Ml

3. Pick up «your» cards and spread them face up between your hands, howing that they are all different. Turn them face down and as you square hem up, get a break above the two bottom cards of the packet, which e the two normal cards.

Secretly load these two cards onto the spectator's packet (see Note II). ou do this by simply carrying the cards, without palming them, over to e ribbon spread, and leaving them on top of the top card of the spread, n the left end. At the same time, and as a justification for moving your and over to his pile, sweep the cards to the right, closing the spread, while ou ask the spectator to place his hand on top of the packet.

With this action, you have almost finished your work, but for the audience these are just preliminaries. Your attitude should not be, «1 am squar-. ing up the cards», but rather, «1 am clearing a space on the table».

Look at the rubber band.

Pick it up, explaining that you are going to use it to hold your cards. Put it on the table again, in front of you, to apparently verify the fact that i you have ten cards in your left hand.

4. Count the eight cards as ten, without changing their order (see Note III). The rhythm of this count should be smooth, without hurrying, and with a superficial attitude. Remember you have already counted the cards twice, very clearly, and so the spectators already «know» that there are ten cards. So don't emphasize this last count too much. Count as if you were counting to yourself. Counting the cards at this point in the routine as if you were simply rechecking, helps de-emphasize all the previous ac-tions.

You are not showing them anything they don't already know, so they j will not pay any attention to the count. Nevertheless, they are being sub- • liminally convinced, after you have secretly transferred the two cards, that' nothing has happened yet and that the trick is just beginning. i

5. Without giving the action undue importance, pass the top card, the Ace of Spades, to the bottom of the packet.

Pick up the rubber band and place it around your packet, so that it ■ passes around the center of the long edges of the deck and holds the cards tightly.

During this action turn your packet around so that the uneven end of j the gaffed cards is at the top of the vertical packet. ,

At the same time, explain that the rubber band holds the cards in place and that they are isolated from any other packet because of it. Actually, you put it there to justify the handling you will use to have the spectator think of two cards.

Hold the cards in your left hand, faces towards the audience. Ask a spectator to open the pack anywhere he likes and to look at a card. As you talk to the spectator, riffle the cards, from backs to faces with the index finger of your right hand at the upper short end, letting the faces of some of the cards be seen. Only the faces of the short cards will show (Fig. 3). This little demonstration, in a way, teaches the spectator how to look at the cards, so you don't have to verbally impose the proper method on him, by insisting that he must pull the cards towards himself as he looks at them. Moreover, if when you wrap the deck in the rubber band you bevel the cards slightly towards the back, the correct way to select the card,: will be the only convenient way to do so. The spectator performs the appropriate actions and looks at (and remembers) the card of his choice. ■

Once the spectator has seen a card, ask him to choose a second card the same way, and to remember both of them. Offer him the opportu-'ty to choose again if he doesn't like either or both of the cards, which a way to reinforce the freedom of the choice in the spectator's mind.

During these actions you must be careful not to let the excessive thick-ess of the packet be seen too clearly, especially if there are magicians or dplayers in the audience.

6. Make two «invisible tosses» from the packet in your left hand owards the packet beneath the spectator's hand. Present the effect. Now ou are doing magic!

Remove the rubber band and count your cards one by one, face down nto the table, reversing their order, and snapping the last card, the Ace Jf Spades: there are only eight cards. Have the spectator count his cards nto the table, counting out loud, and when he reaches the tenth card, ount with him, raising your voice dramatically as you finish counting the welve cards!

Ask the spectator to name the cards that he chose. Pick up your cards rom the table, turn them face up and place them onto the table, one by ne, overlapping them lengthwise, forming a ribbon of cards towards the ont of the table. The last card is the Ace of Spades and it will end up irthest from you. Laying the cards out in this way hides the thickness f the gaffed cards.

If you are surrounded, it is best to lay them out from front to back the last card closest to you), to hide the unequal edges of the gaffed cards. { Point out, in either case, that the chosen cards are not there! Finally, . k the spectator to turn his cards face up to verify the fact that he does ave the two chosen cards in his pile, because they are the two cards that ave «travelled» from your packet to his.

NOTE I

The cards in the peek deck usually have the name of the short card written on the white edge of the back of the long card in each pair, at the upper edge of the end that is not glued, which allows you to know which cards are going «to travel» at the same time as the spectator chooses them.

Juan prefers not to use this information, so as not to cloud the «travelling» effect. Nevertheless, seeing the writing on the cards does assure you that a long nailed or thick fingered spectator hasn't opened the deck in the wrong place.

The best solution would be to place a small mark, instead of the name; of the card, in one corner. That way you avoid the possibility of someone; choosing the wrong card, and avoid the possibility that a spectator located behind you sees the writing on the card.

NOTE II

To transfer two cards in step 3, Juan uses the Vernon Transfer Move, explained in the book Lost Inner Secrets; vol. I, pages 127-128. Briefly: Once you get the break above the two bottom cards, hold it with your right thumb, at the center of the inner end, without letting the cards separate on the left edge. Place the other fingers of your right hand on the outer edge so that the ball of your right pinky is touching the outer right hand corner.

Your left hand holds the packet from below, helping square it up. Once the packet is squared up, place your left pinky next to the inner right-hand corner of the two cards below the break, in contact with the inner short edge, and extend it, making the cards pivot around your right pinky, until the inner left corner contacts the ball of your right thumb.

Your left hand moves off to the left, and with the thumb on top and first and second fingers underneath, picks up the whole packet, except for the two pivoted cards, gripping it along the left long edge, close to the inner left hand corner, carrying it away as you make some commentary to «misdirect».

At the same time, your right hand has retained the two other cards, holding them with a slight diagonal pressure, without bending them, and carries them down and to the right, as explained in step 3. Keep them parallel to the table top, and don't try to hide them because the natural physical position and psychological circumstances provide sufficient cover. Place these cards on top of the card at the end of the spread on the table (Fig. 4), and continue the action, sweeping up the spread of cards with your right hand (Figs. 5 and 6).

To count eight cards as ten in step 4, take the face down packet in your left hand, in dealing position. Count the first card, passing it over to your right hand, and as you say, «One...», turn your right hand to briefly flash the face of the card to the audience (Fig. 7). At the same time, your left thumb pushes the next card off to the right. Your right hand returns to pick up the second card, taking it between index finger and thumb, below the first card, and turns it the same way as the first card, flashing its face, without squaring up the cards, as you count, «Two...» As you count, «Three...», perform exactly the same actions without changing the rhythm, but instead of taking the next card (Fig. 8), your right hand turns to show the face of the second card again, and your left thumb pulls the third card back onto the deck (Fig. 9).

Fig. 9

Continue honestly counting the next three cards, and perform the false count again when you reach the number «seven». Count the last three cards honestly.

The count is performed without hurrying, as if you were really counting the cards, but without really stopping as you show the faces of the cards. Juan does it in 5 or 6 seconds.

This is Juan's handling of the magnificent false count explained at the end of The Complete Works of Derek Dingle; an excellent book by R. Kaufman, on pages 216 ff.

THE THREE GOBLETS' PREDICTION

Written by Rafael Benatar

Effect

Hand a spectator a new deck and have him break the seal and open it, examine it, and shuffle it. You show an envelope that contains a prediction. The spectators choose nine cards from the deck, and then, through a very clear process of elimination, with totally free choices, different spectators eliminate eight cards, until just one card remains— the chosen card. You show the eight cards that were eliminated to the audience as you remove them, so that they can see that they are all different. Cleanly remove a giant card from the envelope and show the chosen card matches your giant prediction.

This is a trick that can be performed close-up, or for larger audiences in club or theater situations.

Material

3 glass goblets.

A manila envelope, big enough to comfortably hold a giant card inside (about 18x25 cm).

A big, bright colored paper clip.

A double-faced giant card, made by glueing two cards together. In our •example we will use the Jack of Clubs and the Ace of Clubs.

A wide card, also made by glueing two cards together, lined up at their short ends, and overlapping along their long edges by 1 mm (see Fig. 1). We will call this the WC (wide card).

A double-backed card (DB), which can also be made by glueing two ¡cards together, because the spectators never touch it.

Four identical cards, that match one face of the giant card. In our ex-,ample, the Jack of Clubs.

^ A brand new sealed deck in suit order (with the 13 cards of each suit ^together).

Set-up

You don't have to carry three goblets around. You can almost always; find them wherever you are working. The mouth of the glass must be al little wider than a card. Write the word «prediction» on the envelope, where you normally write the address. Place the giant card inside, and remember which face of the double card is facing in each direction.

Place the cards mentioned above in the following order, from top to bottom, all the cards face down: WC, JC, JC, AC, JC, JC, AC, DB (Fig. 2).

Clip the packet of eight cards to the envelope on the flap side, using your big colorful paper clip (Fig. 3). The WC is against the envelope, j Place the envelope on the table with the clip side towards you and thfl side with «prediction» written on it, face up, which hides the secret packet! of cards beneath the envelope.

Place the goblets on the table somewhere. It is best if you have some place to lean the envelope, or something to lean it against, on the table, so that it is almost vertical and can be seen clearly by the audience. It is best to perform this routine standing up.

Procedure

1. Toss the deck, in its case, to a spectator, and have him unwrap it (if it is new), open it, and check to see that all the cards are there. Tell him that you believe that the deck is probably complete, because you trust e manufacturer, but you want him to check just in case, and then to shuffle e deck completely, several times.

When the spectator returns the deck to you, ask him if he has removed he Jokers (as if he should have done so), and when he tells you that he asn't, search for and remove the Jokers yourself, with the backs of the ards towards the audience as you do so. As you search for them, quickly ocate the JC and AC and place them among the bottom ten cards of the deck. You do this to avoid a disastrous coincidence later (see Notes).

Pick up the deck in your left hand in dealing position and with your right hand pick up the envelope, gripping it with your fingers underneath and your thumb on top, along the right edge. Carry the envelope over to

your left hand, turning it to a vertical position, so that the secret packet lines up with the deck and joins it, because from now on these cards are simply a part of the (shuffled!) deck (Fig. 4).

Your left thumb holds the envelope against the deck. Your right hand releases the envelope, turns palm downwards and removes the clip.

A"s far as the audience is concerned, you have picked up the envelope with your right hand, and placed it in your left hand in order to remove the clip with your right.

Only 3 or 4 seconds pass from the time you pick up the envelope with your right hand until you remove the clip. Show the clip to the audience as you explain to them you are going to use it for something very important. This is the action that apparently motivates this whole series of actions, so center your attention on the clip when you reach for the envelope.

Place the clip on the table to one side, and concentrate on the envelope. Lift it up with your right hand. Your left hand doesn't move, so as not to attract any undue attention, it simply releases the envelope and allows the right hand to take it away.

Lift the envelope a little before carrying it away, so the flap doesn't get in the way and to avoid exposing the deck too soon. You are not trying to hide the fact that the deck was behind the envelope, because this is totally justified by a series of natural actions, but you can try to make the audience forget the fact..., which is even better! As you pick up the envelope, show the audience what is written on it (the word «prediction», and perhaps your name or anything else that goes along with your presentation of the effect), begin to explain what you are going to do, and clearly place the envelope in view of the audience, and preferably out of your reach.

2. Shuffle the deck without changing the order of the top eight cards, or the ten cards on the bottom. Leave the deck on the table, face down. It seems impossible for you to be controlling anything that way. Explain what you are going to do. Tell them that they will select nine cards from the deck, then they will choose one of them and it will match the prediction that is in the envelope. Pause dramatically and look at the audience.

Place the three glass goblets in a row on the table.

Pick up the deck by the long edges with your right hand. Start to drop cards or small packets and ask a spectator to tell you to stop whenever he likes. This, and only this choice, is free, or almost free, so take advantage of the fact by presenting it as clearly as possible. Juan does it very slowly, and when the spectator says «Stop», he asks, «Are you sure?... Do you want me to pass two or three more... Two or three less?... The next card... the previous card?... This one?... O. K.!» Once the spectator is satisfied, and at the same time, convinced that his choice was totally free, place the cards that remain in your right hand into your left, and with your right take the top three cards from the packet on the table, one by one, and place each card into one of the stemmed glasses, facing the audience (Fig. 5). Pause briefly, to give the spectators time to look at the faces of the cards, and then as if you had changed your mind, turn the cards around, backs to the audience, as you make an explanatory comment.

3. Place the cards in your left hand on top of the cards that remain f on the table. Tell the spectators that they are going to continue choosing cards, using the same method several times (without mentioning how many times). Speed up the rhythm of the action, accelerating your movements, f and your speech. These factors, along with the slow and extremely clear procedure used for the choice of the first group of three cards, will make I the forces that follow easier and less risky.

I Pick up the deck and cut it two or three times, so that it looks like a I casual overhand shuffle, leaving the WC close to the center of the deck, I or a little further up. Place the deck in your right hand, gripping it as be-| fore along the long edges, and ask a different spectator to say «stop», I whenever he likes. Drop cards or small packets and watch the spectator's | mouth. When he opens his mouth to say «stop», drop all the cards that | still remain below the WC. (It is interesting to note that to pronounce the

word «alto» — «halt», or «stop», in Spanish — the mouth opens sooner, and a little more than for other words that are sometimes used with this force, such as «stop». Someone might want to take advantage of this little fact, justifying it in the presentation.)

Pass the cards that remain in your right hand over to your left and with your right hand pick up the top three cards, one by one, from the packet on the table, placing one card in each of the goblets, behind the first card, but this time without showing their faces. These will be a JC, JC, AC. You can place them in any order you like, for example, from right to left.

4. Pick up the cards on the table, and place them in your left hand with the other cards, and proceed as in step 3, forcing the duplicates of the same three cards: JC, JC, AC.

Once again, place one card in each glass, without showing their faces, in the same order as in step 3.

5. Pick up the cards on the table, and place them on top of the ones in your left hand, so that the DB is on top of the deck. Place the deck on the table, and now, as if you were trying to be as sure as possible, remove the three packets of three cards from the glasses in any order, and say, «Let's make sure that there are nine, and only nine cards, because sometimes two cards stick together... it's a very new deck (the opposite of what really happens!).

Count the cards very clearly, without showing their faces, placing the cards into the goblets one by one, using the same order all three times. For example, the first card in the cup on the right, the second in the center cup, the third in the cup on your left, the fourth in the cup on the right, the fifth in the center and so on, until you have counted all nine cards out loud and placed them into the goblets.

What you have done is place the three indifferent cards together in the same cup, in our example, they are on the right. The other two groups of three both contain a JC, JC and an AC.

Get a pinky break below the fourth card of the deck. Juan usually says, «You have chosen these cards, the ones in the glasses, and not these... the ones in the deck», spreading the top few cards as he talks, and gets a break beneath the fourth card as he squares them up. Let your arm hang down the left side of your body to avoid exposing the break as you continue talking.

6. Look at a spectator and say, «Would you please point to a glass..., number one here on my left, number two in the center, number three on my right».

Depending on his choice, you have two options:

a) If he chooses the goblet containing the indifferent cards (number three in our example):

As soon as the spectator points to, or starts to say the number of the cup, interrupt and say, «Oh... wait. Of course, all the cards or glasses you point to will be removed; they will be eliminated so that there is drama until the end, when there is just one left. You are going to remove cards. I mention this so that nobody thinks that there are word games or any kind of ambiguity in the process».

Actually you do play word games, but only once, and right now. With this clarification you will have convinced the audience that the process is honest, and at the same time, surprised anyone who was waiting for a «magician's choice» type force.

Remove the three cards from the goblet that the spectator chose, while you say, «Are you sure that you don't want these cards?» Make a small fan, backs towards the audience and carry them over to your left hand, turning them face up before you place them on top of the deck, and continue saying; «But they are so pretty... a six of Hearts, this lovely eight of Spades, you don't want this four...?», naming, of course, the indifferent cards as they appear. Place them face up, spread out on the table, or if possible lean them against something so they are vertical and can be seen by the audience.

Ask the spectator to point to another cup, reminding him that the cup he points to will be eliminated. Don't forget that the absolute freedom with which he is really able to choose should be used to build the effect.

Juan usually plays with the spectator a little here, pretending to misunderstand their selection: «You pointed to number two... No, this one... Number one? Make up your mind... Good, this one!»

Take the three cards out of the goblet chosen by the spectator and direct your attention to the cup that wasn't eliminated. Leave the cards you just eliminated, slightly spread, face down on top of the deck in your left hand, to point to the glass that wasn't eliminated with your right. Accompany these actions with some comment, such as, «You don't want these, so we are left with these three cards». (Point to them.) At the same time, square up the cards in your left hand, maintaining the break. Apparently your left hand leaves the cards on the deck in order to point to the cards in the glass.

After you have pointed at them, your right hand returns to your left hand and flips over the seven cards above the break, switching the three cards that were just eliminated for three indifferent cards. Immediately spread the three indifferent cards that are face up on top of the DB, being careful not to flash the three cards that you just eliminated, which are now face up, below the DB (Fig. 6).

Make comments about the three cards, as you did with the first group: «This little two of Clubs, so black...»

You have clearly shown the faces of the six cards that have been elimi-, nated freely.

b) If he chooses one of the other two cups (number one or two): |j As soon as the spectator starts to point to or name the goblet, inter-! rupt him and say, «Ah... Let me point out that all the cards or goblets that you point to will be considered «chosen», not «eliminated». The one you finally choose is the one that should match the prediction. I mention this so that you don't think there are any word games...» '

Notice that you say «All the cards or goblets that you point to», suggesting several choices, though in this second option, they will only have to point twice. They don't know this yet, which will help to make your declaration more disarming.

Now proceed exactly as in option A. First with the three indifferent cards, and then with the three cards from the other cup that wasn't chosen.

Notice that when you place the indifferent cards into your left hand . ou do so to condition the spectators, to get them used to the action. This ay it will seem more natural when you do the same thing with the next ree cards.

In any case, you now have three cards left (JC, JC, AC) in one of the oblets. The six cards eliminated in option a), or not chosen in option b) re in view, facing the audience.

You hold the deck in your left hand. The top card is the DB followed by three face up cards: JC, JC, AC, which have already finished their work in this trick.

7. Slip cut, cutting the three face up cards into the center of the deck, but leaving the DB on top. Perform this cut as you talk, as if by habit, with the faces of the cards towards the audience to avoid exposing the cards are face up, but being careful not to expose the hidden face of the )B. Get a break below the second card in the deck (the card below the *)■

Hold the deck in your left hand with your left arm hanging down your t side so you don't flash the break, while you explain and begin to sug-est, more and more dramatically, what is going to happen. At the same 'me, your right hand clearly removes one of the cards from the chosen 'ass and deposits it, without showing its face, in one of the other glasses, sing only your fingertips, pick up another card from the chosen goblet nd place it in the other empty glass in the same way.

The three cards are now distributed so that you have one in each glass, and inasmuch as they are facing you, you don't have to remember anything and can place them in the glasses in any order. Of course, the cards are a JC, JC and AC, all of which can be found in your envelope, so you can now allow the audience unquestionable freedom in their final choices.

Direct your attention to another spectator and ask him to point o a cup, pointing out that the cup will be eliminated (or will be the chosen cup, depending on which option you had to follow in step 6).

Now the procedure is almost the same as in step 6, only this time there really are no word games, because whichever card they choose of the three that remain, you will be able to successfully conclude the trick.

If you followed option a) and they point to the AC, remove it from the cup, place it on top of the deck, turning it face up as you did before, ,with the three indifferent cards. Make some comment and return it to its cup, facing the audience.

Have someone point to another glass, remove the card from the goblet question (JC), place it on top of the deck face down and point to the st card, the chosen card. Turn all the cards above the break face up with your right hand, switching the JC for an indifferent card. Make some com ment about the beauty of the indifferent card and place it «back» into its cup, facing the audience.

If you followed option a) and they point to one of the JCs: Remove the card from its glass and place it face down on top of the deck, point to the other two cups and flip over the three cards above the break. Take the indifferent card that appears there and «return» it to its glass, facing the audience.

Ask them to point to another card and turn the chosen card around, to face the audience without removing it from its goblet, barely touching it as you turn it around.

Of course, all these actions are accompanied by appropriate little comments like the ones you made in step 6.

If you followed option b) and they point to the AC: Remove one of the other two cards (JC) from its glass, point to the AC, flip over the three cards above the break, being careful not to expose the face of the face up JC that ends up beneath the DB, and place the indifferent card that appears in its glass facing the audience. Turn the other JC around to face, the audience without removing it from its cup.

If you followed option b) and they point to the JC: Remove the othe JC from its cup, place it face down on top of the deck, point to the oth JC (the chosen JC), flip the three cards above the break face up, plac the indifferent card that appears into «its» goblet, facing the audienc and finally, turn the face of the AC towards the audience, without removing it from its cup.

Once you understand the procedure you won't have to memorize a the possibilities. Try, whenever possible, to reach the situation in which you have a card that has already been eliminated in its cup facing the audience, the chosen card (or card not eliminated), and one other card, which you can turn towards the audience without removing it from its glass.

9. Referring to the chosen card, say that in order to avoid touching it with your hands, and to make it impossible for you to change it for another card, you are going to mark it with the clip.

Clip the paperclip along the top edge of the card without touching or removing the card from the glass. You really do this to justify the use of the clip in the trick. Briefly review the procedure that was followed to choose the card, emphasizing the clarity and freedom of the choice, and making a few comments about the cards that were eliminated, and that have remained in view of the audience. Now say, «Let's see what is in the envelope».

Clearly pick up the envelope in such a way that the face of the giant card that coincides with the chosen card is towards the audience. Remove the giant card and say the name of the card that shows out loud. Do this with a curious attitude, more than a triumphant one. Leave the card some place | where it can be seen, perhaps next to the eliminated cards, and now direct |all your attention and the audience's attention, to the envelope, which you "show to be empty, untricked, and which you can hand to a spectator to examine.

With the fingers of your right hand, pick up the goblet by the stem, and move towards the spectators on your left. Pause dramatically and turn |the cup around with your fingers so that the chosen card is facing them. i Once the spectators on your left have begun to react, move it so that the j spectators in the center can see the face of the card (Fig. 7), slowly making | a semicircle with the glass in hand, until you reach the spectators on your ' right. This way, you create an arc of gasps, applause, and different versions of Ahh!... Ohh!... OooohH, and others.

Fig. 7

Move towards the audience and extend your arm with the goblet, offering them the card with the clip to remember this trick forever.

Notice that everything is constructed so that the attention never stops, is never really centered on the giant card, which is a double-facer. Once you have shown it, their interest goes to the envelope and finally to the , chosen card.

When you show the giant card it doesn't mean that much, yet, because the audience still doesn't know the name of the chosen card. This way the < . effect occurs when you turn the card in the glass around to show it to the audience. They already know what is going to happen, but they are more' and more surprised as they observe the clear process and the fair condi- J tions used to choose the card, until finally they see the card that they have chosen, and realise that your prediction really was correct.

Additional comments

At the beginning of the routine, while a spectator is examining the deck, Juan usually jokes around a bit, tossing the glass goblets out to the au-< dienGe to be inspected. The spectators jump and laugh but the glasses rarely fall and break. Juan takes one of the goblets and pretends to throw it at; a spectator, and then tosses it to him softly.

In step 1, as you remove the Jokers you must leave the JC and AC among the ten INF cards, so that they don't appear among the indifferent cards that you switch for the cards that are eliminated in the course of the selection process, when you flip over the DB. j

When you shuffle the cards in step 2, try to leave the JC and AC among the last ten cards, but preferably not on the face of the deck. This isn'i at all difficult and you can even make it happen automatically, depending on how you shuffle the cards.

As you drop the cards ready for a spectator to say «stop» or «alto» for the first time in step 2, the election is «almost» totally free, because you must avoid the ten bottom cards, which you can drop as you explain the procedure to the spectator. You must also avoid, obviously the eight; cards in the packet that you secretly added to the deck.

When you do the slip cut in step 7, try to cut the deck approximately in the center. This will give you an ample margin to avoid cutting at the cards in question.

Juan suggests another possibility which is probably more attractive tol some people. The idea is to eliminate one of the JC and one of the ACj from the packet that you add on to the deck at the beginning of the rou-i tine. When you remove the Jokers, place the JC and the AC (from th0 deck) on top of the deck, and then use some method (Juan prefers to leavi the actual handling to the reader's imagination) to include them in the setup of the packet that you add to the deck. If you do it this way you don't have to be as careful when shuffling.

If you always use the same cards in the set-up, a spectator who has seen you perform might remember the chosen card. It's a good idea to change the cards you use, including when you first do the trick, because others who have read this book might already be using the J and A of Clubs (!)•

Juan recommends buying four decks, with which you can make all the combinations you want. You will also have to buy a deck of giant cards. When you make the giant double-faced card glue the two cards together with a weak glue or with glue-stick, so that you can separate them easily and make different combinations.

Try to use new, or almost new cards in your eight card packet because if you don't, the darker color of their edges might contrast with the edges of the new deck and reveal the fact that you are using extra cards.

Optional finale

In your jacket pocket, or in one of your rear pants pockets, place a new card case, into which you have placed a sheet of paper with a giant AC drawn on it.

Make a photocopy of a JC on top of a newspaper page from the day of the performance (Annemann idea). It can be a small format newspaper, or a page from a magazine — preferably the classified ads page, or the personals announcements, or the movie listings. Crumple the page up into a ball and place it into your left pants or jacket pocket. Obtain a duplicate of the page. When you begin the routine, when the spectator examines the deck, ask for the case and place it in the same pocket as the case with the sheet of paper with the AC on it.

When you hand out the deck, hand a copy of the newspaper to an another spectator, tearing it out of a newspaper that you carry with you. Ask the spectator to check to see if there is anything about your performance in the classified ads or if you both appear in the movie ads, etc. The spectator looks, doesn't find anything, laughs and then you explain that you are going to make a little ball out of the page and use it to choose the spectators who are going to help you. As you explain this, take the page back from the spectator and crumple it up into a little ball. Mention that you are going to use the card case as well and place your left hand into your left pocket, the pocket with the ball with a photocopy of the JC on it, while supposedly looking for the case. Remove the ball from your pocket and switch it for the other one using the Double Cross of the Gaze Switch, explained in Juan's book The Five Points in Magic.

When you finish, the little ball, made from a piece of paper that the spectator has had in his own hands, is left in your right pocket, by your, right hand. Leave the ball in your pocket as your right hand removes thl cardcase with the drawing of the AC inside. These actions are unimpor-j tant to the spectators, because of the purpose that you have verbally at" tributed to the paper ball and the case. $

Use the ball to choose the first spectator, turn your back to the au-i dience and toss it, asking the person who catches it to do the same, tossing1 it to a second spectator. Proceed in the same way, but with the card case,: to choose the second spectator.

When you finish the trick and the applause has died down, and after a generous pause to give the audience time to assimilate the effect, depending on which card was chosen you have two paths of action to choose from: ■% If the chosen card is the AC: Get the ball back from the spectator. Juanj usually says, «Toss me the ball please. Let's see how well you can throw? it... Very good!...», and casually places the ball in his pocket. Then he looks at the spectator who opened the deck of cards and asks him if there' was anything else in the case. Finally he asks the spectator who now has? the case to check. When he opens the case he will find the sketch of the AC.

If the chosen card is the JC: This option is the better of the two, andj the most probable. Ask for the card case and place it in your pocket. Then say, «Hey! ... wait a minute. I was sure that something magical was going to happen today... Are you sure there was nothing in the newspaper about my show?... Would you please unfold the page?» The spectator does so, and finds the JC printed on the page that he inspected just a few minutes i ago. 1

Juan doesn't always use this optional ending, and when he does he j presents it as if it were a new trick, after the spectators have digested the J prediction effect completely. i

THIRD MOVEMENT

SLYDINI

CLOSE-UP MAGIC: PENKNIVES

SLEIGHTS: TWIST

ULTRARAPID TRICHANGE

EFFECTS AND ROUTINES:

THE TRAVELLING PENKNIFE PENKNIVES AND HANDKERCHIEVES PROGRESSIVE ROUTINE CAPICUA ROUTINE RAINBOW ROUTINE

IDEAS:

MISCELLANY OF IDEAS

How can I look you in the eyes without blinking? How can I hear you say, «Look» without tensing my mind and my body to the limit? How to wake up from the stupor you cause? How to relax the unbearable tension of my muscles and my battered mind when you tell us with your tranquil voice, «Done!», announcing the final K. O. to us? What to do? How to react?

Mystery arrived in a helicopter flying over our heads. You have broken our logic in half, making our mental structures twirl. And nevertheless, you, Slydini, remain IM-PASSIVE.

Are we really sure that we have witnessed what we think we have witnessed? Does your strength reveal our weaknesses to ourselves, or does it give us the strength we need to accept the fact that we have witnessed real Magic, your Magic? How can we respond to your clear, direct and almost cruel provocation? Will I react by getting furious, with an internal anger, or will I externalize that energy and use it to meet your challenge and live some of the most intensely vital moments of my existence? Will I get into the game?

You provoke us, you challenge us, you play with us, Slydini, Master, what are you trying to do?

Tender, timid, human, Quintino Marucci. Seated at your table, your California wine, your exquisite macaronis (your culinary speciality), I feel you close to me.

You think, you sleep, you wake, you live of, from and in the world of Magic. I know you like flowers and trees. I have seen your warm tenderness with children (right, Ana?) I can feel your intimate, though unexpressed, affection for people. I know you are so intelligent that you don't have to make excuses about it, but you never use your intellect to make others feel they have to ask you to excuse them. In groups, I see you, and I remember you, as being silent, frugal when eating, I would say a little distant or absent, until...

... until Quintino Marucci hears the call; your face lights up, and your body, and you emanate your charisma. The voices fall into silence, once you have their eyes on you, you capture their attention. (How can you distract it later, if it isn't centered on you and your Magic in the first place?) HEY PRESTO Here he is, looking the audience in the eyes, making the salty sweet, the Genie from the magic lamp, Slydini in Person.

What creative talent! What intellectual refinement! What a fine mind, a brilliant analyst, coordinating the gesture with the gaze which crosses the path of the movement of the hand, which arrives, pushed by the arm because the body moves forward when the sentence ends on the last syllable of the last word!

And the rhythm with a deliberately slow cadence («take your time») so that everything is clear up to the last second when BOOM! FIRE!! and it's done when you least expected it. One, two, three, four, five...! Pow! and... Crash! Analysis, synthesis, dramatic structure, mime, believe that you have done what you have done even though it is (apparently) impossible. And Love for what you are doing. For more than 70 years, more that 25,000 days, almost half a million hours, Quintino Tony Marucci Slydini has dedicated his time to studying, inventing, analyzing, teaching, showing, presenting and creating Magic.

And as he finishes, he has us all sitting on his lap (marvellous lapping).

Thank you.

SLEIGHTS WITH PENKNIVES

1. THE CLASSIC PENKNIFE TWIST

Well known to all magic fans; I would recommend, to everyone, nevertheless, that you read the superb explanation and study of this Twist in Ascanio's book Penknives and Daltonism. Likewise, I would recommend this book for its explanations of The Pinky Twist; The False Twist; The Rapid Change; etc. This isn't just a book, it's a luxury!

2. THE TAMARIZ TWIST

1. The knive is resting on the palm of your right hand, make sure that it lies along your left second finger. Your first and third fingers are raised slightly, forming a sort of rut for the knife to lie in. Moreover, you have to make sure that the part of the blade that is sticking out of the knife is resting on your right index finger (fig. 1).

Perform steps 2 and 3 together:

2. Close your fingers so that the knife rotates around the A-B axis.

3. ... and at the same time, secretly push the part of the blade that is sticking out with your right index finger, making the knife twist around the axis C-D.

When you finish, the same side of the knife will be showing as when J

The move should be performed very easily, without giving undue im- jj portance to the action. As if you were toying with the knife while you talk. 1

From this final position, you can let the knife slip down towards your fingers, ready to place into your left hand. )

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