Midnight

ambitious CA1D

"The Ambitious Card" is like the menu in a Chinese Restaurant: one from column A and two from column B for me and two from column A and one from column B for you. What other routine so yields itself to individual interpretation and pleasure? You insert the parts you like and leave the rest for others. Steve Draun's routine is not as long as many, and totally avoids the conventional use of the Double Lift to cause the card to return to the top of the deck. He is not the first to rely on the Second Deal and Pass to accomplish this: as Stephen Minch points out in his introduction to Daryl's Ambitious Card Omnibus {1987), ". . . the Second Deal (was) being used in this context by Moreau and undoubtedly other French conjurers in the late 1800s (ref. Magic Without Apparatus, p.216)." The way Steve has combined these exact procedures, and the particular sleights he uses to accomplish them, produces one of the cleanest looking and most visually direct versions of this plot I have ever seen.

be t^TjÄ^ Cri f;°m his P°cket at the end of the routine, you required. Snap the deck ^to «f the concl^sion. Also, an indelible marker«

select any card. Gommern that PreSSUre and allow the spectator to

Give him the marker wTth the ri r d0eS n0t matter * vou see which card he chooses

" * c4uest that he sign the card boldly across the tact

The First Rise: While the spectator is busy, square the deck and turn it face down. Grasp it in dealing position in your left hand. Take the face-up card from the spectator with your right hand and remark that the so and so (insert name of his selection) has a reputation in your deck for being a veiy ambitious card. Flip the card over sideways, face down onto the deck. Gesture with your right hand.

Your right hand moves near your body at waist level (or slightly above). It will appear as if you take the top card. Actually, the second (indifferent) card is taken using Russell Barnhart's "Little-Finger Second" (Two Second Deals, Barnhart, 1974). Steve prefers this technique because of the loose style, natural look, and ease with which the card is taken. He has altered the way in which the hands move for the "take." Briefly: the left thumb lays flatly (on its left side) against the top card near the outer left corner. The thumb is bent, ready to push over the top card a quarter inch. Once the top card is shoved over, the back of the second card is exposed (fig. 1). Now, tilt the top of the deck slightly toward you. The flesh from the lower side of the left thumb just beside the joint will naturally (almost automatically)

rest on the exposed portion of the second card. By increasing the downward pressure with the thumb, both the first and second cards can be shoved a second quarter inch to the right (fig.2). During this, your left hand begins to swing up toward the right hand (fig. 3).

Your palm-up right hand, fingers spread, does not move, and remarns pressed against the body The tip of the right little finger moves up from bene^thandcontac^ the inner right corner of the card second from top on its face (fig 4 s a view from beneath). Once the right pinky has made contact, the left thumb pulls the top card

back to the left in alignment with the deck The "take" is completed by curling the ----------11 intr. contact with the face of the projecting card tk!

S -ay leaving^he S3* the right hand «fig.5,. At the sle g

3 rocks forward until the top of the deek .s once agam vis.ble to the audience.

All of this must be coordinated into -

s-} flowing action. There is nothing "tight*

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