The imaginary card, after being inspected for secret markings and invisible threads, is reinserted face down into the face-up deck. The magician states that through some strange property of light refraction, this invisible card becomes visible upon being reversed. The deck is spread and, to the audience's growing concern, there really is one face-down card in the face-up deck. This growing concern matures into out-and-out disbelief as the reversed card is revealed to be the original mental selection!
5TLP (ML - Spread the face-up deck in your hands and request a spectator to just think of one of these cards. Make sure this mental selection is taken from among the first twenty-six cards at the face of the deck. Square the deck face down into your left hand and openly transfer the top five or six cards to the face of the deck. Take advantage of this action to obtain a left little finger break below the top card of the face-down deck
6TELP J\JO - Execute a Braue Reversal so that this top card ends face down in the center of the face-up deck. (i.e. Left fingers place the bottom half of the deck face up onto the broken card. Left fingers take the remaining half from below the break and replace it face up beneath the top half.) You explain to your audience that these simple cuts are the process that renders the card invisible.
ror years Ive had this compulsion to find a practical method for performing the Eddie Fields/Don Alan classic Invisible Deck effect -using an ordinary, shuffled deck of cards. So here it is - my best shot.
You'll find this new method, although quite bold, really does get the job done and at the same time allows for an entertaining presentation in the spirit of the original, and still champion, gaffed version.
LfFLCT ANP PR.L5LNTATk?Nl - A spectator merely thinks of a card. The performer gives the deck a few cuts, then announces that this simple process has caused the thought-of card to become invisible. Now for the really difficult part - to induce this invisible card to rise from the deck! The magician proceeds to give a blow-by-blow description of this miraculous lévitation. (The bewildered audience sees nothing - just a squared pack of cards held by one slightly deranged magician.) The protruding invisible card is then "handed" to the spectator who, to go along with the charade, confirms it to be his mental selection.
5TELP Ti-lEJLEL - Following the presentation, cause the invisible card to rise from the deck. Hold the deck face up in your left hand, removing the "invisible card" with your right fingers. Ask for the name of your spectator's mental selection, then triumphantly hand the invisible card out for verification. After exhausting your invisible card gags - have the "card" returned face down into the center of the squared faceup deck.
6TE.P f£?UR. - As you make the remark about "light refraction" (see Presentation) raise the front end of the deck so that the backs of the cards are toward the audience. Start spreading the cards into your right fingers. You will now secretly displace the spectator's selection by a Hofzinser-type move as follows: When you come to the selection, push it from the back with your left fingertips - sliding it below (and to the right) of the card directly to the selection's right as in FIG. 1.
The card above the selected card is held in place by pressure from your left thumb. As soon as this action is started, turn the deck down so that the card's faces are visible to your audience. As the top of the spread is lowered, your right fingertips pull the selected card to the right, behind the packet of cards held by the right hand. Without pausing, continue to spread the left-hand cards to the right - above the hidden selection and below the card above it. This "dislocation" takes but an instant, and is perfectly covered by the action of turning down the spread. Continue spreading (the faces now visible) until the reversed face-down card appears.
6TE-P pIN/E. - Position this card so that it protrudes, half its length, from the left side of the right-hand spread (and overlapped above the concealed card at the back) as in FIG. 2.
Adjust your right fingertips so that they press up against the back of this concealed card at its extreme right edge. You will now apparently take the face-down card onto the face of the left-hand packet in preparation for tossing the reversed card out to the audience. Actually, you will be switching this card for the spectator's selection by the use of a boldly discrepant subterfuge as follows:
5TE.P 5IX - Turn your left hand palm down. Move this hand, along with its packet, directly above the face-down card as in FIG. 3.
Press the inside of your left fingers against the left edge of the card as in FIG. 4.
This action squares the face-down card with the concealed card below it. In a continuing action, your left hand takes these two cards away as one, onto the face of its packet. (Try to avoid a snapping sound as the double card is transferred to the left packet.) Still without a pause, your left hand turns palm up, the left thumb pushing the reversed card off to the right as in FIG. 5, where the card is then tossed face down onto the table.
The spectator turns the card up to find his original mental selection!
As I mentioned before, the switch is quite bold - but when done in a smooth continuous action - it is undetectable to the uninitiated. You may have noticed that the face card of the left hand packet is different after the reversed card is pushed off. Don't let it bother you. During the hundreds of times that I've performed this effect, I've never been called on that point: All attention is on the reversed card, not the surrounding spread. For the real purist, however, this discrepancy can be removed by arranging the routine so that the card to the left of the reversed card is a close mate (such as the Two of Hearts and Two of Diamonds). Whatever you decide - don't give up. You may be burned on your first few attempts because your Hofzinser wasn't smooth - or perhaps the timing on the switch was off. But after a minimal breaking-in period, you'll find the proper rhythm.
I can think of no higher commendation for a routine than to point out that Daniel Cros has made it the opening effect for his nightly performances at the Las Vegas Desert Inn. Neither Danny nor myself claim any credit for the individual effects and methods employed in "Paper Chase." In this instance, our contribution is the manner in which various elements have been brought together - in order to construct a highly desirable routine in terms of workability and audience appeal.
E-FfELCT - The magician approaches a table, greets the customers, then removes a cocktail napkin from under a drink. The paper napkin is unfolded and torn into four sections. Each section is rolled into a ball, then positioned on the table in a square formation. A fast-paced "four coin assembly" sequence is now performed. Each of the four paper balls vanish - all of them gathering together under the performer's hand a moment later. After a little more magical by-play, the four balls are picked up, mashed together, then placed under a spectator's finger. When the spectator unravels the wad of paper, she discovers that the four pieces have actually welded themselves together - restoring the cocktail napkin to its original unblemished condition! The magician, after smoothing out the napkin's wrinkles, replaces it back under the spectator's drink. She has no choice but to say, "My what a nice young man."
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Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.