Documenti di Didattica
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By
Dee Christopher
Produced by
MindLapse
Cover Design by
Dee Christopher for MindLapse
Please refrain from copying/ file sharing this document. This hurts the industry and
myself. Many thanks. Dee.
Dee Christopher 2009
Table of Contents:
Introduction ...................................................................................................... Page 3
Sylla-Code ......................................................................................................... Page 5
Morse ................................................................................................................. Page 7
Svengali Toss Remastered ............................................................................ Page 9
Altered Version 1 .......................................................................................... Page 11
Shift 2 ................................................................................................................ Page 15
Turnover 23 ...................................................................................................... Page 19
Introduction
And as I sit here, wondering in what grammatical dimension I must reside in to get away
with starting a manuscript with the word And.
My internal alarm bells ring... I look towards the clock and see its display of that
enigmatical number again. 23:23.
Its dark out in here.
They say that you should look with your eyes, not with you hands... In this manuscript I
intend to explore a few ways in which you will allow your spectators to feel with their
eyes.
Youll note my use of a common phrase throughout my works; It is an artists job to
provoke emotion.
To me this says more than it does upon first glance, of course you want your spectators
to react you want to provoke emotional response, however, I seek to go deeper. I look
to use the aforementioned emotional response and intensify it, to create motion. To move
your spectators so that the experience is one that stays with them for a long time.
My first book, Proximity Effects explored a variety of my older material, some of which
I use to this day; i.e. cold: the telesthesia cards and some of which that dont fit my
style anymore; i.e. deviance.
The running theme of the book however, was the introduction of the techniques I use to
enhance base reactions, adding in phrases which might make people question whether
what you are doing is real or not, turning a book test into a reading, if you force a word,
why not a word that allows you to branch off to something more?
With this manuscript, I intend to look at some other routines that allow you to really
connect with your spectators, storyboarding your effects and using the wording to allow
the participants to feel that the routine is relevant to them, or just draw the participants in
when in a more intimate environment.
So, without further a due, I am proud to welcome you to my latest works; 23:23 a
Collection.
Sylla-Code
Many mentalists including Anneman, Cassidy and Grant have explored the two-person
code and in more recent times Max Maven, whos heavily inspired this routine with his
Burnt offerings which is a very unique two-person code from his Blue book of
mentalism.
This code also requires a small extra item, a pad on which you will draw the 5 ESP
symbols weve all come to know and love, namely the circle, cross, three wavy lines,
square and five pointed star.
This could of course be done on the fly if a pad is on stage, or for close up instances it
could be drawn on a napkin.
The reasoning for this is so that the spectator can select one of these symbols silently.
The effect is as follows:
The magician calls over his assistant, his partner perhaps, (the other half to the two
people you generally require for a two-person code) to help out with this effect.
The assistant is blindfolded or asked to stand back to back (or cheek to cheek to coin a
Banachek phrase) with the spectator.
Now, in a moment I am going to ask you (the spectator) to silently select any of the five
standard Zenner symbols and my assistant here is going to attempt to divine this
selection!
Ok, could you please point to one of these symbols for me...Thats perfect, thank you!
Assistant! (Feel free to use their real name here) Divine the thought of symbol!
The assistant will of course reply with the correct choice in this case, the star!
The code is in the script above. The reason Ive named this effect Sylla-Code because it
works on syllables.
Dont worry! Its not a set of complex algorithms, but it could be made more complex
with more than five options, I feel that the five options would be fine for a casual
performance however.
So, the code its self. Weve mentioned the use of syllables, but how does it work so
inconspicuously?
The key is the simple pleasantry you say right after they make their selection. Remember
where I said: Thats perfect, thank you!
Thats the code. Look at the number of syllables in that quick phrase, its five syllables,
which equates to the star the fifth symbol in the Zenner sequence.
The full code for the Zenner symbols is below:
1 Circle Great! (One Syllable)
2 Cross O.K! (Two Syllables)
3 Wavy Lines Fantastic!
(Three Syllables)
I mentioned the importance of a blindfold earlier; this is simply to heighten the other
senses. If they cant see, they are much more receptive to touch. So its just a safety net!
If the spectator doesnt quite get it, dont worry, try again or if all else fails you can still
reveal as the climax as you know what sign it is.
Notes:
The classic tossed out deck by David Hoy was the same as the above routine, but used a
one-way force deck. Its a great routine and can be picked up in various publications,
though Ive seen ebooks dedicated to the subject.
The reason the word remastered is in the title is down to this:
Marc Oberons Master Deck.
This is a great deck of which I wont get into too much detail as not to expose the secret,
but those who own it will find great delight in the idea of throwing that out, as long as
you have them peek on a certain corner, you know that their card is one of very small
number and then card follow similar ideas as Mavens Tossed out tech to fish and find
out whos got what for a very detailed reveal.
I always carry the effect Bang-On in my jacket; its an any named card in wallet. Its
very direct and very powerful. Again, this is a Marc Oberon product! Marc uses Bang-On
mainly as an out for an effect where he genuinely guesses which card the spectator is
thinking of.
Its perfect as an out for the tossed out deck in case some naughty spectator feels that
they would like to name a totally different card when you ask them why the havent sat
down!
Are you sure you saw that card? You must be mistaken as that card is the only one not
in the deck, I keep it in my wallet here...
You must also wear a more powerful magnet on your wrist; alternatively a PK ring will
suffice. When using a PK ring, I will secretly remove it from my finger to lay it flat out
on my fingers, clipping it as it is more powerful this way.
It is best to make sure that the outward facing sides of the magnets repel each other, if
they attract the spectator will still feel the coin move, but not to the same extent.
Method:
You must have your gimmicked coin in an easily accessible place so you can grab it into
a right hand (if left handed like me, or left hand if right handed. You must write on the
coin in the following stages,) finger palm position as you begin this effect. I place it into
the same pocket as my sharpie as then I can steal the coin as I bring out the pen.
You will borrow a coin from a spectator matching the one you have bent. I often carry
around a few ready to go coins of different denominations in case nobody has a 10 pence
piece on them. If your not willing to invest in a few more little magnets, you could
always explain that it must be a 10 pence as there is an unusual property to the metal. If
you use a different currency, you can adjust the patter to fit.
So, at this point you will have a borrowed coin in your left hand and will appear to reach
into you pocket to retrieve your pen. In reality, you are retrieving your pen, but you also
steal your gimmicked coin into a finger palm.
You will now sign and date the coin for future reference.
Im left handed, so I have the pen in my left hand and the coins in my right. All I do to
get to this position is switch the borrowed coin from my left with the pen from my right
hand as I open the lid of the pen. Nothing sneaky there, but I feel its best to cover every
motion.
Now the coins are held as in the photo below and youre ready to begin the marking of
the coins.
You remember that you have written the date on the outside of the bent coin, so you must
have the blank inside facing you ready to write on their initials. It is good practice to
write the date on the same side of the borrowed coin, in case you have any very observant
spectators.
You begin by saying that you are going to mark the coin for future reference, in that you
ask the date I often pretend like Im unsure and either way the outcome is as predicted.
You write the date on the borrowed coin.
Then you must turn over the borrowed coin in your hand and ask for their initials. When
they answer you, you should write this on the blank side of the bent coin.
So now you have a borrowed coin with the date written on one side and a bent coin with
the date and their initials written on it in your right hand and the pen in your left.
To ditch the borrowed coin you will reach over with your right hand to remove the lid of
the pen from its bottom and replace it on top and place the pen in your left hand side
pocket. As you remove the lid you should transfer the borrowed coin to your left hand
secretly and ditch this also in your pocket.
Now you are left with just the bent, signed coin in your hands. The next step is to place
the coin in their hands and bend it.
You will ask the spectator to hold out one of their hands and pinching the coin at the
bend, will place it in their hand magnet side down and ask them to sandwich it with the
other hand. This is illustrated below. Ask them to keep their hands absolutely still during
the effect, I often say that it might not work if they dont.
Dont worry about them realizing the coin is bent. Youve not told them whats going to
happen yet and people just wont notice, as theyre not used to holding a coin in this
fashion.
Now its all about presentation and making them believe theyre feeling the coin bend,
not just move. The best way to do this is to first suggest to them that they will feel their
hands getting warmer and as they begin to react change your patter to tell them that its
the coin getting warmer. People naturally associate this heating with bending and when
the coin starts to warp and bend they have to circum! I have my hands over theirs as if
Im focusing my energy into this particular place.
All you must do from here is wave your hand closer to theirs and the coin will move
because of the magnet you are wearing. I tend to use my PK rig in the flat out method
mentioned before. Its easy to slide a ring on and off the finger with one hand with a little
practice; alternatively you may just use a wrist worn magnet.
Once they are suitably freaked out, you may show your hands empty and get them to
slowly lift off their top hand. They will see the bent coin and react heavily to this, you
must gently remove it from their hand before they do and see the magnet!
You can just pick it up pinching it on top of the magnet (which your thumb should cover)
and show it from all angles. Then you will place it back onto their hand and in doing so
slide the magnet away with your thumb as shown below. The photos are for illustration
only, these are exposed shots.
That essentially is the entire presentation of the effect and it leaves the spectator with a
great souvenir they will often carry around with them and show their friends and family.
This is a very simple to perform, yet powerful effect which the emphasis is on the
performance, but is a simple enough idea to convey. You dont necessarily have to have
the coin signed and you dont necessarily have to say anything. In a foreign speaking
country you could walk up with a coin, place it in someones hand and they will feel it
bend. The suggestion in this effect is not the basis on which they feel the coin bend, but
merely an emphasis. The strength of using the magnet concept is that everyone will feel it
happen, thats the key.
Shift 2.0
Despite the distinctly mental nature of the rest of this book, I felt that this deserved
inclusion.
This routine is an evolution from the original Shift routine from my first book "Proximity
Effects."
This is the way I perform this routine at every one of my gigs. It gets the spectator
involved in the moment the magic happens and creates an insanely impossible twist.
Required Props: To perform this effect you will need a double backed card, if you do
not have one you can quite easily make one by gluing 2 cards face to face.
The card is only ever shown as part of the deck or in motion, so the thickness isn't an
issue. The double backed card should be in 2nd position from the top, with the force card
on top.
As well as the double backed card, you will also need a duplicate of the card you are
going to force them to choose.
This should be placed face out (so that the face is revealed first) where ever you wish to
produce it. I usually use my breast pocket, perhaps my wallet or an envelope, which has
been lain on the table from the start.
Method: There are a few different parts to this routine. These are as follows:
- The Force
- The Signing
- The Vanish
- The Production
- The Signature Revelation
I'll begin by explaining the force I tend to use, I've explained this in my previous work
and it's also covered by a number of different sources.
This is the force I use the most in my performance and I've yet to be caught out. The
photos are of a very exposed view, naturally!
The below photos demonstrate the force, you simply ask a spectator to stop you at any
point during your riffle through of the cards. Instead of cutting directly to the real
selected card, you retain the top card and slip it down onto the bottom packet. The top
force card now looks like a totally random selection.
Any force will work though as long as you can retain the double backed card on the top
after the card has been taken.
Now that the correct card has been selected, it must be signed.
I take quite the un-orthodox route with having cards signed for this routine, I ask for a
signature on the back of the card.
The real reason for this will become apparent later on, the reason I tell my spectators is
that by signing on the back it's creates a totally unique card, different from all the other
cards in the deck, a unique face and now a unique back.
Aside from being a reasonable explanation, you'll note that it also suggests that there are
no other cards with the same face in play. I feel this is something important to note, but in
a subtle way.
The card has been signed and is taken back by the magician - it doesn't matter if he sees
the value in this trick, I'll often explain as I place the card face up on top of the face down
deck. The signed card sits upon the double backer.
From here we do the vanish. The vanish used is a variation on the classic colour change
ala Erdnase.
Essentially what this should look like is as if you are blatantly palming off the selection
to drop it into the spectator's hands.
I'll generally say some thing like:
"You know why use magicians are often banned from casinos?"
"You cheat?"
"Very good, we cheat - there is one move in particular that when done right can create
the perfect hand in a game of poker. The palm."
Final Notes:
As I mentioned, this routine is one that I do all the time. A variation on the vanish I've
just taught is Daniel Madison's half vanish, which puts the card into the right position but
rather than mocking picking up the card you can appear to just wave your hand over the
deck and the card will vanish one half at a time.
This vanish is taught on Daniel's "Dangerous - Disc 1 - Mystique"
Method:
Ive placed down a prediction here from a different deck. Im going to in a moment ask
you to name the first card that pops into your head. Im not going to try and
psychologically influence you in any way, but if you could name the first card on 1 2
3!
Once the card is named you can cover having to locate their card like so:
The 4 of clubs? Is there any reason you chose that card? Let me just grab a joker here
Do you live at number 4 or born of the forth? So it was a totally random choice?
Interesting...
Ive found that through adding the joker line in the middle of something else allows
people to take note of what youre doing, but not really question it as youre asking
things and very much in command.
Youve found your selection, so place it on top and double lift to show the joker you have
pre-placed.
I dont want to even touch the card, so well use the joker to flip it over at arms
length!
You need to slide the selection in your hand (they believe its a joker), face down of
course, under the bottom right corner of the card from your perspective and begin to flip
it inwards. So the long left hand edge retains contact with the table.
As the card flips, you need to grasp the double backed card and drop the selection letting
it flip face up, and continue flipping the double backed card over to reveal the back
matching the deck.
To the spectator it should look simply as you have used the indifferent card to flip over
the different backed prediction.
You should practice the motions in front of a mirror to get it looking natural.
The illusion is perfect as they see the indifferent back vanish and the face appear, while
the same back is constant.
Replace the double backed card on top of the deck as if it was the card you just took. You
could double again to show a joker, but I dont feel its necessary. Its draws too much
attention to what you did.
After the amazement has set in from your spectators that you knew all along what card
they would merely think of, take the card and place it face up on the face down deck. Its
now sitting directly above the double backer, so if you double lift, you can show that the
card really does have the different back. You shouldnt draw attention to this though, if
it were a card from a different deck you wouldnt stress that it has a different colour
back.
You have flipped the cards so now the different backed card is on top of the deck, just
take this off and place it back in your pocket!
If you slide the top card now into the middle again, youre reset!
Final Words:
So there you have another collection of effects all wrapped neatly in an electronic jacket.
I want to thank everyone for their comments, support and criticism There are a lot of
people out there who have forced me to truly look back and think about the material I
present and the material I publish.
The following people have all been very influential in different ways and I wish to thank
them all:
Lola Lenore | Chris Lafferty | Dominic Reyes | Ben Williams | Marc Oberon | Daniel
Madison | Brad Christian | Chris Schuh | Steve Fearson | Jay Crowe | Aaron Smith |
Andrew Mayne | Arthur Emerson | Owen Packard | Liam Montier | Brandon Wolf | Death
Metal | China One| Apple | Adobe | Avril Lavigne | David Blood | David Leon | Tim
Trono | Justin Miller | Paul Zenon | Uri Geller | Erick Castle | Combichrist | Titanas
Many Thanks to these and everyone else Ive missed!
D.