Magic cards

The upper« o, me deck * race up. the tower half race down: the three cards ro be forced are „„ ,op ^

face-down portion.

one a, a ..meand ptoce them »> n (fig.X). Once the three selections are ou,

STJSC to«rwn^ro«r and ,hcm with the otEer cards. 0« to t„e ngm/^ **


STJSC to«rwn^ro«r and ,hcm with the otEer cards. 0« to t„e ngm/^ **


Sav "7 have some magic cards here and they have very special properties. I can t show you theirfaces buUcan show you what they can do. Bring out the red-backed packet -

of only three cards. Handle the cards with a special air. as if they meant just a bit more than any other ,ar<b you've held all evening.

Square the red cards and drop them onto the first selection on the left. Pick up the packer now icur cards. and do The Gemini Count to show four Aces. As you do this say. "The first red magic card ¡> an the second magic card is an Ace. the third magic card is an Ace. and the selected card is also an Ace • • -

first three cards, red-backed, are all dealt to the table in the course of the count. Do not deal the last ^

however, and continue to hold it face up for a moment. Flash its blue back, then drop it back to the t its previous position, face up.

The packet is now in the proper position to continue, there is no unnatural fiddling at any point SimpO pick it up and drop it onto the blue-backed card in the center. Lift the entire four-card packet and do i Gemini Count to show four Fours, using the same patter as before substituting "a Four'" each time a carc * shown After the three red-backed cards have been dealt to the table, continue to hold the face-up selects for a moment. Flash its blue back, then table it in the central position, iace up.

itelT^T. and dr°P them °nto the remai™9 face-down blue selection at the right end* pau r and LvinoS ^ ^ The ^ Count this time showing four Kings, using «he -

sestk Place the iast counted back at the ri9hl seen by the audience, tct^tT " mOUth S° ** ^ as say. "Those magic cards areveryspe^ Imrned,atel>' Pla<* it back into your pocket

The worst mistake you could make would h. ,*nce 1«*

want to see those cards so badly tha,T ° expose the ^ of the magic cards to the audience ^

I00 >0U Can 1 break ^e tease. They have no idea whether you reau.

nine cards, or each card had several faces on it. or who only knows what. It's a genuine mystery. As with any number of Bro. Hamman's other routines, it only works because you don't go into detail about the identities of any of the cards - note just how much you don't tell the spectators! They do not know the iden-| tities of either the selections or the magic cards until you begin the first Gemini Count. At the conclusion of

I the count they are impressed by the fact that the three magic cards apparently predicted what the first selec-

I tion was going to be. Now they assume they know the identities of the three magic cards.

They still do not know the identities of the two remaining selections. Then you drop the red cards onto I the second selection and do another Gemini Count — they're really thrown for a loop here because the trick

J turns into something other than what they expected. Now the first three red cards they saw have disap-

j. peared. and in their place are three different red cards that match the second selection.

I Now they don't know what to think! What are the true identities of the three magic cards, and what is the

I identity of the third other words, what's going to happen next! Note how the routine grows

I stronger and more mysterious through repetition because you haven't given away the game at the begin ning by identifying all the cards. On top of that. Bro. John always saves the picture card for the final selec-I tion because the visual effect of the change is even greater. By the time you've shown that the magic cards

I all match the third selection those spectators desperately want to see the faces of the magic cards. More than

I anything. As Bro. Hamman gleefully says. "So let them stew!"

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