൮.൯. ANÁLISIS ESTADÍSTICO

The following routine was inspired by a neat, casual idea for obtaining secretly written information from a spectator, which I saw demonstrated a few years ago in a lecture by Patrik Kuffs. I have considerably altered it to suit my mode of performing. It will cost you just a few pounds to put together and, there seems no way, from the spectator’s viewpoint, that you could have obtained the information. All looks totally fair; the handling is simple, casual, natural, disarming and direct. What more can I say?

Effect

The mentalist displays a packet of blank cards and the spectator takes one and writes any word, number (or whatever) on the card with a marker pen, whilst the performer looks away. The designated card is turned face down and cut into the packet. The performer removes a ‘special card’ from his pocket and after some by-play, writes something on this card, which is placed in full view. Under these ‘test conditions’, the spectator’s written card is removed from the centre of the packet and his written thought is seen to match that of the performer.

Requirements & Preparation

You will need a packet of about 20 double blank card stock. (Bicycle, of course produce an inexpensive double blank poker size deck) You could use business cards, but, in my opinion, playing card stock allows for a smoother handling and greater visibility. Double blank cards also preclude the possibility of marked cards in the spectator’s mind, and although the cards are not marked, double blank cards, I feel, add a certain strength to the proceedings.

You will also require a thick card made from two of the double blank cards (I recommend epoxy resin to glue them together. You could use a short card but, I believe a thick card allows for easier, sure-fire handling).

You will also need some Letraset (black lettering), some self- adhesive labels (mine are approx. 2” x 1”) and a fine tip permanent marker pen (a Sharpie is perfect). The sticker is applied so you can reuse the YOUR THOUGHT card. You could of course have a few cards professionally printed, although it can be quite expensive. Personally, I simply have a few done by Letraset and keep them as spares.

Take one of the blank cards and on one side, using the Letraset, apply the words: YOUR THOUGHT. Below these words place a self adhesive sticker (See figure 1). As this card will be described as a special card, you may prefer to dress up its other side somewhat, should you think it necessary. For instance, you could cover it with some holographic film, to give its special factor some credence. I personally don’t think it’s essential. I merely tell the audience that the card is specially coated with a technologically advanced, sensitive material, invisible to

the naked eye! If you believe that, then you can plat fog! Finally, a rubber band is advised to secure the card packet.

Set Up

Place the thick card on top of the blank packet and encircle the packet around its width with the rubber band, then place the packet inside your outer jacket pocket. You could of course, place the packet inside a wallet of some kind, but I think the band idea, and the cards apparently ‘tossed’ into the pocket, psychologically appears more casual and impromptu. Place the Sharpie pen inside the other jacket pocket and, you may wish to place some of the self-adhesive stickers in this pocket too.

Whenever you perform this routine, the spectator will destroy a card (by writing on it), therefore, you may think it worthwhile to place a sticker on his card too, in order avoid having to replace it. I don’t bother, as I prefer to sign the other side of the card and let him/her take it away as a souvenir. A small price to pay for a little publicity! (I also find it best to keep the items in separate pockets to save any fumbling).

Place the YOUR THOUGHT card, writing side towards your body, into your outer breast jacket/shirt pocket.

Working

1. Tell the spectator that you’d like to try an experiment in thought transference. Bring out the packet of cards, remove the rubber band and toss it aside. Spread the cards towards the spectator, telling him they are jotter cards. As you spread the cards you will instantly know if the thick card is on this particular side of the spread. If it is, then let the spectator choose any card (except the thick one of course!) Raise the spread vertically to show the other side of the cards.

Alternatively, if you notice that the thick card isn’t on the side of the spread you initially show to the spectator, then simply turn over the cards and spread the other side, which is logical of course (as you’ve shown both sides for fairness sake), then let the spectator choose one. (Don’t forget in this case to turn over the packet again—the thick card should be on top of the packet). I actually mark use the Sharpie to slightly mark the side of the rubber band which is commensurate with the thick card side of the packet. This useful little tip was shown to me many years ago by Roy Johnson and, although the marking is technically, not applicable in this case, I’m afraid that old habits die hard!

2. Have the spectator briefly examine his card to verify there’s nothing unusual about it— just a blank jotter card, or so you tell him. Pass him the Sharpie pen and have him think of a small word, or a number, say below 100 or a city or whatever. Tell him to write it on one side of the card so that he cannot change his mind, and tell him to print it so that it registers clearly in his mind. This statement is of course rubbish; all you’re interested in is that it is printed clearly so you can read it! Tell him that you’ll turn away as he does this, and when he’s finished, he must allow a couple of seconds for the ink to dry, then he’s to turn the card face down and place it on top of the packet of cards. When he understands this, you turn away and he does as requested.

3. After he’s done as requested, and while your back is still turned, tell him to cut the packet of cards and complete the cut, so that his written card is lost in the packet. When he’s done this, you turn to face him. You then pick up the packet of cards, holding them in left hand dealing position (assuming you’re right handed). Pointing with your right forefinger to the top card of the packet, you say: You could have written on this card… You now gently riffle your right thumb up the packet until the packet breaks at the thick card. (You gently riffle so as to avoid the telltale click of the packet breaking at the thick card). When the packet breaks, your right hand (in Biddle grip— hand palm down, thumb at inner short end of packet, fingers at out short end), lifts up the top section above the thick card, and your right forefinger points to the top card of the left hand packet, as you say: …or you could have written on this card… Casually place the right packet of cards onto the table, then top this packet with the left hand portion, as both hand gesture towards the complete packet, as you say: … in fact, you could have written on any card, it really makes no difference, as I have a special card in my pocket, which is made from a technologically advanced, sensitive material, invisible to the naked eye. It can determine writing produced on any card in the packet, with the help of thought transference.

(If later, the spectator tries to recall the effect, it’s doubtful he will even remember you ever cutting the deck due to the casual approach above).

Now pick up the packet and hold it in left hand dealing position.

4. Remove the THOUGHT CARD from your pocket (the writing side of the card is towards you), and say: You’ve written a thought on a card… do you believe that YOUR THOUGHT is on this card? He will of course reply: No. You then orientate the card so that you show it the correct way as you turn it around. This will no doubt get a groan from the spectator.

5. You now say: In order to sensitise the card, I have to place it, writing side down, on top of the packet. Hold this card in right hand Biddle grip (hand palm down, thumb at inner short end, fingers at outer short end, with your right forefinger pressing onto the centre of the card. Now press the card, without releasing it, onto the packet for a second, then raise the card up again, and say: I also have to place it at the bottom of the packet. Slide the card (written side uppermost) under the packet. Turn the packet over, still holding it in left hand dealing position. With your right hand in Biddle grip, your right thumb now contacts the inner short end of the packet and raises up this end of the top two cards. These two cards are now lifted as one (in right hand Biddle grip again), off the packet a few inches, then they are immediately pressed against the top of the packet (as before) for a second. The spectator will subliminally be aware of the fact, that his card is neither on the top of bottom of the packet: a strong point in your favour, if he later tries to recall the effect. Press this card(s) briefly onto the top of the packet. Your left hand now raises the packet vertically towards you, as your right hand leaves the lowermost card of the two on the packet. Your right hand then upjogs the THOUGHT CARD so that it extends for about three-quarters of its length, over the outer short end of the vertical packet. (If this is done correctly, then the spectator will believe that the card in your right hand has never left his view). Remove your right hand from the packet. Your right forefinger now taps the front (writing side) of this card, as you say: It’s the special material on this card that does all the work for me. As you say this, the writing on the spectator’s card is staring you in the face! You have ample time to read it, and it looks natural, as you’re staring at the upjogged card which occupies the same position as the spectator’s written thought of course. In other

words, your eyes don’t deviate from the card (apparently); there are no suspicious sideways glances etc. Just make sure that there isn’t anyone behind you whilst this happens. In fact, there should be nobody behind you throughout the entire routine.

6. Once you’ve got the message from the card, turn your left hand palm down and allow the upjogged card to fall to the table, as you also table the packet (spectator’s message hidden against the table top). You now pick up the THOUGHT CARD and look at the spectator, telling him to look directly at you, and to imagine his written thought on a large screen, then he must try and project it to you. After a few seconds you write his thought onto the sticker attached to your THOUGHT CARD, without anyone seeing it. Place this card, writing side down, on the table.

7. Pick up the packet, holding it vertically in your left hand, with the spectator’s written card facing you and out of sight of the spectator and your audience. Look at the spectator and say: Somewhere in this packet is your written thought card. Begin to push over cards from left to right hand, but as you start, your left thumb drags the spectator’s card from the right to the centre of the spread. The spread is then parted in front (to the right) of the spectator’s card as you say: Here it is. The spectator’s card is now at the face of the left hand packet, which now lowers to dealing position. The right hand packet then drops slightly. The illusion is that the spectator’s card was in the centre of the packet. You can now use your left thumb to push his card off the packet to the table or, do as I prefer, which is to use your left thumb to upjog his card (beyond the outer short end of the left hand packet). Now place the right hand packet on top of, and flush with, the left hand section, leaving his card still outjogged. This enhances the illusion further of his card having been in the centre throughout.

8. Let this register for a few beats, then your right hand removes the outjogged card. The packet of cards is now tabled. You then hold up the spectator’s card in your left hand (for example), and pick up your THOUGHT CARD in your right hand, writing on both cards is towards you. Read aloud what the spectator wrote, then turn it around to show the spectator (and your audience). Look at your card and say: Amazing! I bet you didn’t know you could transfer thoughts! Slowly turn around your card to show that they match. Finish by saying: This card picked up your thought with no problem… you have terrific concentration! Well done!

The wording here fosters the belief that the spectator did a great job. You go away with a recognised talent without giving the impression of a look how clever I am attitude. The spectator of course goes away with his ego boosted, as he thinks he played a major role in the successful outcome… everyone’s a winner!

End Notes

It is of course not really necessary to use a thick card. When the spectator returns his written thought card face down on top of the packet, you could just Double-cut it to the bottom. The use of the thick card, however, adds some strength to the proceedings as the spectator can cut the packet. There appears no way his card could be controlled without seeing it and, of course, it is apparently never seen throughout the whole presentation. Everything looks openly fair and casual.

I usually sign the other side of the spectator’s card and finish by saying: Your thought is on that side to remind you of this experiment, and I’ve signed the other side, so you won’t forget who showed you it!

It may be worthwhile to place a line on one side of every card in the packet (except the thick card—see figure 2), especially if asking the spectator to choose a number, as some numbers such as 6, 9, 66, 69, 96, etc can be ambiguous. The line will also help with any other written information, as no matter which way the spectator’s written card is orientated, it will still be easily discernable when the time comes to your reading it. This routine may look somewhat convoluted at first glance. I apologise if that appears to be case, it’s just my meticulous style I suppose; I’m obsessed with structure, clarity (hopefully) and detail. If however, you go over the following synopsis, you’ll see that it really is quite straightforward. I hope you give it a try because it plays really well.

Fig.2

Synopsis

Spread packet (thick card on top) for spectator to take one and write word (or whatever) as you turn away. Once done he puts card (writing side down) on top of the packet and cuts it, completing the cut, to lose his card in the packet (apparently).

You turn around, pick up packet, point to top card, saying he could have written on this one; then you riffle right thumb up packet so it breaks at thick card. Point to top card on left packet, telling him he could also have picked this one. Then table the right hand packet. Place the left hand portion on top of tabled portion (spectator’s card is now on bottom of packet). Gesture with hands at the packet and state that in fact, he could have written on any card.

Show gag card with your THOUGHT CARD, then hold it, writing downwards, in right hand Biddle grip, right forefinger presses on centre of card (left hand holds packet in dealing position). Press the card briefly (without letting it go) onto the top of the packet. Now turn the card writing side uppermost, and slide it under the packet. Turn the packet over and with right hand in Biddle grip, (right forefinger pressing on centre of card again) secretly lift up the two top cards as one. Press this card(s) briefly onto the top of the packet (as before), then raise the packet vertically towards you and leave the lowermost card of the two (in your hand) on the packet, as the remaining card is upjogged about three-quarters of its length over the outer short end of the packet. (It should look as though the card in your hand has never left the spectator’s view).

Remove your right hand from the packet and use the right forefinger to tap the writing side of the upjogged card, as you tell the spectator that the special material on this card does all the work for you. As you say this, the writing on the spectator’s card is staring you in the face! (Make sure there’s nobody stood behind you). Briefly note what is written on the card, then turn the left hand palm down and allow the upjogged card to fall to the table, then, you also table the packet (spectator’s message hidden against the table top).

Pick up the THOUGHT CARD (writing side towards you) and tell the spectator to imagine his word (or whatever) on a large screen, and try to project it to you. After a few seconds you write his written thought (unseen by the spectator of course), on the card’s sticker. Place this card (writing side down) on to the table.

Picket up the packet, and raise it vertically (the spectator’s written card is facing you, and it shouldn’t be visible to anyone else of course). Tell the spectator that his card is somewhere in the packet. Begin to push over cards from your left to right hand, and allow your left thumb to drag over the spectator’s card from the right, to the centre of the packet. The spread is then parted in front (to the right of the spectator’s card) as you tell him you’ve found it. His card is now at the face of the left hand packet which then drops to dealing position, followed by the right hand. Your left thumb now pushes off his card to the table (or can upjog it, then place the right hand packet on top, flush with the other packet), leaving his card still outjogged. Remove the outjogged card, (writing towards you) in one hand, table the packet, then pick up your THOUGHT CARD (writing towards you) in the other hand. Look at his card and read his thought aloud, then turn spectator’s card