The ME Pras

ETr me explain how I developed ' The Tamed Card", the routine for 'Wild Card" I you are about to read. I think the story will hold some interest for you, since the

WfcyScl evolution of the roudne shows clearly why the routine is constructed as it is. In addition, you can see how the creative process worked inside my head.

It was around 1968,1 think, when I bought my first ''Wild Card" set from a dealer in Amsterdam. The instructions accompanying the cards described what is more or less the standard "dealer version' of die trick. It went almost straight into a drawer I reserve for tricks I consider lousy.

The handling really was terribly constructed. It was based on two very easy (and trans-parendy obvious) sleights. These sleights were repeated again and again. The handling was more confusing than it was deceptive—but it was easy to do. And that seems to be the most important consideration when designing a trick for good sales.

Some years later, I bought another version of "Wild CardM from Ken Brooke. This was HansTrixers routine, "Wild, Man, Wrild". Now this was something totally different! This routine was elegandy constructed. I urge you to acquire it, if only to study it. Especially note how Hans transforms the last four cards. Properly performed this segment is a masterpiece. I don't think it can be improved on.

Eventually "Wild, Man, Wild" found its way into my repertoire. The trick turned out to be very effective. I also learned a lot about how people perceive die "Wild Card0 effect. This later made it easier for me to create my own handling and routine.

In Hans s routine the backs of jokers change from red to blue. Because of its clever construction, in all the times I've performed it no one has ever suggested that I might be using double-backed cards. However, there were times when I heard people suggest that the trick was done with chemicals. This isn't as ridiculous as it might at first seem, when you consider that there are litmus papers used to test for acid solutions, which change from red to blue or blue to red. After hearing these theories, I thought it best to alter the effect to one in which the faces of the cards change instead of the backs.

I had devised a presentational reason for changing die backs of cards; buL, alas, it didni translate well to changing faces. This meant I was stuck widi a trick widi 110 presentation.

I don't care how strong die physical effect of a trick may be; if I don't have a proper presentation for it, in my estimation there is no effect. So back into the drawer the thing went.

It would probably still be there if it weren't for Flip Hallema. One day Flip showed me his routine for "Wild Card" a version of wliich he eventually published in PabuLir (Vol. 1, No. 8, April 1975, p. 89). It certainly is worthy of your attention, as it is a remarkable example of routining. It begins slowly, then builds to a crcsccndo that almost automatically creates enthusiasm in your audience and inspires strong applause.

The Pabular article, however, does not describe die exact presentation Flip used when he showed me his routine. That presentation is one of rhose rare instances in which every detail is justified and there is a logical reason for everything; not just plausible excuses, but solid reasons! Such presentations are rare.

Flip allowed me to use his presentation, and 1 have developed and performed several versions of the effect based on it. Eventually I felt that the only thing keeping the effect from being totally practical was that table spacc was needed to lay out the cards. So I created the handling you arc about to read. An added benefit of this tableless handling is that the cards end up in the spectators hands, which gives the audience the impression that the cards must be normal and unprepared. This, of course, gready increases the effectiveness of the trick. Having said this, let me describe "The Tamed Card" in detail for you.

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