Bob Cassidy - Lab Conditions.pdf - Bob Cassidy - mcgregor2001

Bob Cassidy’s

Laboratory Conditions

The Ultimate Close-Up Design Duplication

History – “Laboratory Conditions” - my first commercial effect - was originally released in 1976

by Frank Pazel. Supplied with the effect were two pieces of plexiglas, rubber bands, some aluminum foil

and a specially gimmicked pen. Except for the foil, none of the other items were necessary to accomplish

the effect, but Frank felt that the effect wouldn’t sell unless it came with props.

The late Ed Mishell gave the effect a very favorable review in “Genii” magazine – but, then again,

Ed gave favorable reviews to just about everything. That, together with the fact that nobody in the magic

world at the time had any idea who Bob Cassidy was, resulted in somewhat less than spectacular sales.

A few years later, a modified version of the effect was released to the newly formed Psychic

Entertainers Association – this time supplied with a special clear plastic envelope in place of the plexiglas.

Again, the prop wasn’t necessary, but the mindset at the time was that you couldn’t charge a decent price

for an effect unless some kind of prop was included.

Here, for the first time, is the effect as I originally conceived it. And, like I said, no special props –

unless you call cheap aluminum foil a prop – are required. The effect is virtually self-working and is

straightforward and completely inexplicable. The conditions under which it is performed seem to

completely rule out any form of trickery – hence the title “Laboratory Conditions”.

EFFECT:

The mentalist draws several designs on business cards – these can be standard

ESP symbols or designs suggested by the spectators. Any number of designs can be

used, as will be seen. The design cards are handed to a volunteer and are not touched

again by the mentalist. While the performer’s back is turned, one of the designs is

selected by the volunteer and placed on the center of a piece of aluminum foil as shown

in the photograph.

The spectator then wraps the card in the foil, hides the rest of the cards, and tells

the performer when he is finished. The performer turns around and, without any false

moves whatsoever, picks up the foil package and places it into an envelope which is

handed to the volunteer to be sealed.

After emphasizing the impossibility of what he is attempting to do, the mentalist

draws a design on the face of the envelope. The envelope is torn open and the card is

removed from the foil and shown to the audience. It is the same design drawn by the

performer.

The envelope, foil and card can be left with the audience and examined to their

hearts delight – no preparation or gimmickry can be found because there isn’t any.

Alternatively, it is possible to allow the spectator to draw a simple design or

picture of his choice on a blank business card, which he or she then wraps in the foil.

METHOD:

The only “move” takes place when the performer picks up the foil packet from the table

and places it into the envelope. At this point, he is literally able to see through the foil

and determine the design! This is because the drawing is embossed, or raised up, on the

back of the card thus creating a bas-relief image on the back of the foil packet.

The embossing is accomplished as follows. Note that there is a folded newspaper

on the table beneath the packet. (Alternatively, a close up pad or any other soft surface

with “give” can be used. The designed are drawn on the cards with a ballpoint pen. Just

press firmly as you draw and the soft surface below the card will allow the design to be

“raised” on the back of the card.

The following illustrations should make the basic handling clear to you.

While showing the spectator what he is to do, the

mentalist takes a blank card and wraps it in a piece

of foil, thus properly pre-folding the foil. He opens

out the packet and removes the card, thus leaving

the foil as shown on the left.

He next takes any one of the design

cards and places it face up on the center

of the foil stating, “When I turn my

back I want you to select any one of the

design cards and place it face up on the

foil just like this. Okay?”

(If you were to press down on the card at this point, you would create a raised image of

the design on the back of the foil packet – so DON’T PRESS DOWN yet, you are just

giving the spectator a demonstration of what he is to do.)

Remove the card and toss it into the tabled stack with the others. Turn your back

and tell the volunteer to pick up any one of the design cards and place it face up on the

center of the foil. Then tell him to fold the left side of the foil over onto the card, then

the right and then the top and bottom.

Have the spectator tell you when

he is finished. Turn back towards

him and place and slide the packet

toward yourself with your right

hand, surreptitiously pressing it

down against the newspaper as

you do so. At the same time, pick

up the envelope with your left

hand.

Turn the foil pack away from you and the flap side of the envelope toward you.

You will, thus, be looking at the reverse side of the packet as you slide it into the

envelope. A perfect bas-relief impression of the design will be facing you, as shown in

the following photograph.

Note that the flash from my camera slightly obscures the

impression, but it is very visible nonetheless.

Slide the packet into the envelope as you glimpse the

impression and tilt the envelope away from you as soon

as the part of the foil bearing the impression is fully

within the envelope.

The next photograph shows the spectator’s view just before you give it to him to seal.

This part of the routine is done very slowly and deliberately so as to raise no suspicion

of a switch or other trickery.

The rest of the handling should be obvious to

you from the description given under “Effect.”

IMPORTANT HANDLING POINTS

Look at the foil box shown in the picture

to the left. It is NOT a brand name such

as “Reynold’s Wrap,” nor is it heavy-

duty foil. It is the cheapest store brand

foil you can obtain. Not only is this good

for your wallet, but it assures a clear

impression. The more expensive foils

can be used, but the impression will be

much fainter unless an inordinate

amount of pressure is applied while

sliding the packet towards you.

The expensive or heavy duty foils, moreover, will not work reliably in the variant

presentation of the effect in which the spectator is allowed to draw a design of his

choice on a blank business card.

The latter effect is accomplished by placing a blank card on the foil and handing the

spectator a ballpoint pen. He draws his design while the card is on the foil and

unwittingly embosses the back of the packet at the same time!

Bob Cassidy - Lab Conditions.pdf

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