For further variations on my Forgery theme, see Peter Samelson's "New York Transpo" from his book Theatrical Close-Up (1984, page 73); Darwin Ortiz's "Bold Fusion" (Cardshark, 1995, page 139); Chris Carter's "Cold Fusion" (The Linking Ring, Vol. 70, No. 9, September 1990, page 94); "Anniversary Waltz," a Doc Eason presentational variation of the Carter treatment; and Gary Kurtz's "Psychological Fusion" in the August 1991 issue of Genii magazine (Vol. 54, No. 10, page 664). Jay Sankey's effect titled "Forgery" (Richard's Almanac, Vol. 1, No. 5/6, January-February 1983, page 43) is unrelated to my premise.

PATTER COORDINATION The following is the exact patter I use when performing this effect. It is offered here to assist those who wish to learn the effect by coordinating the patter with the action. It is not my intention to suggest that you can or should duplicate my patter. The flirtatious aspect of the presentation is certainly not for everyone. You shouldn't attempt it unless you're confident you can deliver it in an unambiguously charming tongue-in-cheek manner.

DURING Step 2 I explain, "This is an effect done with a deck of cards, a little wallet and [pause to take out the pen] a pen." Indicating the wallet, say, "In the wallet is a card, which will be my card; but first we need a card for you."

Patter is required to have the spectator sign the card on the face without removing it from the deck. Accompanying Step 3 I say, "Take the pen and sign the card across the face." Pause until she finishes, then add, "And directly beneath that your phone number." This may get a laugh. "That's okay, forget it. I used to get a lot of phone numbers that way but people have become such septics." Catch the word as if it slipped out mistakenly and immediately correct it to "skeptics." "So, that will be your card, the [name ofcard\."

accompanying Step 4 I say, "In the wallet I have a card." Take the card out. "It will be my card. I'll sign it on the back, but I'll use my initials; it's faster." Sign it and let it dry.

accompanying step 5, as i display the condition of the deck, i say, "Just as a reminder, this is your card, which you signed on the face. You'll recognize it, it's the only [name of card] in the world with your signature on it. And this is my card, which I've signed on the back."

accompanying Step 6, as I perform the Side Glide variation, I say, "We'll place your card directly above mine. That puts them close together."

accompanying step 7, as I cut the deck, I say, "If I cut the deck like this, it puts them [in a sexy voice) closer together. And if I give the deck a little squeeze, like this [squeeze the deck], I put them [in an even sexier voice] very close together indeed." I take a long pause as I stare longingly at my spectator, as though I were dreaming about her. If you see that your spectator is made uncomfortable by the intense eye contact, look down at the table. You don't want to make her uneasy. You might add, "I have an active fantasy life."

accompanying Step 8, as I spread the deck between my hands, I say, "As I spread through the deck, you will notice that one card is different from the rest; that's the card that I signed on the back."

accompanying Step 9, I continue, "Logically, the card directly above it should be your card." Spreading all the cards above the signed one face up, add,

"But it's not. You might think I did something sneaky and somehow managed to manipulate the cards in such a way as to have your card arrive below mine." Spread the left-hand packet face up. "But, I wouldn't do that either."

Prior to Step 10, with building intensity, I state, "In fact, if this effect succeeded, then the card I signed on the back and the card you signed on the face [dramatically enunciate each word] should have physically merged into one." I turn the card face up. "Is that your signature?" (She acknowledges that it is.) "That's mine.

"Thank you." I strike an applause cue, with my elbows bent but arms outstretched for a moment; then while the applause continues, I pick up the signed card and turn directly to the spectator. As I hear the applause start to trail off I add, "You keep this as a souvenir, and I'll put my phone number under my signature after the show." This comment should restart the applause.

Section Wo


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