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It all began one Sunday morning when I joined a group of magicians from Madison for a session of astonishment and fried eggs. The discussion drifted to Martin Lewis' "Stampede Second." I recalled the first time I saw Martin perform this disturbing visual paradox and was inspired to develop a semi-impromptu version. Don Voltz also recalled the undeniable thrill upon first witnessing this strange stamp phenomenon, but felt that there had to be a more practical method...one that was even more user-friendly and did not require a piece of polarized metal. A few days later, with the aid of a little friendly nudging, Don successfully nailed down "Stuck!" which now remains a permanent unremovable feature of his card work.

E.FFE-CT - You lick a postage stamp and stick it onto the back of a card...then demonstrate an unearthly supernatural second deal that is unlike anything that any card-shark has ever dealt before.

TiJE. 5TAMP <;AFF - Obtain a book of average looking "lick-style" postage stamps and one average looking non-licked playing card.

Cut out a small square of card that's slightly smaller than a stamp directly out of the center of the card...so that a tab of card remains on the left side of the square (FIG. 1). Permanently stick one stamp onto the center of the gaff.

TLlEL 6TAMP &00\L c;AFF - On the back of one of the attached stamps affix a small piece of paper (glued on two sides) to form a secret pocket Insert the tab of the stamp gaff into the pocket for a snug fit (FIG. 2). All should appear normal as in FIG. 3.

TJ-lL 6TUCkl 6TAMP - Stick a matching stamp onto the center of the back of any card.

6ELTUP - Place the stuck-stamp card onto the face of the deck which is then cased.

plef^E-MANCL -

¿TE-P ¿?NEL - Begin by explaining the elusive second deal and how certain poets of the card table will spend years perfecting the illusion of dealing the top card when in fact the second card from the top is dealt. Why someone would prefer the second card to the top card is a mystery you're still trying to get someone to explain to you...but that's for another day.

Demonstrate your best or worst second deal depending upon how you feel. Since you're instructing the spectators about something they have probably never seen, you can clearly pull back the top card as you deal out the second card from the top. Repeat this a couple of times until everyone understands the basic idea. If one of the spectator's can deal a better second than you, then by all means let her do the honors.

6TE-P TWO - Comment that you will attempt a near-impossible exhibition second deal with the aid of a stuck-on stamp. Open the book of stamps and pretend to tear out the gaffed stamp...careful to conceal the tab with your left thumb (FIG. 4).

Cut off three-quarters of the deck and table this upper portion to the side. Your right fingers pick up the remaining 12-14 card packet (with the stamped card on the bottom) from above by its ends.

5TELP TJJR.E.E. - Pretend to lick the stamp while actually licking your left index fingernail (try not to make a habit out of this). Tilt the back of the right-hand packet toward yourself as you pretend to stick the supposed normal stamp to the center of the top card.

Hold the "stuck" stamp onto the center of the top card with your right index finger which is naturally curled on top (FIG. 5). Do any final adjustments with the right index finger to position the gaff so the tab lines up with the back design of the card. Transfer the packet into the left-hand dealing position (FIG. 6).

Note that the left side of the thumb (the side of the thumb on the left) rests on the white border of the secret tab. This is the only point of control for the gaff. Be careful not to slide the gaff off the left side of the packet as this will cause the stuck stamp to lift off of the card which is not the effect you're going for. Adjust your grip for the most comfortable control of the gaff.

6TE.P FtfUE. - Now very cleanly and slowly begin dealing the cards out from underneath the stamp. It appears that supernatural "seconds" are being dealt from under a permanently stuck stamp (FIG. 7). Continue dealing the cards at a moderate pace while your audience attempts to deal with the undealable.

6TE-P F1\/EL - When only two cards remain in the left hand (the top card with the gimmick and the bottom card with the genuine stuck stamp) tilt the front ends of the two cards toward your right fingers (the angle naturally conceals the stamp gimmick so it's toward you as in FIG. 8). Your left thumb easily slides the gaffed stamp into a left finger palm as your right fingers toss the two cards face down onto the table (FIGS. 9, 10).

6TELP 6IX - Your right fingers now pick up the book of stamps, transfer it to the left hand where it's pocketed with the stamp gaff. Sit quietly as folks fondle the permanently stuck stamp.

• Check out "Free Ride" (see Index) for a way to load the stamped card onto the face of the deck while on the run.

• We opted for the small packet handling for maximum simplicity, but there's no reason why you can't create your own personalized full-deck "Stuck!"

R.ANPY TANNE_R/e>UP PIE.Tf2.ICiJ

p> ud Dietrich promised me that someday I'd L^ see his name up in lights - because he's changing his name to "Exit." I told Bud that if he ever attempts this cheap publicity stunt I'd get back at him by changing all the "Exit" signs to read "Bud."

A few days later I apologized to Bud and told him that he's among the handful of professionals who have made me proud to say "I'm a Magician." Bud then returned the compliment by remarking that I was among the handful of professionals who have made him proud to say. "I'm an Exit."

In honor of our deep friendship, Bud has generously contributed a professional effect right out of his own trade show routine! An idea developed by Randy Tanner that's worth it's weight in exit signs to the working magician.

ELFH=-CT ■ "SuperSack" is an ingenious approach to the "signed card in the envelope" effect. It's one of the easiest, most practical methods that I've ever had the pleasure of performing.

PREPARATION - Obtain a quantity of small paper bags. The ones I have measure 4"x 7' when fully extended. Tear one wall of the bag as in FIG. 1.

The tear is made about two inches from the top. across the bag's width. Note that the tear is on the side of the bag that contains the "flat lip" of the bag's mouth.

Fold the open end of the bag at a point about half-way between the tear and the mouth. The folded top now conceals the tear (FIG 2)

Seal the bag by putting in three staples near the edge of the crease. Tuck the end of the bag into the tear (FIG. 3).

Place the prepared bag into your left inside jacket pocket so that the tear is on the outside.

Six or seven bags prepared in this fashion can be kept in the same pocket - allowing you to repeat the effect for different audiences without having to reset for each performance.

"Super Sack" can be used as a climax to any routine using a signed card, or as a means of reproducing any small borrowed object that's been vanished.

5TE.P ¿?NlEL - Secretly palm the signed card out of the deck (or the borrowed object after it's vanished) and place it into the bag via the tear. Pull out the tucked-in flap as you remove your fingers from the bag, and the bag from your pocket. The stapled bag can now be freely displayed thanks to the folded-down flap.

6TELP T\\!0 - Point out to your audience that the bag has been hermetically sealed by three pieces of steel. Tug at the flap to prove that the staples really are sealing off the bag's only entrance.

Rip the top end of the bag off so that the visible tear and the concealed tear match up (FIG. 4).

Direct a spectator to reach into the bag and bring out the missing card. The bag can immediately be handed out for examination.

lsl£?TE- - As an added convincer, Bud sometimes attaches a small piece of double-stick tape just below the tear - after the flap has been tucked in. When the flap is pulled up, the tape fastens it to the bag. The bag can now be handed out for examination before being ripped open.

Many kinds of paper bags are fine for this method. I like the little ones given by office supply stores to hold small purchases like pens, erasers, etc.

One lip is usually longer than the other to make it easier to insert merchandise. I particularly like a bag whose longer lip is either straight or only slightly curved.

I fold it so that only a very thin strip of that longer lip enters the slit. I make the slit a tiny bit shorter than the width of the lip. When the lip is inserted, the bag buckles to make the slit gape open. Then I staple the bag shut just slightly above the slit.

Bending the bag slightly as I take it from my pocket instantly snaps the lip's edge out of the slit. The bag then appears to be securely stapled shut.

TUE-

6pecial thanks to my senior advisor Looy who came up with the innovative "under-the-deck" concept used in stealing the pieces at the end of the routine. "The Uncut Version" would still be on the drawing board if it were not for Looy's valuable contribution.

LfpE-CT - The close-up entertainer hands out two half-cards for examination. One half is a torn-off portion of an Ace of Spades, the other half is part of the Jack of Hearts.

These two pieces were all that you could save after a ruthless souvenir hunter attacked you at your close-up table in a bold attempt to kidnap two of your cards. There was a short, intense struggle until a team of security guards was able to drag the kicking, screaming woman away from the table...two torn pieces of card still clutched in the vise-like grip of the deranged magic groupie's fingers.

You comment that since a full deck is required for this next effect, now would be an ideal moment to test out your theory on the regenerative powers of playing cards.

The two-half cards are openly placed on the face of the pack. In full view of the audience the two pieces of card slowly begin to grow. As the two cards regenerate they seem to pass right through one another, resulting in a shocking visible penetration! As soon as the Ace and the Jack have attained their full growth, the

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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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