Secret setuy

,nm. ^ effect that uses either a small or large setup, lb obtain a

sniausewsuch® ^*^^ ,x, evWltei| deceptively in mi oflbeiit moment, one or will do Uh->»»> admffl^V pn wllile delivering a prologue to the effect requiring ^

.^wil (!) eflects m arhance, or that require a more elaborate setup, such as The Poker Players Royal

9 fpw DrowJures tJiat will enable you to obtain a complex setup under the guise r Tris L ¿»ear legitimate and are perceived by your audience as captivating by-play. jS tee ^samples for basic strategies, which can be varied and amplified, since an entire book roufcl be written on this subject alone. Ini indebted for inspuation to the genius of Juan Tarnariz who uses such strategies all the time in his work

Step-by-step Revelation n*> idea we will explore here is tliat of using a humorous elimination of cards to arrive at a previously selected one. In die course of these actions, cards required for a setup are soaetfy arranged in the required order. As a working example we will take "A Poker Players Ro>al Flush" (page 126), which requires the following setup from top down: any Ace-any Ace-any Aoe-any 5-K*-Q*-J*-10*-A*.

Let's assume that a card has been chosen, looked at and returned to the deck. And let's fur-

ther imagine that you either know its name already or can immediately find it through a key eanL An easy way of obtaining this initial situation would lie to force die carrl (Volume 1,

[age 217) and tlien liave it replaced in die deck Not only does Uiis afford you an excellent opportunity to practice the classic force, it also allows your spectator to shuffle die cards pnor (u handing than to you for the subsequent revelation, considerably heightening Uie nnpoability of this feat.

n^™rarh W0Uld '* to ^ aip ^leetcKl, obtain a break beneath it on its

¡¡XZSlr^ insertion page 427), such as a gesture with die right mme. ;uul ,hen glimpse it witli die center card glimpse

(ant whidlfck, WSPFWBchyoucJloose to take- you now know tiie spectator's ™ 1 ^ aomewhoc m die pack. For now, this card sliall lx» the 1\vo of HeaitS

laxc tjUMKx'k ajKl siih the audience a« iwJI ^ ^ U,e ****towanl yourself, ^thout letting you know thai tu^, n ^Ti Vymi nvr'""'n" unde >l',l° did simple linh "Mr/or the dmmZ, fnh" hV «N^ to find your ami 1 won t do »>>*-' ThfashouW nav a ,.jm,.kl ^°11 "'Pmnls lmve ml sfiec,aL"

the J"* lis,t'mJre ^ also provide you with enough time to

I As you run through die ranis, place spwWs

M ISCEL L ANKCUS TfcCHlNlQUES

or m cards. Simply get all the canls necessary for the setup out of the park and plait? them onto the table.

M ISCEL L ANKCUS TfcCHlNlQUES

As you are removing the cards, say something suiting your character. 1 might say something along these lines: "Maybe this one—yes. This one passiHy. Pm not so sure about this cnu\ but as always, in dubio pro reo, as the Romans used to say If in doubt, vote in famraf the accused. I don't mean you, I mean the card. Yes, there iveaiv, lesjeuxsont faits, ncji ne va plus, rve made my choice." Immediately follow suit by saying, "Yes, Pm positive that all these cants are not your cant. "Place the balance of the deck which you still hold, aside and face down to your right on the table.

Pick up the cards previously discarded and give them a quick find genuine shuffle. Since they ¡ire in no particular order, it makes no difference, and you reinfonre the presentational path adopted Spread the cards in a fan with their faces toward you. In our example you will l>e holding ten cards, one of wliich is the selection; but Uiis number could obviously Ik* reduced or enlarged to suit your required setup.

Discard seven canls, one after the other and in reverse order to the setup; ilia! Ls from bottom to top. These curds go on top of the rest of the deck, resting on the table.

, ■ ,his example, you would hold (He fan in your left hand, with ^ Kor tlx- See of Spades and ptacertto downon the deck toyo*

/"'inlifihI want to reverse the positioning orthedeckaoUiat^

right If v<«!UV ,UK, ii^wdi usiudl\' looksawkward, Follow by placing thelbn, Jj^jf i^-.KUxlKiiigufSl«"«'m lfthe almost completed setup. No, you )v not the typefor ing the ^ ^ ZZ. ■ ■«or that one."

",iS("" ,'l! il did and last phase of this step-by«tep revelation, which uses a simple You now beg* UH ™ 440). Race the canls face down in a row on the table, not-

c^^'^j^SSet's assume it's in tire middle. TfeU the spectator, 'You ,nu ingtheposation ffyve thc carts ammd and Own lake one with your right riiStff selection as he's doing this If he then take his tiwm k iid the other two and place them in any order on top of the deck, where % yours** (Because they an- the last two Aces, in this setup their order doesn't matter) Thai haw tire spectator name his card and slowly turn ox er the one he hoick Everyone should be impressed

Should he take tire wrong rani with lus right Irand, immediately continue, as if completing thesetteKt? Ircfoie, by saying "Awl take another one with your Irjl hand." If he ¡ricks up the other wrong rani take both cards from him, as if he lias just narrowed down the choice to tire are remaining on the table. Tliis looks al least as good as if he liad hiken die correct rani in tlie fust place, Place tire two cards you've taken from him onto the deck. Then pro coed to iweal tlie card remaining on the table.

However, should he pick irj> his selection in Ills left liand, immediately put die last card remaining on tire talrle oirto tire deck, [raying it no attention. Immediately continue by saying "Ami now Itnntl me <n train!.. "If he liandsyou die wrong one, place it onto the balance and finish your sentence by saving "...awl keep one ran/ and one ami only." If he gives you Ills selection, look straight into Iris eyes ;ind say, "Your last choice. What was the name of your ami'Raw say ii m „ /oud, dear iwce."Tire few seconds it lakes him to understand and ansm ambined question and instniction are sufficient to simply take the canl he's auMclmg. wftg no attention to it, and place it onto the deck. Done correctly, all of these SS * 'f >TJU hal ,0 tio way from the- started tliat's tire rcMon ^,ht' laypereon, Ls quite impressive. But at top of the deck Y, " 7*' sped,1<'canls and ananged them in die required order t'f, (May its iBe hv „' J "°w U,(' 'l^t employs the arrangement or, even bet-afU^aid ^S T^"''Wck ^^ your setup, and put it into

' r patir is so deceptive that even experts will be taken in.

Final Notes

1. In the unlikely case dial the selection should be a card required tyy your setup, simply complete the stack as explained, less the missing cartl Reveal the sjxx 1a-luri3selection and then replace it on top. Follow up with a quick ir\jog shuffle, retaining the lop stock. In the relaxed moment tluil follows, simply dip cut the top card to the necessary position within the setup (Wwne /, page fll) and you are ready to go.

2. leather tliaii using the text, "IJyou em-had an mule who did simple card tricks..." I was tempted to suggest, "Masi magicians at this point uxnOd by to find your ami" line's such as this are often heard from |x?rforming magicians and I think th«>y are det-omental to magic and even to the performer himself. I have been guilty of using such lines. We do not enhara »• our stains by lowering others who an? in the same line of work, even if thiise are l>egumers. To the layj)en*m wean? all "magicians" On the other liand. mentioning the stereotypic "uncle" will not create a competitive association between "equals", hut instead makes ii clear that there is a professional, artful magic and a "puzzle magic" i>erformed by non-magicians. In live same vein, almost everyone lias done drawings in his life without t ailing liimself a painter.

Effect Using a Partial Deck

Another quick and effective way to obtain a multi-canl setup Is to fust perform an effect dial needs only some of the thirds from the deck. A good example for a performance piece is "Tin* Really Wild Nine-can 1 'IYick* from Volume 2 (page 'J21), or "Scf-n^ei Plus from Volume I (j>age 016), or any version of Oil and Water, in Which case you could proceed as follows.

Thke tJie sliuilled deck from the s|viator and start spreading the cards in your luuids with their feces toward you. To justify this action you explain thai you an* going to |*?rform a very special illusion using only a few cards from the deck so that it is easier for everyone to follow along

As you an? explaining this, drop the canls reijuinxi for the current effect onto the table as you come to them. At the same time, however, move tiie cards needed for the setup for the next effect to the face of the spread Then* is no need to make a sleight of this Simply separate the spread when you come to a relevant can 1, holding the nurl on the face of the left liand's portion of the spread

Miscellaneous Techiniques hands spreailp0<1,oa

r , > mntiniiespreading the caitls, dropping lire cams lor me immediate etlect onto nectary foryour setup to the face of the deck, one by one asyoueometotheni

, vm] plan on performing Stop TYick" (Volume 4, i>age 910), in which you nTxi all the Eights and Nines on the face of the deck, in no particular order. This method or achieving an arrangement is ideal for such a setup, in which the precise order of the cuUed cards doesrt matter.

Althou^hyour audience might at flrst notice tliai you are moving cards around in the deck, t)Msv are various factors that will later cancel this action in their memory. First, your culling sJioukl I* done \ery smoothly, and tills is a tiling to practice. Second, eveiyone's attention sIkxiW be on die cards dropped face up onto the table and not on what you are doing to the deck. This focus can be easily reinforced by veifoal strategies, such as using foreshadowing comments conconing the cards being removed, or delivering a prologue for the upcoming effect Thinl you give the balance of the deck, with the setup now on the face, a brief arid caw! fete overhand shuttle, controlling the bottom stock (Volume /, page 47), and a false ttrt as soon as Uie cards are on the table This alone will cancel any doubts. Place die balance of the deck aside and perform a trick with the cards you have ranoved.

Final Note

Should you need to set up a large "umber of aids tliat must be in a ^ifo' order, you may combine the m strategics described above. If, for to amuige all the

^^.^cmtopoftliedeck,

^ b bnnging all the hearts secretiv w'oeck strilejry. As soon as the iirrvrrr

just mmoved

After tills trick, go into the MStej>by-step Revelation" by placing die hearts in the required order fare down on die table. You can add one or two Vrong" cards to the setup, because you can easily remove them later in a single step. The easiest tiling would be to use the two Jokers as "wrong" cards» Utilise you can simply remove diem, saying they aren't needed. See Uie article titled "Versatile Jokers" (page 1000) for this and other ideas concerning the management of special cards and setujjs.

Double Turnover from a sprend in the h mis

The purpose of this versatile technique is to create a double card in the center ofthe deck as it lies spread in the hands. TYiple and quailruple carda can also be managed You will be able to apply this sleight both as a ccutrol and in an Ambttious Card routine. T\w procédure emj »loys a handling variant" on Kardyro and Christfe cantepread switch ( Volume 4, pa®e 814).

Iike most techniques, ti\is one will differ in hahdBrtg and management, de|X5\ding on the context in which it is used. For this neason, let's assume it is being ernployed as an opening sequenoe for an Ambitious Card routine.

Stiut spreading tiie deck face do\vn between your liands and invite a spectator to touch the back ofany card (Volume /, page 21 ).

Separate the spread ai this ¡joint, each hand taking a part ofthe spread The touched card Ls the top card ofthe left hand's spread let's assume the spectators seledion is tin» King of Hearts.

The left thumb pushes the touched canl slightly to the right and, using the ngh, spread as an aid, revolves the card sidewiso and over. It lands face up on the left har3 cards, and at the same time the left loosely square their cards. Notice how the caitLs in the right hand <uv held and how the last few cards are spread singly and to the left. The last card ofthe spread Ls controlled by all four right fingertips, which clip its right side against the underside oftliespread This is very similar tp the grip used in the convincing control (Volume 3, page 551).

Flip the card face down again, in the same fashion as before, and relax. A unit of information lias been delivered to your spectators, and their attention will lessen momentarily. Use tliis instant to turn the card once more face up, as if an afterthought, as follows: The left thumb again pushes the top card to the right. The right spread approaches it and rougWy aligns its lowermost card with the left hand's top card The tij)s of the right fingers act as a stop at the right edge ofthe card It doesn't matter if the cards are not perfectly square—the next move will take care of this.

Move your right hand and its spread up and to the left. The right fingere tiaving engaged the right edges of both cards, cause these to turn over as one and land face up on the left hands spread, which Ls immediately s<iuared as l)efore. The left liand's cards are now held in dealing position

The right liand sets its cards on the table, then approaches the face-up double and turns it face down on its packet Take the top can), apparently the card just shown, but in reality the extra ( tori added, and place it on top of the tabled cards. Drop or dribble the remaining cards on top. After having made your magic gesture show that the selection has risen to die top.

To turn the double card face down, you can use the natural curvature of the canls. which creates a small break beneath them. Or you can use the teclmique of the push-over double (Volume 3, page 5713). Some may prefer to obtain a break beneath the double by letting it land slightly ouljogged on the left liand's spread, and then pre« lightly downward and backwanl with the left forefinger as taught in 4Anottjer Doiible T\mnoverr (Vbhww2, pageSil).

Check Points

1. Note Uie dynamics of the gaze, which, die lx>okt only ¿is an example and find as always, are an integral part of the deception. As die spectator touches die card, look at the cards. Keep looking at die card as you turn it face up. Then look at the sjiectator to make sun^ he acknowledged and rememl>ers liis selection. LoOk back at the canl as you hum it fiice down. Now look up and say something like "Did you Know your canl has WW Imvme </uite (xm-cciled? Yes, because it's the only one you chose." It is at this moment that you rejoin die divided spread, add the extra card on top of the selection and start the double turnover. As die double card Is Tailing face up, look back at the canls and make some further comment: "Look, it fc alnady chanyttl expression—it's betiOW

ambitious." If its a court card, that comment becomes funny; but please take my text, as all the others given in your own wonls.

2. The "afterthought* dial causes you to tum over the spectator^ touched canl a second lime must fit the con-texL I líate to mention this, iiecause it's obvious, but anything illogical or inconsistent will raise suspicion. You could, for example, pretend that a sjiectator hasn't seen the canl property: "Sir, I hope you haiv sow the card" Or, depending on your type of humor: "And by the way, this canl lias an asymuulric design—U dúeSTil mattet; but I thouyht I'd mention it." < >r simply. "And jMnse n -membei your canty because its going to play on imi«n1<mt jmt naui"

3. If you master the convincing control this double lift procedure will come easily, with just a few trials since the fingering actions are similar. Ii the

Miscellaneous Techniques

I13l

(rt&indng conto! isft your repertoire. you nutf tifeh to review it

I Vre handlingg*™ Applies CD the cvntext of dw s\nibitknts Cant and can obvious^ !*• used in sftrflar rircuratenoes. It is equally possible to retain tJie riglir handk partial spread in the bind father than siting it on Hie table, using it to fiini the double rani face down, as you did when you fumed it face up. in this cane it is advisable, albeit not imperative, io hold a lefl little-linger break under die double (ant Tlie le/1 giumb can then dral flie iiKliffen?/if toj) card fact» down to the table ml reunite the spread portions of (he (leek If the left little finger maintains a break between tl\e portions asÜKymsqimd, the originally shown tart can »je conWDed and dealt with according to the requirements of the effect If you think along these lines, you will find several obvious application i. As mentioned in the first paragraph it is also possible to use the principle just described to obtain a triple liil ^ this case, simply butt together the two can Is to die right of the touched card, so that they are more or less squared before you separate the spread to turn the touched card face up. 'Hie squaring doesn't need to be precise, since the add-on and turnover during tlie second showing of the card will take care of any misalignment, ¿is already described in the double-lift sequence above. By applying the same idea, you will find it an easy matter to obtain even a quadruple lift.

Holding fiie double in this grip, rub it lighdy on your leA forearm, then on the far side of the forearm. Repeat this set of actions once more and, as soon as die double goes out of sight behind the arm, let it snap offthe middle finger while pinching it tighdy between the thumb and index finger. Do this with enough force to cause an audible snap.

Immediately lower the "clianged" card back into view below the forearm Keep the upper end of the double pressed lightJy agaii\st the foreann to prevent it from splitting (a tendency particularity prevalent with American card brands). As soon as the effect lias sunk in, the right liand carries the double card to the top of the deck and leaves it there in an in-transit action (Volume 2, page 457). The accomimnying main action will be determined by the context oi the cffe<1 in which the change is used For an example, see uCoalaces" (page 1178).

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