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stract words. The spectator shuffles the packs together. While the perform-
er's back is turned, two cards are chosen in a fair manner. Without turning
back around, the performer is able to reveal both thought-of pieces of
information.
The method makes use of the "Numper" list, plus a special set of memorized
designs:
1. (The circle is formed with one continuous line.)
2. (Think of this as a modified two-line cross.)
3. (This design is made of three wavy lines.)
4. (The square is a four-sided shape.)
5. (Picture the five of hearts playing card.)
6. (A valentine association links arrow with heart.)
7. (Consider these clouds, as in "seventh heaven".)
8. (This design vaguely resembles the figure eight.)
9. (The spiral approximates the figure nine.)
10. (The straight line and closed box resemble ten.)
11. (Two circles equal two ones eleven.)
12. (Think of the twelve astrological star-signs.)
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Obtain twenty-four double-blank cards. The twelve designs, plus the dozen
"Mumper" words, are inscribed on the cards, one on each.
The cards are now arranged in two interlaced sequences. The first set is-in
order from the top: CIRCLE (first design); NEUTER (second word); WAVY LINES
(third design); REMNANT (fourth word), and so forth, ending with the 12th
word, DYNAMISM. The second set runs TOUGH (first word); CROSS (second de-
sign) ; MUTINY (third word), and so forth, ending with the STAR.
The sets, thus arranged, are kept in separate boxes. At the start of the
routine, bring each set out of its box, explaining that you will work with
a group of simple design cards, and a group of abstract word cards. You do
not display the packs at this point; to do so would reveal the alternation
of designs and words. Simply hold each packet up, face-out, showing a word
at the face of one, a design at the face of the other.
Of course, it is possible to start with the design and word sets separate,
to arrive at the above condition via a Faro Shuffle, if you wish to give
yourself that task.
Table the two twelve-card packs in front of the spectator, and instruct
him/her to Riffle Shuffle the sets together. Point out that the fact that
the cards have blank backs precludes their being marked, but that you will
nevertheless turn away from the proceedings, in the interest of fairness.
Tell the spectator to deal the top two cards of the shuffled pack onto the
table. The next pair is dealt to the right of that, the next pair next to
that, and so on, until there are six pairs in a tabled row. Direct the
spectator to start a second row of pairs beneath the first, dealing the
next half-dozen sets onto the table.
The spectator is now told to pick up any set, to look at the cards, and to
concentrate on what he/she sees. With your back still turned, announce the
fact that you sense the spectator is concentrating on a mixed pair one
design and one word. You will be correct; due to the Gilbreath Principle,
every pair is a mixed set.
Say that you'll try to receive the word first. Here, use the pumping pro-
cedure explained in "Numper" to establish the spectator's word.
Having done this, you will now go on to reveal the thought-of design. Two
situations can exist at this point: the spectator's design can be one that
was next to the chosen word-card in the pre-shuffle sequence, or it can be
one that was shuffled next to that card.
If you examine the design sequence, you'll notice that the odd designs are
all constructed from curved lines, while the even designs are made out of
straight lines. This information will determine the situation that exists
for the spectator's design, relative to the chosen word.
The basic rule .is simple: whatever the parity of the spectator's word-
value, if the paired design is from the original set-up its parity will
be opposite. If the design has been shuffled next to the word-card, its
parity will be the same.
As an example, let's say the word you've ascertained is LAMINATOR the
fifth word in the sequence. If the paired design comes from the pre-shuffle
set-up, it can only be the SQUARE (fourth) or the ARROW (sixth). LAMINATOR
is an odd value; SQUARE and ARROW are even. Therefore, tell the spectator
that you sense the thought-of design is constructed from straight lines. If
you receive a confirmation on this, you have narrowed the design down to
the two just named.
To determine which of ttiose two is being thought of, we will take advantage
of another factor built into the design sequence: within either parity run,
a design drawn with a single line is always followed by one drawn with more
than one separate line.
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Thus, in our example, to distinguish between the ARROW and the SQUARE you
might say, "I have the feeling your design is made of one continuous line."
If the spectator agrees, the thought-of design is the SQUARE. If the state-
ment is denied, you'd continue by saying, "Oh, I was confused because the
design does contain an extended line an angle, in fact..." Go on to
reveal that the spectator has thought of the ARROW.
As you gain experience with this design sequence, you'll find that the
system of pumping becomes quite easy to use in a manner which seems quite
direct, and in no way engenders suspicion.
Now, what if the parity of the thought-of design is the same as the chosen
word? (In our example, this would mean that the spectator has denied that
the design is constructed out of straight lines.)
In this case, the Self-Correcting Set-Up will be exploited. Say to the
spectator, "Are you concentrating?" As this is said, turn your head back
toward the spectator for just an instant. This turning of the head is a
natural action to accompany the query, and will not register upon the au-
dience; they will later remember that your back was turned for the entire
demonstration. (This "invisible" action was first explained by Annemann in
his seminal "Mystery Of The Blackboard" (Jinx #1, October 1934.)
In the brief moment of looking back, you have glanced at the table. Given
the two-row layout of pairs, it is an instant's work to determine which
pair is missing (i.e., which pair is being held by the spectator).
Double the positional value of that pair. Now, subtract the spectator's
word-value from that number. The result will tell you the value of the
chosen design. (In our example, let's say the spectator's pair came from
the sixth position on the table. 2 x 6 = 12. 1 2 - 5 (the value of the
thought-of word, LAMINATOR) = 7. Therefore, the spectator's design must
be the CLOUDS.)
When you have concluded the demonstration, turn to face the spectator. Sweep
the tabled pairs together. (This eliminates the evidence concerning the fact
that each pair consisted of one design and one word.) The spectator may of
course examine the cards; there is no system to be discerned.
ESPRESSO
We'll begin with a simple routine employing a standard pack of ESP symbol cards, consisting of five each of five
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