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"I I e shakes hands with the men, exchanges

-I—I keys with the women, and bounces small children upon his knee in an amusing three-ball juggling pattern. The Close-Up Kinda Guy then picks up his deck, holds it between both hands, then in the same fashion that a pool shark unscrews his custom-made cue, he slowly unscrews his deck. He eases the two sections into their velvet-lined case, quietly closes the lid and then, almost without moving his feet, he smoothly glides out of the room in search of his next close-up encounter."

• Revised version from Stan Allen's "Magic" magazine as described by Richard Kaufman.

Paul Harris displays a face-down deck of cards and spreads it around to "soften the deck." Then, he grasps both ends very tightly and gives them a sharp twist—the deck appears to have been "screwed": Half of EACH CARD is face up while the other half is face down! Sort of like "Card Warp" with 52 cards and no covering card. The deck is now spread to display all the cards in this screwed-up condition. The sharp twist is repeated to restore the deck to its original unscrewed position.

Paul Harris recently gave a very successful lecture in New York City, and privately demonstrated the following routine to a few friends who suggested that he print it quickly before someone else did. And so we benefit from this unfortunate state of affairs. This is extremely deceptive and, as are all of Paul's best tricks, way out there. His original "Screwed Deck", that switched in a mechanical deck that screwed together like a pool cue, appeared in Close-Up Kinda Guy (Harris, 1983). He later marketed a mechanical version that got rid of the deck switch. This handling is unique because it does not require any gaffed deck or cards, and can be improvised within a few seconds for an impromptu performance with a borrowed deck.

Two cards will be sacrificed to make a onetime "appliance" which allows you to accomplish this trick. This is an improvised, rather than impromptu, miracle (though once you make this thing, which takes five seconds, you can use it over and over).

Take advantage of a lull in your performance and turn your back for a few seconds. (Alternatively, place both hands, holding the deck, under the table for a moment.) While the deck is held face down, reverse the lower third of the deck, turning it face up. Next, spread off the top two face-down cards. It is vital that the double card be perfectly aligned during the following.

Using the thumbs and first fingers of both hands, make a tear in the double card that runs from the right long side to the center (FIG. 1). This is the same tear you would make if doing "Card Warp," though here it is made (identically) in two cards at the same time. The fact that your left hand is holding the deck while you tear the double card doesn't really cause a problem if your fingers are short, simply push the deck inward a bit with your left first finger beforehand. This will give your fingers the important flexibility they must have.

Once the two cards are torn, turn the lower card face up sideways and hold it in your right hand so that the tear runs from the center to the LEFT long side (FIG. 2).

The two tears now face one another. Slide the cards together, interlocking them at the tears, so that the outer end of the double card is face up and the inner end is face down (FIG. 3). Because the cards have been torn while perfectly aligned, they also will square exactly once interlocked. You have, in a few seconds, created an improvised double-ended card which is half face up and half face down on both sides.

bottom of the deck so that, if you peek underneath, the outer end of the double-ended card will be face up and the inner end face down. (In other words, the outer end should be facing the same way as the rest of the deck, while the inner end is reversed.)

Begin with the deck in left-hand dealing position. Spread the face-down cards between your hands to show as many backs as possible in a casual gesture while pattering. Be careful not to expose the face-up third near the bottom. Break the spread at center and turn both hands palm down. The left fingers will conceal the face-down inner end of the bottom card, and only the face-up outer end will show (FIG. 4). Turn the hands palm up again, bring the halves of the deck together as before, and square the cards. (The double-ended card is still on the bottom.)

Say, "This amazing feat requires that I soften the cards beforehand." Using your right fingertips, smear the upper portion of the deck inward (the cards are injogged in a spread) for a few inches. The outer ends of a number of backs are seen. Then, using your right thumb, push those cards square, and continue the hancrs outward movement so xne cards are now spread in the opposite direction, toward the audience. This exposes a number of backs at the inner end. This sequence is actually a feint which sets up a fake show later on. (If the actual manner of spreading is not clear, refer to

FIGS. 8, 9, though here all of the cards are face down.)

Your right hand turns palm down and grasps the inner end of the deck as if for a Hindu or Faro Shuffle, thumb and fingers at opposite sides, but far more deeply in the hand than normal (FIG. 5). Once the right hand has a tight grip, the left hand lets go, turns palm down, and assumes an identical position, tightly grasping the left end of the deck (FIG. 6). The grip looks a bit like the one used to tear a deck in half.

Pretend to grasp the deck very tightly, actually loosening the right hand's grip. You will now create the illusion of unscrewing the deck. This is done by turning the left hand palm up while it holds the deck. The relaxed right hand allows the half of the deck it is supposedly holding to rotate (FIG. 7). The portion of the oacK oeneatn tne rignt nana appears to remain constant, while the portion held by the left hand is now face up. The illusion is enhanced by body language and acting. The "unscrew"

must appear to be an act of brute strength.

away you will find that the deck is almost in dealing position in the left hand, but held higher up so the upper end extends past the hand.

The top of the deck is pushed a bit farther forward than usual. Extend your left first finger to the outer end of the deck and pull it inward until it is in regular grip. The face-down end of the double-ended card is toward the audience, while the face-up end is toward you.

You will now apparently repeat the actions used earlier in the feint, here to prove that each card is screwed half down and half up. Using your right fingertips, smear the upper portion of the deck inward (the cards are injogged in a spread) for a few inches. The ends of a number of backs are seen (FIG. 8).

Then, using your right thumb, push those cards square. Without pausing, continue the hand's outward movement and allow cards to spread inward off the bottom of the deck (FIG. 9), escaping off the thumbtip. This exposes a number of faces at the inner end. Note that The Depth Illusion is at work here, preventing the spectators from seeing that the face-up cards are actually on the bottom of the deck. Square the cards and repeat both the facedown outer end and face-up inner end spreads to display the unscrewed half-and-half deck, then square again.

Angle your left hand slightly, bending it at the wrist, to bring the outer end of the deck to the right. Grasp the outer (face-down) end with your palm-down right hand in the "twist" grip. Your left hand continues to hold the inner (face-up) end in dealing position. With great effort, reverse the twist, the left hand turning palm down and rotating the deck, the right hand relaxing and allowing the cards to turn over. Don't forget to make an extreme visible effort when doing it.

Once the deck has turned over, a normal back will be seen on top.

The left hand lets go and turns palm up. The right hand places the deck into left-hand dealing position so that the end it is holding becomes the inner end of the deck. (This positions the face-up end of the double-ended card at the outer end of the deck.). The right hand lets go and turns palm up. Spread the once-again completely face-down deck between the hands. Break the spread at center, taking half of the cards in each hand, and turn both hands over exactly as you did at the very start of the trick. Your left fingers will hide the facedown inner end of the double-ended card and all of the cards will appear to be facing one way. (Don't forget that a third of the deck is reversed directly above the bottom card!) Turn both hands palm up and reassemble the deck, squaring it afterward.

Angle the left hand, bringing the outer end of the deck to the right. The right hand grasps the outer end as if to do a Hindu Shuffle, and lifts it out of the left hand. The left hand readjusts so that the thumb is on top of the deck and the fingers are beneath. Simultaneously slide the top and bottom cards (only) to the left, while the right hand pulls the deck out from between them. Care must be taken not to expose the reversed half of the bottom card, and this is accomplished by tilting the top of the deck toward the audience. This spot passes in a flash, because the two cards are pressed together as soon as they clear the deck. The audience is aware that two cards have been removed from the deck.

Mention that it's best to practice un-screw-ing your deck with just a few cards. Square the triple card and place the deck aside. The right hand grasps the triple card by its right end and rotates it counterclockwise (so that end turns toward the audience), before placing it into left-hand dealing grip. The right hand then moves to the inner end of the card and grasps it in position for the twist. Once the right hand is securely holding the inner end of the double card (which must be kept closely, but not perfectly, in alignment), the left hand turns palm down and grasps the left (outer) end for the twist. Execute the twist as already shown in FIGS. 6, 7. Here, however, you are apparently twisting only two cards. To clean up, simply say, "Well, we can't have anything like that lingering in a normal deck," as you slip the triple card into your pocket.

T0 OXANl UP - Pick up the deck and place it into your left hand. Obtain a left pinky break between the facing portions (the natural break makes it simple to locate the proper spot). Flip the top card face up, letting it fall on top of the deck. Lower your left thumb onto the face-up card to hold it in position. Your right hand grasps the upper half of the deck in Biddle Grip. Execute an open slip cut. Your left thumb presses down onto the top card as your right fingers slide out the rest of the cards that are above the break. As the pulled-out portion clears, the card beneath the left thumb will drop onto the lower portion of the deck. The left hand immediately flips all of its cards face down and places them on top of the cards in the right hand. Everything is now as it should be, except the audience's sense of reality.

- The actual construction of the original screwed deck was engineered by Leo Behnke and Ron Bauer. The second mechanical version (which is pretty wonderful and is hopefully still on the market) was fine-tuned by Palmer Tilden. Richard Kaufman was designed by himself.

Paul Harris The Art of Astonishment lll t-ue^r.el &a&y cn/j^^

Daniel put his party hat back on, tucked in his T-shirt and said to me, "I don't know, that sounds like a pretty preposterous plan. Do you think anyone would ever fall for a cheap trick like that?" Before I could reply, a nubile magic maiden walked up to me and said, "Hi there, my name's Paul. What's your name? "I didn't know what to say. Daniel, sensing that I was in trouble, quickly covered for me by introducing himself to the girl saying, "Your name's Paul? Well my stars and garters, that's amazing. My name's Paul too! Want to go to a party?" 'Sure, "she said. "Where?" Daniel smoothly untucked his T-shirt to reveal the location. I went home and invented a card trick.

ill TLIE.R.E. &A&Y A painless method for a shy or lazy Close-Up Kinda Guy to meet and pursue the woman of his dreams through proper presentation of the double lift.

E-FFE-CT - The Close-Up Kinda Guy warns the female spectator with the suspicously bumpy body that certain unscrupulous magicians have been known to use their special sleight-of-hand skills to win the hearts of attractive, intelligent ladies against their will. Ladies with ruby-red hair and long blonde lips—that's right—ladies very much like herself.

catch my breath - flushed with pride.

I was recently talking with Daniel Cros -acknowledged French person, talented amuser of women, and professional Close-Up Kinda Guy extraordinaire. But just like any other kinda guy who wears tuxedo shorts and crushed velvet tennis shoes, Daniel has problems too. Problems like what party to go to, how to get to the party, getting from one party to the next party, etc. Daniel confided to me that as a courageous wearer of T-shirts which read "I'm having a party in my pants and you're all invited to come," he occasionally has trouble remembering the names of all the people he meets.

Having nothing to trade for his T-shirt but knowledge, I decided to divulge the secret of remembering names—that's right—the secret unpublished PH. Memory System. Daniel reverently removed his party hat and gave me his undivided attention. "It's deceptively simple," I explained. Whenever someone introduces themself to you—as in "Hi there, my name's Ted," you immediately respond with "My stars and garters, that's amazing! My name's Ted too!" No matter what the person's name is— always tell them that's your name too. Now the system works itself. The next time that person meets you he'll say "Hi, Ted, how's it going?" You know his name is Ted because he thinks you both have the same name. I stopped to

The Close-Up Kinda Guy offers to demonstrate this immoral technique "for entertainment purposes only."

He explains that the secret technique involves a card trick where the unsuspecting victim is conned into writing down her name and phone number—but since he's an upright kinda guy and doesn't dare to risk any kind of emotional incident, he gallantly agrees to loan out his own name and phone number for "entertainment purposes only." The girl is directed to write the guy's name on one card and his phone number on the other card.

The girl hangs onto the name card. The guy hangs onto the even more valuable phone number card. He tells the girl to wave her fingers and say a magic word. The guy says he felt something funny happen. The girl says, oh, no, not that. The guy says yes—his phone number has vanished from his card! The girl looks at her card—it now contains both the guy's name and phone number (in her own handwriting). The girl is amazed. The guy says that he can't use the card for anything else now—so she might as well keep it as a souvenir... and if she ever wants to know how his phone number ended up on her card... or if she just wants someone to talk to... she should feel free to give him a call.

5TE.P ¿7lslE_ - While engaged in a casual conversation, arrange matters so that the cards second and third from the face of the deck have similar appearances—such as, the Seven and Eight of Spades. The face card of the deck should be a card of contrasting appearance-like the King of Hearts. The face-up deck is held in left hand dealing position where a left little-finger break has been obtained below the top two cards to facilitate the double lift which follows.

6TE-P T- Turn the double at the face of the deck down so that it's in-jogged for half of its length. Direct a female spectator to sign your phone number across the back of the card. Do everything you can to encourage her to write on the section of card supported by the deck.

5TLP TLlE-LL - Turn the double face up end-for-end, square onto the deck (FIG. 1).

Push the single (believed to be marked) King into your right fingers and call attention to the Eight of Spades. You might do this by saying, "Look here chaps—it's the Eight of Spades." "Use the right side of the King to flip this card face down onto the deck. Follow this card down with the King so that the phone number remains concealed and the upper-half of the face-down card remains in view (FIGS. 2, 3).

Direct the spectator to sign your name across the exposed back area of the face-down Nine. Grasp the right side of the King between your right thumb and forefinger. Turn the left hand palm down (along with the deck) and thumb the reversed card face up in front of the spectator, while at the same time your right hand tosses the face-up King in front of yourself (FIG. 4).

Place your hand on top of the King which supposedly contains your phone number and direct the lucky lady to place her hand onto the Eight which is now secretly inscribed with both your name and number. Make the magic happen - then race down home, sit on your phone and wait for the call.

Paul Harris The Art of Astonishment

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