Kenton Knepper - X

1

Introduction

What is "X"? In times of old, as today, "x" stands for a mark, a signature, a meeting of

minds. This manuscript is about all of these and more. These effects, to real people, are

phenomenal. The methods are so simple that only the wise will realize their true potential.

While the effects are essentially idiot proof, idiots will never perform them. If however

you are a performer, even on occasion, and are willing to think like a spectator, then you

may well see the real value here.

While I am generally known for breakthrough methods and unusual techniques, many of

the basic concepts here have been around for ages. I am not claiming that mis is my most

original work ever. What I am offering is original twists and turns that will throw even

many wise performers off the track. And audiences, well they love this stuff. A few of my

friends have pointed out that I have not published some material simply because I doubted

how unusual it might be. They mentioned that I was not treating performers fairly, by

hoarding loads of cool touches that nearly everyone could use. They said I was being

stubborn and limited by insisting I not publish anything except truly different material. So

I took up the challenge and decided to release a few of these sorts of booklets. Whether or

not I will ever do so again remains to be seen.

That being said, I am very happy with the power of the material in this little booklet. How

well others will view it, or perform it, is another matter entirely. I have little to do with

that, of course. I do hope you will find it all worthy in the end.

Here then is to another new path, down some well-worn roads, which are far too rarely

taken.

I hope you enjoy the new curves and bridges in the roadway.

Kenton Knepper - X

2

Insinuated Double Prediction

Here is an unusual card effect. The spectator selects a card and replaces it into the deck.

The spectator shuffles the cards until satisfied and then cuts the deck as well. After all of

this, the spectator peeks at the top card of the deck. The performer asks if this is her

selected card. It is not.

"That's not it? I thought not!" exclaims the performer oddly, as he rips open the envelope

that has been in full view the entire time. "I had two cards which I removed from another

deck earlier today. One I felt was the correct card, but the other card... Well, I peeked at

this card too and thought this is NOT it... So I crossed this card out..." and so saying

displays this card to the audience.

"Odd ... But I had one other card I felt was correct. What was the card you actually

selected to begin? Really! Turn over the card that I have left for you". Naturally, this

card is seen to match the one the spectator calls out

This can be used in several ways. I will begin by detailing the use in the effect you have

just read. What appears to happen is that you predict the card the spectator selected. You

seem also to predict the one she has peeked that was not her card. That is rather

impressive, and more than doubles the impact of the basic card revelation.

The method is standard, I'm afraid. You force the card on the spectator. But how could

you possibly force the card the spectator peeked at after she has shuffled and cut the deck

all on her own? The amazing answer is - you don't. In truth, you never know what card

the spectator peeked at. How can this be? Does she not agree that this was the peeked

card when you showed it around with a big X mark on it? You imagine she agreed, but

she was not agreeing to what you thought she was.

The envelope contains the force card and a second, indifferent card, with an X on it.

The spectator agrees that this indifferent card was the incorrect card, and that is all. The

words used create a grand deception however. Look at the phrasing again. The spectator

peeks at the top card, but alas it is not the chosen (secretly forced) card. If it is, wait for a

standing ovation and then stop there. Otherwise, she will say this is not it. Remove the

cards from the envelope backs toward the spectator and audience. I like to dump them

face down on the table, and then pick up the indifferent X card (I mark the back of this

one).

As you hold the X card with the face still hidden you remark " One card I felt was the

correct card - your chosen card. But this other card... I peeked at it too, and thought then

'This is NOT it' so I looked at it, but made a big X mark on it to cross it out... I knew it

was wrong, this peeked at card".

Kenton Knepper - X

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To the spectator, you are saying that you took out a card earlier, peeked at it, and decided it

was wrong", so you crossed it out This is what has happened to the spectator too — but

probably with a different card. To the rest of the audience however, you seem to say that

you peeked at the same card the spectator peeked at, and then crossed it out to show it as

the non-selected card. Apparently, you show this card because it is the same as the

spectator's peeked card.

Otherwise, why bother?. To the spectator however, you are simply saying, "I didn't think

this was it, but I need to be sure. It wasn't was it? Good because I crossed it out". At

worst, the spectator is confused a little, but she will agree you are RIGHT it is WRONG.

Duh. Of course it wrong. It's either that or a genuine miracle. The audience either has to

consider the implications of this other card, or feel that you are being dramatic, and

building a climatic ending. In fact, you are doing that, and more. If all you are perceived

as doing is building a climax to the revelation of a forced card, you are still a step above

most. There really isn't much of a down side to this.

When you ask the spectator to name her card and turn the other card over to reveal its

face, it is going to be correct. Of course it is. Now the spectator will agree to this, and all

can see this is correct, and the audience applauds. This applause seals the implication into

their minds. Applause means you were successful, and so the mind reasons the other card

was also a success in some way, and sets this into thought as fact. At least you will find

this is the case with the vast majority of people. It is 98-99% fact after a day or two

passes.

It may take you a wee bit of thought to grasp how this looks to an audience and spectator,

knowing what you know to be true. But for those who can grasp what is perceived

through this implication or second card suggestion, you will discover a miracle. Or two. It

is a devious way to expand on a simple force card revelation.

Once again my "dual-reality" or "multiple reality" work comes into play here. Note as is

usual in my style that the spectator does NOT feel they are "in on it" in any way at all. In

fact, they may think later that the card you crossed out really was the one they peeked at I

use an Eight of Diamonds as the X card often, as it seems to be any larger red card in the

minds of many people. I have a better chance of causing this to appear to fit what the

spectator peeked at this way. It's just a touch you may or may not care to think about

If you wish not to rely on the ability to deliver such a subtle deception, then perhaps this

next take on the "X" card will be to your liking.

David Greene's Crystal Revelation

David Greene created "Crystal Revelation" which uses two innocent looking, yet very

diabolical principles known for years by the magic community around the world. The first

is the Magician's Choice or equivoque, but not in the traditional sense. The second a nice

way to cue a spectator. Here is Mr. Greene in his own words. At the end of this, I will add

one more nuance to this playing card prediction.

Kenton Knepper - X

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I would like to give credit where credit is due: Kenton Knepper created The "Pendulum

Force" described below decades ago. This little secret Kenton had kept rather quiet about,

and he has fooled very knowledgeable magicians with it through the years. Then this

force slid out into other's writings and tricks. Here it is applied with permission.

The original version of Crystal Revelation was sold with a necklace that resembles a

crystal. Inside - believe it or not - written on a single grain of rice, is a prediction. Also

supplied was a duplicate card that matched the prediction. Once you understand the

effect, you can go to one of those "Have Your Name Engraved on a Grain of Rice" stands

and get them to make you the special pendulum. You just need the initials of a force card,

such as "2 H" written on the rice grain. People into "Kentonism" may also want the other

side of the grain engraved with a triangle or circle or both. Kenton did.

To begin this version however, simply place your force card on the top of the deck and a

duplicate card on the bottom. You may shuffle the deck, as long as the top and bottom

cards remain in place.

After shuffling, put the deck on the table and have the spectator cut the deck into four piles

in a row onto the table. Usually, they will place the piles so that the force cards are at the

two ends. It does not matter where these piles are placed, just as long as YOU remember

which two piles are the "force" ones.

Now, have the spectator move the pendulum back and forth over the piles, and touch

TWO of the piles with the pendulum "whenever they FEEL like it". Once the spectator

has touched two piles, there are only a few possible situations:

a) They touched the two force piles

b) They touched both NON-force piles

c) They touched a force pile and a non-force pile.

If they touched two force piles compliment them and have them set the pendulum down

on ONE of these two piles. Make it clear to the spectator before they begin that "The pile

YOU set the pendulum on is the pile we will USE for this experiment... No cheating...

You get what you pick! Choose wisely". Of course, it doesn't matter what pile the

spectator chooses, since either pile is a force pile!

If the spectator touches the two NON-FORCE piles, simply say "Excellent! We will

discard the two piles as you indicated. Now two piles remain. Again, simply touch the

pendulum to one more pile you wish to eliminate. Just like the first time... nothing tricky at

all, whatever you touch, we eliminate." Of course once the two non-force piles are

removed, it does not matter to you which force pile the spectator indicates for elimination!

Kenton Knepper - X

5

Finally, if the spectator chose one force pile and one non-force pile, say "VERY good! I

want this to be perfectly fair in every way, so I ask you: do you wish to keep and use these

two piles for our experiment, or eliminate them entirely? This is entirely your choice..."

At this point, even if the spectator chooses the other two piles, you are still in the same

situation: one force and one non-force pile. This added bit of business reinforces the

apparent fairness of all that is happening!

To finish, say, "This is an experiment of choice and ELIMINATION... Lay the pendulum

on one of the two remaining piles". If the spectator sets the pendulum down on the force

pile, say "That way I cannot tamper, or touch that pile at all"! If the spectator sets the

pendulum down on the non-force pile, say "Excellent! We will eliminate the pile you

indicated". You might even add "Eliminating the pile you touched, just exactly as we did

before...again nothing tricky..." saying this only IF you indeed ELIMINATED the two

piles he touched before. This may seem like a little thing, but the fact that you are

consistent the entire time throws even wise performers off track.

You may wish to always eliminate the two piles when you have a force/non-force

situation, and not give the spectator a choice. This way when you get to the choice of the

last two piles, this will always look exactly like what you did with the spectator's previous

piles. The LACK of the traditional Magician's Choice or equivoque that makes this seem

so very innocent

Of course in either case, you appear to be fair indeed, while causing the spectator to end on

one of the force piles. Your force card will either be the top card of the pile that remains,

or the bottom card of that pile. That's why you need to be sure you recall which force pile

is which. If you have forgotten, simply pick up the remaining pile and hand it to the

spectator as you secretly peek at the bottom card of the pile. You will either get a glimpse

of your force card, or you will now know it is on top of that pile.

BEFORE the spectator is told to turn over the top card (or told to turn over the entire pile to

see what card was "cut" to, if that is the case) quickly but obviously thumb through the

other cards to show they are of course "all different". Do not worry about the one, single,

duplicate card. They will not recall it because they do not know what THEIR card is yet.

Turn the cards back race down after showing them, and then remind the spectator how fair

and thorough his choices have been. Have the spectator turn over the pile, or just the top

card of the pile, as needed, but tell him not to show it to anyone just yet The card has now

been fairly forced, and you can move in for the revelation.

Remind the spectator that this was an experiment of choice and elimination. Ask if there

was any reason why he chose that card. If there is, try to find out why. You might get

some interesting responses this way.

Go on to say "Good! Consciously or subconsciously, you have used your own intuition,

which is very important for this experiment".

Kenton Knepper - X

6

Explain to the spectator that though it may have been their choice and intuition that led to

the elimination of all but one card, there were other "great influences" involved. "Such

influences may be as great as an ocean, or as small as a single grain of rice".

Hand the pendulum to another spectator, and ask them to please look at the pendulum.

"Concentrate, and try to see an image inside. Perhaps the name of a card fades into view.

Do you get an impression of a card at all in there"?

If not, tell the spectator to keep concentrating. "It will fade into your minds' eye

eventually." When they DO see it, ask the spectator "What does it say"? They of course,

will name the card out loud. Ask the first spectator to "Please turn over and verify your

card". Thank the spectators and compliment them for their help. "You two are definitely

of like mind tonight".

Let's look then at another option to this card force of mine, combining it with the two

cards in the envelope. Place two cards in an envelope, and mark one of these with a large

X on the face. These are your prediction cards.

Take out your regular deck (no duplicates this time) and have the spectator shuffle the

cards. As you show the deck, sneak the cards that match the ones in the envelope into

position as before. One goes on top of the deck, and one goes on the bottom. If you are

not comfortable managing that, then simply begin with the cards in place, and don't let the

spectator shuffle.

Do the pendulum force as previously described. They will end up on one of the cards in

the envelope, we just didn't know which one ahead of time. In this case, do NOT let the

spectator show you the card they "chose" (were forced). Now comes the revelation. Show

the two cards in the envelope. Mention, at the last moment, you crossed one of them out -

but left it in the envelope, as you were unsure. You left both in -just to prove you knew,

but you went with a feeling and crossed one card out. Is the other card the one the

spectator chose? It is! Amazing!

Naturally, you use the same situation and essentially the same words, if they chose the

card without the X on it. The difference being that in this case you say "At the last

moment I made a big mark on the card that I decided must be yours. I knew it was

between these two - and then went with my last hunch. I marked this one as the card you

would choose. Was I correct? Does X indeed mark the spot? It does? I thank you!

To many magicians' minds, having multiple cards may seem to be less convincing. It is

actually more convincing to the spectator's mind. It makes sense that you might be

unsure. In fact, if it wasn't a trick and what you were doing was real, then it REALLY

makes sense. Having two cards and then choosing at the last moment may suggest that

what you are doing is an attempt at something real - not just a trick - which is guaranteed.

I hope you give this dual X card "out" some thought. It works as well for postcards,

written predictions, even objects - so think about it! I am certain something will "hit the

spot" for you.

Kenton Knepper - X

7

The X Factor

All of the ideas presented next will rely on a variation of the same simple device. The

applications are what I hope you will realize as truly valuable. Once you know what this

common article is, then the workings of many of these effects will be obvious. Let's

consider what a few of the effects are first, so that you can remain as excited as I am about

these ideas in actual performances. Then we'll discuss the little secret

A spectator chooses a card, or looks at a total of numbers or whatever you like. A second

spectator stares into a crystal ball, and then admits she sees rising within the ball an image

or idea about what the first spectator has in mind. The crystal ball is immediately handed

out for examination. The crystal is seen to be ungaffed. The performer's hands and

person are clean and there is not a single thing to secretly "ditch" somewhere. Still, the

second spectator swears they saw an idea, and this image turns out indeed to be what the

first spectator is concentrating upon. If you'd rather use a magic talisman, coin, quartz

crystal, stone, glass of water or such instead of the crystal ball, you could do that too.

Here's another effect: Spectators mark their initials on similar coins - say nickels. The

performer adds an unmarked coin in, and mixes all the coins initials side down. A

spectator is told to use their intuition and name a number one through seven, as seven

nickels are being used. The spectator is to try and find the only coin that has no marking on

it, by intuition alone. Very slowly, without any odd moves or a switch of the coins, the

spectator indeed is seen to have selected the only unmarked coin. Everyone else takes

their coins back, as they are still marked with their initials. Still want more? How

about...

Three postcards of vacation spots are displayed with writing on their back. They have also

been laminated for good measure. A spectator selects which country they wish to go to

first. This postcard is turned around and on it is written something such as "You will

choose this place". The card can be examined. No one seems too impressed. The

spectator picks which place to go to next. This next postcard is shown to read "Second,

you will choose this place". Now the audience is getting nervous. The final postcard is

turned around and it reads " You will choose this place last". The audience is stunned.

Only three postcards are used, no switches, each is freely shown and there is not a single

force or stooge.

How about this one: The first spectator shuffles and freely selects any card face down and

keeps it. A second spectator, far away, is instructed on how to hold a pendulum. As she

holds the pendulum, she gets the idea that the card the other spectator chose is black. This

is correct She also states the card was a Club. No, it was a Spade. Hey, this isn't a trick.

It's a little mind reading and projection, after all. The spectator concentrates and says the

card is a two, the Two of Spades. Everyone is dumbfounded. The pendulum, the spectator,

and the performer may be examined for a rousing good time - or trust me, there is nothing

to see or be found. Oh, and the performer has a correct prediction written too!

Kenton Knepper - X

8

Perhaps you are beginning to be intrigued by now, but let's look at another effect Imagine

three bottles of water, with a little poison to be avoided in two of them. You ask the

spectator is they would trust their life to your powers of intuition. When they say no,

remark that is a good thing, they should trust what is within them. The spectator freely

chodses which bottle is the "good" bottle. The spectator is cleanly handed the bottle of

their choice.

The two other bottles are shown to have bold X marks crossed through the bar codes on

their labels. The performer wipes his hand over a mark, and of course, the mark is

permanent. The spectator's bottle is clean and may be examined naturally. There are no

nail writers or any other extraneous item to ditch.

There are so many options with this device; I can only share a few of my ideas here. But I

hope the novel way of thinking about this tool will generate more effects that are new for

you. Are you ready for the answer? The effects may have given you a clue, but then

something likely threw you off the path. The secret to all of these effects is so simple

most people won't bother. You should bother, if you like real miracles.

Here is the secret device, and then we'll talk details - where the rest of the magic is. Go

to any office supply, drugstore, or grocery and purchase a dry erase marker. These special

markers wipe off of slick, non-porous surfaces. Mainly people think the markers need to

be used on whiteboard or other special writing surfaces. This is not the case. Though

these markers are becoming quite commonplace now, the spectators never suspect their

use, due to the sneaky applications.

Also, I use a smaller fine point version of these markers, which are easy to find these days.

You do not need to use the bulky obvious markers of this type now, as the new ones look

like common "Sharpie" or pocket marking pens. I am currently using the Expo style

marker manufactured by Sanford. This is the modem equivalent of the "It's A Pip" liquid

from the 1930s.

Let's go back over the effects now that you know what the secret is to them all. Then I will

toss in a few more twists you may find useful. Don't be disappointed by the simple secret,

because the audience never knows this, and the effects are dynamite!

Crystal Ball

This is a modification of a long-standing, time-tested dodge. Dr. Jaks used this basic

notion on the inside of his finger ring (see The Phoenix and the Tarbell Course). It is

difficult to say absolutely who first applied this to a crystal ball. Certainly, history is filled

with readers who enlarged small sketches and such via crystal balls, of which the rest is

but an extension. Mike Rogers, Doc Eason, and others have added their versions.

In the usual trick procedure, a card is forced, and an index corner of this card is secretly

secured to a crystal ball, face to the crystal. This preparation occurs before the

performance, naturally. The thumb or fingers hide this small piece stuck to the crystal

from audience view.

Kenton Knepper - X

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A second spectator is asked to try and read the mind of the spectator who chose a playing

card, unknown to all but him. As the other spectator looks into the crystal ball, she sees

nothing. This is due to the fact that the pip is at the base of the ball, and so it isn't

reflecting towards the spectator. But slowly the ball is secretly rolled forward or back

with the fingers, and this rotates the pip of the card into view. The spectator doesn't see

the pip stuck on to the ball at all. This part is away from her. What she sees is this small

piece of the card's number and suit enlarged through the ball. It appears in fact that the

number and suit fill the ball, due to the ball's ability to magnify.

If you play with this, you will see how to position the ball so that the comer shows through

the ball to the spectator, and how to keep it not seen. A slight rotation of the ball is all it

takes. Since the pip seems to come from the bottom of the crystal to the top as you rotate

the ball, you might say "A thought may rise up and lift you to a sudden realization. Some

idea of a card should fade in or rise upward until you get a relatively clear impression".

Soon she will smile and be able to name the other spectator's card, and we have a

miracle.

There is a slight but practical difference in this and what I suggest Instead of using a cut

off comer of the card, use the dry erase marker, and draw the suit and number directly on to

the crystal itself. This is far less likely to be seen, but that is not the reason for doing this.

With proper wording, the spectator may doubt what she has seen in the crystal ball, when

it can be instantly examined. That's right — you can rub off the dry erase with your finger

from a real crystal ball!

WARNING -I always check this on every single ball or item I hope to use, by making an

extremely small mark. That way, if it doesn't come off, it won't be noticed or hurt

anything. If this rubs off right away, I try again and wait a few minutes. If this still rubs

off, I try this small mark for an hour, and so forth. I haven't lost a good crystal ball yet to a

bad mark this way. Check out any item you plan on applying dry erase to in this manner,

and you will not have unpleasant surprises.

Because dry erase markers come in colors, you may use a red marker to write the number

and suit of a red card, and a black marker for a black card. This helps the spectator

understand right away if the card is red or black and if that is a Heart or a Spade they are

seeing.

Another aspect of this is that by using a marked deck, you can see which card the first

spectator took before even he knows what it is! Now you may reach into your briefcase,

occult treasure box or what have you, and secretly write the number and suit on the ball.

Simply appear to hunt for the ball in the case, and write in a small space on the ball. Then

take the ball out, and go into the routine. This allows for many more options than the older

methods, and you may change cards every time you do it. You will need to test out which

size of writing can best be read, and which you can easily write. Remember! You need to

write this in reverse so it looks right to the spectator.

Kenton Knepper - X

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You have another strength in this version. People often say, "Let me see in there!" when a

spectator gets the card correct NOW you can allow for this. I remind you this

strengthens the impact on the spectator when no one can see anything in the ball. I have

what I think is rather a devious way to tie all of this in.

Once the spectator admits the other spectator is correct, I stare at the crystal and say "Let

me look in there -I don't see anything"! As if to facilitate my seeing, I rub the crystal,

ball against me sleeve or jacket and then look into the ball again. "Beats me! YOU

look," I may say, as I hand the ball out to another spectator. As they look, I ask for a

round of applause, and this stuns even me helper.

Art Emerson, Sam Dalai, and numerous others have played with attempting to apply

something written upon the ringer on to a crystal ball to get similar effects. Now you need

not end up with dirty fingers, suspicious crystals, or unreadable images.

Just keep in mind that in this method you need to let your hand hide the small writing on the

ball, and not place your finger over it. This writing can smear if you put your fingers on top

of it, so don't do that. My thanks to Dr. Jaks, Arthur Emerson, Sam Dalai and many

others before me who have added to hedging me into this method.

By the way, Dr. Jaks used to say to the spectator, "I bet you never knew you had powers

like this! Please don't reveal how you used that power"! This was to get the spectator to

keep the cueing to herself. You can still use this line, and then allow the crystal to be

examined too.

It may be a good idea to review Wonder Words and find phrases that fit you that cause the

spectator to feel certain things, or allude more to what she is seeing and how. Here are a

few ideas for starters " Look in and relax and allow something to float up, floating

upwards, up in your mind... Something rising to the surface, like a tide, fading in or

floating up until you can see an image, a name, a picture, a scribble, ghostly writing, or a

neon sign... Yes smile and relax as you gain confidence and imagine an image rises and

makes itself clear to you. See yourself as The Seer... Yes, that's it You actually DID get

something, didn't you? Something came to mind? Most excellent"!

As long as you do not play this strictly for laughs, it can be very mysterious for all

involved. You might also consider secret writing or designs placed upon crystal points,

rocks, wands, amulets, anything which will cue the spectator and allow the dry erase to rub

off. The neat thing about certain magical stones, miniature crystal balls, or crystal gems, is

they make for souvenirs that have already been shown to contain magical powers!

A little more suggestion added, and these may be seen to cause items to bend, make things

fall off walls at homes, all sorts of unusual things! Take the hint if you can develop it on

your own, for your own use. Keep in mind there is no reason now to limit yourself to

playing cards. ESP symbols, shapes, simple drawings, names, dates, and numbers all may

be revealed or cued in such a way. Thinking about that should keep you busy for a while.

Kenton Knepper - X

11

Nickels

Here's my two cents on the nickel trick. The rest came via a conversation with Docc

Hilford on the X principle. This uses an old force, but in a new way. The X factor makes

it into a complete impossibility.

Hand a permanent black marker to a spectator who has a nickel. Have him put his initials

on the coin, so he can get it back again later. As you instruct him to do this, take your dry

erase pen, your own nickel and do the same with your initials. This looks as though you

are merely directing the spectator. Casually place you nickel on the table, initials side

down. Place the spectator's coin by yours. Ask another spectator to do the same. In all,

you want five spectators to contribute their own nickels with initials on them. You do

NOT want the spectators however to think about how many people are involved. So,

never say "I need five people for this" or "I need two more", etc. Instead, just keep

collecting nickels, until you secretly get the number that you need.

Use several permanent pens and keep people writing their initials as you collect the coins

to confuse and distract the spectators from any specific number of coins. You display

another coin, which is marked with your initials, with the dry erase marker. However, this

one you don't want the audience to know is marked. "I am going to add one unmarked

coin to the mix" you say, as you place it on the table - secret initial side down.

With your first coin, your secretly marked coin, and five nickels from the spectators, you

have seven coins. Keep your coins still (so the initials don't rub off) and move the other

coins around these two. Pretend to be completely mixing the coins. Do so in such a way as

to hide from the audience where the supposed unmarked coin would be. Although it

looks as if you are mixing the coins around, what you really want to do is make a row of

coins, with your two coins secretly being the second and third coins from the end on your

left side.

The spectators see seven coins, initials downward. They think one is unmarked. They have

no idea where the unmarked coin supposedly is. Point to a spectator as you say, "Seven

coins... one unmarked. If you pick the unmarked coin, you will have a most amazing

year this year. Admittedly, not the greatest of odds, but don't be fooled by appearances.

Use your intuition instead and give me a number one through seven".

If they say ONE or SEVEN: Counting from the left, slide one coin to the right and say,

"That's one away, just as you say. Let's see if by eliminating that one, the next one is the

fortunate coin". The same move takes place for seven,except you count from right to left

Slide forward the next coin (second from the end) which erases the dry erase mark. You

can be additionally sure, by running your thumb on the coin secretly as you hand it to the

spectator. They have obviously chosen the one unmarked coin - what luck! You could

eliminate these two number choices by stressing "A number BETWEEN one and seven

please — we have seven coins only".

If the spectator chooses TWO or THREE: Count from left to right and slide forward the

coin selected. Either of these coins can erase and become the unmarked coin.

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If they choose FOUR: Count from the right and slide all four of these coins away to the

right The next coin is now an erasable one.

If the choice is FIVE: Count from the right and they hit a force coin

If the choice is SIX: Count from the right and they hit a force coin.

The spectator's free choice forces them to pick one of the two erasable coins. Slide the

erasable coin forward, then pick it up, and hand it to the spectator, to be sure the mark is

erased.

To sell the impossibility, turn over all the other coins so the initials now show. Be careful

not to erase your remaining initials from the last erasable coin.

Say to the spectators, "You helped gift this friend of ours with an amazing year. Please

take back your own coins, for a well deserved piece of luck yourself". As they do, simply

take back your own coin as you look at the initials and say "Yes, this is mine, I found the

right one" and put it away. This is a perfectly logical thing to do, and everyone else is

doing likewise. There is nothing to be found, and all take home a little piece of

convincing evidence.

You might present this as a game of chance, but introduce a lucky amulet that aids them.

The amulet is said to always guide true intent and intuition. The spectator holds this rock,

jewelry or what have you, and they are successful. Of course, the amulet is actually a

give-away that they take home to remind them of the evening, and of the guidance they

can tap into within themselves. Or something such as that Use your own imagination.

Pendulum Prompt

This is an application incorporating what we have already discussed with a fine idea by

Karrell Fox. I will not detail Karrell's work, but you ought to look up his "Invisible Table"

effect — a wild and literal invisible deck routine. Here we use our X factor and apply it in

such an offhand manner, few could even consider the potential method.

The performer states he will give the spectator an amulet that will allow him to read

another person's mind. After a number is totaled, a card selected, etc., the second

spectator is given a pendulum. He is instructed on the proper way that it is to be held:

Fingers at the top of the chain or string, fingers of the other hand steadying the weight at

the bottom of the string. The performer asks if the spectator understands, and he says that

he does indeed. Soon the pendulum sways, or it sends subtle information to the spectator,

and he is able to name the other spectator's number or card. All may be examined,

including the performer. He might like it.

The card or number may of course forced. What makes this difficult to figure out is the

way the spectator is cued. As the spectator is being instructed as to how to hold the

pendulum, he sees the information. He can't really miss it. Please take time to recognize

the subtle situation here.

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It is natural for most people to be told how to best hold a special pendulum. Even if they

know how to do that, they will listen to see if there is anything new to learn. Hie cue is

NOT on the pendulum. It is on the performer's thumbnail! Pick up the pendulum

between the thumb and first finger, using the thumb with the force name on it This will

naturally face you as you display the pendulum. Have the spectator stand next to you and

show him how to hold the pendulum. Instruct and help him get his hands in the same

place as yours, before you allow him to take it from you. This makes certain that he will

look in the proper place.

You might even say, "That's right, one hand below and men your other hand up here at

the top... See? Do you see now? Do you have it? You're sure you got it right? Okay"!

To the audience as well as the spectator, you seem to be giving instructions, and you are. It

is merely a matter that the instructions given are heard in two different ways by each. The

spectator understands you to say, "Do you see this written here? Do you GET it? SEE?

You do see it, right? Good"! The dual understanding of your words, combined with the

natural instruction makes for perfect cover. All mat remains is for a little presentation to

get the pendulum to move, or if you can't do that, then a story of energy vibration.

Don't allow the spectator to just blurt it out. Try to make something more happen before

he says anything. While he is doing the remainder of the effect, you scrape off the

remains of the method from your nail. If the spectator does blurt it out, at worst it is a

prediction! But I would say something such as "Wow! That was like a JOLT of energy in

your case! Amazing. He says the number was 34. Is that really correct? Incredible"!

Play with your positioning in a mirror or on video and you will see how easy it is to

conceal this small amount of writing on the back of your thumbnail. Now to make this

even more incredible...

Art, Sam, and others came up with a fine notion. It was messy and impractical too often,

but they didn't have the X factor like we do now. In this method, you need not have

anything forced. Hold a notepad in your palm and the X pen in your other hand to write

down a prediction. The spectator is allowed to take any object concealed in several

envelopes. You know what object was taken from the mixed envelopes, as the envelopes

are marked. It is an easy matter now to write down the correct impression you are getting.

It is also easy to write the name of the card, symbol, etc. they chose on your thumbnail!

Simply keep your thumb behind and on top of the pad as you write your prediction. Then

write a LITTLE more, so it is also on the thumbnail. Hand your written prediction to

someone and say "Wait! It would be quite something if I was correct of course, but it

would be a MIRACLE if you sir knew what she had selected, wouldn't it? Well, let's try

for a miracle"! Notice now how the trick has just become a "miracle".

You are likely to get this miracle too, as the spectator will see what is written on your

thumbnail! When needing a spectator to read something this small, try to pick a person

who is already wearing glasses. That way you are better prepared than sorry.

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You could have a person whisper a simple two-digit number in your ear, and then use the

pad to write down what they have said for later proof. In this case, you are not making a

prediction. You are recording a "secret thought" which you will try to project to another

spectator. You may also overhear a person's simple name or some such which you may

write down and "send" to a stranger. THINK about this one and you will find much more.

Check out Mantra and Emerson's "Through a Glass Brightly" for other historical points.

Don't forget to get "Another Book" by Karrell Fox for the invisible table bits either.

Poisoned Water

This is easy. Many bottles of water, pop or other beverage comes complete with glossy

labels. I like to find water bottles that have labels that look like paper, but are actually

plastic coated and slick. A little experimenting with your pen will pay off here. You want

a label that will allow you to mark it with a large X using our special pen, yet will wipe off

easily even hours after you mark it. You can test the bottles too by the way. Many of the

plastic bottles you think might work don't

Use three like bottles. On two of the bottle labels mark a big X with your pen. On the

third bottle, mark a similar X, but with a permanent pen. Keep the X sides away from the

audience.

Talk about intuition and helping the spectator tap into their own. Mention that one of the

three bottles is a safe bottle - and this is clearly marked to avoid confusion. The other two

are poisoned bottles. Say that you will drink whatever the spectator picks using his

intuition. He really has a completely free choice.

There may be three bottles, but two things can happen. He can either choose one of the

erasable X bottles, or pick the permanent X bottle. If he points to one of the two erasable

bottles, sneakily wipe this X off the bottle as you hand it to him. You can do this without

fear, as the large action of picking up the bottle covers the small movement of the fingers

wiping off the X. After you hand the spectator the bottle that is "pure", display the other

two bottles and the big X marks on them. As you speak about how these bottles are

poisoned, casually rub the X on the permanent bottle. Then hand this bottle out and see if

anyone wants to drink a little poison. This is simply an indirect way to suggest that the

markings on both bottles are permanent. You can take a drink from your X bottle and say,

"I've had it before" or whatever best fits you. Obviously, the unmarked bottle the

spectator chose is the PURE, CLEAN bottle -just like the label.

If the spectator chooses the permanently marked bottle, hand it to him. Pick up one of the

erasable X bottles that remain and hand this to another spectator, as you secretly wipe off

the bottle. Pick up the remaining bottle and wipe it off secretly as you do so. Point out that

this last bottle and the other bottle that was not selected have no marks. You naturally

wanted to make sure which was the GOOD bottle, and you marked it with a big X - so that

we would all know which one was safe! Regardless of the free choice, the bottles seem to

be examinable. They are free from suspicion, and may be examined except when the

spectator selects an erasable X bottle. Then two out of the three can be examined, and that

is more than enough to make clear the point.

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I also suggest you try fine glass goblets in which are poured a dark liquid (such as a cola).

Always test the mark first on finer items of course. Most types of glass will allow for the

X dry erase marks to be rubbed away easily. This adds an air of class and makes for a fine

poisoned dinner table murder mystery scene. You may also check cans of beverages and

foodstuffs.

Discover your own story or presentation, and you will find this a delightful, yet easy to do,

show piece. It makes a nice interlude to "the ever more difficult mental tests" yet to come

in your performance.

Disk Delivery

A DVD, CD, or blank CD-ROM is taken from an empty case. The spectator is asked to

place the disk on one of her fingers, and think of a card she gets from watching the DVD.

When she says she has one, she also names a simple symbol, etc. All the items the

spectator names are what others have secretly chosen, or what was written down ahead of

time by the performer. The disk may be examined. The audience is stunned but you say to

the spectator helping, "Of course, I don't know what they are applauding for, you just saw

it on the disk and named it - perfectly natural". You might even ask the spectator to agree

that they have used their own "natural abilities and/or God-given powers"!

I love this one for many reasons. There are a few different options in how to handle it

The interpretation is left more in the minds of the audience. It uses a common article that is

uncommon in most magic or mentalism acts. The words are hilarious.

The working is almost nothing. Get one of those blank CD-ROMs or CDs that also have

printed the company logo or fancy design on one side. If you can find a disk that will

allow the dry erase to come of it, fine. I haven't had much luck with that But what I have

found is that the printing processes many manufacturers use to print on these disks allow us

to write and wipe off on the printed side! As always, test and check around. Right now, I

am using a Fuji Film CD-R.

With this in mind, you write forces and cues to a spectator on the printed side. Place the

disk into its jewel case, printing side down. If possible, use a jewel case with a clear front

cover. This allows the audience to see the disk with its enticing flash of colors. It also

allows the audience to assume nothing is printed on the disk. The jewel cases are usually

designed to keep the disk a bit suspended - which means in our case the writing won't rub

off when packed inside!

I like calling the disk a DVD, as it suggests moving pictures and images going by. I state

that I had recorded my predictions on DVD previously, but the stage manager forgot to put

the player on stage. Barring this, I ask a spectator to use their natural abilities, and see if

they can watch what the DVD says. Please note that all my words are now suggesting that

they will see something, and that they need to watch for it.

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You may do the little flip over in your hand to show both sides of the disk as silver. You

know, like a paddle move with a business card. If you know how to do that, and want to

do it, just please do so very casually. Be natural or you'll blow the whole thing. It is

better when in doubt not to do a "move" unless it is required. Have the spectator stick out

a finger. Find a finger that fits into the hole of the disk. You'll get good at gauging this

by sight after a few times. Say "Now watch the DVD and notice the images that move

past your eyes. See the predictions I have made as you watch the DVD".

I am sure you get this now. You slowly spin the DVD on their finger as they read the

predictions. I try and write three or four, so they see different answers and "images"

(words) "spin by their eyes". This is a very funny bit. Don't let that throw you from the

powerful MENTALISM that it is. To the audience, this is all a gag. That is, until the

spectator says she does indeed see images and predictions that were previously recorded

and placed on the disk.

To the audience now, the spectator seems to be saying she is seeing images before her

eyes from the DVD on her finger! It is as if she mentally sees what you have

electronically recorded. To the spectator, she must agree too, as what you say makes

perfect sense. Yes, she does see predictions written on the disk, going by, as the disk

turns. She doesn't feel so much that she is "in on it", rather that you are performing a

humorous way to present your predictions. To this spectator, these are still written

predictions, after all. If these turn out to be correct, men it is very amazing to her as well.

I hope you see how the words and the dual realities make for a convincing yet interesting

revelation of predictions. What did you predict? Whatever you forced of course. Or

whatever you peeked at before the show. ANYTHING that you could write down ahead

of time on the disk will do. I suppose one might try a headline prediction this way, but I

think that may be stretching things a bit too far. But let me know if you do it successfully

that way. I would be interested in how you made that work.

The closing line of "Of course, I don't know what they are applauding for, you just saw it

on the disk and named it — perfectly natural" is full of varied meaning. You may use this

same line for those times when you are blatantly cueing a spectator too. In such instances,

she will agree it is perfectly natural, and this gets a howl from the audience. When she

states that she has used her own "natural abilities" to perceive the answers, this too is an

odd statement to the rest of the onlookers.

Of course, what makes this miracle complete is the fact that you toss the "DVD" out to

others to see if they can see anything for themselves. This is the time the miracle hits

them. There isn't a thing anywhere on the disk to be seen. Did she REALLY see mental

pictures? Perhaps! All that remains is for you to prove that what the spectator saw on the

DVD are the correct answers. Remember she is reading your predictions really, and now

you need to have everyone reveal their choices - to prove these predictions correct Be

sure to give the spectator all the credit for using her "better vision". I hope you become

thrilled doing this as much as I. On second thought, I hope you never read that one.

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If you do, I should also mention one more option briefly. You may cue another spectator

with a playing card stuck to the back of the jewel case. The front may be clear, but the

back (bottom) of the case is dark in this version. Either force this card, or steal it off the

top of the deck with a bit of wax on the back of the case. You could put a symbol or other

items here too. Personally, I like the non-case cues best, but I have toyed with both. You

might also laminate a disk to make a plain silver disk that erases if you cannot find one.

This will take more work to prepare, but it is reusable, so it may be worth considering.

Now I have given you everything, I believe.

R e v e r s e M o d e m S l a t s . , , - . . -

In the Jinx, an effect called, "Before Your Eyes", by Norman Ashworth was published. In

this method the words: "THE NAME OF THE CARD IS" were seen written on a slate.

Using a chalk eraser, these very words became "T E N OF HE ART S". Obviously, some

letters (as well as part of the D in CARD) were painted on a slate and the rest chalked on.

When erased it left the message revealing the force card.

As with all cool ideas published in magazines, many variations followed and were

subsequently published. "Phantom Hand", by Oscar Weigle, Jr. used numbers instead of a

card. This initial chalked messaged was "THE TOTAL OF THE NUMBERS SELECTED

WILL BE". Parts of the words being paint left a column of numbers (742,1072,1712,

1315,1272) and the sum (6113). All the numbers had been, of course, forced.

Docc Hilford and I were talking about all of this when I was working on the X manuscript.

He loved the next version of mine, so I pass it along to you. Simply write your permanent

message in permanent ink. Fill in the rest as usual, as in the examples, or make up your

own phrases, incorporating the dry erase pen. You will need to do this on a glossy stock

or laminated board or other proper surface naturally.

My twist is to erase the board but only allow the spectator on stage to see what the board

reveals. I cue her to the correct answer that someone else is concentrating upon by this

simple method. Using this old revelation as a way to secretly cue a spectator is a true

difference in effect Tell the spectator to "Try and make your mind blank, as blank as this

whiteboard" as I erase the original marking shown to the audience. The audience assumes

by my actions and words that I am making the board blank. I tell the spectator that the

"swirl of ink and the smell of the marker may cause her to hallucinate". I may say, "You

are to use the surface as a crystal ball, and see revealed in the fog, mist and swirls, an

answer coming forth from the cloudy surface".

Visually, this is a stunning revelation to the spectator, which is why it has always been a

good trick. The idea is for the spectator to admit she sees something and name the card she

envisioned; while doubting her own eyes as to what she truly saw happen. Put the board

away as soon as she smiles and you know she has the name of the card.

"Quickly, before the image fades from your mind, what card did you envision in the swirls

of ink?" you say to the spectator. She is correct, and you lead the applause as she returns to

her seat amazed. Just listen to her try to explain what happened and what she saw!

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At worst, it is still a grand prediction to her and an amazing event to the rest of the

audience as well. I hope you give it a try.

One final idea along these lines for you to play with all on your own: Consider reversing

the old revelation. See if you can come up with what first shows the force object or cue,

but then appears to say or be something else when secretly erased. In this way, the

spectator says she sees one thing — the revelation — when all the audience sees are a simple

phrase or "ink blots" which she interpreted. These "ink blots" may then be given away as

a souvenir on the back of your special business card or other giveaway. That's all I am

giving away on that one! Figure out your own designs that best fit you. Have fun. Play.

Lighten Up

The following comes from a rarely seen, collectible item of mine called "Lighten UP".

This used a giant light-bulb and handmade devices and loads of unusual ideas and things.

Here, we apply the X factor instead to good effect.

This is a wild bit for many reasons, including shifting a usual point of view to get a funny

reaction. Some of you know about Shifting Referential Index from Wonder Words

Volume 3. Here it is as a comedic ploy. To set up, write a force card revelation or a

number from a number force on one side only of a lightbulb. Check, but most bulbs allow

you to write and erase easily.

Now force a card or number on a spectator. Get a second spectator to read the other

spectator's mind about what they took (if a card) or are concentrating upon (if a forced

number). Ask the spectator if he honestly has any idea of what the other spectator is

thinking about. Regardless of the answer, respond "Wait! You have an idea"! This is

really funny when the spectator says he has had no clue as to the other person's choice. It is

as if you are saying that you implanted an idea into their mind now, or that you have read

their mind and know they just got a new idea. As you say, "Wait! YOU have an idea!"

and people react, steal the light-bulb out of your back pocket, or use any favorite steal. Be

careful not to rub the writing rub off, of course. Keep the bulb behind the spectator and

raise it up behind him until it is above bis head for all to see. This is the symbolic

expression of an idea to many people. The sight of this gets a hearty laugh.

While everyone is laughing, you do some devious Wonder Words work. With your other

hand, reach up and take the light bulb down from above bis head. As you lower the bulb,

do so slowly past his eyes. Hold the bulb so that the message, card, or number is staring at

him in the face, and say to this spectator "Get it? See? An IDEA - Right? See? Did you

get it? Good! I knew you were not the dim bulb in the pack around here"!

To the audience, your words seem to be playing with the spectator, and kidding him about

whether or not he got the joke played upon him. But this is not how the spectator feels. He

feels powerful, not powerless at this point - as he reads the secret message. To this

spectator, your words seem to be saying, "Do you see what is on here? Get it? Did you

catch the clue I am giving you? See? Do you get it?" and of course, he does.

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The spectator sees what he imagines is your secret PREDICTION. Just be certain that you

don't flash the cue side with the force on it to the rest of the audience.

After saying something such as "Good, I knew you were not the dim watt around here ",

you may secretly erase it and hand the bulb out Say something such as, "You look like

YOU could use another great idea" and hand the bulb to someone in the audience. This is a

fine way to have the bulb examined without saying so directly. It is also a nice thing to say

to someone, while getting a laugh at the same time. I know that alone is a novel concept.

The spectator on stage can now prove he really DID get an idea in his head, and got a

glimpse or prediction of the other spectator's thought Be sure to distance this a little bit

from the gag, to make the secret that much more impossible to discover.

You may also say "Wait! You have an idea! No... That's not right. Let me try again. I

have a... no that's not it Oh, I know how it goes. That's right Wait! YOU have an

idea! No ... really. Look". Play with the words and delivery to find what best fits you. If

you wish, you could say "Look into the light and become entranced... Look into the light

Wait! Don't GO into the light! Wait! Come back! Don't go into the light, just look into

it... Okay? Good! You frightened me there for a moment Nice to have you back". Your

closing tag line to the spectator can be "Amazing. Truly BRILLIANT"!

Watch It!

You will need to test your pen quite carefully before doing this - or you may ruin a good

watch! On the other hand, most good watches with dials and hands on them will give the

correct surface. Most often real glass watch crystals will work. Some plastic ones will

also - but take care in any case. This application is a reworking of a time-honored effect.

Only professionals used to do this, as they recognized the value. Originally, one needed to

do things such as tip a waiter, and palm the money to him, along with a note. But now, this

need not be a bidden cue. The dual reality wording and X factor puts this in the hands of

most anyone.

While you are dining out, suggest that you can transmit your telepathic abilities to anyone.

Mention, for instance, that you could even get the server of your table to obtain these

powers. Call your server over and be sure they have a free moment. When they do, be sure

everyone knows that he has no idea what you are about to do, nor has anything been pre-

arranged. This is 100% true.

Hand your watch to the server and say, "Please - take this watch and look into the crystal of

the watch. Sorry, but that is the only crystal with me right now - so it will have to do. Hide

away somewhere and do not say a word to anyone - not a single word. Take the watch

away, look into the crystal, and set the hands to a time you perceive as you look into the

crystal. Just go away, relax, see what the crystal reveals to you, and then set the actual

hands of the watch to this same time. Understand"?

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Second, if you do readings, or have Wonder Words, print on the mirror key words that

allow the spectator on stage to look into the mirror and read another spectator in the

audience. Have the on stage helper read a person, including their future, lucky number,

and end on their favorite or special playing card (forced). You might also get some

information prior to the performance in numerous ways, and print that on the mirror.

Usually a performer takes this information and uses it to look like a mentalist who reads

someone's mind. In this case, a third party reads the information, and it truly seems as if

the spectator on stage is seeing images and time flash across the mirror. This is as close as

most will ever get to performing a realistic magic mirror effect This may seem like

REAL magic, friends. But you must have the education in standard mentalist methods

first to pull it off. That and a little linguistics help a great deal as well. Enough said for

the wise.

X — Ray Glasses

Have a spectator put on special "X-ray glasses" and they see into a card box, brass pillbox,

your pocket, or another spectator's mind. It's easy! Just draw or write what you wish on

the inside of a pair of sunglasses - the ones with a very dark or mirrored surface. Play up

the whole "X-ray glasses" spiel, and be sure the spectator sees the writing inside as you

hand them the glasses. They can now name the card in the pocket or card box, or the coin,

etc. Take the glasses carefully back. Blow on the inside of the glasses, frown, and wipe

off the writing inside, so that your helper doesn't see you erase the writing they have read.

Hand the glasses to someone else as you say, "They look just like normal sunglasses, don't

they?" as you prove the other spectator indeed "saw through" the object "Yes, ladies and

gentlemen, our friend here sees through it ALL". Remember to test the dry erase on your

glasses carefully first, as always!

Bent on Believing

This is something to be used within the context of a full routine of metal bending. Test

your fine silverware carefully, but most ware will allow you to write and wipe off the X

writing. On the inside bowl of a spoon (so it is more hidden) print clearly the word

ENERGY. To begin your bending routine, have a helper on stage and display this spoon

and another. Move your hand around the X spoon and say, "This one feels like it absorbs

and then radiates energy... I can't see for certain, but this is the energy spoon, right? I

mean, this is the one that has energy clearly on it, correct? One spoon I use for calming

people, and the other is supposed to be ready to receive energy. Is this the one with

energy, can you see it? Yes? You are sure you physically see that here? Okay, good. I

am going to ask someone else to hold this one for now, as we shall begin with the relaxing

phase first".

Naturally, you wipe off the writing from the spoon secretly as you hand this piece to a

different audience member. This is easy to do, as you are rubbing the silverware anyway to

begin the bending phase. Rub inside the spoon, and the writing vanishes.

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To your onstage helper, it is as if you needed your glasses, or were in some trance state or

fierce concentration, and could not read clearly what was written on the spoon. You asked

her to conform this a few times to be sure you had the correct spoon. When you realized

you were using the spoon marked for energy, you handed it out, as you meant to begin

with a spoon that was prepared for calming and relaxing first

I will say no more about this, as only those few who should be using it, and can do so

properly, will work out their own fine points. To the audience, a spectator confirms they

are actually, physically witnessing energy fly off from the spoon as you rub it

Docc Hilford's Transcendental Traveler

Docc and I were talking about my work on this "X" booklet. Suddenly, he updated a fine,

rare routine of his using the X principle. He has been kind enough to allow it to be shared

here. Please look for Docc's marketed version with props included at a dealer near you. I

love this trick and it's working!

EFFECT: You are about to demonstrate time travel at it's finest. Select a volunteer from

the gathered crowd. A young woman will be the subject. You explain how, at some time in

the future, she will take a trip visiting three different cities. Point to three picture

postcards, each leaning against a glass on a table. The first postcard has a beautiful picture

of Bali on it The middle postcard shows Paris at night And the far postcard flaunts

Albuquerque.

You tell the woman, along with the audience, that the volunteer has sent herself these

postcards from the future, and consequently has predicted her own destiny!

The woman is instructed to choose one of the postcards as the first stop on her itinerary.

She selects Paris. Holding the postcard herself, the woman reads the back, "You will visit

Paris, and enjoy Champaign along the Chan de lese". You point out that the hand-written

message is sealed under a sheet of film so it cannot be altered.

This is hardly impressive as it is reasoned that every postcard could have similar

information written on it. She picks a second city; this time, choosing Albuquerque. The

back of the card reads, "Second, you will stop in Albuquerque and enjoy a spicy burrito!

OLE!"

The woman and audience are surprised at the message and anticipate the final postcard's

script It reads, "You will travel to Bali last and soak up some needed sun". All three

postcards actually predicted the order in which the participant would select them. She must

have known her own future!

METHOD: The messages on the backs of each postcard are designed to appear unique,

however they all say essentially the same thing. Part of each ambiguous message is written

in permanent ink and sealed under the plastic film. Two select words of the message are

written in dry erasable marker on the film. By erasing one or both of the gimmick words

from the message with your thumb, the content is altered.

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In a basic form each message looks like this:

"Second, you will visit (the city on the postcard) last

and... (Something about the city)".

The words Second and last are erasable. By erasing both words, you have a statement that

reflects the first choice. This card is clean of any preparation and can be examined

minutely.

By erasing the word last and leaving the word Second, the message reflects the second

choice. The spectator cannot safely handle this postcard, but because the first one was

handled, there is nothing suspicious in you holding the postcard for her to read. Erase the

word Second and leave the word last on the final postcard. This indicates the postcard that

would be chosen last This card is also not safe to hand out.

HANDLING: Using either thumb, wipe it across the erasable word while picking up the

postcard. You can use both hands to hold the card, or you may find one hand more

comfortable. It is a very simple matter.

NOTES: There are some subtle, yet strong points in the presentation. First, the plastic

film is on the card so the erasable marker will in fact erase. You sell it as a bonus, a way

to keep the message from being altered! This is strong in the minds of the audience. Next,

the added statement about each city does two things. It breaks up the structure of the

sentence so the altering words don't appear at the beginning or end of the sentence, and it

makes it seem as if the added information is part of the prediction! You'll get credit for

writing a detailed prediction, when actually the added information is NOT part of the

prediction. The linking word "and" combines the prediction with the general information

about the city. This is VERY strong as well as convincing.

The verb in each message is different also. "Stop", "travel to" and "visit" imply that each

statement is unique and cannot be altered. However, they all mean, of course, the same

thing.

The statements are scripted to read as how a trip would begin, or most importantly, end.

Whether soaking up needed sun, eating a spicy burrito or enjoying Champaign when read

with the word last the statement sounds definite. It appears as if that could be the only way

to end the trip!

There is also a built in theatrical pace in this trick. The first prediction seems comical to the

audience. They think they've figured out the method (if it can be called a method at this

point). Yet, when the second prediction is read, the pace quickens until the finale'. Built in

comedy, drama and suspense, what more could one desire in a quick trick?

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CARE: Because erasable ink can dye the plastic film if left on too long, it is advisable to

clean off the cards after every performance, and re-write the words Second and last before

each show. Other than that, the cards should last a lifetime. The pens can be replaced

with any standard erasable pens.

Thank you Docc! That effect alone is worth more than the price of this whole booklet. I

am thrilled with its inclusion.

XPad- The No Impression, Impression Pad

Here is a little X-tra. While I feel it is best for a pre-show pad, it doesn't need to be that. In

these times, colored metallic inks are popular, and with mem come the rise of black

writing paper. I have several small notebooks that are all black paper inside.

This is wonderful for television work, as it radically reduces glare when you show a

prediction. That is worth some real value to a few of you. Here is what many others

might find useful. Draw a simple shape or number on the black paper with your dry erase

marker. The reason for using black marker on black paper is so that no one could possibly

catch a glimpse of what you were writing.

Also, if any impression were made deep into the paper itself, it wouldn't show anyway.

All of these factors and others are the reasons why black pen and paper are now used for

"test conditions" and "testing procedures". Be sure that you say that!

As soon as you have drawn what you desired, wet your thumb with your mouth a little,

and rub off what you have written. Don't scrape off the paper mind you, but wet the

marking and rub it off- it easily comes off. Just look to see when it is gone and then set

the pad down.

That is what you do with the spectator. But give it a moment, tilt the pad around and the

image will fade back into view. The wet paper is what temporarily hides the marking. This

is similar in effect to the old chalk and slate principle, but the method is entirely different.

The working is, believe it or not, psychological.

Dry erase marker doesn't erase off of paper, does it? But I bet you forgot that for a little

while. The black paper, the black marker being erasable, these things tend to stand out in

your mind. When you try and erase the marker with a slightly damp or moistened finger,

the ink does appear to fade away. That is the clincher. So long as a spectator does not rub

off the paper itself, the image stays. Of course it stays. You can't erase dry erase from

paper. The psychology of this is strong enough to work easily and simply. What you say

seems to make sense and everything does as you say it will. This combined with the

admonition to "wet your finger only slightly this way — moisten it - but do not rub the

paper off— we need the energy there" - these all make one a tad bit nervous and unfocused

on suspicion. There you have it — if you but try it out a few times.

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On the subject of the black paper, here are a few other things to keep in mind. Using

black pen or pencil allows you to write an entire cue sheet for a book test or other item on

the black paper, while it remains unseen to others. A little testing with inks and distance,

and you'll find how wonderfully this hides your cheat sheet - right in front of everyone!

You may also use this same situation to cue a spectator ala Punx. If you do not know

about this, look it up in Corinda's Thirteen Steps to Mentalism. The black paper with

writing on it cannot be missed except by those needing their glasses. I will say this much:

Draw some force shapes with a regular ink pen on the black paper. Then draw in bright

metallic ink a circle around each one of these shapes. That's all there is to the setup.

Give the spectator a metallic ink pen and ask her to stare into the circles on the paper. She

should draw whatever impressions she receives there. Now, does "impressions you

receive there" mean "the impressions you receive, write it down in there" or "write the

impressions that you see there in this metallic ink"? This is more Wonder Words and

dual-reality play. The spectator seeing the cues will understand this to mean, "write what

you see that is already in there". Quickly follow this with "Trace out your impressions

inside the circle, so all can see it well". The contrast of the bright metallic ink helps hide

the cues even more due to visual contrast. The spectator then obliterates the cues when

she traces over them so all can see.

I have found another curious thing. Most black papers seem to show nicks and scratches .

easily. To this I say, forget the nailwriter, use a good nail surface instead! At least when it

comes to cueing a spectator. Or when you need to transmit secret knowledge to a medium

friend or psychic partner. Anything you wish can be written on to the surface of the black

pad by scraping it with your thumbnail. Tilt the pad or paper a bit, and it will shine quite

obviously. This is great for impromptu work, as I have taken to writing notes in black

pads. It looks far more serious and mysterious than using plain white paper. The

suggestion of black paper alone is a good enough reason for me to have it Perhaps you

will consider these notions as well.

Finally, black paper can hide other black squares of paper attached to it. Draw black

shapes in metallic ink on the paper. Cut identical shapes out of more black paper, and stick

them on with wax or Post-It into the proper area. Now you have multiple slates, multiple

outs, multiple check marks to be revealed, etc. I leave the application of this up to you. But

it makes for a fine modern slate among other things.

Hopefully I have packed enough material of wide and varying nature in here, to make this

little booklet something to be treasured. I have dropped many of my favorite lines and

concepts in among the other methods and effects. I hope some of these concepts will find

ways into your mind, heart, and performances.

My Thanks to You

Kenton Knepper