To perform

Follow the description of the effect. After the spectator has placed an unknown quantity of cards in his pocket, behind the performer's back, the performer turns and retrieves the balance of the packet from the spectator. The top five cards of the packet are now shown to the spectator, one at a time. The spectator is instructed to remember the object on the card that represents the secret number of cards he placed in his pocket. For example, if the spectator placed two of the image cards in his pocket, he is to remember the object on the second card that is shown to him. After five cards have been shown, the performer places them back on top of the packet, keeping a little finger break beneath the fifth card. The top five cards are now double-undercut to the bottom of the packet. To the spectator, it will appear that the performer has simply cut the packet twice. The performer, using his left thumb, pushes over to the right the top four cards of the packet and obtains a little finger break beneath the fourth card. Again, the performer double-undercuts the top four cards to the bottom of the packet. The spectator's image card, the one he has committed to memory, will now be the 11th card from the top of the packet. Don't ask why. It works every time.

Now, all the performer has to do is push off the top five cards of the packet, turn them face up, and show them to the spectator. The performer asks if he sees the object he is concentrating upon. Naturally he will not. Place the five cards just shown on the bottom of the packet, keeping them face up. Thumb off five more cards and flip them face up. Spread the five cards so the spectator can see them. Again you ask if he sees the object he is thinking of. And again, he will reply that he does not. At this point, the first face down card under the five face up cards just shown, will be the spectator's card. The performer's left thumb now pushes over the first face down card (the spectator's card) as the five face up cards are displayed, and obtains a little finger break beneath the spectator's face down card.

The six cards are now squared on top of the deck as the little finger break is still maintained. The right fingers now pick off the top six cards and transfers them to the bottom of the packet, beneath the first five face up cards previously placed there. The spectator's card is now face down beneath the ten face up cards. The balance of the face down cards on top of the packet are now pushed off and handed to the spectator so that he can look through them to see if his image card is there. The left hand keeps the packet of face up cards in the left hand, squared. When the spectator admits that he has not seen the object he was thinking of, the performer retrieves the few remaining cards held by the spectator. Turning them face up, the performer places them beneath the packet. This sandwiches the spectator's face down card between the face up packets of cards. As previously described, the entire packet is handed to the spectator for him to mime removing his image card and turning it face down before sliding it into the packet of face up cards. Naturally when he runs through the packet, one card will be reversed. He removes this card and after revealing the object he has been concentrating upon, he is asked to show the object on the reversed card. It's the spectator's mentally selected object.

Finish the effect as described. After the audience has applauded, the performer states, "Sir, before you return to your seat, will you please remove the three cards in your pocket and return them to me." The audience will reward you with another round of applause. The spectator removes the three cards he placed in his pocket earlier and returns them to the performer as the audience applauds again. How does the performer know how many cards the spectator had in his pocket. That's easy. When the performer pushes off the final batch of cards for the spectator to look through, he silently counts how many he is handing to the spectator. In our example, that would be 6 cards. The performer simply subtracts the number of cards handed to the spectator (6) and subtracts it from 9 and the result will be the number of cards in the spectator's pocket. The number of cards handed to the spectator at the end is always subtracted from nine. It works! Trust me. A few run-throughs with the cards in hand will convince you.

By the way, even though this routine does not require you to know the identity of the spectator's object, that can easily be achieved because of the reflective nature of the design packet. When the performer cuts off the six cards, the reflection of the face of the bottom card (the spectator's card) can be seen in the back of the card below it as the cards are removed to the bottom of the packet. The black backs act just like a mirror.

I sincerely hope that you enjoy using this marvelous effect. It works equally well for close-up or as a stage effect. It has tremendous, and I mean tremendous entertainment value built in. The hypnotic and invisibility aspects are pure entertainment. Audiences love it. And of course, it will fool them royally. Incidentally, the staging of the ending where you tell the spectator how many cards he has in his pocket was the diabolical idea of my good friend, Ted Lesley. It enables you to add to the mystery with a final revelation, retrieve the cards and produce a second round of applause for the departing spectator. Now that's a climax.

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The Art Of Cold Reading

The Art Of Cold Reading

Today I'm going to teach you a fundamental Mentalism technique known as 'cold reading'. Cold reading is a technique employed by mentalists and charlatans and by charlatan I refer to psychics, mediums, fortune tellers or anyone that claims false abilities that is used to give the illusion that the person has some form of super natural power.

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