Brain Bender

Tutorial

Psychological Playing Card Force

Psychological Playing Card Force (Peter Turner) Notes
I. Forcing the Suit
1) Equivoque pg. 6
2) The Bolder Approach pg. 8
3) Not Ed Marlo's Snap Change
    Variation 1 pg. 9
    Variation 2 pg. 12
4) Natural Selection
5) Learning not to care
6) Al Baker - The finger knows and tells  pg. 14
7) Multiple Outs
8) Fishing for the suit before bringing out a card ("but you then")  pg. 15
9) The Wash Principle

II. The Values
1) Piggybacking  pg. 17
2) The Increment force  pg. 22
3) The number 3 / 4  pg. 25
4) The 8 / 9 of clubs
5) The number 2 / 5  pg. 27
6) The Joker
7) The Queen of hearts
8) Aces  pg. 29
9) Missing
10) Lucky Lucky  pg. 31
11) Recommendations  pg. 34







Bigger Fish Files
80-Simple Card Divination 
0:00 - 4:59 Forcing the 7 of spades
1) Pete pulls out a random card from a shuffled deck which happens to be the 7 of spades
Pete: "So I want you to imagine there's a large number 3 written on the back of this card. Now you stare at that number 3 for a few seconds. If I asked you, do you believe there's a number 3 on the face of this card what would you say?"

Participant: "Probably not"

Pete: "Well no, because why would I do that. But what I've done there is to show you how easy it is to envision a number on the back. So for now look down think (snaps fingers) of the first number that pops in your head. Got one (touches shoulder). What is it"

Participant: "Seven"

Pete: "Seven right. And again that's genuinely the first one that just popped into there".

Pete: "So now we have a choice, you could have a red card or a black card, but look at me. Now I'm going to tell you if you take a guess at this, you'll probably be wrong. So just look at me, name a suite at random, what is it?"

Participant: "Spades"

Pete: "Seven of Spades" Then reveals the seven of spades.

2) Shows a subtly where if he was pulling the seven of spades out of the deck, he would place the 3 of hearts on the bottom then give the pack back to the participant face up.

Pete: "Keep hold on these" "Now in a moment I'm going to ask you to follow me. Now it's essential you don't think of this card (pointing to the 3 of hearts). Now just name the first number that pops into your head"...

3) What if the suite is wrong

Pete: "Now if you were to guess, you'd probably be wrong. So just name a suite at random, go"

Participant: "Hearts"

Pete: "Now what did I say to you, if you were to guess it would be wrong and it's completely wrong" (you say and it's completely wrong because you want them to switch colors)."What color do you genuinely feel it is?"

Participant: "Black"

Now you can use the Tom (something) principle or equivique

4) Equivoque to pick suite @3:30
Pete: "Now you just have to select a suite and the way we're going to do this is through a process of elimination, I have reds or blacks, take one, which one are you taking?"

Participant: "Blacks"

Pete: "So you've taken the blacks, are you sure you're happy with that?"

Participant: " yes"

Pete: "So you have club or spade, what I want you to do is just pass me one of them. Which is it?

Participant: "passing you the clubs"

Pete: "Clubs. Is that what you want to use? Happy?

Participant: "Yes"

What if participant gives opposite answers?
Pete: "Now you just have to select a suite and the way we're going to do this is through a process of elimination, I have reds or blacks, take one, which one are you taking?"

Participant: "Reds"

Pete: "Good, so that leaves us with the black cards. So we have the club or the spade. Were going to do things slightly differently. Just imagine taking a club or a spade and handing me one, which do you hand me."

Participant: "Spade"

Pete: "Good, so you got rid of the reds, then you got rid of the spade leaving the clubs."

@5:00 Another version/example



@5:55 Forcing Suite
"Now if you take a guess here you'll probably be wrong"

Mind Games

Equivoque to force the suite color

Say you are trying to force the reds. "Now we have the reds or the blacks" holds hands up as if holding these imaginary options. "Take one from me" 

If they choose red then you go with that as the selection. If they take the black then you say "that leaves me with the reds".

See:
Psychological Playing Card Force (Peter Turner)
Spoken Destination-Psychological Card Force (Bazz Fazacherley)

Restricting Without Seeming Restrictive Principle

The use of verbal directions which subtly restrict a participants selections from a larger group of options to a smaller group. Sometimes these directions are more direct. For instance, If I say

See:

Psychological Forces: Peter Turner

Comparative Uncertainty Principle (CUP's)

The following illustration should help you to understand how this principle works in its most simplistic form.

Please think of either of the words printed below:

CAT or DINOSAUR

I would like you now to imagine that your chosen word is written in front of you in block capitals. Think about how many letters are in this word...

or if it’s easier you can simply visualise the item itself.

If I had been observing you as you did this, I would have been able to tell you which of the two words you were thinking of. If you were thinking of the word CAT, you would have had no trouble in

thinking of how many letters were in your chosen word. As such you would have been able to follow my instruction without hesitation. DINOSAUR, on the other hand, is a much larger word, and as a result I would have recognised one or more of the following tells: An extended look of concentration, a wandering gaze, a look of confusion or a general pause for thought. In short, there would have been some visible signs of uncertainty.

Ideal word pairings will consist of one word with five letters or less and another with seven letters or more.



See:
A Piece of My Mind: Michael Murray

Star Sign Divination /Astronomical/Monkeying Around - Peter Turner

Anagram (R.A.I.S.E.)

R – No – Leo, Pisces, Gemini
|
A – No – Virgo, Scorpio
|
I – No – Cancer, Taurus
|
S – No – Libra, Capricorn
|
E – No – Aquarius, Sagittarius
|
Aries


Basic Script:

So I want you to imagine your star sign written in the air. I want you to imagine looking over all of the letters and just projecting them towards me.

And start to randomly go through the letters, projecting one out to me, then moving on to the next.

(1) “Don’t say anything unless I ask you a direct question. Focus on your star sign written in the air between us…like…LEO. Are you seeing it there?”

This is a very important section; the timing is essential here. I first mute the participant—remember at this moment in time we don’t know what the participant’s star sign is. If we get a no on the letter R, we will see looking at the anagram (outlined above) there are three star signs it could be (Leo, Gemini, Pisces). I need to eliminate one of those star signs before any letter is ever thrown out in the eventuality that there isn’t an R in there I need to be on a branch with two signs not three.

I ensure the participant never says a word during this first part of the anagram, I need to stop them from saying - “That isn’t my star sign,” when I throw out Leo.

I do this by carefully thinking about the way that I throw out Leo, as the timing of this is essential.

Take a look at the script,

There is a slight pause before the word “like” and then again a pause before I throw out “Leo.” The reason for the pause is because if the participant’s star sign is Leo, they will react as though you got it right and you never need move any further into the anagram.

*No Hit If they do not react as though you hit their sign you need to follow up directly with,

(2) “Are you seeing the letters from YOUR sign in the air?”

Participant: “I am.”

Performer: “Great. Keep changing through the letters, stop there, go back there’s an R in this, correct?”

*No You now know it is either Pisces or Gemini. I could use Derren’s “Repeat It Principle”: 

focus on your picture and, while focusing on the picture, just keep saying the title of the picture over and over like Pisces, Pisces, Pisces. 

If the participant reacts instantly jump on the reaction, “I was feeling that was your sign.” If they do not react affirmatively, simply respond with, “Just repeat it over and over again like that.” Now you know they must be a Gemini. Seemingly, a miracle has taken place.

Alternatively you could use Michael Murray's CUPS principle.

(3) If you did get a hit move on with “There is also an A.”

*No You now know it is either Virgo or Scorpio. Again either use the Repeat it Principle or the CUPs principle. 

(4) If you did get a hit, move on with “I am getting slightly confused now, like the connection has weakened slightly. There is not a letter I in the star sign, is there?”

This is another important line. By claiming you are getting slightly confused, it gives you leeway for a miss. Remember, probability suggests the further you get down the anagram, the greater the chance there is of getting the response of a No from the participant.

I have taken this into account and have offered another logical excuse/ reminder to wash away the No, and also I have, if you haven’t noticed, applied a ‘closed question’.

The closed question is: “There is not the letter I in the star sign, is there?”

Say this with a little bit of a confused tone, and no matter what the participant answers you have prepared an out.

*No -  You now know it is either Taurus or Cancer. Quickly counter with, “I didn’t think so”, I would then smile like the pressure of doubt has been removed from my mind. “I might in a moment have to resort to you focusing on the picture of this star sign."

(5) If they say yes, say “I might in a moment have to resort to you focusing on the picture of this star sign. An ‘S’ in there.”

*No - You know it is either Libra or Capricorn. “Ok, can you just in your mind count the number of letters in the star sign for me?” The participant starts to count. “In fact, please focus on this as an image if you can.”

Use CUPS or "Repeat it" 

“Wow, this is much better; a wealth of information has just flooded in. (I would usually add scripts here but I will do this later.) I now know you focus on things aesthetically instead of analytically”. "Your a Capricorn/Libra."

(6) If they say yes, "There's a E.

*No - You know it is either Aquarius or Sagittarius. Use CUPS or "Repeat it".

(7) If they say yes, you know it is Aires.



JS Magic Performance
https://www.themagiccafe.com/forums/viewtopic.php?topic=239255&forum=15
10s star sign divination

Hand to Hand Switch (Shuttle Pass)

See:
AAA Phone Mystery (Marc Paul)

AAA Phone Mystery (Marc Paul)

Effect:
A spectator is asked to think of a persons phone number. They are given a business card and asked to write the number on the card and then fold it into quarters with the writing inside. During this the performer turns his back so there is no chance of him seeing. Upon turning around the folded card is briefly touched to the performers forehead. The spectator is given a second business card and is asked to write the persons name this time. Again the performer turns his back and again when he turns around the folded card is briefly touched to his forehead.

The spectator is now given an invisible mobile phone and is asked to pretend to dial the number. As this happens the performer watches the actions and at the same time writes some numbers on a blank card. This is placed face down on the table. The performer now opens the telephone number slip and reads out the number. When the face down card is turned over it reveals exactly the same number. Both cards can be given to another spectator to confirm.

The spectator is asked to place the folded card bearing the name into the performers pocket. Next they are asked to pick up the invisible phone and to imagine they are saying hello to the person on the other end. Immediately the performer announces the name! The name card can now be removed from the pocket and handed to another spectator to confirm. Everything is now reset for the effect to be performed again, making this ideal for a table-hopping situation.

Method:

Overview:

This is classic mentalism and relies on two switches and a simple one ahead. 

The Details:

You will need a small stack of business cards. You will need to create a dummy billet by folding one of the cards into quarters. Mark it by bending back the corners (see photo 1). Put the dummy billet and the rest of the stack of business cards in your left jacket pocket. You’ll also need a pen or pencil.

When you are ready to perform remove the stack of business cards from your pocket holding them in your left hand with the dummy billet secretly hidden underneath (see photos 2 & 3)

Deal off the top business card and hand it to the spectator asking them to write down a telephone number. Turn your back while they do this. Still with your back turned ask them to fold it into quarters with the writing hidden on the inside so that you cannot see. Turn back and place the stack of business cards on the table, but retain the dummy billet in your left hand. You will now pick up the phone number billet with your right hand and switch it for the dummy. The easiest way to do this is a “hand to hand” switch. You apparently transfer the billet from your right hand to your left and then briefly touch it to your forehead. This is a standard switch and the photos that follow should make everything clear (see photos 4 to 7)

After being touched to the head, the dummy billet is placed on the table as the right hand picks up the stack of business cards from the table. The stack now hides the stolen number billet. Deal off another card from the top and ask the spectator to write the name on it. Once again while this is done you turn your back, but this time you have a little bit of work to do.

Once your back is turned transfer the stack of business cards to your left hand, open the stolen billet (checking the orientation of the number) and then insert it under the top card (see photo 8). Square everything up. This all takes just a second or two and you will find you have plenty of time.

When you turn back around everything should appear normal. Ask the spectator to touch the name billet to your head (or do it yourself if you want to be consistent). Ask the spectator to mix the two billets that are now on the table (the name & the dummy, but they think it is the name and the number). You will now create a minor effect of stating which billet is the phone number. Hover your hand over both billets and then point to the name billet and announce that it is the phone number. You know this because of the bent corners on the dummy billet (see photo 1 again). You now introduce an invisible mobile phone (room for some comedy if that is your style) and ask them to mime dialing the number. You appear to watch them carefully. Slide the top card of the stack to the right and up; this will reveal the number to you (see photo 9). Angle your left hand so that the spectator can’t see. Pick up the pen and simply copy the number onto the blank card.

Place the card face down in front of them and pick up the name billet, open it out and apparently read the number. In fact your read the number from the card on top of the stack and at the same time you will see the name staring you in the face (see photos 10 & 11). Remember the name.

As the spectator goes to turn over the card on the table you switch the opened name card for the number card by second dealing it into your right hand. This is given to the spectator to confirm that your prediction is a match.

The dummy is still on the table and the name card is on the face of the stack of business cards. At this point you can conclude how you like. I usually put the business cards back in my left jacket pocket and ask the spectator to put the dummy billet (they still think it is the name billet) in that pocket also. I now ask them to imagine that they are speaking to the friend on the imaginary phone and after a suitable build up I announce the name. I now casually reach into my left jacket pocket and refold the name card and then bring it out, should anyone want to check. That’s leaves the dummy billet and the stack of business cards in my left jacket pocket which means I’m reset.

See:
The Anytime, Anywhere, on Anybody Phone Mystery - Ebook

Marc Paul ACTS of Mentalism
Marc Paul Penguin 1st Lecture @2:16:20

Gimmicked Decks

Invisible Deck
-A rough and smooth deck where the deck is spread face-up and the named card is the only one that is face-down.
Performance

Brainwave Deck
-A rough and smooth deck, similar to the invisible deck. The deck is spread face-down and the named card is the only one that's face-up. As a second climax, this card is turned face-down and shown that its back color is different from that of the rest of the deck.
-How to make a Brainwave Deck Tutorial
Performance

Stripper Deck
-A tapered deck allowing a card or a group of cards to be easily located
Performance
Performance

Svengali Deck
-Deck alternating between normal and shortened cards where the shortened cards are usually the same. When the deck is riffled front to back, only the normal cards are visible; when it is riffled back to front, only the shortened cards are visible.
Performance


Mental Photography Deck
Deck which combines rough and smooth and shortened cards. Every other card has a blank face and the others a blank back. All the blank face cards are a little shorter than the blank back cards. Fanning the deck (with a little pressure) you can show all the cards are blank. Riffling the cards in one direction the cards appear blank. Riffling in the other direction they appear normal.
Daryl performance

Omni Deck

A deck of cards placed in a spectators hands transforms into a solid, see-through piece of Perspex. 

Forcing Decks
Pop-Eyed Popper Deck
-A rough and smooth deck where every other card is the same card (the force card).
-Performance

One Way Forcing Deck
-All the cards are identical

Two Way Forcing Deck
-Two sets of identical cards, one set comprising the top half of the pack and the other the bottom half.
-Tutorial

Three Way Forcing Deck
-Comprised of three different sets of identical cards.

50/50 Forcing Deck
-the top half is made up of the same card and the bottom half is composed of indifferent cards

Marked Decks
Butterfly Playing Cards



https://geniimagazine.com/wiki/index.php?title=Category:Mechanical_Decks

Repeat It Principle

This is a principle that has become so popular that most mentalists should know this principle. I first read of this principle in a routine called ‘Smoke’ and after reading it I thought it was genius, it is one of those principles that you will instantly start using as it is that good.
Let’s assume that you are down to knowing that the participant is either an Aries or a Taurus, you look at your participant and address them –
Participant: “Look at me, in your mind say your sign over and over again just like Aries, Aries, Aries”.
If your participant reacts then you know they are an Aries, you smile and then proceed.
If your participant however does not react, quickly counter with –
Performer: “Saying it over and over until you hit a nice pace”.
You now know that the sign is Taurus as you have eliminated Aries as the participant thinks that you was using Aries as an example.

See:
Peter Turner Star Divination vol 9

Key Card

A key card is a card that leads the performer to the card a spectator has chosen. The key card may be directly above or below the chosen card, or it may be a known distance away from it.

See:
Card College Vol 1

Finger Clip

Tutorial

Thumb Palm

Tutorial

Classic Palm

Tutorial 

Finger Palm

One of the easiest and natural palms. The coin is held at the base of the curled second and third fingers

Tutorial 

New Deck Order

For Bicycle playing cards sold in the US, new deck order is:
A->K of Hearts, then A->K of Clubs, then K->A of Diamonds, then K->A of Spades

Psi Phenomena/Parapsychology

PSI
A general blanket term, proposed by B. P. Wiesner and seconded by R. H. Thouless (1942), and used either as a noun or adjective to identify paranormal processes and paranormal causation; the two main categories of psi are psi-gamma (paranormal cognition; extrasensory perception) and psi-kappa (paranormal action; psychokinesis), although the purpose of the term “psi” is to suggest that they might simply be different aspects of a single process, rather than distinct and essentially different processes. Strictly speaking “psi” also applies to survival of death, the third category of psi.(1)

Parapsychology is the study psi phenomena. As such, it studies the three categories of psi (ESP, PK, Survival of death).

I. Psi

  A. Extrasensory Perception (ESP) 

    1. Telepathy

    2. Clairvoyance

      a) Clairsentience/Psychometry/Object Reading

      b) Clairaudience

    3. Precognition

  B. Psychokinesis (PK)

  C. Survival of Death

    1. Apparitions

    2. Channeling

    3. Reincarnation

    4. Near Death Experience (NDE)

The Society for Psychical Research (SPR) was founded in London in 1882. It's formation was the first systematic effort to organize scientists and scholars to investigate paranormal phenomena.

Largely due to the support of psychologist William James, the American Society for Psychical Research (ASPR) opened its doors in Boston in 1885, moving to New York City in 1905 under the leadership of James H. Hyslop.(3)

In 1911, Stanford University became the first academic institution in the United States to study extrasensory perception (ESP) and psychokinesis (PK) in a laboratory setting. After conducting approximately 10,000 experiments, Coover concluded "statistical treatments of the data fail to reveal any cause beyond chance."(3)


Rhine era
In 1930, Duke University became the second major U.S. academic institution to engage in the critical  study of ESP and psychokinesis in the laboratory. Under the guidance of psychologist William McDougall, and with the help of others in the department—including psychologists Karl Zener, Joseph B. Rhine, and Louisa E. Rhine—laboratory ESP experiments using volunteer subjects from the undergraduate student body began. As opposed to the approaches of psychical research, which generally sought qualitative evidence for paranormal phenomena, the experiments at Duke University proffered a quantitative, statistical approach using cards and dice. As a consequence of the ESP experiments at Duke, standard laboratory procedures for the testing of ESP developed and came to be adopted by interested researchers throughout the world.

Rhine, along with associate Karl Zener, had developed a statistical system of testing for ESP that involved subjects guessing what symbol, out of five possible symbols, would appear when going through a special deck of cards (Zener cards) designed for this purpose. A percentage of correct guesses (or hits) significantly above 20% was perceived as higher than chance and indicative of psychic ability. Rhine stated in his first book, Extrasensory Perception (1934), that after 90,000 trials, he felt ESP is "an actual and demonstrable occurrence"(3)

The parapsychology experiments at Duke evoked much criticism from academics and others who challenged the concepts and evidence of ESP. A number of psychological departments attempted to repeat Rhine's experiments with failure.(3)

Illusionist Milbourne Christopher wrote years later that he felt "there are at least a dozen ways a subject who wished to cheat under the conditions Rhine described could deceive the investigator". When Rhine took precautions in response to criticisms of his methods, he was unable to find any high-scoring subjects.(3)

The Parapsychological Association (PA) was created in Durham, North Carolina, on June 19, 1957. Its formation was proposed by J. B. Rhine at a workshop on parapsychology which was held at the Parapsychology Laboratory of Duke University. Rhine proposed that the group form itself into the nucleus of an international professional society in parapsychology. The aim of the organization, as stated in its Constitution, became "to advance parapsychology as a science, to disseminate knowledge of the field, and to integrate the findings with those of other branches of science" 

In 1969, under the direction of anthropologist Margaret Mead, the Parapsychological Association became affiliated with the American Association for the Advancement of Science (AAAS), the largest general scientific society in the world.(3)

Stargate Project

Beginning in the early 1950s, the CIA started extensive research into behavioral engineering. The findings from these experiments led to the formation of the Stargate Project, which handled ESP research for the U.S. federal government.

The Stargate Project was terminated in 1995 with the conclusion that it was never useful in any intelligence operation. The information was vague and included a lot of irrelevant and erroneous data. There was also reason to suspect that the research managers had adjusted their project reports to fit the known background cues.(3)

https://slate.com/health-and-science/2017/06/daryl-bem-proved-esp-is-real-showed-science-is-broken.html

https://hubpages.com/religion-philosophy/Extrasensory-Perception-Fact-or-Fiction

https://www.yumpu.com/en/document/read/1806524/a-taxonomy-of-psi-phenomena

http://www.eso-garden.com/specials/encyclopedia_of_occultism_and_parapsychology_1.pdf

http://www.eso-garden.com/specials/encyclopedia_of_occultism_and_parapsychology_2.pdf

https://www.britannica.com/topic/parapsychological-phenomenon

https://newrepublic.com/article/142268/united-states-government-embraced-occult

https://www.ocf.berkeley.edu/~jfkihlstrom/ConsciousnessWeb/MindBody/MindNoBody.htm

(1)Parapsychological Association: Glossary of Psi

(2) Psi Phenomena: Daryl J. Bem

(3) Parapsychology: Wikipedia

My Prophecy Move Trick

Script: (10 of hearts for example)

I'm looking for a card that I think will be relevant in a moment. Ok, here it is.

So I want you to take this card and stick it somewhere in the middle of the deck. Great. 

As you know, except for the Jokers, there are two parts to every playing card in a deck. The suit and the value. So with the card I chose (do the prophecy move) the suit is hearts and the value is 10. 

And the reason I chose the 10 of hearts is because I wanted it to serve as a prediction as to where you would insert the card into the deck. (Spread the deck and drop the 10 of hearts as well as the card above and below it.) So if I'm right, the suit of the top card would also be a heart.(turn over top card to reveal it to be a heart). But as interesting as that is, by itself it's not that impressive since I have a 1 in 4 chance of being right. What would be really impressive is if the value of this second card was also a ten. (Turn it over) and sure enough it is. 

The Glide

Secretly pulling back the bottom card so that the second-from-bottom card can be removed as if it is the bottom card.

Note: Though the middle, ring and little fingers do the pulling, the thumb and index finger are what keep the rest of the deck in place.

See:
Card College Vol 1

Two Handed Glide

Aaron Fisher Tutorial

Card Change Practice Routine

1. Palm Change
2. Erdnase Color Change
3. Glide card to the table
4. Shuffle bottom card to top. Put tabled card on top of deck. Shake Change.

Gene Maize Bottom Deal

"Gene Maze and the Art of Bottom Dealing".
It's also known as a "Modified Ernase Grip". This Information is more for credits as
the best source to learn it, is the Steve Forte special or the GPS Tapes.
He uses this form of the bottom deal on the 3 Tape (DVD).

Furthermore Gene Maze uses his index Finger as a pressure point.
I belive most people who use the grip with the sailing action use equal pressure beteen the first and
second finger. Furthermore there is no push out action as in the Erdanse bottom, it's a simple strike bottom.
Other than that just straighten your third and fourt finger.

Accoring to Jason England a gambler showed Steve Forte this version of the bottom deal.
I think you can find this information in the Gambling Spot way back. But I'm not 100% sure about
the place, I'm sure about the source being Jason England.

Life Equation

See:
Bigger Fish (Peter Turner)
Jinxed (Peter Turner)

Swami Gimmicks

Undernail Writer

Band Writer

Boon Writer

Thumb Tip Writer

Definitions: Psychic/Paranormal

Clairvoyance - The acquirement of information not known to others apparently via extrasensory means. This would include any effect where the magician discovers a secretly selected object, such as a playing card, the location of which is unknown to anyone present.(1)

Cold Reading - The definition of cold reading depends to some degree on who is defining the term. In it's simplest form, a cold reading is a reading where the psychic doesn't know anything (or little) about the sitter. From the more skeptical point of view, it is the use of methods, techniques and observations to provide the psychic/performer with information about the participant.

Divination -  an art or practice that seeks to foresee or foretell future events or discover hidden knowledge usually by the interpretation of omens or by the aid of supernatural powers.(4)

Medium - A person believed to act as an intermediary between discarnate entities (spirits) and the living.(3) There are different types of mediumship or spirit channelling, including seánce tables, trance, and ouija.

Mental Control - The apparent control over another's mind. Rather than predicting a free selections, the performer influences the selection process.(1)

Numerology - A system of divination involving the interpretation of numbers.(3)

Occult - There are various definitions of the term but its current, general definition refers to supernatural, mystical, or magical beliefs, practices, or phenomena.

Omen - An omen (also called portent or presage) is a phenomenon that is believed to foretell the future, often signifying the advent of change. People in ancient times believed that omens bring a divine message from their gods.(wikipedia)

Precognition - The apparent acquirement of information from the future. This would include any prediction effect.(1)

Psychometry – the ability to discern facts about a person or thing by way of direct
contact either of a personal item or image of the one being “read”.(2) Also known as object reading. Also see Clairsentience.

Reading - Information given by a psychic or medium to a sitter.(1) Also see Psychic Reading

Spiritualism -

Telepathy - The acquirement of information from others apparently via extrasensory means.(1)












(1) Magic in Theory, An Introduction to the Theoretical and Psychological Elements of Conjuring (Wiseman)

(2) An Introduction to Mentalism (Craig Browning)

(3) Glossary of Terms in Mental Magic: Mindmagician.org

(4) Merriam-Webster Dictionary

(5) The Full Facts Book of Cold Reading (Ian Rowland)

Stein&stein - Summary The Anthropology of Religion Magic and Witchcraft

Mercury Card Fold

Method of secretly folding a card into quarters.

See:
Card College Vol 5, pg 1353
Jay Sankey's Papperclipped Special Edition

Paper Clip Switch (Sankey)

See:
"Paperclipped Special Edition

Fourth Dimensional Telepathy

I've read this was originally a Theodore Annemann effect.

See:
Easy to Master Mental Miracles, Vol 3 (Richard Osterlind)
Bob Cassidy "A Journey Through the Fourth Dimension".

Impression Pads, Force Pads & Devices

Psypher, 

Nomad, 

Tommy Pad, 

Parapad, 

John Riggs Butterfly Pad

https://www.thejerx.com/blog/2016/9/15/jerx-on-your-side-forcing-pads

http://magikdata.com/products-us.html

https://www.google.com/books/edition/Devious_Contraptions/2D_6DQAAQBAJ?hl=en&gbpv=1&dq=impression+pads+mentalism&printsec=frontcover

Business Card Prophecy

Simple prediction trick using Bill Simon's prophecy move with a prediction written on the back of a business card.

JS Magic performance

Double Deal Force

Force published in Max Maven's Green book for the effect Predixion. I don't know where it originated.

This is a method of forcing the top card or the top two cards of the deck. Have the spectator deal cards into a pile stopping whenever they want. This puts the force card(s) on the bottom. Then have them pick up the pack and deal them into two different piles. If it a single card being forced, this puts it on the top of the pile last dealt onto. If two cards are being forced, then there is one force card on the top each pile.

Rhine's Revenge/Jazz Mentalism

It appears this effect has been published under a number of different names including 'Jazz Mentalism' and ESPionage.

Effect
Two sets of ESP cards are introduced, one of which is handed to your spectator. You begin by placing one of your cards sight unseen onto the table, and the spectator follows this by placing one of their cards next to yours. This is repeated with the four remaining cards; each time the mentalist’s card is placed down first. Despite the odds the mentalist appears to have predicted the exact order that the spectator would deal their cards.

Method
Use of marked cards. You put a card down, then the spectator puts one down. Your next cards always matches what the spectator puts down. If you can't match it (because it was already placed down), stop, pick up the cards on the table, secretely move the bottom to the top them present them. The spectators will match.

For sake of explanation imagine the cards are 1, 2, 3, 4, 5.

Possibility 1: First card Spectator puts down is the same as yours (You and spectator put down a 1).
Stop and turn the cards over revealing they are the same. Start over telling them to try a different card this time. You put down the 1 again and they put down a different card. This takes you into the other possible scenarios.

"So lets just see if we are in tune"

Possibility 2:  Spectator puts down your initial card as the second card they put down.
See Derren Brown video as one possible method.

Possibility 3: Spectator puts down your initial card as the third card they put down.


Possibility 4: Spectator puts down your initial card as the fourth card they put down.
For your last card simply turn it over and see if it matches the spectators last card (which it will). Then with the packed on the table switch the bottom card to the top or present it as if it came from the top.

Possibility 5: Spectator puts down your initial card as the last card they put down.
Simply switch the bottom card to the top or present it as if it came from the top.



Derren Brown Script
So this is a classic test of psychic abilities, which I thought I'd do with you. You may have seen this before. I don't think any of this is psychic, I think what makes this work is much more interesting than the idea of psychic ability. But look, these are five symbols, alright you've got a circle, square, wavy lines, star and a cross. So, that's one set, I have another set here and I'm going to try and send one of the thoughts to you, don't look at them for the moment.

I will take out one, ok, that one. (places card on table). Now I placed that face down. That's my choice. Here's what you mustn't do, don't try and think, oh, he thinks that I think he wants me to think of this. It's not. It's about, what your looking for is that feeling like, if you got it wrong then your like "oh! I was going to say that" It's that feeling, but try and catch it now rather than later. So it's like a gut sense of "well I knew it was that."  Try and get it now and then take it out, don't let me see it and put it face down.

(Kelly acts dramatic then puts card down)

(Derren puts another down) Ok, look, I'm taking out that one. Don't overthink it. Look at me. Try and get it up here first then just take it out rather than looking through the cards to take it out.

(Kelly puts down second card)

(Derren turns his two cards over) You changed your mind with that last one, it really threw me

(Turns over Kelly's top card to match it, then turns over her second card to match it)

You didn't! I really thought you changed your mind on the last one...


Impromptu
This could probably be done impromptu with business cards by simply nicking the corners in a way similar to the mindfx card markings.



Derren Brown Performance
Derren Brown Performance 2

ESPionage - by Charlie Frye

Rhine's Revenge performance

Rhine's Revenge - Ad

Rhine's Revenge - Performed by JS Magic (first trick)

Paul Draper starts his interview with this routine, going very well

See:
Rhine's Revenge (video)
Jazz Mentalism (written)

Crimp used when spectator wants to shuffle

JS Magic using a crimp when spectator asks to shuffle - link

Grips

Mechanics Grip/Dealers Grip *Tutorial
Straddle Grip (think charlier cut) *Tutorial *Tutorial
Biddle Grip/End Grip(think swing and swivel cut) *Tutorial

Dribble Force

Tutorial

Lottery (Jay Sankey)

See Jay Sankey Hemispheres

Dingle No Lap Switch

A method of switching a number of selected cards which have been outjogged from the pack with cards from the bottom.

I first learned the move from the Jay Sankey video Hemispheres where he demonstrates it in the trick Lottery. He (apparently incorrectly) refers to it as the Vernon Substitute Transfer. In actuality, it is the Derek Dingle No Lap Switch.

The move is used in the first part of the trick in this video.

The move is similar to Vernon's Strip Out Addition.

Proof Positive (variation)

This is a variation of David Parr's Proof Positive which is a variation of Max Maven's Positive/Negative. It uses equivoque as well as a method of turning a coin between heads or tails within a clenched hand.


The Dime is in the hand.
Script:
Andy, would you say that you have a vivid imagination?

Yes.

Good, that will come in handy.

In a moment I will place an object in my left hand. The reason I'm telling you this is that later you might wonder if there really was an object under my left hand or you might wonder if there was actually more than one object. So, to dispel any suspicions you might have, I promise to keep my hand here until it is time to reveal what is in it. Does that seem fair?

Yes

Good. Now here is where your imagination comes in. I want you to imagine there are three coins on the table in front of you. There's a nickle, there's a dime and there's a quarter. Nickle, dime, quarter. With your right hand I want you to pick up one of those coins.

(picks up coin)
Scenario 1
Which is that? The dime. Ok, now flip it into the air so that lands on the table. Now you tell me, did the dime land tails up or heads up?  (tails/heads) Did you say (tails/heads)? That's amazing! You'r absolutely right. The dime is (tails/heads) side up!

Scenario 2
Which is that? The nickle. And with your left hand pick up a second coin. And which is that. The quarter. Ok, those coins are yours to keep. I will take the dime and flip it so that it lands on the table. Now you tell me, did the dime land tails up or heads up?  (tails/heads) Did you say (tails/heads)? That's amazing! You'r absolutely right. The dime is (tails/heads) side up!

Scenario 3
Which is that? The nickle/quarter. And with your left hand pick up a second coin. And which is that. The dime. Hand one of the coins to me. (if he hands you the nickle/quarter) Now take the dime and flip it ...
(if he hand you the dime) and I will flip it...


David Parr traps the coin vertically between his hand and the table. When the side of the coin is revealed by the participant, he simply lets the coin fall flat either heads or tails up. The problem that I have with this is that the falling of the coin is noisy, even if the table has a table cloth. In a quiet room this is a dead giveaway. To deal with this problem I simple place the coin in my hand so that it is held vertically between the fold of my palm and middle finger. I can then open my hand controlling whether the coin is heads or tails.

Pirouette Flourish

-52kards tutorial
-tutorial

Glide As A Force

See:
Darly Vol 1

Out of Mine - Max Maven

Out of Mine is an effect created by Max Maven which is a simpler version of Dai Vernon's "Out of Sight, Out of Mind". It is explained in Kayfabe Disc 2.

Effect:
The cards are shuffled by a spectator. Then the participant is asked to remember one card as cards are shown to him one at a time from the top of the deck. After a number of cards have been shown, the participant is asked if he has a card (the participant says yes).

As the magician shuffles the cards he says "I will mix the cards, and I will show them to you again and this time when you see that card, the one you are thinking of, I want you to think stop. Don't say it, but think stop." He then starts showing cards one at a time. He then says "did you think stop"?

1) The participant says yes.

The magician hands the deck to the participant, then starts to take cards from the top one at a time. At some point he stops and asks the participant to reveal his card. The magician then turns over the thought of card.

Method:
"So, I want to play a game of psychology involving a deck of cards, and you. I will begin by having the deck shuffled, but we'll let the lady do it. From now until the end, I will not look at the face of any card, but you will see some cards."

The magician gets the shuffled pack back.

"I will show you the cards slowly one by one and I want you to decide on one card that you see, but don't tell me which one. Alright."

The magician then shows six cards one by one to the participant.

"Do you have one? Oh good"
---
"Even if I had been standing behind you looking over your shoulder I would not know which card you are now thinking of correct? Yeah, I think that is very fair. I will mix the cards and I will show them to you again and this time when you see that card, the one you are thinking of, I want you to think stop. Don't say it, but think stop. And I will try to feel when you are thinking stop and I will try to stop on that card. Pretty good? I hope so."

While saying the above script the magician does the following shuffles:

Use an injog shuffle to present the appearance that you are shuffling when in actuality the six cards are still on top.

Shuffle three cards then drop the deck on top (Now three of the six cards the participant could have thought of are on the bottom, three on top).

Shuffle off the top three cards, then six more, then drop the remaining pack behind these cards (Now you have six indifferent cards on the top followed by three of the six possibly thought of cards. The other three possible thought of cards are on the bottom of the deck).
---
Magician begins showing cards to the participant one at a time from the top of the deck. He hesitates a little around the 7th, 8th, and 9th cards (the three possible thought of cards) then shows two or three more cards.

"Did you think stop?

1) Participant says yes

"Yes, I hesitated at that point, but I wasn't completely sure. Let me try something"




Out Of Sight Out Of Mind (performance)

Out of Sight Out of Mind (David Ben performance)

Out of Sight Out of Mind (Ammar performance)

Jazz Aces

Performance and tutorial




Order of Aces top to bottom, face up: hearts, diamonds, clubs, spades.

1. Get a break under the top card of the face down spot cards. Place the face up aces on top, picking up the extra card. Thumb off and turn over each ace one at a time onto the packet. When you get to the ace of spades (double card), place face up on the packet, then thumb it off onto the table. From right to left, place three cards down onto the table as if they were the other three aces. In actuality you put down a spot card, the ace of clubs and  the ace of diamonds.

Proteus

Proteus by Phedon Bilek

Basic anagram:
A (S) T R S

Yes, move down. No, move across.

A -- no -- S --no -- Tree/Flower/Pen(cil)/Moon
|                |
|               yes -- House/Sun/Fish
|
T -- no -- Car/Ball/Plane/Glass
|
R -- no -- Boat/Cat/Table/Stickman
|
S-- no -- Heart
|
yes --Star


Outcome groups are in order of likeliness to be chosen.

Stacks

A stack is a specific, intentional ordering of cards. A “stacked deck” can be partial (some of the cards are arranged in a stack) or full (all of the cards are so arranged).







https://www.deceptionary.com/aboutstacks.html

Mentalism vs Mental Magic

An excerpt from Bob Cassidy's "Principia Mentalia":

The Difference Between Mentalism and Mental Magic

Both mentalism and mental magic are forms of entertainment. Neither is more inherently entertaining than the other.

...Mental magic and most theatrical magic are indistinguishable. Both are obviously illusions or special effects, which are visually or intellectually interesting, but nonetheless are generally perceived to be tricks by even marginally intelligent audiences.
HOW TO TELL IF YOU ARE DOING MENTAL MAGIC OR MENTALISM:

Pay attention to what audiences generally ask after seeing you perform. Do they ask things like:

“How is that done?’
“Can you show me another trick?”
“My five year old has a birthday coming up, what do you charge?”

If your answer is “yes,” you are doing mental magic, which is best described as “effects with a mind reading theme, which are, nonetheless, perceived to be magic tricks.” They do not create the illusion of the “real thing.”

If, on the other hand, you have succeeded in creating the illusion of mentalism, you will receive responses like these:

“Did you learn that somewhere, or is it something you were born with?”
“How did you know that?” (as opposed to “How did you DO that?”)
“Get away from me, man. Don’t be messin’ with my head!”

Mentalism and mental magic, then, are different forms of entertainment. Both elicit different perceptions and reactions from an audience. The mentalist, therefore, has an ethical responsibility unknown to the conjuror or mental magician, for he is in a position to make people believe in, and rely upon, to their detriment, his alleged powers.

Perfect ESP

By Peter Nardi

The Stack: Circle, Cross, Wavy Lines, Square, Star

Performance

See:
The Unexpected DVD 1

Feel (Peter Nardi)

The effect:
The participant is shown seven cards with words of various things small enough to be held in one's hands. The cards are cut are given a cut or two. Then, from a face down spread, one card is selected. The participant is asked to cup his hands and imagine they are holding the item. The mentalist ponders for a moment then seemingly through some form of mystical inspiration is able to reveal what card was selected.

Method:
Seven cards are presented. They are Money, Ice, Needle, Dice, Spider, Pen, Yo-Yo

See:
The Unexpected disc 2

Triple Table Cut

tutorial

Voices into someones head

https://www.theory11.com/forums/threads/making-people-hear-noises.51635/page-2

Bone Conduction
https://www.adafruit.com/product/1674?gclid=CjwKCAjwqqrmBRAAEiwAdpDXtACTtwg-dXKAd7GYjyOSM65r737ZbJG7bydUoThyHYnXLRIwNiA6PRoCagEQAvD_BwE

inception on aliexpress

The Key (Wayne Dobson)

https://vimeopro.com/dtrik/thekey  (password: thekeyPd06)

Magick Balay performance

Wayne Dobson performance

Richard Osterlind Mind Mysteries 1 -7

Volume 1

Bank Night

Description
The performer shows 5 envelopes and asks who would like to participate in a game and that inside one of the envelopes is a $100 bill and you can keep whatever is inside of your envelopes. 4 audience members are chosen and each take an envelope and 3 of them open it...empty. The 4th spectator is asked whether or not they would like to switch envelopes with the performer. Every time the performer finishes with the $100 bill in their envelope. And the spectator is left with a little surprise inside their envelope. This completely gets rid of the traditional “I win, you lose” aspect of the trick which is a fantastic thing.

Ratings
Difficulty – 4 - making some moves look natural
Awesomeness – 8 - Great opener

The Perfected Centre Tear

Description
The performer takes out a ‘billet’, index card or business card and folds it in half and writes the spectator’s name on the outside. They unfold it and draw a line in the middle of the card. The performer asks the spectator to think of someone and write it down on the card and fold it back up. The spectator does this while the performers back is turned. The performer then tears up the card and places the pieces in the spectators hand and names the person they were thinking of. Simple as that.

Ratings
Difficulty – 7 ½ - Some things are a little tricky there is a fair bit of heat on one move.
Awesomeness – 9 – I think you can tell that I really like this.

Radar Deck

Description
The Performer shows a pack of cards and 4 audience members volunteer. A quarter of the deck is fanned in front of each spectators face and they are each asked to mentally note a card. The performer then names each card. He even names the cards they changed their minds on! Don’t believe me? Here’s Richard’s performance - http://www.youtube.com/watch?v=9wSEenzsKPY 

Ratings
Difficulty – 3 – Small amount of memory but mostly in the presentation.
Awesomeness – 8 – This is more than just a card trick...it’s mind reading.

The Watch Routine
Description
The performer states that he wishes to do an experiment in time. A spectator comes up and is asked to think of a time that is important to her and to write it down on a business card or ‘billet’ of similar size. The performer then writes something on a chalk board while staring into the spectators eyes. He then takes off his watch (analogue) and shows that if you twist the stem the time changes and the arms move around in circles. A second spectator spins it, the performer spins it, then the second spectator holds it face down and just spins the stem until they feel like they need to stop. They then push the stem in. The first spectator then names the time and the performer shows the chalk board and the times match, he then asks the second spectator to turn the watch over and say the time aloud. All the times match. Incredible.

Ratings
Dificulty – 6
Awesomeness – 9 – I really like this one.

Thought Scan

Description
A number of small cards are handed out to the audience and they are asked to write down any sort of information; names, numbers, dates, anything that is significant to that spectator. They small cards are then collected up in envelopes and the performer places them aside and takes out a clipboard to record certain data or things as they come to him. He then calls out things like “Who went to LA on a holiday? You? Okay, you thinking of a boy, do you have children? Yes? This boy is your son, Jason?” and continues to do this until the audience’s brain is totally fried.

Ratings
Difficulty – 4 to 8 – It really depends on circumstances.
Awesomeness – 7

Magazine Test

Description
The performer picks up a chalk board, holds it at his chest and writes something down (audience cannot see), he then stops puts a line through what he has written and says “No, do you ever change your mind? I just changed mine, I’ll go with this” and he writes something else. The performer holds a magazine as a spectator slips in an ad card (the ones that come in the magazine) into the magazine and open it up where the ad card is. The spectator initials the corner of the page and then holds the magazine and a pen behind their back and the performer asks them to draw a circle around the size of a dime towards the centre of the page. The spectator then is asked to name aloud how many words the pen has touched “five or six” is the common response. The performer then says “If I was to shoot an arrow at the circle, what word would be ‘bullseye’?” The spectator says “Weinstein” (it can be any word, this is an example) The performer then says “Are you sure? I mean, is it really in the centre because I can see another word there.” Then performer then says “Yeah, the word ‘Abroad’ is there but that’s not exactly centre” “Would you be impressed with ‘Abroad’ though?” “Yeah, I guess” “But Weinstein is the word you want?” “Yes” The performer then turns the chalk board around and on it is the word ‘Abroad’ with a line through it and the word ‘Weinstein’ below.

Ratings
Difficulty – 7 – There’s a few things that might not come without practise.
Awesomeness – 10...maybe a 9 – I don’t believe in perfection but it comes close.
  

Linking Finger Rings

Description
The performer borrows three finger rings from three different spectators. He then slides them onto a pencil and then pulls them off...they are linked. Each spectator is then called up to identify that their ring is really linked and really is their ring. One ring is then separated and given back to the first spectator. There are now two rings linked together and both spectators come up and identify their ring and the performer grabs one ring and you hear the snap of metal as he yanks the two apart. He then gives the rings to each spectator, the rings ar completely fine.

Ratings
Difficulty – 8 – Knacky moves
Awesomeness – 3 – a bit on the ‘dull’ side, I thought.


Volume 2
Focuses on his Breakthrough Card System

Card Calling
The magician shuffles a jumbo deck of cards and has a spectator select a clump of them from a fan. The magician now turns away from the spectator, making it impossible to see the cards. Under seemingly impossible conditions, the magician names every one of the cards the spectator hold, and upon reaching the point where there are only two cards remaining, tells the spectator what card s/he was thinking of, moments before.

A great effect for stage performances in front of large audiences.

7.8/10

Two Cards in Pocket
The magician shuffles and cuts a deck of cards, and gives it to a spectator. The spectator can freely cut the cards as many times as s/he wants. When the spectator is satisfied that the cards are mixed, the spectator takes the top two cards and puts them in his/her right and left pockets, without looking at them. The magician has the spectator return the deck to the box, and put the box away, so that the magician can’t access the rest of the deck. The magician, without any fishing, names both cards and asks the spectator which card s/he wants in which pocket. Upon removing the cards from his/her pockets, the spectator finds that the cards were in the correct pockets.

This is, in my opinion, the best effect on the video, with Challenge Mind Reading a close second. Although the last part doesn’t work every time, it does work about 90% of the time, and is one of the most unbelievable things you can do in mentalism. I showed this effect to my family, and freaked them out. My mom thought this was the best effect I ever did. For most of my effects, my dad either knows how they are done, or gets very close. He had no idea how this was done, which made me realize how powerful and undetectable this effect is.

10/10

Challenge Mind Reading
The spectator thinks of a card, finds it in the deck, places it wherever s/he wants in the deck, and puts the deck in the box. Without even looking at the cards, the magician correctly names the thought of card.

I found this to be the second best effect on the video. It is very straightforward and direct, and is simply amazing.

9/10

Corinda Effect
The spectator, after cutting the deck several times, puts the deck under the table (if available), takes the top card, flips it over, places it in the middle of the deck, and flips the deck over. While the magician turns away, the deck is removed from under the table, and covered with a card case (or other similar object). Without even touching the cards, the magician names the card, and when the spectator spreads the deck, it is found to be the correct card.

This, like all the others, is an amazing effect. However, I found that while it is still a very good effect, it is not as strong as the others.

7/10

Blackjack Demonstration
You have a spectator deal 4 hands of blackjack and proceed to tell each player what would be the best thing to do, and what cards s/he will draw to.

This one takes some effort. No single part of it is any harder than the others, but you have to be able to think quickly to perform this one. While the fact that you can tell what cards the spectator will draw to is impressive, the effect doesn’t have a climax or strong ending. Although you can tell what cards everyone has, you can’t control what anyone can draw to, meaning that there is ending, so the spectators don’t really know when the trick is over.

7/10


Volume 3
Sweeter and lower

This is a signed and restored sugar packet. This is a great effect it looks so fair and is very visual. The only down fall of this effect that it’s not an instant reset so it isn’t great for restaurant work were this effect would be great. 8/10

Change of mind

This effect is were you make three predictions two for your spectators and one for you. The predictions are of coins the spectators take from there pockets and one coin from your pocket. All the predictions match. This effect is great. The gimmick is easy to make and the set up is very easy also. The trick is instantly re set so it’s perfect for a set show or table hopping. Truly a great effect. The only con is you need the spectators to have some change. So if no one has any you can’t do the effect. 9/10

Spoon bending

Next comes the spoon bending. The spoon bending is nice but I still say if you’re in this for just this part you would be much better off going with Psychokinetic silver wear. The bends are nice and Richard performs them very well but only the last bend I fell is up to par with the stuff that Banchek dose. 

7.5/10

Uncanny

Uncanny is an interesting card effect. One of the weaker things on the DVD but still very good. The performer has them see a card in the deck and then the performer pulls one card out and holds it in his hand and magicly turns over by it’s self. It looks cool but it’s not for every one. Takes a lot of presentation and doesn’t fit well with me but may be jem for some one else. 

7/10

Nail Writer

This is one of the best parts of the dvd. Richard goes over his ways of getting on the gimmick and how he use it. He also goes over two effects lottery and cell phone effect. Which are good examples of how presentation can make two very similar effect look entirely different to and audience. 

9/10

Bill in Cigarette

This is a magic trick plain and simple. The performer borrows a cigarette and puts it on the floor. He then takes a one hundred dollar bill from and audience member puts it into an envelope and burns it. He then goes up to the cigarette and pulls out the signed bill from the cigarette that has been in full view the whole time. This effect is great. A very easy to do effect though it is a real reputation maker. You start an end clean to. This effect is a winner. 

9.5/10

Radio sum total

This is an effect were the audiance comes up with an answer to a problem that is on the table from the begining of the effect. This is an effect that can be done on the radio and is very easy to perform. It's a very good effect and has good audiance perticipation. I rate this effect 

8.5/10

Volume 4

Glass of Water Production - Osterlind's classic glass of water production from an empty and examined paper bag. Paul Daniels and many other stars of magic have featured this on their television specials.

Imp Pad - Duplicate one of Dunninger's Brain Busters! This is the real way to get information before the show. Plus, complete instructions are given on how to construct the ingenious pad.

Marked Coin in Bottle - In this version of one of magic's classic effects, the coin is marked by a spectator before being magically passed into a soda bottle by the performer. The spectator's marked coin is actually in the bottle, which must be smashed in order to retrieve the coin.

Signed Torn and Restored Post-It Note - An ordinary Post-It Note is signed and torn to pieces. The performer restores and returns the signed Note in the fairest possible way.

Spike Bending - Metal bending for a large stage audience! The performer passes out huge spikes for examination and then apparently bends them with the power of his mind in full view!

S.O.S. Pseudo-Psychometry Bag - Five spectators drop personal items into a black cloth bag without the performer knowing which person the items belong to. The performer returns each item to its proper owner while giving a psychometric reading for each.

Signed Torn and Restored Newspaper - This is the most guarded secret in this video series! Any page is selected from a newspaper and signed by a spectator. The paper is torn in half five times and then restored. The signed paper is then returned to the spectator to keep as a souvenir. What's more, the performer is totally clean at the effect's conclusion. This effect has been fooling the best minds in magic for over 15 years and is finally being released! 

Volume 5

ULTRA BOARD-For the first time on video, see Richard Osterlind perform his classic Mental Epic type effect with an ungimmicked board!
SPOON BEND-A totally new bend with an ordinary spoon that looks impossible! This takes spoon bending to new heights!
FORK BEND-Three forks just melt over at the mentalist's command! It looks like power shoots from the mentalist's hands! 
THE VERY MODERN MINDREADER-This is a whole act that uses nothing but a few cards and envelopes. This one can make your reputation as a mind reader!
DIGITAL FEEDBACK-This is the best calculator effect ever! You will stun your audience numerous times and leave them with an ending they will remember!

INSIDE THE FOLD-This is one of Richard's most cherished secrets! An audience member calls out a number. He is handed a folded card which has been in the performer's empty hands from the beginning. The chosen number is predicted inside. It is that clean!
STAINLESS STEEL BLINDFOLD-This is one of the classics of mentalism. See Richard perform his favorite routine right out of the manual!

PENOMENALLY (PSYCHIC CONTROL)-A pen placed on a bottle moves at the mentalist's command! There are no threads and the movement is totally under the performer's control!  STOPPING A WATCH-The actual mechanics of stopping watches and changing the times are demonstrated. Richard discusses the applications to many types of watches. Also included is controlling a compass and how to mentally destroy a hotel room key!


Volume 6
MIRACLE FLYING CARDS—See Richard do his classic routine in a new updated fashion in front of a large audience. You will see why this has been called one of the best stand-up card effects ever created!

SPIRIT WRITING ON CARD—This is a totally new routine! A number of blank and ungimmicked index cards are displayed. One is chosen and a design is called out. When a lighter is run across the card, the chosen design is burned into the card! Richard also shows how to control the flame of a lighter!

MULTIPLE KEY BENDING—This is Richard’s personal routine for bending a number of borrowed keys in the hands of a spectator! See how Richard uses suggestion to first cause her hands to lock together and how she feels the keys bending! The best method for bending keys on stage!

CLIP LINE DELUXE—Once you see this effect, you will really understand what’s so special about Richard’s thinking! The classic Clip Line effect is performed in such a way as to look totally impossible even if you know the original secret! This is spectacular!


AMAZING MEMORY DEMONSTRATION—This may be the most important routine in the series! Not only will you learn one of the most stunning demonstrations you can perform, but the advice Richard gives could change the very way you live!

STENO ESP—This is Richard’s method of doing the classic Mental Epic-type effect with nothing but a steno pad! Not only is this easy and fun, but you will see how Richard’s thinking reverses some of the workings!

OUT OF HAND—This routine has long been unavailable. It won widespread acceptance when it first appeared on Richard’s Challenge Magic. With this, you will have one of the most entertaining Six-Card Repeat-type effects ever invented!

INDUSTRIAL STRENGTH LINK—The performer repeatedly links and unlinks a large industrial spring from a coat hanger with ease while the spectator fails every time! The routine grows in impossibility until the spring actually unlinks in the spectator’s hand!

COIN SNATCH—Richard Osterlind’s own way of doing the old classic with a clever new addition which will convince your audience that you have the fastest hands in the world!

ORIGINAL INSIDE OUT—This is the first time this effect has appeared anywhere! A single folded card repeatedly turns itself inside out with just a wave of the hand! The effect grows as a paper clip is placed onto it. What’s more, the card is given out at the end!

Volume 7

QUESTION AND ANSWER ACT—This act is worth the price of the whole series! Questions are written by the audience and collected in open view. Still the mentalist answers them in an impossible way! Not only is this act new and stunning, it is the simplest Q&A act of them all! You will LOVE this!

TEST CONDITIONS II—Remember the Test Condition Card Effect from Richard’s first series? This is another effect with the Breakthrough Card System that will floor even advanced card men! You find a chosen card under impossible conditions after the spectator returns the card himself and shuffles the deck!
TRIBUTE TO TARBELL—A spectator thinks of a card. Another spectator brings her hand down on the spread deck and finds the first person’s card! A killer anytime, anywhere mystery!
PSYCHOLOGICAL IMPOSSIBILITY—A mentally chosen card mysteriously vanishes from one half of a deck to appear in the performer’s pocket! See how Richard takes a standard effect and turns it into a major mystery!
MATCHBOOK PREDICTION—This is one of the most entertaining and mysterious card effects you can do! A chosen card appears on the inside cover of a book of matches not once—but twice! The audience howls with delight!

ESP STACK—Richard shows his new ESP stack and how it is used to duplicate the actual tests devised for these cards. This routine looks just like the real thing!
OSTERLIND DESIGN DUPLICATION (ODDS)—Richard’s revolutionary method of doing the design duplication effect. This routine was developed based on actual laboratory techniques for testing ESP and is the closest thing to real ESP!
ASHES ON THE ARM—The classic effect is updated by Richard. A spectator writes the initials of a family member on a piece of paper which is burned. The ashes from the burned paper are rubbed on the mentalist’s arm (or hand) and the initials appear in the ashes! This looks uncanny!

PEN PADDLE MOVE—This is Richard’s trademark routine which he uses in trade shows. The writing on a pen repeatedly appears and vanishes. You will be amazed at the effect Richard achieves using this classic principle!
DAD’S FAVORITE—The spectator cuts a deck of cards over and over into four final piles. The top cards are turned over and found to be the four Aces! This amazing effect was actually taught to Richard by his father when he was a young boy!
HAUNTED KEY—Richard performs the classic Haunted Key effect using the methods from his classic book, Making Magic Real. You will see how the key turns over with no movement of the performer’s hands!
SOLID GHOST—This classic is one of Richard’s favorites! A solid ghost appears inside the dark recesses of a folded handkerchief! It is tapped with a spoon and felt by a spectator before it disappears back into nothingness! Watch how Richard uses this to close the show!

Hindu Shuffle

52kards Tutorial

Mentalist/Spiritualist Performances

Joe Dunninger Performance

Joe Atmore Performance

Gerry McCambridge Newsstand trick

Hoy Book Test

Effect
A spectator chooses ANY two books. He keeps one and you get the other. You turn the pages
in your book until he stops you. You tell him the page number and ask him to look at the First
word on that page in his book. He does, and after concentrating for a moment, you reveal the
word he is gazing at in his book!

How it works
Begin by asking a spectator to pick any volume from a shelf of books and to hand it to you. Once
he does, ask him to choose another book. When he turns to get the second book, you open the one
you are holding to somewhere in the middle and note the page number and First word on it. You
do this quickly and then, quietly close the book.

When the spectator turns around with the other book, take it from him and hold out both books
at arm’s length. Ask him to “point” to one. As David Hoy would say, “A silent little prayer at
this point might help.” If the spectator chooses the First book – the one in which you’ve already
noted the page number and First word, simply hand it to him. If not, say to him, “Good. I’ll take
this one and that leaves this one for you.”

To the deeply initiated this is the horror of horrors, “magician’s force,” not to be shunned, and not
even recognized by magicians when performed with confidence and urbanity.
You now begin paging through your book and tell him to say, “Stop,” whenever he wishes.
It doesn’t matter where he stops you – you simply LIE and say whatever page number you previously noted. 

You should make it a point, not to stand too close to the spectator. Stand at least a few feet away and tip the book toward him as you repeat the page number. Don’t worry; he couldn’t see the page number with “bifocal binoculars” anyway. Just make sure you begin paging through quickly enough that by the time he stops you, you’re somewhere in the middle of the book. That way, the spectator will not be able to discern any discrepancy between the page number you’re telling him and the actual page number he stopped you at. Remember, you must do this boldly and with complete condence. That’s what counts most! 

Once he looks up the “same” page in his own book, have him concentrate intently on the rst word on the page. Note, if it’s the kind of book that has a repeating chapter heading at the top of each page, tell him specically to concentrate on the rst word of the rst paragraph. Give him some time to focus on it. You may want to feign some brief difculty in initially reading his thoughts. Don’t overdo this, though. After a few moments, slowly SPELL the word and then, say it. This helps build the drama. Whatever you do, don’t just blurt it out as if you knew it all along! 

So you have it, a completely impromptu, yet astonishing book test. And it really can be done anywhere. Think of all the places that have or sell books – from airports to hotel lobbies or even a prospective client’s own ofce. And no one can ever claim that you prepared for it ahead of time.

https://www.youtube.com/watch?v=wYvmobtjsLw

Two Card Transpo (Peter Duffie)

See:
Double Lift Project, Part II

Script:
Ok, I'll show you something interesting with a deck of cards, but you have to be able to remember two cards.

The first one's the queen of hearts which we'll put on top of the card box like this. And the other one's the really important one, the ace of spades, which we'll put down on the table, and cover with the card box and the queen.

And I want you to keep your eyes on the Ace of Spades at the bottom (as you place the pack on top) because I'm going to give the cards a little riffle like this and the ace comes all the way up to the top. So if that's come all the way to the top, that means that underneath the deck and the box must be the Queen of Hearts.

Flushtration Count

Generally used to subtly show that all the cards in a small packet (either front or back of the card) are identical. In actuality, you are repeatedly showing the bottom card.

See:
Card College Vol 3

Xavior SpadeTutorial


https://www.youtube.com/watch?v=rIAmqw1SZJw&feature=related

The Gemini Count (Center Pullout)

Four cards are individually shown. In actuality the bottom two cards are shown twice.

See:
Daryl's Encyclopedia of Card Sleights Vol 7 @15:00
Card College Vol 3

Used in:
Dr Daily's Last Trick
Twins

Darly-Encyclopedia of Card Sleights Vol 4

Locator Cards;
The Crimp; Oops! (3 variations);
"Stranger" Locator Card;
Pencil Dotted Card;
Short Card;
Narrow Card;
Concave Short Card;
Corner Short Card (2 variations);
The Tuned Deck (Burling Hull);
Broken Corner (Ted Annemann);
Thick Card (5 variations);
Coin Impression Card (2 variations);
Different Shades (3 variations);
Punched Card;
Long Card;
Old Card in New Deck (2 variations);
Slick & Rough Cards;

Different Finishes Forcing;
The Double Count Force;
The 10 to 20 Force;
The Cross Cut Force (Max Holden);
The Cut Deeper Force (Ed Balducci);
Marlo Subtlety;
The So Simple Force (Lin Searles);
The Handkerchief Force (Jean Hugard);
The Hindu Shuffle Force;
Tour de Force (Alex Elmsley);
The Trevor Lewis Force;
The Goldin Force;
Charlier Cut Force (Daryl's variation);
LePaul Bluff Pass;
The Backslip (3 variations);
Riffle Force The Class Force Single Card Controls;
The Kelly Bottom Placement; @1:03:19
The Tilt (Illusion of Depth) (Dai Vernon);
The Tilt Finesse; The Tilt Bit (Lin Searles);
The Bold Tilt to the Top;
The Tilt to the Bottom;
Convincing Tilt (Daryl);
A Flourish and a Pass (Paul LePaul);
The Spread Pass Delay (Harry Lorayne);
The Hofzinser Spread Control 1:12:43
The Sliding Key Card; As a Control; As a Force; As a Cull;
The Convincing Control (Ed Marlo);
The Versatile Card Control (Frank Simon) Multiple Card Controls;
The Multiple Shift (Dai Vernon);
Carmen D'Amico Touch.

Daryl's-Encyclopedia of Card Sleights Vol 7

False Displays (cont'd from Vol 6)
-The Olram Subtlety (Ed Marlo) and variations & Eight-Card Brainwave; 
-The Elmsley Count (Alex Elmsley) and variations; 
-The Jordan Count (Charles Jordan) and variations; 
-The Hamman Count (Brother John Hamman) and variations; 
-The Gemini Count (Brother John Hamman) and variations 
-The Last Trick of Dr. Jacob Daley; 
-the D.M. Count (Daryl, Hamman); 
-The Combo Count (Daryl)

False Dealing 
-The Strike Second and variations; 
-The Double Push Off and variations; 
-The LePaul Second Deal and variations; 
-The One-Handed Turnover Second Deal and variations; 
-The Second Deal (Dai Vernon); 
-The One Hand Turnover Bottom Deal; 
-One-Hand Method (dealing the card face down); 
-The Open Double Deal (Ed Marlo)

Color Changes @ 44:00
-The Bottom Palm Color Change and variations; 
-The Impossible Color Change; 
-The Malini Color Change; 
-The Erdnase Two-Handed Transformation; 
-Daryl's Multiple Erdnase Two-Hand Transformation; -
The Fan Cover Color Change (Daryl) and variations; 
-The Spooner Change (Bill Spooner)

Switches & Changes @55:00
-The Mexican Turnover; 
-The Mexican Turnover Top; 
-Change Second Deal (Daryl); 
-The Diminishing Lift (Marlo); 
-The Curry Turnover Change and variations (Paul Curry); 
-Blackjack Cheating Demonstration; 
-The Emergency Change (Daryl); 
-The Push In Change; The Slide (Arthur Buckley); 
-The Kosky Switch (Gerald Kosky); 
-The Tip-Over Change (Jack Merlin) and variations; 
-Han Ping Chien Move with Cards For the Unambitious (Ed Marlo); 
-A Different Top Change (Arthur Buckley); 
-The Throw Change; 
-The Instantaneous Change (Paul LePaul); 
-The Paintbrush Change (Dai Vernon) and variations; 
-The Snap Over Change and variations; 
-The Marconick Change and variations