fait? (town, one by one, and stops at any card he likes. That card, which he holds in his hand turns out to be his selection!

Wish, with one false ait.

ds into your left hand and throw the balance on top. Thfc h from die bottom. Give die deck an all-around »l^JJ flimp to die inner end ant I finalize the shuffling action, »1 >«

Begin by handing out the deck for shuffling. Then take it back and give it a quick Overhand shuffle yourself as you comment that the cards are thoroughly mixed. In diis action crimp the first card you nin (IW-ume2, [>age 1*18), bringing it to the bottom of die deck.

Wish, with one false ait.

•spread technique (Voluvw /, page 138) to haw a card 1 Position from die top. Briefly: Ribbon spread the deck card college

Ask the spectator to replace his card onto this packet, after which you drop the right I land's cards on top, burying die selection

Ribbon spread die deck face (lown as you empliasize tlisii acaid luis been 6vely seietted and is now lost. When you again take up die cards, you iuay give dieni a quick oveihand shufiie that doesn't distuib die central jioition of the deck (see lähuffiing with a Key Card", Volume 1, page 144). Tlien cut die crimped carri to thebottom(fordetailson asafe liandüngsee "Cutting to a (itmped Card", Vbtu me 2% page349). Tliis automatkally < ieüvere tJie sj jectators selected cani seventh firom die top. (1 uige you to read the original t fescrij>tic >i i of dils oHitrol method in Volume 1. as it conlains nunierous importart det;iiLs in handling and |isychologi-

cal managen ienL)

Ask someone on your riglit if he Ls left- or rightrhanded Whatevw Iiis answer, have hun take the deck into that liand in readiness to deaL "lt urill mnke whut you an abmttodo mud> easier,for im"reality you planexadJy the contnuy for him: Youplace thecleckhuo U* band opposite to diat he nonnally deals firom, because this makes the up« uiung cfealing pro-c*ss miich ruore awkwaid for htm. which will induce him tostopsoonir radu-r dum laier face down from left to right and have th* .

cenur of the spread, so IM Ire XT^l ,,""! m ™L G°*m

Wliile he is showing the card to the group (we'll assume it to be the Eight of Hearts), gather the spread Then swing cut (Volume 7, page 27) the top half of die deck into your left liand

Instruct your helper to deal the Una ^ onto your outstretched left hand, where you take it into dealing positioa Continue: "Please take the nart ami 'Wait until he has done so, then pull back your hand slight^ preventing liim from placing the card he is holding onto the first. "Feel the card a littler To illustrate, move your right hand up and down a few times, as in the illustration.

After he does this, look at him and tell him, Vkay, putthe caixl in my hand. "Point with your right index linger to the card already in your left hand. Pause about two seconds and look at the spectator with an expression of expectation; then say, "Yes, please take the next rani, fed it a little—aw you aware of anything?—and place it hew."

Your tí >ne of voice as well as your body language express Uiat yoi i are waiting for something Although the sj HKlaJor senses tills, he lias no idea yet wluit you expect Most of all, he doesn't know what part he plays in your expedatioa This starts to throw him off balance, making Itim more susceptible for the following suggestion lThke the neal-feet it a bit~and place U hew." Let liim do so.

Now, as soon as the spectator takes the next Card, the tilth, and "feels" it, say ¿is if this luts

, "Anf1 It'" miy stop Whenever you like, of course."I leave it to your

,fy°U ^'toadd' "HvJhaUy today. "If you do (1 do), it must be said in a cheerful

E80 as not ,0 ^ offence. Hie idea is to put some pirssure on him and make

All nJf, rn f** m barton dial, he now assumes, you mtLst have given himeariiec ^ uus should be done with an air of good humor, without creating a sense of guilt or

ESSEEE' "'" «—* •*» tlie desü, u, bring Ms MM toie^^ ¡2 VT?n alWayS ^ ^ W head." It Is certainly due that alter pJfflÍSK t^TTLS n° Way ^ ^ own interpretaüon (>f**

i/jok i 2 " y ,x?have 38 reaBy were in the situation you are ftesM 5 ^^^^vmmúla to com™ the trie« rt™t vou don't care wherein

ESSEEE' "'" «—* •*» tlie desü, u, bring Ms MM toie^^ ¡2 VT?n alWayS ^ ^ W head." It Is certainly due that alter pJfflÍSK t^TTLS n° Way ^ ^ own interpretaüon (>f**

i/jok i 2 " y ,x?have 38 reaBy were in the situation you are ftesM 5 ^^^^vmmúla to com™ the trie« rt™t vou don't care wherein stops, hut tliat you would prefer him to do so sooner rather than late* You arc a bit annoy«! but in a peasant way. Pretend ft has been cleartoyou from the w, beginning ofthe dcSg process thatthe spectator M stop his deal anytime-*, dear «hat you, lidn. ,ven think it necessaiy to mention. All Tm tryingtodo here is to give you ;ui ideaoftheattitude you want to (levelOT lo accompany vour words.

to develop lo accompany your words.

In most cases the spectator will deal one more card and stop. The next card at this mint is die seventh. If he stops here, all dial remains Ls to emphasize dial he freely selected a <-ird Which was sulisequendy shuffled back into the deck, and now he lias stopped himself at any card he liked. Without much more ado, have him turn over die canl he Ls holding and dien watch his expression—it will be priceless. And the audiences reaction will not »*> long in following.

There are actually three ideal outcomes:

First, if he stops at the sixth canL In this case let him place the card lie is holding onto your outstretched left liand and dien have him turn the next caitl ofthe deck face up. that's whetv you slopiKxl—]>lm*> turn it oner "This wording helps him and the rest ofthe audience to interpret die siUiation in the manner you wish.

Second, if he stops directly <it the sevendi card We have already dealt with diis most desirable (use, and you may adopt the same wonling used when die sixth canl is stopped at. to reinforce the situation.

Third* if he stops at the eighth card In this case have him replace the c.inl he Ls holding onto the deck. Make a "karate chop" widi your right hand between the canLson your letl hand and die cards he Ls holding, as if severing die two, and immediately explain in a straightforward manner, TGood—you stopped at this jJOinL" Notice tliat you say point and not card Con flriue: "rlhr Inst cant dealt is the Eight qf Hearts—your mal exactly!" For me diis works very well, but some may prefer to take die spectator's ami, place it onto those already dealt, using an in-transit action justified by a gesture of your right hand (perhaps the karate chop), and then show the selection by means of a double lift

In all tiireo cases you have an excellent ending. If you have found a jiersonal way of interpreting the attitude described above, and if you liave executed die card control equity and convincingly, so that the spectators don't even suspect diat you know the position off their card, I can guarantee witii almost complete certainty tliat one of these cases will occur.

But what will you do if die spectator dcH^nt know about nyguararitee and decides to stop id another point? Well, let me explain a solution dial Ls more than just an out and wliich Ls completely convincing for laypeople and magicians alike.

As soon as the spectator takes die eiglidi card and wants to put it onto your packet, | ifluse briefly and explain. "By the nay you may slmffle the amis younzifanytinu' ami as much as you We"Tb illustrate, give the cards in your hands a quick overhand shuffle running the fin* card and shuffling the n«t on top TI.Ls brings the s,KVt;Unr> canl to the bottom of the packet As you square the cards, u*e the QPPO^^ to ^ ^ ^ tion secretly. You may use any glimpse you are comfortably,I, but I "-nm bottom can I all-around square-up glimpse (Wume J. me 357). which appears natural In tiiLs context

No matter when the spectator now stops the deal, you know his card and liave it ^ control on the bottom of die ¡jacket As soon as he stops al a card, take it from him and hold it by pinching its right side between your right thumb on the back and middle finger on the face, with the pad of the index linger resting on the outer right comer. Tilt die outer end of the card downward; so thai only you can see the face. First look at the face of the card; then look at the spectator; while raising your eyebrows. 'Wouldn't it be amazing if you had stopped me eraclly at your card?"

. , • it «hp Pice of the card and remark in a slightly triumphant tone, "Your card im Look agam at the face 01 ineow pUiposeful at this point. It induces a mild

question will soon be answered

Ifto you am« the name of the end, you simply miscall it as ti^o selection you pre* S&npsed As soon as the spectator reacts, place the caid on top of your packet,« an SSS action, in order to perform the main action, which Ls shaking the spectator hand "Congixitulniiotis, you found your own ca,xU" Meanwhile, your left thumb pulls the card square with the packet.

Keep looking at the spectator as your right hand apparently takes the card it lias just deposited, turns it face up and thrtJWB it onto the table. What really happens is that you take the bottom card in place of the top one in the following way. Your left thumb pushes the top card slightly to die right, as it normally does to deal a card. At die saw time the pads of your left middle, ring an< Me lingers, positioned near the index rt the bottom card, all press diagonally inwarj toward your wrist on the face of the earn, slightly buckling it

The left hand turns again outward and palm up, turning the Eight of Hearts face up. The right liand then takes this card and dirows it lace up onto the table. This lovely and luminal appearing bottom deal handling comes front die ingenious mind of Larry Jennings.'1'

The only bad angle this bottom deal suffers, if any, is tad! the right side. How since you took care u> choose an agisting spectator sitting on your right, it ls natural to turn slightly toward him, which automatically blocks your vulnerable side torn view.

Meanwhile, you place die pad of your riglit thumb onto the outer right comer of the top card, and die pad of the right middle finger onto die face of die bottom ami, more or less on the outer right index. Simultaneously release die left fingers' very light pressure on the bottom card, which causes it to spring naturally a fraction of an inch to die right. Hie left thumb pulls the top card back square with Hie packet, and die pad of your right thumb drops onto the back of the bottom card—ideally just die wliite margin of die card.

The thumb and middle finger pinch the outer comer of this card (a grip that, for reasons of conditioning and consistency, you purposefully took moments earlier when glimpsing die top can!), but die right haild remains motionless as die left hand turns inward and palm down, still holding die packet in dealing position. The left index finger contacts the back of die Eight of Hearts, still held by die right hand, while die left thumb contacts its face.

Final Note

T\vo fcctars hdÜtSte die su<x**5s of this effect: firrf, die choice of the spectator; and second, the situation in which die effect is perfoimecL

Choose a spectator who doesn't display antagonistic feelings during the performance. There will always be» those who cannot accept the fict diät they are being fooled Tlüs sort of person believes dial you are performing your magic to make them fed stupid, wliich is of course not die rase. Stich spectators, and their soul mates, don't quality as helpers for this effect Not onjy will diey wait to the end to stop, dieir attitude will generate a negative atmosphere, Tliis is somediing neither you nor your audience needs. Experience liastaugl it metotakeamale ¡spectator between die ages ofthirty and forty-five who lias shown repeatedly that he is enjoying you and what you are doing Me will want you to succeed Such a spectator will easily accept your linguistic and physical suggestions,' and will help you to bring the performance»

of this effect to a successful conclusion. Tb recognize such a person takes a knowledge of human nature, as well as experience and intuition; factors that make die complete artist.

There are also situations in which tliis effect succeeds particularly well Tliis is especially true if the spectators ¿ire relaxed because the situation just feels right. Tb create such an atmosphere and to know when it Is alive is not easy However, it will be clearly recognizable to the magical artist who Ls able to listen to his spectators, ratiier than focusing all his energy on making himself and no one else die center of attention.

Considering these factors, it seems like a good idea to perform tiiis effect toward the middle or the end of an act (even if the performance is of an impromptu nature), when you know your spectators a bit better and vice versa, and when you have lieen able to create a gcxxl rapport after having performed a few very good effects.

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