The Endless

Loot)

It is an^ng how many excellent ideas for magic can be found in non-magic books, in movies, in billboards, in plays and in so many other sources. Sometimes the themes can be used directly for the presentation of magic effects by applying some .small changes I trv to keep my eyes and ears open for such possibilities, and have found more than a few ideas in the past. The theme at the base of the present trick came to me as I was reading the famous book Gtkld, Escher, Bach, by Douglas R Hofetadter.57

The trick itself lias a complex and meandering paternity. It is really one of the classic plots in card magic, with roots going back at least to Johann Nepomuk Hofeinser. Then almost every m^or cardman lias developed at least one version of liis own, many of which can be found in the literature. Some versions have become more famous tlian others among magicians, but I don't know if they would l>e audience favorites as welL In any case, I would like to thank the following gentlemen for direct or indirect inspiration that lias led to the present piece: J. N. Hofeinser, Dai Vernon, Edward Mario, Larry Jennings, Harry Lorayne, Walt Lees, Bro. John Hamman and Richard VoUmer.

This Is a piece that is intellectually more demanding than others, and therefore requires an attentive audience. Nonetheless, the effect is direct, visual and can be appreciated even by spectators who might miss the finer points of the presentatioa

The magician finds a chosen card before the spectator lias even selected it.'

Constniction, Management and Script

Besides a deck of carils you will need an in<lelil)le marker and a file card or something the size of a postcard, with M C. Fischers famous I)micing Hands image on one side and the following sentences on the other the sentence below is trt je> Tl ik sentence above is false.

I keep the card in a plastic sleeve to protect it from wear. The marker is stored in my inner lefl breast pocket

Introduce the effect along these lines: "Denies Hqftodur up* a M»^™ Gtidel, Escher. Bac h Among other Oungs, h rites about 0» InnUsZ^m iZ tZ

senlctwes." Bring out tlu> pc^^ aiul * I*« Jin,| the f.,1

sentences, leading your audience through the thinking pioasa__

Firm Favorites

Tkke I he deck and, running through its faces, upjog the four Kings as you come to them.

if vou will feel like trying to imagine where the

. . the sentences yourse11. - in to a feeling of helplessness. 1

** ^ %%TeT£<*n even be perfonned in a tan* doe*

upsrttmgwiu ^/oofc <" ,/o„y A-»ou> it be^ns or

-77.rsawe/^'f « . ,i0nd and SO wi-*» » f %vith statements, but is ^ ÎSiisualb^ the concePt^lore^ ^ ^ ^^

^iTn S^s be solved using a hick' And card COLLEGE

Tkke I he deck and, running through its faces, upjog the four Kings as you come to them.

if vou will feel like trying to imagine where the

. . the sentences yourse11. - in to a feeling of helplessness. 1

Ifyou^tothink^ on ;uui on «5J3SÏSSU-»he audience intellect

** ^ %%TeT£<*n even be perfonned in a tan* doe*

^ ^ ^Mnfi^W*®"11 WKMLBe a larger board for the text and drawing.

upsrttmgwiu ^/oofc <" ,/o„y A-»ou> it be^ns or

-77.rsawe/^'f « . ,i0nd and SO wi-*» » f %vith statements, but is ^ ÎSiisualb^ the concePt^lore^ ^ ^ ^^

^iTn S^s be solved using a hick' And

Pusl1 tlie spread together into the left hand and turn the deck sidewise and face down without disturbing the ou(jogged position of Uie Kings. The deck lands in dealing position. 1 your right middle finger on the left side of the Kings and swivel them clockwise, the 'oft middle finger serving as a pivot post card COLLEGE

As soon as the Kings are disengaged from the deck, turn them like the page of a book, face up onto the deck. Spread them briefly to allow everyone to see that they are the four King»; then flip them as a unit, sidewise and face down on the deck. Apparently count the four Kings one by one into the right hand, but really take only three (see Volume page (521). Place lliis packet to your right on the table: "Lei me put the Kings aside for the moment—yoU will soon understand why. "(Instead of taking the Kings out of the deck and placing them aside as described, you could liave used them in a preceding effect, after which you steal one King.)

"And now 1 uvuld like to show ycm something you probably Imve ]never seen n mngie'mn do." Give the deck an overiiand shuffle, undercutting about lialf the deck, ii\jogging the first card and shuffling off the remaining cards on top. Place the deck aside, to your right, without disturbing the ii\jog. Your right hand, now free, fetches the Marker from your left inner pocket. 'So that you cannot later think you have imagined nil this, aril keep n written reeoixL " '"vCB

Place the |*?n on the table. Then, with your right hand, grip the deck by its sides and drop it into left-hand dealing position. The right hand helps to square the deck, during which your right thumb lifts the inner end of the ii\jogged card, allowing the left little finger to obtain a break below it. Without saying a word, start to spread the cards between your hands until yc>u reach the break, and 01 itjog the card below it for about half its length You have secretly forced the fourth King on yourself "This isn!tjust any and—its your sdei ted nnxt" 1 su-ally someone will protest thai a card haatft been selected yet With or without this ejection, you continue: "Which is quite curious, isnt //, Ixxrtuse it means I hair found your mid bej'oiv you even selected it!" Pause briefly to let everyone absorb what you have said "If you think about it, i/ou must admit this is toginilly impossible. As imposfflp as the two sentences on this cant or the dm wing by Esther. "Close the spread c leek into your left ham I Then, with your right hand, remove the outfogged card and place it fa<-e down to your left on the table.

"But maybe we can solve this dilemma by using (i trick—and the trick involves these Kings over hmn The illustration shows the positions of the caid and the thre&card packet Particularly note the position of the Litter, as it is important for the transfer move, which will Ix1 executed shortly.

, „ sort Of Vicious citric, the best umj to get out of it is to W. -Since nr 1m* me ' , ,„e ^tanl the ami was selected. Mease take any „tlrl int0 it at sow point- Qn jts faCe, so that you mag trust your own eyes lat,,"

¡¡an tike <mdlio* ''f"^', . (anls y0ur hands and liave the spectator take any one Suiting action to word, spa« ^ ^ Makc ^ he shows the sign«! card to everyone' which you then ** lun| t]ie ond and also allows a few seconds for the ink to diy Left aasumel M iTte in vourhands, break the spread near center and take back the selection Atfimspn*^/^ older to show the signature to everyone, your right lurnd 001iS^tteTtion of the spread and raises it to a vertical position.

When you lower the right liand's spread to rejoin die left's, die selection is stolen beneath die spread and die card to the right of it outjogged in its stead In other words, you execute die convincing control (Volume 3, page 551). The illustration shows die final position. Notice liovv the tiuunbsare moved outward, in the language of gestures, telling die audience dial everything is fair and above board Square die spread into your left hand and hold it in dealing position, but leave die indifferent card—supposedly the selection—outjogged.

"Please lemember Uvve things ami don) forget them: the four Kings over hew—Uwtis the trick.; one ami over there.; irhirh should actually only exist in our imagination— tluits the paradox; and your selected and signed ami—thaVs the reality." As you say this, your right liand first points to die pile of Kings. You then transfer the deck to the right hand, taking it into end grip. In this action your right middle finger moves the outfogged card a bit to the left as shown.

Without a pause, the right hand drops onto the three-card pile, lotting the stolen card merge with the tabled Kings.

As the left hand leaves the deck, with the intention of pointing to the single card tying to your left (the fourth King), the tips of your middle and ring fingers push the bottom card (the selection) a bit less tlian an inch to the right. Mere the card is gripj>ed at its outer right comer in the inner joint of your right little finger, and at its inner left comer by die pad of your right thumb (seen here from below). This is how I hold it, but you may wish to artjust the grip to the anatomy of your I land.

Finish the alx>ve sentence by briefly pointing with your left l\and to the ouflogged card Actions and words must be coordinated to make sense and to ewer the sidejogging of the card.

Immediately continue, "This ami oivrhenp.. ."With your left hand, point to lite card on your left and wait until die audience's attention lias shifted to that spot."...well iMace between the four Kings"

Just Ix-fore uttering these words, and while you remain gazing to the left, you use the transfer move (Volume 3, |>age 516) to add the sidejogged card secretly to the pile of three Kings as follows: Your Ixxly turns toward the King pile, which automatically moves your right hand and the deck about two inches to the left of the King*. With your left hand, grasp the deck, thumb on the I jack, first two fingers on the face, and hold it stationary as your right hand continues its riglitward movement, taking the clipped bottom card with iL

Now pull the still ouyogged card squar. into die balance of the deck by sliding your middle fingers along the sides and inward as shown here. (See page 1212 for more handling details.)

Hold the five-card packet at its inner left comer, between your left thumb and index finger. Look into the audience as your right liand draws off the top can! and turns it face up on the table.

Only now look at the packet and draw the next card, a King, from the bottom of the packet and table it also face up, diagoruilly overtopping the inner right comer of the first King. Take the next card from the bottom and place it face down on the first two Kings; then deal the new bottom card, followed by the final card, both Kings, face up, completing the diagonal spread as shown. "A King, a second King, a Utile bit of nothing, a third King and a fourth

"Now please name the card you sctechxL " Wait until the spectator lias done so. Pointing to the face-down card in the spread of face-up Kings, say, "And if this is yow stin ted card then it must be true that I bane found your nod txfoiv you had evert selected ft''Lei the spectators think for a few seconds, then turn the face-down c:url over, first toward yourself, for a little suspense, d len dropping it to the table ( if only a few spectators are \ in-sent) or holding it face outwairl over the King spread (for a laiger group).

1 like to finish by saying, Which jnoves that a trick that has no eJCpUmatian is sometimes better than some philosajMes that can be erplairtffi "

Final Notes

1. As you execute the transfer move, note that die card Is never fully patafld, but is simply clipped as described. Hie secret of the invisibility of the transfer is timing. If you have spectators on your left, till the deck slightly down at the right, si) that the anglejogginl can! can't be seen by them.

2. There are many ways to nvich the final layout used here. Thosi' proficient in false dealing may want toitse their skills as eagerly as will Ik Severe in single card switches and topological optical illusions After studying all applicable systems known to me. I haw < hct*-i» to adopt the prvsent handling, as it works evtiy time on everyone, pnmikMl you give the nxjuintl atlenticM to tiie nuui ¿igeinent of your gpize, and make the <tailing<»f the List 1« >i ir can* vu> < enue, so that theaudtence set«deaity tiiai they come fn m tlx * bottom

• methods use prearranged or special decks, or rely , , thG jK>st and most convincing n ]inirallv simple and its l>asic premise w Technique." Due to its scant description, 00 uhZd to Hugard and , performed nowadays. 1

Wfiperfomied it for laymen * S'i effect in my Se accumulated make the ideal outott*

S^s alike. 11.0 experience ^ hLs ^ted auxL And for those few tin«*

S252 ss^ ^in my op ^b more 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!

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