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These two Aces are buried in the deck by a cut (FIG. 12).

To reveal the second Ace, Paul takes his 'Instant Replay' flourish and turns it into a truly wonderful moment. Picking up the deck with the left hand, he 'pops' the top card face up into the right hand. Saying, "Now, for an Instant Replay..." he 'pops' it back onto the deck, then quickly back to the hand again. I describe it completely after this routine.

Now that the second Ace has been revealed, you will want to secretly load an indifferent card face down between them. Do this by getting a break underneath the facedown card on top of the deck. Pick up the first two Aces, face up, and place them on top of the deck. Pick up the top card below these two, as the left thumb pulls the top Ace onto the deck. The right hand places the second Ace. with the face-down indifferent card below it, on top of the first Ace (FIG. 11).

With the remaining two Aces, perform the Venezuela Vanish, described separately. End up with two Aces face down in the left hand, held as one card. With the right hand, spread the deck to reveal what seems to be the third Ace between the two face-up Aces (FIG. 13).

Move the upper half of the spread to the right, where the right hand picks up the two face- up Aces, with the face-down card between them (FIG. 14). With the left thumb, pull the face-down card from between the Aces, onto the two cards already in the left hand. Drop the two face-up Aces onto the table (so the top Ace spreads to the left), as the left hand squares the cards it holds (FIG. 15). Turn the cards in the left hand face up, and thumb the first Ace off onto the two tabled Aces.

5TEP fOUR - The left hand holds two cards as one now, with an indifferent card behind the last Ace (FIG. 16). Take the double with the right hand, and scoop the three tabled Aces up with it (FIG. 17). Turn these cards over, and thumb the top card (actually an indifferent card) off onto the table (FIG. 18). The four Aces remain in the hand, and are counted as three cards onto the table in front of the spread. Gather the deck face down, and drop it onto the indifferent card (FIG. 19).

5TE-P flN/E. - To conclude, Paul fans the deck, then uses his fingers below the fan to cause the bottom card to suddenly extend out from the fan. (This is usually done when asking someone to select a card from a fan, as one card jumps out at them.) As it moves around under the deck, he 'wiggles' the dancing card at his helper as he says, "Frightening, isn't it." He then apparently grabs it with his right hand from the front. What actually happens is that the left fingers pull it back under the deck. He then sprinkles it "...like fairy dust...made from dusty fairies." onto the other Aces before revealing it's reappearance.

Paul dramatically reveals the four Aces by putting his little finger on the top card, sliding it to the right so the tip of his third finger can press down on the next card...and continues like this until each finger is on one of the spread cards. His right fingers then tilt up the four-card unit so they stand up on end, then allows the Aces to fall face up onto the table one at a time from right to left.

Here's Paul's transition from TAP DANCING ACES into THE INVISIBLE PALM,

"I have a confession to make. You know those Tap Dancing Aces?' They don't really dance. I made the whole thing up." (Paul hangs his head in shame for as long as the audience can take it.) "There's no little cardboard dance shoes." (another long pause and then the biggie) "I don't even have a dog." (Paul's delivery of this brings the house down.) "The truth is, I made it all up, on the off chance you might like me just a little bit better. Obviously it didn't work, So to make it up to you I'm going to show you how it's all really done "

After The Invisible Palm, Paul goes into WHACK YOUR PACK. If you feel he closes with this because of the funny patter and catchy phrases, you're wrong. He feels it's his most theatrically appropriate effect for the style of performance he wants to give. It's a moment that could not exist in isolation. The audience has to be there, the performer has to be there, and they have to interact. The challenge is real, the drama is real, and yet the resolution is mysterious. His alternate closer/encore - Las Vegas Leaper - is on an equal interactive level.

- "One of the most important things I've learned when doing close-up magic is to react to the audience. Don't just run through your stuff. To give it a sense of life -respond to the magic, and to them. If you just run through it, and give this "respond to the audience thing" only lip service, by pretending to be responding to them, they'll see through it. It's okay if they know you're doing "material," but don't be so locked into your presentation that your show can't breathe and allow for some genuine interaction. By talking to people, and reacting to what they say and do, you condition them to react to you. This back-and-forth energy is what creates that special intimacy that makes close-up special.

• As an option for the two-as-three false count, check out the auditory false count from "Illusion" (see Index).

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