Center Tear
the thinking persons journal
Zappy New Year Jan 2004
Center Tear Proudly Presents:
d'c&`&f&The ZaPik
Mental Item
`& A New Mental Item for Parlour
or small Cabaret settings.
Devised by Count Zapik
Copyright © Clive Wilkins 2002. Email. [e-mail]
For further information see the website. www.geocities.com/clivewilkinsmagic
Center Tear is brought to you by the letters C & T, and also by Arcane, Gardinski and Lesault.
THE COMMERCIAL MANUFACTURING RIGHTS OF ANYTHING DESCRI BED HEREIN ARE RETAINED BY THE AUTHOR
Pages taken from. 'COUNT ZAPIKO'S NOTEBOOKS'
PART ONE.
An account of a Magical Performance by the Count Zapiko,
sent to him by his protégé, Felix Eissenstrom: November 1957.
We are quickly ushered through the classical State Rooms and along the corridors of the Villa
Apolonaisse.
The room we now enter is illuminated by many points of light, each of which is a candle flame, each
yellow brilliance held aloft in one of the eight enormous wrought metal stands that have been placed
around the perimeter, the ceiling above our heads is high, and lost in the darkness that the candle
light fails to penetrate.
The room contains nothing else other than two centrally placed rows of gilded chairs laid out for the
assembly, who have already taken up their places.
We, arriving late move to take up the two remaining seats. Nadja seats herself next to princess Aelita,
whilst I [Felix Eissenstrom], find a position in the row behind, somewhat disappointed by our
separation.
As my eyes become accustomed to the dark I perceive as I peer in to the expanse of ceiling that the
walls around us are painted, an enormous fresco of uncommon size and subject. Representing a
woman, her legs travel up the height of the wall behind us, in the gloom I can distinguish that the
body fills the entire ceiling. An enormous gold ball hangs from her navel on a chain. She falls head
first down on the wall in front of us to the level of the oaken floor where her outstretched arms and
fingers support the weight of her effort. The quality of the image is hypnotic, the painters art
bewitches in its handling of the subject and tender care apparent in the execution of this immaculate
and bizarre imagery.
As if by some invisible coordinating force our entry door closes, simultaneously, the large library
doors to our left open, heralding the Count in evening dress and his young assistant, Futura the Star
of Mystery, It becomes immediately apparent to me that she is the very person depicted so favourably
in the image which adorns the space above our heads. Her dress of glittering gold shines brilliantly
reflecting the candle glow, as bright as each flame, & as if illuminated from within.
The Count Zapiko, for it is he himself, comes forward. Takes a large coin which he presses to his
trousered leg, it is seen to apparently dissolve into the fabric & vanish. No applause it seems is
expected & none is offered. An apparent air of indifference has greeted this first spectacle.
The mood changes as, with a newly found vigour, a simple pack of playing cards are removed from
the Counts own pocket, shuffled, and then distributed in small packets to the six guests seated on the
front row.
Using a soft voice the Count asks that each of the six persons think of only one of the cards in their
possession, & without removing the card or bringing any tangible attention or notice to that choice
shuffle the packet.
Next Futura stepping forward collects the packets, reassembles the pack and reaching forward hands
me the deck gesturing that I should shuffle the cards further. Despite an anxiety that I may appear
clumsy I do re arrange the condition of the cards further. For my pains I am rewarded with a smile
that is to linger in my memory of beguiling moments for the rest of my life.
On completion of this task Futura takes the cards from me & gives them to the Count. He reads off
the cards throwing each one to the floor as he does so. After a dozen or so have been despatched in
this manner, he asks whether anyone has yet heard their card mentioned. No one has. The Count
proceeds to throw cards to the floor as he names them, and again stops and asks whether anyone is
conscious of having heard their card named. Two guests raise their hands, & are then promptly told
of the card they were only thinking of. The remainder of the cards are dropped to the floor, as the
mind reader, now with hands in his pockets continues to determine with the highest degree of
accuracy the card trapped in the thoughts of the four remaining minds. An amazing demonstration!
We guests may be wanting to suspect trickery, but are unable to direct our suspicions anywhere,
there appears to be nothing suspicious to accuse. Confused we sit still & wonder what we might be
about to see next&
d'c&`&f&The ZaPik
Mental Item.
This constitutes a little idea that doesn't seem to appear in print anywhere else that
I'm aware. It may even be a new plot.
I've road tested it, and it seems incredibly strong and gets a weird reaction from
people. It works best in small groups or informal party groups, where the audience
are allowed to talk to each other whilst the effect is going on and then are allowed to
try and work out the effect after you have shown it. It seems very long-winded, &
initially I thought it was perhaps not so great, but I think I was wrong, I have had some
amazing fun, with this, and I hope you do too.
It can be a real reputation maker. Its effect is based on the following idea:
Each person in your audiences will have some snippet of information which cancels
out someone else s idea of what has been going on; in my experience so far, people
start a heated conversation which is always highly amusing, the mentalist just sits
back and listens whilst the audience get more and more confused.
There are few props needed to achieve this effect. A performance can be prepared in
two minutes.
d'The EFFECT.
A chosen Volunteer is asked to attempt to  invisibly send a word or idea telepathically
to the mentalist . A freely chosen playing card is selected by Observer1. A corner is
torn off the card and given to Observer2. The volunteer is momentarily hypnotised
and whilst in this state asked to write a word/idea on the card which only they must
see; they are asked to smell the ink of the Sharpie pen, they are asked if they like the
smell, they are asked to ensure that the ink is indelible and will not rub off the card,
the card is placed face down in full view on a table, a heavy book is placed on top of
the card. The mentalist bringing attention to the pen asks that they put the cap back
on, and the pen is then given to Observer3 to look after, Observer4 is asked to guard
the card which lies under the book.
Only now does the mentalist seek to divine the word trapped in the dark inner
recesses of the volunteer s mind. Of course he gets it right, ultimately, after the usual
theatrical build up, in accordance with the performer s style. The mentalist does this
by writing the word/idea down on a writing pad using a different coloured sharpie to
the one used previously.
The word is not shown. The pad is given to Observer5 for safekeeping.
The mentalist says to the Volunteer, 'I want you to now say the  thought you wrote
down out loud, and if I think it is the same thought that I received, & wrote on my pad,
I will put a red tick using my pen on the back of the card which is under the book. You
will then look at what I wrote on my pad, if the two are the same you will put a tick on
the back of the card using your black pen, which has been over here with this person
all the time.' The book is openly taken off the card which now lies in full view. [The
significance of these actions becomes obvious soon].
The word the Volunteer mentions is the same as the word written, so the mentalist
puts a tick on the back of the card in red ink. The Volunteer checks the pad & agrees
that the word the mentalist wrote is also the same and so she takes the black pen
previously used by her & ticks the back of the card too. However, when she uses the
pen, she discovers it won't write.
The mentalist says this may be significant!
WHEN THE CARD IS TURNED OVER THERE IS NOTHING WRITTEN ON IT!
The first assumption is/maybe that the Volunteer really did send the information
telepathically, and in the hypnotic state only simply thought she wrote something.
Therefore there is proof that the mentalist really is good.
However, in my experience, people will want to conjecture about what perhaps really
did go on.
They may think she must have written something for the mentalist to  peek , at some
point; however this notion is contradicted by her broken pen that Observer3 had all
the time, and the fact that no writing appears on the card. He must have switched
cards at some point, but the card was freely chosen out of a pack of cards by
Observer1, and then the corner was torn off and Observer2 has that, and it fits
perfectly, & it was put under the book which Observer4 was guarding all the time. The
mentalist points out that he gave the Volunteer every opportunity to break her trance,
she was asked if the ink smelled funny, whether the writing was indelible, and yet
there is no evidence anywhere to suggest anything was written.
All in all, everyone is so keen to contribute their own bit of evidence with enthusiasm
that they confuse the issue, contradict each other and make a lot of entertainment for
a long time after the effect is finished. The mean-talist can sit back, enjoy a long drink
say nothing and simply watch the fun.
Methods to achieve this kind of effect are legion, however this idea of receiving a
thought that ultimately appears never to have been written down is potentially very
entertaining, & maybe a new plot.
`&The METHOD.
There are many ways of achieving this effect.
I could write here  bring about the effect by your favourite method; certainly there are
methods which would work well in other people s hands, that I do not use.
However, after careful thought and experimentation I offer the techniques and
routining that I use. Please consider these points and methods carefully, change
them where necessary to support your own opinions/personality/performances.
c&The PROPS.
A Deck of Cards, plus a duplicate of a low pipped number card, which will be forced,
[for this example we use the Two of Spades; ideally a low pip red card is better
because the word written on the card is more easily discerned].
x2 Black Sharpie Pens. One of which does not work [it will have run out naturally, and
once completely drained of colour, has the point drenched in superglue in order that
no mark or staining can be made with the point once dry.
x1 Red Sharpie
A large book, at least A4 size, thickness is immaterial. [Or a magician s wallet which
can be loaded/ unloaded from the rear, for an alternative presentation. See notes].
An A4 Pad or similar to write down your impression of the invisible word that has
been sent telepathically.
Magician s wax or alternatively use Post it glue stick, or Prit non-permanent mini
roller.
c& e& `& f&
f&Organise & Prepare the Props as Follows. [These handlings are my own
demonstrating a left hand preference].
d'Deck of Cards plus one duplicate.
I prepare the deck by tearing a corner off the duplicate Two of Spades in a manner
that can be virtually replicated on the second Two of Spades.
To do this: Study the back design of the cards you are using [I use Bicycles], and
choose say four points thru which you will always tear when doing this type of effect,
these points will correspond to an even curve suitable to be a typical corner tear.
I look for these four points:
1. Top centre of card, & through the head of the arrow in the spade shape.
2. The centre of the right hand wing on the angel.
3. The point where the outside circle meets the right side horizon.
4. Just below the scroll in the right hand border side approx 3.5mm from the
top edge
With practice it is possible to tear corners off cards using a high degree of precision,
so that they all appear to fit each other and appear identical from a short distance.
This is really not hard, and has many applications for other effects. I know of no other
magicians who use this principle. This is a very strong idea!
The duplicate Two of Spades without the corner is placed under the book face down
and is lightly stuck to the book using Magicians wax.
The torn corner from this card is stuck lightly [using magicians wax] to the back of the
Two of Spades to be forced; the face is uppermost [See the photo below]. This is so it
can be easily switched for the corner which you will tear using the same  tear points
from the card in the performance.
Place this card second from the top of the deck, under any other card from the deck.
Place this prepared deck in your left hand jacket pocket. Remember the Two of
Spades needs to be forced.
d'Put the Working Sharpie Pens [one red, one black] into left inside wallet pocket
side by side.
d'Put the non-writing black Sharpie pen in the same pocket, but separated from the
other two.
d'Place the book on table loaded with the pre-torn corner card underneath it, as
already described. There should be two dabs of Magicians Wax on the underside of
the book. One on the front edges of the underneath edge of the book [where titles
often appear] and a second one at the back edge [where an authors name often
appears]. The pre-torn card is held in place by the wax at the back edge of the book.
The wax on the front edge will be used to secure the forced card to the underneath of
the book in a moment or two.
d'Place the A4 pad on the table next to the book.
c&Working Sequence and Brief Summary of Patter. [Text in blue is patter].
1. Introduce yourself.  I seem to have been whisked here from some other
life& .it may even have been my own . etc.
2. Choose a volunteer. Ask if you might attempt a scientific experiment.
3.  Of course this may be trickery, but we will call it a scientific experiment, you
must be the judge. I want you to invisibly send me a word or an idea using
telepathy. If you will allow me to appear to hypnotise you only briefly I can
assist you in doing this. Do I have your permission, Good!
4. [The ruse of pretending to hypnotise the volunteer is very important, without
it there can be no reason why the volunteer can be understood to have only
thought she wrote something later in the routine].
5.  Now we can start! Let me begin as follows [take the prepared deck from
your pocket].  I would like you sir [Observer 1] to select a playing card.
[Force the Two of Spades, using your favourite meth& .., okay it can be a
riffle force, a peek force, or just use a one way deck, force any card on them
and then  top change it for the prepared card. NB.There is no heat on a top
change here, you are changing a two of spades for a two of spades, show
the card before & show it after, they think they see something? you show
them they see nothing. You then say,  A free choice, beyond my control .
6.  Let me prepare this card in order that we all know that this is the card we
use, see, I tear off the corner like so, Viola! An arbitrary tear, beyond my
control . Tear off the corner with the precision needed to ensure it closely
matches the duplicate corner stuck to the back of the card. Do not however
fully complete the tear, have the corner hang off the card held only by a small
join. Hold the card by the corner to show the fairness of your actions, let it be
seen you have nothing else in your hand.
7. Finally fold the corner back behind the card, as if to make the tear complete.
At this point release the duplicate corner stuck to the back of the card and
overlap both corners as exactly as possible. Bring the corners to the front as
if only holding one corner. You are at this point holding up the card by the two
overlapping joined corners the audience still only see one card. Everything
looks as it should. Offer the main card part of the card to the  hypnotised
Volunteer to tear off completely. At this point whilst all attention is on the
recipient of the main card, finger palm the corner belonging to the card and
bring into view the duplicate. This is essentially the Anneman Billet Switch.  I
give this corner for safekeeping to you sir. The corner is now out of my
control the mentalist addresses Observer2 and gives them the switched in
corner, which of course is the match for the blank Two of Spades which lies
out of view under the book.
8. Remove the two working Sharpie Pens from your pocket whilst ditching the
torn corner which you still have in finger palm.
9.  Which one of these pens, the red one or the black would you like me to
have? Your choice is free and beyond my control This is of course
 Magicians Choice ; ensure they get the black one. Replace the red pen back
in your pocket next to the broken one in readiness for the pen switch which
happens soon.
10. Take back the main card and the torn corner, which only we know,
[hopefully!] do not actually match; hold them up with confidence and clearly
show that they do indeed match exactly. Keeps your hands moving just
enough if necessary to complete or ensure the illusion; however it is no pipe
dream to be able to find that the join is so darn good that there is no doubt
that the two were one. Make a meal out of this because you want them to
remember this point where you now in complete openness pass the parts of
this one card in two opposite directions back to where they came from, one to
the Volunteer, the other to Observer2.
11. Ask the Volunteer to  Now write a word or idea that only you know of onto
your portion of card using the black pen.  No one else must see what is
written they in complete innocence on this occasion, and with some disdain
for the current effect and the mentalist write the word PRICK! this is their
choice not mine. Once the word is written say,  I love the smell of these pens,
do you like the smell of marker pens, they smell the pen and probably say
something. Ask them to replace the cap. Ask them to  ensure the ink is
indelible , ask them to  check the spelling . These questions are designed to
raise the consciousness of the observers and audience that the Hypnotised
Volunteer is aware of having written something with a pen that works; this
makes the discovery of a pen that will not write all the more remarkable in a
moment or two, especially if the switch of pens is not detected.
12. Take the pen from the volunteer, ask them to  place the card on the table ;
whilst they are doing this with the pen in your hand go to your inside pocket
apparently in the act of collecting the red Sharpie pen, or some may think you
are simply putting the black pen away, it is of no odds, because no one is
watching you, they think the heat is on the card. What you actually do is in
the act of picking up your red pen ditch the working black pen and come out
with the red pen and the switched in broken black pen. Nobody will see this, if
you are talking or gesturing towards the card. Take the red pen, give the
black pen to Observer3, or just put it on the table. In a couple of beats no-one
will remember you messed about with the pens. The black pen will always
seemed to have been in view.
13. The mentalist places the book on the card covering it with the Magicians
Wax area. He then slides the book forward. This is to give the impression that
the card has slid to the back portion of the book. Lifting the book momentarily
the mentalist picks up the duplicate card, by releasing it from its Magicians
Wax, and says, Actually rather than hiding it completely let s make sure it
stays partially in sight the whole time . This is the excuse to switch in the
duplicate and peek the card that has been written on.
14. If you wish to release the Volunteer from your mock hypnosis, now is the
time. It makes sense that you should.
15. You now divine the mystery word. Go through the process of writing it on the
pad, ham things up a bit if there is anything to be gained, then place the pad
face down on the table.
16. Okay the work s done! Settle back ready for the fun.
17. You say  I may have discovered your clever and sophisticated little word or
idea in the recesses of my mind, it was sticking up at me like a  sore thumb . I
have written it down on this pad using my pen.
18. You say,  , Please for the first time announce the thing you were only thinking
of. If it is correct and corresponds with what I have written I will draw a tick on
the back of your card.
19. They say  Prick! Despite being shocked, you draw a tick on the back of their
card using your red Sharpie marker pen.
20. You say,  Check what I have written on the face of my A4 pad, if it is the
same, use your pen to draw a black tick on the back of your card.
21. They discover the words match, they try to draw a tick using the black pen on
their card, they now find the pen does not write.
22. The mentalist says, The pen does not write, it makes no mark, indeed this
may be significant, remember that our Volunteer was hypnotised and asked
to invisibly send a word or idea using telepathy into my mind.
23. Turn over the card to reveal no writing at all& & .  Spooky or what!
24. At this point people are perplexed& .
The mentalist need only now sit back and enjoy watching the fun. It is best to say
nothing; having a drink with you is a perfect way of taking a step back & appearing to
exit the scene.
25. Talk starts; someone early on will want to check the torn corner to see if it
matches.
26. It will be reinforced that the card was a free choice.
27. The Volunteer will be cross-examined about whether they really thought they
wrote something, they will emphatically say YES!
28. The pen will be checked to see if it is a trick pen or to see if it can be made to
write.
29. Someone will remind the Volunteer that she was hypnotised and therefore
maybe can t remember what she really did. At which point the Volunteer may
hit someone.
30. Someone will say that they watched the card under the book all the time and
never took their eyes off it.
31. Everyone will agree that they saw the corner being torn off the chosen card
which never left their sight
32. It will be remarked that the Volunteer said she could smell the pen s ink.
33. She also verified that the ink was indelible.
34. Despite clever folk having many good insights into what really may have
been going on, it is usual that their thesis is never fully heard because too
often people fall into contradicting each other as to what was seen, and in
what order, and the significance of each piece of evidence. This is highly
amusing stuff.
35. It can happen that some groups just have no idea what happened and are
dumb- founded. [This is not the best scenario; you need to get people talking,
IT S PART OF THE EFFECT!].
c&Notes.
It may be wise for the mentalist at the conclusion of the effect to remove the book
and replace it back on a shelf, and even dispose of the card that was peeked to find
the word, because it still lies hidden under the book.
e&An alternative handling is to use a Magician s Wallet that can be loaded/unloaded
from the rear, instead of using the book to switch cards. This way the duplicate card,
minus its corner, is in the wallet all the time. The card with the  secret word is placed
into the wallet and slid out the back for a  peek ; all is then laid on the table in full view
during the whole effect.
When the card is ready to be ticked on the back, the duplicate card is removed from
the wallet, whilst the wallet is on the table; there is no need to pick the wallet up yet,
just don t worry about the duplicate card that was peeked lying under the wallet
throughout these moments.
Only once the duplicate card has been removed from the wallet, is the wallet picked
up; including the card with the secret word on that was glimpsed, everything is then
placed in a pocket, and thereby all evidence of the card with the secret word on it is
removed from sight.
When I perform the effect using a wallet I have a plastic divider in the wallet to
separate the cards & to make it easier to slide the card to be glimpsed out of the back
of the wallet without disturbing the blank card.
This wallet alternative to the  book switch is a good one. Magicians would obviously
like it. However, I only use it for impromptu situations, and it is my travelling version of
the effect. In a formal performance I do prefer the book version because it looks more
honest and simple; many spectators are suspicious of things that look like 'props'.
Using a book as simply a cover for a card does appear more copasetic.
Concerning the Sharpie pens. Any magi/mentalist can get a working Sharpie. The
non-working one for this effect is the difficult thing to acquire, & involves some time
consuming effort. It took me three days to dry out the pen I use by resting the nib end
on hanky tissues, and moving the nib to new areas of tissue at regular intervals, and
letting the thing slowly bleed to death, at the end of that time it still left ink traces,
hence the super glue 'bung' solution.
This is a long and complex routine. I am sure the best effects are far more direct than
this.
However one of the uses for the performer here is the analysis of audience this effect
allows and the feedback it provides on how they  see . I have personally learned a lot
from playing with this item and seeing peoples reactions. I hope you can too.
I have had some very strong reactions to this effect.
There are an number of strategies used in this effect which will be of use to the
serious performer in other routines, e.g. The corner switch, the pen switch, the card
switch using a book or a wallet.
I hope these notes have been of some use to you.
c&f&`&e&The ZaPik Mental Item.
Copyright 2002 C. Wilkins.
All Rights reserved.
Pages taken from 'COUNT ZAPIKO'S NOTEBOOKS'
PART TWO.
We have just experienced an amazing demonstration of mind reading.
We, the audience, who are daylight thinkers, need to suspect trickery, but are unable to
direct our suspicions anywhere. There seemed to be no furtive movements, no point at
which a superfluous movement seemed irrelevant or part of some hidden 'modus operandi'.
There was nothing to accuse. The Count simply knew the cards that were only being
thought of. There is no solution to our unease, no explanation that conforms to our
pedestrian notions of how reality should be formed, or what is normal. We can only resort
to a suspicion that the impossible thing we have just experienced may be possible.
We feel smaller, aware perhaps that the universe is bigger and certainly more complex than
we will ever comprehend. So much of it is beyond our understanding, and even beyond the
scope of this meddling Conjuring Count, who in one short demonstration has convinced us
of our own insignificance. This is surely Faustian meddling, these are not forces which
nature should allow man to harness.
Next Futura the Star of Mystery steps forward. She is handed a golden blindfold by the
Count. She puts it over her eyes.
We, the guests are invited by the Count to hold in our hands any personal object from
around our person. Items or objects from our pockets, purses or handbags. Anything.
These objects are to be held secretly, we may only share them with others in the audience
for entertainments sake.
The blindfolded Futura is invited to use a 'Sealed Vision' to determine the object we are
holding and about which we should be thinking & concentrating.
The Count touches each person on the shoulder in turn and invites Futura to speak. In each
case she reveals; the secret talisman, the lipstick, the key and its use, the letter and its
author, the library card and its number, the lover in the photo, the charm, the scent and its
secret ingredient, the secret wish, the departed whose hair is in the locket, the lucky coin
and its date, the memory trapped in the bus ticket.
The demonstration is again uncanny and faultless, we become high-spirited, and voluble.
We now want to believe, we have become part of the moment. The night has become
enchanted. We loose connection with time.
Futura, now tired after her exertion, slumps, fatigue has paled her complexion.
The Count calls for applause, demanding a standing ovation for the 'Gifts of Futura'.
We rise to the occasion. The dangling egg above our heads bursts showering glitter into all
corners of the room.
The doors open. Champagne is served. The formal entertainment is now over.
During the following informal reception a three dimensional 'neon projection' appears
suspended above the Counts head. Projected from some indeterminate source, it follows
him around the room for the remainder of the evening as he talks and mingles, reversing
itself as he turns, it moves with him. It reads; IMAGINATION IS ALL!
FINIS
Below is a great bit of writing & the excellent review Phil Smiff wrote for  The Budget
Magazine June 2003 describing this effect. Included here for historical completeness.
The Zap Mental Item - reviewed by Phill Smiff
Count Zapik's latest addition to the realm of mental miracles is a complex trip through
trance induction, divination and suggestion. The magus takes a spectator and leads
them through a process of hypnosis, and has them pick a card. Don't glance away
though, because this is so far beyond a mere card trick. The corner of the card is torn
off and handed to another spectator for safekeeping. The hypnotised subject now
thinks of a word and writes it on the face of the card, letting no one see what he puts
down. The magus leads the subject through a sensory confirmation of the written
word, and the card is placed on a table, in clear view protruding from beneath a book,
its position clearly precluding any tampering. The magus now takes a pad and writes
down the word which he thinks the subject was concentrating on. Amazingly, the
subject confirms the word. Our wonder worker ticks the card to indicate success, and
when the subject tries to do the same with his own pen, he finds it doesn't write. The
card is checked and no writing is found on its face. The word it seems was only ever
in the mind of the spectator. Oh, and when examined, the corner is found to fit
exactly.
Count Zapik has carefully crafted his new routine to trap the spectator s
expectations, leaving them completely bewildered as to how this strange feat was
accomplished. Each phase is designed to close off some avenue of explanation,
drawing its methodologies from various established effects, mixing them with a few
great new ideas and rounding it all off with a truly unique new plot. Make no mistake,
Zapik's Mental Item is a complex effect but his handling and presentation tips pare
away all of the unnecessary sleights and
stages and leave you to focus on the mind work which will totally throw the
spectators. Even magicians
armed with an understanding of the techniques involved are taken by the effects
twists and turns, each step
leading them further from the true explanation. Looking for stooges, peeks, switches?
Trust me, watching this effect, you will not see them. Count Zapik has now included
comprehensive handling tips to maximise the ripples this miracle is sure to have.
Zapik's mental item is not for everyone, but those who do learn its secrets will surely
have a fearsome reputation maker under their belt. Beware; if you don't take your
magic seriously, this effect is not for you.
Phill Smiff April 2003