SECRET WEAPONS

FOR MAGICIANS A ND M E N TA L I S T S

© Copyright 2013. All rights reserved. eBook Version TRICKSHOP.COM

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 SECRET WEAPONS
FO R M AG I CI A N S A N D M E N TA L I S T S

TABLE OF CONTENTS

BOOK TESTS ...............................................................3

BILLET SWITCHES ..........................................................3

CARD GIMMICKS ............................................................5

COIN GIMMICKS ...........................................................12

HOLDERS, HOLDOUTS & PULLS ...............................................14

LIQUID PRODUCTION GIMMICKS ..............................................15

MANIPULATIVE GIMMICKS ...................................................17

PREDICTION GIMMICKS .....................................................18

PSEUDO HYPNOSIS .........................................................19

THOUGHT READING/Q&A/DESIGN DUPLICATION ..................................20

SWITCHING DEVICES .......................................................23

© Copyright 2013 by Trickshop.com. All rights reserved.

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 SECRET WEAPONS FOR MAGICIANS AND MENTALISTS

BOOK TESTS

PAPERBACK FORCE BOOK

You can easily force a page in a paperback book by trimming the long edge of
the two pages that precede it about 1/8" with a straight edge and an X-acto
knife (make sure to place a piece of cardboard underneath the pages you are
cutting). The force page should be a little past the center of the book. To
force the page, ask the spectator to stop you as you flip through the pages
with your thumb from the front to the back. As with a short card, you’ll
automatically stop on the force page (and feel a distinctive snap). Bend the
left side of the book under to conceal the short pages and have the spectator
use the first two digits of the page number for the line and the last digit
for the word. For example, page 134 would be line 13, word 4. Choose a
paperback that’s not too thick, around 250 pages or so. If you’re looking for
a 100% practical, direct Book Test method; give this one a try. You can even
have three different books (and predictions) prepared; if you want to give
the spectator a free choice of books.

BILLET SWITCHES

NELSON’S MENTAL GIMMICK

This self-contained gimmick lets you switch a palmed billet for one that has
been on display and in full view in the clip. To make the gimmick, begin by
folding a 2 by 3 inch paper slip twice so that it is in a small square. Then
take a small piece of wire about 1/2-inch longer than the folded length of
the slip and place it in the crease so that the slip is folded over the wire
with about 1/4-inch of wire sticking out each end. Now scotch tape the wire
in place so that the slip is permanently attached.

Next, you need a Number 2 Bulldog

Clip (the spring clip type about
three inches long) and a two inch
rubber band. Place the rubber
band over each end of the wire
once at each end. This holds
it more securely and acts as
a silencer. Now place this slip
thus prepared inside the clip and
from the inside of the clip, slip
the rubber band out through the

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spring over the arms of the clip as in illustration. The folded slip is now
completely concealed by the clip. You now have a gimmicked clip that will
serve you completely automatically, doing a billet switch with no sleight
of hand and nothing to hide.

Squeeze open the clip and pull the slip part of the way out and allow
the clip to spring closed. The slip will be held in position. With the
slip out in this position the elastic cannot be seen even from the side.
When you want to release the slip, simply press open the clip and the
slip will vanish!

To present, hang the clip with slip in position from a string with hook on
the end of it so that it can be removed easily. If it is not practical to
suspend the clip from the ceiling then it can be placed in any easily seen
place, such as on the back of a chair or have a spectator hold the clip by
the sides. To switch a billet, take the clip with the left hand and with the
right hand grasp the clipped billet. In the action of grasping the fake slip,
press the correct slip against it. Then as the clip is squeezed open with
the fingers of the left hand the fake slip vanishes into the clip and you
are left holding the correct one! Nothing to hide, nothing to get rid of. The
clip is casually laid aside as the slip is opened and read.

SWITCHCRAFT
A Bob Somerfeld idea. Place a dot of wax onto the flapless side of a fairly
large pay envelope a bit above center. Have a spectator initial the envelope
and place his billet inside. Take it back and make sure the billet rests
flat at the bottom of the envelope. If not, “belly” the envelope a bit. Let
the spectator seal the envelope and while he is doing that, steal the other
billet and finger palm it. After taking the envelope back, press the billet
against the wax - keeping the flap-side toward the audience. You’ll find you
can now handle the envelope with relative freedom - proving your hands empty
without actually saying so. Tear away the bottom of the envelope (stealing
out the spectator’s billet with the torn end) and squeeze the sides of
the envelope. This buckling will loosen the billet adhering to the back
and it will slide down the back into the spectator’s hand. The illusion
is perfect.

BOLD BILLET SWITCHER

By securely attaching a small alligator clip to each end of a piece of dowel
rod, you can make a billet switching device along the lines of the one used

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by David Hoy, Dr. Faust. The audience believes it to be a wood rod with
an alligator clip attached at one end (only); because the opposite end is
always concealed by the hand holding it. The reason for using such a device,
as strange as it looks, is that it seems to preclude the mentalist from
using any sleight of hand to manipulate the spectator’s billet. In reality,
switching the spectator’s billet for a dummy (clipped at the other end) is as
easy as switching hands and ends on the way back to the stage.

SUPER PSYCHIC BILLET SWITCH

Here’s an updated handling of Burling Hull’s billet
switch with a tea cup. With a glue stick, generously
coat the bottom of a dry paper coffee cup. You’re
now ready to perform. Have a spectator drop a billet
into the cup (it will adhere to the bottom of the
cup). When you’re ready have the billet opened and
read, have the (force) billet finger palmed and
held against the side of the cup or concealed in
recessed area underneath the cup. Turn the cup over
with the other hand and allow the palmed billet
to come into view and tumble into the hand. This
gives the illusion of pouring the billet from the cup into the hand.
Don’t let the glue sit too long in the cup or it will begin to dry and
lose its tackiness.

CARD GIMMICKS

SLICK CARD
When a slight pressure is applied, a deck will
always break at a “slick” or waxed card. As a
result, it makes an excellent locator card. To
prepare one, just add a tiny spot of Simoniz Paste
Car Wax to the face side only of any card and
rub vigorously with a soft, dry cloth to polish.
Practice is required to acquire the knack. The slick card was first used
by professional gamblers.

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ROUGHING SPRAY SUBSTITUTES

There are two commercially available products that
do an excellent job of roughing cards and both are
available from hobby and craft stores, or online. The
first is Krylon® Matte Finish No. 1311. It comes in
an aerosol spray. It generally takes two light passes
from a foot or so away to treat a card. Do not
over-apply. Let dry thoroughly, 3 hours minimum. The
other product is Testors Dullcote Lacquer, No. 1160.
It’s available in a liquid form as well as a spray
can. A liquid is preferred for partial card surface
applications. Note: Even some cheap hair sprays will
work in an emergency as “roughing spray.” However,
they are not recommended for long-term use.

LOCKED DECK GIMMICK

This two-card gimmick lets you force a card and
then make it vanish from the deck. Reproduce the
chosen (duplicate force) card in any manner you
like...outside of a window, in someone’s cigarette
pack, under a drink coaster, in someone’s pocket or
purse, etc. To make the gimmick, cut the top edge
of one card as shown. With the cut card face down,
tape the other short edge to the short edge of the
face up force card. The tape forms a hinge. Fold
these two cards together, so the force card is face
down on top of the cut card. Place this two-card
gimmick about a third of the pack down from the top
of the face down deck. The taped hinge should be at
the back of the deck.

To perform, tell the person to say stop anytime.

Begin riffling the cards with your left forefinger
from the bottom up. As soon as they say stop you
riffle up until you hit the gimmick. There will be
a distinctive snap to let you know you’ve reached
it. Ask them to just look at the card they chose
and close up the deck. You can overhand shuffle the
cards at this point or cut the pack several times
to mix them up. Do not riffle shuffle. Turn the

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deck face up and start dealing the cards one at a time in a pile on the
table. “When I get to your card, just think to yourself, that’s my card; but
don’t say anything out loud or make any kind of a sound or gesture. If I am
in tune with you, I will be able to read your thoughts.” After you deal out
the entire deck and the spectator tells you it wasn’t there, you’re ready to
reproduce the (duplicate) card.

CUSTOM CARD GAFFS

There is a real art to dry card splitting, but
if you’re willing to persevere you’ll have the
power to make your own custom Bicycle gaffs. Here
are the basics. Begin by tapping one corner on
a table to fray the edge. Next, start with the
front or back layer, being careful not to include
the composition layer in between. Hold the piece
started down against the table with the tips of the
left fingers and peel the upper layers away. The
split should be made diagonally across the card.
Once the corner is started the upper layer should be peeled back swiftly
three quarters of an inch or more at a time — without hesitation to ensure
a clean split. Smooth out rough areas and combine split backs and fronts
to make double backers or double facers with a thin coating of rubber
cement on each surface, place cemented surfaces together and rub faces
to smooth out.

To wet split a playing card, soak it in cold water for 20 minutes. Once the
card is soft, you can peel or split the card into two pieces. Place the split
card on a flat, smooth, semi-absorbant surface to dry. Almost any unprinted,
uncoated (non-glossy) cover or card stock will do. Do not use a magazine
or other printed surface. Once the card is completely dry, place it flat
between the pages of a book and then place several heavier books on top of
it. Leave it this way overnight.

IMPRESSION PLAYING CARD

James Maxwell’s Carbon Card gimmick has been around for over 90 years and
yet, many magicians are unaware of this clever impression device. To make
one up, start with an extra card or Joker and soak for some time in water and
carefully peel off the back, then dry it with blotting paper placed between
the leaves of a book to keep it flat. Cut a piece of carbon paper slightly
smaller than the card and glue this to the prepared back, the tracing

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side outwards. Next take a court card from any

spare pack and with an X-acto knife, cut on the
line that encloses the picture along the top and
bottom and one side, so that the center of the
card will open like a book, the uncut left side
acting as a hinge. Paste the prepared back on
top of this card, leaving the central flap quite
free. The photo shows an exposed view (before
impression slip). Fit a small piece of thin
white (impression) paper between the flap and
the carbon sheet, adding a dot of glue at each
corner. This paper can be used for two cards
but must be renewed for each performance. This
card is on the top of the pack which is used
as a rest when the name of the card thought of is written. When you
take the pack and run through the faces it is necessary only to lift the
flap and read the impression. The prepared card can later be palmed or
otherwise disposed of.

WILL DE SEIVE GIMMICK

Ridged locator cards date back to Hilliard’s “Greater
Magic.” One of the best of these and fastest to prepare
is the Will De Seive gimmick; which uses a quarter-size
coin to make an impression on the face of the card
by pressing it down around a quarter centered on its
back - creating an embossed impression around the coin
on the face of the card. You can also reverse the
impression; depending on whether you want the ridge
card to be upper (raised face) or lower half (raised
back) of the deck when cut in half. To make the
card even more foolproof while getting a feel for the
gimmick, you can emboss at both ends instead of just the center. Always
use a court card for your gimmicked card; since the detail will help
hide the impression.

IMPROVISED DAUB
Daub only serves one purpose - to mark a card “on the fly,” so it can
readily be recognized from the others. Effective, improvised substances
include ladies’ eye shadow, (silver) watercolor paints, pencil graphite,
cigar and cigarette ash, black tint from newsprint, and even hair oil (for

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newer cards). Gamblers find it essential that their use of daub be as subtle
as possible, so that sometimes they rub the stuff into the hair at the
temples, then get it on the fingers while rubbing the temple in an attitude
of concentration. Some apply a smear to the underside of the table. When
the hands rest naturally on the table, the thumb gets the daub. A bit of
daub can be smeared in a match book and transferred to the fingers as a
cigarette is lit. One of our better card men has the daub on the flap of
the card case. In opening it, the daub transfers to the thumb. The same
would go for a cigarette case.

RIFFLE CARD RISE GIMMICK

Make a spectator’s card pop up simply
by riffling the top edge of the deck.
The card is forced. Here’s how you
make Joe Berg’s gimmick: You’ll require
two indifferent cards, such as a red
and black spot card (remove their
counterparts from the deck you will
use), and a duplicate of your force
card. This should be a court card for
maximum visibility. Cut off the top
half of the force card and then, from
the bottom half cut a small tab as
shown. Now place a pin hole on each
piece, so you can connect them with the
black thread. The holes should be centered about 1/8” from the end that will
be joined. Slip the end of the thread through the hole and knot several
times. When you’re done, there should be 2-1/4” of thread between these
two pieces when they are connected. A little less is okay, but no more
or the card may pop out too far. Now glue the small tab at the bottom
to the bottom of the two indifferent cards. Start with the card that will
go underneath, and then, the one that goes on top. Both indifferent cards
should be facing in the same direction as the tab and connected half card.
Allow the glue to dry.

Add the three-card gimmick to any pack with the half card toward the top
and you’re all set. Force the duplicate card by your favorite method and
have it returned to the pack. Give the cards a quick overhand shuffle.
You can quickly locate the gimmick by riffling the back edge of the deck
with your thumb. If necessary, cut some cards so the gimmick is near the
center of the pack.

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To make the card jump up, hold the pack firmly at the bottom between the
thumb and fingers and riffle the top edge of the pack – from front to back
– with the forefinger of your other hand. You’ll find a fast, consistent
riffle at the center of the pack will deliver the best results. Quick, but
not too quick with a bit of a “snap,” and the card will pop straight up
almost as far as it can go. Too slow and it will only emerge part way.
Riffle off center or on an angle and the card may pop out too much to
one side. Just give it a bit of practice and you will quickly master
the proper technique.

ROGUE2 CARD RISE

Looking for an inexpensive and surefire
card rise? Give this one a try. Devel-
oped by Trickshop.com, ROGUE2 is a
streamlined, easier-to-construct ver-
sion of our original Rogue card rise.
You’ll need some black “Gutermann Elas-
tic Sewing Thread,” a single hole
punch, masking tape, a glue stick, and
four playing cards. On two of the
cards, hole punch the angel’s face on
the back, at one end (only). Thread the
elastic thread through the hole in the
back of one of the cards and masking
tape the thread to the face of the card. Then, leaving
about 1” of play, thread it through the face of the
other hole punched card and tape it to the card’s back.
Place a card in between the threaded cards and push
down to adjust the tension. Finally, align and glue
the extra cards on top of the taped sides to conceal
that area. In our example, the thread is taped to the
front of the AC and back of the 2H. The back of the
4C is then glued to the face of the AC, and the face
of the JS glued to the back of the 2H. It’s best to
have low value, spot cards showing (remove duplicates
from your deck).

To perform, begin with the Rogue gimmick on the bottom

of the deck. Fan or spread the cards and allow one to
be freely selected. While the spectator is showing the

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card to the audience or signing its face, turn away for a moment and cut the
gimmick to the middle of the pack – obtaining a little finger break between
the two sections. Have the spectator place the card face down on the table.
Angle the deck downward slightly and openly slide the card into the middle
of the deck (between the top and bottom sections of the gimmick). As the
selected card in pushed into the deck and engages the elastic thread, you’ll
feel it under tension. Push it flush with the top edge of the pack. From
this point forward, the selected card will remain under tension until it
rises. You can use your left forefinger on the end of the deck and pressure
from the thumb to maintain control while it is held in the dealer’s grip.
Likewise, when shifting the position of the deck or moving it to the other
hand, always grip the deck by the ends – thumb at one end, fingers at
the other, pressing in.

When you’re ready for the card to rise, shift the

deck to the grip shown in photo. By holding the
deck in this manner, all you need to do is apply
pressure with your thumb to hold the rising card
in check until you’re ready for it to come up. To
initiate the card rise, just ease up on the thumb
pressure a bit and the card will begin rising
steadily up. Tighten up and it stops. The lighter
the pressure, the faster the card rises. It’s
under your complete control. If you like, you can
have the card rise up a bit and then stop. You can
then “coax” the card up the rest of the way, as if
it is controlled by some mystical force.

WINDOW CARD BOX

This gimmicked card box will enable you to have a card
selected and the deck returned to its case with seeming
abandon. The reason is, you have no immediate need to
glimpse the card, since the box lets you do that later!
This idea has been around for many years and is tailor-
made for use with a card system, like Si Stebbins. On the
flap side (back) of the card box, a small, square window
is cut out in the lower right corner. This opening is
just large enough to identify the index of the bottom card when the deck
is returned to its case. It only takes a couple of minutes to prepare the
case using an artist’s X-acto® knife, box cutter, or small pair of cuticle

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scissors. If your box still has most of its cellophane wrapper intact, make
sure to remove it first and then carefully replace it afterward. The window
should be 1" high x 3/8" wide - starting at the lower right corner of the
card box back, or flap side. When handling the case, the hole is easily
concealed with your thumb.

IMPROMPTU CARD ON CEILING

No magician’s hard wax? For impromptu performances, a small loop of Scotch
tape - sticky side out - will do the trick. Just stick it to your belt, until
needed. After you control the selected card to the top, steal the loop by
sticking your right second finger inside of it. Bring your hands together
and place the loop on the back and in the center of the top (selected) card
and press it flat. This only takes a moment and should be done under cover
of patter. Hold deck in right hand with second finger and thumb at the ends.
Throw deck flatwise to ceiling with a little twist to the right as you let
it go. The circular motion of pack is what assures a nice flat contact -
the deck falls and the card is there for all to see and remark about until
someone gets it down. With tape, it will take about a week for the card
to fall on its own.

COIN GIMMICKS

HOOK COIN
The old hook coin makes it possible to perform some
amazing coin vanishes and reproductions without sleight
of hand. To make your own hook coin, carefully cut off
about 1/4” from the end of a straight pin and solder or
cement the cut end to the edge of a coin. Try sticking
the pin to a piece of masking tape before cutting the
end to help prevent pieces from flying around when
cut and in all cases; wear eye protection to avoid
serious eye injury. To produce the hook coin, begin
with it hooked to the trouser leg (out of view). After showing both hands
unmistakably empty, simply retrieve the coin, conceal and then, magically
produce. The hook coin can be vanished by hooking it on a sleeve or trouser
leg (again out of the audience’s line of sight), before pretending to place
the coin in the hand.

The coin can also be vanished by seemingly tossing it into the air - the
magician’s eyes and the audience’s following it’s imaginary upward journey.

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Before the hand swings upward, it leaves the coin, attached to the side
of the trousers. A little practice will reveal the many possibilities this
clever gimmick offers.

THE LOOP COIN

Imagine showing your hands unmistakably empty and then,
closing the fingers of one hand and slowly re-opening
them to reveal the appearance of a shiny half dollar!
With the loop coin, you can perform this incredible
production. The idea behind this gimmick dates back
hundreds of years. It is simply a coin with a loop of
thread or in our case, clear fishing line, attached.
The fastest way to make one is to cut a length of
fishing line, about 5” or so, and masking tape the
ends to the back of the coin; preferably a larger,
heavier coin, like a Kennedy Half Dollar. Place the
loop over your right thumb and you’re ready to go. The
coin should rest just under the thumb crotch and above
the center of the palm. With a little practice, you’ll
discover you can swing the coin from the front to the
back and vice versa. To produce the coin as described,
begin with the front of your hands to the audience;
hands angled downward slightly, so the coin is concealed behind the right
hand. Now bring the left hand in front of the right, as you turn both hands
over and cross them so the backs are toward the audience. As this is done,
the left hand conceals the coin as it swings to the front of the right hand
(now away from the audience). Slowly move the hands apart, thumbs up and
fingers pointing at each other. Angle both hands upward slightly. Now reach
out with the right hand, back still toward audience, and slowly close your
fingers as if grabbing something from the air. Lower the closed right hand
and make a magical gesture with the left; before dramatically opening your
fingers to reveal the coin. It’s an absolutely killer coin production that
can be used alone or as an opener for your Miser’s Dream routine. As long
as the fishing line loop remains against the skin, it will be invisible
from just a few feet away.

NO SLEIGHT COIN SWITCH

Need to secretly switch a borrowed coin for a gimmicked one? Use a double
back card. Hold the coin to be switched underneath and have the other coin
on top. Now it’s just a matter of turning the card over with your middle

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finger; as you hold the coins in place with your forefinger on underneath
and thumb on top - your middle finger temporarily grips the coin above for
the thumb as the card revolves around. This should be done as you move from
one spot to another to cover the action. The coin can then be tipped onto
a table or into someone’s hands.

HOLDERS, HOLDOUTS & PULLS

CARD, COIN OR BILLET CLIP

Attach a paper clip to a small safety pin and you have an excellent
impromptu holder for a couple of cards, a coin, or even a billet. Just
pin one or more of these, so they hang just above the lower edge of
the jacket on the side.

COIN STACK HOLDER

A stack of coins can be wedged between a large closed safety pin. They can
then be squeezed into the palm when needed. The number of coins will be
determined by the size of the pin and thickness of the coins. Pin it inside
the coat with another safety pin.

PAPER CLIP PULL

A paper clip can act as an impromptu pull when needed. Take a length of
elastic and attach a paper clip at one end and a safety pin at the other.
Attach up the coat sleeve or run through the back belt loops; so it shoots
under the coat and behind your back. A pull of this type is ideal for
vanishing borrowed bills, billets, etc.

MAGNETIC HOLDOUT
Powerful neodymium magnets strategically positioned under the clothing make
excellent holdouts for steel coins, paper clips and similar objects. One
such position is under the trousers at the outside seam where the hand
naturally reaches when dropped to the side. This spot also allows the
performer to vanish an object by seemingly tossing it into the air (like

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the hook coin). Lloyd E. Jones used a magnet in his coat cuff to vanish
paper clips and the like. He would waive his hand over the clip and would
disappear like magic. He would later steal the slip by bending his hand
up and lifting it off.

PELLET HOLDER
Flash paper wads, billets, and similar items can easily be concealed until
ready by impaling them on an ordinary straight pin positioned under the
lapel of your jacket. Make sure about half an inch of the pin point is
projecting downward.

LIQUID PRODUCTION GIMMICKS

GLASS OF LIQUID PRODUCTION COVERS

A couple of sheets of good quality (food) plastic wrap held by a rubber band
tightly around the rim of the glass tumbler or wine glass make an excellent
substitute for rubber covers.

GRANT’S DRINK FROM CARDS GIMMICK

Fasten a paper clip to the back top of a playing card in the center by
stapling at bottom and top of the clip. Four staples should be sufficient,
two on each side. Now take a second card and place a strip of scotch tape at
the top of it. This scotch tape is fastened to the stapled card so that a
hinged card is made. Best way to do this is to place the stapled card face
up on the table and the second card face down against the end with the clip
and staples. The strip of scotch tape is affixed and the second card folded
over so that this hinged card will hide the presence of the staple ends on
the gimmicked card. Next place this pair at the back of a deck with the
hinge section at the top and the clip part at rear. Slide deck in case,
but so back of deck is at flap section in case and the rear card of the
hinge is outside of the case. This brings the card with attached clip on
the outside of the case. Slip a whiskey glass into the clip and fill the
glass about half-full of liquid. The preparations are now completed. Conceal
on table behind some object.

To work, the card case is picked up with the glass to rear where it will
be completely hidden. Open flap of case and pull deck out. The fake card
naturally comes along, too, and brings glass with it. Toss the case aside.
Spectator is asked to think of any card in the deck, except of course, the
one facing him. Magician now takes a few cards from the front by a cut,

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exposing a new card and asks if that is the selected card. If it is, put the
outfit to one side, you have already done a miracle. If not, which is to be
expected, cut a few more off and place aside. Each time a new card is cut,
the spectator is asked if that is his selected card. Finally, the magician
gets down to only a few cards in his left, hiding the gimmick and glass. He
pauses and remarks, “I cannot seem to get your card.” He fans a few cards in
front of the remaining few and says, “If you had a drink on your mind — that
would be easy!” The gimmicked card and the remaining cards are nipped at the
back of the fanned cards and all are lifted away, exposing the glass full (or
rather, partly full) of liquid!

BOTTLE FROM PAPER BAG

You walk out in front of the audience holding a small, folded paper lunch bag
(sack). After rapping it on your fingers a few times, you deftly open it up.
Following some jokes and audience interaction, you proceed to produce a full
bottle of beer or soda pop from inside the bag. For the magician who does
not work with doves or other livestock; a real bottle is the kind of item you
can produce that is above suspicion, since the audience recognizes that it
doesn’t fold, collapse, compress down, etc. This method does not use a “body
load.” The bottle is placed to the back of the table with a few taller props
in front. You must have enough space between the bottle and the props to
comfortably set down the bag in front of the bottle. If you’re right handed,
the bottle should be toward the left edge with you standing on the left
side of the table.

To prepare the bag, cut a circular shape - about 3" in diameter (about 1/2"
larger than the bottle) - from the back of the bag. The “back” being the side
of the bag that the bottom does not fold
in front of. The cut-out should be centered
as much as possible and be about 4” from
the bottom. We’ll leave the misdirection to
you, however here are the mechanics of the
steal. With the right hand, place the bag
over the bottle - so the neck goes into the
hole. Next, push down with the right thumb
and then grip the bottle - pressing it with
the right fingers against the interior of
the bag. This action with the right thumb
assures that the bottom of the bottle will
not show from underneath - by raising up

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the point at which the bottle is held. After the steal, step away from
your table and create some time misdirection between the steal and the
production with patter, audience interaction, etc. In other words, don’t
be in a hurry to produce the bottle. The more time you take, the more
amazed your audience will be. Be mindful of your angles - from both the
sides and underneath.

MANIPULATIVE GIMMICKS

CIGARETTE PRODUCER
One of the most amazing little magic gimmicks
ever devised, the cigarette producer is nothing
more than a flesh-colored finger clip with a
small, pointed prong. The clip is worn on the
middle finger between the joints with the prong
pointing towards the back of the hand. An unlit
cigarette is then impaled on it, in effect allowing you to effortlessly
backpalm the cigarette. To produce it, the fingers simply bend inward and
the cigarette comes into view - seemingly caught from mid-air. The thumb
goes in front apparently holding the cigarette (and also concealing the
gimmick). Any number of cigarettes can be “caught” in this manner and tossed
into a hat, bag or other opaque receptacle (actually the same cigarette is
just backpalmed over and over). If you’re unable to obtain one of these
from a magic shop, you can make your own from a pen clip (the kind that
attaches to a ball point pen). Cut off the end of the clip and sand to a
point - leaving about 1/2" or a bit more, to impale your cigarette. And don’t
forget to paint it flesh color.

LIT MATCH PRODUCTION FAKE

By simply stapling the striking sur-
faces cut from two matchboxes facing
each other, you can make an impromptu
match pull. Leave a little extra
cardboard on one side. Match loads
from top; so bottom of match extends
from bottom of pull with match
head just above striking surface. To
light, pull end of match downward - forcing it against the dual striking
surfaces. Always strike match away from clothing or other flammable items.

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GIMMICKED PING PONG BALL

A finger-size hole cut in a ping pong ball will allow
you perform some amazing ball vanishes, productions and
acquitments without palming. Just insert your right middle
finger into the hole to steal the ball or conceal it against
the palm or behind other hand. Make one up and try it out in
front of a mirror! Use a bright colored ball!

PREDICTION GIMMICKS

BUSINESS CARD ADD-A-NUMBER

It was Dr. Spencer Thornton’s idea to
adapt the well known “Out to Lunch”
gimmick as an “Add a Number” device.
For those not familiar with it, a
small stack of business cards are
secured in the middle with a thick
rubber band. This conceals the fact that there is a blank half card on
the top half of the stack - concealing what is underneath. In this case,
that’s a pre-written set of three digit numbers (the total of which is your
prediction). To perform, you bring out the stack of business cards and have
a spectator initial the bottom of the top card. Next, three other spectators
are allowed to write three digit numbers above the initials on the top half
of the card (actually the fake). The top card is then removed from the
stack and the person who originally initialed it, is asked to verify his/her
initials and tally up the random numbers. They, match your prediction; since
the top card actually had your pre-written numbers (the stack is pocketed
with the fake and spectators’ numbers still on top).

GIMMICKED MEMO BOOK

This idea dates back to Ted Annemann. Several audience
members are each asked to write down numbers – this time
on the first page of a pocket-size memo book. When all
are written, the performer hands the memo book to another
spectator to add up. In the process of moving from one
part of the audience to another; the force numbers are
substituted. To make up the gimmick, a duplicate front
cover is added to the back of an inexpensive top bound
memo book. As a result, making the substitution is as easy
as turning the memo book over; where the force numbers
were written beforehand!

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MIRACLE PREDICTION PENCIL

A diabolical Burling Hull mentalism gimmick you can use for predictions of
all types is the “no-write pencil.” Hull used it for his Miracle Newspaper
Prediction; in which a young lady from the audience was handed a red pencil
and a newspaper. After being blindfolded with a sleep mask, she was asked to
circle any spot. His prediction, of course, matched the random spot marked
by the volunteer. Hull actually had two matching red pencils. One that was
ungimmicked and he allowed the woman to use to draw a practice circle on a
pad and the other that had been previously dipped in clear nail polish and
allowed to dry (so it couldn’t write). After the woman drew the practice
circle on the pad, he took both back - dropping the pencil in his pocket.
He then introduced the newspaper and explained what he wanted her to do;
taking care not to expose the spot already circled in red. He then brought
out the “pencil” again; except this time, he handed her the pencil that was
incapable of making a mark. Obviously, it is important that your volunteer
not be able to see what they are marking. This method has been used over the
years for many types of predictions.

PSEUDO HYPNOSIS

HYPNO HEAT ALTERNATIVE

The original Hypno Heat has been off the
market for many years and the chemicals
were widely considered dangerous and by some
reports, included mercury. Since that time,
some alternatives have appeared on the market,
including a Hypno Heat II; which may or may
not be available at the time of publication.
Use extreme caution when purchasing or using
chemical compounds of this type which may be toxic or carcinogenic. The
powder coating from Wrigley’s Big Red (red hot) Cinnamon gum offers a far
safer alternative. These sticks now have generic paper wrappers. Replace the
red hot gum with sticks of another Wrigley flavor and put them in the other
packaging. The important part is the coated Big Red paper wrapper which
only says Wrigley’s on it. When it’s time to perform, remove a stick of
gum which you can discard or give to the person to chew. Secretly moisten
the COATED INSIDE of the wrapper using the condensation from a bottle or
glass of liquid, etc., and have him press it against his forehead. In your
best hypnotic monotone voice, tell your subject "the wrapper is getting
Warm...Warmer...the wrapper is beginning to get Very Warm now...you can feel

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the Heat against your skin...the wrapper is now getting Hot...Hotter..."

Within about a minute, the wrapper will actually feel quite hot – so much
so that he’ll pull it away!

THOUGHT READING/Q&A/DESIGN DUPLICATION

WINDOW FRAME ENVELOPE

This idea dates back to Annemann and remains one of
the simplest and most direct ways of learning what a
spectator has written down or drawn. Obtain a number
of small coin envelopes of good quality and cards that
will fit snugly in same. Using an X-acto knife, cut
a rectangle out of the face of one or more of the
envelopes you wish to gimmick. This will allow you to
see or read the entire contents of an inserted card
through the cut-out section. A card should be placed
in the envelope during the cutting operation to prevent
the other side of the envelope being cut. Cut away a
good portion of the envelope, leaving a frame around
the edge sufficient enough to hold the card in place.
In the act of placing the card to the forehead, a
glance at the face of same will tell you the contents. The prepared envelopes
should be placed with a pile of unprepared envelopes and removed from
the pile in a casual manner. This method has been used successfully for
everything from private readings to stage effects. And while it appears
very bold, no suspicion is directed toward the envelope. Properly presented,
it’s a knock-out.

CLEVER THOUGHT READING

Eddie Clever utilized a bold and brilliant thought reading technique that
worked with blank, business-size cards and an ungimmicked coin envelope.
A spectator was handed a blank card on which he was requested to write
or draw something of his choice. He was then given a coin envelope
into which he slid the card face down, sealing it within. Clever then
attempted to read the spectator’s mind, but apparently experienced some
difficulty in receiving the thought transmission. He blamed the spectator,
saying the person was thinking too much about the card and envelope, and
not concentrating sufficiently on the writing. To remedy the situation,
he would set the envelope ablaze; after which, he immediately reproduced
whatever was written or drawn by the spectator!

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All that is required is an unprepared stack of about 15 cards and a white

coin envelope, also unprepared, into which one of the cards will fit. Give
the spectator the stack of cards and ask him to choose one for use in the
effect. While he is making his selection, remove your pencil. As you hand
the pencil to him, indicate that he should lay his card on top of the stack,
using the latter as a rest or base for his writing. Turn away slightly during
the writing and bring the envelope from your left coat pocket, holding it at
your left fingertips. When he has finished, tell him to turn the card face
down. Then extend the envelope toward him and take the stack in your right
hand, completing the latter action just a second before he can grasp the
envelope and accompanying the procedure with a statement to the effect that
you want the card sealed in the envelope.

Don’t give him possession of the envelope, however, but turn your left side
toward him (he naturally being at your left) and lift envelope up between
his eyes and a light, stating, “See, there is nothing in it. But, here, take
it yourself and look it over.” At the very instant that you misdirect his
attention and under cover of the upraised left arm, quickly turn the stack
over. Then bring the arm down and hand him the envelope. Before he has an
opportunity to examine it, say, “Just a second. Put your initials on the back
of your card before giving me the pencil.”

Once he is satisfied the envelope is okay, slide the initialed card into it
and have him seal the flap. While he is thus engaged, turn the stack over
once more and lay it down. Set the envelope to one side and pick up the top
card (actually the one on which the spectator wrote) and pretend to write
the thought he is trying to send, really reading what is thereon. Apparently
having no success, cross out what you have written, crumple the card and
place it in your pocket, complaining that the spectator is thinking too much
of the card and envelope and not enough about what he has written. Assist
with the destruction of the sealed envelope and then select a fresh card from
the stack and write or draw what you just saw. It is all a matter of correct
timing. Properly presented, the effect is astounding.

TACK REFLECTOR
Burling Hull first came up with the idea of using a convex mirror to reflect
a spectator’s drawing. Dr. Spencer Thornton discovered that the head of a
polished thumb tack would also function as a diminishing mirror (one that
reflected a larger area than its size). The point of the tack pin can cut
off and the remaining stem bent and wedged under a finger ring or cut off

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altogether and just the tack head glued to the thumbnail. As with Hull’s
presentation, the subject is asked to hold the pad with their drawing facing
them, so you cannot see it. You then approach and while touching their
head or shoulder and telling them to concentrate; you are able to see a
reflection of their drawing.

BOOK IMPRESSION DEVICE

You can quickly transform any hardcover book
into an impression device and use in almost
any routine that calls for a carbon impression
device. Tony Corinda credited the “Clip Book”
idea to Vivian St. John and said it was, “a
clip board much better than those you have
paid many a dollar for.” To prepare, open out
the dust jacket and rubber the carbon paper to
it in a few spots (so you can change later when needed) and do the same with
the impression sheet to front of the book. Close the dust cover.

IMPRESSION ENVELOPE
This envelope was the basis of David P. Abbott’s famous $25.00 Letter Test.
It is simply an envelope with a piece of carbon paper facing the back of the
envelope and under that, a piece of thin, plain white cardstock to receive
the impression. Only the tip of the gimmicked envelope flap was sealed.
Place a thin sheet of paper (about the same size as the envelope) on top of a
prepared envelope. Place under the prepared envelope an envelope that is not
prepared. This makes a set. Arrange two or three of these sets, one on top of
the other, and come forward with them in left hand like a pack of cards. Also
bring a small, well-sharpened, hard lead pencil.

Hand someone the piece of paper and envelope to write down a question about
their future, etc. After this is done, casually take back the envelope as
you explain to the person how to fold the paper. Place the prepared envelope
under the stack. This should be done without hesitation or looking at your
hands. As long as you keep the focus on the “proper” folding of the paper
slip by your volunteer, no one will pay the slightest attention to the
envelope. As soon as the person is done, take their envelope (actually the
unprepared top one) and say you are going to seal their question in the
envelope. Stop yourself, and as if an afterthought, and say it might be
better if the spectator did it instead. Hand the person the envelope and
allow them to seal their question inside, seal and initial.

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Turn the envelope stack over on your way back to the stage or for one
place to another, and slip your thumb under the lightly stuck envelope
flap to open it and remove the slip. Leave it on top of the stack to
glance at or read.

SWITCHING DEVICES

HIMBER NEWSPAPER GIMMICK

Developed by Trickshop.com, this utility gimmick was first detailed in our
headline prediction, Future Edition, to switch envelopes for the Bally
Prediction; however it can be used to switch any flat object.

To make it up, you’ll need two identical

copies of any broadsheet newspaper. Keep the
complete four-page spread with the front
page for each, fold them in half, and place
them side-by-side. Now, fold the paper on
the left, in half again to the left, and
the paper on the right, in half again to
the right. Rubber cement the two quarter
sections together (right side of newspaper
on left, and left side of newspaper on
right) to form a hinge. Make sure the news
copy and images are aligned. In doing so,
your newspaper gimmick now has identical
front and back compartments you can use to
switch envelopes and other flat objects.

IMPROMPTU SWITCH TRAY

Exchange or substitution trays are specially-constructed trays which have
a secret compartment in the bottom at one end in which any object such
as a folded bill, billet, coin, etc., can be concealed until you want to
produce it. An excellent impromptu tray can be made from a thin book or
magazine simply by sticking a small piece of magician’s wax underneath to
hold the object to be produced. Also you have the advantage that these can
be borrowed and later examined.

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