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Continue, saying, "I hope you're not one of those people—where do you think the so and so is now?" The spectator, having seen an indifferent card placed into the centei of the deck, will reply that his card is on top. Steve now extends his right hand toward the spectator, as if he is going to allow the spectator to peek at the card protruding from the deck. However, as the spectator's hand draws closer to the cards.

he pulls them away. This little game is carried on for a moment or two. Then, Steve lets the spectator actually grab the end of the protruding card, but his grip on the deck is such that the spectator cannot pull the card out. All of this byplay adds some fun to the proceedings.

Eventually, Steve turns his right hand over to reveal that the selected card is actually protruding from the deck.

— vU&uuui. txniain tn tv,« „ ^ ~ ——clockwise, RfflRs ™

card back to "hl top Crn TT* ^ turnin8 the deck around is what bring* actions: the card is flipped over., H l°P Card t0 reVeal the election (use consist« flipped face down and pushed offl 78 *** allowcd to fall back onto the deck, the

The Fourth Rise Say, Maybe if I put it into the center face up you'll be able to see what happens. I want you to see what happens. All I have to do is turn the deck around and your card comes back to the top." Take the ehosen card and insert it into the outer end of the deck while it is face up. Push the card flush, anglina its inner end to the right as before so you can obtain a left pinky break above it. Execute The Midnight Shift as the deck is turned counter-clockwise, visibly bringing the reversed card to the top.

To The Pocket: Say, "Perhaps if I do it very slowly you'll be able to see what happens." Take the chosen card and, while it's still face up, insert it back into the center of the deck. Push the card in, angling its inner end to the right, though this time you must obtain a left pinky break below it. Execute The Midnight Shift exactly as before, and act puzzled that the chosen card has not reappeared face up on top of the deck.

Say, "Sometimes these cards get very ambitious," as you obtain a left pinky break above the second card from the bottom of the deck. Rapidly spread the deck between your hands as if looking for the reversed card. When you reach the bottom of the deck the reversed card will be concealed by the card directly above it (held in place with your little finger break).

Square the deck and say, "Sometimes they get so ambitious they jump out of the deck and try to steal my money." Your right hand lets go of the deck and ascends to your right lapel. It grasps the lapel and pulls open the jacket to expose the breast pocket inside (fig. 11). During this, all moves away from the deck and pulls open the jacket. At the same time, your left hand shifts the deck into position for a One-Hand Bottom Palm first described on p. 15 of Magicians' Tricks: How They Are Done (Hatton and Plate, 1910). First, the second finger is shifted to the outer end, beside the first finger. Second, and this requires a stretch, the thumb is shifted to the inner end of the deck. Finally, the third and little fingers are shifted to the outer end beside the first and second fingers. During this, is now the the deck will revolve until it is has become parallel to the hand, witn outer left corner trapped in the thumb crotch (fig. 12).

The third fingertip presses up against the underrsi<de of thc mS

nght corner, buckling the card downward (fig. WJ• hand Us the jacket upward toward the right hand. At the same tune, me ^ of ^ dosed closed. When the hands meet, the right thumb and firsM g^l is your view,

Angers grasp the lapel) grip the inner right co™e . and darts inside the coat, fig-15 is the audience view). The left hand releases in ^ et open as The palmed card is shoved inside the pocket. The ngnt m\

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the left hand pulls the card out of the pocket.

Steve's theory about going to the pocket with a palmed card is that the hand should move the shortest possible distance, and be in view for the least amount of time. This final sequence is designed to bring the left hand as close to your inner right breast pocket as possible before the deck is removed The left hand, once it loses the shade of the deck, is in sight for only a fraction of a second before it vanishes behind the right lapel on the way to the pocket.

The use of the eccentric One-Hand Bottom Palm may seem curious, however in Steve's experience the change of grip has never been noticed because the misdirection provided by the right hand is so strong.

Pocket Problems nn i

It takes fine technique to palm a card off the deck and go to the pocket without being seen by a spectator, and particularly fine technique to do it three times in a row. The choice of sleights has to be perfect, and the fine-tuning exacting, as Steve Draun demonstrates in this triple repeat "Card to Pocket" constructed around the interesting theme of a card that, like a rubber band, likes to snap back to its previous position. It goes without saying that this its effect upon other magicians when Steve performs it is nothing short of remarkable. The sleights he has chosen to accomplish the palms, and the personal touches he has made to them, have completely stripped them of any frame-up or get-ready actions which usually tip off a more educated group.

This routine also introduces an original technique of Steve's which adapts Gordon Bruce's "Pocket Palm," which uses a full palm, into a technique using the Gambler's Cop and Rear Palm. So, not only does the hand appear empty on the way to the pocket, but only the thumb and first finger enter the pocket to pull out the card. It is this wily combination and adaptation of techniques that repeatedly reinforce the apparent emptiness of the hand which make The Rubber-Band Card" so thor-oughly inexplicable to everyone.

Begin by allowing the spectator to freely select a card from the face- 2

down deck. Afterward, the cards are d si d ^d take it, face up, squared into left-hand dealing position. Have me * d f t finger, below, at

*ith your right hand. It is held between the thumb, above,

the center of the right long side. Say, When I was a kid I used to call the so aruj J (name the selected card) a ruhher hand card because it always snapped right back ^

the deck."

■ n -„u /. .iicd the Snap-Back Sleight, is original with Stcve-hJ

, m ii;iltnoon-. (Don CosteUo also devebp^

developed it as a teenager , from thc right hand back onto the top 0f

;lm,nf;hl lll ( rubix-i band. The illusion is quite convincing, and™

the deck as to acquire. Your left hand should be about six .nchcMp same horizontal plane. i^SCT held between the right, thumb and first finger as described the first finger extended a bit ai^d ^e thumb curled a bit (fig.l). The left thumb is held above the de,*, n„dy damn down on the card as it flies across. Reverse the positions of the left thumb and fineern . c snap the first finger inward and the thumb outward (fig.2). This should propel the ckrd across onto the deck. This will probably not happen thc first or even fifteenth time you try it. It takes a knack—keep trying, pressing a little harder with the thumb one time, then a little harder with thc first finger another. Really snapping thc first finger makes a difference, as docs allowing the nail of the first finger to flick against the edge of thc card as it goes by. Repeat the Snap-Back Sleight two or three times. H MlMlM 1 Wi,. .'

The Fir.t Trip to the Pocket: Raisc the deck to your left fingertips, in Churl.«

aud.enc'"™^ 7" 10 lhc left • bit more of your right side is toward*

W S , v,. , ?CCK ! dCCk ,MW"r<l «1.- spcrlMtors. The next sleigh.. hid II' 7'facc up selection '» "•«• center of the deck. Your ngh o X' r"' "1 7 decl< u" if » Hindu Shufile. The left tlir left finwrUM re, ,h"elCC Cd card (fi«'3 »« audience view). While the P«fs 0

<urd, ,„„1 then nround h, S rlKh' h»"'t carries the deck clear ol the i deck, While v,.u Z ,eu, r "' f I""" ,hc ¡« "PP«rs as if you have . ul uctuully controlled the selection to he rear. There is 00 b'" I

needed to hold the selection in place as the deck is drawn away, merely a very light touch of the fingertips.

Once the deck has been placed onto the chosen card, face forward and allow the cards to drop into dealing position. Steve executes the Gambler's Cop a bit differently than most. He does not buckle the card with the second finger, but rather pulls down its inner right corner with the left pinky (fig.5). This is done as you say, "As a matter of fact, with a little practice I found

Hf*^ that after a little while I could even make it snap into my pocket," and the right hand pats the right front trousers pocket. (If there ^e people to his right, Steve rotates his left hand so the top of the deck faces to the nght, concealing the break.)

Not feeling the card in your right pocket, the right hand returns to the deck and grasps it in Biddle Grip. At the same time, the left thumb moves to the left long side Jf the deck and the left first finger shoves the deck inward a bit until the left second finger is at the outer right corner (fig.6). The left hand now turns partially pahn down f* it drops away from the deck (fig.7 is an audience view). The card is not curled as tn usual Gambler s Cop. but lies flatly in the hand with the first rmger la^ng along ^ outer end. The thumb nips the outer left corner against the upper side of the first nriger (fig.8). The left hand appears genuinely empty.

10

The left hand immediately moves toward the left front trousers pocket The card will be loaded into and then removed from the pocket usinp Steve's original adaption of Gordon Bruce's "Pocket Palm" (Epil0gue No. 17, Fulves, 1973). When the hand reaches the pocket, insert only the thumb and first finger inside (fig.9). Immediately curl the first finger and thumb as much as possible grip the card between them, and straighten both (fig. 10, in which the pocket is transparent). Without pausing, turns slightly to the right (so the audience can see the pocket clearly) and slowly withdraw the card. Turn it over to reveal the selection.

The Second Trip to the Pocket: Place the chosen card on top of the deck (which is still held by your right hand) face up, then transfer the deck back to left-hand dealing position. Flip the selected card face down, letting it fall back on top of the deck.

You will now do Jeriy Sadowitz' sleight The Side Jog from his book Cards Hit (that's Card Shit, for those of you who missed Jerry's joke), to apparently transfer the card to an outjogged position in the center ot the deck while actually retaining it on top. This sleight has gained tremendous and well-deserved popularity in recent years. Riffle down the outer left corner of the deck with the left thumb and stop at about center. Your right hand lifts off the upper half of the deck, holding it in Biddle Grip.

Shift the right-hand cards forward until their inner left corners can ^ lightiy gripped between the let thumb, above, and first and seC°"u fingertips, beneath (fig. 11)- 11 appear as if your left thumb draws J the top card of the deck. Actually, sr« rÄsrxsrr ?2ay

11 12

Your left thumb immediately pulls the outjogged card to the left, so its sides are square with the deck. The hands are raised slightly so the cards are once again on a horizontal plane and the right hand slaps its cards on top of those in the left hand. The illusion of the top card being drawn off is very strong.

Execute Steve's Rear Palm Misdirection Palm described earlier in this book. This will leave you with the selected card rear palmed in the right hand after you have apparently pushed it into the center of the deck.

Your right hand travels to the right front trousers pocket, inserting only the thumb and first finger inside d la Gordon Bruce. As already explained and shown in illustration 10. the thumb and first finger curl inward, grasp the card, and straighten. This shoves the rear-palmed card into the pocket, and it is immediately withdrawn. Turn the card over to reveal the signed selection.

The Third Trip to the Pocket: The face-up card is apparently inserted into the center of the deck as vou perform Steve's Depth Illusion Palm, taught elsewhere in this book. After the" Schwarzman subtlety is used, the face-up card is inserted beneath the deck directly into Gambler s Cop in the left hand. The right hand grasps the deck in Biddle Grip" squaring the outjogged card. This enables the left hand to drop awav as alreadv explained: It travels to the left front trousers pocket and removes the card as already shown and explained in illustrauons 9 and i0 (though done with the left hand rather than the right).

The cumulative effect of removing the signed selection from different pockets under challenge conditions is staggering. This is the first routine I evei- saw Steve Draun do, and it was immediately apparent why he is so highly thought of among top echelon card men.

n^iTB A

Dai Vernon's routine "The Travelers" first appeared in The Stars of Magic (Series 6, No 3) in 1950 The plot is direct—a challenge for the sleight-of-hand performer because of its premise: Four signed cards are placed into four different spots in the deck. The cards are squared. The magician announces that the cards will leave the deck and fly to four different pockets. The magician calmly proceeds to magically remove the four cards from four different pockets one at a time. It is a trick of remarkable purity, and the reaction of the audience to it reflects its forceful nature. It seems impossible on so many levels, not the least of which is the audacity of the performer to announce what he's going to do in advance and then palm three times in defiance of the audience's keen eyes. The quadruple nature of the extended climax achieves the same thing as, in boxing, landing four punches to your opponent's face in rapid succession: he falls flat on his back. So does the audience, in a manner oi speaking. They can do nothing but shake their heads.

Steve has taken Vernon's original routine and left its structure intact. He has substituted what he feels are more modern palming techniques for those used in the original. The accumulation of details in Steve's handling makes it, for the discriminating audience, all the more impossible.

Begin by removing the four Aces from the deck and displaying them to the audience. (You should be standing a few feet from the spectators.) Turn to the left and place the Aces on top of the deck. Execute "The Flutter Pass," described earlier in this book. Here, after the Bluff Shift insertion, when you spread the cards between your hands to display the four outjogged cards, your right fingertips locate the card directly below the lowermost outjogged card (an Ace). As you square the deck, your nght fingertips continue to press lightly upward until your left pinky takes over and it

^ZT k ,** Upper tWO Aces ^ since all four Aces are together, that means the break is also above the lower two Aces). Complete "The Flutter Pass, K two Aces to the hnttnm ^ftv,» ___j ^ / . ^

bringing two Aces to the bottom of the deck and two to the top.

The ripric uico hi.n^r. ■ . .r tvy "JJlG tAter u-ecK ana nave ine /ices snwL —- n tn miocker anT ^ P°CketS ' ' ' P-te, one in Ms pocket o«<

facincr ,„" m mis pocket " Breaking down the action and patter, begin d be able to S ^eaT™ ?°Uruhands sllghtly, though not enough that anyone might from abo^e thumb\Tmnefeend0tr°m °f deck" Y°Ur hand §raSpS ** d o"

the deck sharply But wh! ' &t °Uter end> vou riffle the inner end ot quietly riffle7ast y^r tZ ** Uft ^er end, allow the bottom two cards *

P so you can obtain a left pinkv break above them. Only then do you sharply riffle all the cards above. This is another way for Steve to avoid his pet peeve of needlessly squaring an already squared deck Yon h f J

that in order to obtain the required break above tge two Aces on bottZ^if you s.mpt brought your hands together and started fiddling. Riffiing the deck provides the cover.

The riffle is made as you say, "The idea is that I'm going to riffle the deck.," after that, begin to lower your hands and continue, "... and have the Aces shoot out of the deck like bullets into four different pockets As you say that, your left hand, cradling the deck in dealing position, shifts the two cards below the break counter-clockwise a few degrees (fig. 1). Once angled, these two Aces are gripped between the right third finger and thumbtip. (Your right hand is holding the deck in Biddle Grip throughout.)

The right hand now lifts the deck out of the left hand and moves slightly to the right. Your left hand moves to the left and pats, first, your left front trousers pocket (fig.2), then, second, the left breast pocket of your jacket. This is done as you continue, "• • . one in this pocket, one in this pocket

Your hands meet directly in front of you, and you place the deck back into the left hand—in a particular way (though with absolutely no hesitation). The right hand rotates the deck the instant before it contacts the left hand so the cards are longitudinally in the hand, and the exposed corner on bottom butts into the left third nrpcclir. between the fingertip (fig.3 is an x-rav view). The deck is held by he second fingertip and thumb. The two angled cards are now in palm ™

^ck that till rotate. The audience does not see any of ^^^TcSi sav your left arm. thumb, and first finger. The audience .

from personal experience) that the deck is in an odd^TZckc^ thT^nal two waiting to hear the conclusion of the sentence and see what pockets the cards are going to fly to. The misdirection is quite strong.

right breast pocket of the jacket, ar.d then the r.ght front trousers rock - ~ you complete the sentence. \ . r: rhis pocket aid one : rhi's roc'»:-. At the same time, during the misdirection created by your right hand, the left hand completes the palm quite simply. The left infers merely squeeze lightly, bringing the angled cards into full palm and raising the deck away from the pain the latter is an automatic consequence of the fingers curling) :iji 4 The basis for this first palm appears in Magical s Ticks. Hoi. ---

Dcie by Hatton and Plate in 1910 (p. 15) executed with a single card The technique described here hich not only includes modifications so that it can be done with more thai one card. but also returns the deck :: an almost normal position, is Marios see Acsior: Pc>:. p.3. 'Delayed -c: Palm." 1956).

The instai: the right hand has patted the fourth and final pocket, it quickly returns to the deck, grasps ■.: in Biddle Gnp and lifts it out of the left hand. The left hand immediately turns inward as the deck "our ocve: moves away It then moves in straight line to the left front trousers pocket. Rather than plunging ins entire hand into the pocket. e uses Gordon Bruces Pocket Fa.-a technique. Only the thumb and rs: tinger, carrying trie palmec cards. c' inserted into the pocket (fig.5 is an x-ray view). The second, third, fourth fingers remain outside pocket. Try this, because it's -easier to do than :t sounds :n : abstract. Curl your first tinge pull out onh. the outermost car--Vour thumb ~ holds the inner -v. J inside the pocket. Bring out the > Ace and toss it onto the taHe whenever).

The left hand next grasps the left lapel and pulls the left side of the jacket open (fig.6). The right hand carries the deck over to the left hand (which pulls the jacket partially closed) and places it between the left thumb, first, and second fingers—as close to dealing position as you can get while the third and little fingers continue to cling to the lapel (fig.7).

The instant the left thumb and fingers have the deck, the left thumb slides the top card to the right at an ^ngle, so the right hand can grip it in Longitudinal Tenkai Palm (fig.8 is an x-ray view). The card is held crosswise the hand between the thumb and ne heel. This is normally quite an awkward and angly method of concealing a card, however Steve never holds out for long, and in this case the nght hand immediately darts out of

Sxght inside the jacket. "

Rotate the right hand and shove e thumb down into the jacket's nner left breast pocket (fig.9). The

8

pulls the card out of the pocket. Display the third Ace and toss it aside.

Without much pause, the left hand (which is allowed to be seen empty) slips into the left front trousers pocket. Place your flattened hand over the card inside the pocket, but do not palm it. Slide your left hand out of the pocket, the card traveling beneath and gliding on the fabric. The hand travels around your hip, then down inside the rear pocket (fig. 12). The card is not palmed at any time, it merely slides along beneath the hand.

Now, turn your left side toward the audience and use your left thumb and first finger to remove the fourth Ace from your pocket with the Gordon Bruce "Pocket Palm" technique. Toss it aside to end.

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