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ack in 1962, when Frank Garcia took Peter Kane's "Watch the Ace!" (see Hugards Magic Monthly, Vol. XDC, No. 8, April 1962, p. 89) and modified it into an effect he called "Wild Card", he created an unquestionable classic of twentieth cenmry card magic. Seeing a group of identical cards change one by one into duplicates of an entirely different card is visually striking and very magical. As I've just mentioned, one problem I found with the original routine was that it required that you work on a table. In the engagements I get for close-up magic, performing an eflect on a table is often inconvenient. So I set about "taming" the Wild ( !ard for such environments.

In the handling you are about to read, you will see that the entire routine is performed in the hands: yours and your spectators'. In addition, when you are finished, everydiing is reset for the next performance; and should anyone decide to follow you around, watching two or more performances, diey will see you start with the same cards you previously finished widi and cliange these to duplicates of a newly selected card. In other words, the Wild Card packet changes to another card with each performance!

In creating this routine I have managed to install certain psychological ploys that convince the audience that they have seen die faces and backs of all the c^rdfi. Becausc of this, other magicians aie convinced that double-faced cards cannot be in use, though in fact they are. I'm rather proud of the presentational and psychological structures built into this routine, as they successfully embody many of the theoretical ideas I express in this chapter and throughout these two volumes. To elucidate these points, which are quite important to a proper understanding of the trick, a number of pages will be needed to explain a routine that takes only two and a half minutes to perform. I Iowever, I think you will find studying all this an effort amply rewarded.

You will need a force deck made up of four banks of duplicate cards. The four cards that make up these ban ks should contrast vividly with their neighbor on either side. An example would be: Jack of Diamonds, Seven of Spades, King of Hearts and Four of Clubs.

The bottom card of each bank is a long card (Figure 1). That is, all the other cards liave been trimmed slightly shorter. You need to mark the backs of the cards in the second and fourth banks at the left outer and right inner corners. These marks are used by you to identify the boundaries of the four banks during performance.

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