Wayne Dobson - Look No Hands.pdf

OUT OF MY t1AND$

TI1J~ J~ 'JT",~A"Y ... OUT OF TI1J~ WO~,D!

Tt1E:. $t1*T $PE:.I..I..

C:;OU,D B", ~110T O~ ~I1UT, BUT JT'~ A<:TUA __ Y ~11'T!

M<;DOB$ON'$ AC::E:.$

NOTI1JNG TWO FAC:;",D ABOUT TI1J~ T~JC:;~!

C::A~D T~lC::l(

A S"',",<:TJON J~ ~",Y",A'",D IN A T~U,Y JMPO~~JB,"' WAY, Y",T JT'~ ~O ~ASY!

ll"lV l$lBI..E:.

TI1E. T AB,"', D",C:;~, C:;A~D AND C:;A~D C:;A~", A~", JNYJ~JB,", - TI1",Y DON'T ",Y",N ~~"' TI1", TI1UMB TJP!

OUT!

Bl~Tt1DAY C::A~D DJY Y",~SJON, WJTI1 MODJFJ",D I1AND,JNG, OF MY MA~~~T",D ~FF",C:;T.

I..UC::l( Y NU MBE:.~$ BOTI1 YOU~ ,UC:;~Y NUMB",~~ A~", DJFF",~",NT, BUT TI1~Y STJ __ ,",AD TO TI1", ~AM", ,UC:;~Y C:;A~D!

TO$$E:.D DE:.C::l( J DON'T TO~~ JT MY~"," ANYMO~~, J GU ~OM~ , OTI1",~ TOS~",~' TO DO JT FO~ M",.

E:.c::t10 YOU, I1J,A~JOU~"', T~AC:;11 TI1~M 110W TO P~~FO~M A C:;A~D T~JC:;~.

WWW.WAYNEDOBSON.CO.UK

CONTENTS

Out Of My Hands The SH*T Spell McDobson's Aces

WAYNE DOBSON - A LIFE IN MAGIC

Card Trick

Join Wayne and his special guests Matthew J. Dowden. Mark James and Michael J. Fitch as they all perform and teach some of Wayne's Signature routines that made him a world magic star.

Invisible

See these classic routines performed on TV by Wayne and then watch

Second Chance

as

they're

performed

in

bars

and

restaurants

to

a

whole ,"new

audience.

Birthday Card

"'A REAL LESSON IN HOW STRENGTH OF PERSONALITY CAN TRANSFORM THE SIMPLEST SEEMING TRICKS."'

Lucky Numbers

MAGIC MAGAZINE

Tossed Deck 'THIS IS A TRULY FANTASTIC SET OF DISCS."

., Echo

GENII MAGAZINE

"ONE OF THE BEST SETS RElEASED IN YEARS AND YEARS AND YEARS ... WAYNE IS ONE OF OUR BEST MAGICAL THINKERS. EVERY EFFECT ON THIS SET IS GOOD AND WILL WORK IN CLOSE UP, STAGE AND PARLOUR."

REEL MAGIC

I AVAILABLE FROM WWW.WAYNEDOBSON.CO.UK

\

FOURWORDS IIThis book is good!" FOREWORD Picture the scene. It's 1989. The Tories are in power (the proper Tories, not the mutant variety we have now), big hair and big shoulder pads are the fashion and the kids are dancing to a new sound called "Bros': None of which interests me, nay. All my young brain cares about is it's Tuesday night and I have to get home quick because The Joe Longthorne show is on and I don't want to miss a second of it (these were the glory days of only four channels, no Sky boxes and video recorders still a luxury reserved for the mega rich. If you missed a show you had a lovely two year wait for a re-run. The kids today don't know they're born). The reason for my excitement is not the chance to watch Longthorne do his Shirley Bassey voice AGAIN, no, my adrenals are firing because it's another chance to watch Longthorne's regular guest and my personal hero work his magic on an audience. I'd sit with my nose pressed to the screen and try to impress his every move onto the digital camera in my head. The gr<;lnd illusions were theatrical and impressive, but it was the close up section I watched with awe - the combination of simple props, killer sleight of hand and sharp, warm and above all funny audience interaction. You just knew you were watching something special when you watched Wayne Dobson. It's two years later and I'm over the moon - one of the kids that hangs out in Davenports has just told me Wayne Dobson has now got his own series and it starts tonight! I dash home and watch my hero open his first show by casually vanishing a fO/O*/\ing helicopter whilst simultaneously flirting with Linda Lusardi (then the fittest woman in England) before the opening credits!! His set is hip and new. Paul Daniels can keep his brass band, awkward dancers and heinous theme tune with his name in the lyrics, Dobson had cool chairs shaped like giant hands, a page three girl for an assistant and a theme song by Queen. He was a golden man, leaping out of illusions that looked like they'd been built for James Bond, contrasted

by engaging his studio audience with cabaret material performed with the simplest of items (I'm not kidding, the man got five minutes out of an onion). It's two years and two series later and I'm off to the Guildford Civic Hall because a friend of a friend works for local radio station 'County Sound' and has blagged me tickets to see Wayne Dobson live!! I can't believe my luck. My mum and I sat fifth row centre. Every minute of that show is emblazoned on my memory. The introduction with Merlin performing the Chinese Sticks to a rap, the appearance from the Shadow Box, the "newest illusion in the world - Slicer';the oriental section in the middle, the over use of the music of Vangel is and Phil Collins. And the piece that makes the strongest impression? The forty minute segment in the second half when Wayne Dobson brings two men up on stage and performs the most perfect comedy magic segment I have, to this very day, ever seen. All the grand spectacle fades in comparison to the reaction he gets from two sponge balls and a weird looking zipped up wallet. I realise that the smaller Wayne Dobson's props are, the bigger the man himself becomes. After the show my mum and I queue round the back with the other fans in the piss rain to get my copy of the souvenir brochure signed. My turn comes round and I'm now standing in front of the man I have worshipped for the last five years."Helio mate - did you enjoy it?" He spoke to me! He looked me in the eye and spoke to me! I want to blurt out "It was life changing! Stupendous! It's just redefined the direction of my existence -I want to perform comedy and grow up just like you! You're my hero in life! What's Linda Lusardi look like up close?';but I'm fifteen years old with the beginning of a mental illness and so I mumble "It was good" into my scarf, get my autograph and move on for the next fan. I hug the brochure all the way home. I still have it. It's 1996. I'm standing outside the drama department of Brooklands College clutching a copy of the Daily Mirror and trying to hide my face from my fellow students because I'm crying.The front page of the paper is my hero announcing he has M.s. I realise that's why he's not been on the telly lately - not the bullshit rumours the wannabes in the magic shops

had been gossiping about. "Drugs.''''Drink.''''Aids.'' Morons. I remember a girl in my class at school crying when Freddie Mercury died and how the other kids laughed at her. I now know how she felt.

INTRODUCTION "Necessity Is the Mother Of Invention."

It's 2008. I am now a dashingly handsome comedian and seeker of adventure. My manager calls to ask if I would like to host a show for The M.5 society at the Electric Theatre in Guildford. The headline act will be Wayne Dobson. I tell her to "get stuffed" and put the phone down. Of course I don't, I just wanted to check you were still with me on this never ending foreword. No, I tell her yes then promptly head to T K Maxx to buy something nice to wear for the occasion because I don't want to balls up my second chance to tell my hero what he's meant to me over the years and as always believe a new shirt will make a difference. A week later, I get to stand in front of a sold out theatre and announce "Ladies and Gentleman, please welcome - Wayne Dobson!" I can't tell you in words how it felt. It's 2009. Wayne and I have travelled to Denver to 'Magic in the Rockies: Wayne is lecturing, teaching some of the world class magic you are about to discover in this book. Fantastic, practical stuff you'll be using almost immediately (and a couple of magician foolers too - Wayne blew them away with some of this material in the late night sessions) and all of it 'hands oW On stage nothing's changed. Sure, his pacing is a little slower now and he works from a wheelchair but the wit is still razor sharp, the audience interaction still leagues ahead and at the end they give him a standing ovation. Later that night he'll perform his current version of his classic act to a sold out theatre audience of over a thousand magicians and laymen. He'll show us all again that the smaller his props the bigger he becomes. And I'll get to watch it all from the wings with a big grin on my face and a tear in my eye as my hero and my friend performs his greatest trick. For fifteen minutes on a theatre stage, he'll make his disability... vanish!!! Danny Buckler 2011 "Ring the bells that still can ring, forget your perfect offering. There is a crack, a crack, in everything. That's how the light gets in." Leonard Cohen

In my case, the above old saying is certainly true! In the year 2000 I noticed that my right hand was becoming weaker, so I set out to devise effects and routines that only required the use of my left hand. Although this proved quite an effective way of doing things, I always felt that my right hand looked "alien" and I felt quite conscious of it. So, in the year 2008, I started to develop routines and effects that were totally 'Hands Off: The one condition I set myself, in developing these routines, was that just because the method was 'Hands Off'the effect would not be diluted - in fact, if anything, it would become stronger! The 'Hands Off' approach proved to be a blessing in disguise for me, as about a year ago I noticed that my left hand had also become slightly weaker. Everything in this book can be performed 'Hands Off' and I urge you,even though you more than likely have the full use of both hands, to keep the handling of the props to a minimum. I understand that you will probably use your hands to give the spectator the various props together with any instructions you need them to follow, but try to resist any temptation to handle the props at a time when the spectator might think you are doing something deceitful. Remember: "If they are suspicious, it is as good as them knowing!" All of the tricks in this book are self-working and use 'No Sieight-Of-Hand~ but the expression 'No Sieight-Of-Hand' doesn't mean 'No Skill'! In fact, you'll need all of your presentational abilities to make it seem that you are controlling all of the work! I find that when I'm presenting these effects I have a 'Couldn't Care Less Attitude~ however, this shouldn't be perceived as arrogant, as you are then in danger of making it more like a competition between you and the spectator. Finally, and most importantly, make sure the spectator places the props in exactly the same position as you would have if you were presenting the trick to them. If you do this, it will look as though you are in control of everything that is happening!

A couple of these routines have appeared in print previously, but even if you have come across them before you will hardly recognise them, as they have now been vastly improved and updated with regards to patter, method and presentation, to accommodate my physical disability. When you tryout any of these effects, I promise that you will be more than satisfied with the reception that they will receive. Nobody will be able to work out anything, and that is because ... there is 'Nothing' for them to see! Just remember:"Keep Your Hands to Your Self!" Wayne Dobson 2011

OUT OF MY HANDS Paul Curry's'Out ofThis World'has always been one of my favourite effects, but I felt that it took a long time to reach the climax. I badly wanted to perform it on TV for many years but, because of the time it takes up, I always shied away from it. Then, in 1983, John Kennedy showed me his version of the trick, which was clean, direct and very baffling. I made a few minor alterations to it and eventually performed it on my TV show in 1992. I recently got in touch with John and told him that I wanted to create a completely hands-off version, and he very kindly sent me his routine to refresh my memory. Although there is still some of John's thinking in the following routine, I have managed to create what I think is an extremely quick, clean, direct and, most importantly, hands-off version of'Out ofThis World~ Required:

A deck of 52 regular cards set up so that they alternate in red/black order throughout. Presentation:

Two spectators are seated - one on your left and one on your right. The deck of cards is face down in the centre of the table. We will refer to the spectator on your left as 'A',and the one on your right as'B'. Start by asking 'A'to cut the deck and complete the cut. Ask'A'to pass the deck to'B'who also cuts the deck and completes the cut. 'B' now deals the top card face down in front of 'A; who is askea to tell you whether he FEELS the card is red or black?This is obviously a 50-50 guess.lf he is right, you congratulate him and if he's wrong, you tell him that he will get better with practice. Whatever colour it happens to be, you now know that the next top card will be ofthe opposite colour.Ask'B'to deal another card face down to the table in front of himself. Now, using your best telepathic acting, you tell

him the colour of the tabled face down card, which is now turned face up. Both of these cards are left face up on the table in a single pile. Ask'B'to (utthedeckagain and complete the cut.Ask'B'to deal the top card face down in front of'A; and then deal the next card face down to himself. You now ask'B'to place the card hejust dealt in front of'A' face down back on top of the deck, as you explain that you'll do it a bit differently this time saying that this card is not needed. This has now effectively placed two cards of the same colour on top of the deck, but at this stage you don't know what colour they are. You now ask 'B' to guess what colour his card is. Regardless of what he guesses, have the card flipped face up and added to the face up pile in the centre of the table. You now know the colour of the next TWO cards on top ofthe deck. Ask 'B' to deal two cards face down to the table in front of 'A' and ask 'A' to look at them and then try, using his psychic powers, to transmit the colour of the cards to you. Explain that there are only three possibilities... they are both black, both red or one is black and one is red. After a few seconds concentrating announce that both cards are the same colour. They confirm this. Now say, "But they could be both black or both red. Let me think...." After a few seconds of concentration ... tell them what colour they are! The colour of these two cards tells you what colour the new top card of the deck now is, and you will use this information in a moment. Ask'A'to pick up the five cards already dealt with. Have one red card dealt face up before 'A' and one black card dealt face up before 'B'have the other three cards turned face down and left in the centre of the table. Say that you will speed things up a little. Ask 'B' to deal the rest of the cards into two piles alternating the deal left, right, left right etc. as if he were dealing out two hands of cards in a game. Patter while this is being done that you will prove that, regardless of how good or bad their guesses where earlier... that both 'A' and 'B' are psychic. Now, due to the fact that you knew what colour the top card was, it follows that you now know

which of the two face down tabled piles contains cards that are ALL of that colour. Ask'A'to pick up the large pile of face down cards that you know are ALL red, and have 'B' take the other pile. Have them both shuffle their cards, as you explain, to 'A' that you would like him to deal any cards that he FEELS are red face down onto the face up red card in front of him and he is to deal any cards that he thinks aren't red face down onto the central DISCARDS pile.Sayto'B;that he is to deal any cards that he FEELS are black face down onto the face up black card before him, and any cards he feels aren't black he is to deal face down onto the central DISCARDS pile. Have them both do this at the same time. When they have dealt through all their cards respectively. Have 'B' turn the central DISCARDS pile face up and show everyone that it contains a random mixture of red and black cards. Once he has done this, point out that you were trying to influence all his choices and, if you were successful, all the cards he dealt onto his face up black marker card should also be black. Have him pick them up and show them to everyone to prove that ... they are! End by going through the same procedure with 'A' to prove that all the cards he dealt onto his face up red marker card are also red! Everyone can now see that you managed to control their EVERY choice!

THE SH*T SPELL This is my own hands-off variation on'The RIGHT Spell' from my'Dobson's Choice Vol:l' book. Hand out a regular deck for examination and shuffling. Ask the spectator to hold the cards face up so that he can see them. You now spot (and .

~-,

remember) the face card of the deck. Immediately ask him to raise the cards up so that only he can see their faces, spread through and think of any card1:hat he can see. Once he has a card, ask him to remove it, put it face down on top of the face down deck and cut the cards (completing the cut) several times. This has put his thought of card below your key card in the face down deck. Have him put the deck face up on the table and spread the cards out. His card will now be immediately above your key card. Note (and remember) his card, and then have him pick up all the cards and shuffle them again. Have him put the deck face up on the table again and spread the . cards out again. You want his card to be a few cards (four or five) away from the face of the deck. If it is, fine. If not tell him to remove a bunch of cards from the face (enough to position his card where you want it to be) and shuffle them. Have the deck then assembled so that his card is now a few from the face of the face up deck. Explain that you would like him to pick up the face up deck and deal cards into a face down pile on the table but calling out the name of each card as he does so. You ignore the first few cards until you hear HIS card called out. You say to yourself'S' as he calls out his own card. You then ignore the next three cards, but say to yourself, as he deals them 'H'-T-T Remember the name of the next card he calls out and spell its name a card for each letter as he deals. Example: the card is the 2C - as he deals the 2C onto the pile say to yourself 'T' then 'W'-'O'-'O'-'F'-'C'-'L'-'U'-'B'-'S' as he deals the next nine cards. Remember the next card he calls out and do the same as you just did with the 2C Example: the card is the 4H - as he deals the 4H say to yourself'F'then 'O'-'U'-'R'-'O'-'F'-'H'-'E'-'A'-'R'-T'-'S; as he deals the next eleven cards.5top him when he has dealt the card on the letter'S' of HEARTS.

ask you to now deal/spell it one card for each letter." They do this and upon reaching the last letter... there is the 4H! You now say, "But it wasn't your card. If it had been, it would be one hell of a trick!" You now look at them again and then name the first card you mentally spelled (the 2C in the above example).Theywili react again by saying that it is not their card. You say, "I didn't say it was your card but, if it was, I would ask you to spell it one card for each letter." Now have them spell down to this card ... arriving at the 2C on the final letter of the spell. Finally, you ask them to tell you the name of their chosen card. Once they do so, pause for a few seconds and then say, "Shitl" This will get a laugh. Continue by saying, "I tell you what, spell the word shit." They do do and, arriving on the final letter of the spell, there is... their chosen card!

Note: I use the word SHIT because it suits my sense of humour and gets a really BIG laugh. However, you can use any word you like.

McDOBSON'S ACES Required: A deck of 52 cards induding duplicates of the AC, AD and AS. These three duplicates are roughed on their faces. Remove three of the regular cards (I use the 105, 7H and JD) and rough these on their backs.

Set-up: Have him turn the face up cards in his hand face down, pick up all the face down dealt cards and drop them onto the cards in his hand. Now look at the spectator and name the last card you mentally spelled (in our example the 4H). Usually they will react by saying that it is not their card. You say, "I didn't say it was your card but, if it was, I would

(From the top down) Roughed AS, roughed AD, roughed AC, regular AH, roughed 105, two regular cards, regular AC, regular AD, regular AS, two regular cards, roughed 7H, two regular cards, roughed JD, rest of deck. The roughed Ace of Spades is the top card of the face down deck.

'1"I' Performance:

Have the rest of the deck tabled face down to one side.

Ask someone to pick up the face down deck, then cut off and table half ,of the cards face down. Ask that they cut off half of those remaining in their hand and table these to the right ofthe first tabled pile. Ask that they again cut off half of those remaining in their hand and table them to the right of the second tabled pile.

I now force them to choose the second packet from their left in the row (containing four Aces). I do this by asking that they place their left hand onto any of the piles. If they haven't placed it onto the required pile, I ask that they also place their right hand onto a pile. This eliminates either the two packets under their hands, or the other two.

Ask that they move three cards from the top to the bottom of those left in their hand and then deal one card on top of each of the other three tabled piles. Once they have done this, they table the remaining cards in their hand in a pile to the right of all the other piles.

The two eliminated packets are dropped one on top of the other, and left on the table to one side, next to the deck.

They are now asked to pick up the pile immediately to the left of the pile just tabled, move three cards from the top to the bottom, and then deal one card on top of each of the other three tabled piles. Once they have done this, they table the cards in their hand in a pile where they were just picked up from. Ask them to do the same with the remaining two piles. Have them now turn over the top card of each pile to reveal the four Aces! Ask that they deal the Aces in a face up row from left to right in the order clubs, hearts, spades and diamonds. Then turn each Ace face down in the row. Ask that they pick up the pile of cards on their far left and drop it onto the pile next to it, then drop this pile onto the next and finally these cards onto the remaining pile to assemble the deck again. Ask them to pick up the deck and deal three cards,one-at-a-time, from the top of the face down deck face up onto the Ace on their far left. Pause and then say, "Sorry, those three cards should be face down, please pick them up and turn them face down." They do this, and (in a subtle way) see that random cards are being dealt onto the Aces. Have them now deal three face down cards onto the next Ace in the row, then three onto the next and finally three onto the remaining Ace.

They now push one of the remaining piles toward me and this is either eliminated and dropped onto the first two (now assembled) piles or kept and the other pile is dropped onto the first two (now assembled) piles. At the end of the day, they have "chosen" the pile that was second from their left in the row. All the other piles have now been assembled into one larger pile of twelve cards. Ask that they pick up the twelve card pile, remove the top card and wave it over the packet (like a magic wand) and then move this card to the bottom of the packet. Next ask thatthey drop the twelve card packet on top of the deck, and then give the deck a cut - completing the cut. I now explain that I will cause the three Aces still in the deck to vanish. I then have them turn the deck face up, table it and then spread the cards out face up across the table. Due to the roughed cards, NONE of the Aces will show up! Once they have seen that all the Aces have vanished, and confirmed this to everyone else, I immediatelYnsk them to turn over the pile of four cards that they selected and ... it contains all four Aces!

,

•·. .11··

,il

LUCKY NUMBERS Required:

A marked deck -I use a home made version ofTed Lesley's 'The Working Performer's Marked Deck: The only improvement I have made is to use 3mm high (or larger if you need them) white Letraset rub down letters and numbers to mark the cards. Younger performers will be able to buy (and use) the marking material to make up a standard Ted Lesley marked deck, but those of us who have passed the 50 year old mark will find it possible to read the white 3mm high (or larger) letters and numbers WITHOUT having to put our reading glasses on ... a dead giveaway! You will also need a blank backed deck and two blank faced cards. Preparation:

Throwaway the jokers and advertising cards from the blank backed deck, then stack it in Ace to King of Clubs, Ace to King of Hearts, Ace to King of Spades, Ace to King of Diamonds order. The King of Diamonds is at the face of the deck, and the suits are in CHaSeD order.

Performance:

Explain that everyone has a lucky number between one and 52. It might be the date oftheir birth month or something similar. Some people choose 13 as their lucky number, just to be different, others have 7 as theirs. Explain that there are two decks of cards on thetable.The one before the spectator is a regulardeck,but the one before you is a bit strange - it doesn't have any faces,only backs. Continue that if your lucky number was 1,your lucky card would be the first card in your deck - the one on top at the moment. Ask the spectator to lift off this card and show it to everyone. This is a subtle way (for me) to prove that the cards do have backs, but no faces. As the spectator shows the card to everyone, make sure that they see that it has a back but not a face. Ask if anyone has ever seen a deck of these cards before etc. Have him replace the card blank side up on top of your deck. Next ask that he remove the other deck from its card case and shuffle them. Ask him what his lucky number is, pointing out that it can be any number from 1 to 52. Let's assume that he says 20. Have him deal off 19 cards into a face down tabled pile, and then lift off, look at and remember the 20th card before dealing it face down in the middle of the table.

Set-up:

Shuffle and case the marked deck. Place the blank backed deck face up on the table (KD on the top/face of the deck), then place one of the blank faced cards face down on top of the KD. Turn the deck over and place the other blank faced card blank side uppermost on top. Note: When I perform this, I start with the cased marked deck on the table

near the spectator, and the other deck blank sides uppermost on the table near me. However, if you are able bodied ... You can start with the blank deck in its case too. You would then remove it from its case, allowing the back design side to be seen, then turn the deck over and spread through showing that all the faces are blank. You would then table the deck, blank sides up, before you.

You now need to spot the markings on the back of his card and then mentally work out where that card lies in your deck. This is easy as they run in Ace to King of Clubs, Ace to King of Hearts, Ace to King of Spades, Ace to King of Diamonds order. So, assuming his card is the 5H ... Ignore the blank faced card on top of your cards for the moment and simply think to yourself that there are 13 Clubs and then 5 Hearts (due to the CHaSeD order). 13 + 5 is 18 and then add 1 (for the blank faced card) = 19. So, you now say, "My lucky number is 19. Would you take my deck and deal off 18 cards into a tabled pile and then deal the 19th on top of your card in the middle of the table."

Have him drop the rest of the blank cards onto those on the table, square up this deck and then table it before you.

Due to the fact that you already know that his card is the SH you now say, "By the way, I know that my card doesn't have a face, but my lucky card is tlie Five of Hearts, what was yours?" He'll now srnile and say something to the effect that so was his!

The backs of the nines and tens are marked by inking in the central white dot with a fine tipped red marker pen.

Next ask that he pick up his and your card (keeping them squared), turn them over (looks like they are face down) as a unit and then set them, still squared, on the table.

Two spectators are seated - one to your left and one to your right. The deck of cards is face down in the centre of the table. We will refer to the spectator on your left as 'A; and the one on your right as 'B: Start by asking 'A'to cut off about a third of the cards and place them in a face down pile on the table. He is instructed to then cut off half of them and table them in a face down pile to the right of the first tabled pile. He is instructed to table the remaining cards to the right of the other two piles. He is now instructed to assemble the deck again by placing the pile on the far left onto the centre pile and this pile onto the remaining pile. This sequence has retained your original set up on top of the deck.

You are now about to use time misdirection ... ask that he assemble his (regular) deck and then put these cards back into their card case. Drawing everyone's attention back to the two cards found by your respective lucky numbers say, "Slide the top card, my card, towards me." Everyone will assume that the card beneath (the other card) is his card, as it has a printed face. Say, "I see that your lucky number 20 has revealed that your lucky card is the SH. Let me see if I can print a face on my lucky card." It only remains for you to cause YOlJrcard to also print a face, which matches his card perfectly! I simply make a gesture towards my card and then ask him to turn it face up. Everyone sees that it has now become printed on the face, and that both cards are identical! '

CARD TRICK Some time back I was chatting with Danny Buckler and he showed me a trick using what I then christened the 9/10 principle. Neither of us had any idea who it belonged to and after asking others it seems likely that it is the kind of thing that has been independently devised by many of us. Anyhow, I have used it in the following routine.

Required: A deck of red backed Bicycle cards set as follows: X, X, X, X, X, 9, X, 10, X, 9, X, 10, X, 9, X, 10, X, 9, X, 10, X, rest of deck (X represents any indifferent card).

Presentation:

Ask 'A' to now cut off the upper half of the deck for himself and then pass the lower halfto'B: Ask'B'to shuffle his cards,then spread them across the table face down. Finally ask 'B' to push out any card from the spread and leave it face down on the table. Ask him to take a peek at his tabled card. Once he has seen and remembered it, he leaves it face down on the table. He is then instructed to pick up the rest of his cards, as you explain that you are about to perform a CARD TRICK. Ask him to deal a card for each letter of the words C-A-R-D-T-R-I-C-K onto his tabled card forming a face down pile. Finally he is asked to pick up these cards and drop them on top of the rest of his cards. This has positioned his cards 10th down. Ask 'A' to now deal his cards into a face up tabled pile. Watch as he does this and stop him when he has dealt the fifth card. Say that you will make it harder. Ask him to turn the tabled cards face down and continue dealing the cards face down onto the tabled pile - stopping whenever he likes. Due to the fact that the backs of the nines and tens have been marked, he will stop dealing with either a nine or a ten on top of the cards in his hand or on top of the pile on the table. Point to the required card and ask him to deal it face down to the table. Point to the card on top of his cards and have it flipped face up saying, "Had you stopped one card later, you

would have had that card." Point to the card on top of the tabled cards and have it flipped face up saying, "Had you stopped one card earlier, you would have had that card." Have his chosen card flipped face up. If it is a nine,ask'B'to deal down nine cards and then turn the next card face up... it will be his selected card! If'A' has stopped dealing on a ten,ask'B'to deal down ten cards and then turn the final card of the deal face up... it will be his selected card!

up the deck of cards, and have him shuffle them. Now you can enjoy all the old gags normally associated with the invisible deck routine,such as ... when they shuffle the deck, "You might like to take them out of the card case first!" and "You've dropped one!" etc.

The sequence used before the trick begins, to cut the deck into three piles etc., belongs to Jay Ose.

Ask him to shuffle them again and then hand you ANY card without looking at its face. By now you will have stolen the thumb tip (or have been wearing it throughout). Mime taking the card from him with your right hand, keeping the fingers uppermost and the thumb hidden below them.

Have the spectator look through the cards to verify that they are all different!

Now show the card to him, folding your fingers into a loose fist so that the thumb tip is facing him and he can see the index of the card stuck on it. Say, "Will you help me?" then ask if he can see the card and WINK at him, with your right eye, as you ask this. You will instantly know if he has seen the card index stuck on the thumb tip and iswilling to play along. If he hasn't, askthat he look more closely, until he has seen the card index and knows that the card is the 3 of Clubs. He has effectively been made into an ' Instant Stooge: Ask him to remember the card, emphasising that he mustn't forget it or the trick won't work.

INVISIBLE This is a hands-off variation of my 'Invisible Deck' first published in my 'Dobson's Choice - Special Effects' book. Required: A plastic thumb tip with the indexof a card glued to it on the side opposite the nail. Let's assume the index is from a 3 of Clubs. Also needed is an envelope containing a 3 of Clubs.

Note: He sees the card index on the thumb tip, but no one else does! Hand the invisible card back to him. Tell him that he can keep it, the rest of the invisible cards, and even the invisible card case as a souvenir for helping you. He'll mime putting these away in his pocket. You could even let him keep the invisible table if you like!

Set up: I place the envelope on my lap, but you can place it anywhere you like. Because I am sat in a wheelchair, the envelope never leaves the audience's sight. I start the routine wearing the thumb tip, but you may prefer to steal (and wear) it later in the routine. Performance: Explain to the person invited up to help (sat on your right) there is an invisible deck of cards on an invisible table between you. Ask him to pick

1

Ask him to now take the envelope, which you hand to him. Recap what has happened, saying that he had a free choice of any card etc. Ask him (your instant stooge) to tell everyone what card he selected. He will say that it was the 3 of Clubs (see End Notes).

It only remains for you to ask him to remove the playing card from the envelope and show everyone that it too is the 3 of Clubs then ... take your applause! End Notes: I make no apologies for the fact that I am absolutely obsessed with this effect. I actually performed the above version 72 times recently when Iwas appearing on Joe Pasquale's touring show.At every performance it got a TERRIFIC response. I had a Brainwave deck in my pocket ... just in case it went wrong, but it never did. In fact, after about the tenth show, I stopped carrying the Brainwave Deck with me.

When I say that it "never" went wrong, I am telling a lie. It did go wrong once, but only once ... one night I failed to notice that the card index had fallen off the thumb tip. I was sat there asking the spectator if he could see the invisible card. He said he couldn't. So, I said, look really carefully, you must be able to see something. He stared intently at my hand for a few seconds and then said, loud enough for everyone to hear,"Wel!, I can see that you have a plastic thumb!" I don't know who was laughing the most me or the audience!

From the red deck deal the top card face up onto the table,on the back of the second card you write in BIG letters the name ofthe first card.You then turn this card face up and deal it face up onto the first card. On the back of the third card you write the name of the second card. Again you turn this card face up and deal it onto the second card on the table.This process is repeated throughout the whole deck. Note: The first card that was dealt onto the table at present has nothing

written on its back. You write on this card the identity of the last card dealt. You can now shuffle the red deck. Place one of the red backed jokers on the top of this deck. All the other jokers can be discarded, as they won't be needed. Take the blue deck and reverse its order by dealing them face down onto the table. Place the two decks into their respective cases and you're all set. Note: A lot of preparation is required, but once completed that's it! Presentation:

Start with both cased decks side by side on the table.

SECOND CHANCE

Ask someone to remove the blue deck from its case, turn the cards face down and give the deck a few complete cuts.

Required:

I

One red and one blue backed deck of cards plus a black Sharpie pen. Set Up:

Ask him to think of any card, then spread the cards faces towards him and look for his card. When he sees it, he is to cut the deck so that his card is at the face of the deck, staring. at him. When he has done this, he is then asked to remove his card and place it face down on the table.

I

II, -t

I

!

I

Take the blue deck, remove the jokers and give the cards a good shuffle. Take the red deck, remove the jokers and arrange the cards in the same order as the blue deck. Turn both decks face down and put them side by side.

Have him turn the deck face up and insert his card face down somewhere near the centre so that you don't see its face. You, however, simply remember the face card of the deck!

Have him now put the deck back into its case and leave it on the table.

Note: It is a good idea to make a crib sheet of the stack,so that you can set the blue backed cards again just in case they ever become mixed.

You now recap on what has happened and say to the spectator: "You thought of any card and you reversed it in the deck. You then put the deck back into its case. I have not touched the deck even once have I?" Once he agrees that what you have said is correct, you then proceed as follows: Ask him to remove the red backed deck from its case and spread it face up on the table. When he removes the deck be careful that he does not expose the writing on the backs of the cards - the red backed joker (with nothing written on its back) on top of this deck helps.You can also virtually ensure that they don't see the writing on the backs of the cards by placing the deck into its case with the faces pointing toward the blue paper seal. Explain that you will now try to select the very same card that the spectator is only thinking of.

BIRTHDAY CARD Preparation: Take your 52 card deck, and, with a large indelible black marker pen, write the words "Happy Birthday" on the back of your Se. Take a blank backed SC and write the words "YOUR BIRTHDAY" on its blank surface then put this card into your card case with the writing side uppermost. Your deck of cards stays outside the card case and set up as follows ... Set-up

Ask him to slide forward, from the face up spread, the card that you glimpsed earlier at the face of the blue backed deck (let's assume it was the Four of Clubs). Note: On the back of this card will be written the name of the card that the spectator is thinking of - the one he reversed in the blue backed deck!

All cards face down ... Nine random 'X' cards, SC with "Happy Birthday" written on its back, X, X, X, 50, X, X, X, X, 1~C, X, X, X, AH, 5H, X, X, X, 25,105, X, X, X, 2C, 5C, X, X, X, 3D, 100, X, X, X, 35, 55, X, X, X, 4H, 1OH, X, X, X.

Ask him not to say anything just yet, but remove his thought of card from the blue deck, and place it face up on the table. Everyone will now notice that both cards are different and that you are wrong! Recognise this then ask for a second chance to prove that you have found the very same card that he thought of. Once they agree to your request, ask the spectator to turn the red backed card face down and read out your prediction. It matches!

With the deck sitting face up on your table, next to the card case, you say that you have a prediction in the card case. Explain that it is a blank card and you have written "something" on it. Ask the spectator for his birthday. Let's assume he says it's April 22nd. You now say,"Would you be amazed if I have written YOUR BIRTHDAY on the card in the card case?"He'li say that he would be. Have him open the. card case and slide out the card (without turning it over) to discover the words YOUR BIRTHDAY are written on the card! The old ones are the best! Have the card left on the table writing side uppermost.

Reset: All you need do is put the red card anywhere into the red deck and the blue card on the top or the bottom of the blue deck.

Explain that was just a gag, but as he said April 22nd, you mentally add the month to the date ie. (as April is the 4th month) 4 + 22 = 26.

Performance:

If you look at the set up above ... You must visualise the 5D as being 5 cards above (in the face up deck) your force card (the BC), the 10C as being 10 above it, the 5H as being 15 above it (the AH is immediately before it in the stack, so see the two cards, side-by-side, as being a 1 and a 5 ie. 15)' the 105 as being 20 above it (the 25 is immediately before it in the stack so see the two cards, side-by-side, as being a 2 and a 0 ie. 20), the 5C as being 25 above it (the 2C is immediately before it in the stack so see the two cards, side-by-side, as being a 2 and a 5 ie. 25), the 10D as being 30 above it (the 3D is immediately before it in the stack so see the two cards, side-by-side, as being a 3 and a 0 ie. 30), the 55 as being 35 above it (the 35 is immediately before it in the stack so see the two cards, side-by-side, as being a 3 and a 5 ie. 35) and finally the 1OH as being 40 above it (the 4H . is immediately before it in the stack so see the two cards, side-by-side, as . being a 4 and a 0 ie.40). Once you have locked these cards in your mind, you are ready to proceed. If you have difficulty doing this, use a crib sheet that you can secretly refer to. Because the spectator's birth date (April 22nd) represents 26, the nearest card to this number in the stack is the card that is 25 cards above the BC ie. the SC Ask the spectator to spread the cards out face up across the table. You now need to spot the 5C in the stack and name, as your birthday card, the card that is 26 cards above the BCin other words the card to the right of the SC Although I have referred to many cards in the stack as 'X; let's assume that you spot the QH next to the SC and it is 26 cards above the BC You now say, "By the way, my birthday card is the QH. Everybody has one, but the QH is mine.Would you scoop up the spread again, hold the cards towards yourself, spread through and find my QH.I'd now like you to cut the cards (completing the cut) so that my QH becomes the face card of the deck." Have him pick up the deck and deal 25 cards off into a face down tabled

pile. The NEXT card, sitting on the face of those he is holding, will be the 26th card - the BC (your force card). Have him deal it off face up next to your gag card (the card with YOUR BIRTHDAY written on it). Rememberthat hejust dealt 25 cards into a face down pile -this has shown that NOTHING is written on the backs of these cards. Ask the spectator to turn the remaining cards in his hand face down and spread them across the table ... NOTHING is written on the backs of these cards. 5ay, "Do you know how I know that the 8e is your birthday card?" No matter what he replies, have him turn the gag card over (the one with YOUR BIRTHDAY written on it) to reveal the BC on the other side! As a final kicker finish, point out that it only remains for you to wish him a happy birthday, and then have him turn the card he selected (the BC) over to reveal that it has the words HAPPY BIRTHDAY written on its back! Have him pick up the cards he spread face down across the table, flip them face up and add the face up BC (the one with HAPPY BIRTHDAY on its back) to the face of these cards. Ask him to pick up the pile of face down cards, flip them face up and add them to the face of the cards in his hand. Have him (or you if you are able bodied) cut the deck to bring the 1OH fourth from the face.The deck is now re-set.ltjust remains for him to replace the blank backed card back in the card case and you are ready to perform again.

Note: My Birthday Card routine effect has been marketed, and professionally produced, by JB Magic (www.jbtvusa.com).1 would like to thank Mark Mason for giving his permission for it to also appear here in a slightly modified form.

TOSSED DECK The following routine, from my professional stand up act (or in my cas~, sit down act), contains my added psychological nuances, and extra gag lines to David Hoy's original 'Tossed Deck' routine. .. Without wishing to detract from the original, I always found that It received a muted response from the audience. This was, I think, because when all three assistants sit down at the same time ... the audience is confused as to what has actually happened. This confusion results in 'polite' applause, when they should really be giving you an ovation! If you perform it as outlined below, you will be amazed at the increased level of response and applause.

cards won't end up all over the floor! Ask him to return to his seat, with the deck, and then 'peek' the indice of one of the cards. Point out that he only has to riffle down the upper left corner with his thumb, stopping at some point, then peek into the gap in order to see the indice of the card at that point. Have him now peek a card and remember it! I keep eye contact with him so that he is less likely to look at the deck until noting the card he's stopped at. finally, I make 100% sure that he has SEEN a card, as this prevents him from just making a card up later. Once he has peeked at a card I say, "What's your name?" Let's assume he replies,"BiU." I then say, What's your first name?" He'll reply"BiII." I then say,"What .•. Bill Bill?"

Required:

Two elastic bands, and a three way force deck with one indifferent card at the face.

I now address a lady seated somewhere in the middle of the audience and say, "What's your name? The pretty lady there." She tells me and I say, "No, the pretty lady." I'm only joking. What's your name?" Let's assume she says, "Julie."

Set-up:

My own force deck is made up of the QC, 9D and the 4S with a JD at tile face. However, you may wish to use your own cards so I will refer to the values as X, Yand Z. Alternate the deck X, Y, Z, X, Y, Z, X etc. throughout, set the indifferent card (a complete contrast to the three force cards) at the face then wrap both elastic bands, widthways, around the centre of the deck. I use two bands ... in case one breaks! I start with the banded deck either Sitting on a table or on the stage.

I now turn back to Bill and say, "Bill, I'd like you to walk over and hand the deck to Julie. Or you can CAREFULLY toss it to her."The deck is now in the possession of Julie. Julie now peeks at a card, then I say, "Julie I'd like you to carefully toss the deck to a gentleman that you've never met before." Before she can do this I quickly add, "This could take some time. I tell you what, toss it to that guy over there." I indicate another man sat on the right side of the audience. Have this man als~ peek at a card.

Performance:

Ask someone (a man from the left side of your audience) to come forward and pick up the deck, as you explain that to prevent any incredible sleight of hand on your part you won't touch the cards. Also point out that later, when the cards are tossed to someone, because of the elastic bands - the

I then say to him, "I have studied the ancient history and meanings of surnames. What's your surname?" Let's assume he says, "Smith." I then say, "Smith, that means good looking and intelligent. What's your first name?" Let's assume he says, "Tony." I then say, "Tony, that means... not very." I now say, "Tony would you please toss the deck back to me (or

near to me) on the stage." When he tosses the deck up onto the stage, I quickly add the words, "When I say so." I now look down at the deck and say, "tknow what you're all thinking ... was that gravity or does the ea rth suck?" Now for the revelations of the three 'THOUGHT OF' cards! For the sake of description, let's assume that the force cards present in your deck are the nine of hearts, three of diamonds and the king of spades. Ask each of the three people who are THINKING of their cards to stand up but, point out that they are not to give you any clues about their cards. Ask them to concentrate. You then deliver a spiel along the lines of... "I'm seeing a red card ... quite high in value ... it's a heart... the nine of hearts! I see another card ... another red card butthis time it's a diamond... the three of diamonds. The final card is black ... a court card .. oiI spade ... Yes, the king of spades." Note: As you name each card, you casually glance at each spectator. What this does is physiologically convince the audience that you are correctly defining each spectator's card! The following nuance is a nice touch and INCREASES the applause you are about to receive. I say to the person on the left side of the audience (Bill), "Bill, if I have named the card you were THINKING of... please sit down." Bill does and! quickly say to tlge audience, before they applaud, "There are two ways of doing this, with applause or the way we're doing it now." Turn to the person in the middle (Julie) and say, "Julie, that's one out of three but, if I get two out of three this audience will go wild. Now, if I have named the card you were THINKING of... please sit down." Julie does,and the applause will be MUCH louder! Turn to the final person on your right (Tony) and say, "Tony, if I get three out of three the audience will go REALLY wild. In fact, we're going to try a very old theatrical technique now. I'd like to split the audience into two halves - the left and the right. This side (indicating the left) can go wild first, and this side (indicating the right) can go wild second. But because you've heard that side go wild, you'll psychologically go

wilder. But because you know they'll go wilder than you (indicating the left), you'll go even wilder to start with. But because you know (indicating the right) that they know that you know... oh it doesn't matter. However, I do think you'll (indicating the right) go wild the best, so don't let me down." Ask each side of the audience to have a try at going wild. "First you." (indicating the left - asking them not to let you down), "And now you." (indicating the right and asking them not to let you down). When it all dies down, turn to the right side and say, "I was wrong! However, if do get three out of three, I'd like you to ALL go wild together!" "Now Tony (I always use their names) don't let me down but, if I have named the card you were THINKING of... please sit down." He does, and the final applause will be thunderous! End notes: ! understand that the gags I have given to you will not be to everybody's taste, however they suit my style and delivery and they fit very nicely into the routine.

ECHO What you have here is a routine that has served me extremely well overthe years.! have used it in TV, cabaret and in my stage and theatre shows, but it registers strongest in corporat!'! work when you use the MD, or someone that everybody knows. The basic effect was inspired by the American magician, the late Karrel Fox. You teach the spectator a card trick by giving him obvious verbal cues and, at the finish, neither he nor the audience are aware of how it was accomplished! What is absolutely certain ... is ten minutes of solid entertainment!

You say: "This is a trick that you can show the kids at Christmas." Spectator says:"This is a trick that you can show the kids at Christmas."

Nod at him again - and he shows you the 6th card. Look at it, as if it's the wrong card.

You say: "However, if you've got no kids?"

You say: "Will you remember the card?"

Spectator says: "However, if you've got no kids?"

Spectator says: "Will you remember the card?"

You say:"It's too late for Christmas."The spectator won't be able to repeat this gag, due to the fact that you will get the laugh.

You say: "Yes, I will remember it, because it's the wrong one." Spectator says: "Yes, I will remember it, because it's the wrong one."

You say: "I first performed this trick for the patients of the local mental hospital." Spectator says: "I first performed this trick for the patients of the local mental hospital."

Look puzzled, as if you don't know what to do next. Act as if you've had an idea then ... You say: "Would you like to change your mind?" Spectator says: "Would you like to change your mind?"

You say: "So I would like to apologise to anybody in the audience, who is seeing this for the second time."Once again you will get the laugh and the spectator won't be able to repeat the gag.

You say: "Actually, I would." Spectator says: "Actually, I would."

You say: "Now think of any number from 1 to 10." You say: "Which card would you like?" Spectator says: "Now think of any number 1 to 10." Spectator says: "Which card would you like?"

Think for a few seconds and then You say:"Six." Spectator says: "Six."

You say: "The next one."

You say: "I will move 5 cards from the top to the bottom."

Spectator says: "The next one."

Spectator says: "I will move 5 cards from the top to the bottom."

Have him put the first card he showed you to the bottom, and show you the next card.

You nod at him - and he will move 5 cards from the top to the bottom. You say: "I'm now going to show you the 6th card."

Special thanks to MarkMasonforthis wonderful bit of business ofchoosing the wrong card.

Spectator says: "I'm now going to show you the 6th card."

You say: "I won't look at the card."

You say: "For the first time, what was the name of your card?"

Spectator says:"For the first time, what was the name of your card?" You say: "The Four of Hearts" Spectator says: "The Four of Hearts."

You now look at the spectator as though he is to finish the trick. He will look at you with a vacant expression, which will get a BIG laugh. You then say, in a very commanding voice, "Well, it's your trick!"This will get another BIG laugh. You say: "It can't be the Four of Hearts!" Spectator says: "It can't be the Four of Hearts!" You say: "Why?" This will get a BIG laugh, as the spectator will act very

puzzled as what to do next! You say: "Because I'm sitting on it." Spectator says: "Because I'm sitting on it." You say: "You're joking. Stand up and show me."

At this point you act very excited as to how he is going to finish the trick. For the BIG finish, instruct the spectator to remove the card that he has been sitting on throughout, and show it to you and the audience. The spectator (but really you) at this point will receive a massive round of applause.

©

Copyright Wayne Dobson 2011