For this erfect you will require a pack of cards with a blank faced card with the same back design. On the blank side write the word OUCH in bold letters and smear two opposite corners with magicians wax on the same side. Only just enough wax should be used to cause the card to adhere lightly to the second card of the pack where it is placed. This done you are ready to go.
Invite a lady and gentleman to assist you — a husband and wife team is ideal, or other loving couple. Tell them that they are going to take part in an experiment in 'selective control' which should confuse everyone for a start.
Shuffle the pack retaining the 'double' card at the top. Spread the cards face down and ask the lady to take one and look at it and show it to other spectators, but on no account must the man see it. Say "This is how it's always been" — the lady selects and the man has to find — she selects a mink coat, he has to find the money.
Have the card replaced by undercutting half the pack taking the card on top of the 'dpuble' and run three on top of the selection, injog the next card and shuffle off. Undercut at the injog to bring the three indifferent cards to the top of the pack followed by the chosen card and then the 'double'.
Tell the man that shortly he will be able to find his wife's card by a process of elimination — the cards, not his wife. First he will cause the card to rise to a position near the top of the pack. Place the pack face down on the lady's hand and tell the man to press down on the pack with his forefinger. Congratulate him on moving the card from the bottom half to the top half. Cut off about half the pack and place the bottom half aside.
Replace the upper half back onto the lady's hand and ask the man to press his finger on top again. Pick up the cards and say "I think it's near the top — let's see." Thumb over the first four cards plus the double into the right hand keeping them in the same order face down and then turn them face up onto the rest of the cards. The 'double' is now face up on top with the selection next. 650
Tell the lady that you will show her the five? cards, and should she see her card she must not indicate which it is. Hold the cards in the right hand in the Biddle position and pull off the double into the left hand as you count 'one'. Pull off the next card, the chosen one, onto the double counting 'two'.
As you pull off the next card pick up the chosen card under half packet in the usual Biddle manner — count 'three'. Pull off the next two cards singly as you count 'four' and 'five'. Ask the lady if she saw her card and she will (hopefully) answer "Yes". The selected card is now face up on the bottom of the face down cards in the right hand. Put this half on top of the half placed aside earlier and give them to the man asking him to put them in his right coat pocket.
Turn the five card packet face down and separate the 'double' as you take them singly from the left hand with the right reversing their order in the process. The 'OUCH' card is now on the bottom of the packet. Keeping the packet face down mix the cards retaining the 'OUCH' card on the bottom.
Explain to the man that you will place the packet on his left palm face down, and by curling his fingers the cards will stay in position when he turns his hand over. Demonstrate this with one card from the top of the packet — you are actually showing how to palm cards, but don't mention palming. What you require is for the cards to be held securely in his left hand so that he can turn it palm down without the cards falling.
Place the cards in position and tell him to turn his hand palm down holding it about chest high. Now ask him to reach under his palm with his right hand and carefully remove one card. Ask the lady if it is her card — she'll say "No". Get him to repeat this three more times, leaving one card — apparently the chosen one. Instruct him to keep the card in position and congratulate him on finding her card by selective control.
Now say that her card will disappear from his hand — and ask him to show that the card is still there turning his hand over. Next tell him to turn his hand palm down, and with the right hand first slap the back of it, then slap the right coat pocket — saying that this will make the card disappear. A lot of fun can be had when his hand is poised daintily in the air by saying to the lady "Did you know he was like that" and as he slaps his hand "I've heard of being gay, but a gay masochist never." Get him to repeat the action twice more — still the card fails to disappear.
Finally request him to clap both hands together, and then open them. The 'OUCH' card will show getting a good laugh and as it is freely displayed the audience will realise that the chosen card has vanished. Next direct the man to remove the cards from his pocket and thumb through them face up, and remove the face down card which has somehow arrived in the centre of the pack. Ask the lady to name her card and request the man to display the face of the card he has removed — it's hers. Climax.
FRED BRAUE ON FALSE DEALS. Edited by Jeff Busby. Available only from Busby Enterprises. Price 12 Dollars 50. Plus postage.
During his last years Fred Braue was working on what was to be yet another book on card magic. Unfortunately death intervened before it was ready for publication. The book under review records the materia! from his notes appertaining to false deals and tricks using these particular sleights.
It is in six sections, the first contains his previously unpublished method for dealing tops, seconds and bottoms using the same grip. That an identical grip is used both in normal and false dealing in itself is only of merit if the method of holding the pack is sufficiently normal in appearance to prevent spectators from noticing that the pack is being held in a special manner. In the Braue method it is held in the mechanic's grip which is in general use by card men, though I have yet to see it used by anyone other than magicians. However that is a minor criticism and will be ignored by habitual users of this grip.
The chapter begins with instructions on how to take the top card when dealing normally, and proceeds with explaining how to deal seconds and bottoms using the same action. The end result is that there is no variance when dealing seconds and bottoms from the regular deal.
Mr Braue considered that the above system of false dealing was a vast improvement upon the deals described in Expert Card Technique published in 1940. Only time will tell if the system is of real value to cardmen by the number who adopt it. It would be presumptive to pass a snap judgement on the method without devoting some considerable time to its study. However, it is possible to express the opinion that the system is eminently practical, and worthy of study by anyone desirous of mastering these false deals. It may also be the answer to those who have not yet found a satisfactory method.
Also in this first section is an excellent method for double dealing and one-handed deal.
Section Two comprises two letters to the late Gus Southall, the well known British card expert. These contain further technical details on the second deal which will prove valuable to those having problems in understanding the technique explained in the first section plus a 'no miss' second which is easy to miss if you are a careless reader.
A popular effect using false deals which became a regular item in the repertoire of many cardmen after the publication of Bill Simon's Effective Card Magic was aptly called 'Call to the Colors'. Section Three gives Braue's handling and Gus Southall's routine for this effect.
Section Four gives fourteen effects dependent upon false deals and is the part of the book which will be welcomed by those readers seeking effects with which to use false deals. This is an important part of the book as the number of effects published which make use of false dealing is relatively small. These effects are varied and offer an Impromptu Poker Deal. The Self-Arranging Pack in which from a shuffled pack the dealer reveals a ten spot to be tenth down, a four at the fourth position etc and is also able to name the card at a number given by a spectator. Dealing the Aces is a feat in which the dealer finds the aces at numbers called for. Middle Deal Demonstration is not a middle deal, but is accepted as such by the onlookers. The Punch Deal enables the performer to deal until a spectator calls stop — a freely selected card is found at the top of the pack at this point. In Four Ace Fooler the performer fails a couple of times in his attempt to find the four aces and when he eventually succeeds there is an added surprise. Simpático is a stop effect using two packs. Two cards change places in Rapid Transit. Flash Cards has a patter theme and in effect a bunch of thirteen cards in mixed condition arrange themselves in numerical order. Dialling the Cards has the effect of causing the top cards of four heaps to represent the spectator's phone number, Count-Down Reverse is another stop trick — this time with the spectator's choice replaced face up in the pack. Three Wheeling is a kind of Three Card Trick. The Topdowner is a 'quickie' wherein a chosen card is found at a number in the pack indicated by chance.
The last trick is a Gus Southall speciality. The performer appears to memorise the position of any card in the pack at a given number.
Section Five contains miscellaneous notes on false deals and explains Down's one-handed second deal, FB slow motion seconds, Dr Elliott's second, the bottom deal and second dealing, plus tips on second dealing. The sixth and last section lists notes on the text.
Physically the book consists of 44 8V2 by 11 inches pages and spirally bound. It is limited edition of 300 copies numbered in rotation.
For those interested in false dealing and the effects made possible by these sleights it will be found to be a valuable addition to their libraries.
Since the article on routining appeared in the Walt Lees issue several readers have expressed the desire for more articles of a similar nature dealing with the presentation of magic in general.
On looking back little has appeared in this magazine on the various aspects of our craft which are of equal importance — and perhaps more so — than the ever increasing number of methods for the same few plots.
One of the most valuable non-trick articles to appear in this magazine can be found in No.7 Vol.1 March 1975 under the caption of 'Professional views on doing professional magic for the layman' the author being non other than Fred Kaps. Now, here was an article of the utmost value to anyone contemplating doing magic for people other than magicians. To this day not one letter has been received commenting on this article, nor was it ever mentioned to me in conversation unless I made a point of asking a reader what he thought of it. The answer received was mostly a blank look or at best some vague comment proving that the advice given had meant nothing to them.
The reaction to an extremely ingenious method for achieving a certain effect was just the opposite. It was quite a talking point when published, but no doubt is now almost entirely forgotten. One of the many readers who praised it highly admitted that he had only performed it for other magicians.
The above example, together with the experience of spending many hours watching and listening to other magicians plus reading published material compells one to conclude that the majority of those interested in magic are not concerned with improving the presentation of their magic, but occupy themselves in evolving new and ingenious methods which generally add nothing to the effect, either by increasing its entertainment value or simplifying its working. The end result of these efforts is that the method employed is often more entertaining than the final effect which may interest magicians but will add nothing whatsoever to the effect from the point of view of the spectators.
If the above assessment has any validity it would seem that the demand for articles angled towards aspects other than the mere secrets of methods would not generally be appreciated by readers.
Despite the above impressions we have included some tricks with presentation details, notably the Oil and Water routine by Tamariz, and currently Tommy Wonder's presentation of the Coins Across. This is the direction we are moving, and will continue to so proceed.
The deadline is approaching — yes we do have one — more next month.
COINS ACROSS - A PRESENTATION (continued)
After concluding the first part of this routine described last month there are three silver coins, one copper coin and the lid of the box on the table. The right hand is empty and the box, mouth upwards with a silver coin in the recess rests on the left hand.
There now takes place a brief diversion from the 'Coins Across' theme.
The right hand picks up the copper coin and drops it into the box and then stacks the three silver coins which are placed on the centre of the mat with a little bang. As the silver coins Eire being handled the attention of the spectators will naturally be on these coins and away from the left hand, which turns the box over retaining the silver coin in the recess. At the conclusion of this move the box should be hidden from the audience by the curved fingers of the left hand. Immediately the three silver coins are stacked the right hand picks up the lid and puts it on the box which it removes from the left hand and gives it a shake causing the silver coin within the recess to rattle. The spectators believe the noise is made by the copper coin which they saw placed into the box earlier. This latter was retained in the left hand when the box was removed by the right.
The box is now placed on the back of the left hand and given a tap with the right index finger and the copper coin in the left released allowing it to fall onto the stack of silver coins, having apparently penetrated both the bottom of the box and hand. The right hand retakes the box and the left hand removes the lid, during which process the box is turned right side up and shown empty. The lid is replaced and the left hand puts the box down on the mat near the left inner corner thus disposing of the extra silver coin which is not required in the second part of the routine. Care must be taken to prevent the coin in the recess from talking — a knack easily acquired.
The second part dispenses with the box and the extra coin. Some humour is introduced when it is claimed that the copper coin will pass from one hand to join the silver coins in the other, but to the performers obvious bewilderment the reverse occurs and the silver coins persist in passing across to join the copper coin. The amount of fun extracted from the situation in which the performer loses control depends on his ability to act convincingly, and that he is unable to account for the perverse activities of the coins.
At the conclusion of the penetration effect, and as the box is being placed on the table, the right hand picks up the three silver coins and the body turns to inform a spectator on your left that you will now cause the copper coin to fly. Again, as in the first part it becomes a natural action for the right hand to toss the silver coins into the left leaving the right free to pick up the copper coin. Actually only two are thrown, the one retained being pressed into the classic palm position as the copper is picked up with the thumb and index finger. 653
Hold both hands well apart and announce that the copper coin will pass to join the silver ones. Pause a moment for effect, and flip the copper coin into the air and catch it in the left hand. This bit of fun business will 'break' the spectator's thought and they will forget that the right hand ever touched the silver coins. Look at the audience as if to convey 'isn't it marvellous'.
Still keeping the hands apart say that the copper coin will fly back invisibly. Shake the left hand and mime a catching action with the right. Open the right hand to reveal a silver coin. With an expression of unconcealed amazement quickly open the left hand and drop one silver and the copper onto the table and in the meantime the right has also placed its silver coin onto the table. Because a silver coin is lying on the open left palm it is logical for the right to pick up the copper, which the performer examines as if to ascertain why it did not fly. It is then dropped onto the fingers of the open left hand to join the silver which is resting on the palm. A second silver coin is apparently dropped into the left hand, but actually retained in the right and the click pass as described by Tamariz in his book 'Monedas y Monedas' performed. In this sleight the right hand appears to drop the coin onto the two already on the open left hand and in the same action closes the left fingers over the three (really two) coins. Briefly, the right hand retains its coin as it hits the back of the left fingers and closes them over the two coins which causes the copper coin lying on the left fingers to fall onto the silver resting on its palm with an audible clink. The illusion is perfect. The right hand classic palms the retained coin as it picks up the remaining silver one from the table.
Hold the hands apart and shake the left. Release the palmed coin in the right hand letting it fall onto the other one it holds making the familiar clink. Open both hands to reveal two silver in the right hand and a copper and silver in the left. Once again the copper has refused to fly.
It is now necessary to get the last remaining silver from the left hand into the right at a time when the audience, having seen the first two pass, will be anticipating that the silver remaining in the left hand will join the others in the right hand. Advantage is taken of this fact by introducing a subterfuge reminiscent of the methods used by the late John Ramsay.
Proceed by closing the right hand into a tight fist enclosing the two silver coins it holds, and then with its thumb and index finger pick up the copper coin from the left hand saying "Normally the copper coin really does fly" as you display it. Now for the subtle bit. Replace
the copper coin back on the left hand, and in so doing cover the silver coin with the right hand and create suspicion in the minds of the spectators that it is stolen with the right hand as it moves away. The left hand is then closed into a fist with the copper and one silver inside. Care must be taken that the silver coin you have led them to think has been stolen by the right is not seen on the left hand after the right has moved away.
As you prepare to make one more attempt to cause the copper to fly from the left hand to the right pretend to become aware of the audiences suspicion that 'things are not what they seem'. Open the left hand to show it contains the copper and a silver coin and with the index finger of the right hand move them around a little to demonstrate that things are really what they seem. The real purpose of this action is to make sure that the silver coin is correctly positioned ready for the Han Ping Chien move, when the fingers are closed over the coins. Show that the right contained only two silver coins by performing the Han Ping Chien move which leaves a copper coin in the left hand, a silver in the right and two silver on the table. Pick up the two tabled silver coins with the right hand. Cause the third silver coin to pass repeating the same actions used to transport the two previous coins, still pretending that you are trying to make the copper coin fly.
The use of the Han Ping Chien in the above context is extremely effective as it is performed at the moment when people are relaxed and amused at having unfounded suspicious regarding the performers actions, or so they think.
The last phase of the routine is the last part of Ross Bertram's Passing the Buck described in the Stars of Magic series. In this effect the three silver coins return to the left hand — so the copper coin still does not fly.
Next month I will explain an effect which I only perform for audiences who have not seen it previously. It nicely follows the above routine, and it is entitled 'One in the Eye'.
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