kenton knepper - sorcerer series #2 - piedom.com knepper - sorcerer series 2.pdf · 4 /kenton...

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/Kenton Knepper: Sorcerer Series 2

Kenton 's

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I always loved those old books that had a bunch of great little ideas and routines in them. They were usually small books, with descriptions a page or a paragraph in length. These amazing books left much to the reader's imagination or interpretation. They described how to do the tricks all right. But many of the nuances and such had to be discovered by playing with these ideas. Seldom were there many pictures to explain quickly the ingenious concepts. These were books that had to be skimmed through, thought about, experimented with, and attempted in pieces as the desire hit you.

Such are my favorite books. So, I decided to put out a few of my own. Friends often say to me "When are you going to put that one idea you showed me into print?" or "Where's the work on that effect? It fits me perfectly". Usually I respond by writing intensive studies on a given subject, a sort of theme book style I suppose. When I had a chance, I began to write out a few of my favorite items that few knew anything about. Then I was prodded by my friends and inspirations into action, and so chose to finish a few booklets like the ones I have loved so much through the years.

Many ideas of mine as used by others are in this series of "Sorcerer Secrets" - right out of their acts. New ideas and methods I have used to fool real audiences as well as magicians and mentalists are revealed for the first time in this series too. Most of my descriptions are in short form, with few pages and little illustration other than verbal. Just like those favorite books that inspire me.

I know that one day someone will do an item out of this small series and everyone will wonder where they can buy it. It's easy to hide really great secrets in little booklets. Magicians and mentalists are fooled by appearances more than nearly any other class of people I know. I find that odd. But knowing this is the case, as long as I do not make large books, put in a load of pictures, or present video versions of this material, my secrets are safe. Only those willing to actually read and ponder will discover the real treasure. There is talk these days of magicians writing in code to keep the real secrets from those not deserving. I say make small booklets that have to be read to get to the real work, and only those who are worthy will know the best secrets. It's as easy as that.

The truth is, I would rather have everyone know of my works that wish to work on them. But too many take this as an excuse to piracy and illegal infringement. So I hide the real work in plain site and wait to see who finds them. Many times, I have been amazed at how widely some of my more obscure works have been accepted. We'll see what happens with this current treasure-hiding outing. I know the gold that is hi this series. Who will discover the jewels besides my professional friends, we will have to wait and see. I hope you are one of the fortunate ones, and enjoy what you discover.

Kenton Knepper

October 21,2002

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Kontrol Kard

What will YOU do with it?

With a Single Card You Get:

Double Face/Double Back Card

Thick Card Holdout Card Control of Multiple Cards Spittle Card Sticking Stranger or Chameleon Easy Double or Triple Lift Hides Reversed/Peeked Card Long/Wide Card And More!

Imagine a single card that can control two other cards, provides automatic double lifts, causes cards to vanish and reappear, makes double faced or double backed cards, all out of your own favorite brand of cards.

What would you do with a single card that could manage all of that, and MORE?

The possibilities are truly endless when a single card can replace many other card gaffs and gimmicks. You need only add or remove one card to use multiple trick cards in an otherwise regular deck.

You will discover many uses for this utility device. I could have sold these, but now, for those willing to read and experiment for themselves...

The Kard is coated with a very special and unusual substance. It sticks, but it is not sticky. It clings but it is not magnetic. It will last for many performances, with proper attention. Don't allow the card to get too dirty and never peel even the slightest bit of coating off. If you rub hard enough, or peel a corner of the coating, you may ruin the entire card. Some people think the material is a rubber cement type of substance. It isn't, and if you try and touch up the card with any such material, you may ruin the card.

While this idea was original with me for some time, my friend Bob Sheets told me he had seen a few packet tricks of late with a similar mysterious substance on it. While I make no claim as to what others are doing, this awareness prompted me to expose my secret work for the first time here. Instead of buying special cards from me, I will treat readers to large savings by explaining how to easily make your own. You would have paid as much or more for a set of such cards as you did this manuscript. This secret alone should help you feel you have received your money's worth.

The secret I will not put under a bold heading, as I do not care to have people skim through this book and get the secret for nothing at all. One should at least read or study a little bit to get the real works when they are being given away. The secret substance is found at almost any hardware store. That much I can tell you. The rest, you'll need to buy and study this booklet. The Kard itself may be forced, allowing you to control it and two freely chosen cards - three selected cards in all. This makes for some dramatic card revelations and impressive card control. Its ability to become a thick card at will is perfect for "test condition" type mentalist effects. As far as making these cards yourself, that is easy enough. Happily, there is a spray clear rubber coating that conies in a can.

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Most people use this as a way to provide a grip on the handles of tools such as hammers, wrenches and so forth. You may have seen the red rubber dip used on tool handles for instance. It is similar to this except of course it isn't red, it's clear, and comes in a spray can. I currently use a can of what the manufacturer calls Grip and Guard by Rust-Oleum, which they consider a specialty type of product or paint. Other companies make similar products and these work too. Keep hi mind that the basics are a clear rubber hi spray can form. In this clear spray form, it is so easy to use! Spread some cards out on a waxed sheet of paper and spray them well, but don't soak them. A few trials and you'll find the correct amount for your use. When one side of the cards are completely dry, turn them over on a clean sheet and spray the other side. Let this side dry, and you are finished. In some lighting conditions or with some types of card decks, you may not wish to show the Kard due to its slightly more shiny appearance. It will become less shiny the more you use it, but you should be aware of your preferred working conditions. You may always use the Kontrol Kard without it being seen, while maintaining many of its other advantages. Here are a bunch of ideas to get you started:

The Basics The Kontrol Kard will cause another card to stick to both sides of itself. Selected cards above and below it will stay "stuck" together along with the Kontrol Kard. This makes for a three cards thick key card. It also allows the cards to stay firmly together during overhand shuffles. No breaks are needed, as the Kard becomes thick with the other cards. This alone has fooled many wise card players and performers. It is difficult to find a more fair control of multiple cards.

A selected card placed behind the Kard will "disappear". The entire deck may be counted out one at a time, and the selection will be seen to have vanished - secretly adhering to the Kard. It may reappear easily due to the thick card control, even after shuffling and cutting. Or place the Kard face up on a face down deck. Thumb the face up Kard over -and you have created a secret double-face card! Do a tunnel or snap change and the card changes. Allow the Kard to rest with its sticky face side against the top of the deck. Thumb it to one side and do another change or flip move. Now the card is seen to change again! All of this easily, naturally and fairly - with little or no effort at all. Just a little bit of pressure keeps the block of cards together, due to the special substance.

Show the Kard's face and place it face down on top of the face down deck. Thumb it over to one side and show the face again. The face has changed instantly. Flip this card(s) face down and lift up the top Kard only by grasping the inner and outer short ends of the Kard. This allows the original top Kard face to be shown again. An amazingly natural double lift face change! Do the same thing but sandwich the Kard between two selected cards. Overhand shuffle. Secretly cut the sandwich block to the top by feeling for the block, thanks to the Kard's properties and now triple thickness. Flip over the top block (it's easy!) and show you have found one selected card. Flip this face down, and remove the top card by the short ends, as you drop this on the table face down. Show the top Kard, as not being a selected card. Frown and then have the spectator look at the tabled card. It has changed to the other selection.

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Secretly make the Kard a double-face card and place it on the bottom of the deck. Turn your back and have someone deal cards one at a time face down on to the table. They stop anywhere and look at the last card dealt. Have them turn their chosen card face up. Next, tell them to bury their chosen card by placing the rest of the deck on top of the tabled pile. This secretly places the Kard and a face up indifferent card on top of their card. Remind everyone that one card - his or her card - is face up. Snap your fingers and spread the deck. Their face up card has changed. Cut this card (secret Kard block) to the top of the deck. Turn it face down on top of the deck. Legitimately take the real top card off at the short ends, being careful not to show the face up Kard underneath it. Just turn the hand with the Kard and deck in as you table the face down top card. Snap your fingers, and the tabled card changes back to their selection! Cut the deck, and the whole deck can be seen front and back, all facing the proper way.

Some of my mentalist friends will have parted from reading this a long time ago, when they saw the dreaded word "card". But mentalists should consider how this very idea might be applied to index cards, business cards, notepaper, billets, and so forth. Now that I have tipped the special substance so that you may make your own special items, there is no need to limit this method to playing cards, or even Tarot or ESP cards. Think beyond common card stock. You need not dismiss this great utility just because you dislike playing cards. Surely, mentalists may be as creative as magicians, and will find their own unique applications to fit their particular needs.

Make the special cards up, play, and experiment. Now that these will not cost you so much money to obtain, you will discover new and exciting applications. I know I have. As proof that mentalists can also think about card effects, here's a little something more from Allen Zingg using the Kontrol Kard.

Just was playing with your Kard. I had it in a blue deck and the Kard was red. As you can imagine, you can first use it as a locator by having it on the bottom and overhand shuffling for a selection. The person looks at the top card wherever you stop and you drop all the rest of the cards onto it. Then shuffle to your hearts' content, and if you know the person to be an overhand shuffler, have the person shuffle as well.

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Say, "By now, some people think something has already happened...! assure you that it hasn't. Just to be sure, I'll look away and spread through the deck face up, and you check that your card is there. But don't say anything". Turn away and spread the deck. When you feel the thick card(s), briefly turn around and repeat, "Just look, don't say". Spot the card, turning back and finishing the spread through, all in one continuous action. With your head still turned away, say, "And to be sure, let's shuffle the cards again". Turn the cards face down and shuffle some more, or have the person do so (again, if you know the person's shuffling habits from a prior effect). You do this so that the person loses track of the approximate location of the card, and to be apparently fair.

Finish shuffling, still with your head turned away and say "You could have looked at (thought of) any card" as you spread the deck face down to locate the thick card(s). Cut the deck at that point. NOW turn around. Start to telepath the card. I like to say, "There's some red in the card...(and if it is a black card or court card), and some black too". If the person took a black card, the person will be perplexed at the red comment. If it is a red card only, I leave the black part out. As I say this, I do not look at the deck but directly gaze into the spectator's eyes, all the while getting a little finger break under the top card.

As we continue the telepathic revelation, start a cutting process similar to double undercutting but with smaller and more cuts. Do this slowly but naturally so that you can reveal the card verbally. End by saying, "When I said there was some red in the card, I meant RED". Deliver this line as you make the final cut, displaying the red card on top of the deck. Spread through the deck to show that it is the only red backed card. Close up the deck and push off the two cards, turning the card(s) over to show that it is indeed the person's card. I might say, miming handing the person the deck, "If you were to look through the deck, you would find no other ____(card name), this red one is the only ____ in the deck".

Put the card back on top of the deck and cut it completing the cut. Say, "But if I take the magic off, then your card is no longer red". Spread the deck out, preferably ribbon spread on the table. With your fingers move your hand from right to left along the spread and rapidly push the cards from left to right a bit to show that you are displaying all the cards. Close up the spread, and pick up the deck.

Turn the deck face up, saying, "Your card is still in the deck...But I've turned your card back into a blue backed card". Spread the deck face up in your hands, find the thick card with the person's card on the face of the three cards, and cut the deck there. Do a strike single lift to take the card off the deck and hand it to the person. Ribbon spread the rest of the deck face down on the table to show a completely blue deck. Pick up the deck, retrieve the card, and box it all to be reset.

By the way, the Kards I like to make up most are: Blue backed Bicycle card, red backed Bicycle card, red backed Bee back card, one Ryder back tarot, one red/blue double-back, one blue/blue double-back, one red/red double-back, one double-face, one red backed Bicycle and one blue backed Bicycle card. These last two are cut short and prepared on the face side only, so that they can act as locators. By being cut short, the deck can be handed out to most people who will either overhand shuffle or riffle shuffle, and the two cards will not be separated. It's a control system applicable to regular cards or other cards, plus some special effects.

Thanks Allen. I know these instructions seem a tad confusing without the Kard in your hands. But make a few up, follow along, and you'll understand and be inspired! Like all things in this series, I strictly reserve manufacturing rights for sales of these items in any form. Use them for your own personal performances as much as you like, however.

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Kenton's Kling String I should have sold this for a great deal of money to magic shops. Instead, I am giving those who are readers an even more incredible deal. I have sold this special "string" to magicians for a decent amount of money - when I would allow it to be given to others at all. Now for the first time, I am going to tip how to make this string yourself. Those who do not yet know anything about my string tricks — here is a taste:

When asked to perform a trick without warning, I reach into my pocket and pull a three-inch piece of thread free. "I have a little string trick I can do". This gets an immediate laugh, as all realize this is a thread pulled from my pant pocket. Holding this white thread or string between my thumb and first two fingers, I show it around openly.

Turning the back of my hand to the audience, I pull on the end of the thread that is in full view. Next, I reach behind my hand into the palm and pull on the other end of the thread. Oddly, this piece of string that was a mere three inches in length is now about eight inches. I pull again at the end near the top of my hand. The thread gets longer. The thread can be shown clearly between the fingers. The palms, sleeves, and all else are empty. Yet, continual pulling causes the string that was three INCHES in length to become three FEET long... or more! By the way, it resets in seconds.

Another popular use of this string is for the "Eternal" or "Gypsy" thread trick. The thread is shown, and wrapped around the fingers of one hand. The string is rolled into a ball and shredded. The string is seen to have many ends sticking out every which way. This mess is squeezed together and two of the ends are pulled a little. A wadded portion of the string is seen to remain stuck to the string mysteriously. As the ends of the string are pulled, the string is shown restored.

A ring is threaded on a string while the string ends are in view the entire time over a book in a Slydini effect you may know. While I cannot expose that trick here, I can say that this miraculous string solves the weak point in the trick. As we get to the string's make up, my hint will be quite clear to those who know of this effect.

What makes the string remarkable is that it is made of a very special plastic. It looks like white string or thread, but it is in fact a chemically concocted item. Its properties are that the string may be easily compressed, and most of all, that it sticks to itself like waxed string. Yet it holds better than any wax, and is not sticky to the touch. Nor does this string leave any residue at all, not even on your fingers. When you begin to toy with this incredible material, your brain will go crazy with possibilities. I like the growing thread or string idea as a lead in to ring and string effects. But that is only one presentation.

How do you get this amazing string and what will it cost you? The good news is that the simple secret I am sharing here will allow you to obtain it right away at a very inexpensive price. All you need do is go to your local hardware store, dollar store or plumbing supply. What you are looking for is a Teflon tape used to seal pipe threads. The thread seal tape I use is l/2" wide.

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Plumbers will tell you this tape though not sticky, clings to itself worse than plastic wrap. Trying to not get it tangled on itself is a major issue for them. For us, this problem is our solution.

Pull the end of the tape free from the spool and twist the tape between your fingers. You will discover it is easy to roll the width of the tape between your fingers and make the tape look like string. Keep pulling out more tape and twist it tightly and you will get more string. I make a full spool of string from a roll of tape while I twist. Although the "string" is infinitely reusable, I lose it in my pocket from time to time, and so I always like to have plenty of the tape rolled into string at home.

Once you have made the string, a little experimentation will teach you much. For the growing string, cut off about a three-foot length of "string". Even the ends of the string as the center hangs over your first and second fingers. Wind the string round these two fingers, but not too tightly. You need to remove the string from your fingers in a moment. Wind the string until about V*" of the ends hang down. This is where you need to be careful. Never allow the ends of the string to get caught up in the loops or pass through the loops around your fingers. Be sure to keep the ends separate. Remove the loops of string from around your fingers as you keep the ends away. Pinch and ball the loops together. Remember, never allow the ends to get tangled in with the loops. Keep pinching and squishing the loops into the most compact little ball that you can. You will be shocked to see just how small and compressed this balled string gets.

Look closely at the wadded up packet or ball, and it looks like dehydrated loops, tightly compressed. You should end up with a compact little ball, which has two ends coming out of it.

The basic handling is to remove the string so that the secret ball is hidden between the thumb and first finger or two as the hand displays the "thread" or string. I often take this from my pocket as if it is a loose thread that I have broken off. I have plenty of time in my pocket to get the string into proper position before I display it. Often I can show the string holding it between my thumb and first finger only. This seems so very fair, yet hides everything. One end hangs down, the other drapes over the first finger. In actual performance of course, the balled portion of the string remains secretly hidden between thumb and first finger.

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To make the thread or string grow: Turn the back of the hand towards the audience. Pull gently on the bottom end, which is hidden a little behind the hand. You need to pull the ball secretly out of your finger and thumb, letting it hang freely behind your hand. You may curl you fingers a little for additional cover. Keep in mind that you never want to pull against the balled up portion. That is akin to tightening a knot, and that is just what you will get if you do! Ignore this and you'll learn it later in performance.

Here's an exposed view of the correct situation. This is what you would see if you were flat on the floor looking up. Then again, if someone is flat out on the floor looking up like this, they are probably so far gone they won't see a thing! In real life, the back of the hand faces the audience, the palm and hidden ball face in towards your body.

Remember pull on the ends only, as the ball stays hidden behind the hand. The hand displaying the string grips the top end at the thumb and first finger. Your other hand pulls on the bottom end. The ball hangs freely behind the hand. When it unravels with your pull, the ball will move near the bottom of your hand.

To be sure the ball is not exposed, adjust by pulling up the top end of the string with your free hand. Pull the string upwards so that the ball is pulled up and hidden once more behind the hand. Be sure it is not tight against any fingers. Now you may pull on the lower end again and secretly unravel more as you pull. Repeat this back and forth adjustment until the string is fully unraveled.

To the audience, it appears that the thread or string grows as you pull on either end of it. It is a most baffling sight to the public as well as the uninformed magician. When all is secretly unraveled, keep pulling on the ends back and forth a few times, as if you are continuing to stretch the string. As you do this, be sure you display the thread very cleanly. This last maneuver sets into the audience's minds they saw the thread in just this manner the entire time.

My take on the Eternal/Gypsy thread is this: Take a one-inch piece of string and attach this to the end of a long string - the length you would usually use for this type of effect. It is easy to roll the end of the extra piece against the end of the actual string, causing the piece to stick to the end. The extra piece blends right in with the rest of the string.

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The rest should be rather clear to workers of this effect. The "thread" is shown, but you do not pull too hard on it, without grasping the joint of the extra piece first. Then you may pull as hard as you wish of course. The thread is hung over the fingers just as when you secretly ball up the string in the previous effect. When you get near the place where the end is joined to the string, wad and squish the loops openly. Keep the ends clear, and don't accidentally pull the extra piece off.

To the audience, you are wadding up the thread. That is exactly what you are doing. When the ball is pinched well together, make a hard pulling gesture between your fingers as if breaking the thread. Actually pull the secret end free and show it openly. Apparently, you have broken the thread.

Here's where we get truly sneaky. Bring the piece back to the ball, so that the ends are down and the loop of this piece is showing. Press the loop against the ball. You will apparently begin to pick away at the ball, shredding it into pieces, hi truth, you begin pulling on the same piece and showing first one end of it, then the other, as you keep the piece against the ball. What appear to be shreds of the ball are the ends of the little piece. I keep pulling at the ball and bring up the other real ends of the full string as well, as if these are more broken stands.

With only four ends showing, but pressed near the wad or ball, it seems as though the string has been nearly obliterated. Just be certain in all of this that you do not tangle the ends really, or lose track of the ends that are the secret single piece.

After all, this is how the "string" was made in the first place - by twisting and rolling the tape.

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When you try this, you will see how confusing to the eye it all is. This is

extremely effective, and a little sincere acting will help much.

Restoring the string couldn't be easier. Twist the little piece on to an end of the real string. The audience doesn't know what you are doing, and this looks like you are trying to foolishly heal the string just as your patter implies. Suddenly lift the string up in one hand and allow it to hang down, as you grip the string at the secretly joined portion. The balled up wad will appear to hang on a small piece of thread as in the traditional versions. Pull on the ends (keeping the string together at the joint) and the string restores. You are clean in your hands, and the string can be openly displayed. You may steal the extra piece off as you wind it around your fingers for examination if you feel that is required. I do not.

As you have an extra piece secured against the string which no one but you is aware of, a very nice cut and restored string can take place if you wish too. If you know other versions of The Gypsy Thread or The Eternal String, you will see how this special string makes these versions into perfected masterpieces. I have always loved The Eternal Thread in the New Stars of Magic, and this special string makes it completely practical, repeatable, and timeless. Look into this fine original method. Other ring on string effects where an extra piece needs to be attached will find real value and relief here too. Check out the wonderful and underused "Ghost Knot" by U.F. Grant. Eliminate the wax by using the Kling String! Consider how a string version of the classic "Grandmother's Necklace" can be done with this special string. No secret threads or ties required. Just twist the two pieces together and you appear to have two separate strings held side by side. Look these up in the Tarbell Course for details if you do not yet know them.

The possibilities with this string are as endless as the variations on the Cut and Restored Rope. This is one of my most hidden secrets. I hope you will be as thrilled with it as I. Remember that many magicians would have paid the price of this manuscript or more for just one spool of this special string. Keep the secret to yourself. Let other performers find this secret the same way that you did. Tell them that it's special string they have to buy.. .but they can only get it if they READ. That will keep the secret safe from many. Those who legitimately perform will be more than happy that you pointed them in the direction of a book for the secret.

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The Duplicity Holdout Over twenty years ago, I created some very odd devices; most of which my close friends alone know anything about. This is one such device. It is made with nothing more than some fishing line and a safety pin. Later this became very elaborate by adding an "alligator" or a "bulldog" clip to one end. You do need a jacket (or robe) to use this, as is common with most holdouts and sleeve pulls.

The basic idea was that a coin, ball, silk or such might be shown, then hidden in cupped hand. Without a single movement in arm or body, the hand would open to reveal a stone, a deck of cards, any number of things.

How it works is utter simplicity. The fishing line runs through a ring or hole at the bottom of a safety pin, which is pinned near the top of the sleeve. One end of the line runs down the sleeve. To the other end is attached an object that can be hidden in your hand, but which also has some weight to it. This object, with line attached, is placed into the inner jacket pocket. When resting in the pocket, the weight of the object no longer tugs on the line.

The other end of the line down the sleeve has a loop, a clip, or magnet attached on its end. A silk is secretly placed through the loop, or a ring is clipped or held by the magnet. This object may now be shown freely by the hand, as the fishing line is clear and blends with the hand for the quick moment it is flashed alongside the object. The object is held openly at the fingertips, while the line runs down the palm unnoticed and then into and up the sleeve.

To make the switch, your other hand need only have an excuse to go to your inner jacket pocket. As the hand with the object holds tightly, the other hand goes in to the pocket and sneaks the other object on that end of the line down the sleeve. This pocket-object just enters the sleeve, as the taut line keeps it from sliding down more. The line runs from the object in your hand, up through the pin inside your coat at the top of the sleeve, and to the other object, now hanging down your sleeve. The hand holding the visible object takes the object into it, and slowly drops to your side. The arm hangs straight down casually at the side as the object in the hand is secretly released.

The weight of the object in the sleeve, being heavier than the one in the hand, falls down the sleeve to the hand. As this happens, it also naturally pulls the object in the hand up the sleeve and into the jacket. If possible, try and do this without your arm or hand making even a slight motion. Oddly, stopping the habit of this reflex reaction is the most difficult part of this switch.

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Slowly open your hand and display the new item at the fingertips. A very slow and neat exchange without any motion at all! To finish, you may detach the object, and keep your arm bent. This stops the other item from falling back down once the weight on the end of the line has been removed. When reaching into your briefcase, table etc. straightening the arm allows the object and line to be pulled free from the coat. The only thing that remains is an inconspicuous safety pin in your jacket. Not so out of place at all.

Another way to handle the ditch is to show the changed object with your display hand, as your other hand reaches in and drops the exchanged object into the inner jacket pocket. If you took something out of your coat to set the holdout in motion in the first phase, returning it at the end allows for the clean up.

I will mention one little application I especially like from the old days. The jacket-object was a small hammer. The other end of the line was a clip, clipped to the inside of my sleeve until I needed it. I borrowed a watch - yes, you see this coming, now don't you? I dropped my arm with the watch once it was clipped on, and reached into my pocket to produce a handkerchief to wrap it in.

As I displayed the hanky, the switch occurred. I slowly, ever so slowly, looked down to my hand that had held the watch. Now the audience sees the hammer! I raised it as if to hit the watch in the hank, but realize there is no watch. I looked all around. I put the handkerchief back, and took out my wallet.

Putting the hank back, I undipped the watch and stuck it into my open wallet (or behind it at times). I dropped the hammer to the stage with a loud thud. Tossing it down a bit away pulled the line free from my coat. This happened as I held up the wallet. I took great pains to show my hands empty ... then removed their watch from my wallet as I went to "repay" them!

At one tune, I made a gaff that was a very heavy round magnet with a bit of iron metal stuck to the pocket end of the line. The iron metal was for extra weight. I borrowed the watch and stuck it to the other end. The switch happened as I reached for a hanky and wrapped the watch in it. What got wrapped was the magnet with watch pieces stuck to the magnet. I did the old "beat the clock" trick - that was my line for it. I took a hammer and beat it up a great deal showing the pieces and all. When I couldn't put it back together as planned, I put the hanky away and took out my wallet. You know the rest.

This is a simple holdout, which uses gravity differently than most. The idea that this holdout was used to switch one item for another without bulky apparatus was unusual -especially because the gaff "disappeared" in the end.

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Weerd to Be Bizarre Many people used to ask me how I got into bizarre magic. I always told them that I never had such an inclination. Bizarre magic is often the label slapped on to scary or frightening effects, supposed old magic ritual (but incorporating the devil not the angelic), and other oddities. I like oddities. I like the unusual. I can do without the devil. There is plenty of that in everyday life. Magic is about enlightenment, not ignorance, in my book. My friend Docc Hilford starting calling things that were different magical presentations "weerd" - spelled just this way - as did his friend Tony Andruzzi.

Docc and I felt magic had become too much about either card tricks or big boxes. Anything considered "novel" was a performer doing a card trick or box trick that said, "Here is a story about..." or incorporated insects or bleeding things. Not all that novel, really. But it was a step in evolution. There is nothing wrong with such presentations. Some people can do them and be outstanding. Such folks are few and far between however.

Originally, we understood that the idea of "bizarre" magic was not simply about upsetting people or doing bogus rituals. We thought anything pushing the envelope creatively was "good because it is bizarre". What is truly weerd is bizarre became a parody. Soon it was as obvious and stuck as magic was before. It was like the punk movement in music. It made a terrible mess, frightened a few folks, and inspired only a little more. So a few of us set out to try and explain what we understood the original notion to be. Today, we refer to it as "weerd" magic.

Weerd stuff may be graphic at times, true. But it usually has a point. Such as a bloody knife effect — it's really about healing and MAGIC — possibly real magic. "Possibly real magic"... I think that is what bizarre was trying to get at in the first place.

Weerd magic surely wished to enjoy the camp of B horror movies and such. In Weerd magic, there's a place for everything. Everything except the obvious and trite. When Weerd becomes standard, obvious or trite, Docc and I both said we'd go back to doing card and big box tricks. We do that now, by the way. Shhhhh!

The idea I think is that magic was for a time castrated of its power. The magic was taken out of magic. Bizarre and Weerd magic meant to put a little magic back into magic. Some did this and became far too serious perhaps. Magic should at times inspire sheer AWE I think. It had better also be fun. I love complex music, but if it doesn't move me or if I don't ENJOY it, I am going to listen to it once in a great while only. The same goes for magic in magic, and bizarre in performance of anything.

Bottom line? Novel - not boring - presentations and putting the feeling of magic back into magic is what "bizarre" and "weerd" is all about. At least to me. You have to find what it means to you, which is also what all magic should be about - finding yourself. Imagine using illusion to find the truth of you. How bizarre is that?

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A Bloody Good Example of Words Cutting Both Ways

A picture - any visual image - may indeed be worth

10,000 words. Certain strong images may not be washed away with ten million words.

While we may at times wish to perform magical feats that are shocking, in the eyes of many this sort of thing might be deemed distasteful.

There is a time and place for everything. I doubt words alone could make a bloody version of Needle Through Arm or Knife In Arm a fine dining experience. It may be doubtful a magician could stab himself with a knife at a celebrity's home and enthrall all present.

But then again...

I wanted to do a presentation of knife in arm at a home recently. Realizing the problems of people's tendency to be both repulsed and fascinated by such effects, I went to work on a way to make it more acceptable.

In various psychological experiments through the years, we have learned that people can withstand some pretty nasty things — as long as they feel they have control over it. Horrors on video or at the movies are one example. You can always stop the ugly pictures with the push of a button, or by physically walking out. We performers do not wish people to walk out, naturally. I needed a better way to apply this principle!

I decided to ask the audience HOW they wanted me to do this "ancient test of magical power". Asking in which way this should be done helps assume it is going to be done. This warns those who are queasy ahead of time, hi a very subtle way.

It is a dangerous thing to ask the audience a question unless you can handle the answers given. This is where the power of words may be used to make the striking visual image acceptable, without losing its shock.

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"Do you want me to do this with blood, or without blood tonight?" I ask the audience. By a round of applause, one or the other is generally favored. Keep in mind this creates the assumption that the audience accepts the performance of the effect. It is simply a matter of how you will do it, which is CONTROLLED by the audience.

This illusion of control allows for more audience acceptance. They may be frightened, but they know they have control - like a horror movie. How they answer determines how you respond:

"With blood? Ah, I had a feeling you were that sort of crowd!"

This helps build the energy of those who want to push the limit. It also puts the responsibility on THE CROWD and not you - for doing this the "nasty" way.

"Without blood? Of course without blood! I knew you were an intelligent crowd! It wouldn't be much of a miracle if I stabbed myself and drew blood now would it? We shall do this your way then - the magical way".

This puts the group likely to be upset more at ease. It tells the audience that what you are going to do is MAGIC and safe. It also tells them that they are intelligent to ask for this, as this is obviously the only correct way for the effect to be done.

In either response, an acceptance of the illusion is subtly agreed. In either extreme, they are interested and no longer repulsed. They admit that they, or their peers, have agreed to this. They don't blame you. You get the applause. If they do not like this, they blame the group for suggesting you perform this effect in such a nasty way.

I know for some people, this will thrill the living daylight in you. Others will think it obvious or not worth considering deeply perhaps. Real thinkers will see how such simple words helps get the crowd on your side, even under the most unpleasant of circumstances.

I hope I have answered some of your secret fears in performing such effects, and that you may apply these notions to other aspects of your work as well.

Almost needless to say is that you do not squirt blood out if they say "no blood" and you do squirt it out if they want it that way. If you dismiss the audience's preferences, you will surely upset them. I know some people like to do that. Do as you will and remember - you are responsible for the images you stick into the minds of others.

I see no reason such frightening effects cannot be used as metaphors for healing, after all. In most cultures, such horrid effects are meant to induce magic and wonder. Awe is not necessarily pleasant - or nasty. It is a mixture. All these ideas suggest the awe and wonder of real life. Sometimes it may be frightening. For the most part however, there is a resolve, a power and majesty to the experience overall. Resolve comes from the overall feeling and adventure. How the odd pieces fit well together - that is the wonder.

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Close-Up Cut Up Want to do that sort of knife effect close-up, at the spur of the moment and without blood? You can do as I have. I like this as it is momentarily shocking, followed usually by a sigh of relief. I often carry a pocket nail clipper that has other attributes. It's a bit like those multiple pocketknives - many tools all in one. You will need a tool that has a bottle cap opener along with at least one knife blade. Some nail files will work in place of a bottle opener, but you'll have to experiment a bit to find what works best for you.

Maybe you catch my application already by this short description. The bottle opener has a curved hole in the "blade" readymade. Secretly open this up as illustrated. The left hand takes the pocketknife and conceals the opener-blade between the thumb and first two fingers. This can take place secretly as you openly pull out a real blade from the pocket unit. Allow the real blade to openly stick up towards the ceiling at an angle.

Foregoing any presentation here, let's deal with the simple moves I use. I flick the blade that is showing with my right hand and sneer. I will quickly grasp the whole thing with my right hand and apparently slice the blade into my finger. In truth, I secretly close the upward blade and put the opener-blade on my extended left pointer finger.

These overt actions are hidden as follows: Left hand holds the knife and the secret opener. The right hand takes the handle of the unit and the angled blade and closes it as this hand raises the knife. The way you close the knife secretly is important. The right hand moves palm out to the audience. This puts the handle against your right palm. By closing your fingers around the handle, you also naturally close the real blade. This - most importantly - keeps your fingers out of the way of the blade, as you close it. Follow this move very slowly until you see how to do this, and you can't hurt yourself. Your fingers are far away from where the blade closes into the handle. Turn your hand palm in as you raise the knife up.

If you do this only as I have suggested, then you will not hurt yourself- because you cannot. Do it your own way at all, and you might. Use your head. Don't be stupid. If you can't help not using your head, don't do this. If you can not be completely, entirely 100 percent responsible for trying or doing this then don't do it. I am not there to hold your hand, so don't even try this unless you are willing to take all responsibility on yourself. I hope I have made that clear. If not, don't even try this one little bit. In fact, I rarely use the real blade now, but a file that looks like it is a blade. That way I am extra-safe, just to take every precaution I can. I don't know about you, but I need my fingers, so I only do this when I am totally aware and paying close attention! I also practice this a lot.

Grasp the handle, close the blade, turn the palm in, and lift the unit entirely in the right hand up in the air - all in one smooth action. The blur of raising the knife hides the fact that the only blade extended now has an opening in it. Bring down the opener, making certain the hole of the blade goes over your extended left first finger. Do this safely and quickly.

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The hole in the "blade" (opener) makes it appear that the blade is going into the finger, ala the classic knife through arm illusion. What I have really added here is using a pocket combination knife/tool device for this ages old effect. Now you can do this at the spur of the moment too.

To be clear, to me this isn't a big deception. It is a momentary shock. People look for a few moments, and then it hits them what must be happening. They don't know how you switched the blades or the knife, but they figure you must have done so. That might be different if you added a scream, fake blood, ketchup, fainted or some other such thing. I play it for laughs more or less.

The ending is easy. Lift the blade off and close it carefully by dropping your hand to your side away from the audience, or under the table. Lift the blade off at a decent pace and no one will see the hole. At the same time, I stick my finger to my lips and say "Ouch". The blade/tool set is away in my pocket before my finger is away from my face. Out of sight, out of mind. The finger is shown "healed" and that's that.

While closing the fake, non-sharp blade, keep in mind you still don't want to slam your fingers in between anything that snaps tightly back into the handle! Likewise, never choose a fake "blade" to hit your finger that has any sharp edges to it! Be careless and you'll pay for your own lack of attention. You shouldn't be using anything really sharp or dangerous for this anyway. Use your head or don't do this. Got it?

To be really simple and even more cautious, you may try this: Take out the opener "blade" from the start. Keep the hole hidden between your left thumb and forefinger. Pretend to feel the sharp upper edge with your right hand. Of course, this is pure acting. The top is dull as can be. Grip the handle with your right hand. A very slight turn of the handle puts the hole over your finger carefully. Do this as you move both hands forward and scream. Finish as previously described.

It's not a major effect, but it can be some real fun at the right time. You may sneak in a bit of childhood association and healing into this too. As I bring up my finger to my mouth, I give the finger a little kiss. "Remember when someone would tell you they would kiss it and make it all better? Remember when that worked? It still can..."

This is a nice hint at compassion and caring for others, without preaching or demanding people accept this view. Some people will still view this as a funny bit you did. Others will take your words to mean that this joke had a deeper purpose. Few will be offended by this soft touch to a shocking instant. It may even invoke wonder and charm.

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Impromptu Tricked Shakers

I first did this with that hard, dried mozzarella cheese they

sometimes put in clear shakers for salads or pizza. A glass or clear plastic sugar shaker also works, as can a salt or pepper shaker. Once you understand the method, the applications will come to you.

In effect, you are out to dinner and pick up a cloth napkin, draping it over your hand. You pick up a nearby cheese or salt shaker that has been provided by the restaurant and is seen to be nearly full. Onlookers see you shake the shaker, as if shaking a large amount of the contents into the napkin over your hand. Your hand clenches tight as if not to spill anything out of the napkin. The shaker is seen to be half to nearly empty. Without a single move - at all - the contents from the shaker in the napkin completely vanishes. All may be examined, and there is not a single thing for you to ditch.

Sound too good to be true? It's even better than you might think. You know the gaff in fact, and when I tell you of it, you'll kick yourself for not thinking of it first. Ready? You have likely been to a restaurant where you noticed the salt, cheese, or sugar was sticking to the inside of a shaker due to humidity. Usually, the contents are stuck against one side of the shaker, but not so much to the other. In other words, humidity provides for you a natural gimmick. One side of the shaker appears to be nearly full due to the contents being stuck against one side. Put your hand around the shaker to hold it so that only this side is clearly seen, and the shaker looks full. Turn the shaker around, and the side with the contents stuck to it is turned away from the onlookers. The focus then turns to what is left of the contents inside the shaker, near the bottom. It is natural for your onlookers to look here; they can barely help it. What we consider the faked side is towards you, and becomes more or less irrelevant. Psychologically, this is the background, and the inside contents are the foreground. We do not pay much attention to backgrounds unless we are given a good reason. Otherwise, in our mind's eye, backgrounds tend to disappear.

When I was a child, I was taught to glue sugar to a piece of paper, and stick this into a shaker to make it look full. This is not so far different. What is unusual is that this is a normal shaker. Often it is waiting for you already made. The content of the shaker does seem to pour out, as the shaker looks less full after the pouring action.

To perform, drape a handkerchief or napkin over your hand. With your other hand, pick up the shaker. Be sure the "stuck" side of the shaker is towards the onlookers of course. If you pick up the shaker with your hand palms toward the onlookers, your fingers will cover one side of the shaker, heel and thumb of the palm a bit of the other side.

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Whatever you do - do it in a natural manner. Don't worry about others seeing the real situation. Due to strong psychology, they won't suspect what is actually going on, no matter how many times they eat out at restaurants.

Move the shaker over to the napkin and begin to turn it upside down. In truth, your hand naturally turns palm in towards you, and the shaker is held nearly horizontal. Shake both hands as if you are shaking the contents into the napkin. You can see how much of an angle you can tilt the shaker without really dumping any of the contents into the hank. Take almost a full minute acting this pouring out. Remember that you must act as if you are shaking all of the contents into the napkin or handkerchief, so take your time.

Be sure that the "empty" side of the shaker is toward the onlookers as you set the shaker down. All attention is on the cloth now, not the shaker. Put your attention on the napkin and all others will too. Only fear can tip the secret, and even then, you must be especially nervous. Just set the shaker down and to one side casually, as you look at the napkin.

The rest is all build up - so play up the impossibility to the maximum! Take your time. Have people look below, above, roll up your sleeves, hold your arms, and so forth. When the suspense has truly been built, shout and shake the napkin open. Show it on both sides clearly. Hand it off for examination and show your hands slowly as well. Point towards the floor with palms up to suggest they check the floor too. Then thank everyone for their attention, and you will have your miracle.

By the way, I make up my own trick shakers for stand-up and stage based on this very principle. I pour water into the shaker so that it wets one large side only. Then I pour out the water and add in the contents. A tilt to the wet side, and the shaker is set. If needed, I use my finger to move the wet contents against the side around until it looks just as I need it. Do the same, and you will swear to this method over all the ones you can buy at your local dealer.

I have had people close-up look and examine the shaker. They see the secret, but have no clue that this is what it is. Their own experience of seeing contents stuck to the inside of shakers causes them to ignore this as anything significant. The only time I have had any issue is when I tried to boldly make the contents "reappear". It took only several seconds before the gang at the table laughed knowingly as if it were all a joke. Don't try and make the contents come back in the shaker via this same method. That's the one way I know to blow this otherwise devious method. Train your eyes to look for shakers properly set for the effect when you go out to eat with friends. Look ma, no thumbtip, lapping, or anything!

When sharing this with a select group, JJ the Psychic Illusionist tipped another interesting secret along these same lines. He has been kind enough to allow me to share this with you in this manuscript.

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Here is JJ in his own words.

Thanks Kenton for the killer method. I once dated a waitress who shared a little known fact about the salt shakers at the Denny's restaurant chain, among others. Many of these shakers appear to be quite full, due to the thickness of the glass. The thickness of the glass gives the illusion of more salt inside than actually exists, when the shaker is upright. You can lift a shaker and tell more often than not which ones have thick glass sides.

If such a shaker looks about three-quarters of the way full (a few inches below the cap) it will work well. Invert the shaker, turning it on its head, and all the salt will go into the cap. Presto, the salt has vanished! These types of shakers tend to have a larger cap. The head of the shaker is larger than the base of the shaker in diameter. The head is chrome and about 1 inch tall. The shaker overall is short and squatty. The shaker itself is 4-4 1/2 inches tall.

Not too many people know of this, including waitresses and servers. It is possible to vanish and then cause the salt to reappear using this type of shaker. The truth is, you must do that, or put the shaker away. Otherwise, the salt comes right back when it is turned upright. These shakers are relatively common in restaurants in America and elsewhere, once you know what to look for. Keep an eye out for them, along with your humidity ploy. Don't overlook this. If done correctly with proper atmosphere and dramatic set-up, it really shocks people

I am sure many people will find interesting applications for this one too.

As am I, JJ. Thank you for allowing this information to see light here. I have found it easy to quickly spot these types of shakers, due to their very short body and very large caps. If you look at the illustration at the start of JJ's description, you'll get the idea. These shakers are rather rocket shaped. The caps are deep. JJ says, "Go to any Denny's to see them". Many of you will not know what a Denny's is of course, so simply look for what JJ and I describe generally. They are far more common than one may imagine.

You might take the attention from the shaker by turning the salt into a cube of salt too. Palm a cube of sugar (how are they going to know it's not salt?) in one hand as you take the shaker in the other. Turn the shaker over and allow the cube to drop out as the salt vanishes.

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This is a great visual

While all attention is on the cube, put the shaker aside. You may cause more drama by placing the cube in your coffee, soda pop, or mouth. If others want to taste the drink you just salted, act as if you suddenly come to understand what you have done. By a simple sleight, mime, or thumbtip, cause sugar or a sugar packet to disappear. Make a motion towards your drink. Now your coffee is sweetened magically! This creates an even greater stir. Imagine this from their perspective, and not ours. It can be incredible.

In soda, others may not notice the sugar. In this case, I like to apparently remove the salt from the drink by magic, and place it back into the shaker. Others may taste the drink now and find for themselves that the salt taste is truly gone!

I know some performers who are using this in combination with a traditional salt pour. The shaker is put away and the salt pour gimmick is stolen at the same time. The other hand, which the audience assumes contains the salt, is dramatically shown empty. As the audience reacts to the vanish, the hand with the salt pour is casually removed from the pocket.

This hand with the pour may begin immediately doing the long salt pour effect. Another option is to do a changeover palm to put the gimmick into the same hand from which the salt vanished. In this version, the salt returns - and then some!

To our minds, many of these ideas may seem rather bold. Remember the audience sees the contents leave the shaker. To them, the content was poured into something. The idea that it all stays hidden in the shaker never crosses their minds. Why would it?

Now I have tipped a few miracles as well as the sneaky principles out of which they have grown. There are more for you to find, as you will. With some shakers you may need to place your thumb casually over the holes before turning it completely upside down. On the other hand, these containers are called shakers for a reason. They usually will not spill out unless shaken. Weerd what you can leam in a magic book, isn't it?

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To Cap It Off- A Sound Solution How many times do you see a magician twist his arm, touch a child's nose, and so forth only to hear a loud crack or snap? Sound gags have become as popular again as sight gags. Good performers know how just a little sound can change the entire feel of an effect - or create an effect all by itself.

It becomes a little clumsy walking around with a plastic cup for instance under your arm, waiting for the right moment however. What is even more impractical is that once you do the bit, you need another new cup. This is fine for performances that are planned of course. But I have discovered a sound solution that works in place of some of the others, may be continually repeated, and costs next to nothing.

Many fruit drinks and flavored teas come with metal bottle caps. The proper caps are meant to bulge out when the bottle is opened, or if the drink has gone bad. They have a little bump that pops up when the caps are twisted off of the bottle. You may twist these off by hand - they need no other opener.

Once the caps are taken from the bottles, they are in a popped up condition. That makes them perfect little sound devices. Push in on the bump of the cap and it snaps loudly back into place. Push it out again from the other direction, and you get another loud cracking sound. The size and shape make these caps very easy to palm. You will discover how best to position a cap in your hand to get the loudest snaps out of it. The cap acts as an amplifier — like the cone of a speaker. I find keeping the top of the cap against my fingers or palm with the inside of the cap facing out works best.

If the cap doesn't sound so great when you first remove it from the bottle, bend the bubble out a little bit more. Since the bump is made of metal like the rest of the cap, it can be bent as needed. You can increase the sound of the crack you already have this way too. Bend the cap until you get a good sound, and you'll have a perfect sound device for many effects.

This device will not replace every need of course. But it certainly is handy for many bits.

My hopes are that pointing such a thing out to you will get you to look at the world around you a little differently. Instead of relying on others to uncover the secret props in your everyday life, maybe you will now begin to consider discovering some on your own. You need not be stuck on someone else's fine idea. You may certainly leam and apply ideas from others. But remember you need not rely solely on other people. You can do what many of us have done. Open your eyes, look around, and think, "How might this everyday thing be useful in magic"?

Stop to wonder what other items may be used other than those you were taught to use -for any effect or bit of business.

Start to wonder, even a little, and you will find a little wonder for yourself.

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Postcards from the Edge Two spectators examine a stack of postcards from various places in the world. Each spectator is asked to think of a number — any number at all. The performer turns around and the first spectator is instructed to deal the postcards one at a time on to a table, dealing as many cards as the number she has in her mind. When she is finished, she hands the remaining postcards to the second spectator who does the same with her secret number.

The performer turns back around and puts both piles together so he cannot know how many cards each spectator had. The performer deals the cards one at a time and the first spectator is to think of the city on the postcard at her secret number. The second spectator remembers a city at her number as well. Neither spectator is to give any clue as to their number or their city.

"I am not a real mind reader all of the tune, but if I were, I would reach into your mind and know that you are thinking of the number seven, and you the number four. Of course, I can't do that, now can I?"

The spectators shriek, as these are indeed the very numbers they have held in their minds only. The performer dismisses this as he continues

"THAT would be real mind reading! Instead, concentrate on the picture of the town you each have in mind... Oh, my... Well, I perceive that is a fine place. And you...Hmm, well now this is very odd. Oh no, not your town, the situation! You see, you both seem to be thinking of the SAME city! You both seem to have Paris on your mind... I suppose that is understandable. Understandable in an unreal sort of way"

The audience burst into applause. But the performer stops this also saying

"But that my friends is not the strange part. That is not what shocks me. Would you like to see what is truly amazing? You see, PARIS was the very city I had on MY mind before I met either of you this evening"

The performer rips open an envelope that has been in full view the entire time. Inside is a postcard of PARIS. The spectators' "lucky numbers" may also be seen scribbled on the back of the postcard.

Don't let this simple method fool you into thinking this is the same old thing. It is not. This presentation sends people reeling. The entire method is a reverse count. If you wish the lucky numbers on the back of the prediction, then you will use a nail writer as you display the postcard during the finale. I told you this was simple. You will force the same postcard on the two spectators. That is how you are able to predict the postcard in advance. But the way it is forced and the way it is revealed especially are what really "counts".

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The postcards are different and may be shuffled by the spectators if you wish. If you let the spectators shuffle, then you will need to casually cut the force card back to the top as you show the cards afterwards. The force card must be on top to begin. Have the spectators think of a secret number. Hand the pack to the first spectator to deal, and turn your back.

The spectator is told to deal the cards one at a time silently into a pile on the table, as many cards as her secret number is to be dealt. This covertly places your force card on the bottom of the same exact number of cards the first spectator is thinking about. The remaining cards this spectator gives to the second spectator. The second spectator deals her postcards corresponding to her secret number as well. If she has some postcards left over, have her put these aside. Make a big deal at how some of the postcards have been randomly eliminated by their choices. Point out that there is no way you could have known this, save for precognition.

Turn around when they are finished dealing and place \hefirst spectator's pile on top of the second spectator's pile. Ignore any remaining cards that were "eliminated". Deal the cards one at a time on to the table as you show the front sides of the postcards to the first spectator. Ask the first spectator to think of the city that falls at her chosen number, but not to clue you or anyone in. Of course you are clued in, as all you need do is look for the back of the force card. Count the cards silently to yourself as you deal. Note at which number the force card falls. That is the first spectator's secret number. It's easy to spot the force card from the back, as postcards have the name of the city and so forth right on the back! No need to mark the cards as they are already marked for you.

Naturally, you must continue dealing past the force card for a while so as not to give away that you know she has seen the postcard at her number. After all, you aren't supposed to know that yet! Just deal some more cards after you spot the force card and then ask, "Do you have one in mind yet". Keep dealing until she says she does. How much the spectator bluffs past her postcard may tell you a little about her personality as well. When she says she has seen the town at her number, casually toss the cards remaining in your hands on to those dealt to the table. Make this look careless and carefree.

Use the top card of the stack to scoop up the pile from the table. If you'd rather, you may double undercut the top card to the bottom of the stack in your hands instead. Regardless, the top card needs to be secretly moved to the bottom of the stack. Turn to the second spectator and repeat the showing and dealing of the postcards. Secretly count and recall the number where the force card falls this time. Now you know the second spectator's secret number.

So I don't get confused, I think of the two spectators' numbers as one larger number. For instance, the first spectator may have twelve in mind and the second spectator the number three. I would think of these numbers now as 123. It's easier to recall that way for me.

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Once the spectator says she has a city in mind, toss all cards aside. The entire time that you handle the cards you should seem sloppy and careless - as if the postcards themselves are of little importance. While reading this may seem like a long time to set the effect up, the payoff in its many levels is so big that the procedure is quickly forgotten. All of your work is now finished, but the audience believes you have just begun. The test has been set in their minds. Now you may go for the big close with full gusto.

Study the lines given hi the effect. This offhand style frightens people completely. You remark you can not do such a thing and then you state that if you could do it... then you do it. Next, you tell the audience that this isn't so special. You do something more. You thank the audience but tell them this is not what scares you... And you show them what does! The words are so important here as is the casual, carefree style. These are the real secrets to this effect. You have a minimum of three climaxes. That's pretty good for a trick not created by Derek Dingle.

While the reverse count is anything but new, I have made some technical changes. I dislike those restrictive "number between one and ten" tricks. I use subtle ways around this such as saying the spectator may choose any number in his or her mind, which they will deal out using the postcards. This limits a number indirectly and subtly. There are a limited number of postcards. The first spectator must leave some for the second spectator.

Allen Zingg not only does the nail writing bit, but he loads the force card on top of the stack of cards after it is shuffled. An envelope is shown to be checked "later" which has the force card hidden behind it. The envelope rests for an instant on top of the cards, and the force card is added on. Allen shifts the envelope to the bottom of the cards and uses this as a tray as he says, "I don't want to touch these at all". While this is very clever, I think it best to show the envelope at the very end and not give the audience any hint as to the surprise to come. This entire routine is about offhanded surprises and quick revelations, hi my view. Still, Allen as usual has added a nice touch that many will wish to employ. He is a very fine thinker.

By the way, you may use any amount of postcards you wish for this effect. If postcards are not to your liking, then maybe I ought to include one idea with playing cards. But don't you think for a moment that I would give you any standard card trick!

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Any Card at Any Number by Newell Untried and Kenton You ought to know who Newell Unfried is, but in case you don't, this will give you a clue as to his work. You can find Newell at Hollywood Magic when he isn't swamped performing. Newell is a retired CEO and long time student of Eugene Burger. I met Newell many years ago in Chicago. His thinking impressed me then, as it does now. Newell has completely knocked out some of the best card guys in magic with this particular effect and method. Many have been waiting to see how exactly Newell has pulled off what seems a complete impossibility. Newell would not tip this before, but we will here. I say "we" as Newell was kind enough to ask me to work on this with him -after he had already put in much work of his own. The trick is based on Wonder Words, my own "Southwest Miracle", and some work by Docc Hilford as well. It took a couple of years, but I finally added my finishing touches to Newell's applications, and the result has startled many. I am very pleased that Newell asked me to play along on this one! Newell performs this effect, as do I. So do other names you are likely to know very well. They won't say where they got it. Now you will know. Here it is for your own use at last.

Effect The performer brings two spectators on stage. One will serve as a psychic. The other spectator serves as an impartial referee to the proceedings. A blue deck is removed from its case and shown to be thoroughly mixed. All fifty-two cards are present. It is placed back in the blue box and never again touched by the performer. A red deck is shown. All fifty-two cards are present and displayed to the audience, and the referee. The referee, the psychic spectator, or any other member of the audience may shuffle the red deck. The psychic is told that she will be asked to choose both a card and a number from one to fifty two. Any one of the fifty-two cards in the red deck may be touched as they are clearly displayed in a face up fan. The psychic spectator states to the referee the name of the card she has removed. There is no force. No rough and smooth, Svengali deck, etc. She is then asked which number she chose. She states for example fourteen. The referee removes the cards from the blue card case and counts to the fourteenth card. It is the spectator's chosen card. Recognize that any one in the audience may serve as a referee or psychic. No card force is used. Each time the effect is performed a different number and card can be named.

Preparation You will need two new decks. Newell uses a red and blue Bicycle deck. Place the blue deck in a memorized stack sequence. Newell prefers Docc Hilford's stack, but the Osterland or Aaronson stack would work too. While this is not entirely necessary, it is a good safeguard, as you will see shortly. This assures that when the "psychic" spectator names a card, you already know the card's number in the stack. You know this way that the number stated during the routine is indeed the correct one, before opening the blue deck as a climax. Place the red deck in the same stack sequence as the blue one. At the bottom on the face of each red card write, "You chose the number____ ". Fill in this blank with the number that matches this card and its position in the blue deck. Do this for each card.

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Write with a red Sharpie marker on the black card faces and a black Sharpie marker on the red card faces. This provides important contrast, enabling the spectator to see the written number on the card without hesitation. Take an Exacto knife and make a small scratch mark on the back of cards. Place your mark consistently at the top outer end of the card opposite from the printed information on the other side. Now you know the orientation of the cards from the back. This will be important in displaying the cards in a fan as randomly mixed, while not revealing the secret writing at the bottom of each card.

Method Two randomly selected spectators are brought on stage. Newell uses the numbered paper balls over the head. A brief opening statement is made which sets the spectator to be aware that he or she is in on something later. Newell's phrase is similar to my "Southwest Miracle". As the spectators come forward to help I say, "They're not going to believe what is about to happen". The blue deck is opened and then false shuffled. Newell does an Elmsley false overhand shuffle or his own fine stand-up in-the-hands false riffle shuffle. If you feel bold, you could do a deck switch after the referee legitimately shuffles the blue deck.

It is important here to do some sort of convincing false shuffle. Without it, the spectator being cued is likely to consider that she was just a "stooge". Applying my "dual reality" ploy, both words and actions need to make sense. With this deck being shuffled, the spectator later is likely to think that she chose a card with a number by her own doing, and somehow, that matched the way that I shuffled the cards ahead of time. It is as if I made a prediction by controlling the cards in my hands as I shuffled. This will be viewed as consummate skill at the least, whether the spectator believes it is telekinesis or not. From this spectator's viewpoint, they are observing a very unusual effect, one that should gain more prominence in magic and mentalism. It could be argued that what this spectator sees is a better effect than what the audience at large perceives. Both are quite strong of course. The point is that the performer must appear to mix or shuffle the first deck to make the dual reality ploy work.

These seemingly shuffled cards are now displayed to the referee who confirms they are in a mixed state. The referee returns the cards to the blue box and is asked to hold on to them and never let them out of his sight.

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The red deck is next removed and is shuffled by the referee. "We need your energy and focus on this deck too" I remark. The word "too" suggests that the spectator had something to do with the first deck. It is likely that the audience will recall later that this spectator shuffled both decks. The words make sense hi the current moment as well, for the spectator has been told to keep his eye on the previous deck.

While the spectator may shuffle this deck thoroughly, the orientation of all the cards must remain proper. The shuffled cards are displayed to the spectators and audience via a fan. The cards appear to be in a random order. It is important that the marked end is up when the cards are fanned, to avoid exposing the writing at the bottom to the audience at large. The second spectator is told that they will choose "both a card AND a number". To everyone else who hears this statement it is assumed that each will be selected randomly and separately. However, the spectator will soon realize she is doing exactly as described. She is about to choose a card and a number at the same time. No one else will know the number is written on the card.

The deck is reversed and fanned exposing the numbers on the cards as they are shown to the second spectator only. "You will freely chose both a card and a number — any one you wish. They are all different, as you can see, yes"? The word "they" seems to indicate the cards to the audience, but to the spectator, it says that the cards and the numbers are different. I am also subtly asking if the spectator can see everything well. She will usually affirm that she can see, and that they are all different.

"Good, then choose a card and a number, it matters not if I see the card". Again, the words spoken to the spectator make sense to the spectator, but seem to indicate that a card only is being chosen from the audience's point of view. "Go ahead, take out any one, your free choice - can you do that? Excellent. But some people might say you are playing along. So I ask again, was this your FREE choice? Do you wish to choose another instead? You may change if you wish. Are you certain? I don't want to influence you! I do want to be clear that you are not just playing along, that we did not set this up in advance and that you have a totally free choice of your card and a number. Are you satisfied with that? Great".

You will note that this is a fine way to address any "stooge" assumptions by skeptical audience members. This little banter also helps convince the spectator that she is not hi on it at all. I actually make her insist that she is not in on this with me during this exchange. It works as it is done in a very non-threatening way. The spectator assumes I am just being dramatic. Her focus is on the selecting of a card, and whether or not I forced her to take it. This she must admit is all her own doing, and that all is fair.

I continue right along with this fair deception.

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"You have freely selected a card, and ... a number too? You have a card now and a number. What is the name of the card there? Good. What is the number you have? You are holding a card and a number now in your mind - in all of our minds. Yet, could I have known your freely chosen card, or where it would be hi the other deck well in advance1? Let us see if I have succeeded in accomplishing one of the greatest challenges of all tune. Referee, please open your box carefully"!

The words do so much more than provide mere drama. I restate that if I succeed in this, I am nearly a god. But I stop just short of being that blatant, so it goes by as theatre. My words tell the spectator and the audience just what they assume, and reinforces all points of view. My words link the card and the number so firmly together that the spectator cannot help but go with the number she sees written on the card. In fact, the last remarks help the spectator assume that the number on the card was a written prediction prepared well in advance! At this point, no one feels they are "in on it" but rather that they are all part of determining what has happened. It is the perfect set-up.

I take the red card and put it away with the rest. The referee removes the blue deck and counts down to the card at the number called out. I restate the impossibility of what is about to occur. When the referee turns the card over and shows the rest of the audience, stunned silence turns to screams and applause. When you do this, you will be considered among the most skilled performers of our age, without doing much at all. Now isn't that nice?

Presentational Set-Up "During the past century, there have been several feats that have baffled the best minds hi our art. Much has been written regarding the miracle that you are about to witness. However, no one until now has performed it under the rigorous test conditions that I will impose. For this, I need a volunteer that will be selected at random. To do that, I have five paper balls that are numbered one through five. I will throw them over my back. You sir, will you name a number one, two, three, four or five. Will the spectator holding the ball with that number stand and join me on stage. And you sir, will you stand and join me now please". Seat the one who named the number as the referee, and the randomly selected spectator as the one who chooses the card and number. You need not use seating. However, there should be a simple table to allow the referee to count the cards later. Continue as previously detailed.

We both hope you will see that the real work here is the use of deceptive words, dual reality, and not at all an "instant stooge". In fact, if that were the case, other professionals would have discovered the secret long ago. They had no clue - until this revelation. My great thanks to Newell for sharing this true wonder.

Now you have some of my secrets, which I have guarded most jealously. You no doubt realize how some of these principles have fooled the wisest performer, as well as the discriminating layperson. To this day, some of my favorite bits are in this booklet and this series. I hope you will be as thrilled as I am with them, and do the material the justice and the practice it deserves.

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Much of the material in this volume must be made or found to be completely appreciated.

I hope that does not keep you from discovering the real wonders contained in these slim pages. I know for a fact that if magic dealers were to sell these same items, there would be a great rush to buy many of these methods. As most of the items in this manuscript can be readily found, I hope you don't mind paying much less to get them this way.

If you like the contributions of some of my friends in this series, please let them know by getting to their shows and purchasing their releases to magic and mentalism. I know they will appreciate that, as I surely do.

Happy discoveries!

This series is dedicated with thanks to Stevie, Roland and Rebecca for the Sorcerer coat, and for your prodding and inspiration, direct and indirect, to get this series to appear as if by magic. You know, it was. Thanks also to those friends who directly contributed to this series. 'Couldn't have done it without you! My deep gratitude to you all.

All manufacturing and publishing rights strictly reserved worldwide. No portion or concept, in whole or in part, may be transmitted in any manner or form without written permission from the author.

©2002 Kenton Knepper

Look into all of Kenton's works at:

www.wonderwizards.com

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