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SEVEN
7
Written by

MARKOBI

Layout

THOMAS RIBOULET

Translation from French

FRANCIS GIROLA

Proofreading

AGNES COLAS
CONTENTS
I/ A BIT OF THEORY
ILLUSION OF INFINITE /07
HOW TO ACHIEVE THIS RESULT? /08
FLASH TRANSITIONS /12
STRATEGIC RETREAT /13
LONG-TERM STRATEGIES /16
MEN VS. WOMEN /17

4
II/ CLANDESTINE METHODS
AND STRATEGIES TO GET TO 7

THE SPECTATOR DOES NOT CHOOSE 7 /23

IF THE SUM DOES NOT ADD UP TO 7 /24
THE AVERAGE PRINCIPLE /25
THE CACOPHONY PRINCIPLE /26
THE UNSUSPECTING PASSER-BY /29
AN EXAMPLE OF IMPROMPTU THINKING /31
ALTERNATIVE METHOD (THE CONDUCTOR) /32
CONJURE UP A REASON /33

5
A BIT OF
THEORY
The basic method is rather well known. It consists in having a
spectator name any number between 1 and 10 during an effect.
Theoretically, chances are they will name the number 7.

Statistically, whenever you ask someone to name any number

between 1 and 10, the number 7 is selected more often than not;
at least in the western world (the result may not be the same in
the North Pole!). Perhaps our subconscious mind tends to seek
difficulty. Thus, on a scale from 1 to 10, we are naturally inclined
to choose a “higher number” (when thinking about it, a small
number may not seem complex or challenging enough).

A spectator will usually avoid “dull” choices (such as 5 or 10

for instance, because they are too “standard” and “obvious”): this
“devious” side of the mind works in our favour. The choice is
spontaneous and seemingly free of influence if you are unaware
of those statistics.

It is important to pay utmost attention to the inner workings of

the mind, for this subject extends well beyond the scope what we
have just outlined... Understanding those principles and utilising
the psycho-behavioural material provided by the spectators
themselves enables us to predict many outcomes on the spot.

6
ILLUSION
OF INFINITE
A math expert would say that a one-in-ten chance is not
impressive. If you think about it from a statistical point of view,
the outcome is probable.

Our aim is to cancel this mindset: the spectator should not feel
like they had a one-in-ten chance. Instead, they should believe
they had a FREELY CHOSEN thought that extended beyond the
mere selection of a number. In other words, we do not just deal
with mathematics and probabilities: we peer into their brain. The
illusion is to create the infinitesimal chance of penetrating their
mind.

As we will see later on, when the presentation is well crafted,

a similar impact on the spectator can be achieved with one-
in-four and even one-in-two odds... (relatively speaking).

7
HOW TO ACHIEVE
THIS RESULT?
By performing an effect that ONLY works with the number 7
(apparently!). As far as the spectator is concerned, we only have
one single out. This way, it is difficult for them to imagine we
simply took a chance (which is in fact the case: although there are
ways of getting close to 75% accuracy, if not 80%). Such an effect must
also be magical, visual, tangible, and constitute an impossible
physical phenomenon.

If you write down a prediction right in front the participant, then

ask them to name any number and your prediction proves to be
right (7), you are not creating that physical/mental duality that
will prevent the spectator from thinking about statistics.

In order to achieve a powerful magical effect, the number 7 must

be a means to an end. You cannot prevent people from coming up
with their own theories about the method at play. The important
thing is to stack the odds in your favour to create maximum
impact, and cover up your tracks as cleanly as possible (and
trying not to leave any tracks in the first place).

Very important: the number 7 is not the be-all and end-all, it

constitutes a selection that LEADS to an effect. Spectators only
analyse the end result, not the means to get there. If you force
a card, then make it vanish and reappear inside the box (with a
duplicate you had placed there prior to performance), the audience
will only concentrate on the “physical effect”, not the “mental
selection”. Dani Da Ortiz often relies on such methods. “The
spectator’s attention is focused on B and no longer on A (the
secret)...”

The actual secret (the number 7 or the duplicate card in our previous

8
example) has been obfuscated. This only works with an efficient
presentation and apparent casualness.

In a nutshell, you must create a huge gap between the means and
the end result, between the method and the effect.

You cannot make room for statistics to avoid potential red flags.

By not ending on the number 7, you increase the chances that

your spectator will not be thinking about statistics. If you perform
quality magic that does not seem mathematical or calculated,
your spectators will be none the wiser. Instead of thinking about
how you could have possibly known ahead of time that they
would choose that number, they will wonder how you managed
to pull off the effect (transformation, production, etc.). In other
words, your magic cannot simply be mental or mathematical; it
must also (and especially) be material (I do not use the word “visual”
because it can be interpreted as something quick and flashy, which is not
always the case – “Material” means that it relates to matter, something
physical that may not necessarily be flashy). Transformations,
productions, transpositions and vanishes are perfect examples of
“material” magic. If you produce 7 elephants, the spectator will
not be thinking about how you guessed the number, but rather
how on earth you managed to produce the elephants.

Of course, you can never reveal the statistical nature of the

method.

>> NEITHER DURING NOR AFTERWARDS.<<

That being said, you will often come across people who will either
mention the statistical probability, or who will simply surmise 7

9
 is the most commonly chosen number (which is undeniably true).
In this case, you must dismiss this fact with you demeanour. I
usually pretend to be surprised by this argument, before moving
on to a different subject or debunking this theory altogether:
For this, I either perform a sucker trick that seems to rely on
completely different statistics, or I demonstrate the absurdity of
the spectator’s statement... This is a way of showing them that
they were going in the wrong direction.

It goes without saying that you must be subtle; do not openly try
to contradict the spectator. You must be natural and play the role
of the truth teller.

A few examples to illustrate my point:

Spectator: “I guess everybody says the number 7!”

1
You have several options:

Magician: (pointing to another spectator) “What number

would you have chosen?” (They announce a different
number)

Using the method of your own choosing, change the

7 into the newly chosen number on the offbeat. For

2
instance, switch in a matching card of the same suit
(this is for consistency and aesthetic reasons, which I will
expand on later).

Magician: “Earlier, somebody said the same thing

about the number 9. Yesterday, it was 4, haha! You are
funny!”

10
3 Magician: “Oh really? I should take note of this!”

Magician: “You think so? Yet, the 7 could not care

less. It went away! Do you know where it is?”

(The spectator names a location, you improvise a

4
5
teleportation effect and produce the card in the chosen
location. This way, you make the spectator forget about
their previous statement)

Magician: “I don’t know about that. Actually, I don’t

even have the 7 any more. It went into my pocket.”

6
(Card to pocket)

Magician: “That’s exactly what the walrus said!

What do you mean: ‘What walrus?’! The one that is in
your hair!” (You produce a plastic walrus or anything
else in their hair. The production creates a logical
disconnect.)

Etc... those are just examples. It is up to you to find additional

outs.

11
 FLASH
TRANSITIONS
Once you have answered the participant’s query, you can:

• Ignore the spectator who bothers you with their line of

questioning, if you are performing for a group of people (be
careful not to show you are doing this on purpose).
• Change the subject and (more importantly) swiftly move on
to a different theme. For instance, ask someone for chewing
gum, drop your phone on the floor, take off your T-shirt, do
a coin trick, show the rotten piece of roasted duck that you
have left in your jacket pocket... Or, as I usually do, keep the
momentum going, while completely IGNORING WHAT
JUST HAPPENED.

You are the king, no matter what. You are at the centre of
everyone’s attention, your actions (as stupid as they may seem) are
what matter most to the audience. You are in command, nobody
can tell you what to do or how to do it. If you want to dismiss the
participant’s query, cut them off, burst out laughing. Your aim is
to change the intellectual setting.

Obviously, what I have just outlined should not look like a

challenge. Besides, you must always remain polite and not look
like you are avoiding the subject (this does not mean you must
“remain normal”: I do not think one can improvise while remaining
perfectly normal). Your actions and patter must be natural and
preferably delivered in an extravagant manner. NOBODY can
suspect you are dodging the participant’s argument. Spectators
must follow, not lead you. But once again, this frame of mind
only works if it looks like you are discovering things along with
the audience.

12
STRATEGIC
RETREAT
On certain occasions, a spectator might prove to be too
challenging (what you want to avoid), exuberantly analytical, or
perhaps they just want to catch you out. In this case, it may be
preferable to acknowledge the statistical nature of the method.
Thus, explaining that 7 is indeed the most commonly chosen
number. That is only a strategic retreat.

What’s the point?

The aim is to casually state the obvious, as if it were merely

trivial, nothing but an interlude within your demonstration, like
a grain of sand in your desert of competence.

This way, you feed the spectator with enough information to

leave you alone for the rest of your performance. Spectators have
a thirst for knowledge and a need to be right. Even if you gave
considerable importance to your effect, spectators would only
remember your attitude. If you casually admit that 7 is commonly
chosen, the spectator will have gained an insignificant piece of
information. You may have given away a curious and interesting
fact but your magic is by no means exposed. At least not as far as
they are concerned...

In case of retreat, you must make it look like the effect you have
just performed with the number 7 was deliberately experimental,
even though that was not your intention at the outset. You
can even change the narrative to protect yourself. If you had
introduced the effect as a trick at the start, explain at the end that
it was actually just an experiment. If need be, tell the audience
that you only pretended to perform a trick so that the statistics

13
 would work. ACKNOWLEDGE that this was not magic, just an
experiment disguised as a real magic trick.

You have shifted any tension away from your magic. The
spectator can now focus on... something else.

You have satisfied the spectator’s curiosity. From now on, if

they ever start questioning you again, they will not question
you as vigorously. You cover your bases. This concept was also
developed in Dominique Duvivier’s lecture notes (perform a
trivial magic trick to whet the audience’s appetite, then hit them hard
with the final kicker). Our case is not a trivial trick, simply an
insignificant fact, an anecdotal giveaway. The secret behind the
number 7 force is actually important. YOU will make it look like
it is insignificant. That is what the spectator will remember.

If you find this concept hard to grasp, take a look at Open

Travellers. There is suggestion of palming in the patter. And
palming is one of the most important methods in card magic.
Yet, this does not prevent us from actually using palming in
subsequent routines... That is because if you introduce a concept
as a NON-magical anecdote, that very same method can be easily
disguised within the context of an actual magic trick. In a similar
way, if a spectator happens to watch a YouTube tutorial revealing
how double lifts are done, they will still be completely fooled if
you perform an effect using that sleight. The sleight is nothing
but a tool. The effect itself relies on your talent, which can distract
the spectator’s attention away from the method, especially when
it comes to improvisation, when even you do not know where
the effect is going...

To be clear: you should NEVER seem unnerved and make

it look like your very best magic effect relied on the
prediction of the number 7. Because in this case,
people will not just feel like the have uncovered
the deception, they will believe they have
exposed your ENTIRE magic. Which
is very bad, if not catastrophic.
(That being said, if you are good

14
at improvising, you can easily get out of tricky situations. Yet, such
outcome is annoying).

If this ever happens, never show this bothers you.

15
 LONG-TERM
STRATEGIES,
(UNTIL THE SPECTATOR’S DEMISE)

This publication suddenly takes on sinister undertones...

You must anticipate (cover you tracks), manipulate (force the spectator
to question their own analysis), distract (use your talent to control the
narrative by any means necessary) and think about how your effect
will be analysed in the short, medium and long term. Whenever I
perform, I think about what the spectator will remember in five or
ten years’ time. And I actually concentrate more effort on shaping
the future than on controlling the present.

You must protect, honour and serve your ENTIRE magic with your
attitude at all times.

If you do not give any importance to the method, your effect will
work and will only be analysed by the spectator when they get
back home in the evening (after a bit of Netflix and chill with their
partner). I am not even kidding: your magic should be a subject of
fascination, no laughing matter.

If you do the right thing, either your spectator will only remember
THE MAGIC instead of the method (the number 7 will be forgotten),
or they will ponder upon it yet doubt will subsist (and doubt is a
gateway to magic). That being said, doubt is not optimal. Juan
Tamariz would not consider such outcome in high regards for his
Magic Way. But I think in terms of severity level: doubt is better than
half certainty. It goes without saying that no questioning altogether
is better than doubt. Yet, whenever we improvise, we try to control
our environment as much as possible, even if we have to accept
that we cannot always reach 100% success.

16
f

MEN VS. WOMEN

The female gender is statistically more inclined to follow directions.

Probably because women tend to be more encouraging, kind-

hearted and benevolent. They are willing to put animosity aside,
forget about their own ego and welcome your talent more openly.
Those are obviously general tendencies. Some female spectators
can be fifteen times worse than their mal counterparts, and I know
what I’m talking about...

Nevertheless, I have an equal success rate with both men and

women. I believe this can be explained by the fact that every man
has a feminine side that they can embrace. Men, especially alpha
males, have an unconscious need to provide safety and ensure the
survival of the group. They feel like they must put this stranger
(which you are) to the test and belittle you psychologically in order
to curb your influence.

Your influence will be curbed by male spectators:1

(I will explain the reasons each time between brackets)

• If they have heard about you and they want to look like the
smartest person in the room (Ego)
• If you are too confident (afraid that you will patronise the group)
• If you look like you know what you are doing (they want to
catch you out)
• If they can already tell what’s coming (contrarian thinking)
• If you do not know anyone (social domination by the alpha male
in the group)
• If the man wants to impress some women in the group (dominant
protective male, afraid they won’t look as cool as you, desire to show
they can provide safety and are able to annihilate you in seconds if
need be)
1 Once again, this is a general observation. I don’t want to get into trouble with the
staunch defenders of gender equality.

17
 • If the man has a choice (desire to be free), for example if you use
the word “CHOOSE” instead of “name”
• If the man does not want to look like a fool in front of his friends
(afraid to be made fun of)
• If they have a social status to protect (social fear)

Such situations can hurt your audience’s sense of self-esteem, it can

endanger the safety of women within the group (some fundamental
concepts that relate to natural selection, even if it is not factually true).

18
YOU CAN
ALLEVIATE
HOSTILITY:
• If you look disoriented: “Hi... I don’t know... do you happen to
have a favourite playing card?”
• If you ask for advice “on the trick I wanted to perform during
my show” (I do not like to this approach so I cannot recommend it,
however some people have been using it successfully)
• If you perform MAGIC and not just a trick. Focus the
spectator’s attention on... nothing. Especially not on the
effect you are about to perform.
• If you have the participant “name” a thought instead of
“carefully choosing” it

>> USE THE VERB NAME INSTEAD OF CHOOSE <<

• If you distract the spectator’s attention: “I like your shoes... can

you name a number between one and ten?”
• If you verbally curb the spectator’s desire to catch you out.
• If you are natural, but not just natural... A mere wind gust
could make you move. You cannot be rigid, like sitting on the
steel pedestal of your magic (which can make the spectator want
to challenge you).

19
 For the last two examples: You basically INTERRUPT the
spectator’s thinking pattern that would normally allow them to
activate the intellectual side of their brain (which does not mean
you must confuse them, only that they should not need to dwell on the
method).

In this configuration, hostility is alleviated and the male spectator

embraces their feminine side (in other words, you are no longer in
conflict with the male spectator, you win his trust and allow him to
discover his feminine side). This brings us back to 50-50 odds, with
equal probability on both sides.

I am not being macho, this is just an observation. You must be

aware that, when it comes to the selection of this number, men
and women operate in the exact same way. I am simply saying
that men are more challenging, which must be taken into account
before the performance.

BUT BE CAREFUL...

Always let your intuition guide your decisions and choice of

effects. It is less likely that a Fields Medal mathematician or
accountant will choose the number 7 on a scale from 1 to 10.

I am talking about standard conditions, or complex conditions

depending on your ability to control your the environment with
your attitude. That being said, do not lower your guard. If you
do not feel like it, do not perform the effect...

20
PERFORMING FOR A GROUP
HAS CERTAIN ADVANTAGES
WE CAN EXPLOIT...

21
 CLANDESTINE
METHODS &
STRATEGIES
TO GET TO 7

22
THE SPECTATOR
DOESN’T CHOOSE 7
In a suspicious manner, ask them if they want to change their
mind. If they change to the number 7, pop the Champagne! If they
do not change their mind, you can casually insist, ask them if they
are really sure. If they still don’t want to change, move on to a
different direction.

Acting suspiciously will influence the participant to change their

mind. Dani Da Ortiz would nod his head to increase the chances
of getting a positive answer.

On the other hand, if the spectator had chosen the number 7, ask
them if they want to change their mind with a neutral demeanour
so that they would be influenced to keep their choice.

If the spectator choses a number lower than 7, you can ask another
person sitting next to them to name a different one. If the sum
of the two numbers adds up to 7, this is perfect, and even more
magical!

If the sum does not equal to 7, ask if anybody wants to change. If

they do and the number adds up to 7, pop the Champagne! If need
be, ask them to both change their minds at the same time. With
experience, your intuitive maths skills will guide you in the right
direction.

23
 IF THE SUM DOES
NOT ADD UP TO 7
(AND THERE HAPPENS TO BE ANOTHER
COUPLE OF PEOPLE IN THE GROUP)

During this selection process, as if you were speaking from the

heart, not the head, explain that it would be a shame to cast out
the other two people in the group who have not taken part yet.
Spontaneously move on to the next couple of participants. Look
for any excuse. It can be based on a real fact (both people happen
to be dressed alike... they are siblings... they were born the same
year... they are the youngest/eldest in the group) or it can be
totally bold and absurd: “Oh yes, I forgot this trick doesn’t work with
women! You guys, name a number...”

Be sure to give a reason that looks perfectly legitimate or, at least,

not procedural.

What I am sharing with you is a concept, not a method. It is up

to you to adapt it, but at least you get the idea: you must jazz
your way to a different selection, in an entertaining manner. NO
tomfoolery or deliberately stupid comments. You can be absurd
yet magical but not absurd and rubbish!

24
THE AVERAGE
PRINCIPLE
If you have an 8 and a 6, calculate the average (7). Explain that
you do not want to play favourites. Do not let anybody suspect
any kind of process or method through your demeanour. YOU
ARE DISCOVERING the numbers along with the spectators.

25
 THE CACOPHONY
PRINCIPLE

Your participant names anything but 7. Without hesitation,

IMMEDIATELY go on to ask everybody else in the group to
name a different number at once. Don’t make a big deal out it.
This causes a cacophony. Listen out carefully for any 7:

• If there is a majority of 7s, use that as an excuse (“Sorry, the

majority has spoken”).
• You single out a 7 in the group: Try the force I invented, which
I will outline below.

26
 MY METHOD OF CHOICE

You induce the cacophony as everybody names a number.

It appears you could not make out anything. Now, hold out
your arm and point your finger towards the participants.
Ask the audience to say “STOP” as you move your index
finger around the group of people. Adapt your timing to
stop on the participant who had previously named the
number 7. I found this method one day while improvising,
as I desperately needed a 7 for my effect. I have been using
it ever since.

28
THE
UNSUSPECTING
PASSER-BY
You have asked one or more participants for a number between
1 and 10, yet no one has chosen 7.

At the same time, you notice a stranger joining the group to

watch your performance. Better yet, you see someone passing by
and you stop them in their tracks.

Explain that it would be even more INCREDIBLE if you chose

somebody who has no idea what’s going on. Forget about the
first spectator, move on to a different target. Always with a
casual demeanour that does not betray any kind of force. If that
unsuspecting stranger names 7, pop the Champagne!

Chances are incredibly high: you have a fresh degree of influence

on that person. Moreover, you are conditioning them to speak
quickly and they now feel a certain amount of social pressure.
Who would want to be a jerk in this kind of situation? Here’s
what that person what usually say: “Who... me? Er... 7!”

You may feel like you are just winging it. But the effect actually
becomes even more incredible as it appears impromptu and
improvised. You are playing with your environment, you are
playing with life, instead of your cards.

This entire process must be carried out quickly. Your speech

should lack smoothness (relatively speaking), comprised of
interjections such as “er” “huh” “well”, which shows spontaneity.
It should look like you are living in the present moment with
your audience. As if you were not expecting that person
to join the group. You must look surprised. Don’t prepare

29
 this out ahead of time, it should come as a knee-jerk reaction
whenever the opportunity arises.

NOTE: IF YOU TRY AND LEARN THIS PROCESS BY ROTE, YOU

ARE DOOMED TO FAIL.

Theoretically, this out should negatively impact the improvised

nature of the effect. However, as far as the audience is concerned,
it does the opposite. Even if they saw you ask for different
numbers (so people could easily guess you were simply trying to get
the number you wanted), your speed, spontaneity and overall
demeanour make it seem like the situation is uncontrollable.

Bear in mind that this process is rationally “bogus”. It relies on

your attitude. As a matter of fact, this is often the case in magic.
Think about self-working tricks (even the best ones) that typically
require a well-crafted presentation to justify the process.

30
AN EXAMPLE
OF IMPROMPTU
THINKING
I have never done what I am about to explain. This is an example
of improvisation that came to mind as I was writing these notes:

In the cacophony, you have made out a spectator naming the

number 7. And you now spot that they are wearing red shoes.
Now, ask the audience if anybody has red shoes.

Everyone looks around and your spectator is designated. In any

case, pretend you were not expecting this outcome: “Oh well...
fine. What number are you thinking of?”

31
ALTERNATIVE
METHOD (THE
CONDUCTOR)
Single out two spectators naming a number, the sum of which
adds up to 7. Now, in the same manner as the pointing force
described earlier, hold out both arms and point to two people at a
time. Move your fingers around like an orchestra conductor. Ask
the group to say stop whenever they want: adjust your timing to
stop on the numbers you want (ex: 4 + 3 = 7).

You can use that same principle in conjunction with the average
principle: Point to 6 and 8, which makes an average of 7.
CONJURE UP A
REASON
Imagine that two spectators have been selected: Stephen and
Natalie.

• If the woman said 7, explain that women should have

priority... You have no say in this matter, you did not make
the rules, you are just a VESSEL. Although everything is
under your control, you should NEVER give the impression
that it is the case.
• If the younger of the two said 7, explain that “unfortunately”
the laws of the universe dictate that youth has priority.
• If the elder of the two said 7, explain the opposite.
• If no rational reasons come to mind, make one up! Be outright
unconventional!
• “Sorry, my magic book states that bearded people have priority...”
(Point to the guy with the beard) Same thing with any other
characteristics. You get the idea.

Obviously, your persona and attitude should remain coherent.

33
SEVEN
7

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