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Drey
Straight Flush
Joined: 06 Feb 2005
Posts: 699
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 Gift of Secrets! Part 3 - Forcing |
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The following will be one of the more detailed outlines, it builds off of the material in Forcing Elegance, the same concepts as before apply, meaning the detail is low and careful follow-up is advantageous
Forcing
The main reason to avoid a force is when the force renders the handling contrived or less than ideal
- The Ideal Force
- The Under Fire Force
- Multiple classic force (spread the deck just once and yet force multiple cards in different parts of the deck)
- Multiple dribble and riffle forces using multiple breaks to execute the forces in sequence without pause
- Spread cull classic force (spread the cards culling the force card underneath the spread, when the spectator is about to reach for a particular card you place the cull card into their hands)
- WOW Force (Pivot the card up the side as per the WOW control and riffle off the cards until the spectator calls stop at which point you push the card onto the top and thumb it off).
- Greek Jog Force (Hold a break about halfway down, just below the force card, have the spectator touch a card in the top third and outjog it as per the touch force. Close the spread and, under cover of the jogged card back jog the portion of the deck below the break. Use the left fingers to jog the force card forward under cover of the selection. Then, as you lift the deck to show the jogged card, square the real selection with the deck and show what is apparently the selection but is actually your force card.)
- End for End Hindu Force to conceal an odd back, as well as an end for end overhand force
- Convincing control variant of the previous force (forward jog two cards together instead of one. Or perhaps better yet, if you can, keep the original card jogged, but conceal the edges and control the force card accordingly)
- Under-the-Table Force (see Card College volume 4 page 793) (include count’s idea of reversing a set of cards underneath a cover card, allowing for greater deceit and openness in handling. Mention you can perform the sleight under any cover not merely a table. Mention the possibility of a two or three card reversal for multiple selections)
- The Joker Force (Have the spectator shuffle the deck. Take the cards back and spread thru them, searching for the joker. As you do so note the top and bottom cards. Remove the joker and give it to the spectator. Now cut the cards and hold a break. Riffle the front end of the deck and tell the spectator to stab the card in face-up. Pick up all the cards above the break and slide them towards yourself. Turn the face of this packet towards a spectator and tell them to remember the card. Take the top card of the other packet and show it to them. If the above motions are done swiftly and naturally the force is VERY convincing.) **this is much like the Greek switch force, work out a handling so the card stab can occur anywhere
-Delayed Riffle Force (Hold a break fairly high in the deck, then riffle down and let the spectator call stop somewhere below the break. Pick up where the spectator wants but maintain the break with your right thumb. Instead of showing the card to the spectator directly, pause and lap all the cards below the break, then show the bottom card and proceed)
- Misdirection dribble force (Begin with your force card reversed on the bottom of the deck, begin dribbling the cards, but drop the first few as a block to conceal the reversed card. When they call out stop, stop and direct attention to the right hand packet while you perform a get ready on the bottom card of the left hand packet. Turn the right hand packet with a wrist turn to expose the bottom card and mention they could have stopped you at that card. As you do so, perform a bottom push-off of the bottom card in the left hand packet and rotate that packet inward towards your body, concealing the side jogged card then use the last three fingers of your hand to perform a reverse card turnover of this card onto the face of the left hand packet. Redirect attention back to that packet and thumb off the card indicating this is the one they stopped they stopped you at. Because of the right hand wrist turn the left hand wrist turn with a slight body tilt makes sense and works well. The key is the focus on the right hand packet while the left hand packet is manipulated.)
- Count’s Sophisticated Touch Force (allows the concealment of an odd back, allows the force to be used as a control, is much more direct and convincing, also potentially allows you to force the card into a double lift) (Like the touch force, you hold a break just below the card you want to force (roughly half way down in the deck and spread through the top third or so of the deck (you ideally want to have them touch a card as close to the center of the deck as possible), asking the spectator to reach in and touch any card, as well as offering them the opportunity to change their mind. Whatever card they touch, you out jog it, but as you close the spread, you use that motion to cover out jogging the force card as well, underneath the jogged card, then raise the deck so the spectator can see the out jogged card, but what they are really seeing is the force card (note that the back of the force card is never seen and the face of the real card is never seen). In order to conceal the fact that you have two cards, you’ll cover slightly with your hand and pull the two cards together, covering the edges and gesturing. From this point you can either strip the cards out as one, setting yourself up for a double lift, or replace and perhaps control the force card while using the cover of the other card as misdirection and natural cover, or simply push both cards back into the deck fairly, creating the impression of a fair action. If you choose the later, you may wish to square the bottom card first and then allow the spectator to square the cover card.)
- Sophisticated Dribble Force (Hold the force card in lateral palm between the tip of the ring finger and hand. The card must be positioned at a slight angle under the deck, which is tilted slightly (much like one-handed top palming the bottom card into lateral palm) so that the cards can be dribbled without overt interference from the palmed card. The right hand now dribbles the cards into the left hand and the spectator calls out stop at any time. Without interruption, the performer raises the right hand packet (no contact with the left hand at any time) to show the bottom card of the packet. However, in the process, the hand squares the forced card on the bottom of the packet. This is a nice force in that it is very direct, convincing and allows you to force an odd backed card. The disadvantage is that it’s angle sensitive.)
- Sheltered Dribble Force (Press a card, or cards against the palm of the right hand with the tip of the left ring finger or pinky, allowing open fingers and excellent hand movement, and dribble the cards, then when they call stop, move your right hand with the remaining packet forward, covering the action of drawing the card back onto the face of the deck and hand the card to them. Alternatively, you could draw the right hand packet right, asking if they are sure and in the process loading the force card onto the bottom of the packet so you can show the bottom card of the right hand packet. You can use this same concept with a riffle selection concept.)
- Reverse Dribble Force (Place a reversed card on the bottom of the deck and dribble the cards, when they call stop, under cover of the right hand packet, push out the bottom card and reverse it onto the top of the left hand packet).
- Misdirection Dribble Force (Place a card on the bottom of the deck and dribble the cards, when the spectator calls out stop, comment how they could have stopped you anywhere. Move the right hand packet forward and show how they could have stopped you at the bottom card, then dribble the cards on the table and say they could have stopped you at any of those, as you do so, do a one-card control with the left hand to move the bottom card to the top. Draw attention to the left hand packet and offer them the card. You can apply the principle to a riffle selection as well.)
- Sophisticated Slip force (hold a break below the top two or three cards, then pick up all the cards between the stop point and the break, allowing the top two or three cards to slip onto the lower portion of the deck as one, perform a double or triple lift to force the card in question, this allows you to conceal an odd back and also use the force as a control)
- Sophistication principle applied to refined slip force (apply the same concept mentioned in the sophisticated slip force to the refined slip force)
- One-handed riffle timing force (Hold a break, riffle up the front right corner of the deck with your forefinger and have the spectator call stop, either stop at the break point, or break the deck at the break point and simply bend the top corner upwards, allowing the spectator to glimpse the card)
- One-handed double lift force (Riffle down the deck, remove the card the spectators stop at and place it on top via a one-handed method, then either perform a one-handed double lift to force the top card (triple to conceal odd back), or use your forefinger to raise the front right corner and expose the card’s value to the spectator)
- Slip force (two more methods) (Bill Goodwin style slip cut, see Troy Hooser’s description under “Double Decker Plus” and a Future classic style slip cut)
- Side Steal force (riffle down the corner and legitimately cut the deck, but side steal the bottom card and replace it onto the top before offering it to the spectator)
- Control forces as an alternative to switch forces (for example, perform a riffle force, cut the top portion to the bottom, but in the process of replacement, use the WOW control pivot move to control the top card of the deck back to the top, frequently use the likes of one-handed side steals to control a card or cards back to the top (sometimes from random positions)
- Center turnover force (like the side steal force, but instead of stealing the card and replacing it on top, jog it just enough that you can push it out under cover of the top card and turn the two cards, together as one, over on top of the deck. This controls the center card (allowing you to conceal an odd back, or use the force as a control) to the top and effectively forces it)
- Convincing control force (very similar to the cull force except using the Count’s handling for the convincing control to combine the control and force into one)
- Convincing Counting Force (Force card is on the bottom. The spectator freely thinks of a number and you spread off to that particular card fairly (note that a spread selection is one of the most natural). The card rests on top of the left hand packet while the right hand packet holds a spread of cards. As you ask if that’s the card they wanted, you steal the bottom card under the spread. If they don’t like the card, spread further but now spread the new cards onto the top of the right hand packet, if they do like it, great. Take the right hand packet and use it to jog the selected card forward (make sure you always keep it visible), but secretly slip the force card under the jogged card so it’s perfectly square. Now raise the packet so they can see the identity of the jogged card and make some comment about that being their freely thought of card. Note that they can apparently see the back of the selected card as well as the face, but what they’re really seeing is a cover card, this allows you to conceal an odd backed card in a very convincing manner. Now, use the right hand packet to steal the bottom card back out (you could have it signed earlier if you wanted), supposedly in the act of shifting the jogged card, possibly squaring it with the deck, though leaving it jogged is a nice touch. Make sure their eyes never leave the card in question. You can either steal/palm the force card at this point, or slip it back to the bottom of the deck, or use a slipstream move to bring it second from the top. You can now close the deck directly, and if you left the card jogged, have the spectators square it into the deck. This is essentially a convincing control or cull force, but with the addition for the sake of the mental impact, of a counting force so the card is apparently thought of freely.)
- Fingertip timing force & variants
- Many switching forces (swivel forces in particular) (classic palm swivel switch force where the card is palmed off the top during the action of reaching across the deck to engage the jogged card, ala Marlo’s misdirection palm)
- Dealing force into the spectator’s hands where you deal cards fairly into the one hand and each time they call out stop, you deal into the other hand, but actually perform a bottom deal, this is great for forcing multiple cards
- Palmed dribble force (Hold a card in classic palm and dribble the cards into the left hand, stop wherever stop is called, then reach over the cards in the left hand with the right and release the palmed card on top of the left hand packet under cover of the motion)
- KM move switch force (allow both a control and the potential concealment of an odd backed card)
- Daring Forces (bottom change, bottop change etc.)
- Daring Forces without the deck (palmed cards and sleeved cards)
- Pass Force (cut the card to the top of the deck and then immediately perform a pass) (Jay Sankey has the “Hapa Force” based on the turnover pass see “Revolutionary Card Magic”)
- Pass Cut Force (riffle down and stop where they like, but rather than cutting there, perform a pass cut bringing the top half of the deck back to the top)
- Using the SAC move to force a card to multiple cards (Count’s variation using side steal or multiple shift, another alternative where you have the spectator insert a locator card into the deck around the middle and have a pre-set card roughly one-third of the way down, you spread through the deck in the hands to that card and effect the switch)
- Forces using awkward palm and working palm and sleeved cards (basically any switch that formerly involved a classic palm)
- Deck Switch Forces
- Snap Deal Force (Lennart Green method)
- Clean dealing force (deal the first card (the forced card) onto the table slightly out of alignment with the others and when they call stop, relocate the card to the top in a sweeping motion as you square up the pack)
- Contrived dealing force (deal cards fairly and stop fairly, as the right hand reaches for the tabled cards, the left wrist turns inward and you reverse the bottom card onto the top, you take the whole pack of tabled cards and place them on top of the deck face up, then spread through to the last one, apparently this is their card, but actually the force card) (consider this method with multiple cards dealing out multiple piles and placing the cards you stop at in a pile then gathering them up and placing them face up on the deck) (also consider performing the force without dealing onto a table, but rather simply spreading into the right hand, and then reversing the card from the bottom onto the top under cover of turning that right hand packet over and placing it onto the left packet)
- Grueling Dealing Force (force the second card from the top, perform a third deal until they call out stop and then perform a double deal, this allows you to use the technique to conceal an odd back and use the force as a control)
- Variation on Count’s palmed card version of the Vernon strip-out, using a top palm at the end rather than holding the palmed card, also another variation where the left hand holds a bottom palmed card and replaces it to the bottom of the packet during the question of “this one or the next one?”, another where the left hand steals the top card much like in a future classic palm, as the right hand gets rid of the remaining portion of the deck, perform a multiple palm using this method to palm off the top two cards and conceal an odd back
- Steal dealing forces (dealing with an empty hand, then steal the card off the bottom of the deck at the end)
- Cover dealing forces (perform bottom deal, center deal etc. forces and deal a top card down along with the card in question to cover the action better)
- Sophisticated Bluff Pass Forces (picking up the top two cards instead of the top card, or pushing over the top two cards (after the top card has been removed as per the bluff pass) as one for the spectator to peek and thus allowing the concealment of an odd back, add all the subtleties garnered from the “Nowhere Pass” and the Count’s handling notes)
- Buckle throw force (based on the principle of the throw switch force, rather than using the throw switch method, you secretly glide the top card backwards slightly, pivot it slightly, but then buckle it using the thumb so you can get the new packet underneath but without the complex angles of the throw switch move)
- Disordered Ed Balducci Force (If you have a spectator cut off about a third of the deck and turn it over, then the next spectator cut off less than a third and turn it over, then a third spectator cut more than the third and turn it over you’ll achieve the same result if you take the top card below the face down cards. You can create complex sequences like this using multiple spectators. Furthermore, you can take multiple selections this way so that the force card is just one of several and thus blend it into legitimate selections. Obviously there needs to be appropriate presentation.)
- Light-reft force (A force using the concept of the light reft pass)
- Sophisticated Pocket Switch Forces
- Open switch forces (similar to pocket switch forces, for example, paperclip switch force)
- Tear switch force (out jog a card and tear it in half, giving the torn half to the spectator, but actually switching the half out for a palmed half, also, mention performing a bluff tear as you push the selected card back into the deck, consider a multiple card force using this method by out jogging and then apparently tearing numerous cards at once)
- Steal count force and variations
- Some mental forces (This or subtle forces includes “Count’s Fantasy Force”)
- Subtle Forces (Using mental subtleties to tell the spectator which card to choose)
- Mathematical forces (Using apparent random mathematics to give a fixed answer)
- Using a partial forcing deck
- Multiple Crimped Card Cut forces (using multiple crimped cards in multiple parts of the deck to force multiple cards as you would one)
- Use a miracle card switch to enhance a force, for example, take two cards out of the deck as one, and use the miracle card switch to switch the cover card for the force card
- Double deal force (glimpse the top two cards, they will ultimately have free choice of these two, have them deal down in a pile stopping wherever they like, then, have them deal out two piles (alternating cards) and have them pick one, depending on which pile they pick it will be one of the two cards you glimpsed)
- Double force (take a double card out of the deck, showing the face of the card to the spectator, but having them select the cover card, this also allows you to conceal an odd back, to handle the card openly away from the deck, and to use the force as a control)
- Hypocrite Force (by Jay Sankey, see “Revolutionary Card Magic”) (include Count’s comments on how to eliminate the use of the double faced card, first by using a duplicate card and a set up (basically instead of having a double faced card on the bottom followed by a duplicate, you have two back to back cards on the bottom followed by a duplicate of the exposed face on the bottom), to avoid the use of a double, use the back to back set up as before, but this time perform a triple lift, turning the wrist inward as you do so, to cover the fact that the apparent card on the bottom of the deck has changed. When you turn the cards back over, you can either do a triple lift again, or, you can do a wrist turn with double lift combined with the KM move as you remove the card from the deck (still hiding the back (note that this method allows you to switch an odd backed card in), this eliminates any reversed cards on the bottom as well as leaving the correct card on the face of the deck. Also, to reduce the disparity, you can make sure a similar, but not duplicate card is on the bottom of the deck beneath the two back to back cards. Of course just using the basic method of turning the triple back over allows you to use the force as a control, but it leaves the problem of that reversed card second from the bottom. To address this, you can attempt quite a difficult move where you turn triple back over to the way it started, so the back is showing, then take the top card and the force card (third card) out as one, leaving the second card in place. This leaves you with a double at your finger tips that you can then control accordingly. The manner in which you perform this move, which I will describe again elsewhere and is called “the obstruction sleight” since the second card obstructs the first from the third, involves first getting a pinky break beneath the top three cards. Now, you are going to push the top card over perhaps a quarter of an inch, no more with your thumb, then allow it to sit casually but firmly on the exposed edge of the second card. As this occurs, your right hand reaches out with the fingertips in a delicate action as if to take the top card at the bottom right corner, but the tip of the middle finger is inserted into the break and draws the third card out with the top card. The forefinger provides a squaring action on the right, while the ring finger provides a squaring action on the bottom. It helps to perform the initial step in a slightly backward motion, which then goes directly to the side as you combine it with a wrist turn, apparently rotating the card to show the face, but of course, in reality you hold a double at your fingertips. You can actually use the obstruction sleight as a force on it’s own. Another alternative to the obstruction sleight is to take the face down card and perform Marlo’s tilt, thus positioning the two-facedown cards together. If you were to get rid of the top card via some method such as “A Startling Color Change”, you could turn over and work with a double freely.)
- Possibly a double card force and a card stab force (in the case of the former, the spectator stabs a double card into the deck unknowingly and you secretly slip the lower of the two cards into the deck as you break it, thus forcing the card, in the case of the later, you switch the stabbed card for the real selection in a Mexican turn-over like move)
Hopefully those are some help, they include some of the most highly deceptive forces in existance. One of the major advantages of many of these is most magicians are unfamiliar with them and by employing something they are unfamiliar with you'll deceive them.
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| Sat Aug 18, 2007 12:23 pm |
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Drey
Straight Flush
Joined: 06 Feb 2005
Posts: 699
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Assorted Array of Forcing Ideas
More uses of forces to replace sleights
Magician’s Force (Selling the Magician’s force by being consistent after the fact)
Forcing gimmicks (one example is a third of a card tapped at the back to a business card which is inserted into a deck and then revealed (see Jay Sankey’s Revolutionary Card Magic), another example is a card you hand them with all the different cards listed on it, then you hand them a marker (the marker doesn’t work) and they are told to take the two behind their back and simply put down the marker tip on part of the card and which ever card name it is closest to, that is the card they will have selected, of course you switch out the card for one that is pre-marked)
Not entirely card routines
You want your actions to be logical
Convincing control counting force
James-Ellis Loading move style approach (for Biddle force or counting force)
Apparent clarity
“Oh, absolutely. The choice of a force has to be contextual, as well as the choice of any subsequent control and how the spectator returns the selection to the deck. If you do a fan force for instance, ideally you should do the LePaul automatic injog control to return the card, since it is from a fan as well. If you do a riffle force, you should riffle the deck to have the card replaced and do a diagonal insertion or something. This isn't always possible but it's a nice subtelty to be consistent about.” – scorch from Penguin Magic forum
Effects
Penetrating the Mind
Begin with a resealed deck of cards. Inside the deck, take one card, make it odd backed. Now take two identical coins (large coins are better, I use toonies), mark one, and place the marked coin inside the deck on just below (or on the face of if you were spreading through the deck face up) the odd backed card. Better yet, stick it to the odd backed card somehow. Now place the entire assembly back into the case and reseal it. Next, you need a forcing box, this is a wooden box with an electro-magnet in the base and a hidden switch on the side. Place the following forcing dice inside the box, a four-sided dice for various suits, a twelve sided dice for the values two through king (ace omitted because of the need to have only 12 sides and the fact that an ace would appear on the face if you were to spread through the deck face up). Finally, a six sided dice with six different colors on it (include the typical, red, blue, black and any other colors you can get in Bicycle cards). Each of these should have a magnetic side pole in them so that when the electro-magnet is turned on it will end up with a particular orientation. Ensure that the dice will end up so that they lead to your odd backed selection. Now you are ready to start. First, go through a process of selecting random spectators, you will need two. Also, borrow a coin and switch it out for your identical coin to the one already loaded in the deck. Note the date on the coin and write it down very publicly then mark it the same as you did the one in the deck. Hand the sealed pack out to be examined. Now take the forcing box and show it to one of your spectators, tell them that rather than being tainted by persuasion, you are going to make the selection of the card complete random by having it selected with dice. At this point, with the box turned off explain to them how the rolling works by shaking the box to conjure various possibilities. Tell her that you will be asking her to shake it, look at the values, write them down, but not tell anyone or show them to anyone. When you are done the explanation, turn the box on as you hand it to her and have her shake it, turn away while she records the values and hides them, then set the box aside, turning it off as you do. Now take the coin, tell her to focus on the values she rolled and apparently place the coin on the sealed deck and rub it right into the pack. In actual fact you’ll perform either a false transfer followed by some presentation of apparently rubbing, or perform a vanish of the coin, I prefer the former. Now, emphasize the fairness of this whole process, say “wouldn’t it be amazing if, that coin was inside that sealed deck of cards? And wouldn’t it be more amazing still if it was on top of the card she was thinking of?” Naturally, they answer yes. Get your second spectator to take the pack, open it, carefully remove the cards and spread through them face up, but tell him not to reveal what he comes to, if anything. Then, once he reaches the card with the marked coin (have him check the date etc.), ask her to name the card she rolled. Listen to the second wave of gasps and then ask what the color she rolled was. Have them turn the card over revealing it is the correct colored back and the only odd backed card in the deck. As an added bonus if you wish, you could have the potential to reverse polarity on your electro-magnet and repeat the process with a different selection, but that would be more of an addition for magicians to convince them the selection was fair than a great presentational idea.
Double Deck Impossibility (consider another name)
Two sealed decks are produced and the spectators are asked which of them would like which deck (one red, one blue, for the sake of example). They have totally free choice. The performer then spreads through a third deck of card and has them each touch a card, which is out jogged. They are each asked if they would like to change, or not, and they may do so until they are satisfied with their selections. The performer then tears the card in half by tearing off the out jogged portion and hands one half to each of the spectators. After some patter (perhaps he asks them to focus on their respective decks), he spreads the deck to reveal that the other half of the two cards have vanished from the deck and that there is no copy of the half of the cards that are missing. (In other words, if one spectator is holding half of the two of diamonds, while the other is holding half of the jack of clubs, there is no jack of clubs, or two of diamonds in the deck.) Each spectator is now instructed to open their respective deck of cards, tearing off the wrapper and spreading through it like little children looking for a birthday present. Within the deck, in the precise location where their card would normally be found, they find the half of their card and it matches the tear perfectly.
The method uses a multiple tear switch force and two pre-planted cards in resealed decks. Naturally the performer has to be careful he hands the correct torn piece to the correct spectator, allowing for a free selection of the deck to begin with. (To make the trick more impossible, set up numerous deck and allow them to select from say eight decks.)
Perfect Synchronicity
An ideal version of “Do as I Do”, where two spectators each take a borrowed deck and shuffle it up. They trade decks and shuffle again, repeating this process as much as they like until they are satisfied. The performer then guides them as they each cut their respective deck to a particular card, look at it and burry it back in the deck. They then take their deck and shuffle it up before switching decks, looking through the deck of their counterpart and finding their selected card, which they table face down in front of them. After some patter they are each asked to turn over their card…the cards match perfectly.
The method may possibly employ the elegant force or a more sophisticated version of it on both decks.
The Count’s Ultimate Invisible Deck
Effect: The performer takes two decks of cards and places them on a table, one for himself, and one for a spectator. A spectator is now randomly selected, or randomly volunteers him or herself. The performer never asks the spectator’s name but asks the spectator to please listen closely as he, the performer will give some directions for her to follow closely. (In fact, he specifically says, normally he’d introduce himself and ask her name, but in this case, it’s important that he not know.) He also mentions that he’s going to use his own deck of cards to demonstrate what he wants her to do. He now asks her to think of the date of her birth, “forget the month and forget the year, but think of the day of the month” and gives the example of his own birthday. For example, if he were born on the fifteenth of March he’d think of fifteen.
He now invites all the audience to come stand near him looking at her, before taking his deck and asking her to do the same. He guides her through the process of removing the cards from the deck; her cards face up, his face down. He now tells her she’s going to spread through the cards of the deck and demonstrates how, telling her that she’ll count and spread down the number of cards she was thinking. Only now does he ask her to name that number out loud and asks for her discipline. He guides her spreading through the cards to her selected number at the same time as her. Say, her birthday was the fifteenth of the month; he spreads through his cards to the fifteenth card, as does she, finding that in her case the card is turned face down. He now very slowly guides her through the process of out jogging the selected card but merely leaving it out jogged.
The tension builds at this point as the audience has seen her thought of card was the only face down card. He now asks her if she has ever met him before, if she’s told him her name or anything about her. The answer in each case is no. Finally, he asks if he forced her to come up and mentions how fair the selection was, any spectator could have come up for the trick, but fate has ordained that it was she, it had to be fifteen, otherwise it wouldn’t have been the right card face up in the deck.
He guides her to remove the card from the spread but hold it face down in her left hand not revealing it to anyone, including herself. Finally, he tells her that he wants her to turn it face up, but in a manner that only the others can see, so that she will only see the back of the card and barely whispers “this is impossible”, as he demonstrates by turning his card face up away from him, so only she can see it’s value. On it is written, “It will be you Shannon (or whatever her name is)”. In the mean time, as she turns her card the same way the audience sees her complete birth date including year written on the card in black lettering.
This still needs work, the method lacks the impact of an apparently free choice, you want to build on that, make it seem like a prediction of sorts, or perhaps stronger, make it seem like the deck made the choice on it’s own, especially if the effect is repeatable.
Aura of Intensity
More advanced version of “Intensity Change”, where you patter about the person’s aura and proceed to change the card according to their aura, possibly do this with several cards one at a time or several cards at once.
Stigmata
Using a mental force
Improved Paperclip Monte
Include the regular methods and subtleties, but use one extra card (the card normally in your pocket) with the regular packet so that you can use it to cover the “back” (actually the face) of the blank backed card when you place it in the pocket. Possibly place it in the pocket or wallet of the spectator, use a miracle card switch and ditch the extra card somehow.
Improved “It’s in the Bag”
Use Guy Hollingworth’s duplicate signature idea to achieve the effect with a signed card
Improved “I read it in a book” to “It’s in the book”
Use a method where the spectators have read some indicator phrase in the book that will help them solve a puzzle, ultimately leading to the card at the indicator point within the book.
Improved versions of “Published on demand”
One version where the spectator acts as the publisher
Another with better printing etc.
Another version with a full routine.
Improved Countdown mixed with the Leaper effect
Use a duplicate card, one at the 21st position, one on the top of the deck. As you countdown as per the original effect, stop at the end with your packet on the table and their packet also visibly on the table (ensure there was clear separation earlier on). Ask them what their selection was and have them turn over the top card of your packet. Obviously, it doesn’t match. If you like, you can palm off the additional card and spread the remainder of the deck face up, then let them spread through your packet to see the card has vanished. Then have them turn over the top card of their packet to find their thought of card. (Alternatively, to palming the card off you can use a spread concealment method).
Improved “Perfect Symmetry” where you use a spectator shuffled deck
Improved “Predicting the Impossible” as a full routine based on the Romeo and Juliet theme “Two Households, both alike in dignity…”
Another version of the same where you show a deck and count out the 52 cards, then have each spectator select one and place it in their pocket, then use a thought force on them, then count, showing there are only fifty cards in the deck…when they look closely, they see their selections are not among them. Reaching into their pockets, they find their thought of cards.
Have faith (sending mental thoughts)
The performer writes something down to ensure he cannot change his mind when the time comes. Then he attempts to project it to an audience member, who names the first thing that comes to mind, he then reveals what he wrote down matches their thought perfectly. He repeats this process with increasing difficulty until finally he uses it on a group of people rather than an individual.
Double Decker Climax
(Improved version of Double Decker Finale with more of a routine that builds quite a lot)
Plague Bearer
(a bit like Plague, but probably with a black card, some sort of epic battle and a signed card, possibly a battle with inner demons, though that may be quite another plot)
Epidemic
(like Plague, but more like John Guastaferro’s all blank routine, where at the end we get a vaccine to “cure” the deck and restore it)
Sin Eater
(much like Cannibal cards except that the card turns blank when exposed to the sin eaters (just two of them)
More complex version of “Freedom Seeker” where you use a Rainbow deck
Routine using the Braue force where you use the fact that you get to look through the other cards as a means of setting up for the next effect under cover of showing the spectator that they could have selected any of the cards in question.
Stop routine (start with a regular stop force such as a second deal where you predict in advance the card they are going to tell you to stop at. Then take that card and place it face down on the table, but actually use a double lift to switch it. Tell them you’ll do it again and this time make it even more impossible. Turn over a double and say that this card is the card they will tell you to stop at, but this time, even more impossibly, you will set the card aside in plain sight. Execute a miracle card switch, placing the original selection on the table and replace the selection in question to the top of bottom of the deck. Now, tell them that to make this very clear, you will insert their selection at the exact point they wanted, so for example, you’ll spread down twelve cards and have them insert the tabled card into that point of the deck so they should inevitably reach that point. In the process, if you wish, you can use a spread cull to cull the bottom card (card that is apparently tabled) to the correct position in the deck. If you do so, you can now let them count down to the card in question and see that your prediction is accurate and that their card has switched places with the prediction. If you left it on the bottom, you can bottom deal the last card, or if you left it on the top you can second deal down to the last card…I prefer the cull.)
Medium
(an effect using a spread force with a spectator holding your wrist and apparently acting as a medium for another spectator, see description of the spread timing for at the end of the psychology section in Forcing Elegance).
An effect where multiple spectators cut the deck ala Ed Balducci’s cut deeper force (see notes at the end of psychology in “Forcing Elegance”).
A couple effects using the flustration force, in particular the refined version (See the description in Forcing Elegance), also a routine where controlling multiple cards is an issue
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| Sat Aug 18, 2007 12:38 pm |
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