The chart of number values will look like this:
AD- 1 AC-11 AH-21 AS-31 JD-41 QS-51
2D- 2 2C-12 2H-22 2S-32 QD-42 KS-52
3D- 3 3C-13 3H-23 3S-33 KD-43
4D- 4 4C-14 4H-24 4S-34 JC-44
5D- 5 5C-15 5H-25 5S-3S QC-45
6D- 6 6C-16 6H-26 6S-36 KC-46
7D- 7 7C-17 7H-27 7S-37 JH-47
8D- 8 8C-18 8H-28 8S-38 QH-48
9D- 9 9C-19 9H-29 9S-39 KH-49
10D-10 10C-20 10H-30 10S-40 JS-50
| AD- 1 |
AC-11 |
AH-21 |
AS-31 |
JD-41 |
QS-51 |
| 2D- 2 |
2C-12 |
2H-22 |
2S-32 |
QD-42 |
KS-52 |
| 3D- 3 |
3C-13 |
3H-23 |
3S-33 |
KD-43 |
|
| 4D- 4 |
4C-14 |
4H-24 |
4S-34 |
JC-44 |
| 5D- 5 |
5C-15 |
5H-25 |
5S-3S |
QC-45 |
| 6D- 6 |
6C-16 |
6H-26 |
6S-36 |
KC-46 |
| 7D- 7 |
7C-17 |
7H-27 |
7S-37 |
JH-47 |
| 8D- 8 |
8C-18 |
8H-28 |
8S-38 |
QH-48 |
| 9D- 9 |
9C-19 |
9H-29 |
9S-39 |
KH-49 |
| 10D-10 |
10C-20 |
10H-30 |
10S-40 |
JS-50 |
If this seems to complicated, get yourself a stack of blank cards and number them from one to fifty-two. Or number similarly some pieces of paper. This part is incidental. All I want is to evolve some way of obtaining these numbers by chance. Maybe you can use your roulette wheel. At any rate, fix up some way of getting numbers at random.
Now write this on a piece of paper:
"The effect is to be a…"
Shuffle the deck of cards, or mix up your numbers, or start your roulette wheel. If you use the deck of cards, cut the cards until you get a number between one and nineteen. Or draw numbers or spin the wheel until you obtain a number within these limits.
Then turn to the LIST OF BASIC EFFECTS in THE TRICK BRAIN section at the back of the book.
The number will indicate a basic effect. Write the effect indicated in the blank space in the statement you have just written.
For example: Suppose you draw the Trey of Diamonds. This is 3 in our numbering system. Turning to the LIST OF BASIC EFFECTS we find number three to be TRANSPOSITION, or magical change in location or position.
Now we know the kind of effect we are to think about. And we fill in the written statement to read: "The effect is to be a transposition...
Since we have selected an effect, let's consult the list of ESSENTIAL FACTORS FOR BASIC EFFECTS. We find here that a subject and two locations are necessary. So we turn to the LIST OF OBJECTS and select one of the lists. Again we cut the deck and find the Nine of Spades, which indicates number thirty-nine. On List A this is needles. On List B it is fire. And List C suggests toys.
You are not necessarily limited to the lists printed herein. These lists are prepared merely to give you the idea. You may, and should, prepare further lists of your own. However, we have had needles suggested. Ordinarily these are small. But we may use any kind of needles. So we make a list of all of the kinds of needles we can bring to mind: sewing, needles for dope, crochet needles, pine needles, knitting needles, an obelisk, phonograph needles. The dictionary will be helpful with this.
Let's try knitting needles.
Now we must find two locations. Usually the conditions under which you perform, or the various materials and devices associated with the object chosen will suggest this. For instance: a ball of yarn, a square of knitting, a sewing basket, any piece of cloth. One suggestion leads to another. But a sewing basket and a square of knitting will serve for this illustration. Let's decide to cause the knitting needle to change from our hands to a square of knitting within a sewing basket.
Now we can write out our trick plot. "A knitting needle changes mysteriously from the performer's hands to a square of knitting within a sewing basket."
So now we have a more or less original trick plot.
Notice how this needle could have fitted into other effects. A knitting needle could be produced. It could be vanished. It could be changed in color, or to a physician's needle. It could have penetrated some solid object. It could have been destroyed and restored. It could have been animated or caused to float in air, or vary in weight. For a sympathetic trick, one needle could be moved in the air in sewing motions while a second, unattended by human hands, could go through similar motions, actually sewing a piece of cloth. The fabled needle in a haystack is simply the subject of an identification trick, and usable, too. Hide the needle and "will" someone to find it. Or have someone hide a needle and "read his mind," to discover its whereabouts. You can use a needle to "taste" liquids while blindfolded.
But to get back to that needle transposition: Perhaps you didn't like it the way it was suggested at first. Here's another development of the same plot: A package of sewing needles is unfolded. The needles are taken from the package and the paper cover is folded together again. Holding the entire group of needles in one bare hand, you pass the hand in front of them and they are gone. A spectator opens the package and finds them to have returned, each sticking in its proper place.
Let's select another number. We get seven. This means an animation effect. Selecting another number gives us twenty-six. Consulting Lists A, B and C we get pitchers, pails and decorations respectively.
We find there to be several kinds of pitcher-the conventional one with a handle and a spout, another without a handle, a man who plays baseball and even a kind of golf club. I can only think of one kind of pail, but it may be had in many sizes and finishes. Decorations are embellishments or ornaments. They may be also badges of honor such as crosses or medals.
Reference to ESSENTIAL FACTORS FOR BASIC EFFECTS, shows that besides a subject we must determine the nature of the animation. Well. Pitchers may pour water without apparent human assistance. A figure of a baseball pitcher may throw a ball. A golf club may strike a golf ball. A pail, inverted over some type of pipe support, may answer questions by rattling itself. One of those folding festoons may unfold itself and array itself upon a wall. A medal may rattle out answers when placed in a tumbler. Remember we have the further advantage, if we so desire, of placing any of these under some sort of cover. Whether the effect is done gradually or instantaneously, of course, is not a factor in this specific effect.
We select another number for another effect. This time it is seventeen, thought transmission. The list of essential factors tells us we need a subject and that a receiver of the thought must be determined. Our number system gives us sacks, birds or words for subjects. This is fortunate. The precise nature of the thought to be transmitted is easy. We decide that the performer is to be the receiver of the spectator's thought.
In the first case, sacks, suppose the spectator were to hide three known things, say, coins of different denominations, one in each of three different sacks. The spectator "thinks" where the penny is. The performer finds it unerringly, then the quarter and the half-dollar.
Or the spectator selects a bird from a number of cards having pictures of birds thereon. The performer reads his mind.
Or words * * * Really, this is almost unnecessary because most of the thought reading tricks are based upon selected words or words written on paper. But to give it an original twist: The spectator thinks of or selects a word in some foreign language. The performer, who can't read or speak any language other than English, interprets his thought but translates it into the only language he knows.
Well, we've selected a lot of subjects already. And we've evolved several original trick plots, any of which could be developed into a practical trick. Too, each of these plots in some manner could be adapted to specific types of tricks desired whether for pocket, close-up or stage. This depends upon the inventor. Whatever type of trick he desires, he must think along that particular line.
But one might argue that these mere random selections do not necessarily mean that they would be usable for a specific performer. That is true. But you don't go through a dealer's catalogue or visit his store expecting that you could or would use all of the tricks listed or shown. THE TRICK BRAIN system places many tricks in front of you for selection. And because it forces you to think away from your usual associations of ideas, it leads to new ones.
The arbitrary selection of numbers which brings in new suggestions for you is far superior to just going over these lists of effects and subjects. This is because if you were allowed to select objects and effects of your choice you might find them to be subconsciously selected through idea associations based on old tricks or routines. No, THE TRICK BRAIN will not allow you to be trite. This eliminates the handicap of ideas that insist on being tied together through association.
Of course, where one is seeking an effect with a specific object in mind, it is permissible for him to start in with the required object as the subject. It is even permissible for him to start in with a required subject and a required effect, in which event another section of THE TRICK BRAIN becomes operative. This added section will be taken up in detail shortly.
But THE TRICK BRAIN is useful for something else. It will suggest the ingredients for a routine that must be original.
Let's try that feature.
Suppose we desire a short program of six effects. Let's select an original arrangement of original tricks. Making our selections in the usual manner we discover we have the following program:
- Animation of flowers.
- Penetration of toys and balloons.
- Attraction of bar devices for eggs.
- Vanish of jewelry.
- Invulnerability of watches to fire.
- Penetration of hats by fountains.
The above is the order in which the selections were made at random. Of course, this is not necessarily the exact running order because this must be determined through showmanship principles. But we do have an original assortment of tricks.
Let's write it out, supplying some filled-in details as the precise nature of each trick is determined after consulting the list of essential factors:
The performer enters and a bouquet of flowers springs up into his hands from a vase. He smells it, places it down. He picks up a rubber balloon that he inflates and puts in a stand. Then he picks up a toy automobile and apparently shoves it right through the side of the balloon. It goes through the inflated area and emerges on the other side without allowing the air to escape. An egg is taken from the table and placed against the outside of a mixing glass, just below the rim. It clings. He taps it speculatively and it rolls around the outside of the glass, coming back to its starting place. A watch is borrowed and vanishes with a toss of his hand. From a flaming brazier, he extracts the watch by means of a long book. It is unharmed. He starts a small water fountain squirting into the air. A hat is shown and gradually lowered over the stream. But the water seems unimpeded. As if the hat weren't there the fountain continues, apparently squirting right through the hat. The hat is moved up and down. The water may be seen entering the hat on one side and emerging on the other.
Easy. Let's try one of three tricks.
- Thought reading with lingerie, the spectator to be the concentrator and the performer the reader.
- Spectator failure with pans. He fails to pick out the proper pan.
- Animation of fire. The fire answers questions by blazing up and dying down.
This routine sounds like this: The performer enters and shows a number of large cards upon which are drawn figures of blondes, brunettes and redheads, each attired in fetching lingerie of definitely differing colors. The spectator selects one of these as his choice and the performer reads his mind. Then to prove that the spectator wouldn't know one from the other as far as color is concerned, the performer shows several colored cards, each corresponding to the colors previously used. These cards are placed upon a stand and each is covered with a pie pan. When the spectator indicates which pan hides the desired color-each pan has a large number on the bottom-he is found to be wrong-repeatedly. Then the performer lights a candle or an incense burner which answers questions by flaring up or smoking and dying down.
It must not be expected that every object selected may be adapted to every effect easily. This would be impossible. In some cases you may fail utterly to associate certain objects with certain effects. This may be due to lack of ingenuity on your part. Or it may be beyond the powers of a genius-I assure you my powers fall far short of that, painful as the admission is
You may notice that throughout THE TRICK BRAIN you will be confronted constantly with generalities. This is intentional. Even the object lists are in the plural. Instead of a specific object, the selection suggests several from which to choose. This naturally suggests not only several objects coming under that selection but also several kinds of objects of that nature. You will recall we obtained several varieties of needles in one of our earlier experiments with THE TRICK BRAIN.
This may seem provoking when you are confronted with generalities in the basic methods for accomplishing the desired effect. But we're striving for originality here. We want original applications of methods. If we aren't too specific, your mind must do some of the work. And originality comes in because of the different applications, ideas and solutions created by not being too specific. In this way, what is finally evolved really belongs to you. THE TRICK BRAIN has been merely the stimulant.
We have developed original trick plots and original trick plots in routines, using this idea, so far. Now we might see what might be developed in the combination field.
We make two effect selections. At random they are vanish and penetration. So the effect is to be a combination vanish and penetration. And the subject comes up (21) soft drinks. This one is easy. The liquid vanishes from a tightly corked Coca-Cola bottle. To vanish it must penetrate the glass. So the effect is really a combination of the two.
Another random selection is animation and attraction. The objects are (24) clocks and (19) plates. We might use two clocks-a small one rings for a "yes" answer and a large one sounds when the answer is "no." The clocks are put upon a dinner plate that is inverted. But the clocks seem to adhere to the china. But in spite of the awkward position the clocks readily give the desired answers.
Of course, instead of selecting two effects, you may get a combination effect by making one effect selection and two object selections. As for example: A vanish with a skull and a cigar. First the skull vanishes, leaving the cigar, then just the smoke. This could be reversed as a combination production. Or as a transposition, the skull and the cigar could apparently trade places magically, then appear somewhere else together-the cigar clamped between the skull's teeth.
Some of the card fanatics may think they have been neglected in THE TRICK BRAIN, Not at all. If you want to do tricks with cards, just write down "cards" in place of selecting a subject. Then make an effect selection. However, this might prove disappointing because practically all of the effects have been developed for cards. This is inescapable when it is realized that there are thousands upon thousands of card tricks.
However, try a combination effect. At random we get sympathetic reaction and penetration. We know the subject is cards. Off hand, here is a trick plot that satisfies the requirement-and I assure you I had no idea whatever of an effect of this character or a trick plot like this two minutes ago:
A deck of cards is shuffled and laid on a plate. A second deck of cards is shuffled and a spectator selects one card. This second deck of cards is laid on another plate. But it is placed on the plate minus the selected card. The selected card is placed beneath the plate. When the other plate is lifted a duplicate of the selected card is found beneath it. Upon going through the first deck that card is found to be missing.
This trick can be made a bit more spectacular, if you desire. Elevate the first plate after its deck has been placed thereon. Then have the card selected from the other deck and placed beneath the second plate. When attention is directed back to the first plate, a card similar in suit and denomination seems to penetrate through the china and flutter to the tabletop.
But you may go a bit further. Try the selection of two effects and two subjects, using cards as one of the subjects. In our first attempt we get transformation and attraction. The second object selected is a picture. Suppose we decide to have the magician's photograph do this one. A card is selected and upon bringing it to the photograph it is found to adhere to it, showing the power the magician has over cards even his likeness. Another card is selected by a spectator who then draws a likeness of it upon a blank card. This is placed in an envelope. Meanwhile the magician turns his photograph, the card clinging to its face, away from the view of the audience, back out. When the photo is turned around again, the spectator's drawing is seen clinging to the face of the picture. When the envelope is opened, the originally selected card is found inside.
A trick known as Ingagi, which was put on the market some years ago was invented in this manner. Even then the research for this book was well along and the rudiments of THE TRICK BRAIN were formulated. When the dealer who later marketed the effect came to me and asked for a suggestion for a trick which he could introduce at the Reno P.C.A.M. Convention, I suggested we try THE TRICK BRAIN idea.
The object selections came out cards and string. The effect selections were transposition and penetration. After a bit of discussion the following trick plot was developed: A card is selected by a member of the audience, signed and shuffled into the deck. A length of string is placed over an upturned hat, with both ends of the string showing. The deck is placed in the hat and spectators grasp each end of the string. When the hat is lowered the signed selected card is found to have been pierced in its center. And threaded through the hole is the string, the ends of which are still held by the spectators.
To indicate how THE TRICK BRAIN stimulates originality, from the effect suggested above it was necessary to develop a device to accomplish the objective. The trick suggested the necessity of the device and a device used for a totally different trick was adapted to this purpose.
Incidentally, I personally performed the above trick for the first time in public and it was awarded first prize in the card trick section. This doesn't necessarily prove that I'm a first prize magician, because I can place last in these contests without half trying. Also, in this case presentation counted for little. So it had to be the card trick. This simply proves that THE TRICK BRAIN is practical and results in effective tricks.
