The following effect features a classic plot, Card at Any Number. Its origin can be tracked , \ , " ,() necremps's seminal Les petiles overtures deJ&vme Sunp, Pmjesseur de mutuant,? 1 feel Unjustified in deluding i. in this course because the method in diefoDowing version is so extremely clever and naton* ,t wrtl fool experts, with-,1 iisniTifldne eitherclarity or coherence for the laypersoaln addition, I dont know of anyone using (Jus niece exevj »t the great Tamariz, who drew my attention to it, since it is well hidden in a wonderful little book by the ingenious Pereian magician Rezvani, who resided in France.-'


By allegedly using lus telekiiietic powers, the performer moves a freely selected card to an equally freely selected position in the deck

Constmction, Management and Saipt lb set the mood for this piece, you might start with the following prologue: "Gusta vo Rnl uvs n famous medium who lived in Tloin in Die second ha(fof the hvetdieth century. He gave ¡dances mainly for Italy's high society and tvas considered for many yerns an outstanding a?xmeut in Msfield. He<lid many incredible things, and I ivoidd like to show you one of his inexiiicable mimctes, in the theater of the magician."

Have a card selected and, as usual, shown to everyone, to make sure there will be no misunderstandings at the end For the sake of this description, let this card be the Three of Diamonds. Have the ami replaced and imperceptibly control it to the lop. Using a crimped key cani in a ribbon spread would work fine in tliis context (Volume 1, jrage 138). Overhand shuffle the deck after the card lias been replaced below the key card, so as not to separate it from the selection Then cut at the crimp to bring the sjjectator's can I to the top. This is a very natural procedure for liaving a card selected and then apparently losing it in the deck The idea here is to use a minimum pf contrived liandling.

Immediately drop the deck face down on the center of the table and cover it with some kind of transparent object, such as an ashtray or a wine glass. Not only does (las look good, it ;ilso prevents anyone from believing the deck could be manipulated by yoa

The presentation to follow will greatly depend on the situation vou are in and the tyix» of audience Tor which you are performing If in the context of a small private party, I like to liave a s}>ectator stand next to the main light switch for the mom. I then ask all the others sitting with me at the table to fonn a closed Circle by holding each others hands If this is not your nil> of tea, or if it doesn't seem practical in the circumstance you find voureelf, simply ask a spectator to finnly place his two hands on top of the glass and to make sure no one on, spectator the light switch is ask«l to think of any number lwtween

Z r* " ,ifty-hV° '»" to speed up matters, 'it should be a num-

ZZS I , ,W"n,y %«» restriction sound very casual, so that its •iy , .,. . lS11 ,o nious- "len ask the sjiectator to switch off the light when you shout, A"", hich you then do. Immediately tell him to turn the ligl it on again.

Let the spectator who ous and hghtrheaited, depending on your performing style

Let's now presume die spectator lias called out, "Eight" Take the deck and hold it face down in dealing positioa \Vidi your left thumb, push the top card to die right and grasp it in your palm-up right liand, thumb on top and first two fingers at die inner right comer. Count, "One"

I\isli over the second card and take it onto the first, counting, Continue counting cards in this manner until you reach seven, each time taking the new card < >n tof > of the previously counted ones. It will take a little practice to make this "reverse courif feel comfortable to you, bi it eventually it mast feel and look as if you did this every day. The count takes place on a horizontal plane, so that everyone can see the backs of the am is, and it should be done very slowly and deliberately. You have nothing to hide. As you take the counted cards» make sure diey are roughly, but not perfecUy, squared.

We now come to the crux of die nick The left thumb pushes Off the eighth card, as it did die seven cards previous to it. [>o not take die card immediately, but stop a moment, saying. jmd eight"Tipping the card lightly and casually with the outer left comer of the right handb packet. Tliis pause is wry brief, maybe half a second



71,0 right liand now approaches (Jus eighth cml to take it unaer me canris already do „ show it to the audience. At this veiy moment the tips of your right index and iSl-T ^ on the face of the pushed off card near its inner right non-index comer, and v ^

thumb is still in contact with the back of the caiti. '' your left

, „.es taking die pnshed-off card beneath the cards already counted and P right Iwnd smiulates rawi« ^^ ^^ ^ audienre As you do this you will feel ves upward to present m ^ over the face of die card and then its edge, the

While the right hand is on its way to its final position, where it will display the card to the audience, you arid the following touch: The right middle finger veiy slightly pushes the face card of the jxicket to the left, while all the other cards above it are controlled by the thumb on die back and the index finger on the lace and right side. The ring finger also helps to stabilize the jiacket by pressing lightly on die inner end, lending support for the packet as it moves to a vertical position This will result in sliglidy offsetting the card on die face or the packet. The illustration shows tliis situation from the audience's view. It looks as if tliis card lias really been taken onto the packet.

With the eh^x reached, the foUowong actions subliminal* reinforce the idea that the ami came torn the eighth posidon. Tlie left hand plac es the balance of the deck onto the tahl,

^ tu^ Tm Pl f M°n flOTn *** ^ ^ P*» diem on top of the abled deck The nght hand remains stationary, displaying the face of the spectator**

caitL The card can now be handed to the incredulous spectator, as if to say, "Yes, this really is your card!

Final Notes

1. Taking the cards one upon the other during the counting process, and then taking die last card underneath, on a g first reading might seem like a discrepancy, but it Is not. It Ls a very natural way of taking a card in order to iinmediately tum its face outward for display on a vertical plane. As soon as you understand diis, you will be able to naturally interpret it. TYust me when I say dial tliis is a truly excellent method for the Card at Any Number

2. I have chosen to mention Gustavo RoL as he was considered the top medium in Italy for many years. This Is a presentational hook If you are interested in learning about Rolls extremely interesting experiments—which were obviously magic- tricks—1 urge you to read the several books written about him.™ You may, of eowse, adopt for your use» any other medium you know to have existed and about whom you can find some pertinent information.

It goes without saying that the method used to bring the selection to a specific number can also be employai to force a card. For tliis, have the force canl on top of the deck Ask someone for any numlier, preferably something no higher than twenty, and thai proceed exactly as described If a specific card must be forced, you could ¡xilm it from the deck (Volume page 273, and Vbtume J, page 705) and liave die spectator shuffle and cut the canis Then secretly replace it on top (Volume page 285). Or, if you needn't force a specific card, you could gBmpse the top canJ after taking back the shuffled and cut deck, and then go into die actions described to force this tant I favor the toj>-caid riffle gKmjee in diis Instance < (Volume 2, page 356).

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