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Sleightly Sensational by BILL SIMON Illustrations by ED MISHELL Edited by BRUCE ELLIOTT
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DEDICATED TO MY LOVELY WIFE,
RONA, WHOSE MAGIC IS OF AN ENTIRELY DIFFERENT SORT
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TABLE OF CONTENTS
.................................................................................................... FOREWORD ...................................................................................................................... INTRODUCTION .............................................................................................................. IN GENERAL ..................................................................................................................... CARD EFFECTS ................................................................................................................ THE MATHEMAGICIAN ............................................................................................... EYE DOUBT IT .............................................................................................................. THE FLASH CHANGE .................................................................................................. ......................................................................................................... ..................................... THE TURNABOUT .................................................................... THE IMPULSIVE LADIES ............................................................................................ ..................................................................................... ........... THE FOUR PACKET SHUFFLE .......................................................................... TWO UP ..................................................................... ......................................................................................................................... .................................................... THE VITAL PREDICTION ............................................................................................ THE LONDON ILLUSION ............................................................................................ MISCELLANEOUS EFFECTS ....................................................................... ........................................................................................... .................... SPONGE SURPRISE .......................................................................... ..................................................................................................... ........................... THE RING ON WAND .................................................................................................. THE COIN TRANSPOSITION AND CLIMAX ............................................................. TABLE OF CONTENTS
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FOREWORD
ONE OF the main charms magic holds is its never-ending development, new m new effects, new presentations. In writing this book I hope to add to what has been the past.
Sincere thanks to Dai Vernon for his introduction; to Bruce Elliott for his fine e to Lou Tannen, whose assistance has made this book possible; and, of course, to Ed M for his excellent illustrations. illustrations. BILL
INTRODUCTION
No one has to spread the news to magic enthusiasts that Bill Simon is one of card manipulators in the United States. He has shown his work to most of the experts field and I feel sure that they would agree with this appraisal.
His original and subtle methods combined with his crisp, neat handling of card his effects exceptionally entertaining and baffling.
Knowing how logical and practical he is when discussing problems connecte playing cards, I feel sure that he is particularly qualified to write an authoritative book methods. “Effective Card Magic,” his last book, will attest to this. Those who read it which appreciated the excellent material, the way it was described, and the spirit in Sign up to vote on this title written. Useful Not useful Cards are the most popular of the many branches of conjuring today. However trick must be thoroughly understood and well performed to be well received by the pub
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IN GENERAL
MANY IDEAS and impressions which I have developed relative to the perform magic, card magic in particular, have been stated in “Effective Card Magic.” A year passed since their publication I find that my opinions haven’t changed to any great However, there are a few things I would like to mention to the reader before he beg following chapters which are, for the most part, concerned with technique, effects an methods.
Practically all of the effects should be read with the apparatus in your hands reading one of the card effects, for example, you will find it easier to understand if you deck of cards in your hands so that you can run through the description of the method read. A simple move appears to be very complicated when described, but by running t the move as you read, it will become very clear and obvious. Once you understand th mechanism of the move you must then practice and adapt it to yourself so that it performed undetectably. If the move is of such a nature that it cannot be per undetectably then you must develop suitable misdirection which will give you ample co
Once you have learned the necessary moves or method, you should deve presentation. After all, your audience doesn’t see the technique or moves . . . all they se clear-cut effect. And if the effect is not performed in an interesting manner it will be them regardless of the ingenious means you employ. A brother magician may apprecia skill, but an effect well-performed before a layman should not give the impression Thus you will have to build up a dramatic presentation, or perhaps an amusing dialo sell your effects solidly.
One of magic’s most prolific writers, Bob Orben, has contributed tremendousl entertainment value of magic. He has written many excellent books which not only wonderful gag lines and comedy situations, but he has also written patter for specific By carefully selecting material from this wealth of comedy matter, by selecting materia best suits yourself you will be able many times over to increase the entertainmen Sign up to vote on this title your performances. performances. Useful Not useful The above has not been written with the view in mind that everyone in the world an efficient comedian. I do believe that a pleasant style of performing, with some well
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recommend that you do so. The principle reason for my restricting the methods to impromptu means is that by so doing you are always ready to perform these effects need a gimmick, and you do not have it with you, then you cannot perform that pa trick. By using ordinary objects you may borrow them and always be able to give an e performance.
So much has been written about practice . . . and so little is done about it magicians attempt to perform effects which require practice. If they refuse to practice is the only possible way to learn technically involved moves) then why don’t they concentrate concentrate on the thousands of effects which require no practice. Some magicians shu the thought of practice—they feel it is either unnecessary or that their ability doesn’t d that they practice. Then, when performing, they “miss” or “flash,” or fail in other ways. an exceedingly vain man to accept the thought that he doesn’t require practice. How people are aware of the fact that great musicians, men and women at the very top professions, practice six and eight hours a day? How many successful motion-picture should include TV stars) still take dramatic lessons, retain voice coaches, continue wi dancing instructions? People who have reached the peak of their professions cont practice, and learn, and improve, It certainly should not be too much to expect a mag learn how properly to perform his effects before performing for the public.
From time to time I hear magicians discussing the value of magic, or the cost of If you see an effect you can’t use then any price you pay for it is too great. If you see a t move, or sleight that you can use then you can never over-pay for it. After all, once you move or effect it remains with you for life. If you are an amateur you can gain from it pleasure when performing for your friends. If you are a professional then it is your ne “business equipment” . . . you can use it commercially and your cost is nomin wonderful “Stars of Magic” series series will help me illustrate this point. In reading the entir there were five or six items which individually were worth, to me, many times more t entire cost of the series. It is true that some effects did not impress me too greatly, and I was already familiar with; but the overall value of the items I did get were worth buy entire series three times over!
Sign up to vote on this title In closing these random thoughts I can only wish you much success and enj Not useful from your magic. Always respect magic and this respect will be repaid to you in many Useful ways.
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CARD EFFECTS
THE MATHEMAGICIAN
This is a self-working interlude, apparently mathematical, but following no know of mathematics. In effect, two spectators discover the four aces by random dealing.
Have the four aces on top of the deck and apparently mix the cards, without dis the top four cards. “To be honest I’ll also bury the top and bottom cards,” you say. Ta cards from the bottom and place them in the center of the deck, squaring the deck. Ta cards from the top of the deck (two aces) and place them in the center of the deck, but s break over these two two aces with your your left little finger. finger.
“I need two mathematically inclined spectators,” you say. Have two peopl forward to assist you. Cut off all the cards above the break and hand half to one sp Hand the remaining half in your left hand to the other spectator.
“You each have about half the deck. Now I want you each, independently of each to deal as many cards off your halves as you please. Just deal the cards singly, in a pile of you, and stop dealing whenever you want to.” Each spectator deals as many card wishes so that now each has a packet of cards in front of him and also each has some u cards in his hand. Take the un-dealt cards from each of the spectators and place them a
“You have both dealt as many cards as you wished, and there could certainly be of my knowing or controlling how many cards you have each dealt, is that right ?“ Af both acknowledge this you say: “I want you each to pick up the pile you have dealt deal two piles from the one, dealing singly and 9from 9from left to right.” Each spectator the packet in front of himself and deals two packets so that at the conclusion of their Sign up to vote on this title there will be four packets face down on the table, two in front of each spectator. Ju Useful Not useful them deal from left to right and deal out all of the cards, even though in some instan packets will not come out even.
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performer places two cards face to face: Far example, the two red queens. “Now you kn these cards, the red queens, are face to face. You also know that if I were to show them they would certainly not change their characteristics. Yet, by rubbing the backs of the q can make them change to the two black deuces. Suiting actions to his words, the m shows that the cards have changed to the black deuces.
“To continue, we realize that these only look like the black deuces,” the perform “With this in mind I’ll now bring us back to reality.” The magician places the black together, rubs them, and they once again are shown to be the red queens. “I never did these queens to deuces. You only thought I did,” concludes the performer.
You may use whatever subject cards you desire, in performing this effect. I red queens and black deuces as there is such a definite color contrast contrast.. Begin by placing black deuces on top of the deck. Turn over the deuce which is second from the top so t face up beneath the top deuce. The queens should be face down in different parts of the
Begin by discussing how people can be made to think or believe that they see things which, in reality, do not exist. Run through the deck, face up, and remove the queens. Place the queens face to face on the table and gently rub them. Point out t queens do not change characteristics and have a spectator spread them apart and look faces. As this is done, secretly secure a break under the top two cards of the deck wh been held face down down in your left hand hand (in dealing position) during during the rubbing process. process.
With your right hand place place the two queens face to face and put them on top of th Rub the back of the top queen, not exposing the queen beneath it.
You now apparently turn the two face to face queens over on top of the deck so queen which was on top should now be under the other queen. What you really do is tu all the cards above your break (four cards) on the top of the deck. To all appearances two cards are still the face-to-face queens, but actually you have substituted the tw deuces for the queens . . . the queens are 3rd and 4th from the top!
to vote on this title Rub the top of the deck, not separating the twoSign topupcards. With your thumb, p Not useful top card a fraction of an inch to the left so that the face upUseful deuce’s edge shows. W right right forefinger pull up on the right edge of the card second from the top so that you m the two top cards off the deck. Since they are face to face you may show the backs of
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up deuce which is on the table. Apparently you hold a face up deuce in your left han face down deuce in your right hand.
You now place the face down cards cards (as one single card) card) over the face up card card in y hand. Hold them square, rub the backs, and with your right forefinger pull back on card. The top card (a red queen) will move back exposing a face up queen in your left h certain that the black deuce is squared beneath it). Turn the top card face up showing has also changed back to a red queen. Place both cards (actually three cards) face down of the deck.
You have apparently changed two red queens to black deuces, and then returne to their original condition. At the conclusion of this effect you will find no face up card rid of and you are all set to go into your next effect.
THE FLASH CHANGE
In this effect you set about to prove the aphorism: “The hand is quicker than t You do this by showing four indifferent cards and magically changing the cards to four a twinkling of an eye.
To perform, secretly set the four aces on top of the deck (or any other four c similar value). Riffle shuffle the deck, being careful not to mix the aces with any ind cards.
“I am going to .attempt to prove that the hand is quicker than the eye,” you beg do this I am going to let you freely select any four cards you wish, and in a twinkling o I plan to change them to four different cards.”
Spread the deck out on the table, face down, and have the spectators touch a deck cards they wish. Avoid having them select one of the top four cards. Pick up the Sign up to vote on this title hands and have the four selected cards turned face up on the table. Ask, “Do you Useful Not useful exchange any of the cards on the table for any of the cards still in the deck?” If they make a change allow them to do so. The purpose of suggesting this exchange is to give opportunity to spread the deck between your hands and secretly secure a break under
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remainder of the deck. There are two ways of accomplishing this: a, would be to use the Card Add, as described in “Effective Card Magic,” or by the following procedure:
Place the four indifferent cards face up onto the deck for an instant appare square them up. Lift off all of the cards above the break with your right hand, thum rear, fingers at the front. Apparently you hold the four indifferent cards face up in you hand; but actually the four face down aces have been secretly added to them.
Place your left thumb over the first face up indifferent card held in your right ha by applying pressure with your thumb retain the indifferent card face up on top of “Four indifferent cards,” you say. Use the cards held in your right hand as a lever to t card on top of the deck face down. Repeat this move with the second and third ind cards. You will now be holding the queen of hearts face up and secretly squared under be the four aces. Take the queen, as one card, and place it on top of the pack. Then the pack, calling attention to it, and turn it face down. If the above sequence of mo been followed properly you will have the queen of hearts on top of the deck, followed four aces, followed by the remainder of the deck. All the cards are now face down.
“I am going to change these four cards in a flash,” you say. As you remark “four spread the top four cards off the deck, by way of illustration, and secretly secure a brea them.
You now apparently count the four indifferent cards off the deck into the righ but you actually count five cards. Because of the break you are holding this will be move to perform. Continue as follows:
With your left thumb, push the top card off the deck and take it with your rig (still retaining the break). Count “One.” Push the next card off the deck and on top of t held in yours right hand, counting: “Two.” You next count “Three,” but actually push cards as one—because of the break this is simply done. Finally count “Four” and deal t card off the deck and onto those held in your right hand.
Sign your up to vote on hand this titleto flash the The cards in your right hand are held squarely. Lift right Not useful card and say, “As before, the queen is still the leader card.” Insert packet of cards Useful the your right hand into the front of the deck, for about half its length. length. Turn the deck over again the face of the queen of hearts. Turn the deck face down, and secretly, with y
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Give the deck a sharp flip with your left wrist and the four protruding cards w out of the deck and fall face up on the table. “Look! In a flash I have magically chan four indifferent cards to the aces!” The startling change will completely surpris audience.
If you will note, the description above keeps calling attention to the queen of he one of the indifferent cards. The reason for this is that laymen psychologically w remember any of the indifferent cards unless it is pointed up to them. By doing this t constantly aware of the fact that you have four indifferent cards among which is the q hearts. If you don’t point out one of the cards the effect of the change will not be dram they will not recall any of the different cards and the sharp edge will he taken off the Cards in themselves, have endless possibilities, but when you combine them with di their endless variations, both numerical and technical,) then it is difficult to visua range of possible effects.
I worked out a few effects, but I believe that an entire book could be devoted to combining cards and dice. I have not used sleight of hand with the dice, nor extra car Sign up to vote on this title any of the many mathematical computations. But effects using these devices sho usefulfor the basi Notuses developed. I am sure that other magicians will work outUseful ingenious given here.
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is on the top of the dice. “The die with the digit one will go on the ace, the two will go deuce, the three die on the three of clubs, and the four die on the four of clubs,” you exp
Pick up the four face up cards with the ace on the top of the face up packet, th under it, next the three, and the four on bottom. Place them face up on top of the deck is face down and in your left hand.
Spread the four top cards, from left to right, showing them in ace-two-three-fou Secretly secure a break under the card fifth from the top (the first face down card, whic ten of clubs) and square up the face up cards. Remove all of the cards above the brea the deck and place the remainder of the deck on the table for a moment.
In your right hand you apparently hold the four face up cards, actually yo secretly added a face down card beneath them.
Take the face up ace off the packet, show it, turn it face down and place it on the of the packet. Repeat this move with the other three face up cards. Apparently the fou are now face down and still in ace, deuce, three, four order. Place the packet face down of the deck.
Take the deck in your left hand, double lift the top two cards as one, showing and say, “The ace goes here.” Turn the two cards face down and deal off the top card, pl on the lower left side of the table. Place the die showing the number one on top of it. D next card to the right of the card on the table and call it the “Two,” placing the die show two on top of it. Deal the next card to the upper left corner of the table, calling it the “ and place the die showing the three on top of it. Double lift the top two cards as one, s the four of clubs, turn them face down and deal off the top card, calling it the four upper right corner of the table. Place the die showing the digit four on top of it.
If you have followed the above you will have dealt the four cards in a square pat in Fig. two. Place the deck in the center of the squire. Sign up to vote on this title
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“By changing the marker dice I can make the cards change,” you say. Chan positions of the “one” die and the “two” die. Snap your fingers and remove the card w now under the “one” die. Turn it face up on the table showing that the ace has follow “one” die.
Put the “four” die on top of tile deck, which is in the middle of the square, and p “three” die on the card previously occupied by the “four” die. (Fig. three indicates the position.)
Say, “By moving the “three” die over here I make the three of clubs follow it.” T card under the “three” die face up and show it to be the three of clubs.
Place the “two” die on top of the card formerly occupied by the “three” d command it to change to the deuce. Show the deuce under the “two” die. Sign up to vote on this title
“And now for the four,” you say. “I’ve made a mistake. I left the “four Not useful Useful Byerror top of the deck. Let’ see what happened.” Remove the card from under the “four” die an it to be the four of clubs!
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deuce, and three he now has three different threes I However, he changes the three back to the original original three cards.
To perform, run through the deck and remove the ace, deuce, and three of clu place these cards face up on the table. As you go through the deck secretly place tw threes on top of the deck. Put the face up ace on the deuce, and the face up deuce on th Place the three cards on the deck and spread them, from left to right, secretly securing under the card fifth from the top. Square up the cards and remove all the cards ab break. Apparently you hold a face up ace, deuce, and three in your right hand hut secretly added two face down threes beneath these cards.
Remove three dice from your pocket and turn them over so that a one, a two three shows.
You still have the face up cards in your right hand. Remove the ace and turn down, placing it on the bottom of the packet. Repeat this move with the next two car you will apparently still have the cards in ace, deuce, three order face down. Place the of cards on the face down deck.
Pick up the deck and apparently deal off the ace, deuce, and three, from left t Place the die showing the one on what should be the ace, the die showing the two o should be the two, and the die showing the three on what should be the three.
Explain that by changing the positions of the dice the cards will change. As you secretly secure a break under the top two cards of the deck, which should still be in y hand in dealing position. Change the positions of dice “one” and “three,” fig, four.
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“We now have two dice with the ‘three’ showing,” you say. “Let’s’ see what’s other one.” Pick up the card which is under the “three” die, turn it face up and show it be a three. “What if this other one was a three?” Turn over the die showing “two” “three” shows. Snap your fingers over the die and remove the card beneath so that y show it is also a three!
Three threes are now face up, two on the table and one (the three of clubs) on th Unknown to your spectators is the fact that under the three of clubs you have two othe also face up, and a break beneath all of them.
Pick up the two threes which are on the table and place them face up on the t clubs. Apparently turn the three cards face down, but actually turn over all of the card your break. Immediately deal the cards off the deck one at a time, from left to right table.
“I started with an ace, deuce, and three and I’ll try and finish with the same card can I get rid of the three threes?” Pick up one of the dice and turn it so that the “ uppermost. Place this on the card to the left. Place the second die on the card in the turning it so that the “two” is uppermost. Place the third die on the card to the right.
Wave your hand over the three cards and remove them, showing that an ace the “one” die, a deuce under the “two” die, and the three of clubs under the “thre Climax.
THE TURNABOUT
In this effect a deck of cards is cut into six or seven small packets. The pack assembled by turning some face up and leaving others face down so that the apparently composed composed of mixed up face up and face down packets. The magician, in an spreads the deck out to show that all of the cards face the same way. Sign up to vote on this title
Useful Not useful Give To perform, have a white-bordered deck shuffled. the deck a slight upward and cut it into six or seven small packets in a row. Let us call the packets from left to through 7. Pick up packet 1 and turn it face up. Place it upon packet 2. Packet 2 now c
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bottom half) and when you replace the packet you hold in your hand turn it face dow deck will now be completely face down. At the appropriate moment spread out the deck showing that you have adjusted all of the cards so that the deck is in perfect order.
Note: When assembling the packets you must apparently be staggering the pac that they will appear to be one packet face up, the next face down, the next face up, make this look convincing revolve one of the packets sideways and place it upon the n down packet. Then pick up the “mixed” packet and revolve it end for end, placing it up subsequent face down packet. By doing this in a casual manner, first sideways and th for end, you will add greatly to the illusion.
THE IMPULSIVE LADIES
In this effect you use three queens and the four aces. The queens are placed spectator’s hand. When one of the aces is placed alongside the queens you show t queens have invisibly left the spectator’s hand for he now holds the four aces while y performer, hold the three queens.
Remove any three queens and the four aces from a deck. Turn the queens face explaining that the ladies are bashful. Place the aces face up on top of the queens. Spr seven cards between your hands showing the three face down queens, on top of which four face up aces. Close the packet, but as you do so insert your left little finger under ace.
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provides masking cover. Fig. five shows the half-pass or revolution being performed fr performer’s view.
Square the packet, which apparently still has the three queens face down and t aces face up. Actually, three of the aces are face down, the three queens are face up, and the aces is face up on top of them.
“I want you to hold the three ladies,” you say. Hold the packet in your left hand a at a time openly draw the three bottom cards off the bottom of the packet and h spectator hold them face down in the upright palm of his hand. These will be taken three queens as you openly placed the three queens on the bottom of the packet wh started the effect.
You apparently hold four face up aces. Be careful when removing the fac “queens” that you do not spread the face up cards and expose the true condition of the
Turn the packet of four cards face down in your hand, remarking that you will h aces. Remove the bottom card, the ace, turn it face up and have the spectator place it w “queens” he holds in his hand. “The three ladies you hold are very impulsive,” the m says, “and when a stranger joins them they are apt to do anything. Look at them and se they have done.” The spectator turns his cards face up and finds that instead of th queens and one ace he has the four aces. “See what they did? They immediately jump to my hands,” exclaims the performer as he shows that he holds the three ladies.
THE FOUR PACKET SHUFFLE
The idea of being able to shuffle a face up packet of cards into a face down pac have the cards magically all face one way has been an intriguing problem for many yea Vernon offered an excellent solution in his effect, “Triumph,” and Ed Mario came differe another fine solution though both Vernon’s and Mario’s solutions were entirely Sign up to vote on this title thoughts on this effect resulted in a method described in “Effective Card Magic.” Useful Not useful At the time “Effective Card Magic” was published I had developed the following following but I was not yet ready to release this so so in its stead I explained a similar method method but a
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Spread the deck between your hands and you will find that the top three-fourth deck is face down followed by one-fourth face up with a face down card on the bottom deck. Secure a break with your left little finger over the first face down card which is ab face up cards.
All of the cards above your left little finger will be face down, and the card imm below your left little finger will also be face down followed by one fourth of the deck with a face down card on the bottom of the deck. You are now ready to perform arrangement should have been done in secret, prior to presenting the trick.
You are holding the deck in your left hand, secretly retaining a break. With hand cut off the top quarter of the deck and place it to your right. Cut off the next qu the deck and place it to the left of the packet on the table. Cut off all of the cards ab break and place them alongside the two packets packets already on the table. The last packet (w apparently another face down quarter of the deck) is laid alongside the three other p Apparently you have cut the deck into four approximately approximately equal face down packets. the packet to the left consists of face up cards with the exception of the top and bottom (we shall now refer to this packet on the left as the KEY packet). When placing the KEY on the table be careful that the top card doesn’t spread and expose the face up cards.
Turn any two of the packets, other than the KEY packet, face up. Explain audience that you are going carefully to shuffle face up cards into face down cards a you want them to to be certain that that you shuffle honestly. honestly.
You will now perform several riffle shuffles. While performing these shuffles yo be very careful not to expose the condition under the top cards of the packets. To simply mask the packets with your hands as you shuffle. When squaring up the shu packets do so very slowly and openly.
Place the KEY packet to your left and place one of the face up packets to your riffle shuffling position. You will now riffle shuffle the face up packet into the KEY pac do so begin by first releasing a few of the cards from the KEY packet, then riffle shuff Signfall up to vote on this title packet into the other, but be certain that the last cards to are from the KEY packet. useful into a fac up the two packets. Apparently you have riffle shuffled a face upNot packet Useful packet. Actually, all of the cards shuffled are face up, with the exception of the top and card of the now larger KEY packet.
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Jog the bottom card to the left. Cut the deck once, the jogged card protruding fr left of the deck. Again give the deck a simple cut, but this time remove all of the card the jog and place them on the bottom of the. deck. To the spectators, the above cuts ap give the deck a few square cuts, but upon completion of the cuts you will find that yo brought the two face down cards together on top of the deck. Beneath them is the up with the exception of these two top cards.
Say to the spectators: “The cards have been hopelessly shuffled and cut, face face down cards so that it is impossible for anyone to straighten out the deck without r through the cards and sorting them singly. But believe it or not, by simply waving the t over the deck I magically adjust all of the cards.” As you say “waving the top card o deck” you double lift the two face down cards off the deck and wave them over the dec slip them both (as one card) face up into the face up deck. Immediately turn the deck b and spread it out on the table showing that you have actually accomplished what yo claimed!
A few after-thoughts have occurred to me and I believe them worthwhile men You can broaden the routine and add as many shuffles and cuts as you wish, but I hav that the above procedure (three riffle shuffles and two cuts) are more than enough to c anyone that the cards have been thoroughly mixed. It is also possible to start the t having a card selected, and take advantage of this selection by eventually (after straig out all the cards) having this the only reversed card in the deck; but I have found that t of shuffling face up into lace down is a strong enough effect without complicating “another card discovery.” Don’t misunderstand this to mean that I am belittlin discoveries, it is just that you will get far more credit for performing incredible shuffle restrict this effect solely to a shuffling effect rather than a “find a card” trick.
TWO UP Sign up to vote on this title
Prediction effects are extremely impressive because conclu Useful in Not useful successfully prediction the performer appears to surmount obstacles more formidable than those im by simple earthly things such as shuffling, shuffling, cutting, etc. “Two Up” has the additional ad
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The reason I suggest doing this as a prediction effect is that (although it is mo coincidence type trick) spectators will sometimes say you are lucky when you pr coincidence trick, but give you credit for the incredible when performing a prediction.
To perform, have a deck freely shuffled. When it is returned to you turn it face look through it, explaining that you must remove two “luck” cards for the spectator. A note the bottom card and the card fifth from the top. Let us assume that the bottom car jack of diamonds, diamonds, and that the card card fifth from the top is the three of clubs. clubs.
Look through the deck and remove their counterparts: the three of spades and of hearts. Place the three of spades and jack of hearts face up on the table and then squ the deck and place it face down. You must remember that the card on the bottom of th is the jack. (The reason for this is that you must always have the counterpart of the card replaced nearest the bottom. If the spectator replaced the three near the bottom a jack near the top you couldn’t conclude conclude the effect as given below.)
Explain that these are this particular spectator’s ‘luck’ cards and that you know how he will react to them. Pick up the deck and hold it face down in your left hand. H spectator pick up the three of spades and tell him to insert it anywhere face up in the you riffle the deck. Riffle the front of the deck with your right fingers and have the place the three face up in the face down deck. However, as you riffle, time your riffling he will place it somewhere in the top half of the deck. Have him pick up the jack and face up somewhere in the deck. Riffle slowly now so that he is sure to place t somewhere in the bottom half of the deck. Be certain that your spectator is convinced freely placed the face up cards in the deck.
The deck is now squared and face down with the exception of the two cards. Say see where you placed the ‘luck’ cards.” You now apparently run down to the face up ca as you do so you must perform the work. Sign up to vote on this title
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hand holding all the cards run into it. By separating your hands at this point to pull th of spades out of the deck you also simplify loading the three of clubs under the face u When you bring your bands together to proceed with the effect you will have loaded th of clubs under the protruding face up three of spades. You continue to run the cards fr to right, only your right fingers now pull at the bottom card of the deck, the jack of dia and secretly drag it beneath the cards you are spreading between your hands. When yo to the face up jack the face down jack should have slipped under the spread cards an right of it. The jack of hearts is pulled out half its length, the other red jack being beneath it, and the remainder of the cards cards in left band are placed under all all of the cards the right hand.
To conclude the effect have the spectator remove all of the cards above the t spades and then remove the three of spades and the card immediately beneath it. Th all of the cards above the jack of hearts removed and then remove the jack of hearts card immediately beneath it. Turn over the two face down cards and show that you acc predicted where the spectator would place the ‘luck’ cards.
THE VITAL PREDICTION
It all started one day when Paul Curry, while discussing unusual card mentioned to me that he had long been working on a good method of performing a pre trick.
Curry’s effect differed from the usual prediction in that the spectator was to be the name of the card BEFORE the effect began. This, of course, presented many u problems. During a short stay in Chicago I discussed this effect with Ed Marlo. Marlo out several interesting ways of performing this and he, in turn, mentioned it to several magicians who happened to be visiting this country to attend a convention. The res that some of the keenest English magic minds worked out solutions to the effect, se which have appeared appeared in the “Pentagram” “Pentagram” magazine. Sign up to vote on this title
useful Not to The above preface is written to explain some of theUseful background this effect and Paul Curry credit for the original idea. I approached the effect in a slightly different m then other solutions I’ve seen and I’ve come to the conclusion that a book could be dev
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whatever the cards may be). If you had stopped me an instant sooner you would have me at the seven of hearts. If you waited a few moments longer you would have stopped card beyond this card (the face down card) which you actually did stop me at. Before I do you wish to change your selection of the card that you stopped me at?”
If a change of card is desired, then the face down card is turned face up a performer continues to deal the cards face up until he is stopped at some other point he is stopped again he then places the card stopped at face down on the face up cards.
Let us assume that the spectators are satisfied to stop at the face down card now on the face up seven of hearts. The magician places the remainder of the deck face up cards on the table so that the entire deck is face up with the exception of the card nex seven of hearts. The deck is cut a few times to show other possibilities of selection. selection. The then spread out, face up, and the face down card (which is still next to the seven of he removed and turned face upwards. It is seen to be the three of spades, the card predicted at the start of the trick!
To perform, have the deck shuffled. Upon getting the deck back, square it in you and glimpse the bottom card. Let us assume that it is the three of spades. Borrow a pen paper, and while your spectators are securing these writing implements secretly reve three of spades face up on the bottom of the face down deck. Now double undercut one the bottom of the deck or simply place a card from the top to the bottom while ‘toyin the deck. The three of spades should now be faced up and second from the bottom of th
Note: If you do not wish to perform the above moves, simply set a reversed card from the bottom before you start the effect.
When the spectators hand you pencil and paper, very openly write the three (or whatever the reversed card happens to be) on the paper and allow everyone to se you have written.
Start to deal the cards onto the table, face up and one at a time. After you hav Sign When up to vote this title several cards invite a spectator to say, “stop,” at any time. heondoes stop, you giv Notwhich useful he wishes chance to change his mind. After he has decided upon theUseful position at you cleanly remove the face down top card of the, deck and place it, face down, on top the face up cards dealt. Call attention to the card beneath the stopped-at card. In this i
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With your left hand pick up the packet of cards on tile table. Push the face dow (which is on top of the left hand packet) slightly to the right to show that it is just ab seven of hearts. Pull the face down card back square with the packet but secretly inse left little finger underneath the face down card.
Place the cards held in your right hand on top of the cards held in your left han retain the break with your left little finger.
With your right hand hand push about one one quarter of the face up up cards to the right. right. As this continue pattering to the effect that “you could have stopped me at this point in th etc.” With your left little finger push to the right the card just above it. This will indifferent face down card. Do this in the same manner as the side-steal.
Push the indifferent card to the right until it is in line with the protruding pack seven. Note, right hand is eliminated for purposes of clarity. The protruding packet an hands will mask this card. Apparently cut the protruding packet to the bottom of the deck, but as you do so, your right thumb and fingers pull with them the indifferent fac card. Sign up to vote on this title
If the above has been accomplished properly properly you now hold deck face up Useful Notthe useful will left hand with an indifferent card face down on the bottom of the deck and the three of face down just above the seven of hearts.
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card, the seven of hearts. I believe these two important points are the main advantages method.
THE LONDON ILLUSION
This effect, when presented in a clean manner, has a startling climax. The m prefaces the trick by telling how hundreds of years ago when belief and fear supernatural were common in England (and in London in particular) the fate of peopl was many times decided by chance. For example if a man was suspected of being some form of black magic the advocates would try and get a sign, some significant ind from the “great beyond,” to prove the man’s guilt or innocence.
To illustrate how these signs would make themselves known, the performer sh deck of cards and has the spectator take half. The performer and spectator each shuff respective halves and each freely choose a card. The cards chosen by the spectator a performer are shown to be of the same color and value! This, most assuredly, wo interpreted as a definite ‘sign’ from some mystical power.
To perform, start by having two cards of similar color and value on the bottom deck, for example, the two black aces. Shuffle the deck, not disturbing these two bottom Have a spectator assist you and have him take half of the deck (the upper half). Both y he shuffle your respective halves, but you secretly retain the black aces on the bottom packet.
Have the spectator bury a card from the top of his half into the center (you do li and then have him bury a card from the bottom of his pack into the center. You rem bottom card from your half and put it into the center of your packet but secretly break under it with with your left little finger. finger.
desi “I want you to run through your half, faces down, and remove any card you Sign up to vote on this title inform the spectator. He runs through his half and the card he removes is placed face d useful Usefula face Not the table. You run through your half and apparently remove down card at rando you actually remove the card that was above your left little finger. (This will be on black aces; the the other is still at the bottom of your your packet).
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Tilt the front of the deck slightly towards the floor to cover the following move pressure with your right little finger against the upper right hand corner of the black a should be done by a pressing of the corner towards your body. If this is done properly notice that this forces the ace to warp and separates it (at the upper left hand corner) f remainder of the packet. It opens a passage between the ace and the rest of the packet.
When you have properly opened the ace your left hand picks up the spe indifferent card and apparently slides it onto the bottom of your packet. Actua indifferent card is slid between the black ace and the remainder of the packet! (Run t this several times with a pack of cards so that you learn to do this cleanly.) Fig. eight sh indifferent card (spectator’s selection) selection) being placed above the ace of clubs. After you have properly properly performed performed the Reverse Glide Glide build up to the climax. climax. Tap your packet against the spectator’s packet and turn over your simultaneously. simultaneously. The coincidence of the two black aces will be exceedingly effective. Sign up to vote on this title
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MISCELLANEOUS EFFECTS
SPONGE SURPRISE
This is a short sponge ball routine that is a departure from the usual sequ moves. It has good entertainment value and utilities two regular size sponge balls (a inches in circumference) and 15 to 20 very small sponge balls or pieces of sponge.
To perform, have the two regular size sponges in your right pants pocket and the of small sponges together in your left pants pocket. Remove the two regular sponges an them examined. Show that your hands are unmistakably empty and begin by forming y hand into a first. Place one of the sponges on your left fist. The sponge should be g firmly by your left thumb (near the crotch) and the base of your left forefinger. With yo fingers poke the sponge into your left hand. However, because of the tight grip on the the sponge ball compresses and does not actually go deep into the hand but is held tig the left thumb and forefinger. (Note: if you were to release pressure on the sponge would spring up to its regular size and appear to be simply on the top of the fist beginning).
“One sponge ball in my left fist,” you say. “I will now place the other on top of it the second sponge ball and hold it at the base of your right fingers. Display the ba towards the audience. Turn your right palm away from the audience and cover your for an instant with your right hand. As you cover your left fist you release pressure sponge held in your left fist and the ball in your left fist immediately springs into vi appears to be the second ball. The second ball is actually finger-palmed finger-palmed in your right ha
“I now have both sponges in my left hand,” you patter, as you poke ball one de the left hand. “Do you believe it possible for one of the sponges to pass itself, in Sign up to vote on this title through space? Watch!” As you say this you form your right hand into a fist and ho Useful into useful hand Not hands before you. Slowly work the sponge in your right view. Open your le showing only one sponge.
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Show both sponges and say that you will simplify the trick by eliminating on sponges. Hold one of the sponges at the base of your right fingers and show to the au Apparently place this sponge in your left hand. (This is a standard pass as used wit billiard balls, etc. and should present no problem.) Your left hand apparently holds on sponges. Place your left hand into your left pants pocket. Your right hand (with its palmed ball) picks up the second ball, that is on the table, and by squeezing it agai palmed ball appears to hold only one ball. Show this and place both balls (as one) aga outside of your left pocket. Rub your right hand against the pocket and show that the the pocket has apparently penetrated your pants fabric. Both balls are placed on the tab
As this is done, your left hand grips as many of the small sponges as it can them tightly. Your left hand is withdrawn (as a fist) from your left pocket while comple pocket penetration effect and will be unnoticed.
“You may not realize it but these tricks are very hard on these sponges and som they literally go to pieces. Let me show you.” As you say this, your left fist is brought in You poke both balls into the top of your left fist, but grip them both in thumb-palm p You repeat the idea of the sponges “going to pieces,” and and as you do, spring open your le releasing all of the small balls. Do not release the two regular balls, which are snugly your left thumb-palm thumb-palm position. position.
The above finish will be quite effective, and under the surprise of the appearanc many small sponges you will have ample time to place your left hand in your pocket rid of the two large sponges.
THE RING ON WAND
This impromptu version of the classic Ring On Wand effect has the advantage o easy to perform yet it retains its complete effectiveness. In brief, a borrowed ring is out under a handkerchief and magically passes passes upon a wand or pencil which is never Sign up to vote on this title
Not useful Borrow a ring, preferably a large ring, and a Useful handkerchief. You may also borrowed pencil or a thin wand. I prefer to use a pencil as it makes the effect com impromptu.
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Daniel Madison Deceptions 3 -
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13015a53-66ef45f7-b04b-
Meir Yedid notesOff the Wall
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(You are now set to perform the usual move of the “Coin Through Handker Grasp the end of the handkerchief marked X in fig. nine with your left hand and pic about half the length of the handkerchief. Thrust your right hand, holding the ring, do view so that your audience can clearly note that the ring is still in the center handkerchief, Fig ten.
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Daniel Madison Deceptions 3 -
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13015a53-66ef45f7-b04b-
Meir Yedid notesOff the Wall
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The ring is concealed by the right fingers, Fig. eleven, and is behind the handk rear view. With your left hand take the pencil and tap the top of the handkerchief so t sound of pencil against ring can he heard. (The pencil hits the front of the handk behind which is the ring). Place the pencil behind the handkerchief handkerchief and between fingers and the handkerchief secretly slipping it through the ring. To outward appe you have simply placed the pencil behind the handkerchief and both ends of the penci be in full view. Fig. eleven eleven shows the pencil pencil being introduced introduced through the ring. ring.
Have a spectator grasp both ends of the pencil. Wave your left hand over the to handkerchief; then grasp the handkerchief with your left hand. Pull the handkerchi with a downward tug, and at the same time spin the ring, which is on the pencil, right hand. Bring both hands away and the ring will be seen to be spinning on the p and se double penetration …. first the ring must have passed through the handkerchief, Sign up to vote on this title must have penetrated the pencil! Useful Not useful
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Daniel Madison Deceptions 3 -
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13015a53-66ef45f7-b04b-
Meir Yedid notesOff the Wall
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1 Needed are two similar appearing half-dollars and one English penny. three coins together in your right jacket pocket, the penny in between the two other coi
2. When you are ready to perform put your right hand in your right jacke and remove the three coins, finger palming the one nearest the base of your right finge finger palm is performed by gripping the coin by slightly closing your right fingers. Du fact that you originally set the penny between the two halves you will have one of the palmed by performing the above move.
3. The other two coins, the penny and the other half, are dropped into hand and then onto the table. Have a spectator place an identifying mark on the pen the half.
4. Pick up the penny and place it at the finger tips of your right hand. By closing the right fingers the palmed half will not show. Borrow a handkerchief and toss the penny so that the penny is seen to be jutting j utting out of the center of the handkerchief
5. With your left hand, approach the handkerchief to lift it by the pro penny; but actually feel deeper into the handkerchief and grasp the half dollar throu handkerchief and lift the handkerchief off your right hand, holding the half-dollar thro fabric. As the handkerchief comes off, your right hand allow the penny to slip into th fingers in finger palm position. To all appearances you have simply lifted the pen handkerchief off your right hand, but actually under cover of the handkerchief yo substituted coins. This switch is very simple to perform as a few trials will convince you
6. You are apparently grasping the penny through the handkerchief handkerchief at finger tips. Have a spectator hold the ends of the handkerchief so that the penny “can slipped out.”
7. Release your grip on the handkerchief and the spectator, holding the seemingly have the penny in his possession. Pick up the half-dollar which has been pre marked and hold it at -your right finger tips. Clink it against the coin in the handkerchi Sign up to vote on thisand title out of view times and then suddenly dart it beneath the level of the handkerchief useful instant. During this moment your right fingers exchange the position the two coins Useful Not of the penny is now at your right finger tips and the half is finger palmed. (Note: This ex of the two coins is difficult to describe but is just an elementary exchange of the posit
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Daniel Madison Deceptions 3 -
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13015a53-66ef45f7-b04b-
Meir Yedid notesOff the Wall
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9. To conclude, you may immediately repeat the effect, and at the finish with the two originally marked coins; which you elaborately have identified, or use the alternate ending:
10. Pick up the visible penny and half and hold them at your right finger originally marked half is secretly concealed in finger palm position.) Say, “I know y wondering how I made the penny and half change places. I’ll give you a certain am information regarding this. I had to make the coins actually pass through the fabric handkerchief. Here, I’ll show you how this is done.” Take the half held at right finger ti your left fingers, the penny still held at right finger tips. Openly place this half into pants pocket. Rub the penny (still held by your right fingers) against the outside of you pocket at the approximate position occupied by the just pocketed’ coin. Rub it a few tim then say, “Now !“ As you say this, allow the penny to fall against your right fingers, against the coin that concealed there. The clink it will make as it falls will add to the Immediately show the penny and half are in your right hand, and then have bot examined so that the original markings are identified by the spectator who marked the THE END
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