To Pleform

¿TE-P ¿?NlE- - Ask a woman from the audience to shuffle the cards. Take back the deck and spread it face down, inviting her to touch a card. Separate the spread, raising the top portion (down to and including the selection) to her face, "tilt-glimpsing" the card as you do so: Quite simply, raise the spread to your chest level, tilting the top of the spread toward you. far enough to make out the oblique face of the card, as in the illustration. The tilt is so slight it goes completely unnoticed, particularly because all eyes are on the card. The instant you glimpse the card, move the spread toward the woman and turn your head away to apparently give her some privacy. Still looking away, assemble the deck at arms length and hand it to the woman for another shuffle. I will only say that if you are unfamiliar with this technique, it will fool you.

6TE.P TW/O - Instruct the woman to pull out five cards, making sure that one of them is hers. Because these are the only five cards you will use, take back the deck and set it aside, inviting the woman to mix the packet. Hammer in the fact that she has shuffled the cards both before and after choosing her card, and that you haven't looked at the faces of the cards, so there is simply, no way for you to know the card's identity or position.

Assuming her card is the Eight of Hearts, move the Eight to second from the face of the packet. Assuming further that the center card of the packet is the Ace of Spades, simply make note of it. Turn the packet face down, allowing it to settle into the mechanic's grip, and announce that you just couldn't take your eyes off the Ace of Spades. To her you seem to be stumbling in the dark.

6TE-P TJJE-E-E. - Explaining the reflex game to her, take your stance and turn the top card face up. Then turn it face down and deal it to the table. The instant you release it, flinch, as though ready to pounce on it.

Turn the next card face up and begin to deal it to the table. Then suddenly raise it to your face and scratch your chin. The more rigid you seem, the better. Finally drop the card onto the one already on the table, taking this opportunity to pull down the inner-right corner of the bottom card in your left hand with your left pinky, giving you a break beneath the top two cards.

Just before turning the next card over, show a little confidence, commenting that you're nearly at the hump and so far unbeaten. Really set yourself up for a fall. Turn the two broken cards over as one, showing the selection, then turn them face down, dealing the top single Ace onto the cards already on the table. Do your very best to appear taken by surprise as the woman slams her hand down onto the tabled cards. Say, "You're kidding me! That was your card?!" The woman may giggle.

Pause for a moment, as though thinking on your feet is not one of your strong points, and then say, "I have an idea. This may not be a complete loss after all." Instruct the woman to slide her card over to the side, but to keep her hand on it. During this, secure a break between the two cards in your hand by pulling down the bottom card with your pinky as before. Pick up the two tabled cards and drop them onto the ones in your left hand.

Say, "I said I would beat you to your card, the Eight of Hearts, but I didn't say it would necessarily be the one under your hand." As the woman mulls this over, turn the three broken cards face up as one, showing the Eight of Hearts. The woman's eyes will get this big. After all, she knows the Eight of Hearts is under her hand, so your Eight must be a duplicate. And your wording only seems to confirm this. Her eyes will tell you she wants to turn over her card, but tell her not to. Turn the triple face down and deal the top card to the table taking this moment to secure a break beneath the top two cards in your left hand by pulling down the bottom card with your pinky as before.

5TELP FOUR. - You will now show the remaining three cards to be the Eight of Hearts as well, using a Mario-style false count: Turn the double face up, showing the eight, and then turn it face down, thumbing the top card into your right hand. Use the card in your right hand to flip over the next card, once again the Eight, and then flip it face down. Clip the upper left corner of the top card in your left hand between your left thumb and the base of your left forefinger. Without pausing, press your right fingers to the face of the bottom card and pull it beneath the card in your right hand. Finally, use the two cards in your right hand to flip over the single card in your left hand. Once again, the Eight shows. Turn the Eight face down and drop the two cards in your right hand onto it, dropping the tabled card onto all. The woman will have stopped giggling.

5TC-P HN/E. - As if to recap, use the Flustration Count to again show all four cards as the Eight of Hearts: Briefly transfer the facedown packet to right Biddle Grip. Turn your right hand palm up, briefly showing the Eight at the face of the packet. Then turn your hand palm down and pull the top card into your palm-up left hand with your left thumb. Do this three more times, with the Eight eventually going on top of the loose spread in your left hand. During this, say, "You see, since all of the cards are the Eight of Hearts, there's no way for either of us to lose." Pause for just a few seconds, and then say. "But wait a minute. I distinctly remember the Ace of Spades catching my eye. Now I know why - it was the only card that wasn't an Eight. And since I have all the Eights, it only stands to reason the card beneath your hand is the Ace." Invite the woman to turn over the Ace beneath her hand. At this point she may not even remember how to giggle.

5TE.P 6IX - Secure a pinky break beneath the top card, then set the Ace face up onto the face-down packet, giving you a two-card break. Offering to arrange things so the woman goes home a winner, pick up the double and rub it on your sleeve, changing the Ace into the Eight with a Snap Change (Snap the double card over as you rub it.)

Drop the double onto the packet and instantly thumb off the face-up Eight to the table. Take the top two cards into your right hand, cleanly spreading all four cards, and reassemble the packet with the original top set going on the bottom, thereby burying the Ace. To end, fan the packet face up showing that all the cards have reverted to their original identities The woman may yet giggle another day.

Copv g"' J '994 by David Harkey 1 6SC Ca~ec D':ve Ejge-e OR 97405


Described by Michael Ammar

This is a "workhorse" routine. If you've spent any time on a farm, you know there are a lot of horses prettier than a workhorse, but none get the job done better. It's something about the simple, sturdy way they're built that makes them so dependable.

Paul has tried several versions over the years, using more and less cards, and more and less coins. But he always comes back to the simplicity of this four-coin, one-card routine, where the final coin vanishes and reappears underneath the spectators hand.

But with this routine, perhaps more than any other, Paul truly uses the magic as a tool for interaction. Instead of coming out and saying "Here I am!" with his magic, he comes out and says "There YOU are!" He starts off, as you'll see from the presentation, by doing coin-rolls with both hands, then leads on to doing two coins in each hand. I didn't describe how to do a coin-roll here, since that is known by so many, but you must realize they play a very important role in his opening. He has fun with it, the audience has fun with it. It allows the audience to convince themselves "This guy knows what he's doing!"

In terms of what to get out of this routine, it would be a shame if all you got were a couple of funny lines to use in your next coin routine. There is so much more to gain from its structure. Notice how he introduces himself, establishes character, and breaks through the "Fourth Wall" between audience and performer, and you'll understand why he has stuck with it as an opener for over a decade.

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