Fluttra lain drat an amazing Uaasposition Ls taking place

Ttan the deek face up and ribbon spread it without exposing the Joker on top Here is a .nfe way of achieving iihis: Once the deck has been turned Spand Ls ^ Z, u," ult table, push the Joker to the nght for half its width The pads of the |pft nii< Idle and ringVingeiv touch theback of the second can! firm, the bottom and draw i, about half an in, 1, tottuS as the ntfd hand shuts ^spreading the deck toward the right Ihe illuslratton sho*. tow U,e fingers of the left hand are still securing the bottom c-anis as .he spread ls initial «1 The hidden Joker ls exposed for clarity. In reality (he Joker lies flat under tht■ spread As ««n as the lirst dozen cards have been spread, (he left hand moves aside and the ribbon spread is completed

With the right Gngere, tap the spread of cards from left to right, occasionally displaying a few indices a bit more and commenting dial die Aces have really vanished from the deck The right hancfe motion from left to riglit draws die audiences attention from the concealing left end of die spread.

Tlie audience dearly sees nodiing but indifferent canLs in the spread and cannot help but anticipate that the four-card packet on die table now contains the four Aces—and implicitly they are also proving to themselves dial the card belpw die card case must lie the Joker

Immediately use both hands to point to the four-card packet resting face down oh die table. Any thinking spect&fipr must now assume the Aces must have scnuehow gathered there.

You are now going to display these four ranis as Jokers. It Ls difficult to act surprised and increasingly flabbergasted at this twist of die audience's expectations, even if you ;ire a good actor. I have found it feeis much better to display a sense of resignation andjust comment < >i i the visible facts with a kind of grim humor, which you would use to accept die inevitable- Just don't try to act and you wHI probably be all riglit. Lefe now look at how toharidle die situation technically, with some comments on the presentation.

Pick up die four-card packet and hold it in face-down dealing position as y<Mir fecial expression shows dial vou yourself are expecting the Aces to lie there "A,id of mine m ««* packet welmv..." Asyou say this, take the top two cartbirtoyourri^ ^¡^^ ^ regains die I wttom two cards. Briefly nib the cards against eadi othi *r, then reas^ml )Ie ^m» placing the cards from the right hand under those in the left. This bongs the Joker to third position from die top while toying with die cards.

You will next use a m.iHip.e lift display sequence*to show that the l^^offo^ Jokers. Just before you finish the sentence above, turn the top diree cards fi.ce up as om.

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pen fd again"

Once you have displayed the triple card, use die same technique to t urn it face down again, and deal die top card to your right, with its long side turned toward you. Since the triple starts from a squared facedown packet and is immediately resquared as it lands on the single card, possible misalignments won't be noticed, as the cards are in constant motion.

Using die samepushofT technique, Hip the next two cards face up as one to display another Joker. Look at die card beneath the can! case, which is supposed to be the only Joker. Then look back at the Joker on top of the left liand's i>acket: 7 didn V know he had a twin bwther. He looks my similar to the fast Joker, except this one has a longer nose.. "Whateveryou say, the idea is to create in die spectators' minds die picture of two slightly different Jokers, radier dian leaving them thinking dial you are somehow reshowing the same Joker. Immediately follow this by turning the double card again face down and dealing die top cant an Ace, to 11 ie left of die previously tabled card

T\ini die next canl face up, using precisely the same handling as before, although this time you are really turning over just one card—which gives you a moment to catch your breath. Since the three Jokers displayed all face the same way,1 as the diird Joker comes into view, you mightsay, • Ofr. //v/jfete//i // /i,/;y^ ^nd ^ a/, wiecmdw

If die Joker happens to face the odier way, ariapt your words acconlingl v.

hinc- them to the right with your left thumb, keeping diem aligned as Do this by first pushing du to J ^ ^^ ^ face up ^ Ls ^

th small packet double lift OMume page 577), but is pen fd again"

Shift your gaze from the cants in your hands to the audience as your palm-down right hand grasps die visible Joker, your diumb on the back and the remaining fingers on die face.

T\im the right liand outward and palm up, revolving the Joker face down, and appar-endy use it to flip the last Joker face up. What really happens Ls this: As die Joker turns face down it is laid over die other card, an Ace. The right diuinb, which rests on the back of die Joker, pushes it to the left as the remaining fingers pull die Ace to die right. Tliis action is quite similar to die actioas of a top change.

In a smooth continuation of motion, move your right hand upward, causing the Joker to flip sidewise and face up in your left hand

As soon as the Joker makes its appearance, in an in-transit action die right liand pku-es its can!, also turned broadside to you, to the left of the two on die table. Immediately point to the Joker—die main action—which, due to the handling it lias undergone, faces die op| M «te way from the previously displayed Joker* "O/j, thai must tr the btnek slice]) oj the fa m ily. He's the only one u 710 looks the Other imy." Place die J( >ker face i town at tl le left end of the tabled row, aligned with die odier Uiree cards and positioned in readiness for die Curry turnover eiiange. YouVe arranged the other cards in a similar jiosition to make die whole picture appesir more natural. (For clarity, in the illustration the spread deck behind the row Is not shown.)

, , , M-ouid be performed at a brisk tempo, but wiUiout losing nus display Ofthe[ IW^g™ fUV hir|inf, something If you go through die acting

°r two seconds as it appears, then proceed widi the same

»Kim^u win M m m i,v this multiple effect to pick up die balance of the cunts, which ^^fr^l^dond'e table. Very briefly look through the faces, as if SS jffiS thT^ arent hen- either." Then turn the deck face down hold it in dealing position. _ _

., i n«»k n the ami under die card ease, slowly turning its face toward

Sen w as you look at die audience and explain, "However, m reality tins ,s a .Joker SS os on Ace. If,,ou tap it like this, it will diarige into what it natty is: the.Joker!" 2£lwo£ with actions, execute die fadeaway «ml change (Vohnne 3, page 748). The illustration shows die last moment of the cliange from die audiences view. Hold die Joker for a few seconds, to let die audience appreciate what has liappened; then drop it face up and to your right on die table.

Look at the four Caowkwn cards on the table, then look at the audience and explain, as if it were the most logical thing in the world, 'Yes, because tlie.Jokers averhereaiv in reality the Atvs.. . As you are still holding die deck face down in lefl-liand dealing position, prepare the top card for the Cuny turnover cliange (Volnme 4, page 811), inserting your led ring finger baween it and the rest of the deck. TI,Ls is completely concealed by die right hand, which rests over the deck in end grip.

TTie nghi hand next approach« the toetom card at the right end or.he tabled raw, as the left hand follows su> and readies for the c*nl at the left end The right hand turns over its card about a second before the left hand executes the Cuny turnover change, switching the Joker on the table for the Ace on top of the deck in the action of turning (he c-anl far e, n, Tl w illustration shows the situation from your right side, with the left land just starting the art. >n of die Cuny turnover dtange as the riglit hand lws already revealed the first Ace.

As the left hand finishes turning its can! face up, the right liand has already moved to the second card from die riglit and starts to turn it up—another Ace. The fad Dial the right I mud's ac-tion slightly precedes die left's draw® attention from die left and to Die right- The left handfe action is additionally covered by splitting the audience's attention as the thin! Ace is already t>eing turned face up. Immediately follow this by using your left hand to him the Ace second fiom the left race up. lb the audiences astonishment (hopefiilfr), the A«*

have reappeared

Everything is as it was in the beginning thus bringing an amazing and farcical admiture or the cards to a happy end

of the face-down deck, to the boltoni A very casual double cut or oveihand shuffle will do the job. Exactly the saine considerations of timing should then be employed with die simple turnover switch as were used with die Cuny turnover change.

3. In his original routine, Charlie Miller used foiu* Jokers and a duplicate Ace, and you may want to study it for an understanding of what is gained and wliat is lost by dais change.

4. rd like to finish with a last comment on the presentation and script, wliich I have largely kept out of die description. 1 open the routine by saying, "An often asked after o performance, Does anything ever go wrong when you pet form magic? As you know, according to Mister Murphy, anything that can go wrong will go!wrong—sooner or laler. HQweyer, Pm glad to report thai I've come up with a foolproof piece, which I would like to perform for you now. Ib malee i I footpWQj] you just haw to remove the fool. Simple ¡nxMems (nil for simple solutions" The rest of the presentation is explanatory and can lx> easily scripted to function with tliis prologue. My dusiiig lino is: ifYou see, that's what I call foolpivof magic!"

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