet (B) down, allowing the right forefinger to enter the space between the two halves of the deck. (See figure 4). Now instantly relax the pressure of the right thumb on the left of packet (B) and the right index, ring and pinky fingers on the right. With the same fingers, immediately grasp packet (A) (See figure 5) lifting it upward and down as the left thumb again pulls off the top 6 cards of packet (A), one at a time, onto the top of packet (B). You have openly reversed the order of the same 6 cards you just shuffled off a moment before. The deck is now back in its original order. Drop the rest of packet (A) onto packet (B). Hold the deck in the left hand and with the right forefinger, point to someone to your right in the first row and ask them if they would be kind enough to help you with an interesting demonstration.
(6) Ask the audience for a round of applause for your volunteer. Have the volunteer stand to your right. Give the face down deck a single complete cut. You are now ready to complete this mind boggling effect.
Pay close attention to the blocking of this phase of the effect. Your head and eyes moving back and forth, as you search the first couple of rows, provides excellent misdirection as you execute the false shuffle. The brief shuffle will now be enhanced by the display of the faces of the cards to the assisting spectator. Holding the deck so the faces are towards your volunteer, run the cards slowly from hand to hand as you ask, "Are the cards all different from one another?" Naturally, the spectator will reply that they are. Now ask, "Are they well mixed?" Again the spectator will state that they are. Even if your volunteer was a well versed magician, he will see that the cards are in a totally random order. Because they are!
To orient you:
The views are from the performer's perspective, looking down at his hands.
The backs of the cards are facing the audience.
To orient you:
The views are from the performer's perspective, looking down at his hands.
Now, place the deck, face down, on your left hand. Tell the spectator that in a moment you're going to ask him to cut the deck, but you want him to held it with the bottom card facing him. Demonstrate this. Flip the deck face up and give it a single, complete cut. Note that each time the deck is cut, the face card is different. Hand the face-up deck to the spectator and ask him to give it a single, complete cut. As soon as you've seen the spectator knows how to do it, pick up the card box with your right hand, keeping the hole side down, turning your back as you walk several feet away. Tell the spectator to now give the deck a single, complete cut, anywhere he likes. Quickly tell him to remember that bottom, face up card. Tell him to remove that card and place it in his pocket. With your back still turned, transfer the hole side down card box from the right hand to the left, casually placing it on the palm of the left hand. Ask the spectator to tell you when the card is out of sight in his pocket. When he does, turn the left hand palm side down and place the left hand, which is holding the box, behind your back.
Instruct the spectator to place the face down deck inside the card box. The hole side of the box will be uppermost, but the hole will be hidden against the palm of the left hand. As soon as the spectator has slid the face down deck inside the box, slightly squeeze the sides of the box as you tell him to insert the flap in place. Turn and face the spectator. As you do, turn the left hand palm side up. The deck is in the left hand with the front of the box exposed. Grasp the card box with the right thumb at the inner end and the remaining four fingers on the top. Spread both arms in a gesture as you talk about wishing you had x-ray vision. "Ifl had x-ray vision I would have had the gentleman reverse his card in the pack and I could see it through the box and the rest of the deck. But, I don't have x-ray vision." Keeping the arms in motion, transfer the box from the right hand to the left.
Both arms are still partially upraised, but thefront, non-hole side of the box will now be facing the audience. You have just cleanly and smoothly shown both sides of the box with out drawing attention to that fact. As you finish the remarks about the benefits of x-ray vision with the words, "But I don't have x-ray vision," continue by saying, " so it wouldn't do me any good!" With the right forefinger, point at the box as the left fingers arch to expose the lower half of the box. Do this as you say the words, "it wouldn't do me any good"--you look at and remember the markings on the card showing through the hole. Now look at the spectator as you finish by saying, "it's in the gentleman's pocket." You now know the name of that card. With the right fingers, take the box from the left hand and as the left fingers open your jacket, you drop the card box in your left hand, inside jacket pocket. It's all but over. Now, finish as previously detailed. The climax can be simply asking the spectator to picture the card in his pocket and then drawing the card on a pad. Or, you can finish by eliminating the drawing and using the physiology patter and revealing the card audibly. The choice is yours. Frankly I prefer the non-drawing option and the highly visible, high five gesture of the spectator, signalling that the performer was correct.
I've written a lot of instructions in my time, but PsiClops was a bear! Whether you purchased the effect complete or had to do the marking yourself, please read the instructions over very carefully. The only other way I could have clearly explained every subtlety would have been to put the instructions on videotape. But, that would have increased the price. So spend the time necessary to both understand and remember the procedure. And even though this is a relatively simple effect to do, it's the attention to detail that'll spell the difference between a puzzling effect and one that floors your audience. It's about as clean as I can make it. The showmanship is up to you. Practice. Practice. Practice until it flows as smooth as silk. Incidentally, leaving 3/4's of the cellophane on the box is helpful in disguising the picture frame cut in the box. The reflective surface diffuses the design on the box.
After these instructions were completed, I had occasion to perform PsiClops for an audience that included someone who had already purchased the effect. After the show, he commented that my routine was different than the one in the instructions. I pointed out that instructions are meant to familiarize the purchaser with the basics of the effect followed by a detailed presentation to help explain some of the finer points. That does not mean that the presentation is set in stone. Every performer should attempt to make the effects that he performs, his own. By that, I mean that you massage it to suit your personality, and the type of audiences and venues that you perform in. The major difference between the presentation outlined and the one that he witnessed was this. I prefer to perform this effect at a fairly rapid pace and I use a 6" x 9" manila envelope. Here are the details.
Once the spectator has the cards in his hand to select and pocket his selection. I pick up the card case and move a distance away, with my back turned. I ask the spectator to let me know the moment his card is safely in his pocket. Now, comes the difference. After he has placed the remaining cards, face down, in the case behind my back, I ask him to push the flap in, securing the deck in the box. I now turn and ask him to pick up a 6" x 9" manila clasp envelope on the table and to spread it open between his hands. The deck is still held in the left hand, behind my back, as this is done. I now bring the card case from behind my back. The front of the box is facing the audience. The spectator is to my right. The right hand reaches over, towards the box, and the card box is taken gingerly between the right middle finger and the thumb near the top of the box.
With no hesitation, I bring the card case over the open envelope at eye level (it's here that I simply glance at the bottom circle and note the identity of the card in the spectator's pocket) and drop the box into the envelope and as I turn towards the audience, I ask the spectator to fasten the envelope shut with the metal fastener. There's no extraneous patter. It's quick, simple and direct. I then finish by asking the spectator to picture the card in his pocket and finish as previously described. The big difference is the use of the 6" x 9" manila envelope and less patter. You'd be amazed at how fast this effect can be performed. Now, that's how I do it. I still expect you to fine tune it to suit your style of performing. Incidentally, you might consider marking a jumbo index deck of Bicycles and placing it in the gaffed card box I provided. It's excellent for larger audiences.After the chance encounter, I added this page to the instructions. I don't want to be accused of holding out. Once you've mastered this truly baffling card mystery, I'm sure you'll make it your own and enjoy using it for many years to come.
Suggestion for dry hands:
For some time I used "Sortqwik" a substance used by bank tellers to facilitate counting paper currency. What works better, and doesn't leave any residue on the cards, is a feminine hygine product called, "Vagisil" Intimate Moisturizer-Clear Lotion." I carry it in a small plastic squeeze bottle. Before performing, I place a small amount in the left hand and quickly rub it into the left fingertips until it's pretty much absorbed. It's very effective when the effect requires an overhand false shuffle. Vagisil is available at your neighborhood drug store.
If you think PsiClops is a one trick pony...think again. I'm sure most will realize the following uses. But, just in case, here's the rest of the story. I'm sure you'll create more.
(1) You can create a routine of three effects, including the basic effect. To begin, once you've shuffled (either the Garrett false overhand shuffle, or simply overhand shuffle off seven cards, injogging the seventh and tossing the remainder on top of the left hand packet. Pause as you select a volunteer to assist you. As he comes forward, you grasp the pack from the bottom, with the right thumb and fingers, simultaneously pressing down on the injogged card with the right thumb. This causes a break to form between the seventh card and the cards above it. Remove all the cards below the break, including the seventh card, and overhand shuffle them onto the cards held by the left hand. Shuffle off seven cards, one at a time, and toss the remainder of the deck on top. This reverses the seven cards, leaving the deck in exactly the same order it was before you began the shuffle. Give the pack a single complete cut. Now, display the faces to the spectator pointing out that the cards are all different from one another and well mixed.
You can now, hand the pack to the spectator and ask him to give the deck a single, complete cut. Retrieve the cards and hold them in the left hand. With the right middle finger, riffle the top edge of the deck, from front to back, asking the spectator to call stop at any time. Turn your head away so that you can't see the cards. When the spectator calls stop, slowly cut thepack at that point, completing the cut, asking him to remember the card that he cut to, thebottom card of the deck. Now, riffle again as before and ask him to call stop. When he does, turn your head towards the spectator and state that you'll cut the cards at that point. As you say this, glance at the bottom circle of the top card of the pack and note the card, then complete the cut and place the deck aside. The card you noted identifies the card the spectator has on his mind.
(2) You can also overhand (false) shuffle the pack, cut the deck and then ask a spectator to call stop as you riffle down the edge of the cards, preferably about 1/3 from the top of the deck. Riffle the upper left corner of the pack until the spectator calls stop. Cut off the packet at that point and place in a face down pile on your table, to the right. Have a second spectator do the same, stopping you approximately halfway through the packet. Cut off this packet and place to the left of the first packet. Place the remaining cards in a pile to the left of thesecond pile. Remove a sealed envelope from your pocket. Read it aloud. It predicts that three spectators will cut a shuffled pack of playing cards, leaving the QD, AH and 4S at the bottom of the three piles. Turn up the pile on the left. The face card is the QD. Lift up the middle pile and display the AH, and finally the third packet, which has the 4S on its face. Puzzled. Don't be. The marking on the back of the right hand pile identifies the face card of the pile on the left. The marking on the back of the top card of this pile identifies the face card of the middle pile. The marking on the back of the top card of the middle pile identifies the face card of the pile on the right. As you read your prediction letter, look down over the top edge of the paper and miscall the names of the cards you see on the backs of the top three cards. Fold the prediction and place it in your pocket as you turn the three piles face up and show the face cards to the audience.
After you've digested this, imagine the level of devastation to your audience if you follow the first phase with the three pile prediction and/or the challenge card in the pocket.
The spectator examines and shuffles a deck of cards to his heart's content. The performer then riffles the edge of the deck and asks the spectator to call stop at any time. When the spectator does so, the performer, with his head turned away, opens the deck and allow the spectator to memorize the card that he stopped on. The deck is then handed to the spectator to shuffle and cut. The spectator is now instructed to place the deck back in the card box, and to encircle the box with two rubber bands. The performer places the bound deck in his jacket pocket. Describing the total impossibility of knowing where in the deck the spectator's freely selected card is, the performer asks the spectator to call aloud the card he memorized. For example, it is the 3 of spades.
The performer exclaims, "Watch!" Plunging his hand into his jacket pocket, the performer brings out a single playing card and places it face down on the palm of the spectator's hand. Withdrawing the boxed deck from his pocket, the performer notes that the case is still secured bythe two rubber bands the spectator placed around it. The performer removes the bands and takes out the deck. Running the cards from hand to hand before the spectator's eyes, the spectator is asked to call stop the moment he sees the card he freely selected from a deck he examined, shuffled and cut repeatedly. When all the cards have been shown, the spectator states that his card is not in the deck. The performer asks, once again, which card did you think of? The spectator replies, "the 3 of spades." The performer has the spectator turn over the face down card on the palm of his hand. It is the 3 of spades!
Thanks to the ingenuity of the incomparable Roberto Giobbi (who I had the pleasure of staying with during my European tour in 1989) you are about to learn the easiest and most effective deck switch ever. To prepare, cut the 3 of spades to the bottom of your stacked PsiClops deck. Remove it and place it in your left hand jacket pocket. Place the remainder of the deck back into the PsiClops box. Now wrap a rubber band around the middle of the box, and another band around the narrow ends of the box. Place the PsiClops deck in your left jacket pocket, behind the 3 of spades and closest to your body. Now, take a matching deck of blue backed Bicycle cards and remove the three of spades. Make a corner short out of the 3 of spades. I use an emery board to round off the upper left hand corner and the lower right hand corner of a face down blue backed Bicycle 3 of spades. Shuffle the 3 of spades into the deck until the cards are thoroughly mixed. Box the deck and wrap two rubber bands around the box to match the PsiClops deck. Place this deck (which will be used for the first effect) in the right hand jacket pocket.
Note: to provide you with a visual check during the routines, I place an inconspicuous mark on the PsiClops box so I can easily tell the difference between the two decks.
Now, follow the description of the effect. Remove the deck from your right hand pocket. Hand it to the spectator, have him remove the rubber bands, remove the cards, examine and shuffle them to his hearts content. Retrieve the cards and steal a glance at the upper left hand corner edge of the deck. You'll easily be able to see where the 3 of spades is, due to the short corner. If it's anywhere near the middle 2/3 rds of the deck, explain to the spectator that in a moment you are going to riffle the edges of the cards so that he can call stop anywhere that he pleases. As you say this, riffle the upper left hand corner of the deck until you feel a slight click as your thumb hits the short corner. Cut the deck at that point, bringing the 3 of spades to the bottom of the deck. Holding the deck in your left hand, grasp it from the top with the right fingers and using the right forefinger, swing cut approximately 1/4 of the deck into the left hand and deposit them on the bottom of the deck, keeping a left little finger break at the lower right hand corner between the 3 of spades and the 1/4 deck you just cut to the bottom. You're now set to perform a beautiful force.
Ask the spectator to call stop at any time that he wishes as you riffle down the upper left corner of the deck with the left thumb. When the spectator calls stop, you smoothly break open the deck like a book, at the break, exposing the face of the 3 of spades to the spectator. Have him memorize the card that he stopped on(?), close the deck and hand it to the spectator for shuffling and cutting. When he's finished, have him replace the cards back in the card box and wrap the two rubber bands around the case as before. Take the boxed deck and place it in your left hand jacket pocket, behind the PsiClops deck. The order of the three objects in your pocket are now, from the outside in, the loose 3 of spades, the PsiClops deck which is missing the 3 of spades, and the deck you just placed in your pocket. Now, you're ready for the dirty work. Ask the spectator to call aloud the card he is thinking of, the one he freely selected in a deck he thoroughly examined, shuffled and cut. Now tell everyone that what you're about to attempt simply cannot be done. But you'll attempt to do in 10 seconds flat. Ask the spectator to count to 10. As he begins to do so, plunge your left hand into your jacket pocket and remove a single (3 of spades) card, placing it face down on the surprised spectator's outstretched palm. While he's in a state of shock, remove the PsiClops deck (the one furthermost from your body) and display it to one and all. Note that the rubber bands are still in place, securing the cards inside.
Remove the rubber bands, and extract the deck of cards. Be sure to place the box hole side down on your table. Now, run the cards from hand to hand with the faces towards the spectator and ask him to call stop when he sees his card. When you're finished, he'll state that he did not. Now, for the big finish, have him call out the name of his card and to show the card on the palm of his hand to the audience, It is the 3 of spades. You will not only blow your audience's collective minds, you are now set to proceed to the PsiClops revelation of a card in the spectator's pocket. And in the process, you switched in the stacked PsiClops deck. What could be sweeter.
The audience has seen the deck examined, shuffled and cut repeatedly. If you do no more then present the PsiClops effect as previously described, you will have performed an inexplicable mystery. Add the second effect and you've doubled the impact. If you want to be adventurous, you could even insert the three pile prediction effect between the two. Of course by then you'll be a legend. Go forth and kill.
Incidentally, if the rubber bands present any problem, such as slowing down the switch in the pocket, use an adhesive backed label instead. The ones to use are red Avery, Color Coding Labels, 1-1/4" diameter. Be sure they are the removable type labels, It'll say so right under the words Color Coding Labels. It reads: "Red Glow • Removable." Just place one seal on the PsiClops box. And keep one label, together with its backing, in your right hand pocket. After the spectator has shuffled the deck and placed it back in the card box, remove the label from your pocket and affix it where the blue label is usually found on sealed decks of playing cards.
That brings to mind a ploy that I've used for many years that could work here. Do a pre-show selection of a spectator. Have the spectator examine and shuffle the ordinary deck. Using the corner short, position the 3 of spades for the riffle force as previously described. Force the 3 of spades and immediately hand the cards to the spectator for shuffling. Make sure that he remembers the name of his selected card. Have him return the deck to the card box. Remove the label from your pocket and seal the box. Ask the spectator for his name and print his initials on the label. Hand the sealed deck to the spectator and explain that you want him to keep the deck for safekeeping until he is called upon during the show. As soon as you've left the spectator's sight, duplicate his initials on the label affixed to the PsiClops card box. You're all set to perform.
During your show, you invite the spectator to come forward. Have him confirm that he examined and thoroughly shuffled a deck of cards. Further, that he freely selected one card and then shuffled the deck and sealed it in a card box. Ask if the box has left his possession at any time since. When he has confirmed that everything the performer has said, is true, ask him to produce the card box. Show, the box and state that it is sealed with an initialed label. Now place it in your pocket and finish as previously described. After you've produced the single card from your pocket and placed it face down between the spectator's hands, you bring out the card case. Note that the box is still sealed shut. Point to the initials on the label and ask the spectator, "Are those your initials on the label?" He'll reply that they are...and the audience will assume he wrote them there. Aren't we sneaky?
Finish as previously described and you'll have performed a real miracle.
I realize that purists will disdain the first half of this two phase effect. Their reasoning is that the effect is too impossible. Too much like a card trick. I respect their opinion. However, if you are firmly convinced that what you're doing is primarily intended as outstanding entertainment, you'll use both effects together as described. If you want to somehow justify the first effect, how about using a patter approach that shows the difference between imagination and reality. Or illusion and reality. Or magic vs. mentalism. My approach is the latter. After all, I did become interested in magic when I was 13 years of age...but as I grew older I found that some of the unusual things that can be accomplished by heightening our inborn gifts of intuition and utilizing some of the more obscure principals of psychology are significantly more interesting and challenging than the tricks performed by magicians.
In other words, magicians perform tricks. Mentalists explore the seemingly impossible through highly developed natural abilities. Etc., etc., etc. Ask Lee Earle...he'll explain it.
Use a new blue Bicycle Playing Cards box. Remove the top third of the cellophane wrapper by pulling the little tab that runs around the box. Remove the cards and place the jokers and advertising card (if there is one) on top of the face down deck and place it back in the box. Carefully slide the cellophane wrapper down the box so that its top edge is below the lower of the two circles on the back of the box. You are now going to cut out the lower of the two circles with the angel on a bicycle (I think that's what it is) leaving a circular window in the side of the box. I'll describe how I did the cutting. If you have a better way, more power to you. I used a German 10 pfennig coin which I undoubtedly had left over from one of my trips to Germany. It's just the right size to use as a template around which you will cut out the circle. (Or as 15/16" diameter metal washer). I also use an X-acto knife to do the cutting. To help hold the coin in place while your cutting around its edge, place a small piece of double sided Scotch tape on the face of the coin. Place the coin over the bottom circle design and carefully line it up so that it's perfectly centered. Now press down on the coin to hold it in place.
Make sure the blade is a new one. Place your left forefinger on the coin and press down. With the knife in your right hand, carefully begin to guide it around the coin. Try to cut around one half of the diameter of the coin before you swivel the box around (keep your finger on the coin) to do the rest of the diameter cut. Be sure you're pressing down hard enough with the X-acto knife to cut through the box. Don't worry about the blade cutting into the deck. That's why you placed the Jokers on top of the face down deck in the box As soon as you have successfully completed cutting out the circle, lift the coin and the circle design should come right along with it.
Pull the circle off the coin and discard it. If the cut edge of the hole in the box is smooth, you're ready to proceed. If not, get another box and try it again. Believe me I ruined a few before I got the knack. Slide the cellophane back into place. Anchor the cellophane by placing a short piece of scotch tape at the top of the cellophane on the narrow sides of the box. With a scissors, cut off the two little flaps of the box. This will help ensure that when the spectator later places the deck in the box, it won't get hung up on the flaps. Incidentally I found that if the hole is a little smaller, it works just as well using a nickel coin as a template. Some touch up to the inner edge of the hole may be made using a blue marker.
Place the PsiClops marked deck in the box, face down. The circle with the markings should be visible through the window in the box. I then gently shake the box. If the deck moves then you will need two more pieces of cardboard to make sure the deck stays registered with the hole. Using a piece of thin white posterboard, cut out one piece that measures 2-1/2" long x 5/8" wide. The second piece should measure 3-1/2" long x 5/8" wide. Place a piece of double sided scotch tape on one side of each piece. Carefully place the smaller piece inside the box and position it so the sticky side is down against the bottom of the box. Press it down so that it adheres to the inside bottom of the box. Now, hold the box so the thumb cut out side is facing you. Insert the longer piece and stick it to the left long side of the box. Press it firmly to anchor it in place. That's it. Now place the deck into the box, face down. Tuck the flap in and check the window. The deck should be perfectly registered in the circular window and snugly held in place by the added pieces you installed. Naturally, the markings are in full view and easy to read.
If you have opted for the Do-it-Yourself version of PsiClops, here's a tip. When I first began producing the marked cards for PsiClops, I began by blocking out some of the birds in the background of the Bicycle back design, using a fine point Sanford blue ink Sharpie marker. The reason I did that was to make the markings more prominent.
That was about a year ago. Recently I began to notice a deterioration in the Lesley marking material. The edges of the lettering were gradually being discolored by the blue ink used in blocking out the background. Even though it took several months for this to happen, I prefer that it doesn't. So, I use only minor blocking to the back design to touch up very small obstructions by the birds in the background at the extreme edge of the marking material. Usually the markings can easily be positioned close to the angel's legs as shown in the illustration on page 4. If the card is a Heart suit, I found that it requires an extremely small correction to eliminate the one or two small areas where the lettering overlaps a white bird. Look at the card where the aberration exists.
On the card marked "A", if you check the upper right hand corner and lower right hand corner of the "H" you'll note that small portions of the white birds in the background conflict with the edges of the letter. Not enough to obstruct your ability to determine that it is an "H", but enough to make it "untidy." Therefore, using a fine point Sanford blue ink Sharpie Marking pen, carefully eliminate the white birds. It only takes a dot of ink to block out the offending white wings. Practice on a few cards to get the hang of it. The numeral "2" covers the bird that normally appears near the lower left corner of the "2." So no further blocking is necessary. Most markings can be positioned so no touch-up is necessary, but when it does, it's quite easy to do and takes only a second or two.
One other tip. It's a lot cleaner to begin with the sealed, marked deck in your left hand jacket pocket with the force card between the card box and your body. The straight deck is in your right hand jacket pocket. The reason? There's no sense in having the bulk of two decks in one pocket before the effect begins. During the performance, after the sealed straight deck is placed in the left hand jacket pocket, furthest from your body, the two decks are only in the one pocket for a moment or two. Once you've removed the single card and placed it between the palms of the spectator's hands, you remove the marked deck, closest to your body, to complete the deck switch. A small, but important touch.
Recently after discussing PsiClops with good friend, Lee Earle, I made the following changes to the handling of this fine effect. This variation returns the entire effect to the realm of mentalism as opposed to 50% magic and 50% mentalism.
To begin, place a divider in your left hand jacket pocket. It can be made out of cardboard or posterboard, but it should not be too rigid. It should divide the pocket into two compartments. In the compartment farthest to your body, place the loose, stacked, marked deck, horizontally, with the 3 of Spades (or whatever card you're going to force) on top of the deck. The faces of the cards should be towards your body. The unmarked cards, with the short corner 3 of spades, should be housed in the window Bicycle card box. This box should be placed in the right hand jacket pocket. The 6" x 9" empty clasp envelope is on your table.
Remove the boxed deck from the right hand pocket. Take the cards out of the box and hand them to an on stage participant. Place the empty card case in your jacket handkerchief pocket so that it sticks partially out of the pocket. The hole side of the case is towards the performer's body. Make sure the audience does not see the hole side of the box. Have the participant examine the cards to make sure they're all different from one another. He is then to mix the cards anyway he knows how. When the participant is finished, the performer retrieves the cards and has the spectator randomly select one. It's at this point that the performer forces the 3 of spades as previously described, using a riffle force. Again the cards are handed to the participant who freely shuffles the cards.
The performer announces that he is going to memorize the order of the deck. Holding the deck face up, the performer studies the faces of the cards as he spreads the cards from hand to hand, apparently memorizing the order of the deck. The cards are then placed in the left hand jacket pocket on the inner side of the partition closest to the body. The performer has someone with a second hand on their watch, time the following action.
The spectator is asked to announce the name of the card he freely (?) selected, the 3 of spades. The performer plunges his hand into the left hand jacket pocket and removes one card. The card is shown to the audience. It's the 3 of spades. Naturally, the card removed is taken from the top of the stacked, marked deck in the outer compartment farthest from the body. You have apparently been able to locate, in record time, the spectator's card because you successfully memorized the order of the cards.
Remove the marked deck from the outermost side of the divider. You have just switched decks in a most innocent and natural fashion. Return the 3 of spades to the top of the deck and cut the cards. Turn the stacked, marked deck face up. Tell the participant that in a moment you are going to turn your back. When you do, you instruct the volunteer that he is to give the deck a single complete cut. Demonstrate this to the spectator as you speak. State that the spectator may cut the deck near the top, near the bottom, or anywhere in between. He is then to memorize the card that is facing him and he is then to place that card in his jacket pocket. State that before he does so, you want to refresh your memory as to the location of each and every card in the deck. The performer slowly, but evenly spreads the cards from hand to hand as he refreshes his memory. The deck is then handed, face up to the spectator.
With his backed turned, the performer reiterates his earlier instructions. "Now, give the deck a single, complete cut. Remember you may cut the cards near the top, or near the bottom or anywhere in between," the performer states. Continuing, the performer says, "Have you cut the deck?" The spectator states that he has. "Then remove the card that is now facing you and place it in your jacket pocket," the performer states. When the spectator states that he has placed the card in his pocket, the performer removes the card box from his handkerchief pocket with his left thumb at the half moon side and the remaining four left fingers on the flap side of the box. The left hand turns palm up, allowing the empty box to fall flat with the half moon side against the left, face up palm. The left hand is then turned palm side down. The back of the left hand now covers the hole in the half moon cut out side of the box.
The performer now places the left hand behind his back. Naturally all of the above action takes but a second or two to do. The performer tells the spectator to turn the deck, face side down. The spectator is then instructed to slide the face down deck into the card box. The performer turns and asks the spectator to pick up the manila clasp envelope from the table and to hold it with mouth of the envelope open. The performer brings his left hand from behind his back. The right hand takes the top end of the card box between the right thumb and one side and the right middle finger on the other side. Holding the deck above the open envelope (it's at this point that the performer looks at the top card of the deck showing through the hole and spots the markings that identify the card in the spectator's pocket). The deck is then released and allowed to drop into the envelope. The performer instructs the spectator to fasten the envelope shut with the metal clasps.
The performer removes a marking pen from his pocket and retrieves the envelope. Glancing at the spectator for a second, the performer draws something on the front of the envelope. The spectator is now asked whether he cut the deck near the top of the deck, near the bottom or somewhere in-between? The spectator replies, near the bottom. The performer states that he thought the spectator would do so. In fact, it was between the 38th and 39th cards. The performer turns the envelope so that what he wrote is now facing the audience. On the envelope is the words, "4 of Hearts." The spectator is asked to remove, show and call aloud the name of the card he cut to. The spectator replies, "the 4 of hearts!" Standing side by side with the spectator, the performer holds aloft the envelope bearing the words, 4 of Hearts. The spectator is asked to hold aloft the card he placed in his pocket, the 4 or Hearts.
With hands upraised in the applause position, the audience responds accordingly. Obviously, the spectator's estimation of where he cut the deck gives you the following three pairs of cards, between the 18th and 19th cards (for near the top of the deck); between the 28th and 29th cards (for near the middle of the deck); and between the 38th and 39th cards (for near the bottom of the deck). There's no time for the spectator to argue the point of the location where he cut the deck because you've correctly identified the card that he placed in his pocket. Try this. You will be delighted with the result.
There's no question in my mind that if you choose to do a demonstration of super memory using playing cards, and you're a serious mentalist, this version of PsiClops is it! And, if you believe in the subtle deck switch, you'll note that no false shuffle is required (unless of course, you want to apparently memorize the order of the cards all over again for the second phase). I am so happy Lee and I had the time to discuss this killer effect. The improvement is truly significant and I personally will perform it this way from now on. Hopefully you like it as much as I do.
For those of you who have my "Out of Body" effect, marketed many years ago, you'll quickly realize that you can use this, the final presentation for "PsiClops."
Everytime I step inside a Sharper Image store I have a feeling that before I leave, another trick will be born. So it was when my eyes settled on a photo frame intrigu-ingly titled, 'The Time Frame." Briefly, it's a talking picture frame designed to provide a recorded message to accompany the photo displayed. What caught my attention was the fact that the frame could be modified to include not one recording, but up to four. In short, there were several masks included to accommodate one 5" x 7" photo, or two horizontal 3" x 5" photos or four 2'1/2" x 3-1.2" photos. I purchased the unit and by the time I got it home, I had everything worked out in my head. To begin, Using my computer, I selected 5 geometric designs and printed them out on a 5" x 7" sheet of white paper. But wait, let me describe the effect, then I'll get back to the working details.
How the audience sees it: I display the frame and explain to the audience that it's a talking picture frame that I picked up at a swap meet. The picture in the frame when I bought it looked like a Gypsy fortune teller. I decided to replace the photo of the Gypsy with a picture of five geometric shapes. However, whenever I concentrated on one of the designs and pressed the play button, the frame knew exactly which design I was thinking of. Now I know that sounds kind of weird, but it's true. No matter which design I thought of, the frame knew it also. But, don't take my word for it. Think of any one of the five designs, the performer asks a spectator. Which design are you concentrating upon, the performer asks. The "Star", replies the spectator. The performer points to the play button on the front of the frame and asks the spectator to press it. Immediately, a cackling, witch-like voice is heard. "Hello Sweetie... thinking of the "Star" are you. HeeeeeHeeee!"
Naturally, you can use any five pictures that you wish. For example, you could use five different foreign coins. The more exotic, 642
the better. Now, here's the working. You're going to love this. To begin, the frame has four hot spots. Four chips which can be activated by pressing in the center portion of each quarter. In other words, let's say you were displaying four small photos in the frame. By pressing a small recording button inset in the side of the frame, you can record a different 15 second message for each of the four photos. To activate the recording, all you have to do is press in the vicinity of the chip in that quadrant of the frame.
I immediately realized that by cross recording predictions, I could press, say the upper left quadrant of the photo and have the voice predict an object located diagonally in the lower right hand corner of the frame and visa versa. By placing a fifth object in the center of the frame, I could create a red herring. In other words, say the spectator calls out the "X" mark. Immediately the performer goes into an elimination mode. In other words, you are allowing the spectator to eliminate four out of the five objects. Naturally. any three of the remaining four objects can now be freely eliminated by the spectator, and the performer will still be able to activate the proper recorded prediction. Now comes the scam that makes all this possible. Actually, there is NO play button. The button the spectator pushes is a dummy button. I made mine by purchasing those small round button shaped feet that are sold in hardware stores to place under pottery, bowls, statues, etc. to keep them from scratching the furniture they're sitting on. The hard rubber button has an adhesive backing which you simply remove before you affix the button just below a small red light on the front of the frame. When the spectator has indicated which shape he's concentrating upon, the performer holds the frame in order to allow the spectator to press the "play" button, For example, let's say the spectator is thinking of the "Circle", the performer casually grasps the frame with his right hand near the upper left hand corner, with his thumb lightly placed on the octagon. The performer's left hand grasps the frame at the lower left hand corner, without placing the thumb on the surface of the frame. When the spectator presses the fake "play" button, the performer synchronize his action with a downward pressure of the right thumb. The prediction will pinpoint the circle as the design being thought of. If the selected design is the Octagon, you press the circle. If it's the Square, you press the star. And for the Star, you press the square. Best of all, when the recording is activated, a red light goes on just above the dummy button.
I love the idea of the frame having belonged to a Gypsy. Search your art files for five appropriate selections. Five planets would work. So would artwork depicting various emotions. Five different precious jewels.,etc. Use you imagination. Anything that a Gypsy would relish making the object of a prediction will work.
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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