Wallet Bound

In the preceding article I addressed some of the problems I found in using a wallet as a place to produce a chosen card. Nevertheless, there are time« when using a wallet « £ ¡2 in& such as when the wallet is used to cany other materials for the act IV j^SSn and handling thai foUows shows how I Irave solved most of the objections previously n, >ted The elements used are fairly standard, but the details of presentation and methi id their combination are my own. IYe been told dial the very dever Trevor l^ewis of Wales has independently devised a related, yet different, approach. A concise description or my handling was first published in Uie British magazine Pabular.™ An updated version later appeared in a set of lecture notes of mine, which was Issued in several languages.01 Tliat text Iras again been rewritten, and considerable details and sources Irave been added for the present volume.

The effect is explained with a Baldura-type gimmicked wallet, sometimes called the "Fred Kaixs Wallet", which can hold aset of envelopes, lire Balducd wallet, available through many magic suppliers, Iras built into it a special slide tliat aids you in effortlessly loading a cant into a slit envelope, within a zipixred coni|)ariment of tire wallet If you have another ginrnricked wallet, but it won't accept a set of envelopes, you can do the trick equally well without them. And if you don't use a gimnricked wallet at all, you can use the LePaul envelope set described in the preceding article. 1 —.*

After quite a humorous situation, a sj xxlalor's signed canl reappeareinsitleasealed envelope inside the zippered compartment of the performers wallet.

Pixzpamtion r

If you have a Balducci wallet, and iftlie zippered CtHTputfflfent aUoWsit, load thecomi>artment with an envelope tliat lias a slit, as per the instructions for the wallet. In with tiiis envelope, add Uiree other distinctive envelopes. 1 use a smaller, colored envelope tliat looks like a love letter, an airmail envelope with British stamps, folded in half, and an envelope of the same type as the prepared one. The illustration shows how these envelopes are arranged And, as mentioned above, you can substitute a LeP&Ul envelope set for the wallet, if you) >refer.

if vn, I isi> a wallet dace fifty dollar in Ihv dollar bills into another compartment of die wal-Ku^l^l SZ^ a lot (if money—you may increase die amount ifyoulike. You ^So ake twenty onedollar bills and top the stack with a twenty dollar btlL Place fe ¿¡tt or packet of envelopes into die inner left breast pocket of your jacket.

Construction, Management and Script

"/ am convinced that this qffect will become ymtrfavoiite tonight You may win My dol-lacs tight hciv and now. 1st mc from vour pocket, extract die bills inside and exhibit them (adjusting die senpt to reflect die amount of money you wisli to use here). Replace die bills in die wallet and put it back into your pocket As you do this, pull up die sjiecial slide in the wallet, setting it for loading the spectators card into die sealed envelope witiiin the zippered compartment

This lead-in neatly solves diree problems. First, it serves as a brief introduction that sets the stage and creates an initial interest. Second, it prepares die wallet to be loaded And third, a logical use of die wallet is immediately established: It contains die prize money. Tliis forestalls the audience, later in the presentation, from jumping prematurely to the conclusion dial die spectator's caid may be inside die wallet, a surmise dial often occurs when you pull out a wallet at die end of a caïd vanish widiout having used it beforehand

Ifyou are using a set of LePaul envelopes, you can have die bills in a money clip, which you take from a pocket near dial where the envelopes are kept. If, for example, you liave die envelojies in the left inner pocket of your jacket, you might cany the money clip in your upper left vest pocket, or in the breast pocket of your shirt, ifyou are dressed more casually.

Ask someone to shuffle and cut the cards. Take back die deck and comer crimp the lxjttom card (Volume 2, page 217). I prefer to have die spectators liandle the deck in one or two prior effects. When starting the present piece, I overiiand shuffle the cards, in the action putting the crimp into the outer left comer of die top card, which is tiien shuffled to the bottom

(Volume 2, page ¡348). Using an all-around squarenip, turn the deck end for end, bringing the crimp toward yourself.

Have someone sealed to your left select and sign a caid As Tve mentioned before, a green jiemianent marker Is best for visibility on red and black canls. You must next have the spectator's card replaced beneadi the crimped card in the deck Here I suggest the key-aud-m-nbboMpread placement (Volume 1, page 1:38), swing cutting a little less than a third from die top, having the spectator replace his can! on die left hand's diiid, after which you immediately drop the the right handfcpacket on top. The crimped kev caid is now about hvo-thiids down m die deck and directiy above die spectator's signed can t

Tï^Z?^'10" LS USWl t0 bring s^0»to »op cleanly and secredy: "7b

M <>"* ** intn four packets and then <1wose one of the four. Mew packet contains your previously selected card, you win the money."

ïïr" nr ^you «a t ton,mailer m pr«h™ a . . 3 row of fo,lr p^ts as follows: Cut the

(Vbhane > naop m'n ! . f™***1 ^e bottom caid of die packet page .349). Qus packet should contain about twelve canLs. Place this packet at

Position C. Dai Vernon—the Master again—tells ustnluMi, ,. using a light touch release all the caTUTSS^u ^* "W'h; aM'n-directly to the crimped card However, you ZZSSS^t H ^ ^ to<T" Ls not always safe, especially if you wortEXo™^ ' ^m Uu' ^ ** altered the condition of the cards. To aoSSr^f ^ ''U'(1 humidi,y ihis: Look at the spectator; explaining, S^nnJT*^

cut Me > pivcision. Look intently at the inner end of the cutis m if y' t n-

nearsighted, overacting a hit to make the point, and simply cut the carxb* the crinrp '11 iis by-play ls amusing and it allows you to cut without failure to the crimp

As you drop this tliirrl packet onto the table, you have cover for your left litHe finger to obtain a break below the top card of the left Irand's [jacket. You are about to drop tlris fourth packet onto the table. "This will give you four packets, about this size," In illustration of your words, gently riffle your right thumb up the inner end of the packet and glimpse tire top card (Volume 2, page ¡355). Let's assume it is tire Seven of Clubs.

Drop tlris last packet, which lias tire selection on top, to the right of the odrers, at Posilii hi D.

You are now going to collect the packets on the table, and in the process you will palm fire top card I find Dai Vernon's method is still (hebest in this situation (\Wume ¿.page 273) Here is how I manage the palm in tlris situation. Assuming that Ttn standing behind the table I step to its right side. Tlris creates a new space, in which you take the role of speaker or cho.r in classic t heater. Standing in this space, you make an aside to the audience: The last wan u ho did Hiis cut three very small jmdcets and a very law arw-bnt he looksjn, ton* he u .n't do that.'' Use- your thumb and index finger to in, licalc. hedu< *» don't look at the speetator, but into the audience. This thealncal can*«,f space, dissociated from the- main acting space, is almost never used ur doanip magic

If, on the other hand Fm seate.1 at the table 1 simply lean ^^^^ the aside. Uris alse, works well and is powerful psychology nusd,re<iHK. because it cn sihini w .tv.i Li mif .i- onii .t ttn> same time cues the s^jectalor in lusacoorcv

I 'sine thr moment of relaxation created by this comic aside, step or lean back into performance die fourpfles from right to left with an a^.erated pace, coUecting diem in right-hand end grip. The amis «ill naturally be unsquared^whicli affords a reason for your left liand to join

iokintfy kxikiiifi aI (he spectator, you palm the top card m your nght hand. Immediately drop the deck, from die height of about an inch, in front of die spectator. Because lie is seated to your left this affords mom cover for die palmed card. Dropping of the deck, rather than setting it onto the table, gives your right hand aiuore relaxed appearance. Furthermore, the action of dropping the deck, and the plopping sound created, serve to direct attention to die deck and away from die palming hand, which retires at normal speed and gently drops to your right side, or to die table edge, or onto your right thigh, depending on your situation and preferences. Simultaneously, in die perception of die audience, the right liandls movement is (»mpensated for and canceled by your left hand, which moves faster and with more energy toward the spectator, finishing widi a palm-up gesture and a comment such as "Aiv you ready?}1 The question serves as extra misdirection, as ¡ill questions do, since they demand the spectators' attention in die fonn of active diinking, necessary to answer die question for themselves

If the spectator takes your cue and cuts three small piles and one large one, it will be very funny. If he doesn't, nodiing important is lost. While attention is on die spectator cutting the deck into four piles, take out your wallet, at die same time loading the palmed card into die sealed envelope. Outwardly, this action is justified by saying, "Let me (jive the money to a tmsluwlhy gentlcmath You will then give it to whoever wins." Hand the wallet to a spectator sitting away from die door, and perhaps between other members of the audience, making it obviously difficult for liim to stand up and leave. Smile at this spectator and say, 7 aluvys pick someone sift ingfurthest fmm the door. "Again, diis light situation comedy keeps ¡>eo-ple's minds relaxed and prevents diem from giving too much weight to your actions. This is die mindset you wish to produce, as it affords good cover for die paJm and the load.

You now have done eveiydiing tecJinically necessaiy, before the spectators even know what is going to happen. This is a fine position for directing and keeping attention, and for leading your audience communicatively to the final outcome

Have» die spectator choose one of the four piles. Pick diis up and look through it very quickly, faces toward yourself. Act as if you see his card, saying, "Of caui'se you nuiy change—if you ivant to." Tliis is funny, and after tills the spectator will obviously not cJiange his mind 1 fold the ¡>acket face down in left-hand dealing position, tiien start dealing tiie cards face up into a column on die table. FVoni time to time peck at the card you an- about to cfeal, lifting its inner end; then deal it. This gives the impression that you are looking for Uie selection.

1 onunue dealing until you reach thp Ia^ iwa-*»vie ing, yet comic fashion. *

You now announce triumphantly, Tm ^ am/ fe not among Qumu" The specta-tore wiU be quick to inform you that they know exactly what you've done. Now comes a last fine point. Remove the facedown card from the spread, silendy admitting your tmlum and look at it. Then look at the spectator and miscall the card you am holding as die spectators card, which you glimpsed earlier. 'Was your ami the Seven of Clubs?" Pause. As soon as die spectator admits dial this is indeed die identity of his card, smile and turn over the can! you hold, showing it to be a totally different one. "Well, then hn very happy to say that this is the King of Diamonds!" Name the card you are displaying.

Show dial the spectators card isn't in one of the other diree piles either."Yesterday someone took the Seven of Clubs—and I lost thefiOy dollars. That's when I said to myself, Roberto, this won't happen to you again. That's why I have—juiced the Seven of (lubs—from the very beginning—in..." Start searching for your wallet, patting your pockets, until you notice—or someone makes you notice—that it is still being held by the person to whom you gave it If this person isn't already sitting at your table, ask him to join you, bringing along the wallet.

I like to execute the next actions slowly and delilierately. I remind myself on such occasions that, for an innocent audience, the finding of a signed card in a sealed envelope inside a append compartment of a wallet is so incredible thai the resulting psychological process ibr die spectators must lx> carefully IohJ if you an? to achieve optimal conviction and emotional impact. Here is how you achieve tliis: _

Let die spectator open die wallet and direct him to start to open die zippered compartment. Before he lias completely opened die zipper, take the wallet from liim, holding it by die pull tab, so dial the wallet dangles from it. Tills creates suspense and also makes the situation clear to spectators sitting farther away dial there is a zipper.

Now finish opening the ^ The on, ^^eZZ tX^t effect will be Ural you sneaked the card mto nlust be slow and stack of envelcipe&Tb avoid this idea being entertained, your moumentsnn_

dear, and (heir junction must I

just this solution but aII possib possible solutions is based has - .v> mvnninion die fin t^vsparent to dieauaieiux. hi» ® m«u.i ^ cmiuiuu le solutions. (The theory on which this idea of eliminate been applied by all great magicians of die past. Slydini, -t 10 use it consciously in lus work, and no one lias put


rompartnienl, giving me -

I,My. I collect my own convspowience nuiuUlA. J

Is palm toward the I hand, nor in my Tieroftlieappered have an eccentric

Reaclung \\itli your riglit thumb and index finger for the envelopes in die compartment, you continue, "Just because Fm a kind peivon, and for imsons of logistics, ill take out these envelopes "Remove die envelopes. Then, with your lefl liand, place the wallet aside.

You next adjust your hold on the envelopes, takm* ih* • ♦ t your right thumb Is positioned to cover the slit J,» » Rrip ahawa- No«<* how eventually exposed to view. " ^ ^ enve,0F* when that envelope is

With your left hand, remove the top envelope from the stack, then the second envelope, making a comment about each, then placing it onto the table. For example, when you take the first, envelope, which looks like a love letter in a lady's liand, you might smell it, dien look at someone. 'litis is none of ¡jour business; its venj private" Tills is said humorously, since you don't want it to be offensive. The envelope is placed aside on the table. Next take the envelope with the British stamps, saying, "This isftxmi Queen Elizabeth She uxnitcd to knight uu\ but, chit, icell..." Place this envelope onto die first. When you take die next envelope, look al it and comment, 'This is firm the income tax office—never mind it." Place it aside with the others on the table. Your right diumb now lies directly over the slit of the prepared envelope.

From tliis jx) int on, use the handling explained in "On the LePaul Envelope Set". As soon as the spectator lias taken out die card, make sun» he shows it clearly to the other*. You may at tliis point wish to take die card and envelope into your own hands and say, "What I dont understand is how this Seven of Clubs—got your signature on it. "As Ken Brooke always suggested, keep die signed canl with its face toward die audience, next to the envelope, for at least five seconds and shut up. The spectators need time to analyze die effect and eventually burst into applatise.

Final Notes

1. I have studied dozens or excvUent ver- involved fit*n die fir* moments,an ele sions of Card to Wallet, and many lesser mentdiat kLs^wa^l.viiatoppnonty ones, I iut I find die one just taught at in my pntomi «in I work least for me, to be the best (Jne advarv 2. If you play this sincerely, the situation tage Ls that die spectator* become com«* produced in this presentation

will 1)0 powefül and engaging. And the liandting is technically undemanding, the ¡jähr»rig being covered by strong misdirpctioiL

3. I place my address on the back of the envelope, since die person you give it to at the end of die perfomiance lias a strong tendency to keep it for a long time. Since I don't like to sell myself obviously, but I sfill like to be booked and feed my family, I make this comment. which suits me: "//you have any questions, my phone number is on the back of the envelope. Yon can call me until two o'dock in the morning; (¡fier that send a fax or an e-mail. "

4. If you decide to use die LeRaul set of envelopes described in die preceding article, you need to adapt very little here, and most clianges are mentioned above. As a justification for bringing out and handing the set to the spectator, as soon as you have loaded the selection, you might say. "If I slwuld lose this bet, I have taken out soijrie insuwnce. Would you please hold the policy Jar me. Never mind the ivst of the (xjn*>$]xmdcntv. I used to dale my insurance agent befnv I mairied her." Wliatever you say, try to find a way to link the other envelopes in the set to the envelope thai will eventmilly be shown to contain the signed card. Hie insurance policy presentation mentioned hen? is one classic example of how you can stage the use of the envelope card college

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