• I first came up with the basic theory of a fake consisting of two folded cards during my initial linking card experiments in 1977. At first I discarded this approach as unworkable. Some time later at a Tannen's Jubilee, a young magician showed me two cards folded together into a "fake" position and asked me if this was a good approach for linking cards. I said no, and explained why I had originally discarded the idea. The magician pretended to agree with me, tore up his cards, and never spoke to me again. I've obviously re-thought my position on the merits of a two-card fake - and owe a big apology along with a thank-you-and-a-half to the unsung hero who motivated me to attack The Immaculate Connection from a new angle.
The mysterious inspiration for this turns out to be Jay Sankey. I thought it might have been Jay so I wrote him a letter. He denied the whole thing. For some higher Sankeyesque reason Jay had wanted to keep his identity a secret. Good secrets always get out.
• Dana Betz and Ted Fischer supplied important doses of collaborative energy during the creative process. Everyone say hello to Dana and Ted. Dana deserves special honors for coming up with the diagonal fold of the cards...which creates the beautiful open display. Dana had originally given his dad the credit as a father's day gift. Is this a great guy or what?
• Table Link: Re-read the Table Link fine points section. You're taking a gamble if you try to do the link by swooping down in one stroke. Press first, then link.
• I like to hand the three cards out for a quick examination right after tearing out the centers (before the first link) so it's clear that you didn't secretly tear an opening into the side of one card. Make sure you put the cards back in the right order and position when you get them back.
• After the restoration: Before handing the cards out give the sides of the cards a quick squeeze to put a downward "cross-crease" against the crease where the card folds. This makes the floppy frames ridged and less inclined to reveal their secret.
• Blow-thru Unlink: Instead of putting my finger through the card I just blow and let the card land on the table. Then I use my forefinger to re-position the card for the table link.
• Dan Harlan finishes by attempting to restore the torn centers back into the cards...but ends up vanishing everything. I don't recall Dan's exact handling, but basically you fold the whole mess up into a packet, thumb clip it in your right hand as you pretend to place it in your left...then ditch the packet in your pocket as you pull out a pen. Start to clip the "pieces" to the pen clip...and suddenly they're gone. You could enhance this by actually leaving one of the circles in your left hand so it pokes out. everything vanishes but the one piece. Do another pass with the piece (or lap it) and ditch it as you put the pen away. Allow the piece to vanish as you hand it out.
• Bob Kohler restores all three cards by switching the frames and the center (using a Himber Wallet) for three specially printed duplicates that have the torn-centers reversed!
• You can connect on a stage using three jumbo cards and almost no change in handling.
6ylvain's brilliant sculpting of space, shape and mind is artfully disguised as a poetic performance of linking cards. It could be framed and put on your wall as a tribute to the Art of Astonishment.
E-ITELCT - Two single cards. Nothing else. You tear two holes in each...then cause the cards to mysteriously link. You attempt to unlink them but instead end up with a weirdly-linked piece of strange. You're not sure, but you think it may be French. You tear off a piece of one of the cards in a more direct effort to separate them...but somehow the link remains.
You then tear off a piece from the other card, but yet again the two cards stay linked! You rip off one last chunk of card, and the link is finally broken...the two cards come apart. You then restore the broken link... and hand out the two seamless cardboard rings to be examined, admired and later sold at auction.
Here's the foreword by Gaeton Bloom from the marketed "Osmosis" manuscript (originally published in France by Dominique Duvivier's company: MAYETTE MAG IE MODERNE).
"As you probably know, Paul Harris, in 1977 gave to the Magic Fraternity a brand new trick, a brand new concept, the linking of two cards. The trick was called 'Cardboard Connection' and sold in booklet form.
"Since that time, many top-notch magicians have been working on their own methods. Amongst them Roger Crabtree, Terry Lagerould, Terry Rogers, Harry Lorayne, Stephen Tucker and Sixten Beme. I love Beme's method, because at the end you can give the two linked cards for examination, but you have a price to pay: a long and complicated preparation.
"A funny point is that Paul Harris himself, after all these methods, created in 1984 a still different one, even better, named 'Immaculate Connection.' This version was endorsed by David Copperfield, and he did it on one of his TV specials.
"So, why another version again? Well, when I saw Sylvain doing "Osmosis" for the first time, and with knowledge of the other methods, I was still completely fooled! Because this method goes still further than the other ones. And then I discovered that the preparation was done in a second, and that from start to finish, only two cards were used. Also the whole routine was possible thanks to the new original starting point, something completely original with him.
"Strangely enough Sylvain hadn't realized all the brilliance of his routine. I really had to use all my diplomacy to convince him to publish it. I really think Paul Harris will stand forever as the father of the long chain of all those linked cards, but I feel sure that he will fall in love with this new method."
Sincerely, GAETON BLOOM
PE.EL-M^-i>l6 - You can do this with two cards from the same deck, but to make this easier to follow use a red and a blue "Rider Back" playing card from Bicycle. (You may want to use the different colored backs in actual performance to help show off the links.) Let's also say the blue card is a court card. You'll need a razor blade (or a very sharp knife) and some kind of cutting surface. (See PHootNotes for a completely impromptu "No-Slit" handling.)
Put the blue card (the face card) face down on the cutting surface, and slice a straight line from the top of one bicycle wheel to the top of the other (FIG. 1). (Don't worry, this does not hurt the Angel.) Once you understand the position and function of the slit, you'll be able to place it on any card - Bicycle or not.
6TE-P l\JO - Hold the blue card face up between your hands. Fold the left side over to the right (so the back shows) and crease the card in half (FIG. 2). The fold goes right across the slit. Now fold the top down to the bottom, creasing the card into quarters (FIG. 3a).
ôTE-P TJ-lR-E-L - Position the upper slit to the right, then start at the left to tear a rectangle out of the folded card. Tear out as large a piece as you can, yet still leave a sturdy frame (FIG. 3b). You finish by tearing right through the slit and tossing the torn-out piece to the
5TC.P fOWZ. - Clip the blue card deep between your left index and middle finger so the key is on the palm side (FIG. 4). It'll hang out there for a few moments...leaving your fingers free to fold and tear the other card as follows:
and hold it "sideways," and face up. Fold it face down exactly like you did the blue one. (In half from left to right, and then from top to bottom.) Tear out a similar piece from the folded red card, tearing at the fold. Put the torn-out piece next to the other one off to the right.
6TE.P 5IX - Rotate the folded red card so it looks like a normal "U." The white border is on the left side and bottom. Hold it between your right index finger and thumb at the upper right corner (FIG. 4).
6TE.P - Clip the blue card between your right middle and ring finger for a second so your left hand can release it. Turn your left hand palm down, and pinch the blue card at the key between your left middle finger and thumb (FIG. 5). Display the two cards clearly.
5TE-P □Cj'J-lT - If you relax your grip a little, the cards will spring open slightly into two "V" shapes. The right hand's "V" is inverted. Slip the audience side of the red "V" into the center of the blue "V" so the red card straddles the inner wing of the blue card. Then slide the red card to the left (FIG. 6). Notice that the red card goes about halfway into the blue card, and is slid to the left. Look at FIG. 6 closely
6TELP Nltf4C_ - Your right fingers rotate the red card counter-clockwise so it passes through the key. You'll have to move your left thumb to allow the other card to pass (FIG. 7) You need to find just the right angle for the red card to clear the blue card s end. (If it's stuck, just force it through.) When it's turned half a circle, slide it up until it stops at the inside right of the torn-out blue part (FIG. 8a). Allow the two cards to spring open a bit so your right fingers can twist the red card so it "pops" into a loose hanging position (FIG. 8b). Pause, and snap the red card with your right fingers. Your audience starts to get the idea that the two cards are linked.
6TE.P TE.Nl - Use both of your index fingers to open up the first fold on the blue card. Your left fingers hold a circle of blue card (folded in half) as in FIG. 9. The key is hidden under your left thumb.
5TELP ELLEVELIsI - Use your right fingers to open the first fold of the red card to reveal two solid rings of card linked together. Pause here to display the link (FIG. 10).
5T^P TW/LLVC. - Unfold the red card all of the way so it's face up. As it opens up, the folded blue card will be seen to be linked through both holes in the open red card (FIG. 11). Push the blue card to the right, through the holes in the red card so it is linked around the center bar of the red card (FIG. 12). Notice that the key in the blue card is now hidden by the center bar in the red card.
5TE.P T-UlE.TE.E-N - Carefully open up the blue card face up and you'll find an impossible linked object (FIG. 13). If you grip the blue card from underneath by the folded sides, you can gently press the key together and flash both sides of this "thing." Let them stare at it for awhile. Again...take your time to point out the card is really linked, that it's not a topological illusion. (FIG. 14 shows a position that accentuates the link.)
the blue card to the right (FIG. 15). The key is still hidden under the center of the open red card. Swivel the blue card counter-clockwise until its upper left corner is under the side of the red card... and its lower right corner is on top of the red card (FIG. 16). The key is under the center bar, but near the lower hole in the red card. Put your left thumb over the spot on the center bar where the key is. By pressing up against the blue card, the lower section of the key is popped up and over the center bar under your left thumb as in FIG. 17 (exposed view). One portion of the key is on top of the red card, the other is underneath. Keep this hidden with your left thumb.
5TE.P FIFTtLNl - Your right fingers grasp the top end of the face-up red card and slide it to the left (secretly re-linking the folded blue card through just one of its holes...FIG. 18). Your right thumb then folds the lower end of the red card up in half from end-to-end onto your left fingers Your left fingers hang onto both folded cards while hiding the key (FIG. 19). Your right fingers then rotate the red card to the right side of the blue card, so the crease
5TE.P 6IXTE-E.Nl - Use your right fingers to fold the bottom part of the red ring up (the card is folded in quarters again). Then fold the blue card so it's in quarters also (FIG. 21). Tear off the folded right "leg" of the red card as shown in FIG. 22. Show the torn-off piece clearly as you communicate that you have released the card. Drop the piece with the others off to the right.
6TE.P 5LVLNTLE.N - Press the tip of your left thumb against the edges of the key, and open the blue card one fold with both hands. Pinch the key between your left middle finger and thumb as your right fingers unfold the red card all the way (FIGS. 23, 24). The face-up red card is now a large solid ring linked through the folded blue ring. Ripping off the red piece has not released the rings. Hmmm...
(Again, sell the details of the link here.)
6TELP LI^JJTLLNJ - As you show the two linked cards, position the face-up red card so its left long side is in the middle of the torn-out blue card. Fold the top of the red card down. Use your right fingers to open up the right fold of the blue card just enough to get your right thumb and index finger inside of it. Pinch the red card at its creased left end with your right finger and thumb as shown in FIG. 25.
Now fold both cards back into quarters from top to bottom at the same time so the two center end creases stay on top (FIG. 27). Use your left fingers and thumb to tear off the two left "keys" of the blue card...as one folded piece (FIG. 28). Claim you are trying again to release the linked cards.
6TE-P TW/lNTY - Since you just tore off the key you are really holding two small pieces of the blue card. Carry them over to where you put the red piece and let one of the blue pieces fall nearby. The extra piece of blue card is secretly clipped in your left fingers. (See PHootNotes for an option to stealing the piece.)
5TLP TW/LI\lTY-<?NlE - Use both hands to open one fold of the cards, so they're folded in half (FIG. 29). Slip your right index finger into the center fold of the blue card. Your left index finger goes into the center fold of the red card (FIG. 30).
t>TLP TW/EJ^TY-TW/i? - (This topological link of two cards is credited to Harry Lorayne.) Leave both of your fingers in the cards and circle one around the other. This rotates the two cards for a very link-like experience. Pause a couple of times to show where the ends are " linked right through each other."
¿TE.P T\VC.NTY-TiJE.E.C. - Stop and re-fold both cards in half as one unit. Rotate the two-card unit so the blue card is to the left. Reach up with your left hand as if to tear another piece off the lower leg of the blue card. As your hand approaches, use your left thumb to secretly fold back a piece of the blue frame and "rip" off the hidden piece in your left fingers (FIG. 31). Just pretend to tear off a piece, and show the one that was concealed in your left fingers. The fold in the blue card shortens one side and it looks like a big piece of the card has been removed.
6TE.P TW/UslTY-F^UR. - Cleanly drop the blue piece over with the rest of the pieces. Transfer everything to your left hand so your right hand can take the red card at the bottom. If you'll pull it down and then to the left, it easily slips free through the "just-torn opening" of the blue card. Open up the red card and set it on its side for display.
■5TE-P T\VlNTY-FIVL - Rub the blue card with your fingers as you secretly unfold the frame. Continue to massage it as you open it up all the way. Finally, reveal that the ring is miraculously restored, and set it down next to the other ring (FIG. 32). Auction off the two surviving links to the highest bidder. Be happy.
6TE.P TW/LÑTY-6IX - Work through everything about 20 times to see how straightforward Osmosis really is.
- This masterpiece of strange by Sylvain Mirouf needs no help from me. I put together the following options only to make sure that you don't get side-tracked by some minor handling details.
This allows you to do the links impromptu with any two cards...without preparing a slit. The key card is secretly created under cover of natural actions. Then later in the sequence there is an option that eliminates the need to palm the extra piece for the final tear and restoration.
5TE.P ¿7ÑE- - Take any two cards out of your deck. Fold one in half end-to-end so it stays face down. Then fold it in half again from side to side so you have a face-down quartered card. Tear out a CIRCULAR chunk of card starting from its folded side. Fold the other card FACE UP in the same manner, and tear out a circular chunk like the first one.
5TE.P T\V<9 - Hold the face-up card in your left fingers and the face-down card in your right fingers in "U" position. Note that the FOLDED ends of both cards are pointing at each other. Allow your face-down card to spring open like a tiny pup tent so you can slide it over the right end of the face-up card (FIG. 33).
Take a close look at the exact position of the two nested ends. They are pulled TIGHT against each other...so the rough torn edge of the face-up card is pressed into the tiny upper-left corner of the face-down card. In a moment, the rough torn edge will act like a knife edge to slice through the upper-left corner of the face-down card.
6TE-P TiJE-E-E- - Your right and left fingers FIRMLY hold the two cards. Again, make sure the upper-left corner of the face-down card is pressed tight against the rough "teeth" of the other card. Your right thumb and forefinger TIGHTLY pinch the upper left end of the facedown card...and swivel it down so it gets SLICED clean through by the knife edge of the face-up card (FIG. 34). If your angle and grip is correct, .it should slice through with almost no resistance. If it doesn't easily slice right away, swivel the face-down card up then down again The swivel-slice is a very small action. Take care not to swivel the sliced card past the other card. You want the sliced ends to stay on the surface of the face-up card.
To cover the slicing action, swivel the facedown card up and down a few times to "warm up" the card (Fold up a few extra cards to practice your slicing technique. You'll get the knack after a few tries).
¿TE-P F^UR. - (The Link) As you "massage the cards to warm them up" (FIG. 35), secretly slip the upper sliced end that's under your right thumb into the center fold of the other card (FIG. 36). Notice how your left thumb buckles the top of the face-up card to the left...allowing easy access for the sliced end. Release the buckle as soon as the sliced end is in. This "key" is concealed between your right thumb and forefinger (FIG. 37). The two cards have now been secretly linked.
slide your left thumb into the center of the face-up card to unfold it into a "half-card." As it unfolds, your right thumb gradually slides to the right, allowing the outer end of the unfolding card to press flat down onto the key, onto your right forefinger (FIG. 38).
6TE.P 6IX - Keep the concealed end of the key in position with your left second finger as your right fingers unfold the bottom of the key card out flat...away from you toward the audience (FIG. 39). The sliced ends remain concealed under the outer end of the face-up card...even while the one sliced end is opening out flat.
6TE.P 6E.VE.lsl - Grasp the inner end of the face-up card with your right fingers and gently pull it down...so it slips away from your left thumb and second finger, which still conceals the key (FIG. 40). Tug the two cards a bit to display the incredible link (FIG. 41)...then turn the face-up card so its folded edge is away from you (FIG. 42).
6TE.P E.l^iJT - Unfold the face-up card so it's face down (FIG. 43)...and slide the still-fold-ed key card to the right...so its right side pokes out above the two holes of the unfolded card (FIG 44). The key is now concealed by the open cards center "bar". Unfold the top card so it's face up to complete the link (FIG. 45).
You can now go back to Step Thirteen of Sylvain's original sequence and continue from there until you get to Step Twenty. At this point instead of retaining the extra piece simply place both pieces onto the table.
At step Twenty-Three of the original sequence instead of pretending to tear off an end by using an extra piece you can do the following: Firmly hold the folded upper left end with your left fingers as your right fingers actually rip a small chunk of card off its rough inner edge (since you made a circular tear at the start...there's enough extra cardboard hanging around so that the missing chunk won't be noticed). As soon as you tear off this chunk, secretly bend the upper right end down a bit to make it look shorter...just like with the original.
Openly toss the piece onto the table and unlink the "torn" card frames. Restore the tear. Hand out the two unfolded cards for examination. Bask in the warm after-glow of the astonishment, then translate your happy thoughts into French so you can properly thank Sylvain Mirouf for composing Osmosis.
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