Advanced Lab 10/98-12/98

Official I.C.O.M Past Lesson Archive

Advanced Lab 10/98-12/98

When Mike first approached me on this and told me that he had a dynamite force that he has floored “heavyweights” in magic with, I was very interested. Now, I didn’t know what he was about to do, but I had just written a primer on forcing myself and “no way” I thought, was he going to fool me with it. Well folks, you live and you learn! Floor me he did! and now here it is for you to floor others with…Gee Wiz, I thought only Bill Wisch could do that to me<G>…BJG

Johann Neopmuk Hofzinser

(June 19, 1806 – March 11, 1875)

Fordice/Hofzinser Force
Mike Fordice

This month I’m going to share an intriguing force with you. It is based on an idea from Johann Neopmuk Hofzinser (June 19, 1806 – March 11, 1875). Elsewhere in this issue you’ll find a lot more on forcing. Next month I’ll give you a use for this force.

There are books and books written on forces. I probably use about a dozen different forces depending on several things (including my mood!). The force I’m about to teach you is most useful when the “selected” card is to be returned to the deck and lost so that only one person knows the value of the card.

Also we have a few photographs of the mechanics of this force in action. Bobby J. Gallo took these pictures of me doing the force when we attended the Danny Archer Lecture at SAM #161 recently. These photos are from the spectator’s point of view.

1. Begin with the card to be forced on the top of the deck. Get it there any way you like. Perform false shuffles and/or false cuts to retain the force card on the top of the deck. These false shuffles are really easy as you are controlling only one card. Hold the cards face down in your left hand.

2. Using your left thumb, push the top card of the pack (the force card) into your right hand. Push off a second card, and then a third card. Figure #1 shows the position just as the third card is grabbed by the right thumb (left side of photo). The force card is the bottom card of the three shown at the left. This should appear as though the cards are being counted from left to right.

Figure #1

3. Now begin pushing cards with the left thumb to the right; taking them into the right hand without reversing the order. Push the cards off as a spread so that several individual cards are visible. Figure #2 shows the position at this point. The first 3 cards are completely covered by this spread.

Figure #2

4. Have the spectator touch any card in the spread. Break the spread at this point and close the spread by taping the spread again the remainder of the deck. Figure #3.

Figure #3

5. Lift your right hand to the spectator can see the card he “selected” which is actually the force card. Stress that the spectator must remember the card as he/she is the only person in the world who know the value!

Practice this so it looks like you simply spread the cards, the spectator touched a card, and you showed him his selection.

Next month we’ll put this to use!

UNUSUAL! But Good! That is how I can describe this next lesson in the simplest possible terms. And a true lesson it is! Not only is this effective magic that the student can make up with only a small amount of effort, but it gives yet another insight into the creative mind at work. Due to the fact that it uses marbles. It “could” have been equally at home in the “Kid Show Konservatory”. I fully realize that this is a huge departure from the normal card and coin effects that we normally share with you, but diversity of magic is important. I think you are going to like this one. I do!…BJG

Ronald J. Dayton

The mechanics for Roller Box first appeared in print in Dec.of 1995 within the pages of MUM Magazine. I made it part of my regular column, ‘ Dayton’s Deceptive Thoughts’. It seems the idea made an impression on master wood-crafter Clarence S. Miller. He later sent me a finished piece of equipment made entirely of fine hard woods, complete with brass knobs on the drawer.

The ingenious addition he made to the box was a means by which the large marbles placed inside of it could be shown to move freely within the drawer, or, seem to vanish or change color via the Roller Box Principle. Mr. Miller is making and marketing these superb boxes. If you are a serious student of magic, or an avid collector of magic equipment, I urge you to contact him for availability and prices. His address is:

Clarence S. Miller, 354 Broadway, Irvine, KY 40336-1281.

I am, however, putting the cart before the horse. The real story begins in late 1993 or early 1994. A friend of mine, Larry White, had sent several random items for me to ‘tinker’ with, and see if a magic application could be found for the. One of the items were several clear lucite spheres, approximately one half inch in diameter.

I placed one of the spheres into the drawer of a small empty box for matches. The drawer would close without revealing a noticeable ‘bulge’. A big, unexpected surprise came when I pushed the drawer open about three quarters of the way out in the opposite direction. It appeared to be empty! Then I pushed it open the other way, and it still looked empty. The ball seemed to have vanished. The light pressure of the outer sleeve caused the ball to maintain a rather centered position within the box, no matter which way the the drawer was opened, or in which direction the box was held. Horizontally or in perpendicular position, the action remained the same.

Try this for yourself after having found the correct size ball and drawer box with which to work. Experiment with the applications. You’ll find that you can do vanishes and productions, color changes, transformations, and even transpositions if two boxes and balls are used. Consider your possibilities. Think about the combination of different balls with different objects. Perhaps a ball can be changed to a silk? A ball to a cube or die? A hard ball for a sponge ball?

As an example, consider this. Find and use a proper diameter cork ball or small ‘super ball’ in conjunction with a finger ring. Having the ball already in the box, and then keeping it hidden from view as you place a borrowed finger ring into the box will give you a Rattle Box and ring vanish all in one.

This is a marvelous little creation which was stumbled upon purely by accident. It is something both the amateur and working pro can make use of. I believe it has such strength that I wanted to share it with the members of I.C.O.M, just as I had with other magicians previously. I don’t want it to fall by the way-side, or be lost within the pages of a magazine among others stacked on a shelf.

We here at I.C.O.M strive to be innovators to the magic community. Though we realize that we are the sole source of magic to many around the world, we like to think that the magic learned here is not of the variety that is imitated all throughout the magic fraternity. Heaven knows there is enough of that! The following is believed to be an original sleight. Learn it and fool the “all-knowing ones” at your next club meeting, or use it as yet another move for you adoring audiences…BJG

The Curl Back Reversal
Ronald J. Dayton

The face down deck is held in the left hand…tilted at a slight angle so its back is toward the spectators.а The left thumb is at the center of the top long edge and the second, third and fourth are at the opposite long edge.а The left hand first finger is curled and pressed against the center of the face of the deck.

The right hand comes over the deck and grasps it in the following manner.а The right thumb is at the end nearest you…the second and third fingers are at the opposite end, and the first and fourth fingers are at either side, near the corners.

In that moment that the right hand covers the back of the deck, the left hand fingers pull down the long edge of the face card at this side and pull it back toward the left thumb…bending or curling the card in a sort of “U” shape side to side.а In the same instant, the left hand first finger straightens toward the right.а The card becomes clipped momentarily between the left hand first and second fingers, and automatically turns over.

The fingers of the left hand press the reversed card against the deck as the left hand first fingers pulls out from between the card and the deck,а toward the front LH corner of the pack.а As soon as the reversal has been accomplished, the deck is cut and the cut completed.

There will be a slightа ‘flicking’ sound when the card turns over.а This can be minimized by using an older deck…by executing the reversal while on the move…or by making a comment at the moment of the reversal.

It will be up to each individual to determine the worth of this move for themselves.а I believe that, at the proper time, and under the right conditions,а it can be a help in achieving a desired effect.

To a certain degree, it has elements of my Reversal Cull which appeared in MUM a number of years ago, and which no one ever disputed as being original.

” The King’s Sword – Excalibur “
Ronald J. Dayton

EFFECT:аа Two items are seen lying on the performer’s table…a cased deck of cards, and a small plastic cocktail pick…the kind which are made of plastic, and resemble small swords.

You remove the cards from the case, and set the case aside.а The deck is held face down upon the palm of the right hand.а Right thumb holds deck at the top.а A card is chosen by a member of the audience.а It is replaced on top of the deck, and the cards cut and the cut completed. The spectator is now asked to pick up the tiny sword, and push it into the deck, somewhere near the center.а This done, the deck is tabled.

You make a magical gesture over the deck with the right hand, then pick the deck up with one hand at either end, and the sword protruding at the top long edge of the pack.а You now ask the spectator to remove the sword.а As they try, they find it difficult to pull from the deck. Eventually, they are able to, but as they do, a card is seen to emerge with it.а The sword is found to be embedded in the card itselfа This card may be given to the spectator if you wish as a momento of your performance.а The deck itself is otherwise clean.

METHOD:а You will need a deck of cards and case, a duplicate of the card you intend to force, a scissors, two duplicate plastic sword picks, rubber cement in applicator brush bottle.

Begin with one of the swords, the rubber cement, and one of the duplicate cards, and an indifferent card.аа If you intend to give the Excalibur card away at each performance, it is a good idea to purchase a matching Pinochle deck, and make several at a time.

Take the duplicate of the force card and apply a coat of rubber cement to the back and allow to dry.а Rubber cement is also applied to the front of the indifferent card and set aside to dry. Coat the blade of the plastic sword on both sides and allow to dry…then assemble the two cards, sandwiching the swordа between them at the center of one long edge. Take care to press the cards firmly together on either side of the blade, so it appears to actually be embedded in a single card.

Take your scissors and cut a slit half way down the side of the card case,а to allow the deck with protruding card to be slipped inside.а Place the gimmicked card face down on the front of the pack, with sword extending to the right.а Put deck into case and close case, and you’re ready
to perform.

HANDLING:аа The case is lying on your close-up mat with the sword handle facing toward you. The second plastic sword is just to the left, and in plain view.а Remove the cards from the case and hold them on the palm of the right hand.а The handle is clipped between and concealed by theа right hand first and second fingers.а The top card of the face down deck is the card you intend to force.а Execute the Cut Deeper Force, allowing the blocks of cards to be lifted directly from the deck while you hold it in the right hand. Allow the spectator to take their ‘selected card’.а While they show their card, you reassemble the deck. They then place their card back on top, you cut and complete the cut.а As the top half is placed under the bottom half, the gimmicked card becomes positioned somewhere near the center of the deck.

The spectator is now asked to pick up the small plastic sword. The deck is held with the free long edge facing them, and they are asked to insert the sword somewhere near the middle., pushing it in up to the hilt. This is the point where the ‘moves’ begin.а I will attempt to make them
as clear as possible.

аааа The left hand approaches the left long side of the deck.а The first and second fingersа are at the left corner of the end furthest from you, the thumb at the left corner nearest you.а As you turn so the front end of the deck is toward the spectators, the left third and fourth fingersа which are curled along the left side of the deck, clip the handle of the free sword between them.аа The left third finger then curls intoward the palm a bit more, pulling and pivoting the swordа free from the deck and lifting it up toward the left palm.а In the same instant, the right hand shifts positions, disengaging from its hold on the gimmicked sword handle.а It simply holds the deck at the right hand fork of the thumb at the forward right edge.

аааа The right hand little finger curls inward and against the front of the deck as theа first, second and third fingers grasp the left long side of the deck under cover of the left hand.а In one move, the left hand begins to move away as the right hand turns palm down and tables the deck.а Due to the way in which the right hand is holding the deck,а the pack is automatically tabled, face up, with the gimmicked sword still at the right side, just as it should be if an actual turn over of the free sword had been executed.

You lap the free sword in the left hand as the right hand gestures over the tabled deck.а You then pick the deck up between the hands, one at each end, with the back of the deck facing the audience, sword at center of top long edge.а Pressure from your hold will prevent them from extracting the sword at first.а After a try or two, relax the pressure, and allow the amazement to begin.а They will pull the sword from the deck, but a card comes with it.а The clincher comes when they not only discover it is their chosen card…but that the sword is now embeddedа right in it, and cannot be removed!!

Your patter begins at the point where they have just inserted the free sword into the deck.а This is where you weave the tale of King Arthur, and the power that all swords have been given since that ancient time.а You will find that this is a powerful, unexpected version of a classic card location theme.а It will cost only pennies to produce, and the props may be used over and over again if you so desire.а By having extra sets of the gimmicked card ready, you have the option of giving the card away at each performance, or, having different sets readyа for possible repeat engagements.а Enjoy!!

November 1998

Co-Directors Notes: If I told you that this was a long awaited I.C.O.M release, you would probably not believe me. But nevertheless, it is! Word of this effect was leaked out of I.C.O.M headquarters some time ago and there are those who are thrilled that they are finally going to have what can only be termed as a trick “in good taste”…BJG

Good Magic, No Matter How You Slice It!
Ronald J. Dayton

This is one of my strangest ideas in quite some time.. .but, it really does work nicely. It involves tried and true principles which are used in an unusual way. A deck of cards which is placed between two slices of bread is sure to attract attention.. and hold it as well.

You will need a deck of cards in their case, a brown paper lunch bag, two clear plastic sandwich bags, and two slices of bread. The only preparation you have made to the deck of cards is to insure that the two cards you wish to force are on top. All remaining props are ungimmicked. Place the deck in to one clear zip-lock bag, and the bread slices in the other. These two bags are then placed inside your brown paper bag, then the top is folded shut.

The brown bag and its contents are on your table from the start of your performance, just off to your left side, but in full view. When you are ready, you glance at the bag as if noticing it is there for the first time. With a sheepish grin, you comment…” Some people think every magician has a ‘bag of tricks’.. but this one is just my lunch.”

Moving the bag nearer, you open it and peer in. You then remove the bread package first.. .and then the deck of cards. The cards will be unexpected. Explain that you’ll have to work up an appetite first by doing a couple of card tricks.

Taking the deck from within the zip-lock and removing it from its case you proceed by asking a spectator to think of any number from one to twenty. Prior to this, you may shuffle the deck, making sure you do not disturb the position of the top two cards. When the number is given to you, you count that many cards face down on the table. Picking this smaller packet up, it is immediately replaced on top of the deck. Now you again count off the number of cards chosen. The last card of the count is shown to the spectator, and he is told to remember it. You do not look at it. The selected ( forced ) card is tabled face down for a moment as you add the small tabled packet of discards back on top of the deck. Now, the chosen card is apparently placed in the center of the pack, but in reality, you slip it on to the front of the deck. The squared up deck is now tabled, face down.

The second force is achieved by using the Cut Deeper Force. This will give a second spectator the second card originally on the top of the deck at the start. The spectator memorizes it, and you replace the card on top of the deck. Give the deck a series of false shuffles and cuts, retaining the two selections on the front and top of the deck respectively.

Now comes the second surprise. You remove the slices of bread from their zip-lock bag and form a sandwich by actually placing the deck between the two slices.

The sandwich is held in the right hand with fingers below and thumb at top center. You comment that there is way too much filling between the bread, and so, with a quick forward jerking swing of the hand, most of the cards are ejected out on to the table.

You now lie the sandwich on the table. The left hand slides the top slice off, and a single card is seen lying on the slice below. You ask spectator *1 what their card was. You then turn the visible card over, and, it IS THEIR SELECTION!

The left hand replaces its slice of bread and you pick the sandwich up as if to take a bite. Then you remember that a second

card had been chosen as well. Lying the sandwich down once again, the left hand lifts away the top slice. There, face up on the lower slice of bread is the remaining chosen card: You’ll have just performed a card trick the audience will really remember. They’ll eat it up.. .with relish!

NOTE: Those of you well versed in magic will recognize that this is a version of a friction grip location of two cards. The only difference is that the cards are held between two slices of bread rather than just the fingers and thumbs of the hand. BUT… the bread gives full cover. It conceals the fact that two cards are sandwiched between them. As you slide the top slice back toward you, the upper card of the two will come with it, allowing the left thumb to get under the slice and lift the card away with the bread.

When you replace the top slice and later lift the sandwich as if to take a bite.. as it is tabled again, it is secretly turned over. You then execute the slide and lift of the new top slice for the final reveal of the second card. The slices of bread make everything pretty automatic.

I have no preference as to the type of bread you want to use. Day old is probably best. It’s a bit firmer, and easier to handle without tearing. Those of you watching your weight, or with health problems may want to use seven grain, or low fat. The option is yours, but remember please… .no butter!

Additional Co-Directors Notes:

  • There is a trick presently on the market that uses FOAM bread slices. If this can be found, the prop may be adapted, with some changes to the above routine.
  • In the beginning I told you that this was an anticipated routine. If you didn’t believe me, tune is next month. We will be featuring variations of this from noted magician, Joseph K. Schmidt! Watch for it…

Co-Directors Notes: I can go on and on about the constant quality of Fordice material. Here is an example of creative thinking and routining at its finest. If you want a pro routine, you got it, right here!…BJG

Group Mind Reading
Mike Fordice

This is an effect to be performed when there is an obvious leader of a group present. I have performed this for the president of a company, the director of sales training at a graduation dinner for sales trainees, the pastor of a church, the soccer coach at the end-of-season awards party, etc. I’ve also performed it (with some modification) for a cousin of my mother-in-law at a surprise 75th birthday party.

The obvious leader (victim) randomly selects a card from a shuffled deck. The card in immediately returned to the deck, the deck shuffled, and returned to the case. As the victim concentrates on the selected card, the entire gathering is able to read his/her mind and announce the identity of the card.

A deck of cards. The Fordice/Hofzinser Force I taught last month. A way of informing the audience the identity of the selected card. For this I use a large (8 x 11 inch) 3 of diamonds. This large card is actually a silk-producing item called “Silk-Dimension” from Tricks Co., Ltd. in Japan. You can use a jumbo card, make a sign, etc.

Ask the victim to join you on stage. Discuss the importance of communication in his/her position as (president, coach, pastor, etc) and that there are various kinds of communicationЛwritten, verbal, body language, etc. What most of us forget about is mental communication or telepathy. (You have to specifically adapt this presentation to your particular situation; this is only a brief description to get you started.) Tell him/her that because of his/her special and important position as _____, you would like to try an experiment in mental communication.

Bring out the deck with the 3 of diamonds on top. Do a false shuffle retaining the 3D on top and force the card using The Fordice/Hofzinser force (see last month). Have the victim glance at the card and tell him/her that it is important to remember the card. Return the card to the deck; shuffle and return the deck to the case. Impress upon the victim that he/she is the ONLY person in the world who knows the identity of the cardЛand that this is an awesome responsibility.

Describe that you are not going to determine the identity of the card, but that the entire group is going to do that! (build this up) At this point I usually offer the victim a chair. I do this primarily so the victim is a bit out of the way as I bring out the large card (or sign) for the audience. Ask the victim to close his/her eyes and concentrate on a visual image of the card–first concentrate on the color of the cardЛred or black. Then prompt the audience to reveal the color of the card–red.

Next ask the victim to concentrate on the suit of the card. Since the audience selected the color red, the suit must be hearts or diamonds. Prompt the audience to reveal diamonds.

Next, we have to work on the value of the card, but do this in 2 steps. Ask the victim to concentrate on the value of the selected cardЛwas it high or low? Again prompt the audience to reveal high or low. Finally, and in the same manner, have the audience reveal the value of the card.

At the end, there is an option. You can show the large card to the victim or can elect not to show it. Most of the time, I show the large card. This leaves the victim scratching his/her head as you take your bows and accept your applause.

When I performed this at the 75th birthday party I did not have my large card. So I grabbed a coloring pad and crayons from one of the kids in attendance and made up a sign showing the 3D.

What I thought would be great fun would be to do this at a large corporate meeting that has rear-screen projection. You would need to 35 mm slide of the 3D (or other card) and have that projected as you proceed with the effect.

Enjoy! And let us know about your successes with this and the other wonderful effects here on I.C.O.M.

December 1998

Noted Magician Joseph K.Schmidt has submitted the following thoughts and patter for I.C.O.M. These are his ideas for a possible handling of the Sandwiched Card Trick described last month…the one in which the two chosen cards become trapped between two slices of bread.

” Bread Sandwich …A Second Bite”
Joseph K. Schmidt

As an alternate handling for the Dayton Sandwiched Card effect…one might well consider having the spectators who chose the cards write the name of their favorite sandwich ingredient on their card with a felt tip marking pen, rather than their name. Once this is done, they may also have free choice of any two slices of bread from a loaf. ” When most people want to catch a mouse, they usually use cheese in their traps. Here in Germany…we use ‘speck’ or bacon. It has the same fatal attraction for the mice. Well I am going to try to use the favorite sandwich fillings you have written on the cards to try to ‘trap’ the chosen cards in this sandwich. “

Just as in the Dayton version, the full deck is placed between the slices of bread. The bread is given a shake, and most of the cards come out from the center. As far as selection and control goes, you could simply take the two ‘fixings’ cards and drop them on top….double undercut one to the face. False shuffle, retaining the cards in place. This is easily done if a riffle shuffle is used.

Another control handling would be to add the two cards to the face of the deck, double cut both to the back of the still face up deck. Hindu Shuffle without disturbing the two cards. Later, turn the deck face down and double cut one to the bottom. This is a Stewart James idea from Tops magazine years ago

The whole premise of this effect is unusual and fun. Maybe you will agree that the use of fillings rather than spectator names on the cards lends itself well to the over-all novelty.

Coming next month
Yes…One more version of the Sandwiched Card Trick!

” Mind Implosion “
Ronald J. Dayton

Keeping track of a simple series of numbers and words dosen’ create a serious problem for the average person. We do it everyday while dealing with names and phone numbers, area codes and addresses. But what I am offering to I.C.O.M members who enjoy the challenge of numbers and words is an ‘apparent’ presentation of a super memory. It makes a nice lead-in effect to other mental routines. Best of all, it requires no memorization at all! This frees the performer to concentrate completely on presentation.

The effect depends upon the selection of specific words…the use of the fact that certain numbers, when arranged properly, and turned upside down, resemble the letters in certain words. The third aspect of this effect is the use of a special method of forcing a word which was originally devised for an earlier effect.

Please look at list “A” first. These specific words are printed on

one side of a piece of stiff white stock. The list begins with the number 37817 followed by the word Scripture, and then the word Bible. List “A” ends with the number 54915 followed by the words : SOFT, SIGHS.

Your job is to convince the aududiencethat you have not only memorized all of the numbers on the list printed on both sides of the posterboard stock…but that you know the word immediately to the right ofthe number,and the word associated with it further to the right. In total, that would amount to memorizing 258 random words and numbers, but in reality, nothing could be further from the truth.

Look again at the number 37818 and the words Scripture and Bible. If you turn the number upside down, the last 8 is to your left. The number eight resembles a B…the 1 is an I, the second 8 is another B. Finally, the resupinated number 7 looks like an L, and the 3 resembles an E. When you put them all together, they code or reveal to you the second
word…BIBLE !

Word List “A” consists of every other word on the list having the capability of revealing the second word to you in this way. In other words, when you begin, a piece of stiff posterboard stock is shown to have a series of numbers and words printed on both sides. One side is list “A” and the opposite side is list “B”. There are 86 number lines available. You ask them to choose any number from 1 to 86. If they pick an odd number, you lay the list down with “A” side up and ask them to silently count to their number. If it is not on that side, they are to turn the slip over and continue on the other side. No matter what odd number they select…it will always bring them to one of the special word and number lines. If they choose an even number, side “B” is left uppermost, and same instructions given.

The numbers and letters are as follow:

1 = I, 3 = E, 4 = H, 5 = S, 7 = L, 8 = B, 9 = G, and 0 = O

What the audience assumes, incorrectly, is that the five digit number has been memorized to tell you the first word of the two. The impression that you want to create is that you’ve memorized the numbers, and the word first listed, and the word associated with the first word. If you can accomplish this, you will have a radically mind blowing effect at your disposal.

In your patter, explain that something as basic as the numbers for a lottery are used because the possible combinations are mathematically staggering. Much in the same way basic musical notes have been used for centuries to be combined in variations to create every piece of music that has ever been committed to paper. The possible combinations of numbers and letters in the words of the experiment you are about to embark upon would severely test the most powerful computers of our day.

To begin the routine, the list, the small slip of paper and a pencil are on your table. You ask for the help of a member of the audience in an experiment of the mind. Once they have joined you at your side, they are shown the list casually on both sides. You explain that the list consists of 86 five digit numbers, 86 random words, and 86 related words…a total of 258 basic pieces of information to commit to memory…compounded by the staggering mathematical possibilities of number and letter combinations. They are then asked to choose a number from 1 to 86. As soon as they announce it, you lay the list down on the table correct side up…and step away from the table a few paces with your back turned to the assistant, but positioned so the rest of the audience can see what you do.

Tell the spectator to carefully count to the number position he has selected. If necessary to arrive at that position, they may turn the slip over and continue counting on the other side. when they reach the chosen position, they are to jot down the five digit number they have arrived at on the small slip of paper. They are then to hand this small slip, and the pencil to you.

They are told that just to the right of the five digit number they will see a word. They are asked to concentrate on this word for a moment. You then ask them to clear their mind, and concentrate on the associated or related word immediately to the right of the first word. After a moment,you write something on the slip of paper with the pencil. The slip is then handed to another member of the audience.

The spectator is asked to name the final, related word he has been thinking of. He does. The member of the audience who was just handed the small slip of paper moments ago is now asked to stand and announce the word you had devined and pprinted on the slip. The two words are a perfect match.

There is quite a bit of psycology employed in this effect. The choice of words to emphasize the mathematical possibilities…the supposed use of ‘random’ words, and associated words. It is a strong point that the assistant, not you is the one to jot the five digit number down on the slip of paper…and a strong conclusion when a second member of the audience confirms the match of the written and thought-of word.

The premise for this effect was placed in a notebook over seven years ago, waiting for a method which would allow it to blossom to its full potential. The discovery of the Turn Over Force, with two sections of the same list printed on either side of a slip of paper allowed me to complete the process. Whey ‘you’ come up with a possible effect, make a record of it as well. If the effect cannot be done as you envision it at present, prehaps in time, just as in this instance, amethod will reveal itself. Never abandon a thought.

LIST “A” ( Odd Numbers )

37818-Scripture, Bible
41903-Umbrella, Rain
73817-Attorney, Libel
52168-Television, Shows
57738-Wedding, Bells
70319-Travel, Maps
50705-Singer, Solos
34110-Trees, Limbs
57714-Incline, Hills
61775-Doctors, Pills
50715-Farmer, Silos
39316-Beverage, Java
57719-Fish, Gills
47505-Speed, Races
53045-Laces, Shoes
77244-Mechanic, Tools
55178-Joy, Bliss
34613-Chimney, Roofs
39718-Ships, Bilge
51916-Magic, Wands
57718-Debts, Bills
75146-Boxing, Match
57108-Sterilize, Boils
33408-Chess- Pawns
39317-King, Liege
48373-Eye- Chart
55378-Priest, Bless
35107-Romeo, Juliet
53105-Heels, Soles
79307-Caramel, Apple
55079-Lustre, Gloss
47379-Time, Clock
57734-Devil, Hells
53414-Daily, Paper
57715-Window, Sills
34006-Dentist, Tooth
53907-Cabins, Loges
53709-Light, Bulbs
35007-Hardware, Loose
35107-Hammer, Nails
50907-Company, Logos
47739-Phone, Calls
54915-Soft, Sighs

LIST “B” ( Even Numbers )

66503-Keys, Locks
53751-Emerald, Isles
34357-Ribbon, Bows
35009-Gander, Goose
35908-Marching, Bands
35380-Overweight, Obese
76044-Criminal, Jails
38079-World, Globe
53915-Diamond, Mines
39315-Midieval, Siege
91745-Spider, Webs
58078-Fatty, Blobs
51391-Flag, Staff
53704-Donut, Holes
35591-Library, Books
07734-Greeting, Hello
91531-French, Fries
53507-Gamble, Loses
77203-Numbers, Math
53504-Firemen, Hoses
50153-Knife, Slice
50045-Flies, Shoos
39388-Walking, Stick
53807-Ears, Lobes
03605-Cowboy, Rodeo
53145-Avoids, Shies
59363-Shuttle, Space
77345-Turtle, Shell
77034-Present, Gifts
54914-Lows, Highs
52145-Salad, Bowls
35108-Potato, Boise
37066-Jet, Plane
53708-Cotton, Boles
53780-Baby, Diaper
53080-Woodwinds, Oboes
37606-Thunder, Storm
00791-Eskimo, Igloo
37660-Wicker, Basket
39138-Tan, Beige
53970-Rocking, Chair
53790-Stares, Ogles
00793-Wrist, Watch


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This entire page is under copyright 1997,1998 by the International Conservatory of Magic and its respective contributors. No part of this page or its contents may be reproduced without the expressed written permission of I.C.O.M. All marketing, manufacturing, & publication rights are reserved. Violation of this is considered intellectual property and information theft and carries penalties under federal law.

Author: Bobby J. Gallo


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