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    Bryn Reynolds - Double Down

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    BRYN REYNOLDS MINDMAGic PRODUCTIONS PROUDLY PRESENTS: Real Mentalism with real casino cards! “Pauble Down is exceedingly ever, Mhemore | wok wih it, the more | appre Bryn's use of individual cas One of the best, most interesting tricks ina long time; double (thumbs) up for ‘Double Down.” John Bannon, author of Smoke and Mirrors & Impossibilia Double-Down! Real Mentalism with Real Casino Cards! By Bryn Reynolds MINDMagic Productions Thanks for your purchase of Double-Down. I feel this is a very straightforward dual-divination that involves very litle work in proportion to the impact of the effect. Its very clean with all actions justified ‘and at the end there is nothing forthe spectators to retrace. No sleights, nothing written down, no marked cards, and everything is cxaminable. Just a lot of fin with cool props and some powerful mentalism. is what Richard Osterlind had to say about DOUBLE-| ts “L just got Bryn's Double-Down. This is a killer card effect that has great props! You show a bunch of Casino cards (the kind you buy directly from the Casino with holes Punched in them or corners rounded) from all the major hotels in Las Vegas. The cards re fairly divided between 2 spectators and mixed up. I mean they are “really” mixed up both face-up and face-down! They are reassembled and further mixed if you want. Then the 2 spectators each “mentally” choose a number and a card as they are fairly fanned in front of them. The merualist then names either the Casino name or the card itself depending on what way they are facing. Itis direct, fun and uses great props!” SFFECT: The mentalist shows his “card collection” of several souvenir playing cards from various casinos. Each card is from a different casino and each face has a different value A spectator is invited to cut off some of the cards for himself (no force) and the remainder is given to a second spectator. Each freely shuffles their respective packets, even turning cards face up or face down as they wish, and each spectator thinks of a secret number — nothing is ever said or written down. The packet is reassembled and again shutfiled by each spectator if they wish; again some cards face up and some face down if they desire ‘The performer shows the cards to the spectators and they only think of either the particular casino or playing card value that falls on their secret mental number as the cards are shown, Since the cards are in such a mess either could be showing. Nothing is ever said or written down by either spectator yet the performer not only tells each spectator whether they thought of a casino or a playing card he then goes on to name the exact casino names or the values of the playing cards! METHOD: Actually there are a couple of principles at work here that combine to create this baffling piece of mentalism. They include the Smyth-Myth principle, a tiny little bit of mental calculation known as counting and the fact that while the cards are ungimmicked 1 ‘was very selective as to which casinos’ cards I chose, All of those ensure that BOTH spectators see opposite sides of the SAME card. One will see the name of the casino and an one will see the value of the playing card. Once you know either the card or casino you will know the other! T'll break the methods down first and then show how they combine nicely ino this routine. NTI The first bit of knowledge that you will need to know is how many cards the first spectator cut off of the packet, There are 10 cards in the packet. Subtract that number from ten and you will know how many cards the second spectator has as well. The number of cards each holds will be their secret, thought of, “random” number. “Well how the heck am I supposed to know how many cards were cut off if they aren't marked” you may ask? As stated, I selected these certain casinos because for all practicable reasons each of the names of the casinos is spelled with different numbers of letters. The names of the casinos on cards #3 through #9 are spelled with that many letters, respectively, and has been placed one ahead in the stack to make it easier for you to calculate, Let me illustrate with an example: “MGM” is spelled with 3 letters, yet it is 4" down in the stack. If you see MGM on top of the packet after the spectator cuts his cards off then you know he cut three cards off. Likewise, “Flamingo” is 8 letters, and is 9” down: if the spectator left Flamingo showing after the cut then you know he took 8 cards for himself and left only 2 for the second spectator (greedy,greedy, Spectator #1!) ‘Through spectator management #1 will cut off anywhere from 3 to 9 cards for himself, Here is a little chart to illustrate: If this is showing after the cut: Spectator #1 hold this many cards: Casino de Isthmus NIA NULL: _ (Spec. has to cut at least one card) Ellis Island 1 (NY often called #1 City in the world) Circus Cireus 2 (Two words, both the same) MGM. 3 (spelled with Three letters) Hard Rock 4 (Both are "four letter words") Luxor 5 (spelled with Five Letters) Ballys 6 (spelled with Six Letters) Aladdin 7 (spelled with Seven Letters) Flamingo 8 (spelled with Eight letters) Tropicana 9 (spelled with Nine Letters) (At the start of the routine the cards are stacked in the above order from the top-down.) ‘THE SMYTH-MYTH PRINCIPLE: This principle ensures that both spectators see opposite sides of the same card as you count them from hand to hand in order for the spectator to remember the card or casino that falls on their secret number. You know how many cards each spectator now holds, This is their “secret” number, and unless one knows the principle of “the number of letters in the easino’s name relates to the number of cards cut to” it really will seem that their secret number would have to be unknown to you. Thankfully, we are WAY ahead of them by now and all of the “work” has been done. ‘The Principle works as such: when the cards are counted singly from you left hand to your right, without reversing their order, Spectator #1 remembers the card or casino that falls on their secret number as you count from one to ten aloud. Since you know their secret number simply remember which casino or card falls on that value! The casino or card that falls on the opposite side of the card facing you will be the Spectator’s selection The side you are now looking at will be the selection for Spectator #2 when the cards are again counted for them.) The cards are reassembled with the tenth, final card being placed on top of all of the other cards, the entire packet reversed, and the counting procedure ‘again repeated for Spectator #2 so they can remember the card or casino at their number (of course, if Spectator #1 has a card, #2 will have a casino, and vice-versa.) Here is the procedure; the cards are counted singly, slowly & held vertically so the spectator can see them, from right hand to left hand without reversing their order. Count aloud as you do this. When you only have one card left in your left hand, place it on top of card #1 (under your thumb.) Turn the entire packet secretly over and repeat the ‘counting procedure for Spectator #2. By you having placed the last card on top, and turning the entire packet over, it positions the opposite side if the card Spectator #1 saw to be displayed to Spectator #2 as she thinks of the card or casino that falls on her secret ‘number. This reads a little long but by walking through the above instructions with cards in hand, and you selecting a secret number, you will see how utterly easy this swindle is. The only thing to remember is to place the last card on top after counting for Spectator #1, and secretly turn the packet over before counting the cards again for Spectator #2. Looking at Spectator #2 and asking if she is ready to proceed allows more than enough opportunity for the turn-over. “How do I know what is on the opposite side of the card I am looking at when I show the cards to Spectator #1? For example, if Ballys is staring me in the face I know that will bbe the card Spectator #2 will soon look at but how do I know the value of the playing card Spectator #1 is now looking at?” ‘There are three methods, and are listed in descending order of difficulty: 1) Rote memorization — Not as hard as it seems because after working with your set This principle ensures that both spectators see opposite sides of the same card as ‘you count them from hand to hand in order for the spectator to remember the card or ‘casino that falls on their secret number. You know how many cards each spectator now holds. This is their “secret” number, and unless one knows the principle of “the number of letters in the casino’s name relates to the number of cards cut to” it really will seem that their secret number would have to be unknown to you. Thankfully, we are WAY ahead of them by now and all of the “work” has been done. ‘The Principle works as such: when the cards are counted singly from you left hand to your right, without reversing their order, Spectator #1 remembers the card or casino that falls on their secret number as you count from one to ten aloud. Since you know their secret number simply remember which casino or card falls on that value! The casino or card that falls on the opposite side of the card facing you will be the Spectator’ selection. The side pow are now looking at will be the selection for Spectator #2 when the cards are again counted for them.) The cards are reassembled with the tenth, final card being placed ‘on top of all of the other cards, the entire packet reversed, and the counting procedure again repeated for Spectator #2 so they can remember the card or casino at their number (of course, if Spectator #1 has a card, #2 will have a casino, and vice-versa.) Here is the procedure: the cards are counted singly, slowly & held vertically so the spectator can see them, from right hand to left hand without reversing their order. Count aloud as you do this. When you only have one card left in your left hand, place it on top of card #1 (under your thumb.) Turn the entire packet secretly over and repeat the counting procedure for Spectator #2. By you having placed the last card on top, and turning the entire packet over, it positions the opposite side if the card Spectator #1 saw to be displayed to Spectator #2 as she thinks of the card or casino that falls on her secret number. This reads a little long but by walking through the above instructions with cards in hand, and you selecting a secret number, you will see how utterly easy this swindle is. The only thing to remember is to place the last card on top after counting for Spectator #1, and secretly turn the packet over before counting the cards again for Spectator #2. Looking at Spectator #2 and asking if she is ready to proceed allows more than enough opportunity for the turn-over “How do I know what is on the opposite side of the card I am looking at when I show the cards to Spectator #1? For example, if Ballys is staring me in the face I know that will be the card Spectator 112 will soon look at but how do I know the value of the playing card Spectator #1 is now looking at?” ‘There are three methods, and are listed in descending order of difficulty 1) Rote memorization — Not as hard as it seems because after working with your set __——_ —. of cards for a while you will get to know them well. Those schooled in mnemonics may be able to make some associations between card value/casino, 2) Make yourself a crib sheet and stick it inside your wallet or an envelope, Take a peek at it when you open the wallet to get out a couple of business cards that you will later record your “impressions” upon....and then give to the spectators after the routine, of course. 3) Simply do what I did before I got to memorize my particular performing set of these cards: J LOOKED at the opposite of the card | saw at Spectator #1’s number. Once all ten cards have been counted for Spectator #1 I fan all of the cards between both hands and when I tell them to remember their card/casino 1 simply tilt the fan back toward me enough to see the other side of the card. So very, very easy, That is pretty much it. Simply run through the above methods cards-in-hand a few times tying them into the effect as described, I have omitted patter and presentation, as this routine is wide open for however you want to play it. usually go back and forth between each spectator trying to discern if they thought of a card or a casino. I act as if that is the effect and then play it off that almost as an afterthought, because my ability seems to be in tune tonight, lets go for the specific card and casino. I work with the person with the casino first and do the angle of them imagining the “lights of Vegas, and the sign at their casino is all lit up” and have them concentrate on the letters. [reveal an impression of a ffew non-sequential letters and then name the casino. For the playing card I write the name of the card on the back of a business card which I then turn around to reveal as a nice visual “finale” as the spectator names their playing card Go forth and amaze. An interesting bit of trivia: The Casino de Isthmus does not really exist. It is a fictional casino from the James Bond movie License to Kill. CREDITS: 1 would like to give a special thanks to Max Maven for his help on researching the origins of the Smyth's Myth principle. He advises me that this mathematical principle, also known as the ‘Transposed Card Principle, was first discovered in Hoffmann’s 1876 book entitled Modern Magic. Mr. Maven further advised me that it has seen print in Walter Gibson's 1928 Popular Card Tricks and that it hhas been explored and utilized by, amongst others, Max Maven, Stewart James, Nick Trost, Sidney Lawrence & Fred Smith Copyright 2006 Bryn Reynolds x : Meratetatetatetatetatetetetets, m lstelstetoraranreeeete EOO OOO 464600 o 008 etotaleateratuteraeceeen attatetelatelatotaterereres latatatetatetaaterateratere! 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