Magic tricks and magic ebooks, gambling ebooks and games ebooks downloadable as PDF or HTML. Want to learn a magic trick? Want to improve your poker, chess or bridge play? We have the information for you. http://www.lybrary.com/ Copyright © 2008 Lybrary.comIn January 1976 John Scarne started a monthly newsletter. It had eight pages per issue and covered all forms of gambling, from casino games like Blackjack to sports betting (horses, baseball, basketball) as well as the casual gambling at home with friends. You can even find some magic tricks explained.
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End of 1976 John sent out a renewal notice asking all charter members to renew their newsletter. He was even promising 15 issues for $24 to the charter members, or subscribe for two years for only $30.
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He must have received very few renewals because he published just one more issue, volume 2 issue 1, and then after this 13th number of his newsletter it ceased to exist.
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This newsletter is very rare. Many I asked didn't even know Scarne wrote a newsletter. You receive all thirteen issues including the renewal notice. We recommend to view this PDF with AdobeReader 8 or higher, because it includes mixed raster content which is displayed nicer on the later versions of AdobeReader.
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<i>1st edition 1976; 105 pages.</i>http://www.lybrary.com/john-scarnes-newsletter-p-1103.htmlhttp://www.lybrary.com/john-scarnes-newsletter-p-1103.htmlSun, 20 Jul 2008 00:00:00 EDT The Austrian born Hermann Steinschneider, or better known as Erik Jan Hanussen, started his career writing books about mind reading. He was a debunker of mentalism and spiritism. <i>Mind Reading and Telelpathy</i> was his most important work in this respect. However, later on he realized that one can make more money performing mentalism rather than explaining it and he transformed himself from somebody who reveals secrets to somebody who uses them effectively. Having changed his mind, Hanussen tried to suppress his earlier publications but such efforts always fail and some copies survived.
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Jimmy Bix reprinted the German original of Hanussen's book a few years ago. In 2008 Bill Palmer translated it to English and this is the result of their combined efforts. Additionally there are fascinating introductions by Banachek, Bill Palmer, Borodin, and Prof. Dr. Toni Forster.
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Probably the most important part of this book is Hanussen's description of muscle reading. He was an accomplished user of this technique and describes it in detail, shares important insights, and gives practical tips to make this method accessible to anybody interested. Hanussen also covers the history of muscle reading up to 1920 authoritatively.
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There is still a lot of speculation about the death of Hanussen and his connection to the Nazis and in particular to Hitler. Some say he was a close confidant and friend to Hitler, both born and raised in Austria, others say that there wasn't any relationship. A sheet depicting the four alleged assassins of Hanussen is tipped into the book.
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[There is one error in the book. Toni Forster refers in his introduction to <a href="http://www.lybrary.com/bob-cassidy-m-41.html?osCsid=33f1157714c2541b98646b3a68175820"><u>Bob Cassidy's</u></a> <a href="http://www.lybrary.com/hanussen-proof-p-605.html?osCsid=33f1157714c2541b98646b3a68175820"><i><u>Hanussen Proof ebook</u></i></a>. Despite what is written there, you can only get this ebook from Lybrary.com since we purchased the copyrights for it from Cassidy.]
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<i>1st German edition 1920; 1st translation 2008; format A4; softcover 153 pages; one tipped in sheet.</i>
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<b>Table of Contents</b>
<blockquote>
<table>
<tr><td class="main"><b>page</b></td></tr>
<tr valign="top"><td class="main"><ol>
<li value=7>Introduction
<li value=9>Translator's Introduction
<li value=11>Foreword
<li value=13>Thoughts about the book
<li value=15>Who was Erik Jan Hanussen?
<li value=21>Introduction to the Complete Work
<br><b>Lesson 1</b><br>
<li value=25>- What is Telepathy?
<br><b>Lesson 2</b><br>
<li value=36>- Muscle Reading
<br><b>Lesson 3</b><br>
<li value=43>- Experiment and Experimenter
<li value=44>- A. The Disposition of the Experimenter
<li value=45>- B. The Suitability of the Medium
<li value=52>- C. The Type of Tasks Proposed
<br><b>Lesson 4</b><br>
<li value=57>- Question Logic
<br><b>Lesson 5</b><br>
<li value=62>- Preparatory Exercises
<li value=66>- Exercise 2: The Table Experiment
<br><b>Lesson 6</b><br>
<li value=75>- The Telepathic Mail
<li value=87>- Teaching Example for the Telepathic Mail
<br><b>Lesson 7</b><br>
<li value=90>- The Pin Experiment
<li value=99>- Teaching Example No. 2 (Parlor)
<br><b>Lesson 8</b><br>
<li value=101>- Action Experiments and Their Solution Through Hand Contact
<li value=104>- Teaching Example A: Failures Through Logical Conclusions
<li value=107>- Teaching Example B: Actions Which Embrace Abstract Concepts
<li value=108>- Teaching Example C: Finding of a Certain Word or Piece of Music
<li value=110>- Teaching Example D: Inducing a Third Person to Perform an Action Upon a Fourth Person
<li value=111>- Teaching Example E
<br><b>Lesson 9</b><br>
<li value=112>- Guessing Mentally Selected Numbers, Letters, Figures, Cards, Symbols etc. and Related Experiments
<li value=115>- Guessing a Particular Time
<li value=116>- Guessing Geometrical Figures
<li value=116>- Guessing Famous Personalities
<li value=116>- Guessing a Mentally Selected Playing Card
<li value=119>- Telepathic Mail Through Indirect Delivery
<li value=119>- Guessing Dates of Birth, etc.
<li value=120>- An Example of Calculation
<br><b>Lesson 10</b><br>
<li value=121>- The Writing of Mentally Selected Numbers, Letters and Symbols Without Any Auxiliary Means
<br><b>Lesson 11</b><br>
<li value=128>- Telepathy with Contact Through Wire, Double Tests, etc., and Mindreading without any Physical Contact
<li value=128>- Introductory Lecture
<li value=131>- Mindreading without Physical Contact
<li value=135>- Example A: Table Experiment Without Contact
<li value=136>- Three Card Experiment
<li value=137>- Color Game
<li value=137>- The Finger on the Wall
<li value=138>- Finding a Pin Without Contact
<br><b>Lesson 12</b><br>
<li value=141>- The Spy
<li value=143>- The Number Pendulum
<li value=145>Appendix. False Telepaths and their Tricks
<li value=152>Closing Remarks
<li value=153>Translator's End Notes
</ol></td></tr>
</table>
</blockquote>http://www.lybrary.com/mind-reading-telepathy-p-1102.htmlhttp://www.lybrary.com/mind-reading-telepathy-p-1102.htmlSun, 20 Jul 2008 00:00:00 EDT Percy Press died in 1980 at the age of 78. He was probably the last of the English Street Conjurors and learned his craft working the streets of England. He was also a distinguished Punch and Judy performer. On this recording, Percy Press talks about the effects that he performed on the the street and gives details of his routines for his Cups and Balls, his Funny Funnel, the Cap and Pence, a card trick using a card box and his entertaining Coat, Ropes and Rings.
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One of Percy's most baffling effects was his production of a full glass of water and, on this recording, he gives the complete routine so that anyone can learn to perform it exactly as he did. Anyone who wants to earn their living by working the streets with magic could learn a full act from just listening to his recording. Percy Press was a clever and highly knowledgeable entertainer who worked his street act thousands of times.
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Just after this recording was made Percy Press died and a documentary film based on his life was shown on BBC TV. The film used this recording as its sound track.
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This is a licensed reproduction of the famous Magicassette and MagiCD series created by Martin Breese.http://www.lybrary.com/percy-press-interview-travelers-tale-p-1101.htmlhttp://www.lybrary.com/percy-press-interview-travelers-tale-p-1101.htmlSun, 20 Jul 2008 00:00:00 EDT Der Magier erklärt dass ein Kartenspiel 52 verschiedene Werte beeinhaltet und er einen Kartenwert aus den 52 Möglichkeiten an den Zuschauer gedanklich übertragen hat.
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Der Zuschauer soll sich nun verschiedenste Karten durch den Kopf gehen lassen. Er soll sich nicht die aller erste behalten die ihm in den Sinn kommt, sondern ruhig länger darüber nachdenken. Es steht dem Zuschauer während des ganzen Prozesses frei, seine Meinung noch einmal zu ändern. So das alles vollkommen fair und ohne das forcieren einer bestimmten Karte abläuft. Der Zuschauer denkt sich nun eine Karte und soll sie sich merken.
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Der Magier holt ein geschlossenes Kartenspiel hervor und nimmt sich einen dicken Stift. Er zeichnet auf die Rückseite der Kartenbox den Umriss einer Spielkarte, noch ohne Wert und zeigt dies. Dann verkündet er dass er nun den Kartenwert einzeichnet, den er dem Zuschauer gerade übertragen hat.
Er zeichnet und legt den Stift bei Seite (er wird von nun an nichts weiteres mehr zeichnen, auch nicht versteckt oder heimlich, wirklich nicht!)
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Die Vorhersage ist endgültig gezeichnet.
Er öffnet die Box und holt nun langsam eine Karte nach der anderen aus der Box und zeigt sie dem Zuschauer. Bei jeder einzelnen Karte die dem Zuschauer gezeigt wird, hat er die Möglichkeit zu wählen, ob er diese Karte haben möchte oder ob er die nächste sehen will.
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Egal wie sich der Zuschauer entscheidet und egal wie oft er seine Meinung ändert oder nicht (er könnte wirklich bis zur aller letzten Karte warten die sich noch in der Box befindet), in dem Moment wo er sich endgültig dazu entschließt, die Karte zu nehmen die gerade gezeigt wird, dreht der Magier die Kartenbox um und man sieht den gezeichneten Wert genau dieser gewählten Karte.
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Der Zuschauer kann die ganze Zeit über in seiner Entscheidung frei springen.
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Der Akt kann bis zur höchsten Spannung und Dramatik gesteigert werden. Der Magier kann zur Spannungssteigerung, während er die Karten zeigt, mehrmals betonen das der Zuschauer wechseln kann, so oft er will, er habe ihn so beeinflusst, das die Karte für die er sich ganz am Ende entscheiden wird, eben doch die ist, die er im Geist bei ihm abgelegt hat. Dies wird dem Mitwirkenden bei jeder Entscheidung ins Schwanken bringen, er wird sich unsicher darüber wie er sich entscheidet, er springt, denkt nach, versucht alles auszuschließen, was ihm vom Magier bei seiner Wahl hätte beeinflussen können. Und alle anwesenden Zuschauer werden wie gebannt mitfiebern und die Spannung wird bis zu letzt hoch getrieben, ob denn der Magier Recht behält oder nicht. Doch er wird Recht behalten!
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Dieses E-Buch ist auch in einer Englischen Fassung erhältlich: <a href="http://www.lybrary.com/influence-p-1092.html?osCsid=33f1157714c2541b98646b3a68175820"><i><u>Influence</u></i></a>
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<i>Erstausgabe 2008; 20 pages.</i>http://www.lybrary.com/influence-german-p-1100.htmlhttp://www.lybrary.com/influence-german-p-1100.htmlSun, 20 Jul 2008 00:00:00 EDT A spectator chooses a card from a deck, for example the Jack of Hearts. The magician now shows a packet with four blank-faced cards and normal backs. The spectator freely chooses and signs two stickers of different shapes and colors and puts one on the face and one on the back of his card. One by one, three of the blank cards change into a Jack of Hearts. For the climax, the magician makes a transposition between the faces of the last blank card and the spectator’s signed card.
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<li>Each printing looks different and prevents repetition.
<li>Thanks to the transposition at the end, you finish on a surprising climax.
<li>Throughout the routine, you can spread the cards face up many times which helps that everything "looks" as fair as possible.
<li> A variation is included where a message may appear "magically" on the back of the spectator's card at the end.
</ul>
<i>1st edition 2008; 4 pages.</i>http://www.lybrary.com/transprint-p-1099.htmlhttp://www.lybrary.com/transprint-p-1099.htmlSun, 20 Jul 2008 00:00:00 EDT From the introduction:
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As far as I'm concerned, sleight of hand (or any other artifice for that matter) has but one purpose - to convincingly establish a false premise, which I believe to be the cornerstone of all effective illusion and deception. The more convincingly that premise is established, the more amazing the resulting effect will appear to be.
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The subtleties and psychological approaches of mentalism can, when augmented by sleight of hand, provide a directness and clarity of effect that is too often lacking in mental routines. The fact that sleights are avoided by many performers can only be attributed to the false belief that sleight of hand is extremely difficult or to the misguided belief that artistic mentalism can be achieved with nothing more than a collection of self-working, commercially available effects.
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The sleights illustrated and taught in <i>Sleightly Mental</i> can, if properly mastered, be of immeasurable value to the mentalist. Some of them are variations of classic moves and others - notably the "out of pocket" technique - provide new approaches to popular mental effects. They are all within the reach of the average performer who is willing to give them the practice and rehearsal they deserve.
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<i>Sleightly Mental</i> consists of two complimentary works - the ebook itself and nine video clips, which show the various moves in action. This, I believe, is the most effective way of showing exactly how the moves work and just how they appear to an audience.
</blockquote>
While each of the moves can be applied in a multitude of effects, the following, if presented as described in the text, comprise a complete routine of close-up mentalism:
<ul>
<li>ESP Card Matching
<li>The Quarter Bend
<li>The Koran Center Tear
<li>Out of Pocket Writing
<li>The Erdnase Bottom Deal
</ul>
These effects are described in the text accompanying each move.
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<i>1st edition 2003; 21 pages; 9 WMV video clips.</i>http://www.lybrary.com/sleightly-mental-p-1098.htmlhttp://www.lybrary.com/sleightly-mental-p-1098.htmlSun, 20 Jul 2008 00:00:00 EDT Long unavailable, <i>The Invisible Mirror</i> is a large multimedia ebook (including four RealMedia video clips) featuring an ingenious method - illustrated on video - for obtaining a spectator's hidden thoughts and for apparently predicting the future.
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It also contains something you will never see anywhere else - an excerpt of a live performance - in a biker bar - by Dr. Bob! 
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<i>The Invisible Mirror</i> is a utilitarian technique with unlimited capabilities. Not only is the technique direct and convincing, it is easy and actually fun to do.
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<i>1st edition 2003; 14 pages; 4 RealMedia video clips</i>http://www.lybrary.com/invisible-mirror-p-1097.htmlhttp://www.lybrary.com/invisible-mirror-p-1097.htmlSun, 20 Jul 2008 00:00:00 EDT Out of print since 1992, but now converted from printed form to e-book. Seventeen terrific routines - illustrated.
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Within you will encounter thirteen of Stephen's very best card routines, three magic-square effects (with a difference) and one purely numeric item that is a step sideways from the original inspiration. That 'step sideways' is really the key here! Stephen has tried to look at things from a slightly different direction. One not normally explored. Sometimes with very interesting results!
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<b>Table of Contents</b>
<blockquote>
<table>
<tr><td class="main"><b>page</b></td></tr>
<tr valign="top"><td class="main"><ol>
<li value=3>Introduction
<li value=5>Out Of This Dimension
<li value=6>The Square Comes Full Circle
<li value=10>Doubly Impossible
<li value=12>Back In Time
<li value=14>The Almost Magic Square
<li value=15>Two Steps Beyond
<li value=16>Sweet Sixteen
<li value=17>The Final Frontier
<li value=18>My Dear Holmes
<li value=20>Combined Harvester
<li value=21>Spectator's Aces Change Places
<li value=23>The Revealer
<li value=24>Revelations: Two
<li value=25>Blind Man's Bluff
<li value=27>Polluted Waters
<li value=28>Symbiosis
<li value=30>An Open Prediction
</ol></td></tr>
</table>
</blockquote>
<i>1st edition < 1992; ebook 2008; 31 pages.</i>http://www.lybrary.com/card-bored-p-1096.htmlhttp://www.lybrary.com/card-bored-p-1096.htmlSun, 20 Jul 2008 00:00:00 EDT Bruce Cervon had been a full time professional magician since 1965. He won many awards including the Magic Castle Close-up Magician Of The Year, in fact he won it more than once. This recording features some of the commercial card magic of Bruce Cervon.
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Perhaps his most famous effect is "Dirty Deal". Here, for the first time, is the opportunity to learn Bruce's own handling. Bruce Cervon is also well known for his interest in topological card magic and he describes a very clean handling for "Cardwarp" using one card and a dollar bill. It's an excellent routine in which a playing card reverses as it is pushed through a paper tube formed by the bill. The bill is opened to show the card after each reversal and the spectator may even do the trick himself. Easy to do and well thought out.
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Also included is "Zauberkünste Triumph" a simple version of a <a href="http://www.lybrary.com/johann-nepomuk-hofzinser-m-19.html?osCsid=33f1157714c2541b98646b3a68175820"><u>Hofzinser</u></a> effect. "The Viet Nam Card Trick" was routined by Bruce Cervon and <a href="http://www.lybrary.com/dai-vernon-m-147.html?osCsid=33f1157714c2541b98646b3a68175820"><u>Dai Vernon</u></a>. No sleights, totally impromptu and even fools magicians. "Do You Believe in Intuition" is a great routine for formal close-up shows. Finally, "Cervon's Roll Over Aces" is a truly impressive routine of cardmanship.
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This recording was originally issued as a two volume tape set. It has been digitally remastered.
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This is a licensed reproduction of the famous Magicassette and MagiCD series created by Martin Breese.http://www.lybrary.com/bruce-cervon-p-1095.htmlhttp://www.lybrary.com/bruce-cervon-p-1095.htmlSun, 20 Jul 2008 00:00:00 EDT The ultimate collection of mind-blowing English mind magic! Some of the world's top mentalist's tip their mitt! After the success of <a href="http://www.lybrary.com/miraculous-minds-p-611.html?osCsid=33f1157714c2541b98646b3a68175820"><i><u>Miraculous Minds - Scotland goes mental</u></i></a> Peter Duffie pulled off an even bigger job covering England with 41 contributors and 57 sensational routines. Do the math yourself, this is the quality and quantity bargain of the year.
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The contributors in the order in which they appear in the ebook are: Marc Paul, John Archer, Wayne Dobson, <a href="http://www.lybrary.com/stephen-tucker-m-524.html?osCsid=33f1157714c2541b98646b3a68175820"><u>Stephen Tucker</u></a>, Paul Hallas, Christopher Williams, Abracadaver, Les Johnson, Harold Cataquet, Andy Nicholls, Shiv Duggal, James Ward, Stephen Jones, Russell Hall, Roni Shachnaey, Lewis Jones, Scott Creasey, Barry Cooper, Al Smith, Roger Curzon, Andrew Brown, Anthony Brahams, Dominic Twose, Justin Higham, Mike Hopley, Roger Ferriby, Todd Landman, David Britland, Walt Lees, Andi Gladwin, Chris Hare, Chris Wardle, James Brown, Olly Crofton, Paul Gordon, Steve Cook, Stephen MacRow, Mark Elsdon, John Holt, Doug Segal, and David Penn.
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<li><b>AAA Serial Number Divination</b> (Marc Paul) Marc divines the serial number on a borrowed bank note - ANY time - ANY where - without ANY preparation. New to Marc’s AAA series – never before released!
<li><b>Shuffle Challenge Too</b> (Marc Paul) A hands-off miracle! You show a deck of cards to be all different. These you then shuffle and then set in front of the spectator. You do not touch them until the end of the effect. The spectator is asked to think of a number between 1 and 52, this number is a free choice and is never revealed to you. While the spectator is concentrating on their number you make an open, verbal prediction of a playing card, let’s say the Five of Clubs. The spectator now shuffles the cards and then they deal down to their secret number. When they turn over the card that they randomly arrived at it is the Five of Clubs.
<li><b>Back to the Future</b> (John Archer) Spectator thinks of a card in an invisible deck. You remove that very card from an envelope that has been on the table from the start. No card index used, but you’d swear that John had to have used one – it’s that clean. Or you might just ‘swear’!
<li><b>Fluke</b> (Wayne Dobson) A red and a blue deck are introduced, both cased. The red deck is given to a spectator. You ask this person to THINK of any number from 1 to 52 and then name it. They might say 27. You remove the blue deck from its case and spread the cards face up on the table. One face down card is seen in the middle. This proves to be the Four of Spades. Turning back to the person with the red deck, you ask which number they thought of earlier - he replies 27. He now removes red deck and counts down to the 27th card. Miracle of miracles... the 27th card is ALSO the Four of Spades!
<li><b>58 to 1</b> (Stephen Tucker) Someone thinks of one of the 58 locations, and … you reveal it!
<li><b>ACAARN</b> (Stephen Tucker) Any Card At A Revealed Number!
<li><b>Still Battling Along</b> (Paul Hallas) An alphabet deck is placed on the table and then two packets of cards are shown, one containing female names and one containing male names. Four people give single digit numbers and each is used to count down to a letter card. The selected name is now revealed, and the alphabet letters arrived at from the counting are turned over to show that they spell out the selected name!
<li><b>Ungaffed Entourage</b> (Christopher Williams) Gordon Bean’s amazing Entourage is made even more amazing as Christopher dispenses with the gaffs.
<li><b>Predictext</b> (Christopher Williams) You send a prediction to any spectator’s mobile phone and then prove your prediction to be 100% accurate!
<li><b>Con-Flatulation</b> (Abracadaver) You ask three spectators to name any Animal, Vegetable and Mineral. You have predicted the outcome on a card in your wallet. Easy method.
<li><b>Remote Viewing Magic</b> (Les Johnson) You divine the content of a freely chosen picture using remote viewing.
<li><b>The Knight’s Tour</b> (Harold Cataquet) If you’ve ever wanted to perform the classic Knight’s Tour and found the prospect daunting—then this new approach from Harold Cataquet is your answer.
<li><b>Seeing & Believing</b> (Harold Cataquet) The performer writes down a prediction, and tables it. A note is borrowed, and the note is shown to have the same serial number as the prediction. The note is returned to the original owner, but the serial number has changed. The prediction that the performer made is now blank.
<li><b>Borderline Location</b> (Andy Nicholls) Andy Nichols exploits a flaw to create something flawless!
<li><b>Out of the Ordinary</b> (Andy Nicholls) A spectator predicts the colour of cards as they are removed from the deck. A prediction placed aside at the start of the trick details how many the spectator got correct and lists the incorrect guesses.
<li><b>A Good Year</b> (Shiv Duggal) Using a deck of cards, choices made by a spectator are shown to have been predetermined!
<li><b>Frequency</b> (Shiv Duggal) You appear to memorize a deck of cards…even if your memory is like a sieve!
<li><b>What’s in a Word?</b> (James Ward) Perform miracles with a deck of 50 words!
<li><b>Sentimental Journey</b> (James Ward) James’ excellent take on the Chris Carter/Doc Eason “Anniversary Waltz.”
<li><b>1812</b> (Stephen Jones) Force any large number…simple as that!
<li><b>Titanic</b> (Stephen Jones) Two spectators each think of a card…you find them!
<li><b>The Blackwood ESP test</b> (Russell Hall) This one from Russell could have beaten the James Randi $1m Challenge!
<li><b>The Inquisition</b> (Roni Shachnaey) Bizarre Magick with a gripping script.
<li><b>Concord</b> (Lewis Jones) Any Card at Any Number! Anyone shuffles the deck. One spectator picks out any card, by freely cutting the deck herself. A second spectator, with the deck in his own hands, deals out any number of cards himself. Bingo.
<li><b>The Eternal Triangle</b> (Scott Creasey) Scott Creasy (creator of the incredible BIP Book) has created a powerful and engaging prediction using the Major Arcana from a Tarot pack. Perfect for walk-around.
<li><b>Are you a “real” mentalist? / The ABC of ESP</b> (Barry Cooper) Two thought-provoking essays from Barry Cooper.
<li><b>Tryangle</b> (Al Smith) A spectator thinks of any World Champion Snooker Player. The magician divines the name.
<li><b>Friendly Persuasion</b> (Al Smith) Is the persuading done by a combination of verbal and physical cues — body language — and perhaps a hint of regular Extra Sensory Perception?... Nuances so subtle that they are not suspected or detected. Or perhaps not. It could be just a trick.
<li><b>The Devil Rides Out</b> (Roger Curzon) The face of the Devil visibly changes into a randomly selected number in a very visual and stunning a manner.
<li><b>The Living & the Dead</b> (Andrew Brown) With 8 portrait cards and total freedom of choice, it would seem impossible for you to have predicted the outcome…but you have.
<li><b>The Clairvoyant Card</b> (Andrew Brown) A red-backed card found in the deck matches a spectator’s selection. Easy – powerful - no sleights.
<li><b>Cabin Book Test</b> (Anthony Brahams) Uses an ungaffed book and can be presented either as a prediction, or a mind reading experiment.
<li><b>Drawing Close</b> (Dominic Twose) A drawing duplication using an old gambler’s dodge.
<li><b>Double Minded</b> (Justin Higham) Two spectators each think of a card … you read their minds and find them!
<li><b>Two-Person Book Test</b> (Mike Hopley) Without saying a word at any time, your assistant is able to divine a word that a spectator is thinking of. You repeat this several time. Finally, as a variation and to round off the experiment, your assistant asks the spectator to concentrate silently on the final digit of the page number. This, too, is successfully divined.
<li><b>A Card in Motion</b> (Mike Hopley) First you read a spectator’s mind, and then you cause her chosen card to travel…
<li><b>The Ghost of the Ferry Boat Inn</b> (Roger Ferriby) A strange story culminates in the revelation of a name that only the spectator could know.
<li><b>My Ching</b> (Todd Landman) A spectator chooses 8 cards from a pack of 64 I-Ching cards. But the outcome is already sealed in an envelope that has been in full view from the outset.
<li><b>Fooler’s Gold – T. A. Waters</b> (David Britland) David Britland explains a wonderful routine & a lesson in scripting from the late T. A. Waters that was originally destined to be included in a series for the BBC called The Mind of Dr. Frost.
<li><b>Ring Master</b> (Walt Lees) A small bag is displayed from the opening of which dangle several pieces of rope. You explain that tied to the end of one is a valuable gold ring. The others have nothing attached. Several members of the audience are allowed to pull out the ropes until only one remains. Whoever gets the ring can keep it. In true Just Chance style, nobody wins the ring. You remove the final rope and show the ring hanging from the end. You untie it and invite a spectator to feel inside the bag. A small card is discovered bearing the message: “The Ring always stays with its Master!”
<li><b>Mentalist’s Luncheon</b> (Andi Gladwin) Taking an old principle, Andi has hit on a new peek device that is failsafe and ever-so-easy to use!
<li><b>Crab</b> (Chris Hare) This is a great and unexpected prediction effect that can be performed for any size of audience.
<li><b>P.S.</b> (Chris Wardle) Three random spectators—three chairs—5 coloured balloons and a deck of ESP cards all add up to an entertaining and baffling triple prediction.
<li><b>Dark</b> (James Brown) While your eyes are completely covered by a spectator you are able to name freely chosen cards. Then to top it off you cause a card to change into a free selection whilst it is held by the spectator. Remember, your eyes are securely covered throughout.
<li><b>Caught 3 Times</b> (James Brown) Using their imagination, three spectators cause their selected cards to appear one at a time between two face up Queens whilst they are holding the cards.
<li><b>Three Thoughts</b> (Olly Crofton) A Freudian Opening, A Three-phase card trick and A Mad Explanation from the creative mind of Olly Crofton.
<li><b>Twin Peeks</b> (Paul Gordon) The ultimate Peek Deck. Paul tips this previously marketed effect that has fooled a lot of knowledgeable people.
<li><b>Thought Stealer Rethought</b> (Paul Gordon) A spectator merely thinks of a card. he then spells its name by dealing a card for each letter and is amazed to find the very card he is thinking of!
<li><b>Balls 2</b> (Steve Cook) You place a cup on the table and cover the opening with a piece of card. Three invisible coloured balls are tipped from the cup and placed in line on the table. The spectator is offered a free choice of any ball; the other two are eliminated. You then cause the spectator’s selection to materialise, and then likewise with the other two balls which were discarded.
<li><b>Barefaced!</b> (Steve Cook) You display a packet of blank cards and the spectator takes one and writes any word or number on it while you look away. The designated card is turned face down and cut into the packet. You remove a ‘special card’ from your pocket and write something on this card, which is placed in full view. Under these ‘test conditions’, the spectator’s card is removed from the centre of the packet and his written thought is seen to match yours.
<li><b>Brain Fry!</b> (Stephen MacRow) You and a spectator both think of a card. The spectator looks through a shuffled deck and removes the card which they believe you are thinking of. The spectator's card is placed next to your card on the table. You now reveal the card you are thinking of. It is shown to be the same card that the spectator placed on the table. You then reads the mind of the spectator to discover which card they are thinking of and this is also shown to be correct.
<li><b>Bottle Capped</b> (Mark Elsdon) Thirty or so beer bottle caps are shown to all bear different logos. They are then turned logo side downwards and mixed. A spectator selects one - it might bear a Budweiser logo. Congratulating the spectator on his excellent taste, you bring an open, full bottle of Bud out of your coat and enjoys a drink!
<li><b>Best Telephone Trick</b> (Mark Elsdon) One of a group of people decides on any object, person or place – real or fictional – and phones a random number from any telephone directory. The person who answers the phone (who genuinely is the stranger listed in the directory,) immediately tells them what they are thinking of. No mobile phones are used, nor codes, or gimmicks.
<li><b>Brainwave-2</b> (Mark Elsdon) Two spectators each name any random playing card. You spread a blue backed deck revealing the two freely named cards are face up. Not only that—but they have RED backs”
<li><b>Absolutely Positive</b> (John Holt) You remove a prediction from your pocket. A spectator is given three imaginary coins to place on the table. In their imagination, one coin is selected. The spectator, again using their imagination decides whether the coin is heads side up or tails—they might think heads. All this is done without the spectator saying a word. You draw attention to the prediction. The spectator opens it to reveal a blank piece of paper. The magician draws the spectator to the other contents of his pocket on the table—one coin, and it is heads side up—matching their imaginary choices exactly!
<li><b>I’m Sorry I Haven’t a Cluedo</b> (Doug Segal) Using the props from the classic game of Cluedo, you succesfully predict the murderer, weapon and place. This is a great audience-participation routine.
<li><b>Drawing Duplication – A Video Bonus!</b> (David Penn) Link to an on-line video presentation by David Penn in which he describes in great detail his excellent Drawing Duplication method.
</ul>
<i>1st edition 2008; 196 pages.</i>http://www.lybrary.com/mind-blasters-p-1094.htmlhttp://www.lybrary.com/mind-blasters-p-1094.htmlSun, 20 Jul 2008 00:00:00 EDT A new century has dawned and for Holmes it signifies that he is soon to retire to Sussex to keep bees. Inspector Lestrade is already retired but looking for work as a store detective when he is informed of events concerning Arthur Prince, The Prince of Ventriloquists, which are so singular that he calls upon Holmes who demonstrates that his deductive powers are still as sharp as ever. Arthur Prince’s stage puppet has been stolen from his locked dressing room only to reappear some hours later. This strange event has now occurred on three different occasions, but stranger still is the fact that each time the puppet seems to have been improved upon rather than damaged. Join Holmes and Watson as they investigate this bizarre case in the world of theater.
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Approximately 60 minutes. Read by Martin Goldman.
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This is a licensed reproduction of the work published by Breese Books.http://www.lybrary.com/sherlock-holmes-prince-ventriloquists-p-1093.htmlhttp://www.lybrary.com/sherlock-holmes-prince-ventriloquists-p-1093.htmlSun, 20 Jul 2008 00:00:00 EDT The magician explains that a pack of cards includes 52 different values, and one of these card values he had imprinted in the spectators mind.
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He tells the spectator that he should think about different cards. He shouldn’t take the first that comes in his mind. During the whole process the spectator is free to change his selection, so that everything is fair and without forcing a certain card.
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The magician takes a closed pack of cards and a thick black marker. He draws the outline of a playing card on the back of the card-box. He shows this outline and announces that he will now draw the card, which is imprinted in the spectators mind.
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After that he puts the marker aside (as from now he won’t draw anything, neither openly nor secretly). His prediction is definitively drawn.
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Now he opens the card-box and removes slowly one card after the other. Every card is shown to the spectator. Even at this point in time the spectator could still change his mind about his card. No matter how the spectator decides and no matter how often he changes his selection (and he really could wait until the last card from the box is shown), in the moment of his final decision to take the card which is actually shown, the magician turns the card-box over and they will see exactly the same card drawn at the card box which was chosen by the spectator.
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This ebook is also available in German: <a href="http://www.lybrary.com/influence-german-p-1100.html?osCsid=33f1157714c2541b98646b3a68175820"><i><u>Influence (German)</u></i></a>
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<i>1st edition 2008; 20 pages.</i>http://www.lybrary.com/influence-p-1092.htmlhttp://www.lybrary.com/influence-p-1092.htmlSun, 20 Jul 2008 00:00:00 EDT Back in 1965 Fred Kaps gave a landmark lecture at the Magic Circle and now this lecture is available as MP3 download. Bearing in mind Fred Kaps' reputation, it is strange that so little has been written about the man and his methods. Just the first ten minutes of this recording holds a fundamentally important lesson every serious student of magic needs to know.
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Other than several magazine contributions, little of Fred Kaps' work exists in the English language. There are two sets of lecture notes, one dealing with general magic and the other describing some of the coin magic Kaps performed on a film made for magicians.
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Although not an inventor, Kaps did have the ability to take any effect and make it a miracle by molding it to his own personality; a personality which made it impossible for others to copy. This was one of the keys to Kap’s success. He made the trick part of himself. Its presentation was so interwoven with his own personality that it was impossible to imagine anyone else performing anything that Kaps had already done.
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He did this again and again. The Floating Cork, Homing Card, Salt Pour, Surprise Stab, Blank Notes to Bank Notes, Chink A Chink and many others. After Kaps had performed the routine you could not imagine anyone else doing it better.
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This is a licensed reproduction of the famous Magicassette and MagiCD series created by Martin Breese.http://www.lybrary.com/fred-kaps-lecture-simple-p-1091.htmlhttp://www.lybrary.com/fred-kaps-lecture-simple-p-1091.htmlSun, 20 Jul 2008 00:00:00 EDT Stephen King in his book <i>Dance Macabre</i>, a book that deals with horror in literature and film, pointed out that the only two kinds of movies which produced an audible reaction from an audience were comedy and horror.
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It was Tony Shiels who pushed magic in the direction of horror and, long before magic-as-theatre became the latest fad, suggested that tricks could be made more entertaining if their presentations were more dramatic; perhaps a little out of the ordinary. Few took up the suggestion but those that did went on to found what is today known as Bizarre Magick; magic which involves those who witness it.
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In this recording, Tony takes clever effects, adds a little supernatural spice, a dash of shamanic showmanship and turns them into memorable theater. This recording will introduce you to the character of Tony 'Doc' Shiels, tell you a little of his background and influences and offer a glimpse of his extraordinary brand of Magick. Shutter the windows, bar the doors, sit back and enjoy the high priest of bizarre magic to frighten you - if you dare! 
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This is a licensed reproduction of the famous Magicassette and MagiCD series created by Martin Breese, first released in 1988.http://www.lybrary.com/bizarre-magic-p-1090.htmlhttp://www.lybrary.com/bizarre-magic-p-1090.htmlSun, 20 Jul 2008 00:00:00 EDT If you are an Al Koran fan you will totally and completely be absorbed by this recording. The first half consists of Goodliffe (the founder of Abracadabra Magazine) recounting his experiences and many meetings with Al Koran. Following Goodliffe's fascinating introduction you will then hear Al Koran performing many of his now classic routines in front of enthusiastic audiences. You will be put into a state of wonder as you hear the amazing Al Koran baffling and entertaining with his own brand of magic. If you are into mentalism this is an essential recording to own.
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This is a licensed reproduction of the famous Magicassette and MagiCD series created by Martin Breese.http://www.lybrary.com/al-koran-p-1089.htmlhttp://www.lybrary.com/al-koran-p-1089.htmlSun, 20 Jul 2008 00:00:00 EDT Cards will burn...
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<i>Burn</i> explores ideas of the performer physically affecting playing cards in many different ways through the medium of heat/fire/voodoo... for example, the magician causes an image of a spectators chosen card to appear burnt onto another playing card at his will and command...
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The ebook is packed with 22 different concepts that will guide you through the methods for creating your own unique tools and gaffs and teach you step-by-step the techniques and mechanics for achieving the impossible voodooesque card magic that has become <i>Burn</i>.
<ul>
<li><b>IN THE SMOKE 1:</b> A card is selected and lost in the deck. The performer takes a random card from the deck - not the selection - and holds it over an open flame. Slowly, burns appear on the face of the card taking the shape of the spectators selected card (a variation of this is performed in the trailer below)
<li><b>IN THE SMOKE 2:</b> A card is selected and lost in the deck. The performer takes a random card from the deck – not the selection and holds it over an open flame. As the card begins to sear, the spectator is asked to hold onto it. The performer blows out the flame and the burns are revealed to have taken the shape of a playing card…the spectators selected card.
<li><b>SNAP AND BURN:</b> A card is selected and lost in the deck. The performer takes a random card from the deck – not the selection and waves it over an open flame. A final wave extinguishes the flame and burns in the shape of the spectators selected card instantly appear on the back of the held card.
<li><b>BURNING LINK:</b> A card is selected - The Queen of Hearts - and lost in the deck. The performer applies pressure to the deck claiming that he can affect certain focused cards. The performer claims to have focused on the wrong card… the 7 of Diamonds. The performer searches the deck to reveal a card with the 7 of Diamonds burnt onto the back of it. The burnt card is then revealed to be the spectators’ initial selection… The Queen of Hearts.
<li><b>BURNING HAND:</b> A card is selected - The 7 of Diamonds - and lost in the deck. The performer takes the Queen of Hearts and places it face up in the spectators open palm. The spectator is asked to focus on their card. The Queen in their hand heats up. Their card is revealed in the shape of burn marks on the back of the Queen.
<li><b>REMAINS:</b> A card is selected and lost in the deck and two Aces are produced. The Aces are waved over the deck where the selected card instantly appears between them. The performer then shakes the aces, with the selected card sandwiched between them over an open flame. The selected card is seen to vanish from between the aces leaving nothing but a burnt shadow on one of the Aces of where the selected card was. The vanished card is then revealed anywhere the performer desires covered in burns.
<li><b>SPREAD VANISH:</b> A card is selected and lost in the deck. The performer claims that he can transfer the pain from burning his hand into the deck. The performer holds his hand over an open flame allowing it to burn. When the performer can bare no more pain, he pulls his hand away and holds it above the deck. He then slowly spreads the cards to show that the selected card is nothing more than a burnt shadow of where it once was in the deck. (Optional extra) The selected card is then found anywhere the performer desires covered in burns.
<li><b>CORNER SHADOW:</b> An index corner is torn from a freely selected card and placed on the deck. The performer waves his hand over the corner causing it to vanish from the deck leaving behind a burnt shadow of where the corner was. The vanished corner is then found anywhere the performer desires.
<li><b>BOX SHADOW:</b> A card is selected and the deck is placed back into the card box. An index corner is torn from the selected card, the card is handed to the spectator. The corner is then pressed against the face of the box where it is seen to vanish leaving behind a burnt shadow. The vanished corner is then found anywhere the performer desires.
<li><b>INDEX TRANSFER:</b> A card is selected and lost in the deck. The performer takes a random card from the deck and squeezes the index between his finger and thumb and pinches the flame from a lit lighter or candle with his other hand. The burns are transferred from the burnt fingers to the card causing the index to burn into the shape of the spectators selected card.
<li><b>INDEX ASH:</b> A card is selected and by the spectator. The performer takes the card and pinches one of the corners. He pulls his hand away in pain to reveal that he was able to burn the corner of the card with his bare hands.
<li><b>NO SMOKE:</b> The participant selects any playing card; the rest of the deck is put aside. The participant is asked to inspect the playing card. The card is then placed in the participants’ palm. The participant begins to feel a burning in their hand as if the card is on fire. The card is turned over to reveal burn marks on it.
<li><b>WRATH TWO:</b> A card is selected, and lost in the deck, the deck is returned to the box. The box is shown clean and unmarked on both sides. The deck is then squeezed between the spectators’ hands. The spectator begins to feel the deck heating up, at which point they remove their hands to find their card burnt onto the box. The performer then claims that there was never a 7D in the deck, the deck is then searched for the selected card which is not in the deck.
<li><b>BURN THRU 1:</b> The participant selects any playing card; the rest of the deck is put aside. The participant is asked to inspect the playing card which is then placed in the participants’ palm. The performer holds his hand over the card (not touching it.) The participant begins to feel a burning in their hand as if the card is on fire. The performer moves his hand away to reveal a hole burnt through the playing card.
<li><b>BURN THRU 2:</b> The participant selects any playing card and shuffles it back into the deck. The participant squeezes the deck whilst thinking about their playing card. The participant begins to feel a burning in their hand…The participant searches through the deck to find a hole burnt through their selected playing card.
<li><b>BURN THRU 3:</b> The participant selects any playing card. A pair of Kings are used to hold the selected card in a sandwich manor. The performer holds the three cards between his forefinger and thumb slowly rubbing them together to create a friction. The cards are thrown to the surface as the performer pulls away holding his burnt finger and thumb. The selected card is shown to have a hole burnt clean through it.
<li><b>BURN THRU 4:</b>The performer removes a card from the deck and holds it between his closed palms. After a few moments of concentration, the performer throws the card down holding his burnt hands in pain. The card is seen to have a hole burnt through it.
<li><b>BURN THRU 5:</b> A card is freely selected and handed to the performer. The performer pinches the card between his finger and thumb and adds pressure; he then quickly pulls his hand away to show his finger and thumb blistered and burnt. The card is then shown to have a small hole burnt through it where the card was held.
<li><b>VANISHING BURNS:</b> The performer causes burns to transfer from a random card onto a selected card.
<li><b>BURN:</b> The performer is able to clearly hold his finger in an open flame for a long time without it burning.
<li><b>BURN 2:</b> The performer is able to burn the participants’ finger without it burning.
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<i>1st edition 2008; 44 pages.</i>
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<object width="400" height="300">	<param name="allowfullscreen" value="true" />	<param name="allowscriptaccess" value="always" />	<param name="movie" value="http://www.vimeo.com/moogaloop.swf?clip_id=1232871&server=www.vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" />	<embed src="http://www.vimeo.com/moogaloop.swf?clip_id=1232871&server=www.vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="400" height="300"></embed></object><br /><a href="http://www.vimeo.com/1232871?pg=embed&sec=1232871">Daniel Madison - Burn</a> from <a href="http://www.vimeo.com/danielmadison?pg=embed&sec=1232871">Daniel Madison</a> on <a href="http://vimeo.com?pg=embed&sec=1232871">Vimeo</a>.http://www.lybrary.com/burn-p-1088.htmlhttp://www.lybrary.com/burn-p-1088.htmlSun, 20 Jul 2008 00:00:00 EDT This is a beautiful and professional illusion. The effect is stunning and would fit into any Las Vegas type illusion show presented by headliners such as Lance Burton, Copperfield or Siegfried and Roy.
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This ebook tells you how it is performed and how the apparatus works. However, this is not an easy illusion to build. This ebook does not include detailed blueprints you can immediately work from. You will understand how it works and you do get some very good illustrations, but you will need experience building illusions to actually build this.
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<i>1st edition 2008; 15 pages.</i>http://www.lybrary.com/vivisectioned-p-1087.htmlhttp://www.lybrary.com/vivisectioned-p-1087.htmlSun, 20 Jul 2008 00:00:00 EDT <ul>
<li>You will demonstrate your ability to look at a person's signature and then be able to identify pictures that they have drawn.
<li>You will be able to tell from signature alone which words, symbols and ideas an individual person will be attracted to.
<li>By just feeling the muscles of a person's hand you will be able to point to a piece writing that has been written by that hand.
<li>You will even be able spot a liar just from the way they sign their name.
</ul>
You won't... but you'll be able to fake that you can!
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This effect is all about you demonstrating your amazing hand-writing analysis skills. Imagine genuinely being able to look at a signature and then being able to tell which drawing was drawn by the person that wrote that signature. That's pretty impressive. Now imagine looking at a piece of writing and being able to tell who wrote just by feeling the muscles of their hand! For spectator's that is nothing but amazing. In reality, this can not be done... but you are going to fake it.
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Unlike some mentalism effects your audience will not be left wondering how it was possible or what the 'trick' is... they will assume you just have an amazing skill. You can use this to build your mentalist persona. More and more these days people want to see mentalism *supposedly* grounded in science and psychology - <i>Real Fake Hand-writing analysis</i> gives you this grounding.
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Effects included:
<ol>
<li>You have the ability to look at a person's signature and be able to tell which doodle was drawn by them out of a choice of five.
<li>Using graphology you can know enough about a person's personality to make an accurate guess of which words or symbols they'd be drawn to.
<li>Your spectators are each given business cards and asked to write down either their actual job or a job that they do not have on the backs of the cards. They then turn over the cards and sign them. Without having seen who wrote what on the cards – you can not only return each card to their rightful owner but you can also say who was telling the truth and who lied.
</ol>
<i>1st edition 2008; 8 pages.</i>http://www.lybrary.com/real-fake-handwriting-analysis-p-1086.htmlhttp://www.lybrary.com/real-fake-handwriting-analysis-p-1086.htmlSun, 20 Jul 2008 00:00:00 EDT <blockquote><i>“Madame Sosostris, famous clairvoyant had a bad cold, nonetheless was known to be the wisest woman in Europe with a wicked pack of cards.”</i> - T.S. Eliot, “The Wasteland”
</blockquote>
I‘ve been working on an act designed specifically for comedy clubs based on the premise of “a wicked pack of cards.” I have a ‘volunteer’ select a card, and I then proceed to give the worst possible interpretation of it.
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The deck I’m using is “Morgan’s Tarot,” an unusual 86-card deck that bears little relationship with a normal Tarot deck. I found its simple black and white drawings and irreverent card titles to be apropos for the mood I’m trying to convey.
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When first starting out, I would choose three to five interesting cards (depending on the amount of time I was allotted for my set) before the show and come up with about a minute’s worth of patter for each card.
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During the show itself, I would simply riffle force each of the cards onto each volunteer and deliver my interpretation. Of course I would also allow for improvisation if my volunteer were properly responsive. Despite the fact that I preface the routine, saying that I’m going to interpret the cards the worst possible way, I’m always amazed on how many people actually volunteer for the bad news I’m going to give them.
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Each show, I would choose three new cards to use, so that over the course of performing this routine, I was slowly building up my library of interpretations. Finally, I decided to just crack down and write up all 86 possible interpretations. While memorizing them all will certainly happen in time, I still recommend that if you use this routine, to start as I did and just do a few cards at a time. Also, you should always tailor the interpretations to fit your persona and performing style. The jokes that work for me in my part of the country will not work the same way for you.
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The nice thing about this routine is that while the overall format remains consistent, the interpretations change, making each show a unique event (and keeps it fresh for you).
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Right now, I’m just using the normal deck of “Morgan’s Tarot” (available at your favorite metaphysical bookstore or on the Web), which is fairly legible in the size of spaces that I currently perform in. However, when I start performing this routine in larger venues, I’m considering scanning the cards into a laptop and using one of those fancy monitor projectors. Obviously, this won’t happen until I become a regular headliner…
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Since the deck is comprised of black and white drawings, you might wish to color in the images on your deck, just to make it stand out a little bit more.
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Sample Interpretation:
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ALWAYS REMEMBER THIS<br>
It seems that you’ve been plagued by a host of ‘senior moments,’ as of late. And the truly ironic part is that you’re not at the typical age that one expects to start experiencing these pesky problems in memory. You should make an appointment with your doctor, but the problem is that you can’t remember if you’ve already done so or not. Of course, if you could just identify the cause of this premature Alzheimer’s, you could cure yourself. It might be a factor of overwhelming stress, or perhaps, malnutrition. But again, the inability to remember anything is making the tracking of possible triggers impossible. Do you even recall what your problem is? Ah… let me start again… It seems that you’ve been plagued by a host of ‘senior moments,’ as of late…
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<i>1st edition 2004; 34 pages.</i>http://www.lybrary.com/wicked-pack-cards-p-1085.htmlhttp://www.lybrary.com/wicked-pack-cards-p-1085.htmlSun, 20 Jul 2008 00:00:00 EDT <i>Vol. 4, No. 3, July 2008; 68 pages.</i>
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<b>Table of Contents</b>
<blockquote>
<table>
<tr><td class="main"><b>page</b></td></tr>
<tr valign="top"><td class="main"><ol>
<li value=7>Welcome
<li value=8>Letters
<li value=9>News
<li value=10>Christ Priest
<li value=15>Location
<li value=16>Christopher Howell
<li value=20>Russ Stevens
<li value=26>Beyond Compere
<li value=34>Michael J. Fitch
<li value=42>Dealer's Booth
<li value=44>Reviews
<li value=52>Cameron Francis
<li value=58>Masterclass
<li value=60>Live Review
<li value=62>We're Having a Laugh
<li value=63>Things We've Learnt
<li value=64>John Gaughan
<li value=66>Back Issues
</ol></td></tr>
</table>
</blockquote>http://www.lybrary.com/magicseen-no-21-p-1084.htmlhttp://www.lybrary.com/magicseen-no-21-p-1084.htmlSun, 20 Jul 2008 00:00:00 EDT