Prtstehwrf Blende

, - offprt entails die magical blending of differently colored silk seated •me ctc*k w; " foulaItl Tlie flist linie I came across tins idea applied to pfyl into one large »"f ,, Iiami, Here you will find my treatment for what is a J

r^S^iaodience^

f ' ^s help to determine, through a "maUiemalicaT procedure, the value and XiESS These <vvo ranis then merge to form the previously selected rani!

Preparation

K very small ««»I) is «pM. whieli could tie done under the spectator noses or during the oafomwnce of a preceding trick From top to face die setup reads: Tbn of Hearts-Four or I |liUts_balan(i' of deck-Six of Hearts. The positions of die Foi ir and the She are infereliange-allie. but I prefer to liave die Six on the face, as it is less easily remembered when die deck is spread face up on the table.

An eflk-ient way of achieving this simple setup in a few seconds is to run through the cards, with their facts toward you, and cut the Four of Hearts to the top. Run through the deck a second time and use a combination of die above-tho-spivad cull (Volume 4, page 901) and spread cull (Volume 1, page 187) to bring the Six of Hearts to the bottom and die Tfen of I le.uts to the top. As usual, you may also arrange the cards before the |>erf< >miance and use tlits effert as an opener (and a good opener it is), or establish this little iurangement in an outwit moment, delay die setup with die performance of an effect that doesn't cliange the arrangement of the cards, and then go into the trick from diere.

Construction, Management and Saipt spn'.id the deck face up on die table to sliow flfly-two different cards. Gather die spread and take die deck face down into left-hand dealing position. As you make some

Ms<- s'HilIle the deck, retaining top and bottom stocks (Volume 2, riy fmisllwl ,he perform a slip cut to place die Tbn of 1 l«irts ilun /lr^ '''fmm '°P 0f ** deck CMAiwie 1, page 61). Uuow the remaining deck rS P °f U,e l)alantt' buI kpeP a break. Form a step at the break and set the lick , nUlk('some further comment about the piece to follow

,he break 31 step and dten use the riffle force to force the mime''w224)-

Ist«" I v^^ti^iff Canlt08eoond from Uie top usingthe bluffpass (Volume 3, di'tiuls tliat make tlie for! , (l^ -riptioris of diese sleiglits, as there are numerous of Heart* LS "0W as foUow£ Four of Hearts-Ten of Hearts-balance of the

'Him the two cards face up hy holding them between thumb and index finger while your middle finger moves onto their backs and presses down, rotating the cards end over end and face up between the index and middle fingers. The index finger acts as a pivot post. When the cards arrive face up, move the thumb onto their faces and grip them between it and the middle linger. You have just revealed the Six and Pour of Hearts. At tills precise moment, when all attention is on the turning ofthe cards, obtain a lefl little-fin-ger break below the top card of the deck; the ft» of Hearts

"HW/, (illlntuqh these un' not your A -// /««< «* «> * ^mjmtmm so your cart m ust tx a luwt ri'gkiT The spectator confirms this

QUICK EFFECTS

Explain: "I could now resort to diffindt sleight-of-hand to find your cardL Hut I uxm l Instead 111 usejusI thm foufcrs, tike this, to do it, " You are now going to produce two cards magically, by means of a \ariaiion of the tw(H-anl catch (Volume 4, page 956). Take the deck into the right hand, thumb on top and the firet two fingers on the face.

Tbss the deck to foe leO hand, whic h catches it in «lealing position, while your right hand retains the top can and bottom card by friction. Look at the two fiutHlowr, cards, Li look at the sjx-ctator. Oh, I see; you took tux, cards!" This will raise a chuckle and the snectal. ,r will deny it.

«iw now admit to you that this is a math, 'nafitvl trick. If laid the Sir to the Four I net tea. So your cari uns a heart and a .['the 7bi qf Hearts!" When you say, «ff I add the Sir.. ."your right hand places the face-up Six of Hearts outjogged and to the Lit on die deck, so dial you «m point to tef {ace wiUi the Four of Hearts remaining in your right Iiand

As you continue ".../o the Four..." place the Four of Hearts onto the Six of Hearts, so that you can use your right index finger to point to die face of the Four of Hearts Notice how the placement of the Four and the Six on top of the deck are presented as in-transit actions, making everything seem logical and natural.

As soon as you have announced the identity of the spectators card, the audience will tend to react with either comment or applause. At this precise moment , when the curve of attention is at its lowest, square the two face-up canls onto the deck, secreUy adding die facedown

Ttn of Hearts below them. Immediately move die squared three-oird packet to the right and leave it side-jogged on the deck for about diree<[uarters of an inch, as you wait for the reaction to subside.

"But uxiti'h, it gets even better! These tuvands—menje—hUo the Ten of Hearts!" I Iereyou perfomi the flip-flop change (Volume 3, page 747; or page 1164 in this volume), apparently mating the Four and Six or Hearts into the selected Tfen of Hearts. Throw the Tbn nonchalantly to the table or hand It to the spectator who selected it

Final Notes I

Art Qle Ax k a fl,u- used The effect Unis becomes an ideal thls .nVk'^'v r^'^iLs on,(lr' °Pener, enabling you to delay the use

''xmtwT UU ,Jnl"r' with Ul,> of ^involved setup or even a stacked

-_ " U,nH" P*1* t-ards deck This idea lias a great potential.

2. If you an? not concerned with retaining the entire order of the deck, you could have the tiw<M5inI setup on tin* toj) of the deck at the begmning Simply bring the set up to the mid< lie or the deck, using an iryog shuiile (Vfjlumc 1, page 44), then riffle force the Tfen of Hearts, AikI while the spectator Ls showing the card around, cut the deck to bring the Six of Hearts to the lx>Uom and the Four of Hearts to the top.

3. The classic handling of the tw<K-anl catcli, in a fine old effect called Tin* Ladies' Ixm »king-glass"? wus tliis: Sevi -ral cards were chosen and subsequently revealed The final two selections were controlled to the top and bottom of the deck. Then the deck was thrown into the air, while the top and bottom cards were held back. As the Ixilance of the deck descended, it was hit with thel>ack of the liand holding the retained pair of cards, wluch resulted in a beautiful "card shower1. The jx'rfonner quickly reached into the falling scatter or cards and ap|>arently anight the two that were already firmly in his grasp. He would then display them by spreading his fingers, while causing tlte two selec tions to cling by natural moisture t< > the thumb and index finger. I don't surest you throw the deck intn tin* air in the context oH^steboanl Bfcndo", but you may want to include Che last flourish of this production Foi this you would secretly reverse the Six of I Irarts on the bottom of the deck and that throw the» pack from the right liand into the waiting left kind as explained As soon as the cards are free or tin? deck, sjroad your fingers and display the Six and the Four as shown in the illustration If your f ingers an4 naturally moist, yrru will succeed immediately, otlKTwise you will have to wet your fingers discreetly l>eibre doing the production

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