nr II 0 oKS OF -ONDER

Ac" ·KN····· . O'WIE'" ." ' 'D-:"GME' NT': .. :S··

. i - . '. .' ": .: '. . . '. -, -. ~ '. . "", '. ~ '. : -

.: . __ ' _. _._ ',' _',. _", ... _.' _. _ .. ," - _' - ..... ",_ ,", :.1

The authors would like to thank Milt Kort and T~,A Waters for s'u,Pplyin,g' needed pieces of historical information for this volume, Profound. thanks go also to Jim Krenz .. Jamy~-c Ian Swiss and Mr Waters for their perceptive P" .~oofr-.--""",_j~'n··g· w'·: hich

-,--',:: . i c' ",,' :.'- - '.'.' .'. ,'" ',_,'.'- .. -.' .,'. ._-'.' -- '" ." ", _' ...... t;::"dUl. ,~., ','~ _ .. ~

.' ~fi'~' d d ced b f"' 1i" ieh ,"' th C II

slg,nf-can,~· y reouceo a numoer 0·_ Slippery oversig ts In tne £0 .. OWing pag',esi

PuB' LI'S" HIN' ''''G.' HIS' 'T'- 0····: RY"

. - ' : <. " .. ' . '. ", .. ', ,J'. ':_: ..... : .' •. ',

Wh+l al~ .. 1 bli hed ,"' ks d icl ~ thi 11 h .

. ue au prevlousy pU·.·lS.· ... _"_ tncks ani, arncies m '.,.15 votume .-,ave been revised

or rewritten, fur the convenience ·o.r students of magic history, each is followed by

th f· ~ '", I' ,,",",,11 ",. 'j M' M" ,... d '.'

e year 0:- Its OflgI,nar ap'pearance in print ... i. -rax rviavens mtroc Uction 'was first

published in MAG I C,~, Volume 3, No.8, May; 1994.

'P.rA;111''I'~tra··'t· ive ph .. Q,['o:'gra' '-". P hy· '.' by Tom tm y. 'Y'o" nder and··' Debb ie Murray

. II;;-..Il,LL() , _' .:.' _' ' ~ ': '_-c"_: , . " ..WI .. ' __ " ' -" L' .' ':'" ': ~

Endleafart by Kelly Iyles.

Copyright © 1 '996 by Stephen Minch. and Tommy Won,der.,

All rights reserved under International and Pan ... American Copyright ConveIltjons. Pu'bHshed in the United, States 'by Hermetic Press, Inc .. " Searrle,

'Tommy Wond'e'r r.eserves all commercial manufacturing rig'hts to the tricl{S· and apparatus describeJ, in these volumes.~ Any t,ransgression of th.ose' .rights will. be prosecute«,. Legal domicile 'will be Amsterdam.

Printed in the Unil);~d States of America.

IS'BN' O' 9" 4' 5" 2'9" 6 l' 6' 9'

, ..... :~ .. ' "<:'" .,_'.;;-. :.::.:., I ~:"",,: .:.,':.:',: ~ , . _·I~l.'

. .

654.32

C -

_ ontents

he/ace

Introduction ~~ The Wonder Years-e- Max Mauen Prologue: The 'Limitations ofTheo.ry

C-·ii:'__'1." .. ~';n O - .. N- E,· A···· 'rrsxrr ,O"N", ""G·-···E:"T!!T"irN,-·····G:···· D' '·-·'.EVI". ~:cc

,n1'1...lI- J.~ .. "_," ~" 1 . .I£J.~ _ . .:..... - !,A 1..1 .,' ." . - .. , ~

.•

IX

'"

Xi

h 'l.t" d.

'Getting t. _ e Mis Out OJ -Mhirtctio,n

Tough Customers

R- '. h': tC(JC set

] '7' 9

.35 4,0

43 4S 53 5,S,

5,9 64 70 77' 88 90 97

100

105 107 112 1]5

119 123 129 ]36 ]41

1491 ]5·6

Cl-tAIYfER Two: TRAVEl. TAlES OF MR .. PIP Magic Ranch

TIle' ,)lfitld Movie

Fabricated

The Architect

Elizabeth II I

Failurefficts

Here and 'N or

The Pavlov Effect

Post-ultimate Ri,p·-off

Co:unting Cards, Unnatural Rhythms and OtherProblems The Poltergeist Pack

lVI: ['I. D 'i R-

wtlR~ .', .: tont Run

Carpenter's Revenge

R bik' C' d

UlS :· .. -ar .

Concerning Eye Contact The Shrinking' Card-case FalHng Pips

Ambi-tilt

The. Two-second Card Fold The Card in the Ringbox Squeeze

rUt That Glitters

The. Pip-eating Spider The Origin of'Originality Th,e. Wond,ereV'erse

Deja ReVurse

Breath Control

Master or Servant?

Date with, an Inflatable Bunny Rabbit Rouser

Practical Thinking

The Toba,cco Exchange Emo,tionai [nuoluement

The Improved Hydrostatic Glass Acting is Not Making Faces

A link

~ ~uto- 1--1 ."

T'h':C'" R,,',·~~-~,J.,,'V" 0(.', -, lt40'~ry' 'a, md Success J: ~_ 1 . ,l;.6ratU1:~ ~'.' lVJt [f~.. ", "~',.J~

"

The Ring', the Watc~h and the Wallet

The Three Pillars

Epilogue~" Ouroboros

157' 161 164 167 l73 176

179 lSI

183' 2.02

204 206 ,209 212 214,

217 222 225

2.2'9 231 2,43

248 2,54

257 26,1

263

2,6'9 271 274

27:',6":

.' ,I

CHAPTER THREE: THE TAMED CARD The Creatiu« Process'

The T amed Card Th,e Kickoff

Card Forcing Confidence

Slow' and Ste.ady' Wins the Race Fictitious Danger

An' Examination. ofExa'minations Hlgh ,anti Low

The Family Three Rese:

C·~R F,OUll': P'RESENTATI'ONS IN SIL\lE.R Coins ACf'OSS andl Back with Interlude Mud in Your Eye

Wh,m Tricks Become' Transparent Sweet and Sour Simpli~i"ty

Cigarette Through Quarter: a Handling And Here I Have ~ . ~

Counterfeiter's Spellbound

CHAPTER, F'M:: GROlml ENCOUNTERS

D'D/1,I_~~.", eaiers

.278 2Bl 289 29'1 29,4

297 300 302 316

,323,

WELL" here they are, The Books of 'W&ruier~ It has taken me longer 'man I ever imagined, Roughly seven years ago, I bought my first computer with the sole p'u,rpose of being able ['0

., h- 'b-' 'I_,~ d ] ~.. th "' d . d B

write '[lese -O,o.KS; an now am writing ','IS mtro < uction on my' second comp,ure'r~u'[

before you think that for the past seven, years I've done nothing 'blur sit day' and night at the

.' I'll- dmi rh th C' d- .. I' ,~'II th ""'" L, ., d '. ,

monitor, __ '_ aomrt t iat mere 'were a Few istracnons alon,g rr e way mat re'qurre- my artennonr

In these pa,ges 'you will find, much ofthe material I worked out over the P'3S[ twentyfive 'years~ Although all the tricks and, routines are: described in detail, I hope you see them as things not to 'be done slavishly; without thought, Such a practice wont add much to your ,grow-ch., I enjoy reading books ,of tricks} but never 'with the intent of finding new material to perform,~ ] see such books as sources of knowledge, and occasionally even inspiration, Sometimes I Took, for the inherent structures beneath the tricks; some-times I just read trick descriptions: for the pure joy' ofit, My approach is like a painter 'taking pleasure in a book of art, I enjoy learning what my oolMeague.s, are: doing. Maybe I can learn from this, gain new insights, inspiration to strive for a hi,gher magic, Bur it would seem, passing stran,ge '['0 our painter for' him to look in art books for paintings to copy .. Can 'you imagine: "I'm, a real painter, I paint what others have painted befor-e me," Or "Sure, I do copies, But, hey, I found th e original e '"In:' an art 'b"o' '0' k For wh at orh er reaso __ n 'W" ould m "'y colleag ues P ublish t heir work

Ii,. 1,"-", .'- ,e.._' ,j; I , ... ": :''''''~ 1:''''''4. ',Ii.; Jl~,_:, ,'.', __ I __ .. ,':'-',, _ _:_ __ ,=:'_'~.;)' ' .. ,1, __ ",-- ,I ,_,~.l,_,_'".,':._":;,,

if not to teach me how to paint their paintings]" Yes, yO'u, can look ar it in rhar way, even

~ 'L def f - C - h-I 'I! b h ,

maxe a c erense ,0;-' a sort ror tr e practice-c-] U:[ wnat po,verty~

Anyway, my main intention is certainly not to teach you how '[0 do my tricks, I want instead to show you through these examples how I solved, certain problems, how I went ab "0'" '1"1'[' rea 11'"'Z'1'" n g'-:' , W'- hi at I' h ad CO~I'-',n' ceived in So' id p rh A 0" 0' n fin es 0-' f: m y' ,i sk tul -1 '""IIn- d ho w':- ',' I thin 'k·· fo 'r'

- .:. ,," LJ··' , ba,l ' " , '-,,:.. _. _A ,! Qi . .-, .', ~" . _ .L ,_' , __ """ . _ ',,_ '" ',' :: _ II , ..... - . '., " "" ,', , , ' " till, ." ,,' " .. . _ JI. _" ," ll",

whatever worth can be gleaned from it all.

I've- ,gained a lot through '[eying to understand the difFe'rent ways other people think" Their approaches ,gave me ideas, opened, up new areas of possibiliry, stimulated, my' thinking,

If something here performs these services for you, even if yo'u totally disagree 'with, ffi'y ideas, then you will be the richer for it and I'll ,fed these books have been of use, If these pages push you fo,[V{af,.d~ ,great! If not, what a pi~ I fi.nd it curious when, people remark, "Thars a gt,eat bookl Ir describes exactly how I feel abour things." .I would find such a book not particularly 'worthwhile .. 'Of course it will provide reassurance for 'your ideas bur .apart

from that it does little- else. Progress is not always comfortable. Being pulled from your safe world often brings 'you more in the end, '\Vhen something forces you, to rethink what yo'u thought 'was truth, this could very 'well be the moment doors are opened to further progress~

Attacking YO'ur own thoughts, killing dogmatic thinking; that's more needed than the safety of little rules; the comfort of having others think like you or for you,.

'111 b ks h · - C' " h ~-- p 'b ~ d '. 'I h :) .... ,~ L rh

: rese 1,"0·0 .... _. • iave qUIte a lew t ieorencai ~.' irs anc pteces~ I . ope you won t rase 'I I iem

as gospel, turning them toward the cause ofdo,gmatic thinking, but instead that you accept them as food for thought .. Thinking and questioning dogma are practices that can bring us fresh gr'owth.

The real purpose of these- 'books is not to teach, you tricks) nor to teach hard theorerical truths, I firmly' believe magic can't: be taught. It can 'be learned, but it can't 'be taught. How can I know what yo:u need, what you. should, do, what you should think? The only way to learn is by thinking: yourself: You have to think, yo'u have' to work, YOll. yourself have to study and experiment, You are the only one who can do that: for yourself Donr believe those people who claim they can. teach you,. They can't make' proper decisions or think. for yo'u, simply because they are not you, 'You must do it yourself there is no other way. There are no short cuts to real results, no matter what some may try 'to make you believe,

Instead of mere teaching I hope my real intention is fulf1l1ed,; maybe not with. many~

b 1 " .... L L d til h b L~ hel d sti 1 h hink ,.

out at eastwith a rew rear ers: " at r ese oooxs ne pan snmuiate tnem to tnir ..... ~ to expert-

di d- b hi k hId figb . th . - h

ment, to iscaro, '[0 embrace, to rermm to nate, to . ave and ro iighr with magic, Pus -: it

around, ll.P" down, fo,rvvar-d. and back, and-c-Ier magic do the' same with you~ It's an exhilarating p'rocess,. Fascinating, interesting, excitingl

In this way' YOll will surprise magic, and rhen-s-magic will surprise you!

Tommy Won,d,er 1994 Lisse, The Netherlands

N- -TKe'IO'/:" D"~~ ie·' T-I'O: -' "'N' I

I I', ,: .. " ','. i:' -

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b M M

. .

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1. n, "" J. ~., , .n. ,- " ....•

UNDER duress I could come up with a list of my ten favorite stage magicians, and, another of my ten favor.ite close-up workers. _.Olnly one name would make both lists, and it belongs, to the' subject of (his piece,

Our stocy begins as all, good stories do: Once 'upon a time there was a precocious fouryear-old" who saw a magician on, television. The performer brought OU'£" at metal ,pan, into, which he-placed some p,aper that he set on fire. He covered IDle flamin,g material" pronounced some mystic words, and when the lid was removed the pan was, now filled with cookies,

"Ohl" thought the toddler" "This is the gig forme.!.~'

,vl···JI th [,.~ aim' o'st --t· airily nor rh ~ e -act ph' , ' - th at [ through hi .. ~ ind: L ' ~ ne WCl !i_a' ~s, .1,"_ cer~a..' __", <: '. e "x: __ i,'cas'e,. wen' [' . I:,.' " . 'IS ,m . [-; .ror 0 -',

thing, he 'was, thinking in Dutch .. But you get [he idea -as did he,

The next day' he went out into. the yard behind his home, armed, with a batch of Pi a per and a pan commandeered from the kitchen, and set 'to work recreating what hed seen,

Nas~ the experiment 'was a failure;, in several hours cf labor, no cookies were produced, I nstead " he got an angry lecture from his mother who, after- sternly reminding him, that he was not allowed tv play with matches, went on to explain that the guy onTv" had performed a trick-s-not real magic, but a theatrica] illusion,

UOh~,r:I"h" 'gh~'. -h'- . ddJ'-~ . , ((,\VT_U ~,,~' .. '11th, . - '"c. '-' 'I~'

,',.,'. n OU'", .t tne to' " er"w,eu, Its suu ," e gIg ror me •

. And indeed it was, for little jos Bemelman grew up to b·e Tommy Wonder~ He's now old enough to play with, matches, and for that matter' '[:0 do his OW,n television performances; but we're getting ahead, of our story.

It 'would be- some time before the little tyke: would g:ain access, to any technical information, but the lure of the proiession of fa.ltasy endured even without external resources. In fa,ct, two years later our protagonist devised his first original conjuring trick,

It willnot be detailed here; franldy, it was not all thar good .. '\What is, significant is that

hi di ~ d' f; . J~' I· at b d'

[ rs rudimentary contrivance mac e use 0." mssasrecuon, emp oytng naturs _ oo ~_y movement

to concea] a secret activity, To be sure, it was a relatively' primitive form, but at the age of six

tho! di I"' hm

' . :. _ . ,- ",.. ", .-' I -, r'l ,,' - .... ,.,".: " 'I '_ "" -, •

is ~ an extraon _.' na-ry 3lCCOmp~IS, ' ... ent.

J h hild uld - .. ., 1 hOO hi - ed tho

ust rowa youngcnuc couu insnncnve ygrasp 'C·:.lS, sop usncated cO.ncep·[-one I~ at

has clearly escaped the understanding of many adult magicians-c-Is a grand mystery, It tells us' something about [his person; who has gone on '[0 earn a reputation as one of ' the true

f .. di i

masters 0'._ rruso irecnon.

Years. went by, and Tommy's interest in conjuring was distracted 'by other career possi ...

b~ p" 'p' hil hi id d b ,. ,. d h ~ I

tunes: r-or 3, w u e .. e consi •. aerec -.-·ecomlng: an ice cream. vern .IOf, or per laps a prIest. twas

at the age of ten that .he finally got his hands on a magic book and was pulled back into the fold (although it can be argued that there are elements of both dessert and theology [,0 be found in his work, as, the follo¥lin,g .pag,es will show) ~

CIANDES-TEEN

Now .. ···: b' - ···eg·. an . a typ~.- ". ical phase o ····f'~ perfo rm iing for c:.r-~Ie.··n-.J,~ rhen rn ovin g" 0" n to bi r, .. :IL,d .. .a y ..... p''':' rry';-'.

_ .. ' ". '.' .'. -. . ""~'. . . .. '\,.0. It Jl., . ." it.ll. -'. .W, (fl . . '.' .. 'l'., .. - .. ' , . . .' . Ul.:.: r .. ,aJI.. .

".q .' - • " ':. ':

shows" In time, he discovered that there were magic shops, fro,m. which he could order by

mail, but because of his earlier experiences in self ... reliance he quickly determined that the best investment was in books; props he could make himself In this he was like,),y influenced by his father's occupation as a craftsman making jewelry and repairing watches.

Wh.m 'Iommy was fourteen he saw a newspaper article that announced the formation of a. youth group sponsored b'Y one of the area, magic clubs and this provided an opportunity for interaction with others .. However, then as now, his appr-oach was rather' icono clastic, The magic club scene offered access, '[0 magic contests, 'which he: 'used as an imperus for developing original material · n the stage manipulation category The feedback that he received from this. involvement helped to, build his confidence in his creative abilities".

As he won several of these contests, the Dutch magic community began [0 take notice of this innovative: fellow~ And ofcourse, '[he predictable outcome was that he 'began [0' ge[ cocky; "I thought that I could do, magic perfectly," Tommy recollects .. "'1 felt, well, I should

b h ,i ch th b b I didn' S·-· I h gh' 'WI]I ~"'n

'f; _. :lVlng as rnuc . success as .j i~ e _~ e'St~:'Ul: ._:_IL_D [~::o, . t1o'u,:_: nt, "lats wrong~ ...

To seek a solution, after high school he left the smal town ofLisse and moved ~o Den Haag, where he attended the Academie uoor ptJdiumvormingfor three years, There he studied movement, dance and other thea tier skills .. It was: hard work; initially' he found it difficult to apply what he 'was exploring to the magic he loved" bur he persevered"

Upon completing his raining he joined the Haagsche Comedic·theater comp(wy, where for two, years he appeared in small parts in their productions, occasionally managing to incorporate conjuring into a role.

To earn a modest income during' this period, Tommy joined up with another yo,ung' magician. who was ('0 go on to international prominence, Dick Koornwinde - ~ Togeth.er they would sell Squirmles (the latter-day version of the classic mouse .. pitch) on the street ..

C KAP

. . ".

• -I , _ ". I .. ~ •.. " ~ ", ", '.- - :'. ",

UPS,AND ····· .. ·.·,S

Around this. time'Iommy entered the Pitt,nkenka'ns'taJen't contest produced by a Dutch relevision network (the title loosely trans late s to' "Stage Fever"). The act featur,ed a highly unorthodox billiard 'ban sequence with startling' instant color changes, climaxing' 'with the production ofa giant ball 'well away fro,m any tables,

One of the judges was the magician whose shadow, even these many years after his death, still looms [arge over European magic, particularly in, his native Holland: Fred Kaps, 'The young' competitor felt quite intimidated" and was too shy to approach the famo,us threetime FISM champion ..

It '\VaS only' years later that Tommy learned from, Kaps' close friend Bob Driebeek of what transpired the week after the contest had aired, Fred called Bob and, insisted that hie come over to his, home in, Urrecht to watch the: videotape, He told Bob, "You've got to see what '[his kid is doingl" (By' the way;, the kid won, rhe contest.)

Wond,er and Kaps did Dot get 'to know each other well in the ensuing years, but held each other in high regard, lAs with many magicians, Tommy found, inspiration in, Kapss

1... .. ~ ~.. b th .. , .: L -~ ~ d d ch H

'WOf'K" not' in imitative 'terms, cut rae,' er wirn regaru to attitude an", a.p'pro'a·. t. .• e comments

th F' d "h d' ,.~ 1;0; ,. [ ,I ] I, .. 1 S-' .. h

~ at reo ;" ao a certain quauty, to gIve, ,ma!gt.c. Im,portan,oe; a certain c ass.comenmes, w en

1,- L;, b I' I h' ,. t, ('Wh I'd V'~ h d ~~ d h al'~1 ,. ~

:~,worKing,on ap,ro'"em; . trunk, ",.' ar wouio Kaps have donel'<=and t 'en USU,~( Iy It'S.

iI' b I' "

qU.ltC' O'VlO'US,.

'By 1975, Tommy had moved, back to Lisse and turned hisa:tten'£'ion to close-up magic, In ,part this was for purely pragmatic reasons: The greater share of professional e-nga,gemenrs available for magicians in the Netherlands has l,ong: been table-hopping for corporate parties,

Among his topics of study at the time was the ancient mystery- of the Cups and Balls, for which, he composed an imaginative new scenario. For the benefit of those who have not

Y"A-[ seen it the surp irisin 'g" "'I"': sts i n , ... ~ 'II e ro : uti ne W" "'-1"'11' n "0' t be '~'p- .. la ined I19'vrJalipt to m -. J3!n--' "iFl~OC' n th-·: a t

,,,,,,,I~ .;).\;;."- JIi." _ !I;".. Iil' _ ,.' ',,_" .lIiJi;) 'n .' I;,.VV L) ~ iJ!, m ~~ ,L',. _~.'~ , "~'" .. . " .'. I, co.::~, >, ·,d.Ml ,''IjJ ~:;. !!o...J!L~ " III"!",,," I !l" '.. ." .', .

me routi ne relies on an, audacious application ofrnisdirection, A full explanation of it ,ap,pears:

.. 'J: 1 II' f hi k

in vtJ,tume '0· t=-lS, war - ~

Tommy remembers that at first, ~'I was afraid, because I h;ad the idea, but I thought, (This, is never g,oin,g to work' -so~ howcould I be sure?' The solution was to, develop mulriple' layers of misdirection, combining physicalactions and psychological stratagems to yield, a. co nsrruction rhar was virtually guaranteed to deceive,

The cups routine: debuted at a magic club meeting and ,garne'red, a powerful .response~ Wi-lh, his theories confirmed, he was ready to present the' routine to a wider audience, He honed the Cups and Balls over many performances, and, used it ,as the keystone of the act he entered in the dose-up, competition at the 197-6 FISM in Vienna, Austria.

'He did, not win that contest" but obtained 'valuable exposure~ One who was impressed. was Emil Loew, the Dutch expatriate based in New' York who arranged American lecture' tours for many European, magicians, Loew asked him, if he'd like to bring his lecture to the United States: in 197?~ Tommv ••. ~. uicklv azreed.

He returned '[0 Holland and, as in fa,el' he'd never done a lecture before, spent the next

r--.- ..... ,. -,h· .. " ." "~ . . ,. T' '~h' ·1·· ,,' , ", " . ,_L , ...... ·'~.~I'I'. .. .~", .-,~' D' . -j .. ' " L_ "fl':·'· -" - ". '. h ,

levi mont's creatlng one .. ie ecture \VaS entnusiasncauy recervec, I .. ' urlng rnat nrst trtp e

_1.- >: ",. ", ded tho . Pecht " ,e: ,," .. , ,'" ,;., ·B'~I·O::·l' .. , .. N······· .. ,1.1.: k I .... _,. ",' " ..,...--:-11 th "'---I" oact .,- fthat

alSO atten __ e,_. ae '. e ' .. rer conventIon In" Wl:atO" _.ew rorx.. can recar I; e Impae, 0, ra

Cups and Balls routine; as over a hundred wel] ... posted, close ... 'up workers found themselves, utterly nailed, not once but, several rimes, 'by' this fellow wed never heard. of,

H . - ned tc th . 'U' S·'· th Clli " .' .. - ... ,' ... d .. . '1' .. . dai .... , .- ... ,L PCAM·' '., s.: " ..

, 'e returne_, to ,'_e ,- r ~_.~ u 'e 10· oW1.ngyearm · __ 0 moreecrur'e8 an __ ' appearatuI,e ' .... , ,'. ', r '

con :. entio , 1-- ;n Lo :,s., Ang .. =,:__~· ~~ and th ~ C:AAX convention in N~~' York, Reviewing the fla"Tmer

co v .1. n J!" .'. ~~____"", v,{UYl .. _._. ""'__ _ __ _ ."'-''''''._ Ii..t ~v. ... _._. _

. . . .

. " G:' ~" B"ill' L ~ ul l' d ib d hi IUd· ,. gl . d' h - ds - - - - - "

." ,- - -. " ... '" " .. '.':. ,c·-:·· - ",_. , ""1' ",,:.-.;. .," '." ::'. -" ." 1 " ""1 1 ," . '; ,.'" .. " ... -." .. ""'''1 -',:"1 .' ... '" ,·,"'1:

event In, ·.en1.t, lalse,nJoc ar.y' escnoea ~lmasJ.sgustln"yyoungan,anl some,

. ~·n· d: his ~~70' rk t},(" "asto un d .. in g ... ,') and ~ "splen d' id !'~~' .

a ". W·. _ _:_ ~ ~ __ c .. .•... ;jJj" ~ ,fj. ~

Th 1: di h' '" eel 0' th U" .. d S··'· .' h-I d 'b ild hi ~ b ck

e plaudits ~e .. recerve m rne ... mite t otates, I1n turn.helped build his rep'utat]ona~'~

':,: t"-' h.' ':.', '.-.',',- , 'H-~-"·: reno '. 'n '~.M~ fu rt 'th iered in 1" 9.· :7,:,:'9···· when he entered the ,Fl:SM close-up contest in

a, ,orne.. .IS re .W'fy,~ . . ,-,,_eli .1__ ... .'\.r __ . _ _ _ _ t;U _ _ _ ..

Brussels, Belgium, This time he was a prize-winner ..

B h h d d · d d hi D' '" '" 1 · b h T hi

_ 'Y' now.ne nao . iscarde _IS; s'mge' act, Despite H:8 acciamanon ey others.Tommy '_ tm-

self was q' uite dissatisfied. It was time to begin work on a, new act ..

, w, . _ ..,. .. _ . _ ...., . _ _ _ .. . . '.- .,,__ _ . " _ .. _ _ ,_ _ .. _

P··- . ,',',. ,' .... ' ',.'.-:. - ., p" .. " ...

. ", . ',_ ",' .'. I I _.".,,"-._ _ '. ,_. I"

ORWARD, INTO THE .,l\ST

In the mid-I 980s, Tommy withdrew from the: magic scene, He pulled back, from lectures and convention appearances .. Instead, he' devoted himself to performing: for rhe public,

He received a, call fro,m Het Curi.osahuys, a restaurant with a, medieval theme", Could he devise an act that would, ,fit that premise? If so, they could Q'tter him 3" long-term 000- tract, 'Tommy came' over to see rhe fdcilities .. 'The conditions were problematic: TI1e: IllagiciaJl would have to work surrounded, competing for attention in a noisy, active environment ..

After due deliberation he decided he could work out an act to meet their requirements; it would probably take about three months .. The restaurant, however, had other plans, they wanted him to begin the folI-owin,g 'week! They agreed to split the diff-ere-n.ce,. Six 'weeks later> the new stag1e act debuted. The act went over quire well with both [he mana,gem.'ent and patrons of the restaurant, Tommy; on the other hand, was frustr,ated~ However, the en,~ge~ rnent furnished a chance (,0 refine' this new material during the course of several shows in a single night leach week, That: it also supplied a steady salary was also beneficial,

He kept the job :for five years,~ During the first eighteen, months rhe act evolved; he spent sixteen hours a day 'working on. ir, Grad'ually; what 'began as a deliberate period piece progressed into an ac[ 'that is timeless,

The next three and a half years were devoted to polishing ,every tiny derail,

The fruits, of this discipline are- now known throughout the conjuring world, The act had its, first major showing at the Den, Haag FIS,M in 1988} where Tommy was once again

'" " _~ '. - '. ". ~ - _ .. JL - - -' --

a prlze-wlnn,er, rrus time In me stag,e catego,ryi

A... ~ h h '" l' .. hi h h del d i classi '"_1 d

,~ WIt': .tus c .ose~u,p, In tne stage act he ' as I.-_:_ ivec into c assrc rnatenai ano come u,P

with radically new results, 'The' basic ingredients: are commonplace: The Orange;< Lemon, Egg and Canary; the Zombie; and his beloved Cu.ps and Balls, \Vhat he has transformed them, into is astonishing,

T1\l'TnO··- .. ··D· . T 'C r70··· illtT'. "TT T.D' lV£O" i,7\lD'-"E"n lFEA_R" ···:~c .11V·.l fl'·: .. rt:» LJI .. -: .111. '1'1. lr1£ W (.··lV~::: n . .1 J'_" .... ',J

'N" h h' T " ·1111 k J Ka7 ::. "B: ~11 'S ' k Tri k'i ;,;.,,'

, .. ,:1,0 one w".o, r as seen .lommys act 'Wll ,00, ,at joe . ,rsons rsau-on-a-c ,tIC, Irtc .... ' m

quite the same way ever again" As Eugene Burger notes, "I think he does Zombie 'better [han anyone on this: planer. The cage is just floating, and, you believe it~ You believe it so much that yo'u don't even care what kind of weird, gimmick he must ,have!"

The act intertwines a char.mingly poetic storyline" superb technique and, of course, misdirection .. Tommy observes, "People underestimate misdirection. Sometimes, they use it wro,ng, so they try it and it doesn't work, and that 'proves' it doesn't work 'I' .. ." The ongoing ca":' reer 'c;:'1II1rr,oI!I;('S' 0' f·' Torn m "y",Y1:o'" n der p"roves rh at it does,

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", . 1_. . , , ,.' _ . " "', : .. ' "" '. :. '. ~. l._ :_

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ere 15 rnucn [0 iearn from rommy wonuer, ,(lOr to iese twin vo umes, ,1S pu .1S .

k l"" d f'l (on' I I [';III 'fro .,', ~-- .J" .. . d IVJ: J, _

wor: 'was irmtecu two sets 0:-, ecture notes '-,:.;gz.na Magicfrom Holland In 1977 an .. ', w,onliet

~_,;f 't'·' 19'8"'2') ._.J'1 ibuti · ( bl F d Robi 'Rbu""':r. J.Vllltfru:t~ in .. ':, ',,; , s,p,or-aulc contn ninons to maganne:s: nota y ; redl .obinsons "~,-~"utrj

tr- ' 'd'- .b C. '!IM ""T;", .. TV,l,~~ )'~,~ E' :-·,_~·:;¥.I-A' '.... . '. "".' .' b .. · G"'· " ... M:: -", . " " --:' '~" 19·'['8-"3'

an·,~ .. , a .'OOK., J,ommy wonaer .. ··n,..erH.40tns, Wflfte,n ..... y .. 'en!e .·atsuura!n .. r, .... ,.~

'When asked, what motivates his, work, Tommy explains, "The psychology of magic I

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m very ~a.sclnatln,g-, 'OW" you can oecerve someone.. ow you can put plcnlres rn a persoI1S,

. d ld i ~ I' f h .. :L" . blei ,.,

mine ,. t s a war: In itse t, wnere tne impossr ~ e IS, true.

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.. e ,ga eway 0 t·, at wor. is sometr Ing r .. at liommy rerers [0 as riOJlnt . .ero: w nere

, dnositi hal" de. b 111"'C: dd h Id '

negative an: positive meet, W . ere rea 1ty anc rantasy meet; may~,e .l!l.ie and death, .. dont

kn S dd 1 " th h id d b ck b P'" 7.~

OWl ,_,tn, ': en y, youre at tne or ier sine, anc you can go "a_', ,.,',ut at ,Qlnt L-.lCto you can-

n o 't- sta y.. You ca n only go .. ', r , ..... 'tho rough it be' c aus · e it has no time no, dimension And that is what

, ,.... ~'.. '.:" ,1'" ,_" i., " .' ' .. ' . ,.:...-.....,.,...... .. _, .. _ . .. ., ' , ','.- _ .. c" _' , .' ~ .. = -' ,~' "., " "". " ' ..

~ . .~

h h ~ ~- LI ,. '1&" h d . h · ld- b k' '. . ~ 1

~_a,ppens W . en, you see a magIC trick! Its 1'1 ' e' W ra 'I' .. ~ an- tnen quick y yo'u go - acs '[0 rear-

irvb .. · seoth .-. ~ , ' .. ieht dk 1"""""",--,,:, ual .. - " "'''~'''-'''' ",' ,' t, ,£c_ .. _1~"

1.£y, .. ecause ot erwise you mig .t. ie. ts a very unust -., experience, a very necessary . eetlng~

A ~ .'. t of ,,- C' '., .. , ' .. , b' .," '.' - ',~ ' .. ,- ~ ',., close b··, it nev '.' 11' ' .. -" th _.' '·"'-h ·'t' 'I' .". - rbe .'," - 'I"

tot 0 ar rorms can . Jil.ng you very 'c" ose, . 'U . never pu ,you ,roug, n; ,may, e, move you

d i b 1 '. _IL. .. d h hi h ..... r, .' f~ ji . I' ~ id n

aroun Jt"ur ony WlUI magIc' 0 you I ave tms shock, as I youre turmng InSI' e-out,

Tom un y: 'Y'o', ui d er con rin ues to': turn P- eople insid A-OU'(- in top '. ve nue ,£', ,Cf"lo' m M··· 0" n tre Carlo

11 J.~, . ·W~· .. ' .... -', _' _' .. .,' ._. .J .. ~'.- . ~.,r.;t. '':_'~-'"'' . I,.:. a- " . .;:.' _ .... ..:J.1[l! . .', .. _ ,'" Ill, vaJ. -,.

, . .

"T": ky '1 ddiri h h d .. .. aJ d 'I. "\vrt..

'[0 J.O,.,:70~ ,n,:at, :"._,1.["lon" , .• Ie . as rna, : .. e numerous appearances on '[n,'[,er.natlon .~ ," t: evISJlOn'O 'W 1,10

,knows? Somewhere there may be ,a precocio'us toddler who s,ees, o'ne of those performances" and thinks, ((Oh! This is, the, gig for mel"

O ' , ,,- - -ld' 'hi. . dJ" . 'k £ - _ b ' "', , ,." --' ,," "

ne COll ' ar .. _ y 'as ',', ror a,etter InSpIration"

M,axMaven 199~ Hollywood

IN·· .. C; 'E~-' laree p .- .... ofthis book an:" ad its CO: ··m···"··pan·····::·, . '1"0," n velum ',#li!o CO" onsisrs .. .; 0' 'f"th~f'iII,~:;-,--l

._ I .. a ,J.a[,8 .' ' a..LIL , .. ',' -. - ~ .'. - '. ,. . .... - ' .... , '. , .•. '_'." .. " "'.. " __ ,_""-. ~_ _ ""'V,l~,U!CaJ.

I : essays" it seems Judicious to consider first what theoretical discussions 'can do fo(, us and how important a part theoretical concerns can play in the realm of magical performance,

Some may say that theory; nice as it may be, doesn't contribute sig,nificandy eo the development of a good, perform,er~ In, sup_port of this they point 'to, many' such, performers who never practiced theoretical analysis. Indeed some fine magicians have never formalJy studied the theories behind their work, bur rely on, some instinctive feeling fur what is right

for them and what is not ..

There are abo, magicians 'who study and study" who know a great deal about the theo- . ries of magic, but when 'mer apply these theories in their performances they fan to achieve the great magic tor which they hoped, From :aJl this one could draw the conclusion that: theory seems to contribute little or nothing: to me making ofa better performer,

- .. , D;' .... -- --. -- -0' '-'N"D' S····

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l-W ." .". '. t., :' ...•. " ..... ". <~. '. . ." .. " '.~ '_':-.,

Wh- il tho .. ~. bvi '1' d b I d tho th ~ ·

--./ u e t ,IS contention IS, 0' rvious y ,open to r: e -- ate" ' . ,0 agree .nat nere is a certain some-

hi .. ,I, ;0 ,I, .. h kn 1 dg h ~ '. .. ~1 h 'b d t' __ lng,; an mstmcnve llnslg •. I',) a raw rr owiec .e, tn a'[ l[ IS, essennai to r ave to' aecome a goO~',

performer, Call it talenr if you like. The more of this special something one has been given

bv ' " .. , ",' -' rh .... b-" '-1' '.-_ .. r, f, -, '.> ... ---" ... 'boo ., .... ', .. ··1·· .,

. .- y narur-e, t_ "e .. etrer perrorm,er one 'can ... ecome,

I say ' become; because even if one has ,all me- talene in 'the world .. it still must be develooed,

. ..:' . _. - - - JJ' . - - - . -' . , , • ,. - . . - .. .... !. f - - ~ .IE _.. . _'--- - - - - - - - r---

'T_l _-"I' 11" L ... - - - ,",- di ~ -- ..... d An .. , ,. ..J = -. . - id ! .. ---- ,-_c- ,-- .. ~~= 1, ,1!-,,--..-", ... ' ~ '. b ,- ..... -, .. -; ~.-

raient 1lS JL1Ke a raw ..• amonc.z , uncut ciamono 18, not partlcw,ar.lY Interestlng"ut once It

- f al h

iIil ',..' .: 'J!I ill' . I'l . - - _. ", 'II! _ ... _. ' •

. ", :-. "," 1[· .. · '11'- ," - .-_ . _.- .:'_'-,- .~: '", ," ... ·:-~·'i' ".:. "'.-:", ,'J I·· .. ' • 1',-'- .-.... ,"', ".' :'1 "i '.:' -'1'- ," _,:: '11',;' :-: l' '-', - ...• , .. ," I' ',-.".:- "1"_1 " ", .,.:.- ,"-

IS polished [0 perfection, It becomes a thing ofbeaury; The same IS true, 0,· c_ ent, T,~ e more

talent, the 'bigger the raw diamond, the 'better one can become, But it still requires polishing'

Polish ing _t..JL ~~: ~·W·,'·., r d I"' amon d b .: uin I.gs'·_, ,,'.: '0. ·.·U' t the sparkl P an ;i' lid.' b nillian ., I!"'J~ en. ... :L,"'1'"[, a, ' U'I di iences can

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~ - .'

begin to enjoy it .. However if the base material, the talent isn't there, if instead, of ' raw dia-

d th ~ 1 8':- '. f" 1-" hi f k b ~ h

"-:.-:. _-;-.. _' ... ,'. ~ • [", .:.'_", ',.' .: ,I - _,' ',·'1'1 _.- ". -. : ..... I. I ,'-,' ·'·····1 1"1: ~ I" .-," .. ~.~ 1, "'1'- .:'.";- I:' i ," ".~ .. ~_~. -. ,'-, ,~. I' ··.·1:" - .. , i " " p :.' [ I. -. j' "

mon , .. ere IS on y _ mt, no amount 0 po 1lS., Ing> no amount or wor --' can .. ,fIng out me

b "'l1i~ f di d

" ':-1'-'''-.-- ,' .. , :,"'.- '., .. :." i.- , .: .

rnnance Q a,1aJ110n.:~

The idea that; without talent, no amount of work can make' one a. truly good performer

'" i, .. eliti b I b 1-· hd b -H- l'

may seem pessimisnc, even eunst; but oeheve It, nevert ne ess, to '--f!' true, '~ owever, . .1 m

not really the: cynical misanthrope this statement might at first s:uggest,. for I tend 'to think that most" ifnot aU people have some measure of ralent-s-maybe not much, maybe just a speck; but a tiny little diamond polished to perfection, is, far more enjoyable than an enor ... mous unpolished one .. So donr despair if you. find that 'your "raw diamond" is not huge, VOUI r m iagic can still be ad' drnira ble

1.,- ,'''- '__c'c" OJi,,',-_-__ 1 ...

I don't believe' that one can enlarge one's talent, One can only polish it to bring out its qualities for audiences to enjoy~ If this is true, 'mere is really no, need to be worried about the amount of talent one has. We shouldnt be concerned with .. how big the raw diamond is, 'There is nothing to be gained by reeljn,g depressed over a lesser stone, We should only consider how 'well we can polish the gem we have; and we should only feel discouraged if we fail '[0 polish it sufficie·ncly.

I aI !'1 I" rl h 1-' hI" al~ " .... L b f--I- . '" hi"

" -., ways smue a l[,:_C'W ien . near poop' e ranom 'lzln,g 'U1e ansence or qualiry in tneir

k b ""'B- I d ; h ch ,_I d -)j I don' d

woe ~'y saYIng, nut you. 8,0=" or t aave as rnuc .. taient as so-am ... sol dont pre'ten,:', to

know exactly 'what talent' is, and. maybe some do lack it completely-s-bur I do kn.ow that the phrase lack' oftalent is often used. as an excuse for a lack of polishing,

Whether we. have talent and h.ow much is something fo'r others to 'worry about, Let's ban that fear forever, and let's also stop using' the amount of talent we imagine ourselves to have as an excuse, These thi~ are senseless and will never bring us any closer- to our goa1s~

F RI'

. '" ... ,.. . I - ---;- . , . '

EELING .. ,G·HT

One of the best ways I mow ofro polish the: talent one has is '[0 use' it as much as possib e,

1- th ~.J~ .. d nertorm mazi h I' d ~ "ill

n ,0 -- ,- erwoms, practice an' . perform l.1l3-gIe 'as mucr as you can.In •• olng: so, you w~ come

to see and feel almost automatically how you should do things; you will sense when it is right. The more magic you perform, the more experience you, gain and the marie yo:ur sense for "what is right for you" can be' developed, This sense can become so sharp that, aftier a time, you will even be able to 'cell when something is right jUS'[ by i~gi'n-ingyoursdf doing it, And 'you will certainly be able to te 1 when it is right by actually trying it,

Let" h - k- IT" h ..

s say n rat YO'U want to won out a new errect, and at .:i orne you try various moves

and sequences,~ You do it this way, you do it: that way; and suddenly you feel that a, particular ~Y' is, weU.- just right, This feeling that something is just right foryo,u is, in my opinion, the' primary basis tOt making decisions; and should never 'be igrIored~ Many great performers make decisions about their work solely on what they sense is right for them, They cant explain lexactly why they do the things they do in a particular way-but it just feels right

Thl",1:" "righ ,[ .c---e'I:]J.~·n'- gc" is a- m---- uch b en- --- er-- m' uch . - 'm' or;;o ~e' .- '-b· ~c., d' idi ~ . t' h-I- thi --." - - -

.. ~ ,,_.: - .. n::: - --, >~ I~,., -',;, I, . __ - ,_~. _"_,~ _-,._,' .1,.'"," ,.;).~:cure.' ' __ aslS cor.eel· --,ng I-I ese -- -::_ n,gs

h h ical al .. b '--f' th f";{.1:·" " '

t _an any t ieorencs an, YS1S ~l ever oe. 0 course', the amount 0' _ redtng 'you have will

depen d. on how much natural talent you ,possess and how' thoroughly this sense has been developed. If the sense is very small" then '4fe,eling right" might be a sh:aky, possibly even a

7JROLOGUE;~ ThE LIM/TATIOIV'S' OF lHE'O~Y

· J di Il_ • c: ~~. L: d' . ~ iff 1L I" d c~! l eo devel ... :L . f' ,~,,.d..

nus ea . Ing lOUIS rot IlliUting . :' OCt.'S iOln.'S ~ I, . you .~.[lOU . I rau to ueve Op trus sense 0. r.~J. tness,

~. , b . blv b···· .. - fo-· ~ L ~ -L. . rfo' - ..'" - - €- . . .. '8 fo," .. , . - h - . - ""t.. .. ~ . " .iO. . •. . I S pro a' I,)' .. etter rio' . TSaKC me pc I .'.' rmance cr magIc. ··e~· 're you can . lope tnat mnunon

\Yin lead you to correct decisions, it is first necessary to develop .it as much as, you can. The intuition, the feeling, must be developed by intensive practice and. perfo mance, If you. &n.

·'0" achieve - th 1·~' developm 'et·!I;'t basing .... dec !-.-" "'l'"S-'l""O- ni12 on In nruidon will 'II be an' ineorrect !!'II"pp'm4,~L

~._' .. ",-011& .. :, ,I, ~J •• ,_:c:,,··,Cl· r. ~:..-.ILII._" _Q..i): ... ,., ,J .. ,~,: ,'.,IlW· .".J - II. ii, " I • ,I "',~ :...:__I __ ,_.'''V~L,~_'~ _. _'. :.'KLI.ll!li

O '!I<b' dedsi d

" ne can t . ase ~ iecisrons on a sense' one '. .oes not yet. possess,

To place intuition above hard analysis 'js; not a \1~ery scientific approach. It;s, probably not even scientifically defensible, but can our theoretical analYsis be scientific? for a 'theo,.r;'-

L ~ '" r.["~ ~] --~l~d ~ b J d _.1~1 • [. ~ ~.1L . ~ . .J ~,

to DC: sciennncar Y vaJu.,: It must be comp ere an au encompassmg, Is: magtc. tneory lW~y

this completci And even if someday we do understand magic so thoroughly and. predsely that the extant body of 'thea 11' does encompass all aspects of magical perform.ance, WOll~t that theory be too large and cumbersome to be workahlei AI any' rate, OUI theoretical

undersran din f!t' 0- ·f'ft"i..rj;cl·c t·oIi"N; dav ~,e. still lhn ired and :.0 easilv 0" ",_--.,'iL '-J.jiO'-,_ .. __ -._ji ~ .. '1'" : .• ' . . . d -, *-

.. ~A~i~oL.W ~b .' JI.U!~~ uua~ ,11.0 ai' !L ~I _~" ~.,IL .Il"" "'oiUi' . i . ".,c:.I:S£lL3ll .wen IU) even amo __ .ern,I!l.-,'!i.,.

amount of intuirion or talent. And intuition and talent. certainlv work. alot faster!

..

WiiYTHEORY

IraU the above is, true-and. ] .'believe it is~then. the question must be asked" ~t is the use of theory? Shouldn't we: just forget it and develop our intuhion, then just do what feek

• .L. ~ "I ..J 't rh inl £0' b d Ii tha uld b discardl ,i ~=_'I ahl '~,

ngn't~ dent t nnk .so; ror !':y.' omg . ,:t V!,~ woui oe ·~.~·Clrwng an lDv,wUw e too.JJ,

You st:~}. akt:r your inruition tells you what to do, thea ry can become at giicat aid, Once you have decided that SOI11~'lIhillg: feels parri ad tlldy ri,ghtt thought guided. by' theory lean give you important 1115i ght conceming your decision. Understanding why something feels good can lead )UU to mote precise or effectivc' utilisationof ... at: Insight. Intuition is) after all, an. obscure, subconscious process that doesnt offer clearreasons for its decisions, Only through theoretical analysis can we refine~ improve and broaden 'those hazy lessons iliat intuition presen 18 to us.

Intuition is a great step 'wwatn acromplishing good magiL; 'hut intuition alone is unlikely to achieve the fuJI potentia] of the idea,frl it ge:nera1]f::s. That is the job of rh eo retical analysis, H·QWeV'r.:r, if theoretical thinking is applied without that first intuitive leap the result can be pUle rubbish, II:: is far too. easy to use theory to twist a. completely misshapen assumption into something that gives: the appearance: of being straight, You, can do this wirhoue ever' being aware of lit. But all the theoretical patches in the world wod[ ~[OP a rotten foundation.

fro, bn'" h h 'Ii_'~ .. 1L~.L __ . dl'· I b 1I!~ cl ~ , ..

, m crum .. : n,g w en a rams :Q'CK.Ile structure IS· set oerorean auc ience, a oeueve his rmsuse

of theory is possibl·e because: our theories.' are' incomplete, 'We still have so much to [earn, and it is highly unlikely that we will ever understand i t aJ1

The main function of theory. then, is to' solidify and reSne the fruits, of our intuition ..

Thai: is its. real pwpose. Once. we have" through theorencal analysis, made the vague feel ... Iags of intuition concrete concepts, it is much easier to determine ifand how the teachings ,of our f-eelings can be improved, ,and better applied.

I . ~ C: L d ._'1 ~ d Th~ .;0 .. _I~ nru non n rst; trteJo.ry an : anaIysJS second, ! ., 'IS pregressaon IS essennau

REFI' - -IN1'-:-N, ''' '.G.' ,- ~ TE<'O'- ",£)1\)'"

". ',' ," .• .r .. "." , In_· ..... :'··1"-1

To broaden out ,knowloog~ of thOOry1' it is natural ro p,resume that further 'thought about these matters 'will deeoen our understanding of them And ~·tC' .... .a~~n---l-y, .. ,," 1""'9116_ H. "ii"'iI:Q_~~ir. it ~,~

- - - ~ ~~~ - .- , - .. - - '_ f - _u,.t = ~ ,!'1.l.l JI.. ~1._dJL, ..... ~~. , " '!..!"l''!f~¥~iI.!Ii ,II. , ,1.00

~1180 possible (0 catty such exercises too b.r: to focus on a certain theory and, in, an arrempr to ela'borate on it fuIrth.cr and lun:hel~ wind up wi th sheer Ilo.I}St;'JUe ] doni: bdieve that 'theory alone should be the basi's fOr elaborating furth,er theory. The true basis, must aI\vays be welgrounded intuition.

The surest OO~ of new' theoretical ideas lies, less in the theories themselves, and 'far more in your sense of what:' is '-right fot" you. Exult in these moments when, as you analyze your ,ilntuli-clve fetdings~ you ,slldci.enlr understand S{),merhing, something new, something WI':' can be added. to your theorerical ,k.nowledge'~ Abo watch for those times when you discover a bit ofknowledge dl:J[ call change or reHne rusting' theories. This is the 'way' our theoretical k'n,ow)edlge groW'S., ,And the greater that knowledge lbeoonlesJ, the' better able we will be to understand ()1lF intuitive though..ts~ and to handle those thoughts and make the most of them,

No Rmrs

P' .:L r, iO' ,C_ll I cl l - -lid 'b" d _:1L -~~d- I '~-.J "f'--"

- rorn uus n ro ows t lac"lOory snout c'_ never oe use " or snow ' Sal}' a;OZ1Se:u-,., as: l i .li t were a.

set of rules to be sla'\risWy ~Umve<l. Ne¥el· permie theory to become dugma~ Th~ can ouly' lead to disaster .. Ow- theoretical knowledge is Ja]" LJOO incomplete to forge rules. h-om it, HCJW~er" theoretical knowledge ran and. ~ou'ld be ltSai as an aid to fiuibaing our under- 5:tanding of intuitive insigh t~ and for this: our theories: dont have to be: complete or mtal.ly encompassing to be of value.

Some irlLdilvidLnUs wlu) ,11.aven't· sufficiently developed. their laten t in rui rion migh_'[ come to me conclusion-e-and quire I"i,ghdy ·dl;at: their ft:t:Hnl9' c.~t be tfusled, mat intu.itiw;

d ~,. .~~ 'c Th,ij f' .,,31" ='L" -

! ecisions 'COO' Ol-Ceil prove W1rong' 1n per.lurman.ce. - .. ' • is 0' ~ co'urse' undermines metr ·trUSt in

their ·own sense of rightness" Others i1JaY have diKerent reasons forr ~.adcing' confidence in their ~J1l-rll.iltiolJL No rna rrer what rhe reason, deprived of this confidence, such people may' be attracted to theory as ;[3 ... means to mnlpensate~ This is pel'lecdy understandable, but .~egrmably it 'won)~ lead to consisten dy desil rahl It! results.

If you. don't trust your in rui rlon, you must I,ean 'to develop lt, work with irrj have .fin til

- -

in 1"'r' H,~~JI y-'--o-,'uc'r" ~e-~J~nl M ,d- on' l~:fTno··c::re--. rhern Und erstand the impo rtanee '~'11·FI·t--u~4AIFiI and

" ,. ""~ .' -'. It· ~- .~, ',U ~.-" . ffi:,., ~ .. ' "'~Qi~1, - , """ & ' . 1II..:u,.IlI~ v-l: ,u, . Jl,!!;.Ji.'VIU, a.iJ..

'L 'b ,..J~,_ 'i' fth H'- , ~ 0; ,0; b .'_ . .r..

tne sueommate importance 0', t _eory.. ... your mtumon turns OU[ to ae wrong ume arter

.. .. I ha ,.. Iill·.J d "_'I d h .... L _'I ,~, ~'~ ~ .... 1:..

trme, It DD_y means t iat il[ IS 50 __ uncer eVeJ,ope. ·...-=or r ,I ar tne taienr srmp!ly ISDt En ere '"

n - 'b ~_L .~-" f' "-111- "b ~ L~ ~r:L b 1- --"--- kj' d' 'if th i

rsernemeer, the SlZE 0'- one-s raieut cant. " e et-u.argeu; ~,ut xt:t:p 'WO.r_~ ng anc ,,, .', -I iere is even

l~ d 'I ~ 1 JI 'ill" I Ji .... d th .. ~;o

a, ,n_ ~e ra enr In YUll ~ rne nay \V 1 comew ren you 110! . _ at }I1lU can trust your mnnnon more

d . __ .JI ",.:,L .~ ..-oj)~' 'r c . I - b · gh-

an more, anc mat }rl'l'UT' mtumve Ulel:JSIOHiS more rrequent ]I turn BUi[ toe ,no __ ht.

n- , =.~ Ii b .. 'L -- .... 1... ~ =. id 1! ,r:.....

eorv is exrremety .nnportant-c- - ut It' can never ee more U-W:l an am, a COOl, tor 'CMI..

lr. •. i!

tallizing and refining natural Inruldom and. as: such it: must aiwars come second to that

in tuition Your lntuitionl

ISDI~ON'!, So much Is wri t ten about itt; so rnueh is, said. about it. Q&,en,

hen s _.~.lL ; =,L ' • ~ h I:i: I !l!ll' , L, = isdl .... ~,.J

'WI en spectarors l::I.iK WlO] rnagtCtahS, you ~,I,ear. _ 1 eet you mis" 'rectcu me;'

J!!,J'_~[. 't"'ilU~') ~';r:no' we 'rDlri,.Jr,iu eontess '[0' uslne misd ~f~f"~'O'II"II' and ir Is 'F'Ii"'i'!la Ie ls WWI!. l~r' W" __ ~ v~,..· ,- ,_,'~ &.~~tJD ,', ~ ~~, ..... !Ir&Q~ ll-.e ,&A~ ~ : -'J I~~&'.':, I[~ -=~tI. .: ,L, I _~ I.Jl ~II I I ml

one of the strongesr and mast. interesting tools we' have" Man')) although unformnarely not al1~ magicians will admit this. However1 do you we ir as much, as you sometimes ~"oonf&~',)) '(0 your s.~-ct3.tOlts? Do you use· it as, much 35 you. should? Are you IeaMy lls,mg it at aU?

iii ", ",' ",' - eharrh ~',~ .. -,-, ';-' ,, __ 1 ,',', readil ···':·~.JI, ." " .. J ~, '. ,e;,.. .. ·h'·· ,. '.,.

,lL s~p'pose enar '.~.' e.lie are seVier-at, reasons reaeuy crtee to account at seast JD part rufWJ.-y nus-

~ ~~ ........ ii' " _ _I _L "_L uld 'be B' · ... 'L th t, d ~ ; tl

cireeaon IS not' usea to we extent ItmO~_~'~ io ~~ nut evenwimmosewnoe 0 use n consistent y'

and .. :. are very ,a"::J;M~' ~.f~ill'"l:" 'pn't.:-:~~. J.' ,iI"'i;~iI:"'iIl I~,~it"ii't!'~, '[h· ""{' It 1j'i:'" enrire ben 1,~!f1l" 1~ it" 00· ... '~"p"- ~ ,,,,'1.. <-''il' 'tH~ ",,~.o

__ . _ ~ _ , __ .vv,~,,,,,,,!!I,,il'~ ~~,~ V'¥T~1! v,u.w~ "''!iOiA,~~. !io1!.. Ii.O' ~ ,",u,1!W ~ ~rb. 00 I!..,L~ ~)UIaJL '"''''"' Ii.1ilL'lIiW>

not a1.W"4~S deriving fr-om this (-0011 the fuU strength and illusion it can provide. ,I think. this OOCUIS because misdirection, is, often ~ppli~d 'as i~ is lesmed, As you- discover icertain 'mnn,~,~, characteristics ofcertain misdirecrional pl~ys~ those ploys are ~ed lry:hmvtt d]ey seei:n suit ... able .. D&m~, tho-ugh, such applications are nor suitable at all. Let me ttpllln.,

T- 'h' a] de d dl' " ch '. &0' h ld O""fte~

- -"1 II I"' ,. :'" '""",t:~" l:I':~"l., ,', - 1"-' "".: ..__"., -- ,'- ._:'.: ... ' ...... , .. ··-·· .. '·1 l' _.- ... ' - , .... -'I '~I '-: ,," ~'l - .~.--

____ e usu __ way to Ull1._fStan_ some _lOg new is to app,roo~.~, It rrom rr e QutslC,·- '. en

... IL~t'~~ rh e on 'ly· 't'l~U Fro m the '0" ur si .r., 'I:;J'iQ ~"Ii, min ~ ..:L e '~U' biect an id 'P"ro' ,"b·,~' ~1iI"'l;,~ and m ,Fi,~ UIa,· gi- _ .. :u '. . V'f~J"~"'" '._ _ .JJJ;; .... c, ,(;!~ut,;: "''''I!.. ~,!I,,!!; ...... Ull· ~. .,.""'''''''1. . ',.'" 11;,;,0 l,iI.»J,lIo,,,", ,~", II 'U,~~

deeply into i:r, and 'at the same rime our understanding ofit should g~ow. ~en examining: nlisdirecti.oDj it doesnt .10[1,g to find out that 'mere are: aU kinds of'llrde ~,tems, P.JO~'JI tricks of the trade. For iI1SCaOlJr;:: Have something happen away from the seem-Ask a. qnestion-e-- If you want the' ,~n.nij~j];ce to ,liOUlk at an obj oct) look at .,ft yourself.' Look 'them in the eye'iF you want them to Jook,a;[yuu,-1v1.ake them Ja.ugh :r ake t'tdVdllJLt1ge ofrelaxation.

On exatniniJ1P': ,su'o.ces.sfull misdirection one will And that 'these thinss, tnese tr.icl~ 0,(

!:J ~

the '[lade. 'wnfk'~ and i[ is losical '[hen ·00,.··· 'I;jI"j!I!iQ "';LJ':!;m' 1.0'-[ :-:-'iI' 1.~ii!"1I" i'["- rrv tn use ... hem ~-:-~~:.~~ up~ -;

_ . ~ _., __ _ __ _ !;I '_ tr---' ---- -- . UOI!t.. U);""" ~ .. ,:a1L ,~IL 'Ii.,O ILry IL,U use [lIe . IL.V (iover :

weaknesses or perilous; moments in your work ..

Do you have to. pal m a card? Ask someone 3, question and, while they are b my

,,- -:-,:c: .'.;-','.' b '''~,. :--::.,:-~ _:;.11,~-, .... ~ .-<~ 'd' 'p' ..-,L)- .-~ ,:11~";",,,.J~ ·0:' ',- ''''''-'',' 1 -d!· II' .~ ..... ·d' " ','- ',' ,~, S"'~· ""

an met II11,g" 1- m80~ you pru.mule car Ii . romem :;OiV!~U~ .::_ 0 you nee ~_ to JlO3!. a rup...~

. ..~.JL" .... L -~..,., . ""T't..." - ,will,;'" lauzh .. d " , ,~,,', "",_1: ',1 1-" ',' d' " th . t)- ,- '" "",-, ·0····· . 'C. :m~~; -- -- ,---'-b--"(-,,- --::-'

oom,cullllg nmlJ1Y;, J [ley ..... ' ,a~~ an _ you 'can ,)1Ul; Y,_Ot1l_ ·a .em.on~-n(!e~nl! pro, . em,

sc,lved! Isn~r misdlrectlon gKat?'

This method of appJying: the tricks of misdirection -w·w.a. your study has muwn 00 be ~ctive in the performances and writings ofother magicians~may' seem valid; and yes .. properly.applied" aD. these ,different techniques will. d,dlnitely work They' will help to hide the weak spots, discrepancies, secrets, unnatural procedures, .. 'I • But is this the bfJt approachi Is it best to examine your' routine, find 'the weak. or dangerous spots" then plaster over each of them wirh some fo·rm of misdirection?

Altholl;gh this approach can do what }liOU ask ofi't, di~tracting from the defects of your method, I doubt that such a path '\viU yield [he finest results possible, Un.doub't,ed1~ misdi-

,,. a__ _,_ .~IL. • I! b d H b 1- L ... , • .:il... I,

recnon em oner S.UUl SetVJDeS In a oun ance, . '0'\1\~,.~r app.iytng. It In tms 'WR~ you use

- ~ a., ~" f';; - If_~. J\~._." ik,. iL:.... 1 4 L-v. h 11 ,., 1' ... L Co

O.IlUY a saver 0. r Its potennalm .Arent we me-rr;ll .pa.ttnmg up e~t ioics 1D a ess waD perrecr

trick or reutinei OfC.OUBet. parching such holes win P[}fVent the boat :flom sinking> which. is always better than gpillg down. Bur. wouldnt it be better 'to build your ' ~'oat without holes in me first place? 'Won't that~ve more artistically satisfying results, r.ight from the start?

In. magic you have. an effect, an ideal. Maintaining this idea], origlnally pristine and beaurifnl.Is difficult it before even the fil!'St performanGe~ you find boles that need patching with extraneous ploys, Such an· approach. originates from oueide, l\1isdiJeaion is: used, as an external measure, a tool divorced ftom the effectl Thus it cannot be- an inre,grnl, element of th,r; procedure, woven naturally into the original design .. I believe thar, in such circumstances." you will have an extremely difficult time devising' misdirecrion that fu ictions Iogiailly

d· __ _ m- rall ~ jplb:_ the en '1 - =I""'n--.J, ~t:r..... ......

ten na _ ,-, Y WlUllIl '_ e ,_VJlS,,aly:'ea enecr •

. '

At one point Slydini speaks ofm'as,Lc as a ,piec:e of cloth, \When creating a presentation )~OU weave 'your cloth using misdirection as, just on e of the threads, It is then fully psrt of thewhele, In[egrareil The m~-cion is woven in.l~uring the initial dcsipin.~ This is much difJericn t fro,m weaving a clod)) then discovering thar there arc one or tVV'O holes, in it, ;md sewing those holes dosed with an extra thread. The result is a doth without true beau.~, :fat.' the' mended pans will probably be a little rough and stiff The cloth wont have: the beaurifUl feel and texture it.cQuJd ha.ve~ 1'[ ;~J'tandi to reason that mending w~1!c parts afternrard can only result: in a patcbed piece of werk,

Studying misdirection only to find li-ttle stra regies that you ,rnit#Jt we will surely give you a means to strengthen 'your magic; this cant be denied, However) I boer eve there is another way, one that win unleash far more bower for you, and one rhsr ofJ'e·D., fill better dlanre~ nf

~ ~.

achieving something of real beaut}:

This. other "ra;Yj an inside approach, is. not easier ot 'fa\ter than. the usual oU_',app.loach, and therefore might be considered l~ss practical by some. In the beginning this ins' de approach will take more rimc' and dIol'I:; indeed, at filrst. it may seem hopelessly difficult ~ but once you get used to it and have gone through the process several times, ilt becomea easier. lc will never be ~ e=diSyas, rhe usual method. of patchin;~ U:P your work mm mlsdirecdon,

. bur then again, the results will please 'you more, :1 am certain that with an inside' ,app·roam Y;O'U C3l1 achieve .11l!isdiroction th~t is woven naturally into your routines, an in(egmi part uf them, inseparable and j~.r more artis.ti,caUy sound; and &Ding short of uue artisrrj, at the

least they will. be more subtle, more devious an: mar-e dfectlve. In addition, you will find rhem incredibly easy. 'to execute and with greater protection against failure.

Sound p.ro,rn.i:smgr Perhaps, th~n, we should have a look at [his inside :approa,ch. However, I must ask for your patience, Before we can see how an inside app roach can wo'lik'j we

,~ ~ d dl di frh _l~a' '. ,~_,~a ~__J .

must nnt gam a- ear UD'_;_ erstane ing 0" ' ie uUit:Jrt"lhlt fJ1ctors rna { affecr uti SU 'i recti on"

'We must f1r.'it study the oft,en. wed systems~ the standard tricks ofmisdirection, Lwill not attempt to make a complete analysis, of all the ploys; available, Other people have already done that in an. admirsble way Fitzkecs book, ~lagic by'.A"disdirecti(),fA although wrirren in the 1940s, is still a m6numenta1 wo rk on this subject" Henning Nelms, in his iL~d:gic- and SIJ(JrUlmf1J1..r.hip~ h as some 'yery important things to say as, well, I can only advise you to study these tars along,'"riih other books on the topic, 'the performances of othermagicians, your own experiences and" most important, your own observaticns.

WM-t I wiU discuss here are various ideas of mine, some of which I hd.it=:vc: ~r eo some degree from, those already published, and some of which I have. never f,ead an ywlleIe else .. I wii] also make some general observations that ,offer no fresh concepts in themselves, but are necessary to. understand ensul ng ideas that are new, 'But I repeat" I make no ,a,t(emp'n' at completeness,

Lees first approach this gl"(:,dl invisible beast from the Otltsidie,.;, Let's dissect it, teat it apan, analyze it, consider it and tt}r to understand it. Then, when we understand the pruits, sufficiend}~ we'll unite them again) enabled by our' undersrandi ng to' play with their union, since it has. become a. parrof ourselves. w~ an starr, armed with a thorough understanding of the elements involved and with. an approach flUlU the inside, to create the most fleg~mlt:l!

· ~ d' rr.' · d~ · · .' lb1l At' I .., h beauri L. ~ r ula ~

,ar[]stJC :an, !, leuecnve mise :trectton illlagtl1a _ n~ .. :'. , _ east: 1 t is t . e most : rn un nu m rrru - :. tlon

of misdirecrion that I can conceive,

MISDIRECTION

0' "1 __ . 1 '~ L_· .... t. be' ·

',K.ay~ iet s oc,f;lD all me _' gInnmg:

MIS-DIRECTI,ON """""",lis: truly unfortunate. that in magic we' have many terms and expressions that don't accurarelv ,reflect what they are inrended to, This is at P' :irv 'because the use o:f cor-

J. ~

recr renninolo gy helps to keep une"!j: lthinking straight~ and g~-ea dy simplifies 'In atters when

magicians communicate with. tach other; One of our U10l'e se ,ious misnomers ,is the "rom 'rnisdi1r,r1o.11;.

klirdirect10n i rnplies "wrong" direction, It suggests that' attention is. directed, Q'Wmy fram s()medi i ng~ By constantly using [his term, it eventually becomes; so ingrained in our minds that we. might start to perceive misdirecrion as directing attention away' from rather ilh3ft t:CMW something, Newcomers to magic will almost certainly think along such inc-orrect ~ ines, because we have chosen a word mal promotes this misconception,

Let me try tc explain with an example why misdirection should never be a diverting ,of anendon from something; Suppose I say, f'I want to ,get out of the city for the weekend."

H l' h ld ~~,..L I --"'::~1 ~ I _L • will 'b '.' _'L " The ci h J' ere Jl nave not sate wnere WJll_, go, onry rnst It' Wll 'POI :,e m '(fie cu:y;., ' ',- e Cl~ w. I ere I,

won't' be, ,gets all the: arrenrion in fOJi" sentence and ~he place I will go gl:ts none,

Jf 'I ~j ~ ",=-,-~, 11 .... L_ I . h d if . 1 C ... 1L ,~, ~I d I' ".,'I.J~' L_

, sal(] . .1: ns teaa Olaf 'WIS; 'e,., to go fO:1 speer 'eVA age lor tneweekeru , , wouldnt ~

= =L,: f' .. .'IL ~ . ~ 11 'b t!"Iilu f' ","'!L.._ ill' '-1 i . d .. 'I' - ''\vTL 'J - .. ,1L • ill" '1-

spC'alKlng: CL 'we CIty ar an, -llt om ortne v age " ,Ulten-' to vrsn. wnen _go [0 OIlS v:___age,

] , - 'i 1 ;'- iL=" ..JL, ,I, l.".. - -' '.' t: d ~L, "A", iI. I

naturauy ',"von t 'De 111 me Clit'W; DU.t no attennon IS recuse .. en me CItY. KRenn.OOlE: n,roper u

I." !II! 'Ii r.'

1 ,J ~L ..:11 h~:-:L 11 !111 -~ Th- 'b · · ·

p acea an. Ute ~.ullage '[0 w .' JiQI. 1 wni traver, ,', -' e sentence .. ecornes :3" pO~l nve one" canylng a

.. .. ~ di d __ 'L vill

pcsmve meJ.lung;; rnrecte _:'.' ar tile vii ;agEii'

- .

Lers now translate this into. magical terms, Lets QSSIJLme you. wish. to do ,til trick. In which you palm a car-d &om 'me- deckusingyour right hand, Whil~, you are palming the card, you ,van', to direct the audlences attention from me right hand, AD. 'your ,eiforts are concentrated on getting attention off the ,righr hand -.oK me righ.l: hand ~ off the ,right band. And in YUUl[ mind, all YOIl are thinking about is )vur right ,hrPlli~ It1[s turd. for you to .forger d13'[ hand, and your audience rnay sense your concern and conoentrationon YOUI' hand, They may :actuaUy become intent, j'ust' 1 ike roll ,a,ltiej om. yOtllf right ,h.;rnd.~,and then 'they ¥till see you lla'~ in '[hie: cardl

However, now imagine thar you use your left hand 00, move ,3, glass 'Co your left on the table while you palm me can:l" New, don! try' to direct artenrion away fro,m. the ,right hand; in¥te~d di.rect aU artenrion to YOW7 lefl: hand as it moves dle glass~, Dont 'worry if someone is wa rchi ng you r r:~gh ( hand, f'o.rget it_, Dont he concerned about it .. Concentrate instead on the g]ass, on how' you grasp' it, where' you move: i!t~ etc. 'Now your mind is en,'tireJly fecused on the gJ~s, and you \ViII actually be able to .fo,rg:er thar the right: hand is, pWming' a card. 'This is a much more positive approach than the pr-evious one, and it resuks in there being no attention. on your right, hand, Your attention and the attention of the audience 'will be' on me glass,

,[ t iq, said, and I believe it to be true, that the subconscious mind ,]1S capabte only of mking in me posi rive' meaning of things" 'This is due to its abUi-ty to think In concrete picrures rather- than abstrace 'words"

Wor-ds ha\re no pOWcl~ in your In:~ nd. ,,11Juagining something with words alooe is hard;

__ :1L' ibl F~' .. ~ OcL ~ ,L =~I~ I' e '.

pLllltapS lmpOSSl_ ue. ror mstance, Imagrn.e [nat you 'WI;;Jl to. ,(l'jK your empoyer ror a .nuse~

M[cnt.d~ tho ugh , you envision, his teUing )"OU no and dismissing '}"Ou From his Offioei~ l1$ 'yon picture this same you can say- 00, yourself ~(I don't want that to ha:ppen ," but your mind pushes ehis den i a!. aside and. continues ro see your &i1.ure', 'This mental picture em shape future r-elli't)'; resulting in y~)ur aa-udy being' denied the raisel This occurs because the' scene of failure yuu have imagined causes: yuu to behave a hit nervously; perhaps, or unsure of yours:elf-liftt1le uncontrollable dungs} whi,w uonvey to your e m,_p1byer' an. impression that you aretit sure yourself if-yuu, dese rve a raise .. This, .narumBy; makes it easy for him to dis-

, th id

mISS, . e' JI. . ca..

Essen dilly the: same thing occurs when you. are concen.rrtllung on your rigll r band lt3~tlrl thecard lit must palm. The picture is, there, uontaining '}lOU! fe:l'r of the pa1.m.~d, card 'being seen, and consequently uncontrollable .signs produced 'by your feal betray you, causin;: the' palmed ca rd to be detected ..

Returning to Out example o.f the rJLi~f;'(; inlagine that you were now no concentrate 01] II positive scenario: )bu. S,fe .yOUf' employer agr~eing, with. you that you deserve a raise, after

L~,_1L. L i' Th' _i ~ h .I .JI b h .. + " •• :IL._ b dl

wmcn ne grants it, lLS men 00, picture elps [0 'p1'Ouuoe' ie ,-' av~or In you tnat ." mar- casts

different signals. Behind ~·ollr actual conversation there now lies an impression 'that your

~I ·illl ,"' ~lL r d 1. ~ will' 'L ... C'd th 'h b .... t... d ~11

cmp . .Il0]Hcr·w JJ ~ve you tne l1U.se; anc 1l:C ',' sense tms conn lence t mu,gr I SUo "rUt .:I_~mJ~8L

Consequently, he ",iI.find. it more d'ifficult to deny the raise, sin.lr your' attitude' has made it easier fO.1r him [0 perceive your request as a reas 0 nab le nne .. The chances of'your gettl:Mf; the raise are muchgreater; "This, ls nnthing more dum the power' ofpositive thinking, People: an:' ,gene:raily pus.ned in the ~irectioln that takes the least dIort on their parts,

'In magic this transla~ into adhe:rin,g cJ.niy to posidve ideas, Ne,gativ:e approaches, like that of directing attention a.~y from YOUI hand as it ,palms a cud, only' create negative pictures, that fulfill themselves, drawin,g ,attention to. the hand, It is much bener to use':1 positive picture, like mat· of your other hand. moving me glass" Such pictures are abo sdf~ fu18lling" !h,e idea is q uite simple Misdheerion muse be aDen non directed toward'sometbiu~

£~ ..... L : _ ._..JI ~ ~" ~'L __ 'L ~ .... L .. D-'" t,

not away Dum someuung, ann posmve Images are me way [0 acrueve tms, . .' troctmg atten-

non ibm is a hopeless and virtmilly impossible. approach, The moment )1lU stan trying to

r., ,.:t~ .... 'L._ b 1! • t 1

m~1JJ,rect, me ,_' att~e is iosn

It WORld b . Ear better fur us if misdirection bad not become an accepted term, in magic, and di1?ctio1l' had bee n adopted.. instead. AJas ~ misdirection ~nn:g ago became so common, a rerm, 1: donr think we'll ever he able; to replace it by direction, \Vell" yOlltre right" That is: very negative rhiilllb,ng on .my' part:. Oka~, \"ES .. we will be able to replace theword miKIirec:-

t ..... ".;n;;. ','1 W.'. ·.I~ rhe m '-'0' 11'..,., p" ·~;~>e ·w·· :"0. t~ .. J:~c.' :;;Ji~

~u·,.~ _ ~ II! ,,~. _' . .IJ,L. . ,L~~. .][ll laLl'L- "j'jUI-"

SO,1\1ETH]lN'G rOF Il\ITEREST

The above makes clear 'that for our secret moves to avoId unwanted arrendon we must direct attention toYfU'd something else, From. this ilL fallows mar we muse have something d~'t:, available at those times" something of interest, The mote inreresdng this certain something

~ .... 1.. - ~"iI!' ~ ~t -_ . .!' !)' b-"- to focus l"I,tteo· [1~ 0- n - 0- n 1~ 'If 'ThI;Q. next [' im e you ·W"·~ sh t h:1J de "w'-l~cl-lI' ;np

.18." uu: ~Ie'l Lwu :e. -. ,~.. . ~,cJ.,. '. - - .• ' ..i .111... . ~ _.,.~ - 1_ Ji' ~ . '. ·':,~···_·",:s,nO . _ I,._. '.!.i,. .. :!J' I' '''- :""1 ,~l

dont think ofhiding it, but rather think ofwhar you~. offer ~of in[r~Iut In i-u place, Prefembly' this should be something thoroughly intriguing.

The rconcept of offering something of greater' interest is, although simple, an imporrant and essentia] ste.P in hiding your secrets" I believe it is ignorance of this concept that has caused many ma:g((ians to fail in what i_hey thoughtwas. miedirection. Preseatlng somethin,s: of greater 'I merest that attracts aetendon, rather than. trying to direee arten ion aW3;Y

c. ~_L.J dabl tha Th ,i, II~

rrorn )lOu.r .~e-creG ~s a much more ,u:epen' a _. ,: e way to protect . - '. · u secret, '.:._. IS, itS ,3 .Key con-

ceptt and if it ham't already become an automaticpart cfyaur thinking;maJdng: it one could well be 'the single most productive step you can take toward a more successful use of atten'cion cion trot. Many know 'this concept; some even ilpply it·" HQ"~'E~, it is 50 easy 1.0 forge[~ because it is so simple, It is like the gasoline in your can Witho:ut.it 'You \\'ill Dot gee fiLr,,01l1 ,mtJt have something of interest to offerl'

WhUle the importance of this uoncept cannot 'be emphasized eno -lgh, i: t is n evertheless only the first step in hiding your secrets. There is (U 11 orher 'wed J ... known but otten i,gnQ'Jcd,

• "11 ~ '.,. 11 cl L_ - 'hi L ~, .c: ill;"; ~ din ~ I~'

pnncpJl.eJ.a ma-jur pn.nC1PJlie _l3!t.JIWS, rna .. r.llY ot n or ocnents: oonnnuous c irecnon .

CON'~~J-'INU'OUS D':IRECTI' - O"N

_ ::-", -::. . "".,. ':_ ,- .. ::.' ~ --~:' " :_ - , ' -:-

In legitimate theater, techniques for directing attention are constantly used" Not, of course, to hide a multi tude of little secrets; no, these rechniques are wed 'to present d-u: stor,)" in a clear and uncluttered manner .. No matter what you. perfo.rm,\ th~It: wali always be co uri rl ess little things mat are there out of n.ecessity; though they bear no importance to du:~ plo [ 01' idea presented, Many things. must happen to get the s,rory across. efb3cti v'le~ y" but it isnr impormnt fo:r the audience [0 P erceive those thinzs, because' they sirntJly.·' arcn't sia~Ufica:nt

J I ~~ .. T' , n-

'to the p)Of. For. an audience to {-allow' 'me story; )'VU d.on't wanr to botlu:!! them with deta lIs

of sra_ge:m1i; you want only to impress on them those elements. that matter -(lLotlt· ]l,g more,

th- IF_ A

DO- Ing tess,

When we perform as magicians, our Job consists. of more than simply hiding the secret, · ,I'ha.t is just a small part of our objective, Much more important is that we highlight the 'im portant details, those things that arc. nooes.sary if the audience is '[0 understand and :foUo,\v the action and its intended meaning" YOU, should be giving your spectators an uncluttered

~ ~ f-th effe'· W''!" ~,~L tho "'. -~ d lmoortant ooi

Jm.pr~S10.n 0'. -' , e., ,-:(1.., . e want 00 ennanec ~.' _ e most uneeesnng anc important points, to

paint one clear picture in the spectators' minds, Only then can the,... appreciate what we are nyijng to oo:nvey to theme. Simp y stated, we must present om work in :J dear and, effleiem way if it is. to. be: ,ctJective.

~

To do this, it is necessary for us [0 (loin tout only the' important details) to 'lilisplay th em,

hr 1·1I'!I"~...J..... [. th n.l 11 • .. _r_l]1 d h uld dim th ~.l: ~

to t ow a. ,:S:[fong It9-~JL.rt on. mem, . t is '~ en u: _. y .lLu,glL:aJ! that we s ~ 0 lU' a rect -I i, e aueuence s

anenrion continuouslj; from one irnjX)ftant POiUl, [0 the nat. If this isnir.r done" attention may stray to semething unlmponanr, which may ,~pUcafe Oil confuse rhe ,i mrfO,rmation me. audience receives. Therefore, nom the fLTht. moment of our work to the last, the instant an impertant point' has be.t:nrugested. by the spectators, th~ nett . mpOltlnr poi nt should be

--I th a1ll" d _lL ~ '.- f' J d nni d il

presented to . aern. . ,WI' nout tne mtrusion 0" clutter anc 'nn1mpn-rt~)'n'l: eta .. ,

C,::, 0"'-' ' . s directioi ,", essential ifw .. "" 't- ,',-r. .. -" 'd' tho 11'1., ' " .. ~_,.J", ,c-,-:-:·~L, _"-

on nuous "lrCC_-10n IS essen [3l - '. we are ' 0 crea .. e SOUR.: _--' eater; we can it [LO WlwOUt

I~t S' '~l'n;<"l'lJii mazic "L- i['! th 051': t- - r o'II,i'" - -All it D'---.J - 00' 0'0"' n'uo d[' .', , "iI"~ - , -- _ t, - _ .... , iI"iI, __ o ..... 1!... ' , ... L, , II'

, _-,', .~ ::.~...;,;a _' ea eras W;r.·' 'Ii JL c' ~ " ',. ,c,' us.' urecnon as, mucn as: ,i.tJI-,1y'- mer meat-

~''''''~II' c. '\~ th · ..J :. 1 ... t, .. f' .. 1L, di fi'C' ~ •

ncar rorm, wun connnuous airecnon we contra me atteanon 0 .me aua ence, "OCU6lng It

_JL ii, b · ~...... d- .~I ld dl

wnere 'we want It _' y' pres en nn g' a series of. important an' ~ reievant 1-. eas ian, .'. occurrences.

B'el fU'\ l"I1l.lG IN va'" UR'" -: 0-· ''\'V7'k T "l. A A. 'G" "[C' ' L..uL" 11'''11", ~ __ ,1 i,_',_' ." ~ W' J:.~ J.:V m, I, "

much real help" does it? It instructs. mal: you consciously forget! HIQW'On earth does one do that" fu.rget. 011 purpose? JlLl5t one a,ttemp,t wi.u. b~ en,augh to convince y;a·u thar such, 'a 'chLng; is irnpossiblel

However, this, 13Judable bur impossible idea of forg~tting I}~dc~ an aceUmt cue :for me practice of SLt uctuling ) our perfO,rmanca as, a string of highlights t fOcus attenrioD O'D something 0 ther 'than the secret 3 nd the audience will pay no artention 'to the secret-bul' just as imporran dy,it lcorrectly direces your attention as wellr

One cannot purposefully forget, but yuu Gill subsri ue one: rbrrugh,t foE anotbe,r~, If 'you dont want [0 thinlc of something, think of something ebd The trick is not 'M forget the thumb tip'; the trick is to think of something else while 'ron Weal the thumb tip, And if 'there is, 3. ,stlong, point oflntete.~ you can place YOUt interest mere as w-e'lli

It can and should be so strong a point' that it will make 'you think of [he impnrtant and relevant fearures of presentation, the h.ighJighrs on'~y; and. this makes, it impossible for disua.ccin,g thoug;hts concerning method to enter your mind, Yam conscious mind .u;,completely occupied with rhe important ~,pec:ts of me effect~, No place is I~ft in ,i:t ro"r you to think abour 'm,e; secret; and the secret ispushed into the shade of'your subccnsdous ,min.d. Wh~n yon do this, you. can deceive yourself

Of course', ir 'lakes practice ¥.ou. ul.igh'l nut succeed rhe, first time you tty (at ,ho,mc); but if you r.~U,y concentrate, if you fOn:e yourse1fwhi e practicing [0 think, only about' the

h' ghl~l"I'b I.: ... t, _-, ,. ",,"iL. n-'b ~ tb- d .:111 1::" th -,_1:- d ,11_,

1',.'w"a.oJ[ iJ,]C' presenranon, soon tnougntsconcernmg me -"10- '¥iw,Snp tnto tne sare oars-

ness 'Of your subconscious. Yo'u. s.implY won't have time to think about sleightS and ;simmicks.~ as YOllt' thoughts will be too ,en:wd for such, thinWl~

To earn to ~Ji!:,re yow own magi.c~ apart fmlm good, direction you 'wiD need a solid "silent s:ctip'tll". Tile silent script, a basic: acting 'toot is wen described by Henning N,elms in .lWllgiC' and ShtJwmanJbip., A silent script correcdy· groun.ds' yOUI' acting, \XlhiJe It is fi)rmally an acting ,too'l.t it also helps you to avoid undesirable thoughts concerning method,

This idea of replacing certain thoughts with others may sOW1d a bit mystical at: first; 'but it is prac.ocal and not particularly dlJl1cult However, It isn[ au remade, It: mug be. practiced, Otherwise, when von execute some secret action, before y'ou know lr, a thQ'U~b'fE abou t

~ r. ~A

this acti 0'11. 'wi,lI appear in your mind, But if you. practice, while seriously conan tracing, to

supplant such thoughts with presentational ones, ev;enruaUy the divoEcln,g of !roore't actions from thoushrs about them will become easier and easier, And evenruallv this, detachm,efir

~ I

fro,m method will work fOJ you dwin,g actual JPeIOCH~J1nrutce5 as well You., must, though, stick

to }"Our sUen t script during p.ractic.e~ If you atte n1.pt to use a silent script only during: y~our

h ill" h _LI .()., 1 tho gh , + • rh 'h ii" II ill: 1'1 d - ~IL

s __ ows you W. II _ ave rrounie ... rn Y 1.lomu'> .practrce ·Wl, t ne S,-: ent scnpt w- . pro uce we

deS117ed results, From this: ynu win. see that there must be nOI' only continuoU:! dJremo:fl" but ,co.'1ti"U.(J~f tl1inleing as well!

LACK OF CONFIDEN,CE IN' THE p~ OF D'IRECI',IO·

The fOUl concepts JUSt discussed. are basic and widely reco'gn i2led~ Their slmplicity mayseem to .suggest that they can be taken for granted, but' they 'are vital, and you should always keep'

them foremost in your mind if you wish, to direct attention ,effectively .. I ,o,ffier the nexJl: idea with !h,e hepe that' you 'wUl find, .it .helpful in becoming comfortable \vith what must seem

'I' 'L,_· ,.. .. .Jl~ • 1

ae ames, to oe an lnlimluaung 'too !

One of the gr-eao~'st diffkr.t:ducs 'with the' use of misdirection-sorry, direction-to. cover

I F- h d' · ""'-1l.~ .. .',.1 _Jl.'~' ulll _L _. ibl .... _'L ,I, ~l:"

e emen ts or meet '0' , 18, 'mat lit 115 exa-eDlay wllll(;:1 ~_ t,J pemaps impossi ne, ,[-'0 aemeve u- you

lack confidence in :i1J!, power;, for withe ut adequate assuranceyou wentt be sufFiciencly relzmd to pull it off. For many this may be the main stwnbHng block, Suppose. you try performlng

~ L h . h ~14"": f d'"' i Thl~' I e: _ _:_,1i~

,at, tnck t iat reqUI res 'II' 'e. Cilmou~n8 power 0, I" ]feC'UOI1. " .. e nB"t nme you perrorm a, «J.C&

.for an audience it is perfectly natural malt you should be. a little nCf\rOUS:~3J1,d, this lack of confidence might give, you a\wy at [he crucial moment, res uleing in the fillure ,Q,f your direction of attention ... This faiilUK will ofcourse il~jllP: your confidence ill 'Ib,e' power of direcrio,n 'to cover the method .. So 'i he nat time you try this :((1ck" your kVid of ronftdenve

P~D'b' ably ,~~,.! 1 ~ 'be' .;fiOiii!ii'en· 10-' wer ,-' ~ ... d' ,C!ift o fl ~1- iI"'j, an ' . T" aecele ~h 'iI"ig' JI ~d"",.' "l E"'1TPI'J.· rua l~v vou iI"Fii': iPiollt"

.lL,,': _ !1': WW : '"""T" , .'. :',' 'j. rLu·· i:Rj, .',tC.u. '.lLl ,a. .II~ ,~f -'.lL~!u,:II: " o.~n ,. ",,~, [ . eJJJ!Ij",.i-] ,JI&JIJI"W

come to. 'conclude that all these ideas of attention, :mru1,ageTnent are no [ your' cup of tea, upon which you aban_!on me idea of ever using it •• n, Itt is important tharyou don'~, findyoumdf mugh't in this dovmwar.d 5pira1~ bOOlWC if'yan do, ~'t may mean that yom chance ofbecomi~g a good magician will be forever cut Oiff.

Goo, d · '_,L • .. ii, ib ii-'"

t m::JJg!c \VliUIOU~ proper attentIon, management IS: an lD1pO§l~,- ~,ty.

Confidence is one ofour most important assets, and 'we must w\Vays try to avoid ,any"" thing mar can.hurrthis confidence, It is important, then, that we gdin confidence in the power of direction. To believe in it on ,2, theoretical basis may not be' dilficulc, b ut there is a world lof differenre between theoretical belief and ,p1l.l,rring that belief into practice, B't'.~ti during performance 'can oruy be gained through a:peri!encing (he flO'A'erof direction in front of an audience ..

Siru.:e· &ilun: and, the rear of failure me elements that an, seriously undercut OUI' belief

"' .~d! i 6'''' d !I th · "~L ~'L

UI the power Oll ' 1 roc non, you must tty to n ,: ,::1 ''Way to expenence ~J_1S: po'v~r WlU~lOUt were

'bein~ a chmce of failure.

'The first trick in this bonk! "Magic Ranch" (p~ 45)~ provides such a W'a¥ III ir you p,~ ducean egg on the 'table while' you are, several feet tr\'v~ fio01 it. The methnd fi pure attention. .m,anagement, but there is no danger of jeopardising yourreputat1o.n if the' ,~u:ra[,~v fails. Should you, see that someone in the audience has noticed you place the f,gg on [ill e table~ )':OU simply forget the production, act as if everything is going as planned and, continue with the surrounding larger effect: the' revelation of a chosen. cud. inside the. egg~ However, when you learn bow to direct arrention rellaJbly away from the egg, you. can use its appcarma; on.

-L-II..'l '"'e1ld 'b;r. f' .. I, •

me '[3D e TJOI vt_ o an extra, ,\It 0', su M1I1SUl"'." ms 01:(:.,

~ ~~ ,~ .-~-

B ecanse this effect can.~rr g~ wrong~. you will he less. nervous about trying ir, 'and becaUSE: )'Ou are ,~;onably ar ease, the chances of it we Icing are much benet When you experience

...L Fdi _ l' .' ~:n b d 111' '" .'L~I '" d 1 1l--

me ~[>O,'- , uecnon severn tunes, you wui re amazes .. It'LS exnuaranng, w'_'_ater) lOlO'W ...

i li1& the. pm\'t;r of me. M04 you will ,gain the confidence necessary to do more daring; 'thm;g5 with it, Then YOll 'wl'll have at you,r disposal the greatest tool in {llagic!, So find a, few effects

Having looked at rhe basic concepu of anenrion ,man:agem.eJlt., let's. now examine in a bit more detall some ploys available to USI' There are two basic types ofanendon management: One is me manipulation ofmmmi attention and usually d.eah direcdy with a s:pfCC!tor~

",,'L. ,,..,.11. th d is used 1' ... iL .Jl; '~.c' " I' ..... 'I e !

tnou~ts; ... lie secorn is use}. 1'0 centro tine utreottan, or a spectator S, ,pro i.ers nrst examme

rome, 'aspects, ofthe visuall type~

In considering: v isual direcrion, \¥IC' C3n difFere.1ll tiare be tween two get1.,era] si ruarions, each the an ri the~:is 0 f the nthe r: ltl1,e broad eni !lg, 0 fatten rio n1 (relaxation) and its concenna ... tion (tension).

- Each of these has irs own characteristics" and you mould 'be £aminal" with. both, so that you, can choose: the be-st' one to suit the particular situation at hand,

BROJ\.DENING AT I ENTIO'N'

'You will often H:nd that in. your eHOCt there art': moments that result in a short period of relaxation as a natural result of the current action. Wilen. the aurlience rd.~, their attenlion broadens, spreading out over a wider and less carefully 'ubs~nred fldd~ Such. moments of relaxation seem, perfect for the hiding of secrets, IndeedJ, this Sitrategy' is, fret) uend y used and it certainly cam be 'f;ff~tivt=, Some. pcrfonners seem to use this method exclusl.vd,y~

1\0 example: The magician is performing' a cups and balls routine, and during it he produces something from one of the -cups. The spcctatol'3 are surprised and. 8utIlazed,; after 'which ,[hey relax ;and~wh{){tJh!~the magician grasps his chance 'to make another load,

This tediniq ue certsinlyworks, but 'there are problems connected [0 the use of relax-

• FO; , ~~~ ~- ~ L h'l __ ...I i ... J .J ] ) ~Ml-'L 'd" :eaJ

anon, 115t, one 'can t reanv make t - e auarenee FCiaJ: on, commana, . cant r~ '1L!1I,en1 \'_ ure ~.~- w

.' ,.. '. J

or indirectly) ~ "Now' relax; damn itl" Although you lNi11'often find tba't re1axado.fi occurs at

3_, spedflc moment of yow routine panlrularly after something amazing has happened, takio.g ,exitr'l P recautions 'to assure that relaxation. will indeed result ls wise,

One of the best W3J~: to achieve rei axa don. wi th ooJjta,in~~ I've lOu nd, is to create i r. th rough, th e relea~e of tension. .. ,I (. create relaxation, you must H:rst build tension in your' audience. Then. when. the tension is discharged, relaxation results .. , The; higher the: tension, rib: grea:ecr the: relaxation that results. It is, important to understand this, because it shows how relaxa tion can be intensified. If you want grea ter relaxation ,at. a certain point, j ust intensi,fY the preceding tension. 'til. this way you can exercise some control Olver the de,gi~ of relaxation created.

It is, important when USIDg [his technique mart as tension 18 released the moment: of

~_'I h' - -'~d- il 11 d .J~= ; 'n ~~ ; ..... L b ," ,II:. '~1 ~, b .ec ::» "U:

reiease S .• OUl~, IDe ,ctlS,P an, distinct, ,M;taxanon rnat eegms lt1!!ll,y wont ae as enectlve .. rou

must' give a, clear signal to your spectator-s that Jets them knowwhen they are 00 le]aJ{, Usually yo-u signal. this: moment b)1' obviously relaxing youtSd£

Anoth.e'l way to induce rekxarion is by givEng the audience a strong experience, The production of an unexpected ]arge 1000, for instance, can be quite shocking, and as ,=I result die audience will fee.J a need ro relax. The stronger the experience the deeper rhe rna-men-

1 ~ Thi th "'bl ' ,.:L de- f' 1_~~_, I.

tary re axa UO:n1.. ,IS. ~l1ggesu ano - s er possi ,~way to increase we ':_: gree 0, - re~!Don~

Obvi 1 b _1L, L _..J - f 4 '. ,f'" .' '1- ---- ~ L ~L .~ , ......... '11

_IVUlUS y,,:Om methods 0._ 1 lltr=.DSllrytn,g. reiaxauon can wcrrK. tnge.mer q urte natural 'f'

A h· _L • h b idere _j t. ,

t t teir roo-ts Uley m,lgl_ r CVe1l. ,e consic -eKu roc same concept ..

Nlo':> G,- ,0,' :-'NT' " In'D';"

, ..... _. ~ . '. ~., ~

n ~ '", =_1Im_,_Ll · . _J' h I, d _~i. ~,]= ,,\v1L -~ •

.nr:JdXaliofl;, as, vamarxe a. too as It l$,~ does 'ave one' senous ,:__raWOQCK!i wnen spectatclrs: Ir~axj

they are basically out of your control lOU have .no idea where their eyes may go? During moments of relaxation, they may look ial one another, ar the 'ceiling'). at. the floo.r~ [0 the left or 'the right. Suppose rOll intend to execute some secrer artion during this pe' i od of relaxatron.,. Since you have no con [[01 over where th~ spectators " "ill be .looking at that moment,

through' lncld I!, uld well' b ,,"011 ~"ll t, ~1I_ ".)1:- d - ~ - __ coiner renee It co :, very weu ne ulat one or more spe:ctatnrs Wl .1, 10-{)K, aiJrOO" i)" at

'your hands j usc as you make YOUI' move!

Granted, because attention is, not intense or focused~ you might ger a'\\l~y with, the move 'while someone is staring at your hands, It migh'[ not be. noticed but you triJ_n)t be sure' ..

WAITIN'", - -.: 'G"

';___ - ." .. -

It follovrs ·(bat by using relaxation ro cover a secret action, rnn. must be v:ery aware of where

each b. f- ... - _j, = 'I • Lf' h I k h-

member 0 I your audience ts gd.ZJng. i. , someone .1, lappens to OO.~ at )"U "Vi' ien you are

b _'L__ - ~ il th ~

anour [0 exeeure rne move, you must l\'3jt~ You JnU5t waif unnn ~ tc person,s gaze moves on,

,\V11.. ~ reI · .~..c _III 1L -r I · od of" ~

". hen uang .-'. axanon as cover, you. must caIawlty' ouStTVC' if rhe perl' ._ .. ~ I marten-

~ ~ ~ d - -. oJl ~ "' b- d .. ~~' V Il h "",11...

'lion, IS In eeo perrmmng your move t:'~ ~,e.: one. unnoucea, tou nave to C ·oose me exact

I d .. h ~ ..

moment, walt anc i grasp rt w nen 1 t arrives,

l-Iavin,g undersrood this, it must be: possible" then, for you to d~y the move. Bursomerimes that i~ difficult,,.. perhaps, even impossible, If you must do a move rhar can't'be delaye.d~ or would hero.me unnatural a[ a, later moment" the' use of relaxation is ,generally not a. desirable strategy for concealment. Consequently you may need to change the method, so rhar

~,L • ,£:_111 ~ ... L - I " 1 _,..II .. , .... 'L • th ill wi 'IL d- ,.J_1~,

ene secret acne .. UlJ~ at anornernme or IS rep aceo W1Ul all acnon u at 'WI wm isean ... rn:sy

when necessary;

,In additi'Olll) within the context of a stage: performance, En which it is impossible fO',f 'you to check ~e.rynne~s gaze and judge the right moment, relaxation is generally not a: ell-

b I ~t,_" b ~ -.ff 0" ~ 1 I! • b d '.' binati ith .... 1L

a I Ie te:cnruque to use oy l'rsli3_~ I. ,n stage, reiaxanon 1£ ! oetter use ~_ m com nnanon WI- ,. anomer

direction technique, to reinforce it.

AJ=L h M • I h . ~.. h d th . 11 At

rnoug It seems SlID'p e eJ oug,' U1. co,ncept., W'rutlng ~S; a l4l:!ry iarc --IDg to .J}ea.rn~ .,-

least ir was fOI me, It takes a certainamount of ClOUragC' and confidence; confidence that,

I h'l ~ 1 L_ ~ --~--__]! ~111· '::11

even wnen me Jrl.g. nt rnomen t nas not: vet aDIVl..U" even tUauV l.t W.i!I come I'

--. ;- ~

An - L - ... L ~ _. h' . --_;_ , ," '.. . d ~,M cui- I ' 1'-" ' -" he . , . ~ '"', - d

o IIKf unng t : at' can rnase war t:lOg . aunc . r lie ates to t : ,E ~y you pracn ce 3.:Ul .

rehearse When von practice at home, rhinos are done in a. certain ter tp· 0 and rhyr'- hm; and

--' _ '- - , '~;. - -. _., , -- , - . . - ,..,. :--0'" - - -- , ~ '- _. ., .' - - - - : ' ., -

hen i ·1' b ~C .-1: hi l-d- h ,I, ed ... 'L .. ..-._,-

w en rt comes time to perform nerore an aucsence, you s ~ ou r -, ave ,P1H.Ct1C, --, , we U1lli 80

ofren~ the rempo and rhythm of me moves will be almost automatic. However, now instead of the mirror "'"a,tJching you~ you have live human beings, The timing that was perfect for the III irror Inlay' need adjustrne':-D-r. fOIf an audience, You are now 'faGed, with S)(ln1ecll:~:ngi total'ly new': adapri ng you-r ·well-reh ear,~~d t;i m'i n g ,J n d, r~yth m ~

Since being a bi t nervous the first: few times YOli do an effect' for audiences is normal, YOU mav find, mal vou have no chance: eo ,00 neern 'yourself with precise rimine, so you use

.. ~l)" _ J e

me riming you practiced. at home-s-timing that might very' well be totally wrong fur this

specific show and audience, Forcing' yourself to wait for the appropriate moment will be difrIicu1 r in such circurnsrances, The aJltelua!tive to waiting, th,ollgh;}. is the possibility of get .... tl np Gaug .. 11.t and, ~Lllrther" ofhavi ng:_ vour confidence in direction techniq ues shattered '\\"eUJ.!

0; ,C -~

d d- 1-

) I ~ . ~_ .". '".-:- ,"'

cnw . at ieast ..

M ...I.,j:" .. L_ "f .,-,~~----.. f~ b _L· -~ h

. y acvice IS t'I13:t, ['. you use reiaxanon . OF cover) _ e very aware tnat H1 an acWru, s ,OW'

'YOU may have to ruJ.jw.1: the exact moment a move is dOD1t:., Being aware of this while' YOlI practice 'will hdp lateF. \X'hen yo u pr;ILtice~ imagjne thata specramr is watdling: 'yOUI' ,llan~

-: and 'wait until this ilna_gin(1ry spectator looks awa.~ In other words, practice the technique nfwaiti ng .m~, wen as the moves and presentari on, Then, when show ... rime comes" sucb delays; arenr something new" for-you .. You wiD have included the practice ofwat-ching yonr dLud.ien~ce and waiting for the correct moment in yuur- rehearsals;

N~, yuu m:ay think) this sounds fine in theory; but: what if a sp~ct~."[o.r d:oesn/f; look away? What do .I du that? ~l]hu,:n ]~nl d'~pen.din,g O~JL rE'lina.ttWl [-0 cover a move and I S~ rhat a person. is vvarching my hands, I keep them still, 'There is nothing duJJe:f' 'than watchi ng nothi ng happening, You will find thar the spectator,. being relaxed and not' knowing that you are about to make: a secret move, ,viU soon look awayi .r\tter.- all. thcres nothing interestUlg to see,

There is more, though, to handling a s,pecta.ror whose eyes coiacidentally settle on the lIitiud area d'uring a period of relaxarion. Heire~ I must assume that you. ha ve 1110 t ,3LtUUSOO suspicion in the ~~I]\ecratn';, for then, ,it hemrnes, 'reTry d ~fficn.lt) if not iim,pos.'i,i,b14 to make due per.~rl'n look the ,other. w~y: ,A, s1.].~pi,ci OULQ specta,M,r wi 11 u.~u.a~ Iy not rel ax, 'but wiU i nsist on

keeping a watchful 'eye on you,

Even ~f· Vr"'UI L""-"1f:"!'Il"lr aroused :t:"UI["P;1f"" ~l- 0,' "n'I, b~oIGIifo lI"oiD, the ..,-r ..... ~1;-1I m om en t -,f· , .. L1_, secret act ion

- I!I;". IO.J 'J.. . 11a 'f , ... ,., .. !II". '~';]eu '" .,;}. ,""-- , . , . !I;..:[" . .:L!I;.. 'I.. ~i[lIlHJ ,. ........ 1Ull.e ;]!!I;........ _ II. d,!;...J..V ;(10

its stillpossible (0 aJUUSc i[' during, the relaxation period. One dling yOLl should not do is. sreadilvwatch the spectator who is watchin:~· ~_~Iur hands to see when he' looks a~ It is &Ir

of r- D l ~ ·~·~:I

'better tEO I nok el~virherej and o"h~l)erv:e t'hi,s pf:'r~on knrn, the corner of your ere~ it'}, a :re.~ult~,

the spectator notices that you aren't interested in him, thae his behavior doesrrt matter to you-s-and if it doesn't seem to matter that he ls watching your hands, he concludes that there willl be nothing to see and his attention moves. on, Of course the spectator probably dOf!n~t reason this ,thoroughly~ but if you were to watch him, like a hawk, he mighrvery we,D conclude that his attention on. YOUllr hands CODCelm 'YOU" upon which suspicion Mil rear its .nasty hea~LWe wIU luok deeper into the matter of diffkuh S,pec.t3XOrs in. the other MO 3llfudes, drtat occupy this chapter,

KEEP IT ,SUBTLE, KEEP' .IT SHO,RT

'Try to keep the intensity of relexarion as subdued as possible while it still does the' job you require of it" 1n other words, dent build tension 'unduly before you let the audience relax, If the degree' of relaxation is; enormous, people may suspect t'ha,t you purposel.y created an opporrunity to, do something secretive. You want to keep the level of relaxadon subdued to p,revent spectators from recognizing that they did relax melr atrention, and dlat you might have exploited this!

For the same reason, lty'to keep the period of relaxation brief.To accomplish this, you mUSE have ,a definite' plan fOI! reeaptur ing ar rent io n: a. rem ar1k:,~ til gestu re, <1 n acti on, 'W'h art...,

";;'-":7,,;!or ~~.,;;.,.,IIIOd' vou de e: ;.J~ on if1" m - US~' .... ~'i'n attentio n in -"'; oositive ":i:j"oP!jV- Th':~ ~~ ;,,-L_ pri ...... vn'UI

""" T ..; .i!,1I,~, U " .1 ~ _.1 . _!;;".llQ.C _ '.) 1I.!j, , .1' ,!L ,_ -'t!r~- d. ... "'-" 'U:' Ji.JJ., ,id ,r'UIo1! 'Ul ,,'I!;;..- ·w·!It:'L J'j . ~, ll,oJi; me: , 1 IlL.\.., j -;..,-'

must pay fnr relinquishing control.

,Relaxation created by ,rau,ght~'r alt 'a joke has a special problem. 'You ,harv,~ less ooott-o] over the degree and timing of the re~axed period, Lets say that }"ur spectators art roaring With ,bugllter; maybe 'ili'eYre even holding their sides and cmviling under the tables - an at a j eke that't' normally brlngs only mild chu . es t In SUM a case, you must be prepared with a good, re1iab'!e 'way to regain conrroh or be ready to accept the' faa rhat the cab-bag,; you just' loaded under your hat worft make much of an, impr-ession when you produce it hurer.

N,o.· ' .. :'.TI-DN--~" . ~ I' .' ,G·.··' ~',~ ~p·c·:'E-'''iE~ D-

·o. "." - .. .. , .' C1fU~ ,1""'i, ".

Allow me to' mention one more little technique, which is: applicahle in, virtu.,aUy any' situa-

~ h _L j,: h' 1_ ~' __ ..11' fi' '~TI chni ~ full" th

non wnere me audiencer as WOKeU away rom acertam 5]lO,t. _. ne cec 'lIllque IS LlSe'I.. 'WI __ I

elmer' the principle' of relaxation 0[' that of concentration of atrention, 'but il is ~peciialy valuable when atren tIDn is relaxed,

You have been sucoeB5fu1 in relaxing your spectators and ,t,hey' are not Vfatching your hands while you CXCGUt-e your secret move, Now if possible, bring your hands and \vha,t= ever. props m.cy migllf hold back to the original pcsitions occupied before the move occurred, Once the hands are in. position, keep them, mere, Shift your attention to a spectator) talk eo him, ,atch his eye~, men (oak down at 'your hands .. En other words atte;r the work is: done, as quicldy as you can, try to focus attention back on, 'your bands. The spectators will see that, seemingly, nothing has: changed and they VlUl conclude that nothing has happened .. 'If the hands or the props on the table have changed. position, the audlence might, subconsciously

.• = ~" ii, . ...iL. h". _J .... L ","".' ,-, - . d - - -. .1L .. _. ·d·, . - ~ . '. 'Th·. ., " .. "gh.' . . .. '. " elud e from

,f-CiLlJZe 'm'~ amus nave mtl _:__e unOnserv:e: _ monons" , ., e speCCl!.iCOIS m~·. I t not con~LUU~, . ~ c',· .. ,

this that some secret acdon has taken. place, but subconsciously me}!' ~1 know thal'Jt· infor-

marion has been m issed, -

Understand, the sp ecraro rs don'~t pe:tcelJve any of th iR (:on,sc:iOtLi;IYj' 'but subconsciously

h -I .j "\J' ~'~ .. ~L b 1" ,.,.11-. h di .J~:II • _L "

t ese r 11 :n~: uJ) hi attler.i our goaJI. ]S to masce everyone . e J~, rnat r qr'. · ... 1 ,GIl t miss a '£.fllng,

yet miracles happEnl:d~,

("I--~- ... --Jfti!V h~"",,"I..,~ ., 7';_"i1i ~'~~" ... _ .. ~~lJ:n' rJH7'R"'#'~ J 'lTtr, "/~ VJi~ ~ --,~,..- .

1) Eimer a 'way to build tension just before, or some strong experience' for the audience-s-or a combination of these elements [0 cream relaxation.

2) Further 'we must choose rhe precise moment fOr' the secret ac do n to ,go uno bserved I'

'which requires that we be able 00, delay the action when nec~s~

3)- We £hould. also try to keep the period of relaxation as shorr and subdued as possible,

4) We must Imve a "PilY' ttl It:gain attention in a certain and clearly defined manner: ..

5) Wh·enevIT possible" Wt~ dlDUnd retunn at renrion to the same :appal1ren[ situarion

observed lL#!ftiii':'"";r ... atten t 1'0-lj'iII nM~. ~~ll.~,~~~ .. ~. I" .... CCI. DlLrol.'-- a .. L ., .J.!." 'JL.lI, yy,a~ ~'II

As you see, there are quite a :~ factors that: bear on the effectiveness of the relaxatlon

• h 1 U' d l 1 ~L d ~ h , ~ ~ th L ·b·

pr.lnc1p e. Usee meorrecr y; me auc ience mig .,t very easlJlY perceive ·:1· at yon, have seen

exploiting the rime' they were not paying stria attenrion. Carefal use of' 'me technique is:

IlecesS~ du~ reo. lrs ,many pitfalls:" Use of relaxation .. periods is ·at val.uablle technique", but it

b ~1. d d if' 11 1 d

can e easuy • aetected .i not p,roper.l}.l ,emp oye:c_~

CON.·· I'C··.-U~nrp.A~l~~ .. Ail¥lENTI:··· ·1: '10 .• ··.··N·· .:~

~ I ,I:.l,''1 II l£\.n! li]''1 \J ,ft _. _. -e .. I ~ ....• ~_ "

NIO\v ].ees! examine the: orhe r rnajo r principle of attention direction. Instead of reiIuing attention, otle Imh do just the opposire, concen trsre it. This: principle seems far less h~-q Lten.dY used by most rnagicians, yelL it is at very versatileand extrern e:~r strong too,~. Wh] Ie a rten rinn is basically uncontrolled during periods of relaxaaon, it: is under your complete guidance when you concentrate it, Total control is the: main. advantage of 'this technique, and as important and versatile as jt hs in close-up aituadoos, it is even more so' in. stage performing ..

Wnen concentratiag the' aU.dh:h(;,r;'s attention, all eyes are a11 drawn to one point while the surrounding area 1$ e.xdttded from the frame of focus. The tighter. the point of interest, the safer (he surround j ng area wiU be fOI~ YOlLU clandestine USE.~

A. good example of such concentration of attention ,Q(XJum in the .previously mentioned trick, ~'Magic R:anCh~~ In. this eifea, 'me performer purposely gets everyone in terested In seein,g the .face of a. ,cxd just selected ... Their concentrated aJtitfJlltion on the deck in -your hands keeps them from noticing an, egg you have secredyplaeed in full view on the. table,

Because: of 'the. "ray this typC' of attention direction. operates, mere are &;we.r thillJgs to • into account and to deal with than relaxation technique:demands~'1be~C'lte:~er'critica1 factor~ and the circumstances that foster' it will crop up frequendy' and naturally' in your

'. C·: . d ~'I ~~. d · 1L 11 " lB'

presefitatl.o.:n~ .__: onsequent ); you wui no cc. many SUi taDJL{! opportutU'ti.e£ 'to use concentra-

lion technique to conceal secret actions.

.k an added beneflt, 5p~tors foel·th.att they are wat,dlingvery' clo5f:ly; w:ln ich thq'~lOOies just that 'rho/are watching me wrong 8:por to Id.ismver the' secret, 'I "his is exrremelydesirabk, forwhen spectators believe they are watching intently and you still fool them, your reputa-

"-:0. "! ,~~: 00, m :·,3· "",j'~·l·'"·i191 ;c e nhance . .J1 tremendouslv Howevee ~·L:.,- ssoect ... 1"'0.·.·· ~G~~ a caveats 'The

u. u ~ A., .. e"'''"'" ado' II...:J • 'uRUOCU .j,.J~ ""uU! . !Y!J1!y;. 'vn~ '!"'~l u:u~ iA!J,r""'-II" ~. ~,H~ . _ ~ _

'technique should not be betrayed '[0 the spectators by having them concentrate on somethltlg: that 'turns out to be of no value .. The object of attention mat you create must' have

pertinent i nterest to me action .. Dotlt make the audience feel foolish by making them look at something that turns, ou r (0 b~ obviously trivial,

J f the concentration of attention ls not strong enough to cover a secre r maneuver you

'" ... L..J' f: .. 'b E..." b d ~ = L ad

can increase tne cegree O~ attennon -,If' gIV1I1g: It more nn pormnce"iut ' n so wttn m nera-

'non. or you will Hnd malE lin hiding your secret you :are disappointing the audience by placing excessive imponance 011 an if' cidental paint .. Such abuse' of the principle aut mar the OWJ1'[aJI. impact of your presenta'tion.

Although I fed. concenrradon ofanention is a. pOWt:rfitil (and. extremely under-used) tool, it does have a Characteristic that IlliIy frighi(t~~n }'-OU a.w~y flom ies use~ In most cases, when using: concentration, waiting tOr the nghr time: ttl' make your: move 'will not be pos." sible. It would most often be totally unnatural to do so. This is because, in stresslnga certain polnr, once the point i~ seen and understood by the spectators mey'will expect JfOU to con ... tinue on to the next point' of your presentation .. The Iength of time their attenrion is concentrated cannot be extended, The concentration must l~t just long enough for the audience to absorb the infu·.rmation you've given~ In addition, since you. too are concentrated on the pain of inrerest, you have no opportunity to scan the audience to verify where

evervones 1"" ' I li~

verve '~:,~ attennon res,

'"

This means char y'ou have to execure. your move or' sleight at the veey moment atten ....

tion .is concentrated, taking for' granted that your audience wont be warching )r"our hands as they do the necessary

'Whetl yOll f rsr p~e:nt a new 'crick" )~OU will be tempted to exagger-ate the deg~ of concentration, but with a bit of experience. you '\\iU ,feet more ar ease and lean decrease the intensiry of concentration to, a subtler, more suitable level

In dedding me intensity of concennarion, its wise [0 see how Inrge the' area of focus. will be, Suppose 'd,.i.~ area is about eight inches in diameter That is only 3l.m,odemtdy restricted field, and your move should be done well outside t~~ eight inches of concentrared attention, ,HOWEVcr~ what if the eyes are drawn 'to a point encompassing L:~ than halfan inchrThen the sleight. can safely be done quire dose to the area. of interest.

Wh" C . mall" f7" • _L. Ii ri' f'

\.': ienever you fOCUS attention on a very srr ,,'1 point a I interest, tile rntensny 0" con ...

oentration (that is, the importance placed Q . n this: tiny point of'inreresrc) can usuaUy' be rJ:tllle" light, But whenever the 'area ofinrerest is broader, and the secr-et maneuver must be executed relatively' dose to the area, you mUS1:' signi6.cand.y increase the (_~e,grree' of conccnrrstion.

The same rules apply to the use ofconcentration of attention as to lrs opposite, relu(trion: Shorr and subtle are qualities to be striven £0£ 'Keep '[he dEg£iee of concentration as

b d d 'Loll whil directi · 1'; b l U" '" 1·,;rrh 1

SU .' UC" as ,posS:1iu·e Will'; e·. lifctlng attenuon re ta~[~se JlUSt e.n0uwJL to cover t .ie secret

maneuver, Try to use so little that, ifyuuused any less your secret would be exposed. WaJ,k

... L, d IIi'" d J · hi. .. funlAn' d h d ~ ",[L,_

on me ,e, I g:e~, .: ym,g , ~gerous Y In tr J5 sense IS n ore . ~ i.. • "[ " sue _ moe eranon assures 'ii.Jntt

your audiences don~t fed their attention has been diverted .. justas 'with relaxation, 'when. concentration ofattention is applied subrly, your spectators will believe th.e,r'Ve· paid atten'(ion to the various points of your presentation of their own accord, Your job is to guide them 'wi,tbout.letcing. them realize Eheyve been guided ..

All this leads us' to a fascinating as poct of visual dil-ecoon: '1 HE 'W'E.A.KER, fr .IS j' THE STRfiNGlER IT IS~

t'll-IE- TEN- . -.' , - ,- - _., ~'-' -''- ,

! ··,S'IO·:. ·._N·,,_.·~n1C'T'._AV_.IL~TI· I 0-' :N',-··'- .. ,"~"1iC

... _ .. , ..... , .. ~. "." .nVL

~

We' have so far been looking' et the elements ofrelaxarlon and tension as seperare entities"

However, by their very nature they' :all ternate VIi th each eeher consmn.IiY1 and this alrerna ...

,., f" ~'H"F·

non creates a \Vi'JNe 0 1- aetennon.

The amountofartenrion an t.\llJdienee can give, ,is a, limited commodity. 'Whatever YOll, dn~ after the expenditure of attention, the- audience will want to relax. After eYenJ" wave of

tension com pJi! ""ii 1'__" "Illi ..... ,f;~' relaxation """I"""L.. :",,11- 1"'0 natura 1 0,".- '.- nc ~1"I"r p-c·""""" ... '.ri;"li-"Iic ..... nt atten tl' ion T- here

I~L, .:'1 I". . ~r.,1 " ~---, ir.lL .r.UUI.Il. u,. . ,L·eJta.J.'!iAI.. . -d' ~ nlLL , .~ .iJ.La - -" al. " .. ~ 1IIi...CI..J..1. ~ _"" 'fLw ~Jl.h]t.-~D.J.Jl aI-ILL- "_" - !I! I !ii.&I!""-

. " - .

, -

have to be respites of rdaxatio,n between stret-ches of concentration, and from this: alterna-

'[ion we get our ~ave,~ ,

Imazine thar you have' an enormous washtub full of'w,arer~ You slap-;·. vour hmnd on t11i!C:

!!!!!!'~~O- 0I"l.. ~ oil

warer, making 3" 5II1all \\1~V,E ~ You sl~, your harJtJ a:gml Oil the water, :allld ~in" If you wn ...

tin ue to slap the warer, in exactly the right thrythul;l the: wtt'VieS in ,~ ~ru,b will grow' h.i,ght;f and h ighe .. , u nril they splas h over' the sid es of 'till e 1:1 lb .: ~, 'h.e energy of each s]a,p n eed not 'he gr.eat~ but given the ,p.roper rhythm, Irght slaps createa very sttong wave,

The same can he said of-an audience" Create a wave of aI[ernardng tension, and, relax ... , arion, giving a new- surge ofrension at the: right moments, and eventually the wavewill wow' ¥elY srrong .. Nor a, lot is needed to maintain this wave 'as lo,D;g as you keep 'the correct rhythm"

Conveniently; .if you can create the wave and ride ir, 'me .1rh:!lthm becomes almost

. d b ~ ~_n ~ I is need d '. - iI" th

automanc: all [.C1t1.g partuullY' autornanc . ess 'energy IS neec eo to mainram it at' _- . ose

moments when. you need to 'we it for royer~ In addition, it requires less energy 'to regain

,. th d I: ~~'I" ,. d S h' =11= rhe useot'b ",",'L, th ~ ;. 11

attention at -: e en OJ!. a reiaxanon peno~_!uc a. wave mazes me use' orootn ._- , e pllha,pJ!e:

· of relaxation and thet of concentration easier, since l~'S obvious, expedients are needed to create them, Thus everything is done more' subdy I[ also requires less eflo,n to modulate '[he' level of relaxation 1:-0, a sub-de and, efFecd~ minimum,

,l\n important prerequisite for creating such a wave=actualty, an essential fOr :M'}!r direction techniqueyouwish to f'mp,Ioy=is the Inrerest an audience: invests in you~ 'Xfb'en the audience finds you interesting, they hang on your every word, th'ef watch :fOI ,every movement >rou, make, BOCQjwe they are interested in what you do, dley' follow you, and every pulse of tension and relaxation you create for them. Their arremion is ca.p ru roo, by what you. do. Vlhe'D, ~uch a shuatlon is: attained, creating a wave of tension ~md relaxation is easy:

However, your guidallce of the audienee's attention must be good~ So much happen! 'when Ulllre'S control of aueneion Is properly executed: Tille s-pectarors pay close attention to evelJr' WOF"d and gt."~ture you wish them to, and therefore fOllow what YOli are doing; and when you r wor'k ] ~ 12-iily filUOYw~d,~ it: becomes easier to appreciat-e the magical effects: you brl.h,g' forth.. Th i.-; in turn makes ~it easier to ,like and: appreciate your work, leaving me' audience with 3. pkasan t experience. Given all this) people may even start to like you,! in 0" W'ay~, cause and ,eiIea ,ampli(y each other here, fo,rming an ever-inJ;reasing'wsve ofilhelr own: 'Yom ability

t, • ",-I ,! C:", .... L di beei 111:1_= _,_ ..,III 'h ... L '~~1I_

to eonrrot attention makes It ~ ror me au, . enee to negin to ,Jl~' you, ~llU W ,: en, 'oo'ey ]lIKe

you i£ is easier to cenrrol their anenrlon, which causes 'diem 'to [ike 'fOU. more, ,vbiclt" ~, ~

Once: the wave is set in moti,(l n ~ the a1tern atinn Df coneen trarion and relaxation :feds totally n,atulral to an audience and becomes much easier to perpetuate, Not .only does, this make concentration and "laxation, easier' 00 use far your secret purposes, it abo makes the audience feel much happier' and mOR eomfenable, It "is similar to breathing in and out" (Breathing, by the \VaY; is another too'[ for' creadng tension. and relaxation:, Breathe in fOr tension, breathe out for re1alXation~ I'll have more to ~Y' on mi1; subjecc In an upcoming article'

t,lB ... L - I-n ,;. ")

on ~-,rea.'ij:,u Contra _-,j p" 17,3.,

A good. tension-relaxation wave creates a feeling; ofbeing alive, of excitement", of ridin~ an emotional experience m,gethcr as agroup; the audience: and performer become one, breathm,g in. 'with tension, breathing pUlt with relaxation, in a totd harmony of mutual experience, The rhythm. of the wave beats likes an, orchestra conductors baron, aurying: ~he' entire group along for 'an exhilarating emotional journey Audiences love this fueling of' oneness, i3S do J,!

and I oresurne vou de '0" too

... ~ r-.IL-~g, :: .'~ .J' .. ~.' .... - '. t._ -" i

Once you establish '3, wave, tak,c cat(; n.ot to destto;r it 'by' ddivering it 8hO''[: ofrension at th.e wrong moment, One ill-timed burst of tension em 'e1tSUy break the. wave into in.e&'"ec:~ tual lirtle ripples, Hit that growing wave ofwater in our 'washrub 'at the '~vrong' time and see what ,hatppcru.

'W1len the wave is allowed '['0 ,roU, though, i t' can grow so strong and ex:cicln,g that i[ becomes a, maj:or experience for both audience and. performer, 'Un,fortLlLn:~udy;. I frequently ruin the rh,,1hm'J mis-sing i ts heights. So often, keeping proper time vii th the rhythm. of dt~ audience is diHicult,~, and all I create is, at rather small wave, But on those occasions 'w:hen the

"~TB-U\iiIi d _.;r grow'" " I: " ., I ::::II~' . l' 'W¥d'~b . ~:, ..... !I'Io"-'II.i.&D~~ e- .. __ .

M D

'.' I -", ','., -u ".:-. :; .', .'. -,-c

. ', ENTAL .' ._·IREC110,N

No matter wha r we do, our actions alway:s paint a certain picture in the minds o.f our' audiences, This is influenced, by what we say" mat we: dOJ' how we look and so on .. Everything perceived by the audience influenees this, picture,

The id~ we pbmt in ,tb:~ minds of OLU spec [aWES are very irnportan r to' aU asp.ucts of what we want to achieve, .not the 1eE!S1r of'whkh is, the: hiding of our methods, There are several things we can use ro ,inA.uence the thinking: and perceptions of our' audiences .. . AJdn ough I'm sure I don't have: a 'Complete overview of all the techniques available", leis look,

. 3_t a. 'fevt' of them,

111vffi AND' PUCE DISSOCIATION'

Diseo,nneeting cause and eifOCf;l' either in time or .p1tace or 'both at On.~E~ CBl, be an incredibly 8,ttOng [col i If fOUl carefully' 'afi'al:yre Cardinis classic act }IOU will see how well he uses this

ide I '~~t_ .. _ hiLt.. f d 1:_,("';"·.JI_ s: · =iI_~. d . h .'

'-,- ea, .. maglne mar you : ave stu _,ro sumeunu,g .rom .ne JJ::U" sine or yuur J acket an ... wis . to

produce it, U~ing: the CDIl[1ept of plaice dissociation, you would b dn,g, th,~ item into ~ as

that the ball daesn~r leave your hand. You then suddenly make me .sponge bal multiply inre two balk" Under these circurnstances, ' he aud i ence m.igh,t wdJl fee][ cheated and realize ehat they had no chance to Sf;.e somerhing go into your hand because rheywcrc watching fO,1: the '",·r-ongthing. 'Ins'Ucn a L"3Se~ [be rose is too blatant, For'thi5 techniquetobe effective irshould

1.. ~ btl ...l .... L,_L ..... _, F '.' ~ h 11d' ~ ~ -~ l "_..:I

De su ,', - e.~, ano U 11';;' L .. U.a.tll.gr;: III mten no 11 S'OU.~ I seem logical nO'1I: eonmveo,

GRAS"PING AT l\_ STRAW

~'~ 'his unusual technique (aauaJlly a combination of mental, and visual 'tcchni,ques) requires .subdety to 'be, cffecriYe: but when wed correctly, "it is infallible ,and exrrernelysrrong, It is especially ,cfflJcUve when someone is, obstinately fighting any direcdon, the type of person wbo/gtues his 'C)TCS, on your bands, locb out aU yout signals and srubbomly concentrates, Such individuals invest a lot of en,ergy in maintaining attention on your hands" Whil.e one' could my that the occurrence' of such a siruation suggests that )fOU", as a magician, are doing something' wrong, sometimes one simply runs ,1D[,0 poo,pJle ike' this, who retuse (0 be lecI~ no matter what you do, There are some tricks, [00, with constructions [hat nrti,ght encourage such behavior in a speeraror, These are times when dle gf"J.Spin,g;-alt'-a-straw' t!eoh.niq,u.e can be valuable.

In everyday ]]fc:;" if you want to lead someone, 'you take him by the hand, Bur suppose you have :your hand. outstretched to this person and he refuses to' take it, preferringto remain stubbornly on his OM1., ';10 fon:.~ him ro take 'yom hand, floulcan do this.: Place your foot on OD,e ofh.is: ::lnd give him a gentle push, 'This C.3JJSCS him to start to .falL ,At, the moment he begins' tu eeerer, you. agFtin. stretch out your hand, Because, your headstrong aCt! uain ranee has !j,udcle:nly- 10.s,· his, baiana: and wishes to regain it~ he 'will surely grab yow' han.d to' keep trou.l fa11in& "fhiis action is; hi.s. "last straw"

The grasping-at -a-straw technique employs this principle~ You brock your determined spectator offbalanceilo men otTer him something that allows himto recover his footin,g. You present him, with 'a problem", Out retain i(:S selution within your conrrol, If (he ISp~cDtor wants to' regain his balance he must [urn [0 you .. Do' ng this, he is forced to deviate from 'his own. path and follow you, 'Which places him under your direction, .

Le(~S put this into 3 'm.ag,leaL[ context. You have 3" card palmed ln your right hand, which is, also holdin.g the deck, You want to. give this deck out for shufHing~ The moment 'the deck and the right hand part company you, have a rather dangerous moment, The hand rnighr appor a bit unnatural when the deck leaves, it~.so you donrwant people looking ar your hand and the deck at that moment, You might men do this:,

YORr right hand, while palming a card" is holding the deck, Look at the s,pectator 'who will be shuffiing me: car-ds. Say nothing, Look at the deck" then, look at the, ~.poctator ,apin~ 'These pointed looks will causeyoUllwger to start to wony:a hit~ ~(Wb;;l- doe-s this magician

s: :\I,.

Wilfit rrom mel

Nrnv slap the deck. onto the table right in non t of the spectator; but maintain me .right bandlrs; grip on the cardi. The spectator- is now genuinely apprehensive, not knowi . ,g what

'you expect of him. ]n, short, IlJ~ is. !off balance, .. ~t this. time you can he dead certain that the specenor will look into yow~ eyes; q uesrioning ,vh 3. t it i s you want. In. other words, he' is. grasping at his last straw. He needs YOll r b e~1 P'" J!I\s soon as his eyes meet yours, your hand lewes me deck and you say). "Please shuffle the cards, l1-

In this exarnphe rhe technique is constructed as a plann.ed stra!le,gy that is used every time you come to th is point in the trick. However, the same idea can also be employed fa" emt:l:genc~e.s. How it is structured and applied is. governed by the specific situation, The g~ner.al. pattern, ·tl~Dugh, is to say or do something thar throws a, pe,roon offbahmce" 01' makes

.. 1 L --'~ - ,_.J C_ :1 .... th __ L hi h el

It ciear (nat ne IS expected to per[orm some t.as~ tnen, 'WII,en ~.1S eyes meetyours, you .. P

hi' hi

, am recover "1.;5 conlposure.

The redmioue is extremelv ndmble~ but it (.an also be. vcrv d." h aerous and ,reg: uires sound

~.Il. ~ ,! ~~~ ,"

~ d J ~ ~1 -~ ~ th h h d 1':: 1- th · hni '

JUl .. gnl~lll~ . t Is per. OUMY easy to use WI! - - ! a I· 'ea,y' ian ~_I .LiKe .- ie previous tee! .,.: iques we ve

"1I~:_ ~ ... ed tho b 't ~ " b d Jr. ,. ,~1. d h- 11~' d I" iI!"tO'J".,tl

~cuss_ u, tn LS un a ana nz pmre!iS is • est an :- I most 'cIlec;nveJ;Y usee W ten appneo as l~~l' y

ibl hil '11 hi ~ ~'I I.J __ U til' h ul . .J _" ~ ~~,! ""L - h h

as pOSSl new . e stl ac ·J.'fV.~g your go~~w:aa.lty, tne spectaror so' udnt reanze mat he -r~

'I~ __ ~~ d d- tJ ball '\1" d ~ ~ h hi c: II '" '1 b t..!_ .. .. rh

~J] nu i.g~- 0',. -I ance, iOU-On! \VlS~~ urn to rees negaQ,veJl}" about U~I expenence Wi' .

d b o. la d if be 1 ~ .. e: ~'I"' ·Th· fa ·

ynu, an .··ellIlg: P' . cec O~':' naiancc ss a ncganve .IrOCJm~ " eren sre, you want: to exercise a

ge nde touch when you use this tech nique j so that it is,nt consciously noticed,

Done with finc.ssc, it is, a powerful, subtle and very dependable tool-a, much bener one than calling sorneones name or asking a direct question, A person who, is resolure in. watching your hands ".. .. iU probably not fall for'such ploys' any\wy; but putting him otT balance" then offe 'ing a last straw u.'orks!

CTING

To call acting a ploy would probably be inaccurate, bur it docs have a, definite function, or should I say an advantage, in relation to the direction ofattenrion, Perhaps it shouldnii[ bear mentioning, but when your method is firmly grounded on presenmdon, rooted in your menral unage of the ,effect, it 'wiD blend seamlessly with your. acting: WId ' he flow of y:our acr "'nrg w'~ n automatically conceal the method (Keep this in mind as you read £~ Deja RJ:Vurse"

in the next chaplet; p. 167 I) ~

ILlr0'P~r portrayal of emotions and conflicr-s- the essential ingredients of theater-c-wil] move and clrry people along while neady hiding the secret, Obvious1~ when rhe ,acdng' is unconvincing, it prevents, spectators from entering into 'the mood you wish ItO creat!e' for them, 'YOU &.il. to capture their minds and emotions. They will then wad evervthingas an

"d 'l., S' "h ·1 d .... i ° t: - ~ _. __ 1 • .-_.11-.1 ~

oLrts~· e observer; ··nc - an arntuoe makes it easy ror people to retam an arJalyn~ wS:Wll!ce~

and hard for you t-o guide their thoughts, because there is no solid connection between you and. the audience, It will be clear, then, that attempts at direction ale very likf;l:y ItU fail when

~l.. ... ~ ..

tne acnng IS uncorwtncmg,

Letsconclude this secrion withan imeresting.aspect cQ.llCeming n enral dir-ection:ThE

STID 10' ··NG·ER' I·T' It." ··"··H~ 'C"'TD'ONGER IT 'IS"

. ~w'··· " .. :. ;j., .I., ,.J;;. u JL l\: ' -. .: ..

AD, ;';.r"lt..TC"'·-·:'E:,D:·,1 D:IRE(~I]IO,' ':"N' ~C,"HN1"'I:: i'n,~UES'· .. -c

: Y.fil"l , .. ,'. . .. ' .i, , . .l~,., ".,,~ ',,' ,

I: ~auld like :(0 talk now about some rather advaneed concepts, They' are not necessarily

I~ d bu th d ~ f'~ rat 1 Ii '.' _ ....... L, ~ .~:I t 'Th'

com P icate 1'- .'. _ .t. - " ey ,,:- 0 CO,WlSt 0 : sever ~ ,e ements wo :. nng togemer SlmlwtaneoUSJl~ ,_ ere-,

c: . ~lIi"Ph • I d.b ed th ; 1 ,J,_ , __ ,_.J, H ;;;

rore, rt m,:I&.llt seem irrvo ve ~ . out once pp" , . e concepts are Slmp,e m un~rsi:anU~ -_caving

id tha th .... 1L,.~'1 .J ~ffi -.~ , "th' ,[0 d

sate ,-"1' 't " 'ey are nonetneiess \re,ry WI-newt 't-o structure 'VI, un rounnes, an", to come up

ith f d '~.~.11· .. _L " ,.Jl~,n::!: • ,.1; '10 ... 1. J

WI ~ ways Q, proc ucUVCJ.Y mcorporanng rnese concepts IlS wtl~JlCwl~ mueec, to' some extent

L~, L_ I "..Ln,. 'L ~ l~ " £0' ... J ... 1

you nave to De u~l' to rur upon pr-op-eI appuC2tlollS .,' I' mese ,prulclp_es.,

.

TIle first concept is .. ,

'Tl' '~E' "TlrtA)N' . ,

In' .ll',- . <:

Fi at an analogy to explain 'the general idea: 'You have arrived at a train s:tat.lon late, The' (Jain 'you must catch is already moving down the track, but yuu are ,just able to .jum:p on, If'the tram has very few cars ~ 'you "rill immediarely understand that your chances of hoppm,!;: on to mart moving '[rain, are less promising, If the train is a long one, of cou rse your chances 'are: far

. errer, thanks to the larger number of cars.

How does Ellis relate to, me direction techniq ues we have' been discussing] Suppo)~ you have something you wish to draw attention to, but JUSt :1'[ me moment you do so, one' spec'tater moves his ohair. His m-endon is naturally disnaceed fm,m YOUI prt:Sentation .. It fOllows that this spectator will miss me connection, SlO ro ,;sp~ak" ,3rld w"l[ 110t 11.a.ve boarded YOUI' presentational crain! He 'will nor be involved in your attention direcri 1f1,g strategy.. ,Everyone

-~-,~ ill" ha be dral. h '.' . f '. b . hi C_UI Co' , ~l

eJSC lV, ,I Vie' eeen orawn to me new pomt U'_ U[~U~S.{"l~t nor [ 15 tellow, ·.nsequcnuy,*

there is, a greater chance he mi,ght see the move you are 'nying 'to conceal,

Here, men" is the: point ofa11 ,this: If the ,engaging; straoegy that draws attention to some desired, area of focus; is of' anger duration, latecomers will stUJ have a chance to jump on ..

The train ~tJnlce.,pt is, e5.peciaUr important when yon, arc dealing with attentionconcentration techniques, "-~ YOLl wHJ remember, contrary to relaxation, techniques, concenrrarion techniques don't allow ante to' wait fo,t the right moment to makes SOCJ"ier move, TI1leIefOre, when Ils1ng concentration strategies, it is best if the engaging element is prolonged £Or 31." long as possible, allowing the distra.cted and rhe slower individuals in the audience a better chance to be caught: up 'by It,

Mlt IT'TlI'i-PLE' . 1 A'''Ln''':'TU'' U.L. .. 1 ',," ..Ld'U~

The idea of m tdtiple 1ayers of direc bon is a sitnplt; one, If ynu can use different teehniq ues of direction simuhaneouslj r1- ~n 0 r them workinsr toward the same anal~ '[hey will reinfor-ce

. 10 ,e,..........

.•• :L __ __ 1 ~ 'II '. , f' ,., D ad' di l' '1._. f d .' rh cl - _j l'

Ull: overau rurecnon nt attention .. uy" u ng . ayer on myer 0'; rrecnon, .ne stac too ~.a:yers:

work rog-etb.a to rorm a much, stt,onge.r directional force dwt any of lDJ! individual ~a.yers

lid d L" this i L.U ... L h 1-;0 ul 0; 11 11 fd' II th

I(DlUr .' O,~ .. rom ',LS U: [uuO'Y'{S tnar, 'W ien empl oymg rm 'bple laye'[S 0 ,: arecnon, ,-' e con-

triburing layers can be much weaker dum would! be f-easible if-each were used alone yet the sum of me layers remains strcng, As I've mentioned several tlmes before, visual direction,

b g, . t:£.. h " .. 'Id- be eel " ,~ .. ~ 1= d 'b~ .1L ~I till" _111"

to . e ,'IS most erreenve, should b useom as, weak a '. osage' as POSSI 'le Wru e .5'_' conc:e~m,g:

the deception, WIth multiple 1 aye r.mg· we' can make each type: of direction so weak, 50 tis-

.... L • .•. .'L ~. - achb ·· __ ~11" ul d L ~. abo I .. th .r., . 'II b . __ 11'1 ~.t.. ·~·I

su.eU.I1J1} tnaceacn 'y [~'\¥D il;iit; uns ' .. e to susram ne uecept1Dn~ outan tnoseextremeiy

~directional methods together are strong enough to hold and. sustain 'me decepdon againi Now the advantage; 'becomes. clear, Each direcdonalmethod 'is so incredibly weak that none

I _ ~

'b cii' ._j

can ever oe recogn[l~

'I"'i'_ • ,. 'n_ 1'" L~ uJ' 1 ~ '" n 1 .JI ~n-:. L~ 'IL h

1. Ill1S IS not tne on y virtue Or' m "ri' tip ,e hatyeIing~ JLieop e are ditferent rrom eacn ot . er,

(Th~1Lk goodness.r How d 1.,]]1 life \vouid he if they wen:nit~) So.me peo,pJ.,~ are H1.1OU: intellec'[JUa! than orb ers, some are more phjsical, some depend. more on their feelings than others ~ Given the d'iversi tv" found in .. humanitj; it must be cxeecred that what moves d.iffe-ren.t people,

~ - ~~~~. , =

wh.am:: grabs their attention 'will also differ;

l:t's, only logical 'that something' )TOU may use 'to direct attention to a certain spot will 'be more effective with one' person than with another. Different types of dlrecrion vary lin their 11evels .of ,effeaiven~ &o.m perso.n to person .. F10r this reason, the use of muldple layers of dlrecdon can, prove' extremely' valuable, ~t's possible '[0 exploh differellt l}SPeS of di[:eclion'~ speci6ca11y combined '1:.0 be effectIve fOr:.a, wide]' vadeql of people. In, this way~ if YUn. miss

ith il' I d .... L~." • ~1L d- 1 ~'~~d-~' ~,JL

some ~peaa,t'Or,g ~1.' one s:trat,~gy; YOlll can stu I raw rnem 10 WI m. ano _ .ter; ._,n au'. _Ul011:!' o:~e

simultaneous use ofdilJerf'nt tvp.··es: ofsnateeies can move .sp' oectarors all several tevd~. all once:

oJ. -B,""

mnte]1ec:llia1" phy~ilcaJ and emotional, Thus YOll can move the whole p~liso,.n rsrher than only'

fh' hi h ~ 'L h deeoeraooeal

a part n urn, ~I" -·I.C·'. ,grve.~ }yu.1.r·\\rnr..K a muc - .. '. 'I~p~r ·a.p.peal.

It is almost always better to direct peoples attention through simultaneous approaches:

P-- hysical movement" emotional involvement and intellectual involvement, Direct them on.

;,

all these levels and you direct the total beIng!

,C .. ' .···0· .i';;.~·TE·~J·G···'···· }HI'" :E· '~~'rN' '~V'n"'"M.J M·· •. ' '11' '"rn- - ·p,T.V T .·~'\rcn~lG

' .. ·1'\l1~ '--'11l~· . I .1 ... ~~ W'l J l-! -_ . ·'V'L .. L£ .L.....f\.l.Lr\JlJl.~.-.

The concept of the train can 3]~'V be used!'\vidl m ulei j, ... ll~ laverina, With marrv Iavers it- is. 'usually

~ ~ ~ ~ '-J ~~ _

not diff1.Cult 'to extend nJlle initial. amount oftitrne by "overlapping" the various laye:rs, acti-

·v~u:in'T. them OK ie at a rime, For exarnpl e, le (s .'sav that. l.'UU create an intellectual need fat the

!~i . ~ J

specrators to (O'ClIS, attention on a certa in location ~ 1 f someone misses that direction, 'yuu

n'lXdn~t worry; because a moment me.' me in teUectual str.a.tegy· you provide an. emotional pwh that daects attention to the desired point of interest, And if certain spectators miss that as wen, a second. Iarer you make ,3; physical movement toward. the same area. All.kyers di [IOC[ to the same point where 'you wish arcenrlon to reside, but th_eir starting points ale overlapped in rime,

. I realize tha!( 1:0 make many dilfetent layers offerIng dif[~n-elll r appeals, mien '[0 overlap thea !5taning owes may not be an e~l" dUng to achieve, bUI ir's gpod (0 keep the idea in mind. juse keeping it flesh ill YOiur thoughts will keep fOB alert 1))) oppommities (O,t such multi .. tl~~rtrl;" overlapping direction "Whie'l'lI. they present themselves in your work.

To find an oppornmity for a direction of mote' than ehree Of four. 18:ym will 'to some extent be a matter of hick, bur one's luck can be enhanced byan arwa.retlH~SS of the' possibilities and power of such structuring,

As promised, I\re limited myseLf,in this, dis:c:ussion to topics that are necessary for' a reason-

able undersran di ins ef arten tion manaeement "'i .... ,d-:· 1li;F'!, th -_..,.,,~ d' iscoveries and observatioas nf-'

",IL ILl.l.i.! .. ···'Lr_.lLIIl!L".QLI,,1· . b U' all'LUI... _., . lUI. _..J, .......... ~_ I" lLJ:,1 .!II aJlJJ. L[!i.J! '1.·1 ....... ,_"Il.'JI~J!1t·~ .~]II Q ul[)..;]I~Jl"·H.. .A.lL~ IU

mine that I fed, add some fresh. idea (or at least one not widely understood) to the exisring body ofknovAedge on the subJect~

To obtain a !110re thorough knowledge ofthr: ,rJiflerUlt 5itr::u:,egies of direction, one mould, study other sources as well. There is so. much more til!) learn, ]~j[owevetj, .I ,dODlt fOCI rhar you must know everythi n.g before you. can work wi th the kn.nw~edge hu r the more )mI have available" the greater the power )UU [tan wield.

'Now" what do we do with all this knowledge? Apply ir 'to rover some weak spot in 3l tr~ck? You'[li 1~ my earlier comments on the practice of plastering ,dirreaion4trategiles, onto ,pre.~enta [10hS 'to cover weak points in their methods, This, is ~1 exterior approach, ~H:ecdve to an extent but, in my opinion, not me best'. I promised ynu, another \V3.y" an insiJeapproo.dl.

This inside approach is 0 rlllt possible' when you have a, reasonable knowledge of me: diiv'~r,!j~ ~niques available. Lers .suppose that by now' you have assimilated as much ;3;S you can, that you have made these thi.n,gs yow: own) thar tb.ey have become part ,of your ~rsttm of knowled.ge~ You can th i nk, yes, evan f-eel in. these Wilcepts:.

In an essay called "The Arehlrect" (p, 59) :[. esamine the proper order to do things, The central idea of [his piece, bereft}), is tha t in the creation of anyrhing, 'the: order in which things are done is as Imporrant ,~ what you. do, 'You can do rtbings ~uperbIY1t but .if you d~ 'them in the wrong order me result can be disastrous.

In magic I fed it is important to start with an, idea, a dream, an idea] vision, something that excites. roo, This dream win become clearer ,and clearer themore yOIll fanwme about it, the more you 'prod and shape it, in 'your mind" We'm not concerned a,t: this point with something as unimponant as an actual method, We don't care about that yet~ First thiin,gs fin:t~ Right now we care about 'the Idea we want' '[0 portray; abour '[the' presenradon. \Ve are playing' widt ,that idea, nlgjdn,g it-Of mote preclsely~ dreamiag it ~ into something exciting and be~lrifn1~ with art eR~Lt that is strong: and clear and uncluttered. 'By doing this; vou "Will even tuallv achieve an lap .. licit P icture of what YOU want, Once the' oicrure is OOJ.11"

[~ l" ,I. .t r

1 . '~ 1 1- d ~1' 'n ·~~n

p ete, once you can 'CnYlSID,n CVlCry'WOnIJ ever.y~re" E\~ery asr - etil ,I" you W1lIJ auOOmatu:4wy

know the points m3!'E will be highlighted and where attention lViM be directed at' an.y given moment, (I'll. say more about rhevisualization process in "The Mind Movie" on p. 53 .. )

"'1i'T TE' C'-' 'HAl" I-N: 0" "'F S:-H'A" D"O-~vw

.ia . -. . ," "_ ,', . -_" . I' I, ':..' -.-"VV' 1;)1

I ~ ~ 1 b 'b-'~ .r rh 'b di ~ .. 1 .. f' ~ ~ - - - • ~_- '11!

t wiu I se O_VIDUS rrom tne anove rscussson tnat ir yOU! ClUJ . mamtam artermon w,rn.muauty

'at a point 'where 'you t~;J\re' decided it should be, [here are other points deemed t~s impor'tan t that do not receive areentie n .. These ignored points are what I ,viU call the sh,ad'rnN areas, The, existence of shadow areas is a natural result of PJioper presentation ~ a ,requJt of foclls:ing atrenrlon on the imp ortant details Remember these shadows aren't p'utp' -oseiy·"[creamd· thcv

-_- ". t·.·.· " . " .. _. ,- __ ,' __ I .. _'_.- _ ."~' ". r'- . ' ".:__._,-, _....:. .- , " " .. 1.' '.': I' .,.: .. " ,1-'-" '," -.'. ~ . rittrir..j,f:

id hi u1 fd-~ '" · 1L ch ~

are an unavoida . e rest _ t o_ '.~. lrectmg .attentton t.o otu,er •.... ' -ooen pomts.,

Since IlJh ese ,shaLdolhN areas, areas that dont receive arteneion, autornaticallv exist, why" '

--" " "

not use thernr Wouldnit it be a fine idea ~o protect our secrets by placing' 'them, in the shadovvs?

Knowing our shadows, we can srart examining them, \'t'e can look catdidl y to see what casts them, \X/bat ploys are 2Iel"ive? Is a shadow created by relaxation? Is lt there because at that time a stntnge or n,n,usual ohj~Lt is introduced? Or has a spectarnr been. MOO a questieni 'We are not adding 'ploys or creating them; no, they are already there. \Ve are: just discovering theml 'We should be especiallyon the, lookout for "trains" or mukiple lay'ers ,3,'E work, since those provide some' of the most elegant possibilities.

YO u will understand that the more familiall we are with va rious plnys~ the easier i t will be for 'Us to n;cogn i7C them when they are pre~ent. That is really the only reason 'we need to ~ITW them .. Recognising plojs will help us to understand better the shadOV/Y' areas, to :&thom

the Ir ~"'_I''''''''fb e .... md 'U: 1'\= -~~~;iEIoiiF'if'jjQ(!' One sh ad "0' w""~r .". n l~ not eq UO'" II *'0'" "!I, no ther -r-i, =0·-· 'i n!h su - ch

[l~l·.l . "LJL,~Il.~UIl_~ a._ .". "" CltUl~!iJ~[1i ",_ _,_~J ~_~~_._:.' .•..• II WlJ_"_ WJ.,~ ~I _' V _ .. : ~ ~_ iU l! ",- ~,.II. ". mill..- • J frn. '~~I,!iJ .. Ii. I

analysis wecan better know each shadow's specific attributes and possibiliries.

Having cl iscove tred aU dle ploys~ the ri me h as a rtti~ni to- f1"nd a methftdj!' a method 1Lhall falls completely within our discovered possibili ties. 'When yo'u discover such a method, it' does not, of course, have to use all the available shadows, You. m~gh:t fmd a .metllodl that

em nlovs O,"ly" one or f"ii~Yn, shad •. ~,,J t'!i'~~""i:'!_ ~ii:i!o'n" I~~T eossible find- more man one me ... hod 1!\0" ~ r"" -U,)' 'Wl]', "'L.l_JJ. . .' .. ", v L,,'r y ::al. ," ~·u ~l~~" W u~ ~~'~....:, r·-.w~ . "~t. _' .'_ . I •.••. ". . - '~ ••.. ~ • - .wU~t'U· ,II I.} ... '

give yourself'a cholce, Then take the method t'hart requires the fewest. number ofmomenrs

ma'" need .F¥\."IT,Q.'t" and .-~ l·al:'" ad '''hlI1'''I rnP'e of· .... L ad" £i;Ji!IInP-,it:T _L_.,.J .A;.l[IIi~ 0(' iJ"'IL- Ii" F'<'nI1fII 1L m; P ~"1;.r,Qd in th' I ni[!IA =',!l,_ ~~~~, ~'l'~,. ~iI",!_ ~w ~'._.~,~,;",,~ __ • Ul',,"' .... ,..........~ ....... 'L S[1l:J.UV¥Yo:ii, ',,' , !brut'l;, ~J., 010;" 'JI~,",,,-, .. :".1 ' '~"""

shadoYilS built fn~.nn multiple layers. Considering the method rhat is: the teas r tech l1icaIly dermnding is also Important.

Ifwe can construct tricks with all their seer-em placed ln the shade, mU we need 'be eon ... cerned about Is Ugh ring the pain ts ·of interest; such is me practice of good direction, And, with good. direction and our secrets safe' in rhe darkness surrounding DUE sn:ing of hi,gh'"

~ • ..Jk here i __ ...1 L.__ ' di ...

lllyJ.1:S, t "ere: 1S; no neen l'lll mls~_'·r",cuon~

G.1I' '". ~ .." _'L~, d b hI .db .,

_ 00(1 constmcnon ~S~ In my oplnl0nl ~e nrst and pro ~'3 -, Y' me most lmportan,t; ste,P

in assuring the best possibility ofptoteoting the secret and the best chance of capturing the audiences atrentlon through the creation ofgaod. theater,

IGood, construcdon starts with the visualization process Just mentioned: the ,furttuttion, of a. clear and detailed picture of the effect yo:u wish to achieve, With, this comes at knowledge ,of the naturally shadowed areas in the presentation, Now' you can start '[0 look for :31 method (0 accomplish your. dream effett~ a method 'with vulnerable points mal fit fle-aci.y 10 the shadows, This isnt: likely 'to be easy, In fact, it will probably be quite difficrut" Nevertheless, it's worth the rime necessary to ,find a method. thar fiu outside the lighted contours of the presentation. J f you, a_Fe ~qlcre~~~fuI,~ you have achieved an exquisite cover, 3., rover that occurs auromatically thanks to your path of direceion. .And even more important, your efFea 'will be crystal clear to 'the audience, malcing It a pleasing piece of 'theater.

The; broidl ts of such :3. rnelding of llfe-sen'tation and method ate: inestimable, ¥o,ur

.... L ~,.J 1~ 1 c~ll h - L d ~ b w'"

metnoo pefiC]cr y ID owsr ole ,~~en tatio M" m,a1dng' rover eas.y;, anc , you won t -:~' wres 'ng

with. 'me ~ because method and presentation are in 'agreement 'with each other, Things become S~) 'easy when you are moving with th,e ,grrun rather man Sp,ting it'! \When, ,e1fec[

and method au in discord, good presentation becomes very' hard, T~y 00 dOl things the easy way. Donj, mike life n.eedll~ly diffictdt· for yourst~t: Time invested 011 correcdy muebJuring, an. effect and presentation, then dropping' the secrets into the shadows, .. is time exttem.ely well spent, If you dont invest the time and. energy now, working the effect out pIM:puly' at home, you'll spend much energy later; during your shows, in trying to prevent your audi-

~n.t"l.il!i from dl · seoveri ne h 01'1:'1:1" .•• :L.,~ :t11,ro1~ f,t'! don e

"~I~ IlI.! .:. " II "... _lliU~!'i~ ~ [' ~I r :.·1·" .... · tIJ[l~ 'II.. 'lil"":K ~~ :_'.:.y ~i ", .!ii,

'li thi 11 k you can. UOliV Ilu.J Iy apprecla re how much better it is 110 know and understand

, .. 'IL", " i,n-'ik 1 . , .• .'IL ,.,.L. d - ,,' - -; l. __ .~ Jt~ .. , - - t- _ .. "- .' t-·- ." - .' r+.<;.' 1---'LocI· D'· '. .~ . Ill... -. . .' ~ 1.7. ""1: ~ 1. ,-' .[

U1i.orouQIL.u.y me snac 0VlS nerore -rytng ·0 create a rnem . iI·. .' OlD.! me reverse m3lKe..~,]. aI.m.ID!

unavoidable that Y· ... · au will end. up- . trvina to hide rhe method by.··· "creatine" areas of sh3.dow~

I . _, .& 1/ ~ 0

t · h ick f·' I kdl' d

.' . [ ,~.""'. :. ," .. ' . ",'. , . - .,' OJ "I' \ "',-.','. :. '1"" • . "'.' ' .• '.:.~." .•.. :.' ',' "::'.' I'" ~- I"' ,'. ,'-. ~"., ..•.. ~.~ ,n, .. '.~ "

p astering f1 e mess 0_ anennon contra. over your war" ... row1.ng mue over you.r

presentations just to hide your secrets I Conceiving a method before you have clmdy defined

th ... "= ~,~ 11· ._. 'ill :~'I'" .' £0. ... - _ - . "ji~.J Iby tho "1. -~fX_=.... .. .. 1L_ ...__ ~'I iL ~ ftoali!:!llPi!"I _.-L

e naUJ!f;~ possioumes _ '. r cover proVl-u~-._· . - - e errecc may not De' a to~y UlJ~ app(1)au.l,

'but it: is a topsy- mrvy one with IL·rcte chance: of preserving a .. good. presentation and achieving something ofbe.aury~

ON······ 1..Jf_i\~.lG-:_::_· AD:_irU'S"'~"'~E';NT: :'-S,-,:" '_ .l·Y~l~ :--. ~ ... '}. .... ", j.IJ(l .. ", :.>

Sometimes the ideal direction dictated by the effect you have envisioned ,,,,dU not ~JI.OlV )~(ijUj, even with niU! best intentions in the world, to discover a method dtavt fits (Jomplr::t,cly into the shadows ofthe presenrarion. One could ~ar 'that the correct course to uike: in such an instance is. fa keep on. searching, no ,mattft how long' it takes, until you find a suitable meshed .. This Is the best and finest thing to do, and. I would certainly reoomm ell d. i·t~ were it not 'that thi~ can sometimes take am extremely long time, and ,I do mean ieme~mdy lon.g~

But :I.ik is limited, W~ don~t lh.re fo:rater., So~ :~n concession b~) pracdcaJiry; ifYU1l1 f.~all.y have tried everything, and still. can~t come up with an appropriate method, as a final resort you, could proceed to, make: adjusrrnents in the presentation. Understand, tho[lgh~ 'thaJt making adj ustments should be considered. onlywhen evf,rytbing else has fiU1ed~ For in doing

.• J . ;.-1: = ~.1 ~'l. __ -'-- ""'. • • 'I' ~_...II V. _L· , • .:II....~

so; you must' Ruter YO'UI:' ieear, e.nange wnatyour lmaglna non created, IOU are rnangtng: me

most important thins' )~OU have, so be very careful Dont make such chang;es bemuse, it feels more comfortable to you, Rather than change youI' original ideal for mere comfort, it' is better to invest more effort and enfrgy- in shaping the method '[0 fh: me shadows dicraeed

b- d ~- -- - d - - - .- . -.,. Do···, ~ - - · 1d . he cl ~ dt'· ad;' - .

I \.1' ',,.... - 1 - "'.111':"'11'"1'_' TI[- .... SJ"l!·Ofrn',...,U· "II - '1] t J'Ilim' if) roo···· nlU' 1 r '. u 1["0" (. -- . r"""lF!I "1 l:I["lo'''-'n "'Ii F - ~ U' ~Fmiillli'l"!I Til:'

'.I' .Ji!i!W '.' «ILlI..II.,-",. - Ii ,-_r".: .. !Ib;j:i!l:lbl.. .-._ . ,,_" Yo' ''-' ,It ....... ) '''_ '",,,,,,, 1" 1!Oi ... ' .-, '!!.,,'vIL.IO:·- ~.I.' .~ ... - - JI ~1Ii.., '''''''.L,l.'l~

are' necessary] .lvfaking such adjustments is opening the doorto second .. rare presentations. Su ch compromises erode rhe qnaliry of your work .. 'Be iC3.fe[ul!'

N ow a confession': To dare J haw yet to construct a trick so well conceived 1rhaE it required D.O sort' of adjustment, Small adjustments ;3[ rimes, perhaps, but somerhlng always noodled. some slight cJlange. D~lllt adjustmenu lean chip away to greater andlesser exten U: ar ones ,hlleaUl eJlact. Sometimes yo u nnly need to pl~ce a l;u1~ more auenrion on a certain elemen [f: tha;n 'WaS orig,inany called for in your envisioned presenration. Sornerimes [he changes are greater and. m0K:' numerous. In each case there' win. be many points where it doesrfr greariy matter if.a. minor cll.m.ge is made, as many points 3JleJjtte~ential to me in-regri:ty of the effur~ ~~IG such changes if you must,

HOVIeVer, don~t :3SS111nlC too g[uidd}'" that a seemingly ;smalll change: will hav.e no rd. effeCt, on rhe original idea you envisioned, A good way of checking on whether [he' adjusted derrni[ influenee~ the integrity of me effecr IS to redream the dream with '[he change made, Thoroughly pkmre lit in ht new form. and see if the overall feeling remalns the same for you, It is surprising how an apparently inslgnlfcan t adJustmen,'( an. have quite an influence on, the feel of an effect'~ Often the chmge 'QUt 'be enormous,

In the end, you .m,UB! [udgewherher ehe cost ofrhe adjusrmen'u is 'tOO dror" but I fool that a low' tolerance to compromise in these matters will. evenrually make you :1. better magician. ,Aft,EI' all. YllU are diddllngyour own dream, 'tamperin.g:with that put of you that makes, your' work uniq ue~and that uniq ueness is: the only ·thing you have that' 'will set you truly apart from other magicians! DOIl~t throw it away!.Jut anitude ofAow tolerance 'to compromise is the, true meaning behind. 'the s~ring "Presemadon is more important man method", as Wf_U as its, oon~cq ucncc, 'Yes, 'that trite and innocen t' statement, $0 ~&en abused, does CMty its own little p.ri.c.e.

[fyou find that the. adjustments you are considering significandy affect your' envisioned presentation, it is best to abandon the'm. We' should never ellowpresentation 'to 'become a. casualty of method, That" .1 kcl, is too high. a price to .pa~ If you have a. good. wine, you ·woul,dnirt· dream, ofwatering it down, Don't treat a good idea any difFtrendy:. Met all, ,3. 19ood idea ~~~ worth much more than a good wine!

If you find that marrying a method '00 your presentation requires compromises 'mat are too great~ you have: several options, You can, redream YOlU' dream into a totally' ,saridjing new form and trythe whole prt()cess: again. Or you can abandon the idea altogether and go on. to' mother dream. 0'1' you can set the idea on. a mental back-shelf and. 'come back. 'to it in. a ,bv ~;. Sometimes it is. surpris'img what giving an idea a little rest lean. do,

"'iJ.lrj"~tY. ~ nd ·vpt~-Ij!,d: ~: 'i ii~m'-" e t"ii :t~,

J~"W';J~ iI&lili_ f'"",. ~., tlKl'L ' .. L, ... ·~'"

f! .,

A .. 'I' rh . t h b - t: - ~ , - fl" -- d in 0' .., meth ad' rhar £:-.1111,f" 'IIl'iIi": th =0 .~L a

.n5SUml1ng_ . at . )"':OU . ~1a:Vl! lee'n SU,cceSSTW .tn 'In . ~:;; ~ I!W .', ' ••.... ~ U,1"" UtU~",~II;..IL1 . [flo;.,

· db J =....! h . .JI~ .. ~ b ~ d' v ho·,,_'I~

impose' .noundanes, 'you : ave succeecea+- _ U1!: you are not qUlt-e rea •• · y yet,. ,IOU lLJ:_UIc. see

if there are any areas, that might be improved. Examine 'the ploys being' used. See ~f they can be made more suitable to the situation ,at hand. Can an Initial moment of a; ploy be lengthened, in accordance 'with the train concepri 'Woulld it be beneficial to strengthen or weaken a moment of concentration? In shorr, search far areas where you can fine-rune and polish,

D· " C .. :L - • L~ ~';£',('j:_- '.' 'ill' - .","""",, ~ 1 '.' d £0' . = - n d' ~

.. ' on t :rorgetuwt levery pOSSU11J1ty for nne-tuning W- .... resun in ~ nee .' _, .... ~ [' Si1:ialU 3r rJUSr:-

"- -,afi+'.ffi ~:.;;;;··b ~C~r;A ~~~, ,jjf,- "",'L ~ n" ;§i'"\~;i.",,,.:::::. 'ro' ""·eIl;;' ':~~Iei"!.t _,..Jr~ ..... iI'<'" th' -~ a nJ- ~o1 n= ~ I! ..J"'"'"il If" . rhe ad ·J.o;I" ~ "'II"~ o~ 'i!" .m.Y .• Q •. ~ .eIl), ~'j; !.A;.'I!;; ~ . w,!!!;' I ~iJ..i';""" t PI '. 'J ~uil, "', ~:~,.II. .-, a.IJt:"",I~ _'" ..... v ~, ... .u.aJl UCIII,:Ii.., II.JJ!,.,.., ~ "', ~ ~ JIJl.Ii;,;iJ:.IL I!.,

concerns at detail. that does not affect the overall feel of 'the idea, by' all means make £be~ adjustment and improve me coVer. And if the adj\l5tm,ent to 'the' ploY' 'you 3.J"!e using doesn1t h-,,' .:- th .-. ,~, ~ nerd fecl of the effect. addi np another p- ,·loy." mJ~~t' be' eossl ble :Illidring' - an extra

a..rm. . e ge '.. ". ... ..... ~ . - -""~ --- - '- - . _-- ..... ' fl·... .Y ...... ····II ----, --- - -- - -

l' -. , .. ,- - -·f- ',---'.- - Co; bt -, - '~--. h ... -- -. '- '_' .. - .. '. '. ... .. - ,- . elv . - ."-' Inall ,-·f- ttl"'., ·h-:--·-··· ---::,,'- 11\..- - .,..11 . -fi"( d

layer o· covet" uf stLe. 18sfances are extreme_) fIJre'. __ • ,au. O. ElliS!) ... owever:,ue iU.eI, an .~~

.- 1'- ·1' .,1 .• If·' L - . '",- .. --,:- ,..,'1,... -11"~'b-:=·'L·· ' ,.,-.". '"-' . ····f·· '.-h.-:- - '-,- eo rh .. _.-::.=,..,lll_tr''':':'"Cil"

caunous; '. mere IS even me sngntest ull.ange or ,suspICIon 0 a, cange to [ . e OYertUll eue ._,~

fo~t this bit [Jf fine-tull.ing~. You ha.ve~ after ,all~, a successful 00 nsttuction already!,

.-

In summa;ry,. here is m:y recommended system for :a.p.p1lyil1g· techniques of direction lEO

'0

a pl~~n ....... non: • '.~~~_ ",_a.I;.JlU.I,.

~-r'h d ill " th h "'_1...111;; hk

,e -:ream WlLt gl've you - ae r IIY:g_L&'ts·~

The highlighrs will give you. the. shadows,

T· h e shad o'I'!::IIi'):! 7 .... .,:'111 p" .''''i~ y' ou the m .......... hod .:- . I ,~ mQ: _:_."""fI1II Wll_I. V.'I~. e- _'. I,' . __ ~ __ ,al]: . -._ -t-

", - -"

And' th . " .. L, d ".,,! u ~ ~:. r,~ the d . " .. , to . ' "." ~, .. .J,: .,' , . - .,',' , e memoc VII, g,.i?\"" rn cream to yom aucuences.

POSTSC,RIPT'

Ian first expesure '(0 rhls ,sys't-em, of trick construction, ir wiD likely seem ,3. near .. impossible 'Em .. Besides appearing enIiEmely diifficult~ it might abo seem a thoroughly roundabout way of achieving '3.. 'good result. Ct:'ltWI hly; me common practice of plastedng directive devices ~'r a l~~thw, ... perfect (lick in. an attempt to' brullg it closer to perfection must be: easier, However" I' believe that this course ofauliofll promises d. much smaller ell a nee Ofao::tltll.p[Ldling truliy excellent results, TIle systml 1)V"e recommended promises iii &r better chance of achieving a pc:rfect (,rnr at least a neaF ... petfect) construction.

O· - - ,-' - 'hi -, .•. ed , - __ ' - _ _ __ '!oJ.,. ..L, ' . will'- ,6'" _- .J ~:L - . i. -, , " • ,

_ nee you. . ave grunf .. some experience \VIm me system YOU<:L ~ na m'M 1'1 ,grows easier

and. easier to use aver time. With practice, recognlzingrhe shado\VS within a particular con-

. ..' ·'n b '" . ill'" tho d -;. f" -- ~ ... L' . n, :1'·' '", '\Vl1.. L_

strucnen wn ,I'. ecome easier, as wui .' e ,.' ieteenon 0" usaoie pOSSIU'u]lJrl~~'''v'll!O ,~ows, 'you

~n:b, I:!: d buri d <I' ......~ 1111' f'-: -=~ 1i'"

,m~Jlt even nne eune ttl your presentanon eotauy new ways 0 Gon'~.ln,g secrets, new

strataeems never b~fpre conslderedl

_ ,~,"'IIr.'ll'~~ __ ~,,~ _ ~ v . _- _ . _ •

Yes~ it L£. 3! more difficult ,s.yst-el'u to gt',asp and. use". but in the end :[ l:m positive it '¥iii bring YQ'U fJlI gte"atel' returns. There£ore~ I hope }rtlU gjve the imir:k approach a fait ttyi

W.AS unce 'YV'iUl'C:SS [0 the following conversation between 1:\\'0 magicians, one ,3 Iecturer, the other an attendee of his ]ectuTe~.

'The atrendee asked. IlWhat do you do 'when a spectator refuses cia be: misdirected and keeps ,,'o.tching your hands when you need to do a sleigh-r"D- 'The answer was ~'Ybu wait and. grab the right moment when, it comes,"

itt~v. b th~ ..' 1!_ -~.-- h· I. dsP"

. res. nut .', 'JS spectator Just &eepS water U1;g YOll!l: ,LlaJ1L .••.

"Then you'fle doing it wrong .. , I;OU must be presenting the magic too much Iike a. chaI.leage, 'You shouldnt cha1lcngc people, If'they dont fed challenged tbey1ll be more .relaxed and not so focused on trying to catch you,"

~Ye.ah, but even when I'm doing a presentation with no d,t:Inen-c of chaUen;ge in ic, I'll

~ h __ l·). d 'Thl 1L d .,_ ~ . ...1 c'-d~

somenmesnave spectarorswno just "front n ax .... :.ey seen} to oe ' etermined on, fin" 11ilIg:

ch ))

out e' secret.

u:v b do' ,. thi 1!iiI...J!.. 1 ~. ted

:lIOD must be c . Jng; some ... fig wrong .. : tnle ,ecturer lD5LS:·· . :'. ~

It was an interestingconversaricn and 1 personally think that both parties ate righlI~ Yes, if you find repearedlythar your spectators are refUsing: to. be directed by you; then _YOU are probably doing something wrong. Very likely mere is somewhere .in your presenrarion o,r attitude an element of challenge, a "Carch IDe' if you can" or "I'm smarter than you are" mes·sage! Such attitudes are of course qukldy resented by your audience and are indir-ect ' •. tays of inviting eople '[0 try to discover how' 'You. do your tricks.

If ~"oLl find that your audiences frequently concentrate on h.mv the tricks 'are done, the -first thi.ns'yau should examine is whether' some element in yo·m preseneati om Incites people to such behavior. It .might be something small, and very subtle, a little suggestion, perhaps, overlooked by you, Go over yOUI' work with a, magnifjring glass. Examine evety remsrkyou make. Search out anydUng'that suggests a smarter-than-you attitude,

It is highly desirable not: to push spectators into the role of detectives on the trail nf your secrets, because il can make yuur job harder; andj what is more important, it can. prevtnt your audience from experiencing, other elements of YOUI perfOrM ance, elements capable of far wearer entertainment potential than mere pU7n.eryr can oRB~ Good, magic has so much more to give than P uzzlemenr. Jf 'YOU can, transpo rt poopl~ out of the role of derecdve or,

t, .. _ : -', - 'C ';-C_ . :",,,- :-'h' ~ .' fm'-~- ,.' ,_' ,- - >:, ~:,---, F"L, - - J - _', .,.,_.-=:U 'L :;" ,·d·-:I .... " ,'. -h" I ~ -I :-- -,-.' - d. -

eerrer yet" prevent t I em, ', .... m entcrl.ng into mat rOiL,C, yoo WllJU. nave cone t ,. em a, ,goo. ,EI"

'.' ~ .. :L «. th .... 1... i f' ~L ,"

'VIce, since 'you can tnen orrer -., em somelulng 0 : mucn greater m rerest,

Probably the best way 0) stop people from assuming the role of detective is to be sure

rb .-- ----- -.;bL'· ... b side .·,lL. -. -' ,·-·.·.c·.·-·~--·- -'f-' -., -" '~,-- ent in -,',,"," :",1_ - "-. th·~' .·c.,-_·~

rnat some.rnlng ,'~l· ies tne mere pOSIng: o . (I, p'U1ZJie 15 prese.o' m your work, some .. lng, ildO

'h d ~ 'T-h- - .. ... .. L.,· ,. 1 ,_..J ,. ;o.'L

water ani.' ,enJ'oy. .. :18 means, an engagmng presentation,;), so metrn ng: to get rnvorvcom otner

than puzzte solving. When spectators concentrate too much on discovering how a crick: is: done, in nine out of ' It en cases if ili; probably because the ,e,ffocc has no-thing further to offer them than. the challenge 0'£ detecting the rdcloory- iavolved, 'With no interesting presenta-

... : t · - - - wend er-- th f!!V srab Fi;'nit'ft tho 1"11 n --ill ·l~ nteresti n~ ;o],'f!naCiF ]~~ ~ eml non ':0 enJO-~ nO~~0:: .... .;';;j ::;~~.> onro ,:,-_''!..vJlI' _ !,""",L~~j_u~ ~,i-~IL. . ~I'[ mer ...

- - - fj h

:.~ , I . I • 11 _._ _ _ •• _._ ._o!!! . _ . _ ...

. ". , . '-'.' - I' -.-:-- -,_- -_ --,.- -.... :.' '_". _ _,..._ r. "' I .•. " '," I . , - I " 1"' ,I; 1": '''''-'1

Same people (amo,n,,g whom I number myself) believe that ,apart rom .,av,mg an

interesting presenrario n, people arc dissuaded from, concentrating on how' effects are ace = .-;;- nlished if the performer has a, charming or, more ereciselv an lnreresrine and enea P-

accomy . -' , .. I'" . =., --- , - _. tIi -- - !r- - -.1"1 - --_ .. ---0 -- "'~'~'

~ -- - - - - - - all -- Th- ..; . - inl -- - . CHj'" - __ ... d tho. ~ ..... -. . . ... - ". .- d' -',.- ·d . - '"

I'. - .. -_" '_' J -. • ',' • r- ." .. " .. ' ,".~ . I' , .. ' " '. . . . -. '. _:", .- ~.-. . ., '. c· . 1-' ",.' _. ; ... " l'l I 'J - - I " . , . : .. -. I ' I -,'

tngpetson .l~ ,', IS ,15 certas y true! iowever, ann us llS,unportant to Ul1_fl.5tWl. ) \VOQmg

the audience 'With unlimited charm and wit may work wkh many people, but to assume

that I '" llldn b 'i' ,; . ed b :JJ. , · 1!O:)-

. ", .... . " ." 'f _.-: - -, I - - - . _. - - . - - - - - -:- '. - , .. - . - '.fJI.·· ~ .. . ~-'. '".-" '", " I ..., '", . ' .. ' .

fOU 'can, ure everyone IDt:O --"" .: g or .' ·eJ!.fig, interesu ,-' .• y your persoll Ity Slm,p_y ISD,[

~~~ l~. ~ 'E' ,_1L - uld , .. ', 1L"",' .J __ '"_,_, ," ,_", '.' ", . ~1111· ., ,- :-11" '.', .", "" ,t .. ~'" "

reansnc, . -~n snoum you. De utterty cap nvat I n;gJ' you wm eventuauy meet someone wno VERt

engaged and, ~arme:d. Therefore, ~t's saf~r run to depend on your personality' alone, but iOO ll~l\rie an interesting and etlgaging p[resen. tation ~8:S wl~lt

Sup' p-....."f1!~ now , rha- . II'Vf"lU 'L ,""" v s· rn ", .... 'ii"I ... eed 'to'" ,~t allll- th~f' ~:'n" 0- .. -J.-i:Iir--~ ~P'- '1Ii"'~'tIl'"!"li'n~h'iJf personality

, -" ;. ~'-" I·~ - - _- __ .}" J v _:__. rIa·_· ~ '-·'-~,.lg.;b~·· -_.. D'~' - I, .. _~ .Il.' JLQ~ I~ ~. '_- ~~ y r~.~ I.·~ti . ~ ~.LI. Q.v.n.au ~,I

working whhin an engaging and interesting presen tation, Is: it realistic to think 'thai rhe audience will never turn [0 ,a;n:alyznn_g how your [ricks are done?

S· . '. .... - '-'" - - '_- - .. ' - ' . .- b .: ... ' ... - '" .... :1Il .' rlll '0'--:' _' . 1"" " ""..._ ," - -- -- - -.-- --, .. c,,·f: -:c.,-c-, c "e-,~. ·k· ~='i'~'

ome spectators may fiO,t~ut ffiaIlY SUJll W '. ·.·r at ieast wLS aspect: 0 . yo,or wor .wu

t.l '. ...L Th" ~ ~il-II' ·~_I £'~11 i. (also) "-"-~ D:' ; 00'

oe important: to rnem.. .' is IS not, - -1l0g_1CiL; arter all" maglc 15 'Jlt~O tIl~ry:I' .ecepn,on, 1$ a

- - fac d l h dl ffi rl Tb

--·'Il· 'il !!l '. . iii - ill .

part of It" and we m3g1,Clan8 must accept mat - .•. t an· .' earn [0 'an' e 1'[ e . CJI~n, y. " --' . at

. - c: --1- . - :c - ,-- flnd .,- ,- t. .. " ' th - ..JJ:.. I· ". d ',-- ", " '.' locical ai ,·d ',': ., - -~'~ , --, - "'-:'f~' - - " . · c ~'-

peope wane to lID,. out uO\V, e errects are, : ' .. one is a _o~~ ana OOlW~ part 0 ,m~gu:. 'we

", ... '1 -- - --- - ~ -- ber tharsom . e people .i"i'~ condid oned 'L""''ilr~ :;11!!I" eneraved ln -L.;!;!i;illil"'· mind ,_L ~'I!'

must :DS:O rememne DllIL'SiV,::· ·._r-- .• spse are .• ,·.·ItJlJ ' .. I Y',·· ,00", nave n ~. ,~l.~'TG. !I.'··I, meir rnnu, tnar

whi~n mey see a magidm th,ey should try'to determine how' the tricks all: done .. The moment

th kn .. h h d el' ,~ he le fd ~ Wi' ,,- , I

' . . " .. -.. ~- ,- - .-. ., ,- - - .' - - -- - ~ , . '"',' I' , . .,' -. . . - - . - -. '. -. . - , ..... -I " ,

'ey.l· ow you are a m~gt,oan~ [',e}, r irow ,_ lelrlS>. ves mto t ... : ro . 0, . etocuve,,->llLlIDalllY

of these people, you can possibly lessen tins: concentration on, ,P uzzling our you r meih.od'5

( d l ~d h they ~ th 11- - ~ has - tfe·- -:- ) -b -

I ~ - II' - ,".- . -, ,- -.. . .. ,.".. .--. - . . -_ . " ,-, .' '". ," ~. .' _. . I, 't' . I - ."_ : , ,., .. _. 1-- '" - - .. :::'.' ['::'

.aJl . _ you S lOU. . [ry)O $0 I: ,at I ~,_.. can ,enJoy' e or I ,e( ,as:poc-rn, rom ,magu:,· .' to (J I. r . ~ . U[

- 'L L _i... - dll~'" ~ h' . "h ...... 'L ~

ln,ere are: :tome wn.o caJ"ry- S;'UCIl. strong, ,p:r.etJon'·ltHJlnl.ng: t : ,at, e¥eo Wlt -, me ,most engagIng

,pet-sonaHtyand p .resefimtj_on~ you will ,experien,ce dcifficul ty in JUrin,g: th,em, ,m to tUll,other' t.ale

.... L .Jl.. fe, d- .. ·TL.· . 1J_ ~~';no~ '~" d 'l. .. "b'll . "'d

[DaD t[~31t 0'. ,e _ et,cctlve,. .. fl.fSe are 'ttie tOU~-:i types' j :a.n~_ tIl~r are J.mpOSSI -l.e to avo L

11 I 'B- Ii '" -- Ul ,c.' .-ll ' .... :L .... L d ~ 11. .... l.

'OO,mp.lilete' Ii .,eang OCC3su:nmuy OOnjrr-onteu. V{ltu ment;'(Jes not necessariliy mean u:'laE' you

d II .... iL" l~. ~ .:L ~. f' .. L:~:,"," ....],:..... . d 'I

:M,e' __ o,m_g- so mei!ilulg wrong,~ as our ,Jlectuter In 'Ule ~S.Lllnlng 0, um '~CUSS;l,on sugg~m .' 1'(

,"' ,~ hi~ 'k L ~th- ~ d .... 'I ' -"" 1

,IS unWISe to t'·· ' n, t_h3ft~ 'VI' ,_, preEcnta'OO]1 IDl_ per'So,n3J1tr, }~OU eaJ1 :rulNays rcmsPOI[ every

m,ember of y'our audiences into a dream. world where' rhey will e&ercrne a t-oeal ,and continu ... ow 5us:pensiun of dis bclie[ Su.~h though.-rs ale bt:tteI" lett to ii.h.use '\vllO seerll 1l1e\il!r to h.arve' been Ollt in the cleat world, ,of performing.

B h - d - - 'h- - d)-' - .. 'L - - - ~. - ~'S' --- - · -_ - - - - -- - d' -- L.~ -_.. J ~~'~ -.~...L .....

ut ow'· ~ 0 you . 'an __ e tnese tOU~~i t}'pes~ -~,o.metlmes on,e, : _ oes nave to ClLe3.ll VJ1m, SP~'!'"

mrors wh.o are ,&,lngJe~,mindedl.y~ even fanaTically engaged. in their derecDve roles; so. much so

.

as: to be' blind to anydIing else" 'Your melt';' acceptance of this fa~l will br,ing you to recognize

rh e d .r, - 'I ,., _L th b11 If' l~L ] . .. 1 ;,

~ nar you m ust tin.", ways to neal witn ~ ne pro rem, t, IKe our . ,eCLUJie'I; you, simp .y pt:'rcelve

thar you m ust be doing something wtong~ thus. ,denying' P3It of the pru'blem~ t.his very de ... nial makes i[ impossible for you oo find 'ways to bandlte it .

.. ~ already mentioned, the best coping' methods.arc an cnga,ging pcrsonaliryand good p.rlesen tadon, and 1 will assume that these things have been, attended '[0,: jf not" what is to follow will be senseless. First things .firstI

So; yOUl are facing a tough 'i£}1pe, an o bstinare spect9..[Q,I who refuses to take yOUl' diJ,er.:tion and concentrates, as if wearing blinders, 0:0 [erreting OUt the secret to rhe trick, V('ha't you need to do. is to force this; person. into accepting guidance from you. k, I\~~ explained in the previous ardde, me guidance you give should not be recognized as such by yOlK spec ... raters, The way you ,guide should be' subtle, so that they think dn:y are pt:rfecd.y free~ dut they themselves choose the things they gjv;e 'their aJtteRDon 1:0; 'but in the reality; of course, }110U, do have '[0 guide them,

To 'lXu'ce s]Joctators to aettp![ gu.idance you need to force them to abandon an attitude lib; "I ~ron't listen. '00 ,-;lha:t you say or where attention is directed, I'll j ust stare at your hands, ~ ]'i1, e~'Sefice~ .~uch spectators: are rrying to remain uninvolved with ya,uf' presentation, 'You must then find a vlay to involve them on some other level than that of merely observing, For example, borrow something from, them" 0[' give them something to hold. or do~ In. other \vo~d~~" s= them, physically in volved, '\Qhcn this happens it is, nearly impossible fO,t a spectator It." maintain the distance of a stark, observer, avoiding psychologiical iuvolvemenr. Once specta:fJors ar-e involved and have been hir, so to speak, by the first etfe-c[, they do not, .im

if ~ T~ .• :L I f~ ..J: .. d ., Ch" ., "' .... t, I .... _I.~,

most not au cases, return to me fO_ e ot dispasssonate ". etecnve, .... I .' angmg these retes tases

considerable ICl1cr.~ 0 nee they have 'been guided. (or sometimes pushed) into. another role, people tend 'to remain. in ir, You have changed a person who wishes to be only an analyzing ,eye into someone who is involved!

. ~

,\vfL ~ ~ H.'lII l'ihl' - L ,. ~ - - .J -~ d .._ L _m _._ ~ 11 f" I . _.~J .... wnue }f()U can us: ~i L.rJiange' a, spectator s am rune tOWM:_ IUJ!Jt PI{JC;eQU£t: 0' r ae tnck,

ill.£! nd rh '.' ~_JI~' '" dus i ~J.' f' Uow" __ = ..J d ~£

you .rn.a.y Sf nnd r , at some indivi ~~ llru~ consts .. nuy resist ro .. ' ". !JIg your glUUtlafl,ce :30" remse

t-o plunge into the current artICle presentation; tbey insist on ,going their own 'Vlay: rrl such, cases, it is goou to keep the rollowing .in .mind::

You tl'U.1S'l first dec-ide, whether you intend to. do your' secret move at: the height of at ~ tendon or in the depths of relaxation .. As Tve observed earlier, with coneen trarlon ofattend,on you cannot adjusc You; simply make the leap and hope for the best" Because fOllgh, types concentrate so much 0.8 procedure when 'YOU use' direction of intention based on. eoncentration, it functions with reasonable precision and, with, per-sans of this; sort, i 1: is quire 'easy t-o apply' s1lCCeSSfully~

Executm~ the secret move within '[he shadow of relaxation, h~1i,; tends to wQ',rk

~~ ~

less dependablj; sometimes much.less so, with tough types:, because r.heylO'Ften cur short the

relaxation period, diai,d, that} ,if they relax 'too lon& you might ~,piflilmze on their lack, of yigilance,. ,Aftec all, they are 6gh'ring you" t ryi [lg, to catch you;, 'they h3V1e a ,stmng motive noe

to relax their atrendon .. They are so fixed" so concentrated on detecting your deception, du~y have no rime 00, relax,

J\n. in teresring aspect can be found in ail this, Such great concentrarien takes a lot of ,energ)"!" and is very 'tirin,g~ The' more someone concentrares, the more [iring ill: is for him, This. can help USi It is impossible to concentrate intensely for dlny great llength uf time, One

_...l_ f' ~'11 F. O' i ,'- d must. i f' ---II~~~ 1 · b _111

neeos moments 0 ·I-gaxa:tion ... ~'ne:s min, must." in a, manner 0',. speaking, eaten Its cere . I~

brearh, Nobody can remain totally concennared ~ the time, Concenrratior moves in vvaves of 00 ncenrrarion and relaxation) althougi 1 'wltb a very d ererrn in,ed .'ipectalnr~ the times of

11.~~· • nI-, b · ~_l 'N tl II here i "'"T'" h 3 rh h

reiaxanon miw.!It be quite snort, " ever' neiess, tl. ere 15 a wave. 1'0 ave a. consistent ,- .yt:. -,

rnic wave of attention and relaxa.tinn in youu v{oik i.q 'Very important for both your "normal" audience and (particularly) the rougher individuals in it, \Vhen your work conrains a de6 nire attention ... relaxation wave, the audience '\vill eventually drop into, its pattern, This is bec..au$e following: this. wave ofartention and relaxation is: much easier than flgh:dng it .. , AA: r a while the whole audience will fall into irs, wave, Its important though that the .rhythm of 'the wave be consistcn t and relatively constant, If it is erra tic, your audience wo.n:~t fol.ow .j[t~, An cramp' e:

Lets step back to the rub of wa.ter IIL"ied in. the previous article as a, metaphor fer the way waves of attention function, Ifyou s~ap your hand lightly on me water, small waves. .form. If you now slap the water 'with a steady rhythm, coincidi ng with the smallwaves, the waves become larger with every slap without use of undue force, unril they eventually splash OVIer the rim of the tub~

The same phenomenon we rks with an audiences attention .. A steady rhythm willeventually' create a fnrcefull-vave of attention and relaxation .. This is a great aid in guid" i' . g and controlling atrenticn, and it' makes the audience feel.much better; A. sense ,of grou,P experiencc is created .. The spectators, all swimming with the s-ame wave, .feel united with each adler and with you,

, i <h.e jo'h of our tough 1l}1Xs, who are' trying' to fight any direction and consequently any period of relaxation induced by you, becomes very difficult;; They wont fed connected with [he rest of me audience. There is COns.l~q[uentty a greater' need felt 'to join wirh 'me oth- 00 in following thewave ofattention and relaxation. This is: especially true wh n the existence of such a 'wave is not apparent, and, of course, its source should never appear to emanate from you" It seems to' be something that arises naturally from 'me situation and the g!OUP~ And-e-here is the lovely rwist-s-because it doesn't seem to originate or '[0 be controlled by you, there is no great need tor-Trough types to tight it. However, such spe.CGluors can still SU$P~ct that you will use' the periods of[:elaxa-noll created by the wave. Nevertheless, with a distinct wave, .after a. ,vhiJc; tough types win easjly h-Jli into it~ even 'ifon.~y FrtCIm. the sheer exhaustion 'that resulrs frum cl]eir intense concenrrarinn,

The use of an attention ... relaxasion wave LS (00 i[[lpoItant a COllcrJ:.l( not [0 have been recoen ized by.· . .' others befo,n:. Joh.u Ramsav "Pas one" This renowned Scottish -- aster sugges ~". red.

e,-- _ . .. tl.C1~

sturing widl a co uple of self:~rorkillg dkcfS to establish the wave" so that ~ t would be oper-

arring suon,gly by tile time ~J1l1 b~:n to perform effects more he,avily dependent on direction

of attention, Other mcets and applications of the wave conceptcan be discovered once you

b ... . ... ·fli . ".... and think "; L; cl . I . bo . '" ....

,FIoOO:" .. m' ',~ ' ui!' .. ·u··,QI;("'io: 1['''' AV1 c-rt:l·ni"".tZ!li.' . '.... " ,~"'Ii 'I" 'If ,i"rI ' ': ,U'I[ ~ 'II"'C" 'II tI'cI.c:

~. _" I ~ I~lrf'~~ V ..:.011 ~~~ .~ ' ._. __ " _~..:. _.- ~~:} 14_"-.:_ ~. _ e 1.1io~ ~Iii

.. h

':'.::.'~." .'. -:. -:~. ':. " ' ,~ " " :',.:, ,. ',". ,.~ .. -: '·l.··-·,·· ,"., .. , .. 1,,"',- ",","-'-. '.::- .': I-"C ; •. 'j'.,

Before leavEng the topic of tough, spectators, I d Iike to explain one more taenc t at

'be ~ oJ i L 11 . .. I' h ~ I ~_n ... L

can :_':' usee to overcome UJ1H.Je51I,aulf scrunny t 15 a t0C.~ 'nlque _ u,aluWLIC I !. i!

ITS consider once ,mOR: the uncomfortable pedar,ming situation discussed in ~ ..... ", ........... I the preceeding article, one (hat happens with some frequency to ,a] most every magician: YOl'- are in the middl e of a trick and have reached a point where the

, audience's arrention must be directed elsewhere than your hands, so that you

can execute a secret maneuver, Ilol!l~ yO'u. note one specta,tor r naciously ~tar~,ng at your hands, the dan~ zone. Wlla.l do you de.?

V.ou (:o1.dd try 'to make this spectator look you in the eye by asking him a question, This practice is, generally aoc.cpre,d_ as good directive technique, 'However, in performance I've found, that it falls as often M it works. The rcn,ci,caJ[ variable seems: m be rhe level of suspi ci on L - rbored 1!,.y'.') th e.:.· ~p" ecta to tI", on h 0"" W" '~'., determi D"~ J h', a :; I:' [0 .... ·· di ~ t";',~.,. ~;r' '\;Y'li.11I1"· s ecrer or 0,"0'·

", I IlllfD '_ '_ D,' '. ~ ,,~~, .. ",!. JI.-.. V " " . i.l. 'W ........... I ~ r~_" ~ <.~ . .:..: ·~'''f'-'' J!V~UI1 . ':'~~~,JI' -. I

how relaxed his. attitude' is concerning the current action.

You see, the moment youask ,2 question ¥.rhii,e someone is looking at your hands, be. may clearly understand, that YOU'l'E' trying, to distract him, especiaJ.~· :if you ha "lcn"t successwHy led him to relax, 011,0; even the slightest SllSpiciio:n of attempted distraction IS aroused; 'the g;une ·5Ius,t~. The spectator then becomes firm]),' resolved. not '[0 look ,3\va)) not to loolc up into your eyes~ In other words, he sees thlougb you.r .play.. Such C3.;"ie5, in which suspicion OF full·undel5.tanding of your directive tactic occurs, account for the majoritY'lof :bnures using me techniq ut:.

In situations demanding that 3. question be asked or a remark be made to steer :;1

:J • C.Ji. th ~~'I d ;. ,.LJ ~ th h'

spectators attennon to sater g.fiQl1nO; ." 'e normai ten,·· Icncy 1lB to address i __ e spectator W1C",O

has bl500Jl'1,t; a proh~en1.~ the one who is war.ching the danger spot However, it is. important '[0 U1l1Lie stand that it Sfn~raJly doesn't matter which spectator you engage with your quesnon. 01 statement.

I've found it to be much better not .. o ,engag.E the difH,cu1r spectator direc I y with, a question or comment, but rather to neglect hirn and ask your quesdon of someone elsel

Th' .. .. id ib il c·, o;£:...: •• 'F' th d , ~ IS UCUC, ,aVOl·Sr any possib " .tty 0 e arousing or mtensuytng suspu:~on, . ur termcre-e- anc

... L : ... .. '1... 11l" .. th _1 d a sl al

trus IS most rmpcrtant-e--smce you DUS.Y yourseir wnn someone, €1se, you. sen .... 3. SAg,"'" '(0

th iI" L L".ll 1"'K"" rate - r" "h"'rt yo u d" "t· kn . .....L. at he ~!I!'! '['ii i"C1'Ji"-l ... hine, 0 ~t.. t you don'rca 1f"'I!lI S·~nrf."!a

ie 'Yl3:IIrCl,llW Sr";:CIL.:R. ,'1 L, a. .·.:1 1 ·'.011_ .. ', 'Ow mat .. ".,.LJ r'i'A.!..UUI ~ ~..Jl."' ma-.· iIJ,J:' . ~",.;.~...I~

. gh h .J._ 0; ~ hi hi" .. b

you arc W1Se enoug . nor to move your "·allUb~ gavm,g .• 'IM not '.·lng mteresnng to .0, aserve,

_J • ....... 11 d d d " b h· '. b "U ; cld

ana Since you are tCax;e~, an c on t seem, to care ,a <QU[" _IS acute a:ttenbon:l' ' · e 'l\1 ,qUi- :,- )f'

sense 'that he lms ,&xed his gaze on something unimportant.

Addltionally, since such persistent spectators are mual1yeager [0 discover howthe trick is done, rhev ,dodtwant to miss anvrhina important. Therefore iit).s; bi~l"lv probable that: suc;h

// 'If ,~ I ,~U4 ,

a, person 'wi1!1. look up at someone else (0 see 'what: .r~orue m,ey give: you; and when thj~

ocelli'S" you can see itt' from the corner of ' you I eye, at which rime you grab your chance tOI do vour VIOrk~

~

In such cases an atte:mpr to steer attention elsewhere}, directed specifica1~ at '[he prob ... lemaric spectaror, is less, effecriw than an indirect attempt, Althouglt the tacric is aimed at the dl81wlt :spectat]JJ~, it is br,JUUu:ci, otT 3, ,c..;1Joperatlve one, ~eS\w;clng, in. 3" ricochet ,effea;" Wh.ile this technique is not absolutely certain, it is far. more effOCcive than the standard om: of posing a question directly to the spectator whose gaze 'YUU wish to ()Jntrol .. EVlen greateJi SUITif:SS em be achieved with me ricochet technique if you ,dire'LL your 'q uestion or COH1U1e1l[ at the I,ext suspicious spectator in your auw,mct:!

Actians~ rachel" than questions and statemen ts, can also be employed to create a rico .. cher effeot. Your actions. tend to be vie:v~led. by' a, suspicious Sp~.C;Cl,to'r as, more important titan 'me remarks: you make, If, instead of asklng someone else a. question you ask rhis per.SOJ1L fur example, to hand you SOll:U:. obj ecr, chances areg,ealLet still that the dJff.u:u11t spectator ,Vi1Jl turn to 'WdtfJl, this action. }\fier all" he doe-silt want to miss anything that might gi"V!e' him a due'; and yuU[ receipt or a prop frUIII another spectalor 'W01J.1d. be even st r-o:ng,er incentive for the watchful one to foUow' the procedure, Such. actio ns carry power.6t1 attraction filr a. suspicious spectator, since they are initiated by you, a.nd rherefore 'would. seem jmportant ttl, w,atc.h. Of 00 urse, such a ploy makes it ,nooes.saty £Or you to do yuu.r secret maneuver {)f'sleight

~ ... 'L 1 hand h~l: _'rt_ -1L .J" • '11[·:

wun 'on :Y' one U.aI!.~:} 'W lie 'me orner nraws artennon (0 l'tse'u "'

W,h,efi~1" you are in a s~tuation. where at q uestion is asked or' an action taken '[-0 ,pl-O~' vide 'Gover" spot rhe most d.i,ffi,cn.Rr sp~tor at that moment and. direct the action or question toward 800100 me elc;;e= pn::;ferahly someone who is completelyrelaxed and who is seated Of' ~r~ancUng 'where you can address hi m while you just barely keep track of me dH11cuh: person ,from the corner of vnur eve, Even when, mere. is no Ol.1ts,tan.din;Jlv stubborn soectaron P' .1a:\;'!!"

~ -I' 6P!I! r~~"" :/

'Ille\'ertheles.~ to the most relaxed ,J;XI,son in the grou,P' If you avpply 'these tactics 'oorro:t1l~

roll ~U find that the ricochet technique is far more reliable than the di: rect approach so o~n recommended.

I w" ,l:'L;' UtI rn,:!ilc! r tm.' thO e second h ~ ~I f' o' f" ' .... 1.. Q rwenti eeh ' . ...-..on" . r.1' n1 R'lIIO"a",' i!'1I 11 "",".=~ d·' ;1::'/'= ~ ~

~~ .. ~~'''''''"~' ~"~J~l~"~' ',I' ( ~. . 13.J1 'Ul~ ~Y"'r-I·-.-_~. ~!llpl. __ ~ I~~_. __ ~~-j:' ~iw~ 4 .m[z:.·~ .. :__L-[J'[ ~u

Don .A1m.li 9! performer who has given &r mom (0 the craft than most .magi ...

, .~ ' ..... , .. ~~ 1111: .'. Th'" .' ", ~"",1.!!". ].;,. . b-" ." . ._" .. ,:L' . ,', :'"il . ,i.,·.", IL . .. d·. "- -1_ .' '. '00;' .

Clans; n:wIZe" r ne U.lY{, " m a bout to expll3ill IS annost one nun ... reo percent . U

Mans, and comes frDm the 195 1 'booklet. Ome-:up Ti,,~'e tvith Don'.Ai4YI {see "Card in the E~}.- p' 9\ The effect. tvoical of this: oerformers work is novel hlWIlomus md. sur ... ·

'-- - --' - - - - 50, ~ 1_- • "! ~ , ,. " ~ J ['"". r~""' - - . fi." - - . -] - - - - ----- -- - --

prising. The ptfio,rmer places an egg: on the table, This: is nor a ,raj egg, but ,2, hoUow, plastic

,,] 'L_ I" '.' , A ...J.' h ",=-_.JI d 1 ,.,. h _lL rfL

one mat CaD, oc Sf' u Into two parts~.·· , card liS C .' osen l! noreo an' 05t 3gaJn JD"[ e pa~ nen

L . ~ b 'I_ }) d" , 1" rd.' ~ c: d i ~ .s ,; d Ii~ . f' ... L

tne egg; 15 " roxen open,-arl"_, a rmruature p"ay~.'ng care IS roun I"rulo.e:: a up cate 0: "me

Gal[d just picked! This is puzzling enough" but the: eff-ea is deepened when the petfo.rmcr

ds th deck fa'" "" ~_i ~ " .. iL .... " " - """ - ii ='t: - d -. I· - f·J:;i~.. ·---~I , .. 'L_

i~p:realm tie (ll;"c;" cc up" rev'GllJng; mat .1t con rains O'nt,)" .' upncstes 0 . at a~~firtlt carrr+-rne

- rd J. - - - i" _.L - OAt"i, coul dln~[ possi L 1ly 'L -VJJ;; "..FIi;m" . e- ,cr"" "nm" ". t- bis ~ .... :1-1

~'.' ""us:~ C,UO~\;;"iLJl~'· on ·,v®:.dJl 1m"\..: w,_ I"Ju.··· : ·"·:Iili r,;.;.~K!

M J,,, 1 ddi~' _;;_L;' _JL_ .. cl '_1'1 the r 1L .I~ _~~ ~HI Y Itt e aoc ! -,non to the t.nl:K. .1S to cause me ~gg: to appear IuagH,,.apy on : e raore, weu

:!way from IDe" This, occurs near the start of'dl,~'(;ff~[ and. provides an extra element ofsurprise and ,m.yster.f~ It also oouvtyS a valuable lesson in the use' of attention 'manage_meht to roVEr a. rather bold Sllbterfuge;, 11:' is 'an admirable o,pportllnity to gain confidence with your abHity

d d ~, ~1 __ -11; ~ ., d - A . .,,'n.t'il" f' 1L.

to comrnan ~,'fi u manipUlate an auaiences attennon, an ": . carries no Um.tpel"' 0 ~ emeerrassment

through fainu~:.as you. learn,

mfW2,

'YOL1l will needthree thini[13': a hoUow plaseic e,~ a miniature p.faying card to f1 t inside it, rand a special deck of cards,

The egg: should be 'the arpp.roxin'Ulre sin: of a chicketl~S egg I and is made Ito come apart: at its seam (Figure l) ~ These plastic egg:s are fairly eemmon, ,especially :a!lrfund Easter, and can be

l' fOund with party and craft, supplies, and often in

dh" ·ill_' "i-n';t'" .[" 0" ~ Don AI'·' .... - ~n A<'i:'t.P'-1in:- ny- .. ~ ised ,iI.:1b e 'e'crD'

, ·ll.[iCILI,LI! I ~ ·l·'~·FIJ LJU , :, QLIJ~ Y'.lU'tJfIII- UJ. . .': !UK}. ... -.. ·[rl ... · "CDl

in. which Silly 'Putty, a children's n,Qvdty, carne paclmged .: I use an erg that is light brown in coloe r,ather than white or some bright color, as the brown is similar to my skin tone, This makes accidental flashes, of the egg less likely wh~: .it .is palmed. Ll_gh;t brownalso approximates mit colo.r

of chicken ~ in most parts of the world, 'You can certainly use an egg of another color if you choose" but' you will have to be more careful O'f side angles.

'The miniature' playing card shuuLd be as large' as, possible while ,still fitun,g comfort: ... ably' inside the egg without being fo,lded~ fa a, reason that win be explaiflled shortly, I recornmend thar I his CJJTd be douh:1e fact;d" Iii: can be made; by' gluing MOl miniature cards 'back (.0 back" both ~ of which match the, card you will force from the prepared deck,

, " .. ·,~I~ £. iii __ 1_ ith · d ",-J

The de.ck.ls essennauy a one-way rorcmg p~ WI"", one ronrrastln_g call" .' Pt:r¥Ie,'csei'yl

'that odd. card is the one' you will force, and should contrast s.wongly with the surrounding dup licates that' make 'up rhe rest of me' pack I use ,1 low black card fUr £hr: iurce card (say a Five of Spades) and a high [&I card (say a Nine of Hearts] for the 'balance of the pa,ck .. The

... _, __ . .1 L.,. 1 .... ........J' L_:~:I" .m, r; W" - h h rei d r. d

toroe card musr be cerner-snortea to . .I.awltate a.rIrID.: terce. wirn t ecar rurned race -:rnv.n.~

yuu need to clip off a small crescent from both the outer left' and. inner right corners, Pllace this prepared card near the middle of the deck and pencil-dot or otherwise mark the corners 0 f the oard lying diuiOC-tly under it. 'The final bit 'of preparation is to treat the fac,e. of the fo[i(.'£ card and the ba.ck of me pencil-dotted card with ro ghing fluid (F'igure 2).

2

,~, , .._J

••

_,. vq'

roughed

Carry the egg~ wi th the miniature card inside i 1[, ina 110 ld.er under your j acket, or in a corrvenient -pocket, or in your prop bag or case: somewhere ',\\i:h ere yOUI' right hand can q wddy and secretly get it when it is needed, And this need arises, just before ynu are ready' to b'f:,gin (he trick, Pa1m. [he; Ie;,gg in your right hand (either a classic 01 finger palm can be used) an,d bold, the deck squared and face down in, lek-band dealing posltlon, ready- to execute at rime L (Ifthis i th f __ ... .J icl f' ,C,! ..!:III d · ~ ,=L~. de _1_ m'JCC". ' rr 15 is not tr e . us[ cara ttl ~ to I your perrormance, vou Y.'ftli neec 'to swrtcn ole :, ' ~

~" J

you. have been wing for the special pack)

Before we begin the action, a brief comment abou [he ~~,'t:ho~o&Y' nf the rime force may be warranted .. Forces like the ri ffI e 'force and I' Indu ... .shuRle fO"roe.~ in which, a selection t~ made wirhout the chosen card leaving- yilJU r 'hands, can seem artificial, and therefore sus= picious if they are poforme,d, with a spectator within ,easy reach of you and the deck. If someone i;~. sitting directly in fr:ont of you, the normaland lo,gical way to have him. select a, card would be fi)t you [0 spread the deck and let him draw' one, However, if you. choose' 'to involve a, spectator positioned several rows. back from you, procedures like the ritlle force

b 'both 1 j--I d id ;u;.PI do )0 b h- ~ - eO JL-

ecome oorn og.u..;3.l anc conss erare, ease, , 'nrOI[I'er getttn,g up~ Just: re me wnen to

stop as I run my thumb down the cards" ~ flow though tful .. ,of YURl He needn't workhis wary through rows of other' spectators and can remain comfortably in the' audience. AJ1d how convenient as. weU for)rmJ~, for now you have a solid reason for using a method of selection that aocomrnod ares the force you requi re,!, If you are working fol' 3. smaH, ,group where levet}r~ one is close '£'01 you, you. can still ;3:p,p.ty the same .p.sychology: Just' position yourself in some way that makes it 3.whard for- the designated! spectaror fO "each over and talc!: a card,

~

Now et~s start the trick Single out someone appropriately seated for your purposes and to

your leli:., Make. vour reouesr that She stop' ',' you as you riffi'e: your rhumb ,down the cards,

I~ "'1~' I . ~ .-'!

and lean lout toward her, bending: at the, waist and extending yOW' left hand with the deck,

In. doing this, lightly' steady yourself by resting your loosely closed light hand on the. table; ncar the right side and.somewhat fo~~ (Figure 3" Note that, due to considerations of page space! in this: and subsequent iUustl'atiqIlS J am shows "vurlcing to a specta.to.r scared closer than would be done In actual perfor.mance.) Outwa diy, this posture is assumed '[,0 allow the specraror a better view of )lour hand and dock as YOll rime your thumb down [he OUter left corner, You are again bein.g thOUghtfil]1 and. open .. Beneath. the surface, 'though" your leaning Forwru:U in this; way serves EViO important fUnlcrions.: It widely distances 'your hands loom each other (though this raustnt be exaggerated to the point where your stance laoks unnatural), and it foCU5eS aI. attention} yours and the: s,pectato,rsi, on your left hand and the deck,

·Work sl,owly' and deliberately at this point .. RelOO5e, the corners ofthe cards ftom the left thumb at a relaxed speed as you concentrate your' gaze on the deck and on the a8&l~dng spectators face directly beyond i.t~ In doing this YOUt condense the entire audiences :fmme of anenrlon from 'YOU and the room 'behind you [a. the narrow' Spil-te immediay surround,ing your left hand and the deck, Your gaze" your hody; your silence as you wail: for' rhe

.. '.- ... 'to· iU' fi····· .. 'm' ·t~' W .., left,·· ha 'd'i

~Q""r""i '1'\0-11'" T"n ~v 1':'; - p, . I " -il[i,"'"f'".e "l ,enl i 10'11']1' . I 00', . n' U.i90:raSii '0'''0' vnU'i . I .' DI '.-

.... r"-"""'~!I.} -' I. ~ 3A:; ,,;]I.. ,. - , ,V.L~, G, .......... .Il,. - . .~.lL. .... YII!.,.JI, r:J."- .. 'IT _ .. .Ii . . . . ,.

'Wben the spectator calls "Stop," your thumb should be nearing the center of the deck auld the forGe card, In dl.e' time-honored manner, as )W see' her Ups $tarting 'to move, releas-e all the remaining cards above and including the corner-shorred card and stop the: dflle~ You should. see the marked corner of the cud belOW" the force card, This its a safety check,

AI this point everyenes attention should. be firmly f];ttd on 'dlle deck¥ They :M-C;' watch,i ng i ntently to see what ,v:i~J happen .n~1L It is at th is III om ell'[ that you r light hand. geD'dy leaves the' palmed egg on the table and rises to meet the left hand, Keep 'the' left, hand absoEu·tely still as: me .right hand moves, and rour gaze riveted on 'the cams"

With, your' palm-down right hand, c1ea.n1y grasp' rhe ,packet above the 1m thumb~s gap by me rods and lift its 'DU'~Er end an inch or two as, the left hand pivots dockwlse at the wrist, tip pUl.g the bottom half of' tile' deck to :30 ro ugbJy vertical position and, ~Y' from ,thf!' right' hand's packet, [)o.n't move the hru."lds more than :3.11 inch. or two a.,part. You want to main rain a dght fOClL~ t1f attention on the hands and cards as you display rhe card on dl~ faa ofthe righ.t hand's h3Jf to .,'"Our helper' (Figu:re ,4) ~ She land everyon~ else in the' ,g:mup

,~ j' '~ ~. 1L. h 'I'"

\'{II:.I '\V1sn, to ~e I er se .ecnon,

Ff"!o" , ..,;L;~ po "111~' ,f-yo' ,', II"'" Up' "P' P1:" L ..... dv 1;('" still bent ff'ii"'I!ir.;':;'i'l!d' fi'O"m .J",{:l waist Nn'l:II!r,..,.,.11_11r,c-tmigb, '-' ''','-''~[,Q!iil

,l1-··U~ '"., .~ :,_!LM ... ~ uu...:.; ,~~~, "~4- ~!~P't~:1 '. ~.,~l~ ';'_-'-~~~ '"V.i~·'~.~y,J. Y!" ',' .. ~ __;~~.~,

• 1 I _ '_"

u.p and take asingle step to yourlefi and backa bit, distancing yourself somewhat fto,m me

table as you, draw the gaze of the s,pecm'tors IIp'VaJd.. Immediately begin to tum slowlY' [10

·np£ .... l":r ri nihi 'i!" W' b· i1'-,EIi L -~p ;nrcr vou ':r- h"",II'lII.,.l- ..... nd ".JL - '""' ..... , ... ,__J'~ 6'~--=,_J a" t chest 111~ f~l iFII~i01I1re-' ':;') B d - ~1' - ii!J' J""""'Ull. ,~)u,L. ' ",," .... KC ..... ,I,:') 0)' ,Il",,;LL&i.Q:S ~.a"_ wt: ~~ ~~., , cnes .Jl..;;""l \,jlie":'" ,'" ",!fl' 'f ,,0 n,~

this you are deli bera [ely- displaying 'tile chosen cud to the rest of tht: group as }'UU k~p attention fO~us:ed safld v' :move the t'aJble .

.:iI

5

,

o

'While you make this slow 8¥leep 'of the audience, move 'your gaze aooQ<,rdinglly~ keep ...

~ - it . ,-, nd .. - I·,· '" lrh , " hi'. . .. L. d· , ... L H' - ... ij :- . .. -- - - _j ~ ... ..1L i, - - 11 - - k d'~ - - ;1,...11

mg'L up anc m nne wit .. your :_JU\w an: cares, rtoweven aJ<you UUUll!.S you, 100", lrecuy

into me ~ of the spectators and note the direction of their peri And here is where me "fall-ssfe" aspect of me trick is lodged. If your direction of attenrion has been successful, an eyes 'will be raised and on me cards or your fac-e~ In this case'; you QUI con'tinue with me a!ppearance of the egg on, the tatble:

Drop the righr hands packet sq.uaJiC onto the ,lctt"s} clearly losing 'me selection in the

f .""iL --11 =A ,; L ,. ~ t, uld "'ll b d L ~. ,~ i'Ni-'~.. 10 k

center' 0 me paCK. rit tms pcunt' you SnO, ,~," stl. be turnec somewhat to your n~, ,-"--:::0[, <

directlv at the p·-·erson sl rona nearest 'the' e.p"p· on the mble; then look, down at the ,ep:v,. let an

,r! . . ~ -Dl ~ - - -,~

expression of surprise show on your fttc,e and look up' 3JC me speora'Eo.r a:gmn~ In doing this,

-.J 1... j; d ~L I C'· d IL _11_ ..... ,.;1"" "t S- • did It

yO~, guuJ,e' everyone eises eyes ~ own to me egg .. ·D teigned S110~ you ~ . ':U':J'_ t~'· you l-ay

m.at?l' This question combined with the sudden, ilppearmce of the egg 9!.[ a conspicuous

distance fr'Om 'you will create surprise and l:li'ughter.. U\Vell,~ in that case 1 ,s,uppo~~ 'I can

iT'li co' rp' iorare ~l't somehow into the _~_11_ D U·,;._II:!-I·.··:~Q_-~1 . .soane ·v't~; .,1 _ .... UI: l[.IJ1..;.K ..

l-Iowever~. what 'it, as you. make yo"r survey effaces, you see someone looking down at the egg while you are still displaying' the chosen card, to the gr-oup:? It is like1y that me spectator saw you place me e,gg on rhe table, Should this occur, you Simply forget about 'the'

" .= I d ~ ~ f'" tho 1i C. if . d'· ~ 1:..._1 .!O ~,t_ '.~~-~III tl

magICal. pro . uenon 0 .rne e,g . in (act, r you o oar I~~~ certain mat YOUfV'e' managru r ne

audiences artention ff&ctivel~ if you sense that eeerythiag hzn't gone.as smoothly and surely

. . ~ .. .. uj. d I like ~ ~ .--: fo ,. ._l. ~ .. :00' :. I' ,~ ...... ' .. fth~ . . "" 1_,.~.· ~",~-I , .. -' .. 'd~·1L,.: ... ribb ,'iI . ,. . . 'd' as you WO° ..... __ re .It [O~ .r~1: we p.t' UCD,on 0, .' e egg. u~1".~. smoot ,U1 1'1 ' on sprea

the deck faGe down across [he table, then with your r.igb'l: 1 and pick up the egg' and set h: in the center ofehe table, just in front ,o.fthe spread cards (Figu.tt 6),. & "Ol1 do thi~ you say' somethlne along me lines of~'Het'E is the deck: and. w;l ] alq}l use this ~~ H The ap' pearance

..... ,-.-:_1 .... [= ':-_ l._:.,--.-· -.J .1' ,._.1 __ <_, :... .. " 'J' ,.,,' . ,...iII,. ---oor- 'l"'['~:__""""'_".'"

of me. egg on me' table wit] still surprise' 1li1any people, but you deliberately avoid dramatiziog the productiol1L., making ir seem. to the on e or more ,s.,pect-a.tors who spa tted the egg' prernaturely that its pJreSCnce was not intended asa magical effect",~

6

So )'uu see, with this p~,'rncedure vou can. safely learn how to control an audiences

. . ~ ~

.. • 'I!.., L~ f b hould vour d :: .. · ... L beeinn b 1

attention Wit n no rear o _ emt arrassment s . . Q your cuecnon, in tne ~ egmmng, ee ess

than prier .. Th :is trick is a. perfect exercise for gaining 'the confidence and .slill) req uired to

d ~ like ""'1":' D'....·· I ~ /U. . l'/ C ....). hl _L Ii'

[ ,0, a PI.f!CC 1:." my .J.W~CUlp' .tWuttne in 'If~ ...•. meu .. p~ 105 ., 10 WI~ attennon managem~n[

,. !_1

U· cruciai,

From this point fO'.rwartl the (rick fOJlows. Don Alan's plan, W'hcthcr me egg production has. succeeded Ol~ not} ,1)U rib bon sp'r:ead the deck £la: down across. the table, An.G'mer·

- __ 'L • 11 <Ii _]L I I thi !Onk· ~ 'L .-. .. "",,1.. • d' th" c.J - • th

recntucai aJslat: tere: .. _, .1··.·-: . - it is better in rrns context to spr-ea ' .. ~- he car~ 1n. an. :Qi,C-!3;t· curves

toward you (a smile), rather than away (a froYm), as is commonly done (see Figure 6 ;~n)~

The reason fur this is that ,in a. few moments you ",v.ill domin(1i the spread ber up~ ,rarrealiLng: that ir consists of norhing but red duplicates (Figure 7)., You want no hesitation here lin 'the

-I: ' d ~_._L ..l _:: .. ,;L ~ - • ..1.. ich 'I-¥'Ii ;,",11".., oil' .... 'l., ~,,. f- ... iL ~' ., - _, ~ 111

auaiences spee':, In loo,m,pIDllenwng me Sl:watlon, 'WIll' ," .L~J.~~~JlJL spa, r ene nrnmg or H:lLS VlSUJ..ll

~'L 1-' B-' .J: th _,_,=.J_, d ib ed h ' .J i .J: --.!~I' II, 1L 'oJ

pllnul rne, ~ y spreaaing tne cares as : esc (1 , ie I, me esposea meuceswu rest n:g.n,t~sH.ie up

from, rhe spectators ~ point ofview, making the situation Immediately clear '[0' them I'

7

l~

Havi,:ng moved the egg in front of the fa~d.own spread, resting: centered in the curve; ,_

P-- awe for a moment: then .sav: '~J'U tell 'VOll1 what rl malee yo,"ur chosen earn ap-' _-p- . ear ~r' maaic

., ,", ,!!i - - - - -", ' . _ . J. • _ - - - . - - , - - - -', _ -, u-, ~

'" ';'d' .... 1L: !!i ,~; -U · 'L,~ h' h .J~, ~I~~ I _~I ~'IL ~ ld __ U

IMl" e Il.IUS mans ,egg. ".Slng loot:" ianos, maae a" magtc.u ge-swre over tne egg,. micL·,:en~y

lctdn,g rile hands be seen e;m,pry~ Then pick 'up' the egg and rnp it on 'me ed~ of the [able~

'" • ~,-.. _L ,I Fcracl ,-~ .... L h 111 f' ' - 1

SJmUlaung me acnon 0 ;' crn~ng rule S ' en Q' a [.E~ E,gg.

At me same time, ,look up at someone seated at the tahle in front and. ask her to hold out her hands, cupped to catch, the contents of the ,egg~ You that hold the egg ,in both hands,

• ,~JI ~:L,~ IL. = I v' _'L ~ ~'~L_~'~ 1L I, 'f-'- bi e 'by 11__ j 'h; ch

poiseo to' separate me narves, IOU can at tms ,PO,lfl'( mrow 111 a DfJle_ 'J[[ or ~',_ "'p,Q)) In w :~ I: '.,

''VQ'u. remove OB,e hand mome n wHy' from the e:PlY and make, it IS 'you ~:vj ~~SOI'rv; thi-s is: a

J ~. _ ~ ~ 7~ ~

~ ~ ......... 1 • '~ ,~ '" N'" ' ... L c_ -- rh -L.' .. -ill" 'I.---~ cl ,~ b

ume mess.yl' lsn 1: ll. L - 'OW~ 'tnt'! tact r, rat UJ.e e,gg llS 110t ,gt!lllJJne WJ oe c ear to Just a 00 t

,everyone .. , After all, it ,has a. visible seam, So this bit of nonsense l\;J1 be perceived .. mai~' as pi a,rf111 pi ayaai n;g'. .BUf' no one :i~' quite sure wha,r' .is inside this p lastic egg. M3iybe you bavl{::

_. __ 1 Jlk d h~ , . . 'T-~h' ~ __ 'L gh ;: 1111 - 1'1_ 1'.." h d ~,

put a 1l:dJ yo !_~_ anc W ,_It:C 10 tt, ,c! _IS UJOU~. : t Will naturauy mase rout .: .. per worry' Just a

llnle, but you dent dwell on it or maim, her feel uncomfortsble, Irn.mediatcly ask her_, "\Vha.'c'

""L - f· ... 1L d . l'! '\vrL.. h' ill.. -~~ 1....:.- - ~:L. d 1! ~ _L

was UI.t:~ name' 0 "(JJ .. e ,alll,'~'WIj,en s ne answers, "break" open tne legg an: gI we miniature

card faD. into her hands" Since it is double fac~ed,~ i ts identity is immediately seen, whichever side is up) assuring I1U1.t' the tiirluDg of the: dima.~ isn~t ruined. The appea_ram ex of the little card and the release of the tl'fty anx.iety you have created should bring anomer s,ttong reac-

. f' hum ..

, . '. '. '. '.' . . - '_, -'" .-' I . [,-: . [' . -. - -

non 0 I .,.- .• ,.or01J15 :surpns:e.,

Ler the audience: react to the prod uerion of-th,e card as von take h: from the speceators

~ ~ ,

hand and ,dis,play it tothe entire group',; But when the laugh :er and applause have' peaked,

interrupt with a look, of uncertainty on your &oe: £~ you sure it was the Five o~' Spadesi"

Wh .... 1!... ... 'l. 'I' ~B rh J.' ~. ·~}~1 'H" --lldl h · L~ J en me ~gr,oup asserts Ula,t,l[ was, say" ·"ut 'I ars 1mpOs.sH) e~ ow caw ,'you. lave plCKCo

th 1!:l' f'- S" d e , .. L i, _,),~~L ... JJI A -~ C' b th" . . ' do ~ ... :L ,-,...I d _'Ie rive or . -pta' es rrom tms u.~~ nS you nnis - I' _ is qtlestJO'ilr~ aormno Hie s,prcau., I .. ees

(-IL 1l"'I'1.' f:'l ,~] L _l F' f;(,_' d.c.. h·'"..,\ -,--.~ l& tharir i d . over me .rOU~.II.Lng i=lUi.U tl:.eeps tne -rve o 0p3. es rrorn SOW1n6l'~' rtvt;Wm;' rat ,It IS mane

up ,of nothing but Nines of leartsl

198,2

.. ..;lL i f···t .. · L- ,;, ~ 1 _._~U ~_I"i_ b .... L, " __ ..1 •

N UI'e two VO_ umes 01 ~ mis wonc, at VarJlOUS, times ,jWw, twK a bout we mma mt)llte ..

Thi .. 1 L d I ider i ·","-1 LJ' .~,.~1!

. ,- 1£ IS a very important rooi UJ',f me, ana .cense ,er It an esse n tHu. ,guIDe 'to qual ....

ity pe~rfurn:nl1nCt:~ ~~n~·er ]: wish '(.0 create a new ,e:ffea, it' starts of course with.

'd h I th b · id d 'd _ __J_ ;; '. d

an l ea tn at occurs to file .. ' "- en _c' egJll to oonsmer 'j 1~ Jl! ea, pOIlW:lrlng' lit an. _

, -

10Clk:in,g sr the eJli"ect fm'.m I~ry angle ] om i magi.ne .. I try to discover as much as, J possibly

, .. ' : be ·t :~L E-~~· .. , ' 1 ::.c ... ,- . .a~ '11".' ..-. tallv o .... · F!i .... 1 -:""..,...,.,.j' ','. nlik - ~ .. - -7~L'·"IIC tho . [" h .... ' ,- , .... '. b .C-, ,-

can a ··,·00_ ] _ . _;v-cn n U,I,C· e.lU.:;C'L\; lIS ... 0,·_ y o.np,uAl. ann u ... iuce an.yuung . -.3. - ias come emre,

there are still many details to be fe[l!'et,ed out, Then even tualJ~ slowly perhaps." yet surely; an ideal ' f·· h n:'_'b! . ....._. L,,",~'l.' .. _J

L- ,~. version or tne errecc e egms to :i:~ snape In my rmno,

S·- .C __ . ~" ,.,. ~ th ·1··· t c .-, ... - _·-00·- ab ,,' it .,- j', ... , .. -. ,di:'··f I·...._~_·..l ]. L:' k· ··f-·"L

o filii' Jl,. m not m n e eas concerne .. aoou modus operant.. .. rnsteaa, .. ttun /. o tne

effect as if anyrhln~ is possible. lv1y imagination, is. withcue limits, I'm unfettered. 'by such

--..._ .... I~ .. h- r '1:~ '''''V''':''__ L bur h 1 d h"~"' B tl .~....!L • ~'I ,. .1L. a:

reansnc r .. ougnts as 1 trul,llt . OW can .1·0 t~~1!S t ~. f constan 1- Y rerhinking ene errece,

• • ii lfdoine kasai d' ... ..l • .. ·L ~ ~ 1N"Jtv'II'1 d

tmsgnueg myse ., .•. otng It again an' ag;uu, ,my ,mISty luea gf'O\V.S. into so,mewing c~ 'y~~~~,eaf!,

Mer a time I "rill know every movement, every word, every' ,ges:rur·e" I will know ,exactly how the e.:6f'ecr will be.

~ '" d 1lf. ~ hi f' 1~~.J1 ' I '1 "If "11~.c... . tl ~1!.... ~- ..... h ~'L

. .10 31_ myse!.' J1n t .. IS process 0 .app iee .lmagtoa.tlOll" 1 WIH. nequen ~ Y fWlul£UU,!T1 Lire:

- -

effect physicaUy. afi~n .1 g;lther the n~sary plLOp5 and use them during these fantasy·

L - L O· _,~.'i' bl th '.' .._L ~. f·~ h' .. I'" th I ~LI. di

renearsais .. _, ne vaiua • e, •• ' ,- m,g tnat comes . rO,D] L_15 pl,acrwe' is _I_ at qu!C-liJ.y ' •. ,!SCmt-e'1' any

kward Ah dli ~ h I· . ail I· . h

. . .. or.;;·:··· .. - . ,',' - .. ",. . _- J •• - -, - ,- [-- - • r . - .. - ,. . .' . . ... - . .. . ... .' - ..t; . - ... I

3J\V . .... . .• spnb ... ".·. an ..Ins seqra.e nee .ma)· ron snme more n me t_ an imtigtD· ., ,,011" mIg)· r

find that some procedure muse be changed due to the pmp~:~ let" even now ] don't care about

.. L .r, A.... . hi ~ ''iL11....]

metnoas .. Niyt1ilg, is :POSS1DJl'~

F ..... ~l I 'L_, b h t, f· id [J! c.: d i ~ _j or s;cvcta! years nave oeen t 'I,e nappy p~~sessor 0 I' a Vim camera, W'; rounc It' a goou

idea, to tape my fantasy rehearsals several times on video, 'With a tape of my dream, it is

· ... ~ d d 'II~~ •

easier to envision .11:: an. .to .• etecr anY' OO~.l spots,

Of course I 'can~t' r~y do me ,effe~ because I [doh~t yet know hO"W' it 'will 'be a .. ccom-

~ .~_;L d b ...;'l. d ii' b th S' .. ·L - _J ~ ... IL lI: th· :-ilL

PU!).U6,i; out u.-n~;Jt( oesnt ~Qi -:.er me, .euppose tnat QUfJO.g me errecr ~:ome -jog must vamsa

from my hand, In .my farrcasy pracdces I juse drop the p.rop on the Roo.r·while panto.mm= ing its vanish, and continue as if the disappearance has happened by 'truly magical means, I"m still no t: tlying, to work out the secret .nlothud that 'wU] eventual Iy accomplish the ,effect. That process co [TIes 01 uch, HIM-oil. la rer, AU I want now is to make nly dream 3..8 concrete as' .p08Sible~. :My·thoughts must become 'total]YJclear. 'The clearerthe desired effect is in. my mind,

rh .' ,. -- -::~'l- L h ~ 1

e easter lilt wll.lt of: to ~N:- tcve ater,

Airest d,oi:ng these exercises ~or a time, the effect becomes like a movie for me', very solid

- d- _~1_~,_ ., ... :iL. ough -~ T 1~_~OW exacdy wh- --'r .. !l.. - 1·.J = ~ ~ version f-- r ... L -- il:"'QK'io'F- lInol __ - 1:::[1' __ AIl'- --

3Jl-, caear In, my UliUo ',,-_, ",,~ ll, JiliIL'-', - ~': " '_, nat me -u.cal, "'!iOO£~ .-'~ Q, we errect J/o,tiili lJ!ltrJ:'! :__- -!

.1 need to do now is push it from the womb of my imagination into r;eality: However, now I know cmcrly-with no compromise 'to ,little things .Iike methodological concerns-s-whar I 'want to achleve, I h_ave a beautifuUy defined goal,

Not thinking abo UI[ certa i h practical matters at this ,stage is es.sentiaJ, ,Dont consider .. for instance, whether the e~t is possible. That would onlylimit your fr'Ced.om ofimagination and creativity If ax this point 'you, take into account cersaln pmcdoo matters linked '(0 possible nl,emadsJ you riJ no longer be able to strive for an Ideal trick, 'Your mind movie would be flawed by concessions, The mind movie muse growwithin an unbound imagjn1~ ti -It" ~ . Ct\\tP rM"rI ed .. nl kr -your __ If'+-.c. 'b' L arvou liker 'by wh -t - -- !i:'·ee ""Iii.'! .JL,Qj mo - 'I did

on, . .Il3 D";';""~'~-;'- 0' Y ui '. ' .. t: .. ~"",,,,; '-.:·ywna'.- /~. '- . '-~ uvwna you~·.: as UD.,~ . ··-51 sPJLen: ,L

goals of magic, This is the truly creative stage ..

I use the mind movie as a tool in almost every phase of the development of an, etfect~

Th · _II wh di ~ .. 1~' , clls mewh Jrneoi ·f--= ..:L

e ,movllf reus me H., at - , recnon to ~, ,(, even, [: __ s me wnen i m g:Olng wron~ or ]'1' 'we

adjus£ments I make are too broad .. It is my measure fur almost everything' concerning 'me' e:ffec.r.· he mind movie. tells. me whsr to strive for~

I cannoe stress '1:00 much the' importance of such mind movies, These movies fr~ 'YOUI hnaginadon and allow' you 00, ap preach your maximum potential, for "beauty in your magic, A further' benefit of sud), movies is that you are free in them to' be yourself. This i:r t:s.Jtnti,,4, your self-purtrayal in yo,u£ mind movies should be a failhfn] representation ofyourpersonaliry and your means of sharing 'your imagination with an audience, Your audiences vvil1 be: able to experie .. nee your imagination and ,you They will not experience a pale recreation of someone ,eI.set s ima_gi nation, '01' a hob bled version of your imagination. It will be a, sincere,

h . r' ..l .... __ ........ irh -11- di v h Th if.L._ .~'~ ;0 J , onesr sn'ari,'hg 0' :'your dreams WI, '. me audience, ,lOU cannot s are more, -- _I·'at IS me wrimawe.

HE cam Through Handkerchiefis an effect that has been populu w"m audi ... ·

oI':liter.. - -.- ." cc· ... !~ "'. . .... '"... . iI . lb' .. 11 'S·· ·.00· . (rho n'h ,,~LF th . · .. ·d·· , .. ,I' , . ·f·" - , .. , . . ..

~ . noes smce 111,Q\ I nven 00 n .In. e i .?. s • t I ..... U,I9.1..:t saW), ' if! I, enltllJt} 0 I IS inventor

has, been. obscured by 'time and several oon.8.icdng claims between writers in ehe United Stares and German}''l~.ln rhe mid-I 970.!)· I Callie up with this method ,of

0; c. th ,", f eI d _..I ... 'L- ..... lh h .n .-.,~ ~JL 'I' .C]· l, h

pre.panng lor ~ -.e penerrsaon 0'.' a se eceea cam 'uu;uUw" a _!.3n(uU;irurHe.r .. 1: nas mucr (0 roc ...

ommend i'[ in ,econom}" of action), fOr the chosen rn.ocl is stolen fronI d e deck and l"losido:ned :wr the. penetration in a quick and natural manner that defies detection, The: steal is rela red. to o.ne created by Alex Elrnsley for the same effect" ~rhe la.tter has rtecen.rly been published ill

d j] Fhi (...... "L ~~ 11Vh .s.. (~ r·' [904.. !I:!Il'S·h· ._. L ~ . .J "" 197·) ··H·· I did ,.

ieseoono vo urrte 0 .. ··is . .oueaea 'hrOfR.J, ..... _7' .. ~ see 1.··· .. : aseeown j, p~ .... :. _O\¥C¥Cf:- .. :i. -:·n.t

know ofMc. Elms1~s'wnrk l\~hen I oublished rur·· handling·· in ]977-· and It probably

• "._..... ',' • !II • • ~j' .' .. _ .. : " . ,,-. £," ", .. ".-' _. _".:"_ ._ ' ... "_ ~ .:_. _. ': 1_, .'_ ,'! ," ", _',

'V0111dn~t hay-e stopped me if I had, since the handling I devised allows the chosen card to be stollen directly from the center of the pack with no need for shuffling, cutting or- passes (half

i!=111) Th'" dded ~I f' ...Jl~_ ·1 uali I think _L • '.

or run r.. , _13 a·=_oru clement o Ultcaness 15 a .q' .- If)'' I: .. uruc worm consk enng,

~

'H· -- _.J ~'L.~ , ~ .~ _j n- ored ~_I_~ tit t. ~: -:1- 'L'Q] ..Jl~: -.Ii)' ·=t· c...r~ d ._ 1"· - O· ur nO. ehc ha nd

. ~ are·a ~IU ~sen W-IU ..... :~~ .. ,. J~ ; :·e se.lleL;uOJll~ J1J .. 1W11~ rt race ,~_o'\\nn y.' .a: , . FY"" .. ~ .. ~.l'_.lI'

and. display it co the rest of the: group, Next, insert the card lnro the face-down deck and.

1_ I' 'i"T~1 C "J"1 half .. 1L ·Tfh- ·",nl·1-,. ~ d --~ d

ieave It ouqo06W lor r:OU~ny :.~ .• I' an men, en, move your n~ .. t nanc pa.Lm. own over

the pack. and apparently push the card. flush. ·H.OWfVer:~. instead you secretly anglejiog the card and maneuver it smoothly into an injogged positiun, Such maneuvers are reasonably standard in card .mHgic, so a brief desc .iprion should suffice:

lu your .dght fingers: push the card . inward, ap.ply more P'.re5SUJ"ie with the fore&n,get~ so 'that the card! moves into the pack canted to the left. The angle .of the card should be such 'mat the outer left comer protrudes only' sligh cly from the I,eft ,side of [he pack (FigUre 1)~ With your left' thumb, immediately contact .th~s prorruding corner and pull it 'back about three-q uarters of an lnch (Figure 2)". Then, ~"ith, your left fourth fitl~'(' carch the inner .right e~ge' of me cud and push lefmrardj S1NiveHng the. lew into art ilnjogged. position r(F'i,gure ,3). The card should DO\\i· project approximaeely half an incln fj~olrn the rear of the pack,

.As you. seem to finish squaring me: decl,,, US~ }'Ollf right hmd. to turn 'me cards over

idewi d e: -~. '. 1 .c: hi d T··h- ....... 'L 1l.. ~~..J ,I,. __ ~1' • ·~_JlI ids i

Sf ewise an· zace 'up In your fit :_·an· • I .I'e ngnrnano, as n 1.5: Da!nIrawy posltiuneu.;J ai' ... m

concealing the injioggoo card while this, adjusrme.Dr'is made" . .As 'you ~uaUy turn over the

~\

... .) /1

1

2

'-=___.

. .

~. ,,-.,

3

\

,

d 1- ~ b'" r. ~~ _..I Fnorma 11 d' .... ~.!. • ....L ..... th .~' d eroi , .. :L

ecx, move Jt a ~ 1t rorwam 0: normai .'- cfU~n,g grlp~ so mar 'c_ e trent en:· .projecrs past 'we

Jeft wflc6nger:w and the tip of the left fourth .finger' [comes narumUy iato contact wi th the .. "._1\... C" _L of!" d ~ · I ... L !I j ;;; _L s: nh 6' d.._L h d tnner tl&.1t corner ,0' . me lnJIO.gge· ,selecnO[.D·~, in rrus posmon me IOU .'1 ng~f all ~ tne ne

of 'the thumb can, securelv urip' the inner corners of the prntruding card t(Fi~tHre' 4)~

~ t~' ,] t~

You are now prepar-e,d! to steal the' card from me deck, and load it under the handkerc_

_1L ~_£ 'T[ '-h' r., . lished j th d ~ • --,~ ~ ~ .. '(VJ .... d '"lii"rh

QUElt __ iese two tasks are accompus eo In one smootr an . JlQ.gH.':ai rncnon, 'w J'.' 1 yuur lf1,iYJf.l

hand ulJl th h ' -n-----cl- r. oIi -{"f ....'. ~~l_._- .. -- d .... _. '.'. ·c· .. -lh - - .... . ·f·· .... L. 1L_ ..... d

nan ! '- p. '1. ! ~ e r arlllKCr I He:' .. rom your pouu.;t an .. snap lt open ~ . '. .atcn a 00 net o me lUHl;. -

kE~chiel between YOllJ" left dllrm!h and. forefinger (or between your fint and second fingers,

4

~ "",

~:I

5

6

,

]f your thumb and fo.refin,gt:'c aren't long enough to make the grip). Then s~i,de y.om

'ul 'll d' h' d ,., ='L

11&,,'1(,llalll" to' t ~e oppo~ute corner an" plnu:i

that cerner between the first '[\VO flngers, You can now hold 'the handkerchief fuHy open be-

--r, - __ L, .h , ,.JI_ A_; , d " rl "~ ,'-' h -" --mem, UJe I _ :lnm ~ .I'1.::i you "I 0 _ 11S~ s,:lretc __ ' Jrt"JUJr

righ'u third and fourth, finge.rs downward and catm part of the r.ight-hand side ofth,e:hand, ..

"1~_ ~'L" faeai · ft'h _'I ('P'" C)"

~rU:lle' - agams t your ngnr palLm I: 19u1'e i," ~

ReI'(%1Sf~ the left: hand~s, corner and adjU5 - die ri,ght Rn,gees' to assure . tat they hold the: handkerchief open as ~r as possible,

Bring the hands togelher~ until the palmdown right hand can grasp the front end of

",JL - _1 = D" _""-'I '" II! ..L • f' _I., ~

rnc pam.;Q uy grip' It at me n ps 0' ·'!Lu~ nn-

gers" right thumJb en the outer left corner; forefinger on the outer righl (Figure 6) \Wi,th ... OU[ hesitation), rneve the right hand upward

L- - -,~ _1L, th - L,~,~'~~ ,",,_g~,._, ... .J, " -, - 'I,ft-- ~~'L ......

at rew UiGfl'(!S'!11 ,I,' en 11.:l'aUK.IClUWdllJ! 'YOur e. ,~uuVl

, '"

A th .. 'th ~,~c~ 1 ~ f' - _'L

.t''ll "'I'S same' nme wi ,i', a gFaCCtW n¥lst 0' tne

, :- r, , j-", -~, ' L" -,d <,--J , ' ",," i~ rl ",- 'd' ,~'L

wnsr, turn me nann palm up Wllll le ec..K., ..

,As die .right hand ma"ke~~ bhis movement, keep, the )',J:.... L~ .... ;J 00,:, rn 'p,I:-~=~'y, ~~1~ and , .... on tinue to

,,", ClllllillU" _',,' _ ,t;nJ. ~UJb __ wu, ""

- "

~ th - ~ d curl' T--h" resul · th d

gr'~-Ip-" "I' e.~' l"n--illa~':<- '"' '11::' ,-' ~ I"", I', I 1I"II'C8i(':~

~-:., _-_ ':_ .. ''}'',eb~''; _:_-.:-' Iii [' IQ"....!... _ _:_...:_-I~~ .. ~. -~, -

being s tripped neady and q_uie'dy iron) '[he d f'I--~:' [.,.: ~ v i~11],e re that ",,=1L ~ Ipfi-' h and rem ain

' .!i,..l,,:.!K.. ' "- ,W, '" ,!IILod ~ -'..... 1..., a! m,"'"", ,.... "~&'" ,11."'" ," ,~_

absolutely stationary; The slight,est motion of' this hand 'Will dramatically decrease the decep-

· f' , _L ~-~ II T: '~d '" 11____· ..._ L_ 1 c,

evens. o~ me steai, JU ate In J'UX,plng'tne err

hand stil], brace your leh elbow againsr fOur

,. L'il th _1 a, ade

w;ust: Wni e - ie s~e~ 18 made,

As you move yo]]r :right hand in-w-ard ,tb~ handkerchief is drawn over the left hand, g.iving no om 3. chance-even in surrounded circumstances-e-tc ~cc 'the' stolen card (fig~ ure 7). Do keep rhehandkerchiefsuspended 0.0 the left fingertips, slightlyabolJe tile cud" so that: its face doesn't accidentally show' through the fabric.

7 \ ~

\ \

.

Move me right hand back until the approximate, center of rhe handkerchieflies over me' left hand, At that point release me' han.dkerchief &om Ute right fingers and move the right hand. fOnvarci .again to deposit, the deck face up on the covered left 'palm" This is done square-1yover the stolen card,

'You. are now in position, without the least: hesitation or. stalling, to 'wrap the deck in, the handkerchief using the classic erick fold. explained, in so many basic texts (e~g~:! ,EMnue's:

The Etp,m at the ,c:ard'Tahle, p, 19. 8; Tdrl;eM ,Course in MagiG, ItOl -3" p, 242)~, I presume that my' readers will be famlli\ar with this: old standard; or will have access to its description .. Consequendj, J'll simply ~Y' that 'the deck is fbJded in the handke'rebiel; afier ~bich you proceed. '[0 make the chosen card penetrate through the cloth in your mOISt mysterious manner.

1977

I [-- l-'~; build - h - Wh·-- - - - ? 1·- -··-_lh fin if ..... ·' -"m ---- - - b- 11!11.=~. ES, el::S - inc a _I ouse. .•. .y notr - f. coum . .. e n, Let s, .see, w[e, Il start. n.o ill - -I.&;:

parties, 1,t;l'S start with a housewarming patty. 'The-n when everyone has left· we~1J build the roof and arran~ an the furniture. WLth the furniture in. place: we:1Il pour the fo'undarlon. WhU.e the' concrete is drying: fll contact an archirect to make so.roe drawings. fnr the new house, Then we can, glue the w·a.Upa .. pe.r ro the. ~ ~. the ~ ~ .. eh " .. oh, we haven!r any wallis yet ~e1lj that do e,s,rtc m3J1D·r~ We.?re not go,mg to be det[f'lred, by deta1]s .. Well( stick the snips. of paper together; then later we can ~wys gllue' the walls to the ,paper~ 'What' difference does it maker Then, once Wttve built die staircare'

d ~ ._111 d ... ;L d · <II 0; "1r~ b d h-_1L •. ~ ~ •

an instaue - mc c ectnc wIfIng we 11 ,-e reaayto see 11:": e arcnnect, wno is OOIlTIl0g·ova to

show us the first drafts of our new house, The day after he comes w,f'll bu ild the walls,

Wc"U spare no effort lor cost to build, rhe best house possible, The best craftsmen, die best materials, the best" architect in the business; nothing but the best! Every derail will be expertly handled ..

ORO,·· [ ··E-·R-;=_··

- ".' "._ '. I, • .'.

It doe,sn'~ take much to see in this exagger:ltw example thar the result win be eatastrophic as far as howes go, StUl, in s:pi'I:~ of that, every [ask Vias executed masn:rfully~ Theres OUI poin't":

One can do things in themselves correctly and yet end up with something that doesn't work at aU ... Every dement is correct, bur the structure as ,3, whole wone hang togefilel'. ,

'"When building something, whether it~s a house or. a rm,gical eff~ it is essen ial to do things in the proper order, The order in which you dO them is as important as now you do them, This may seem 0 bvious, but itjs so easy DD gel clOnfUsal and find yours- F doing thiDg;J Ollrt of order without realizing· ir, Just as ·with a 110 use, when creating a, magical [effea we can't start by building the rooE.

Quire a bit has 'been written in our literature on how [0 do certain ·dlin,gs.. We· find .many discussions of what is important and what is;n~t~ b.mv different people go about th ~.ngs; and so on. And much of this advice Indeed, makes a lot Df sense. However, rarely is atten-

•• .1b. ,.' ~ the creari h _._,-~ '1_: ,. =- ~II- _'L

bon given to' me correct nmes in . c- e creanon _PIOcesS w I(;U GUUl1[g cerram steps ~£S. me

most sense, Lets examine. by 'Way of example how one ,goes. about building a howe and see

how' ... he ~Tyi~ Id ~('! :.1np-_lly.'- toe, mazic

ill ' ~(IIA~ _," .,,,-,LI.QI :...,..-' W'.. . .... a .. ~.JI .. ·11

'"Tl'lEel '\Vl:O"-':'RKIN- ,'.. G O' ':, 'RD" , ' ER

J.,r,--<~w·li_-,,'I~L:-:.I_'.- "

THE D~:' "(lhen the decision is made to bu.ild a h,oust:~ of ~OUl'8t: )VU don't srart immediately to make drawings and blueprints for it, Instead you start to dream, OHkrent'vm1oos of the house acre imagined, your ,rnind~8. eye looks mt the- dream horne fr-nm difTe~r-ent an~e..,~ 'YOlli_t vision ofthe house, first rather vague" becomes clearer and clearer the more you think about it~, But so ,far' it is all in. your mind, just lmaginarion. If you plan to locate the' house in a particular ~e3J,J' of course! rhls locarlen m usr be included in me dream.

Only a&er this dreaming, a&cr the picture becomes clearer do you starr drawing plans,

S-~,~_"",.,...I p- ,,1L,-,. ,::-: ~~~'nl p" ~ l.l~il.l:v be n' ~~O~rrv: TI -h, ed ~~!''''~ n~, help . .....,.. m-- -t .• ~ ke " the ,F,if"!;.D- r·c·-·p·'" of ~ ' .... he . 'hA11 iii {!i_e' (;.-V~aJ, ~WlU I.' 'JLIi,! WDl, . ,!;,;i~-,J.' , ' , U["d n.u J.~ , " ','. ILV' "~,, Ill, 'UiJ', L.I : I ... v" 1J.1 _ "v~_

even clearer than, thinking by iae,lf can" It is an aid to visualization. Evenrua1ly~, to help your

• - - • _. ~'I'l -- - - - ..:1 ...... '1 - ~ ft'''" b b ,:1. •• imagrnanon snu more, a moaer ,m1~l,t " •. e ,IUllL

All this is accomplished before calculations are dn:nE, before real decisions conceming construction UC~ made, All thi:3: ,is seliU working with the: dream, lending' substance to it to make it 'workable! This Is when you are' being genuinely creative. Owy att-er the dream is; :flr.mly established and thQroughly considered do you start 'workin,g on technical detalls I

'J HE. ~lF.CHNICAT" rJETAHJ~: ,After the dream is dea.dy envisioned, you lean begin. to th" ilk

_,iL ~ 'H' , ill-l ""b. ~=j,~.' b _'l -H- m 11- th L__ k ~ . .=J "",l!..

aoout construcnon. ,'" ow wi - me' mundanon i--e sel~,1 , ow wu 'i '~lUU.Tlt:WO'r., In5.1,1tI1~ Ole

wmUs, be built to support the structure]

Ofcourse it would be gE'ea[ jf you co tdd, construct tile frdffir:WUlk ill, a way dUll: avoids

h·' .m d d '.' f~ J J - -_II ~ • ""i ~ 'H'

alVln,g, '[0 clllange' ae ',' estgn 0 your cream .lou_se: as you ori.glnauy envrsioneu ir. I" owever,

perhaps you do need to modifjr me dream. here and then:' to make irs construction safe and solid, Calculations are made, materials are selected" etc,

TIiE BunLf)INrG= H:aving finished yuur d]n::aIIling and prl~par a cium fOr buildm~ ,lies. .find1.y rime to Sf~U'{ construction, You tl.lay Boo thar small adjustments must be made to cite technical details you've planned, but these should 'be :rdatively minor :ifynu have p~ pared ca.-reft.Uly~

Irs READy -TIAfE, FOR, ADJUSTM~.s: .A.fre'f' th~ house is built }rou move in, &: yun live in it you ,Inay find that certain things ha:v~n~t worked out as 'weill as you t:b_Quglll t th~y would, You. might find a certain IOQ"m, would be better if it were a bit l3Jrg~ri' or an extra cupboard would be' eonvenien t here or there, Thanks 'tJ(] you:r- command cafunl:i mired ~I,n.ds" the changes 'are made,

Bu I" when yo u receive gu.ests ill your house other deficiencies m,igbt' become wide'Dr., Sup pose that most of your guest'S a re taller than you are, and nlliln}7 of rhem, OIl entering the house, hump rhei r heads (10 the' top of rh e door fram.e. YOtl, s hould adjust the' height of 'the: doors-unless" of course, it is y:our intearion that by way' of welcome yOU1"" guests. Jhrmld. bump, their heads,

\Vhen malting a. house, these steps must he taken pretty· much ~ n the order ,girve 11 .. Ax rimes you. may have to retreat a Skp and trY' it a.gain) either fr-om the begin.n i n~g or ar some midpoint, To have a rem house, though" rather than a shambles, an orderly' pim,gtess ofseeps must be' followed"

N RI··

O···T,· G:,ID' .... ·

. I. ,'. ,': .' . _ ',"

Mthough 'there .is ,3. denntt:'e working order, this order is not [cllm,pJetdy' rigid~, One au] and must at times take a step back and adjUst; but these adjustments will be small Plans, w.ill no doubt have [0 be revised here and there. Things that you overlooked have to 'be inoorporated as best you. can, The' urder is: logical 'burt a Ei[de loose as welt If we didnr allmv a little loom .fur adj ustr rents, we could still end up with, a ruin instead of a hou.se. However, the order cant be too loose, or )'Ou"ll find )'OU rse] f with a mess like our first one ..

Having a .&xed yet' reaHsdailly eexibJe working order' is JUSt as imPOrtant [0 creating a magic etIect as lr is to building at house; and lnreresdngly enough .. ~ th.e steps. and their order are essentially me same, F.irst!1'~.

~rE-rF.1REA.J\f: \That would an exciting effect he= Whatwa:uld you, as: a specta'tor~ like

e: dr +~. (h'··_L· ... .1L.· ~ ,\;. D d b I:.... Do'

to see rrom your 'I team magician .·W' .•. ich, In !WileS ease, IS youj,~ . :c.:,ream anc etree, ... onr

think about technical details. Dent let such things worry you, These concerns come 1 at,erl Of course yeu can take certain things into account (just as }lOU considered 'the locadon of ~ our dream house, perhaps you could allow for venue here)" but be sure this effect Is rhe most exiting and beautiful thing you em concelve. Make it worthwhile" Make it 'the' way you feel magic should be" That is~nt too dii1h:ul.I) because. you~re f,n:.e: N'~Jdllng' bothers 1UUj! nothing :SlOps you :fiurn doing what you want, In yuur drean S YOU~l~ complecely unresttioted. Then solldjfy the dream, Dream. untilall the details are clear 'to you: every movement, every' WOld said, every prop, everyprocedure .. (For more on the dreaming proce~~'S} see "The Mind Moo ie'~~~ :pr 53 .. )

ThE lECHNICA1 DETAU.S: Once your dream 15 fully.' envisioned, fUll:v to vour J.iIci.i~U7

(II! ..} ~~

and the: best magical, eff'-eer you. can possibly lrnaglne, yo,u can begin to fill in me technical

details ~ You now create' a method that em support your dream, 'that can realize it with.OLU le~tdng it collapse, At this point you might need to take 3 step b,ack if you run into insurmouneable problems, ''lo'u migPt need, to change a demit Of two in yom dream, something mlnor mat does not affect the whole, :How,eve" if you need [0 ch3n,g~ so much that the creation you Blake ceases to I o o.k . .like what you have dreamed, you ,had better' surmount [hat msurmounta Je problem Dr forsake the whole: 'thing .. You d.ont want to build an effect mar is .tess than you in tended it to be.

THE BUllDlNIG': When you've' decided hD~F your e£¥ect should be built. you. can stan building. Owing' construction, al_fd!n yo·u may Bud tba'E certain details created in the plievi..,· ous step have to be' adapted, Do SO~ as lo,n,g as these sn-:lall changes. dour al rer your dream,

-T'S READy-Th\1E FU'R Auj! USJ 1\.01 :NTS: ):'Ou are now ready to sran: performing your effect fOr people, You may :find over time that a. (,e rain move must 'be changed a bit because it sometlmes glves you trouble, You ,may flnd ma[ something must be [done. mUIJI:: dOW'ly Of

• ~11.;1 L ~. _L d • d' e: O' . f " ~ "'\"VT::ill '_ 0:_ ~

Iq,Uj~y [0 nave me ,~,estre,". errect. Or course you .KCt:P your t:y1C:S open. "',\V JI~ it attect ~y

guests, my audirt:£u;esj, exactly 'as I intended it?'" 'l~m not speaking so Much about how wdl your au iences receive th~ elfectj!1 bur whether dley are re,miv.ing the dJect yuu ineeaded, If

th [:rt. ~- ~·]')ll....J -- rhi - . d t L ~.;r-~..J - __ '1 th- . d ~I' ;CI'n~ WJ.~ U U - . .1 ·_· ... st .' ~ d --L ~I'li'" I m'" eo Inl :;,

you oU,oo;';" .Ii. UO .. lIS an .. nar, ana SURlY rte au uer oL.L " .. ' - [. :n~ ,an' 'YVJ1C:w~' I. "::_'~"'ii

but in performance ~ryont; interprets it oont&uJ'w, ~on, dashing with, yo.w' dreamed etfoct;. you must then adapt dl.in~ until it afFeats people: pr-ocisdy as you intended-until the audience heats and sees exacdv what yc-:ou wanted to, tell and show th.em~,und] your.

.I , ~

dream is precisely communicated. F'o,r only then can your audiences experience 'what you

wished then .. '[l()~ You are then gliviln,g them, the purest ,gift' possible from 'your ,imaginJltion~,

Tlus~ dU:ll1), 1:5 dle basic working onk;r: D'rearn ,:Hrst~ ,Enalke tin; dream, a reality; theH~ if necessary, adj ust detai II s to make thE: dream undersmod. Th,ere is a disdnct order to 'the ,sre.p-s'~ 'whIch is neither fOO loose nor roo r~grd"

It.K • .... G·.-,··I'C,.·.··-i IS·.··-·.·. N·····- 'Of.-·.I·- A-·'-· HO.-··-U"S-E'i'_,

l·V~._ .. "_'.' ._. ~ ",.. , .

]f you build yoursetf a house, primarily that howe is meant fur you .. Whether other people are impressed by your house is another matter~ one of far less impo~cei Perhaps people: feel that your howe is unattractive and they wouldnt want to visit or even sec ir, That is it

. b .. do !II 1L ibili f' ,..,~ th h ~Yi- --:- .. 1Id- 'b C: ---.'.

p,l.'~ ~ut' It' "- esn t negare tne POSS! .,',' 'lty.o - your enjoymgt ne nouse. zou COW~_' ne perrecuy'

happy wi th what others might perceive as a m(}DSWJsity~

,l..tf~~ I"';:~ thouzh ~ is not like a house,., A hou.se can exist whether udun like its desisn or

.w.-.~ 1fJ"J!, lor·

not, But Hl3lgic is not a m are rid, th.Ull~ it em only exist ,at: 'the moment of performance, FOl ma,gic to. exist it needs an 3udiie:n.ce .. If the audience d_oe<io)t I,:ike i;'t~ soon 'yolU wi,n Hn& tna,'t there. will be no audience, Consequently there can be' no magic" It is therefore ,n~sary that the jpectato,rs like 'whit you Offf'f' them" are intrigued by itt enough mat they UiltitruJL'td.y find it a worthwhile experience so worthwhile that' they 'are even willing to pay' high sums for the opportunity of ex_periencing your dream, Great!

However, what iF they dont like it! Should you force it dow~ 'du-jlt' throats despite their \vishes? You wuw. tcy~ 'hut you 'would shordy be wirhour an audience, 'W1:1at are the aleer aal[lYeS? You could change die ,cHea' until me audience does HIre it, 'But men, inslrad o.fl(~sing the audience, you 'would I,ose yourself Should you th.tmv nut yotilt creation a1.t,og,~mer?Th~:r \vould avoid forcing something unen joyable on. either 'yourself or your audiences, Ya~ you end up having nothing' to perform, but you do have: the possibili ty to staIt over, Dream. another dream. and see if this is; one me audience likes, However, lees no t be too pessimistic, 1.f your original. idea. was something you found exciting, the' best d"foct 'you could imagin,e, then. chances are excellent 'mar other people will flnd it exclring and, splendid as, well,

If YOll work this \Vay,. discarding me occasional disappointment, evenruallly you are

~

bound to d:n~elop ~evern.l creations, creations that are true' to you and to YOUI' imagination,

and 3.IiE; liked not onlv by .. _ ' y· .. -ourself but bv 'audiences as; well! 'X'bat mor-e co uld one: ,ask'~

# I

Ilhisrraring ideas with metaphors can aid in making, priaciples clear; but metaphors sometimes have the diisRd'V1iilHta,gt: of seeming: du:on:ti~aj or .insub.stat1.ti:tJ~ How are' such principles octu.ally applioo in. the real world? This, isn't :a1.ways :appMen.t., So let me;' conclude Ylith ,3" ~ specific exMnpl!es of'l"Hllldin,g orders and. give my -vieu.rs on them,

Let's S3;Y that you wish 'to do a trick wirh a candle. Good~ Dream up an ,e'freer with a.

dl th ~

.if!,~,:Ai e.ffl!lf"' ,~. T'nll"ll t'n p'- il"hP"

~ 1.1 _.. 'Qia! I,~, ,.I"~llll : Jl.V "._.

~,

N th do atri k ~th h 11 ,i, H 'Id . " ". h ' :- ext ,£1Y,- ; I',aut you want toco a tnc ,', WJ;_:,=: a S ,ell com, '01 on' rou are starnng 'wit "

, ~ ,

a technical method instead of an, effect. Now we~re bullding walls, without havin,g laid the

foun idarion. I think this ~;j~ ~r c ... ~ .:'~ty, ,: ' b' "'uil; di · ng' .c orden: l\.-ie,th~:.J-:, '~m-" ec:: later

:t:l.!, [Ullrl,. , __ >I _ _ _ • . L:J gj laW , .. _ ,_ .,' _ _ _ • , " UU!j 1!o,;,'V . A'IL""'~iI!

- .

This time 'you want to gene.r.ate a Ieeling offast-paeed, acoel;ernting excitement, This means you ll1W'1!: work within a certain style'~ Ytsi you, can ~ig,n an effect ro suit a 5,poc,ifi,c sryle"Justasyou can build, a, house to fit a particular locatinn. Keep the desired style in mind

as yo u are (-b'rnlning~, ,

Finally, you want to create an effect that will bring you success, To do dijs )'"OU decide

h ~ h b '. rher mazici Proof f ,_c_£._~

to us'e'·~ ~ "Q ~ ters see '¥l i atnngs success '[rO 0 .. I er ma.gJCmllS~ , I,.' , '0 SUCCre.5;S rOO.IDl:S, arter all

effect: is readied, when ir is tested before an. audience, D'e.cennunng: success is the last slep in the 'building process .. To. rdrag the last step to the beginning of yUUI 'buillding ,pro()ess is lin .... icing and g,ives. no gu~te.e of success at aU. HDW is, it linliting?The things [halt have never before been done and carl prrrve' successfiil might velY'well surpriseyou. You wont find these thi Ig! bY'adb,eIing to what has .provro successful belnre, A.'i fn-r guarantees, sucking to ,proven formul:dlS does, not assure success, Those things that others have mund successful may not. itt you-,and then :naany people have ahead)"' seen the others, doing these things before you. There is no gua.rantoc of success, whether you we p.rovell formulas or experiment ¥lim something new- thar comes fiom you. ]t is onlyin the end that you can Imow whether you are kissing a fro,g or a prince.

These examples illwtratt what I believe ro be. correct: and incorrect \\fOlrk]ng orders .. A. proper working order offers much better chances: lof achieving the resu I ts ynu had in mind" and YUR wiH be far less likdy to. find rolJ]n;~lf a foothal] kicked around 'by outside factors. mn can easily PUIlE you to SOBle haphazard spot.

HaveLever been guUty ofbuildlng in rhewrong order? You bed Occasionally I've even een fu.rtunate enough to achieve ramer pleasing results usingan incorrect progn:s.sion .. A hephazard spor~ afi:,er all, m.a:y be quite 10\idy- hut the chances of h i,-tins. one I,andomiy' are much lower chan 'raking proper aim,

'HE ,performer' removes :3. transparent plasdc envelope ,6;0[11 his; pocket an.d disp~a,m irs cnnre:n:D: g,1i1e ,P-"j)ing;',:' "'~ and" t\~enlt)i' dollar [-1- ilt ( .• nly the .: I,Ck 0'; me Clrd can beseen d1rough. 'the envelope. The p rtfOrln~r P'rDposes a smd wager ~'O so:rneon _. ,in, bis_~lIdieftl:_ . j a YJaJ 1- - 'wid no risl Iml ~hi! , " mon_~ 'The s,pectarorr

~ ~ . - - ..... ~,_..Jl~' ... 'I!...."" d ~,,- 'lb.. ~I h -, 11 .. ("_ I . . "",L,. h~ has =~=~ .. ~,.JLy ''iil,iii"iI~''C'l~

I~I 'II._U name, anv ~;IJl.m me .;_ ecs ne WlSL· es, ''-' n; p·f'1l'.IDlllJnnu' C_31'ms, 'rr1L.1J1'1: e ',~, Wl"mU,., ,il.lJLljlll~1J'.· '""

'" , .

paJrod the s'pectamr~s; selecdon and placed ~II: in 'die I nveJo.p·~!, If,he lsi mon,g'i the s,[preCtablf

~fiDS the t"VIenty dollal"' blL Ifhe b: ,righ~ 'the. p~tfonn, ~- wrum', ue CKdh~ for' I,:~ ,mardmible fea'[ ,of precognition, MOle &vol'alblt: terms tiou1d nor be asked,

The s~n m(r DJIm;jj, ." efilllv" rhen ,names a and" TtOl :Slb~1Jr~' U!l2l( dtl- is 'fllfli ~UD'"

E~-= ~

ders tll1.dli rlu--="',i\t,Fr_er all jl nven!V' dollars is 3!t smke here-« the card n ~ moo is removed . .fro,m

lei ~ll'

I 1.' pc " ·lrmeJ~!·,'-ttk~, ,'hen, .. ~ ; ".~' cafJld, :10, 'the' 'ranspart: ~ljJr. en .l klpe i'" cl.eardy rem,ov ,an~

shown. It '·-5, the very nne named, and the perm rmer wins a weU-deserved ,roun.d fl:fapphure!

presentation that substaO'tija.Uy strengrhen the effect . And there' is one byproduct of my

-~ . a .. hil ,..]. -~ 'L~ cl ,"' ...... 1. •. 1=- i, ~ aireranons: __ nee In a w, ue )r.ou can. -0,0 preciserywnat you:-aml~ W.h.Jl no trlCIU:rywU!:'lteveJ~

You ,,,.ill. need 31, transparent envelope, wi thoue a flap and ,open at one end and a side, It must be sLightlly larger than an. ·unf-olded. bill.A tour through a well-stocked stat ionery store: 'win turn OTIe of these up .. Vf7hile you may not find the exact size yuu need, you. will flnd.1arger sires mat can be cut down 1.0 the desired dimensions, Nearly 'trim. a snv,er from, one side of the 0PI:;]1 [o.ng edge, so that yOUt fingers can enter the envelope easily and, 'M theut hesi tatien,

1 Nexr rake a larger de nominati on. 'bill and stick

a Queen of Hearts face down to. its center, usin:; 3,

;:;m--- -11 b lt of m~ O'~ .... 1''''!i 'Ii"'j'i.'" "Dlrl'liV nne" 'L- '''''':0·· . i'"!; "j"t, iI5II F'-"" II':iJI ,['00" m - ili:L O-,;.u 1,- 'v ~c!!I~l~~~~dil 'l"y"~iI! ~=-!~~\.IU· ':IJ,jI. m..liir.. ~U o..' .. " .. "~

what askew 'but \vic:b no portion of it pro,; ecrlng beyond the bill, The best bill. to use is a 'tw:ent)) so tfult the wager is subsmntial 'and creates lnrerest from the start. The blll, though, she ul.dl [lot be too high in value, l\ hundred dollar 'bill would make me berseem tOO p3lt' and people wont rake the \va~r seriously (This sound bir ofpsychology was; .menrdan,ed. '[0 me by loop Pensrraa, a Dutch magiciaJl,. who often per;... for.ms '~Elimbeth ·I1I"~)

Insert the bH I a Old. its attached Quem. into the ,envelope and slip it large paper clip over the open edge~ t.rapping the conten ts inside' (Fi;gure 1) .e The pa.per clip shou I d be: as conspicuous as pos;;~]bl.~: lover ... .su:ed and b~'ighl red or ma_d.~ ofh:r;~~s. It must also be heaVYI' as )l'Olll wish if to clarrer on the '~bl:e when you

dro .' Th- c: .. .t.: "Iii ~ b ..1'1 L rtl

,n II t. e reason tor tnis 'WI!Li1 oe m {ii(J!e c ear ~if :1:0: . - V;;,

~. ~ ~.,.

Finallrt you win need MO special cleats of cards 'With backs matching the Qu.~n. in the' envelop e, These are essentially untrimmed Mene Tdcel decks, whiCh are: easily put t:CFclter' from two regulation. pam. Son the cards of both decks into suirs, then. assemble the duplicat,e:

.J,~ .. • C· I ,.JL.~,ll·1 th d J h 0; ~ deck .~.tl h d b d (HI< JI

cams m pairs, , a:UI'eI au ae spa. e ana eart P&ts, mto one ~t ai t e c u ' an- '~' amone

pairs ill 'U) the other! The cards neednt be in a particular order;~ bu t the pairs must be kepi['

h '\J': _J:lI' d ....... ..-.1. d .... 1.. Q .... , c. 'H' , .. th d iL - d t, ~ .•

roger er. rou uon't need to incnic e tne Uueen or : earts in t __ e spane-nearc : eCK)) as It IS;

covered by your prediction card, Instead, you should add t\VQ jokers to that deck, in. case

'YO' "'ur-'_· ..;;pe-:' , r-ta,·, f':i"i!I.'t', ,~h' ,j"!!i;"' ~l.J lLa, d, bit ""'..:IIp- 't";~ 1"'1;., it'!' Case b - o· , ;t'~,j - . .,...'1 ...... an' ,.' d p .. 11_ -e' "",L ,Cllm- in f"ep-' >:Ii '~~ p-:-':n .... 'I,.~.I'I~ .

r ,',. _ Ul. -:. 1I!r-.: _ ~V& ~~_v.lU1l D~, (;I!; ;'_'.' '~~~ r. JJ..Il~b"'.,rilh \...JaS" ," ',-.,- -:":J-1 ~, '_~. '_ . ~ .. Jla[: _' ID'-r. . I· .!iJ! ", .. ~,~~ I' v~~,

:_ 1.,.'

remembering the locarion of each ..

~

Introd nee your 'wager 'by hringitlg' 011'1: the envelope and exhibitin.g it on 'bath, sides) ,~e·tting the b ilil 3-nd single Card. be unmistakably seen. Toss the envelope nonchalantly onto the table,

w.ith the .. cud ly.ing beneath the bill and 01;.1 t of sigl1.t. (Arl'al],ging', as 'we Ju~t h.a:¥e'~ [0 get me card QU'I: of sigh~. early ill rhe procedure, allows file maximum amount of time fOr the speceators to fo~t the orientation of the cud ill the envelope.) Also keep the en velope near }'Oll~ ~o that it is, in. yO'lU~ control if you 6n(~ you. have 3. grabber in the group ..

Ask if' anyone is interested. in a small gamble, You proJ?Ose that someone name an·.y car-d In :8, standard paci{, and that you will influence him to choose the very' cud you .have

11_ d . h ... ,L b~ll' ,., th 11 Ifvoufs ~';I ~ "",L ". th b·1~ ~ hi '1-_ IL "f

Place ; Wit -; tne ei m - ie ·enV~10pel ~ you nuL In. ·mW~_-· e xu IS " S roo lWep; but 1. you sue-

d "JL will" . ~ ... 'L ..~. .J e I F ~ dl ldu = , ill ·

cee ;, me: gr.oup . : -' __ give rou an entnusiasnc ro·un,Cil Olr app 3llSe. , . f1W' Ill, _ . VJ!,·. uaS ,,_. falSt

such terms, and you can be assured. that you now have everyone's interest,

.Ask the pe,rson who 2lccepts your wagerr [0 name any card, .. If be 11 runes; the (l.,lI~en of Hen"ts" you have won blr and square-e-though you have made rhe best of dlle situarion, since this curl, is the most popular choice after the ke 'of SJ?ades; 3U1,d the .Ace is: seldom named under these circumstances as it seems roo obvious, Censequentlj; the 'Queen is named more OftcJl [han any' othe r card. \V~l1en you hear 'i~ t'"J2ueen of f I. ear at· :Iea.ve the specJtato.ls li~,.~. forget the prepared decks in your pockets, Sllmply pick up the envelope, remove the paper ("J 1p an d ta 'Ice out the. bHI and-card, push, ; .. ng \vith 'rour' thu m b on the ca rd to 'break it loose. &om die bill. Make 'your actions as, clean and 0 p~n. as po&~:i:blc:,. wb.-ile you drnmat;tt: the e-IT~ .... t Vft ... 1Le L- ..... of·- . ','V"ur- "'lI'b'il~ -:likJ" Then ttl" ir n ... 1L.,;;o,. ~.~._.J over and ""~pt 1Jt1"l- -'r 'n"gh'- ~~~ ~~-.-.-~~_j

, . nl::lL Y..iJIm .. 1~1b ... ,~!U! • ',Oi~· 11.'6/.' . ~Jl. '- ... i I rn,.., LaIU 0",..;;;, d..I!.II.'l d.'LoA....L,. j":' .. u, .. '~, I" ITUI :rcwatIU! .•

The Jest of this discussion is necessarv only for those: times 'when another cant than

. ..:

the' Queen of Heans is named

,D'll bearing; the card chosen, you immediarely bring the prepared deck that contains ir fiwu YOUJ7 pocket. Now you must jush!y the use of [he deck 00 the spectators, To do this, I've come up with the Eollrrwing s·~.nu:~~ "Now lets make sure that there is no misunder ... s tanding, I do, alier aU,~ have lVIenqr dollars ridi1lg on this.' Under these circumstances, such cautien is logiaJ and understandable. As you sary this, you unease the deck and ft..H1I. quickl)'~ through it, .faDes reward yourself; to find the named cam" Cut the pack between rhetwo duplicates of this card, sending one to the top,. 'the other to hotto:rn~ I_nwIT. the fa~up deck and deal the card on in &,C~ onto the '[able boe up~ Following this, 'rum rhe deck face down and hold it in left ... hand deaJing grip.

!U:TIl... i~ 1~ 11'" ~.LQ card vou 'n"'ll'iRt'Ii,...__d [-~O"h" ..,.::;. 'T' 'her e ';If' no misund erst .... ndine it" th .,~T".A) V:o' -- 'L .~~-~

. .11.10 ;}l tne ~~JJ.I.I J'- i',I, .I~~J.Ji'~;' 1b I "·U· . I. e 'e N ~,~ ... -'., ,~,_w.'·· '.': e :~lLM'.··_ :_!',' ,l;~1 ll._~ . "~.L~~: IJ., UJ l].av~

chosen this car~ and no o theft ~! Wait :for the spectator to affir,m, his choice, Hav.ing his con- 6rm_adon and rhe ,cird[ face u,p on the table leaves no chance rot later claims that you ~misheard the name of rhe caret This, by the 'Way; is a genui nely wise precaution, as there are people who .rrmy be inclined to He' '[0 win such a. ~l" .. Consequenrlg your actions are ,clearly founded and reasonably morlvared ..

Woile you extract this confirmation &om the s,pec.Ttator~ using 'the exchan.ge to lUcus, attention 0,0 him, push over the top card of the pack sjigh'dy; then form 3. fourth-fin,ge' break beneath it as }roll push it sql.l1~ agaiFll .. Your next obstacle tOI overcome is: [10 create a lo'gical reason to' set the envelope briefly onto the deck, so that you can steal away the duplicate card above the break,

With your rigb"t hand, pick up the envelope by irs, open side! your chumb contacdng 'the paper dip'; Then, as you held the envelope seatio,na_ry; smoothly bring tb,e deck under i:~ (Figure .2). You do this ItO allow me right hand to ,remove me paper clip from, the envelope;

2

3., task requiring both hands, '\';Jbile. ylllUf left thumb holds. the envelope in place" your r.ight thumb and fingers slip, off the' clip and toss it carelessly to 'me table. You have used a large, hea~ brigh tIy colored pa}:lf'f clip to. attract rhe eyes and ears of the spectatOlrs~ diverring them momentarily from considering 'that the envelope is lying on the de.ck~

The instant yuu have dropped rhe paper clip, hrin,g your right hand back to the envelope and gras,p it ,again at the right side, thumb above and fingers below, At the same time we the r~gh.t :6ngertips to' catch the top card 'of the pack and pinch .it against the underside ofthe envelope. Then immediately moveyour left hand and deck to the left and :from under the envelope, Simulmneously,tum. this hand palm d'oW11 and. exrend your forefinger m point at the face-up card. on, the table, With 'this flnger, slide the ,card, £O~ one or rwo inches, focusing fun attention on it", As you do this, say; "This card, should match the. [UK~ 'I placed in the envelope. !~, D~~ your lett hand inward. and deposit me deck lace do-w',D OJI the table, making: this action as inconspicuous as possible. Yuu d.oti~t 'want to do anything, that encourages your audience 'to notice or recall that 'you have been holding 'the deck.

Note that, in the actions above" me envelope is not moved hom irs spot, Rather, the paper clip is removed from it, then the right: hand grasps the envelope while me deckis moved from beneath i'tt AU the while the envelope remains essentially motionless. This absence of

• I I!!

movemen t subtly suggests tha,t' nothing is happening to me envelope, and atrendon on. It is

minimized during the brief momenrs required toload the card, Addirlonally; :aIJ actions be' :e form at continuum of mot man" ailowin,g no ,nocible pau~ as the envelope is ,plaCie,d over the: dedc This, d,~t'"diil is srnoothly obscured within the entirety of the other mOVie:mehts.

Now bring your left hand back to 'the envelope and grasp it, along ,vith the hidden

-~ ~,.J bene ... L '!Ii ill" eh e fingertip . ~ "Th·l' ,r!!' ~. n ",",,:".'U"('O ,_L _ - '11gb. - t !1m·· .~~""_ .. "-~ i!D;#III i:"J!iI rh eir lern n.. m""":,JI'";t:!I Ii nt ,n I~:U . .;.._ ~,,",a:UI!li :~ " " en· 1-,t,., .. ..l.,;~~4 ': ~ WW n i,]I lnf r II. '":" - ,- ,]rJ.1 i:e-''''': ";"v .l!a,,,,,,,@~,... ." , ..... 11. , ~''"'Ci . _ :_IVY "" ,jI. .lUi

HIS secret reverse resembles. Larry J:cnnings~s Latr-eveJs'C;, but 'with, the ,Le,Paul bottom deal gmfrted. to ,iL The curious feature of this sleight is that: it allmvs a. , , previously reversed card '[0 he reversed again in die: very action ofseemingly ~!!!!!!IV rlghting it, Since- me roots of the sleight are in the Larreverse, ]11 modesdy call it the 'Wofi,dereverse" thus ~'Urin,g me my niche in. magical histo~

The ileight rtqui:t~~ a small preparation: Turn the bottom omIof me face ... down deck ,L",,",~ 'up- and ,~, seeo "'Md' card £:"'""p., up' near ,~'~,i!'!I ~n[J31 '0' 'f~-the p",~~l,~

,['ace" 1-,," 'DJI..a' ,g, ~"",.u. ,II!J;;AJI.!" m~ ,,' ~~Q:,!I" mlJioo' ~~ '",",_' ,~'-, ,,~

Hold the deck fact: down in,left"'!}lallld, de-Jling grip. Then SW':d.Y or bevel it somewhat to the light" causing the rop of the deck 'to ovcrhang the bottnm on the ,fl,ght .side. With your left ,tmgt'rtip~), secretly right jog the bottom (reversed] J card about half an inch and ,gently curl irs ,ri,gh'[ side

up ttga'ins;t the beveled, ledge of'thc ,pack (Figure 1)" This positioning is easil)~ accomplished :13 'the deck is placed into 'the: left hand. Stretch your left fo,refinger (~hlclt is lowered ,in the illustration eo eKJPOse the position 0,( me bottom, card) along the ,front of 'the pac.k, protectin.g: '[he jogged card :from view, This is, the hl'aul bottom-dealing gtipr.

With your left: 'thumb! p~,h the top cards snalght to the right, spreading them into Y01!lf palm-up tight hand. Continue to, -spread me cards ,from left' ee righ,t, uneil m,e reversed card, near center comes into view, \~Jb,en you see the card, push it a bit, 'to the: r'ighl:, along with the face-down card ditectly benea:th it:; dH:n stop spreading, Your inrention 'with this, maneuver is 'Ii Or push 'tile exposed bre ... up CRllJ and its downstairs neighbor to d1,e ri:ght 'in reaso na b Iy· close register~ They db not haveto be- in perfect ilignm,ent.; just dose"

The moment We lleft thumb has, pushed these '(W'O cards over, break, 'm,e spread above me fa~up eardand separate the' hands, The right hand suppom the spread, mp' h3lf of-the pack that rested above the reversed ,rum, (Flgujie' 2) .

. As the spread is, split, curl the .lett second 6n,ger secretly in 'under 'the, left-hand, spread and use it '[0 push the' rightjoggedl 'bottom card aJoout half an lneh ·fa:r.dler 00, the right, bringing it Into alignment 'with me tightj<ogged doubl,e' on top of the spread, Again~ ,alignment need

removed hom the pack) and place it: onto me dec~~ Put the deck in its case and 'the' case in the correct peeker. You are Ieady for the next round,

One shouldnt overlook, though, that in walk-around SEttin~ some people may tOl .. ,

low",' , yo' ,,1:'Ijj ,C;-nft"l gro" -111111"" to gr .-,.;1i'P'" ,0""'( A"""Lp1"'j:~~;,e~ witness ~\P,p.=:~_J1 P PI'fo' rmanccs 'H' ·:'i,\"';ln'g:; ~1II·"";hl pe-; ~n-;fl'

.'" - 'u. ITv...IJil.. -. U .. ~. u. vu -," .. _: _~ ·vW~~ .".,. ~ -a : J!!'U;I~ ~'r am . ,.!k- ,.',", .l.lHJLI-.I'\...I~. Jd...·Y'IUl.L. '::l!lI..JLL , .. :-li,I."w_J; _ .. "'!I

'_ ,'~ , ' - . / .

observe' a diffell~nt card 'than that they saw replaced in rhe envelope come from it ,3:[ the next

t: ~ desl 'bl ,', ""1f""'; id -L: blem.I ..... L e:

perrormance can raise unoesira ",I e quesnons. 10 aV01,~, trus pro"_em,, I prepa,re tnree or rour

envelopes, and take them out in ,3; packet at each performance, I then choose one, placeit

, ,. ' th - . ~ -blj, mdt ," 'I" th -, , ;::>to, -, ' ' ,- s' " · " ,', rh " ' 'VnU h "'!n:Wo!1!! !L"~ ~~,~_1 ~iFi '!j"I'"f:!~ n it'\P}(i . -: ,~+=k ,,,,,""'" .... .,.;1.... ~- - ,._'b,,! ,

on c e ~_,£e 3_n_,_ pu ... c __ e ,re~," [Vlay;., -,'oolng Ia.t, ..... , , g'f~ severai "i; .... LL"~julr ........ Wl~Jl]L ~ m tnem

'1" " rhe reoe h bll ~th j~ a" ..J -~ _L· 'j'

exp ams to t e repeat spectator _'OW you are aoie to wager wrt '- yurerent cams eacn ume,

1982

fFlECTS wherein somerh ilt'l,g gPcs 'wrong, after wh ich 'the magida:n corrects ehe situation, are commonly ,caJledsurku mckrhy maglcian.s .. , I 6.nd this to he a rather ugly term, It suggests that the spectators arc ~l.tlothing but suckers, Unf'orlll~ narely rno re 'than a, few magicians 1ie,gard, their' audiences 35 stupid, ,haJf blind and insens irive, You know them .. "'When thev execute at slei ~l1.,.'t P' oo(1),", rhev savlt ;i~ I it' does]];' t

. ~ ~~, ~, J'l

matter .. The audience never notices that," I dont think their audiences are stupid, halfbliad

and insensitive, bur raeher that; j li

'Now, '1 know 'mat rhe term sucker trick is not' al\Vays meant in a pejorative sense, ]1.8: a

term nfj!:!l! h-, ~-';T~ 'fJ'I"Ow.-·n accusto ,m' ed 1'.0_- 1."';'F'i>g il'"Ai, de ~ll !FIe [-,'h,- I" "': '~of--££~rl[-" N· _- QlI;f:~i'L,9tBt:'!'t:" 'I- ,1,'"--:-:-..'1 I~~ " __ W~ , _ ~'~~;;cr-~ .' ~"-'~biI.. _. . '_ .1 'It.' _' ~;ll'iD II.Y . - ~[1j;1 ... - - - ~ '~~l r:.- v a~lt::~,. . 'I!Ir-'P(·cru·ll~IL~~, I li-c:cl

'that using negative '\VOr4s can, even when we use them. ,vithOlll't conscious ill wiJll~ even mally creep into our subconscious and iniluen(J!;' our thnughlrS and ~elings,~ Deep dow'.]1 inside ourselves it might infhience us' to mink less generously about our audiences, I think it is: very important '(0 choose the right words !Or thul§Slr. W ld wherever possible these words should

be oosidve "'0- - rL -- .... L pv help ., t:" w' - 'if'lL: - 11_. correctlv In rnaaic 'm' ''''l''nv' thinas '"l'Fe , e= _"! __ .JI bv

.. -~ ,:r~' 1"""'!I,.r,, ~-- --. 1I.naI: w"''Y - ;""'1,' ~ - 0 ",lliLf:ll.K. I!;.IVI_I!;,.r\-.Uj~' - - "~~",",I . ~ ) JUU& AA. ..... 1!!i.;:dIJ, lEU ;,

unfornm3.te names that make ,it [iOO easv ror us 'to 'think ofourselves and others in unchwt".wle

-- - . - ~

d ~ '\:\17! .... L..JL Ii • d I c II ~ th- n. ~L~ JJ' ,n~ ft- - .!L ~

an __ incorrect Vlays. 'Wli·ulll.J14lat IB, nund, - prerer to can -_ -- ese "sucker type enects :',rlntt;',;jJ:t;c/$,

Often" 'when a fail.urdFect· is performed, .~)t is parcnrlyobvious that the magician is on],y pretending '[that the effect has gone 'mpng~ Acting this part convincingly is extremely' diffi.~, cult, A bit later I 'will explain some of the requirements fal petsuaslvely fei~nling failure., For now-lees assume the dI-eet is credibly played.

Unfortunately, among magicians 3 widely ,held dogma concerning faMllr;dfe.cts asserts r ha.t spectators enjoy ~eeing the m~gj,cim in trouhle, Wdl~ I 'won't say this i.s 'wro:ng~ fUJ in

.. ' d -~ ~. I ill-' b ~'"_111 ~ f· ... .1_ _, - _.J ~ do ,,. 1I~ L - ~'L .! "

some cases 1't "_~_e'm:y is true. . c '\\(1_, ae e5.peciWIY so 1 - we auruenceuoesnrase tne Dlag,tClm.,.

ifhe projects: an attitude of'~ruJl clev,e" and you~re Fuols~ ~~ showing offbis eunning, r~rb'is is a type of Inagic in WllliLcll aU 'the rnagician has, to ofFer his spectators ~s ·that he knffii\ffl, the secrets

xI- rl d' -] I 00- I - - uLd -dish! - - - -'I' - - th - - - '(0'" - .. - - 'Fall'" Ba-' ,- h_-: fa-' "

"l ~' , IF"\l o· nr 'HI'" - "'Ii'l ;oi"""o'"1II~~ IJO"O' WO· , I' ,', ~-",",llnp' ,. pilllll' 'rrol ;;;;;.;rl 'I ,,' -1;0. o'n 'Ie - ~

,~ "'~:;',i.' : ~-I!;,.;" ~ .;;!.', ,Il. ~j _'~.' '.", . ,. . .' I ~'i...)L.Jl. it) , , ....... "I!;.... .' .,. IL-.!I.,. IL " . A.l!i ~ •.

'How nice ir 15 whena trick attempted 'by this smug feUO"'A'" goe.~ wton,g~ [ m.j,gM'rr even Ia.ugh" However, 'when ] ~Jiize rh'at all, rhh~ WiL~, a plO)~ planned from. the hLginning" that I've been led down the ga.rden path by 'at sucker dt«l!~ when this irritating person 'with alt. his smut littletricks again dem,n:n~'itrate.~ his presnrnptueus ~pcrioFity-well, I would bate him even

N _!:... L~.· .r, d ..... L. ~ • nal . dd ~.'1 b r., .... L

OW!li arret Ua.vlng reacnea nUs, emono __ ~,·· state, II SU - ' .• ,e:ruy I ecomes Creal' to tne spa;-

mtor that it was ~1 a setup, and that he invested his emotions in you. (or 110 worthwhile reason. You made him fed bad fO'r nothing, 'You made him feel SO[lY for you fOr nothing, Yo,u cheated him!

Perhaps. he ma.y laugh at the situation, hut he won't laugh from his heart .. He will sim ..

1 1· "..,k hid '1L ~ L .... ~ j ~ r"C' ; ~ ~_iL .. ,.....:'1,; rh _~_J': b 'I~"",n-J..·

Pi y .au~.L to _ ~ I~._ e .nJS embarrassment, As _ see u, "a!ulU~~ . • e auuience nl~re .~~Jl.lng,

~ !o d ba ab I ~ f - '~l ... L~' ill" ~ _t.. "'j C._ .A c: all do J-~~~- I" h

.I[S: eban ~'Ie I au tms W·. increase tneir rove lor yuu. Arter . ,. _ t yO'l11liK.c l[ w' ten someone

· ul OJ t: · I. .... D ~. ~L - ~ I~

sum I ares your ccncern, JOSE Lor a J0lK!f",~' .' 0 rou enjoy It wnen people cry 'WO 1::

lfyan are still at that pitjfuU)~ low le\~l of m·aGJc where you are only showing off your

bill"' (" 10 k hat I can d 1;;1)' ,.. f,,·;L .' - n 'L _, a. ,L .,.). 'b hi L _._

capa '! nes . ~~.O arwnat can dor), I'~mat is au you nave to orrer, men irs plo_a~,r DCSt

not to perform at all. Certainly you should .stay a1\vay from .&illureifew.J 'where ~waggering

be all _L b iO d I e: ~L d. di ..J~.~.~ ~'L A

comes __ ene more O.VIOus. m· on f runner encuu.ra.ges te all. . ence to dislike you ... __ t

me same rime you will likely luWt:f ,yu,ur spet..Utolxs opinion of m·agic too, Please don't do it! Fallureftects are among the most ,difficult presentations to perform successfu1ly!

Having said all. this, there is no question that fnilureffe.as can omn be quire 5Ut:CCSS . ful, This success is n~t su'rp[isi~ since failulefferu in'trinsi,cally involve one of the str1onges[

of fund ,~~ -!L • __ .1 _1 l1'! v. 11 ~nd d' ,!"~ :1 0:_ . • ~,(_

I" •..•• arnental theatrical eiements, conrncr. xer, I rn r Inn many rauurenects also inher-

ently present problems; serious p.l1Jhl~'S that are easily overlooked and can do a lot of harm. OEteRt, despite 'the element of wnHict', 'wilureHects 3ren~t eFFective at aD.

~'hv DO't?

.t

""U':. . ~ dis .~ . ~ ith ._- hei . '1' " ..... ' -. ibl that vo '-', '--~_'" - ,.' . ' .. ' . .l"",!t .. a:"';.._ ...... _ J;!ou nw.y " JSJ.Stee WI me ere. ~t s poS'.!iiil .. rf _. at YO'Il3Ie using one or mererauurerrects

in your show, and that they reap plenty of laughter and strong reactions. However, these effects haven-egativc aB.pects that may not be immediately apparent, but can easily outweigh the. obvious 'benefits .. The matter is much more complex than one mighT:. ar first think. So

" , ~ fo b f .... JL d d d14,M ul ~ if d 00-" b

ir S unportant or us to ··e aware 0 '. these ; angers ana .. ~ uno ! nes 11 'we are [0 '.' 0 a. go JO ~

WLlj1J" So D·:: ITFlF"IC"'T TT' "T· .;>

1-11 a.- . -- - ... _.'UJ..",r t

The difficulty l~ htrgdr in the ~cling.~ When you see someone do a fallureffOCt, often it is obvious that me; pe.T5on is, only pretending that something has gonewrong, Now, ifit's dear that the nick, really hasn~t fai1ed~ much if not all of the potential drama is .lOSE.,

Yet, 'you may say;! it's the8!ter~ \l'hen you ~e a stage play in which people are 6gb ring, you, know they are only pretending to Hghr. ]·is. all at play~ So why should we expect an

, di . ~- ... to beli th-' t - trick L -~ __ ,_11 . -. _ '!i'il;i"'i"\ong'~"T! . -- -. - ... t....~~ le·t"J!lI' look at C.Ame .J'!I~.p~1E:'

aUrLen.......... ilJe. JeVe . . a.. ,,3. . ..1la5 n:auY:GP0e ·T'Lj.I' I.~ 10 anSV(cr U-JL'-!t '. iiJ' ,~' ~ ·.1.JY. - •. GO ~~I

r- ,.__....11~ hr what ;.c. ..JI· ~ - - Af- percee :lied" . ..~ ~t = - _ and h' ow .J... t' . pp- Ii ,Al" "'0 theater

o II ea -ji" IIiIlI ,w anc IS no .~).Wi:!J"'·· as rC'"dJ.~ty ',: . ..~ Ula. 14 . ues LJ: Ul ',' -~.

True r,eaiity,dttkrs. greatly frornstage l'eaJh~ Thereis no place rortrue TeJ11i:ry in theater.

"'iIr! _ .. _,. 1~' ~1iI Jl .. " ~ • 'I' On' . dens _..J ~ f' -- _ .• "

I rue: reanty 1S ~[]er~ i notvery 1n.teresting".·. '. . at stage: one: sees a. 'ann. - ensec version 0 1"t3!l1t:J"

TIle mosr intereSting portions, the most characteristic features of rea1izy are condensed to create ORe clear expression, one simple and lucid c~:5tage real i ty" .. This has little in, common with .tUE reality, True rea]i~ like that of everyday Ufe~ is too slow and uneventful to be

arcsented in a shon

Though stage reality has nothingto do with. true ~eality~ it is accepted. by 'the audience as something quite real. Suspension of disbelief takes place and people experience it as real, However, suppose you Jerk them ,abrupdy out of 'this dream, world h:y as1cin,g them, "Do yon think, 'thk is: tful~i r-eall?U 'They would snap DUI of their \villfUll :acoe]ltiDce' offantasy, and

'''N f' P) v 11 b 1~ 'll • ,II ,c.' '~' 'I

say;, --,_ ,', D~ 0', course' not. ret, on.JlY nUJR1Mt8 - erore tney were accephn.gtl1.fLt ncnon as rea ~,

TIrey were captured and perha-ps, eve'h m.oved by [he' happenings; on, stalgc. They were not

..,_'IL· _L: tL t "h- 'e - - - - aJl p~:i'"bn~

l!:.D.lfl..Klng '.'fila "!c., 'I,;S was ,. I, ';I .... :uL.;J!:,ii.;:n •• ;,.

W'iili magic, of course, i~, ought '(0 he the same, '3Vltell. a trick seemingly goes VlfOng~ the failUlre must be SOl well acted lrb~t the; audience suspends their disbel ief an d truly feels that you're. having problems, Bt] t s hOllLd they he pulled from, yom fan wy world and asked, "Do yon. reaDy' think something went '\vrong there!" they' would answer that it was, all Just a ,play, nor real trouble,

TItis is, something qu.i te djnereu~t ,front seeing someone do it fail ureffect and, at th e moment the' fake failure 1 s presented, th e a llldien ce reail izes that it L~ an pretel1~c., \X1hcn that occurs, suspension ofdis.bc·]kfhas bern lost. lEiS vital to the e:&'ea that everything, including the apparent fa t lure: of the trick, is accepted as a. reality ~bur not as true reality; rather as theatrical reality~ 'This can only be' achieved through suspension of disbellef It could be [hat suspension 6f'disbdief was never 'mere eo start ~~tb:, nor an uncommon occurrence Wid) many magiic, shows", Or perhaps suspension of disbeliefwas ruined by unrnnvllncing acting, ~u see you. must be an accomplished actor [0 creare and sustain a suspens,lon Ofldisbdid,

'The successful acdng of faihlrmecrs, is not easy~ Indeed, acting OUI these efFecrs is quite

J.::a:: ~ .11 'p'~ t: b h wh __ 11: L' 1 I Lt I ~" 1-

cnncun. Picture [or a rnomen t vi nat .. appens, en 'yun r.t:IIU,Y- row up a tru:K.! mmeniare y

yow mind becomes pandemonium, wrth faany rhouglus .flying through it 3.'( incredible speed, IOn top mthQ you foel,e;'mbartraSSm.enf., which >"Ou most 'I~keiy '¥-111. m.dl_ to hide, How do,

d- 'IL )''IT. .. ~~L all' L~ ( L-LI ad _1L .

you 0 tnat. rou :m:t~:,I.~Lt mase a. sm· JOKe'p,rooon y net a ve_ry go ~ .• ' -I one-e-at SUUl a. moment

you have no time to come up with a, great joke), 'WIth all this, )llur mind is .pr-ooobly still too preoccupied [0' come up with n way to correct your mol"

So, then" ,if you w'i sh to pret~ndl tlM.11' something has gonic wrong" you will have to ,act: out this mental chaos, with ail the subtle steps" You must l,e[ aU those thoughts ,fly' through your rnind; and all the, steps you Ytould. normally take, you must take AOW~ I know that those steps usually' move' at breakneck speed, Yet" 'when acting, you have: 'to 'take them all~ at rhar same, Hghmllllg' speed, 'You can't m-ord to ~Jdp one ofthem, even 'when mey happen o.nly inside your head, even if-you believe that "the' audience carr[ know 'wh~t happens there, You musr do it. OtherwL8~} believe IHe" rhe audience wlU sense it, and. cnl]£~nendy their S1l.15-pell~~'rgn of d.is"belief ~ill be mined, They win. leave YDur carefiilly constructed dream world and suddenly your work, mig_-ht look ridiculous, childish.

Fahl,~crs require very careful acting, and thus 'iieq:U1Fe you tn, ,s;ru1dy' me &ding of bjlure~ with, pt attention to. detait It is not c~; ,As I said" these are !th,e tn.est effects around to present weII~

-

Besides the .acdl1,g~ 11r:lg: important that your resulting acti n ns are pr,operly' scripted, that ,!they are one; hundred pen:.eht natural. and logicaJ given· 'the circumstances. For if 'they' ring

£"_I .... . .. .'. C_~ .. , .. tI'l> - .. , .. :, ... ,' 1l,._I,...... . '11',· ,,;,,-1L ~ .' -." , I" .' .~. - '. 'f disb _1.!_£'!!o J_ -'. .

r:alse, even l?erI't1.~1o ac ng won t Il!:lp you. IJ acrneve aut! ;suspenSlo.n o· WS eJu:t- rts neces-

sary that you spend time cMefuHy consider Ulg, the construction of the effect;

G,EN!·;····'·U'DAI D"AN'" ,····,··G: ·"E··RS-·,'·····

..... '(~ .. ~.·.[., ' I_.,· '

Now ]er':~ look :IE' some of me dan zers involved in 6_a ur~ast even when thev are success-

. ,0'-' ..

fuJly acted. Firs.c' N'ot ,everyone in the audience might understand at tbe condusion of the

trick that the £allure was 'merely a, th,eatrical ,ploy. 'Given, superb acting" maD)! people D13:Y

• ..J~ d ~ 'k- ~ .oLL ~ ~.~~ _~'1~ iL _'I~ D ::. b . __ ..1 if-_l:..

misunderstan ',J' rn ura ,"I:ng mesmcai :rEa..l.ity ror true rean ty. -. ont .C smp'rl~u, ;.'. arrcr your

h- . ~~He',~...111 H did make . take, b - h b11j • H

:5 ow someone savs s Oi(1oa.~ : C- 1 maze a m:tS;:'- out . e wasa ~!Ji.e to. cover it' up , e

"'"", I " __ . " : IL. ~., (,'.It!, " D ........... ·.iIi '! . .•.. ,._ I • , " 'ow ,'I I ,'.. .' '.', 1.,'!Il '

.. ,~: · ' .. ' . c __ - '.' ~- b ,- - - . ~,~~ .' · ,..,,'1:... . ..i; c~" - .. ,.- . i -, .'. ,f' " . " .,", r " he '"'n' b· __ . . . - .'

Hi ~- not pcr:roct yet, .·ut mayoc wnn iii. IC'\V more yeatS 0, rraimng e wu · ecome a

.' '!AJJ..,~ . '. - d m~O'" '":, =- .'. - -., ~Ii' rt.. - d '. .. '"t ~ ._I,_,,~. mi .... _ L .. p"

r€~J goo. , .. _ .. ,~lClan~ ,onel'YJW . GCSfl ,URUU; . lS,~es~

I d· .'-.' b·t,..1L·· ,[ ,...,.1L ... :!_ :" ~;L_ .i ~ '" '.. .' ". . .' . f.· - L_" f- " -, ~ H"· .. - -- '" - ,c_:~~., _~_~bI"'~_~

_ ':_:OU .Ul_~ _ UJD; IS 'lIIlIr,opuuon yuu.V{3[lt proplC1J:Jc nave 0 you~, ~-c_owever;l. m6Ull,iYJ~tS,

__ ,L ~~ L __ ~ 11 ~l___ - Ii ""-~'I __ -_)" __ I ,._L . E': ~ n .... '. ", 1~_

wnere you. O'LJ\II ou.s.li.Y' m~ a rnlS~ ana tnen ".t11HY' correce It fJ you can Dc: sure SQIne

people VIill believe mat 'you reill¥ Inaclc; a mi&tikt: and are not doIng your work peICecd:y.

n hL - p ~ then" 'l~Otl shoi ~11)J 'CJ[1id' oj, "iIJIlil""Jill' iii ... "" make 1" t OL -1' iIiI1Ili',.,. ~ c.; ,...:L .. . i.E. t ... ~L It ...L ~ r ~'~ - . rernaps, " .. ~ I I 'ill ,w~ ,U ,IL. '. 4't'f'Al 'ru' .~' ...U'V vw) arter me eJ!,.IJ~c ~ Uta", U,IC rauure

was only pI~fid teasing, while you leave 'me audiencel's suspension of Idishdief intact. To achieve this; Goal" though, you mustn't leave the dream world you have created, fo'r e\I'eryone,

Oo!'-r--:-HEI'~ ·'~R~···· DiA'l\l(i···'"""!!'ERS,,''C···· e

.. '. . "." :nJ_""'I' ", .. ~ '.~ _.

There: are other dangers, (00; dangers that don't app!y to every type of bau:r~ffect. For there is, more than one type, atld what m~y be true fo:r one ~y be completely untrue for 'an-

th "~I' d .. Fth ~ ,.1: .001 .. - ,.. d c= £. •

o er.. 0 get a .'C:- ear PIClture 0 - '. _6 p.re51wng nangcJ's u m nCC'.CSSaty tOC enne rOW" categones

- -

of' fii]ureEfects~

Dl'F'~E- 'R··" E--NT' ~-,rn~~S· - '0' ,ta F:AJ···· "LT 11iD,"Cct:;'F1::~~

.' rj~ II'." ~_, _ ,"I. I .J:~ lIL:.t_r .". til. ~ , _ ',: : ' .. 1 • ·~UJI.\.J:C ,fiLl ~ U

F~IRST TYPE::'1}m SECRET METHOD' IS ExPOSED-In this type of f3ilufdkct somethi'ng

.... , ,. ~ 1L._ - "by~ - . 1L '. - _,.11' .' ,", h-- (. .... .._,J)" '. -.' .- .. h _..J ,- '1"I'Ii~1 'ill . lL.. , . . •

goes W.II~ong wnere ~., •..... [fir aueuence sees t e ... assumecu secret met 'no, emp. n,1 L~ 'Of rue magt-

cian. The magician realizes this and corrects the situation in, a 'way mat makes it obvious rha r the exposed. method '¥la.~ not the true hoe, .. In this first type of cff~ct the magician is

c. -'11' Y ~"IlI""" ~ l'"i;f'th- 1 P 'P! 'IiC'nl' rj ons 0'· f- ;';"~P 3,-- u :-·d·· ;iPH FhJ!>;

Il.lJ I~l' d.·'f'-~ld..I..'~ IU . ~~ "Ibail r: ,'-d,V,· , III .. '.',. 'U-I~ .' :',' _~~~~i

S'··: EG: . 0.1 'N··· D' ""T'\·-n'E· ! ~,:::-,Tm' S··-p'C~l~"T"in .. n"C' ~''"N- . -K->'-11"' ifl::"V' V''I\;._ 'i'O'I\W' TH- .' IE JS~C"lT.t. 'Il;'T ~ U'" --To@' ,....L.._., soectato ft'

. ..'.... Il I C' 'Ill nl.Ft~ '. '.~ ~ '-L-l.-A y~ ilnJ·· . J..n_~ 1 ~ ·-"~·W . - l' I ... ~.... n.;.1!:'!!w' IUIl''¥ ~'r.::·~ ~.~« .~ ~~'

L. 1" 'IL kn ~'L. L ! dd ._~L d 'b · _L d" 'b 'b .' .LL tl _J ad

De ieve lIn.ey ~_: 'OW tne m.e ten metnoa, ·.·.llt In me enc it secomes 0 .··¥lUUS mat _ ae metnoe

suspected could never 'have been the one emp,!oyed .. Tht:, ,magiCiwl :appe-Ms unaware of the suspicions of the audience. H~le;r~ the aodkg,ce rtever 'actually seo a secret method.

, - ,

""fl' II"WRO' . ''1''-ml7;' S·:·,O· .: ··'LA1YI""T'I-;rJo,·l'·G· T1;...'T·'T"L..II"T:';' p-·.n~ED. URE· .. '. · 'G· O 'ES"'W" .... "01: '-N": 'G .. ,..............,·H· ere ",!'l.~ ~J91I'""I".P ... m ethod

,J..nJL .- : J I:l"-,El~ ," ll"!~~ L 1II!IJ.'''i·· lJ['~ ~. llL~·,· n~, _.' -. " '-1 '. "," ,"_. ' .. i~ : ~ ~I. 'UI~ ~~~"J ',~. '"_

plays no role, Nor does '[he effect· go wrong. Instead, something sooming~y unforeseen

L ~ ~ 'bl e: ..... L .~.J~ T--:- hi' ~L" d i ~'~bl c_:~ la _

rmp,;penSt cawIng 'rrou- e tor me p~rmer~ - :- _,:-S ullft type IS, p-osu .: y not a true rauurerrect,

f'OlmTIi, 1YPt.~ "tHE SECRET OF THE EFFE~CT I'J.-A¥S No ROLE...,_.._HE~re: something goes lA/l1ong.. but again no f1ictitious method i$ ,eXposed .. Th£ wrong outco'm,t:: of the magic is corrected in, ,a,mJJgical '\wy: lle audienoc is n,eYcr ~me: 'Of secret m,ethods,~

D·I\""'1'Gi. ··E-·RS:·,.·:' O··~ . 10 THEI 10 - Fl- RST": . ~l,I"'n.E

:ru, ";II ' . r _ . " _ _ -:__ .l I 1""',

A negative aspect to th is 'type of faUureffecr is that attention is. mcwed on the secr-et' meth-

,J, f' . '.' • f..J ~ b .. J ~·ef·will· _1 ~ • _1'. b · -' .J1 ~ I!" ..L : C _lr

€la'S rC'1 magu:. Any suspension 0 ens ·'W, .. almost certamiy _ e min€(] U1 nus type Or etrecr,

v. .J - e_ all' hi .... 1.z dl rh "I d ,I, - -~ _,..J _ . .JI rou co, arter • u ., s " ow to we ausnence . - .at secrets are m p·.aVl< ,an. _. evervone is fen Ili.ns.,lW

or ...

..... 1L ~"_1__ M' '. 'b _'L" L b irh ~'L" f'"

mat you pracnce trickery; - ,agtC aecemes no more tn .. an a JOKle,) at :.est~ wtt ! trus type.o

" Ir i ,_u .. __ IL"_ d d ('"/,,.~ Id' L .. ihl Th ho: -lid

presentanon t is au m~ry ra tert nan a lall,rasyWO[. WItC'Ie mag"c 'IS pos,Sln e, _ . at s Ow'

be reason enO'u,~ to Stay a~~y from this type of faiLureiJecr. 1i[ witl be. dear that I am not fond of this sort of presentation.

D.AJ;GERS OF ~IHE SE~=O'ND fuR

The second type' of faUu:refIect 15, in a w-:ay_ a transition form be~n tb-e fiOl and third types. I EfFecm that contain rem LS alit; examples of tile second 'type .. For example, you vanish a coin, but the audience sus.pef.:H that .it .might be in your other hand ~ .A few moments, later yotl make 3 casual ges.Olte that shows the hand in question empty~

Feinm allow for many possibilhies useful in l~ading spectators 311J<Wld the true method.

Such stra~ open roads ro the accomplishment of.all sorts. of secret .actions, HO~'"eVe,r,. the utility of feints, depends on how ,powerrully they' are played. When heavily stressed they C-a11 produce a ~qtron.g negative effect., akin to failureffeGts of the first type. But .. p,ICl:yed soficly and gen dy they. can. work for ~you without arousing a negative, smart-aleck feeling~ To avoid the' pitfalls it is usually best to put ligJtt stress on such felnts,

'1"'11'1::" rn-"]RD'" ':, '1'I\~IE'" lftL ~n"_· ]Il~,

.

In this type.", ] n theeyes of the spectator something in the procedure goes wrong; however,

"""L ,.. r." f th bl A h d" f'" hL ick h 11 - '"11- LI..... d

mit. .mag1cIan rsn I: aware or tnc pro ~:u::mi!' t' tne en :-_1 or t'l e [n1:~ ne 15 so OU lVlOU,s an .

_*h" fi'~" odl I · C'" harll M" ill" ; '(:'D" b D': 1 .. jIJ (H' d

everytnmgrurns.oue ine.Ago c · exampieis: : .. ante <:, ,ers ·un>ury .le1usuJn.-'u_gaI

dB 'k~ j."'"J'~.J?1 h~ ,. 319") I thi ',_L ., ... JL ... l ~~ _jl

an nraues ~r,ert lL,arn j,'IC,.:'fuque; p~ ~'I' '.,. m - IS mea 'YOU continue. W,IUl me proC2.C(].ure

if -~:'-'"' j .. ". 1 uld TIl J .~. .ili:L

as J wC'YU4.U.i6IS .progresS-lOg as lt s 10 _I '_. .' e specrators, ~lowever) atone pOint nonce mat

you are obviuusly heading fo,r disaster ~but in the end. rhis perception turns out to be spurious, Here the spectato'rL~ helieve that you are falling when you are not, The result is,

th ...JL • ..... :b 1 ';:-"'1 ... L ... :L. • I'th...L ,~ L. ~ ,._

at me spectators ml.5-fit ater lCC'_ mat sornetmng 'was wrong wtt - (rleu own observanons,

It is all a pudtish beguile'm.el1lc! Burt never ls there ,atlly hinr of trickerx being exercised 'It is

_111 .,. ~

iDJL just .magtc,

"lrl'T'F.i F. 'IO.·r TDI'"f"Il....r ''lrl''''''E: 1~·: ~.U~l.[n .1.Il~·

This is not an uncommon varietY' of fdiIureffectJ and properly' handled ir becomes a dramatic predicamenr iln which the perfosmer gets entangled in. a oonflict of'some sorr, In such

. ~ • -. d . 'L I th ..J... .. • t, th eh d _1-_

pJeSenta.tloru." no stress IS p~cc'-=- on trlcKery~ n otner woms, lt ism . ae memoo U13( goes

Th·] ~.J':_ th c..~.·I: f t ft b ed J:I ~n 1 r'· thi

wrong, , etau,re,j" te It;t;ung ofmagiccan 0 ten be preserve ~ ~fn'[ lexamP'CS 0 .. __ IS

!kind Df work were prominent in the performances of Cardini and FR:d Kaps, Things con .. standy happen that are nut planned by the magici'aJll~ Nevertbdess~ he copes, with these ~roblems as. best ht ,~ R.

E N····'·:

ND,.······~OTE

.1 hope this discussion of the .manY' dan~rs inherent in failureffocts \vill .help Y01100 avoid the snares when you decide to add a trick of rhis sort to 'your .repc:rwire .. Ifyou.~rel SUC'CfSSful in avoiding the trap~;~. yuu rnay'VVClJ have fashionoi a tilmng p;oce of thearei, which no doubt

.:II~ = .. -'.' -: . , __ ~- -_ -·1- - ~:_~I,'I ~- __ d ... -~""'£'.Il'·~ ,-,~J . '00": .- 'I, ~'I-,-,

ww, serve you extremeiyweu. rrean ~1;;II,W r ,wru gp .. _._ ueie

A\1JN'G discussed me difficulty ofpresencing fail.'tlre£fecu pruperly; I will now give an example of a routine I used 'Co do that contains elements of &lJX faux p3,~ I.

L - '. ~iL , __ 11 b d. d ~L • ;i;. 1"", di ~L

nave, wnnsome renictance, aoanc one:' nus rounne 10 recentyears, IU1'_ng'lUat

there ale still WInE: ne,gati~{e aspects to the presentation that I have not been able to circumnavigate 'without scrap,ing presentational bouom, ,I am deseriblng the routine, nevertheless, with the hope 'Chat 1 [. ron rains some in'rerestiqg reaXUIe5 and the possibiH ty fOr. a presentational solution fOr another performer, It also serves as, a. good example of how one oonsnucrs a. presentation capable of achieving a. believsble failurnff(;ct~ The construction here does n or of course el imi n ate the need fn r eonvi n,ci,ng' actIng: .. Howe"!Jer, good construction ,is 'Vitd. in. crearing a believable environment 'that' fosters credi ble acting, as' I hope 'to ShOWi

The' basic plot' is borrowed (r.om J. N~ Horzinse,r: '(~Everyvther-e and Nowhere" A cud is selected, noted 'by the audlence and lost back into the: d.eCk The performer 'then ribbon spreads, the pack, revealing that one card has. 'turned, face up .in me center, the. Two of Dlamonds, Regrettably; this 1~ nor the card JUSt chosen,

The 'Two is left on' the table and t:be rest of the cards are gad1lel'ed. TIle ,perflOt.met attempts [0 recover f('0111 his blundec bY' wing a fkrurlsh. to produce another card, rh e "'rilvo of Clu~. Bu[ ,again ,he is iinform,edj rhat he has missed _ He deposi ts trh e r] wo of (-:1 uhs wi tho the Two of Diamonds on the table and openly searchEl~ tn,r,ough the deck, obviously at the end DfItL~ &ay1.ng ,rope .. He finds the Twa of He am and asks ifit is 'the correct card, No. He places it with the other misses,

(iWas, it the Two of Spades~V) No, he is told, In faa ir 'YW:1tSn~t a 'TYro at' all, ~L\Vhat was your card 'men?" he asks; finally beaten. '~~The Nine of Gh.lbs'l'~! is the anSVI~r~

"Oh," The performer picks up the Tw'O ofHearts Jro1lll rhe [able: and rubs it on his sleeve ~ changing it: W the Nine of Chubs, He nexr picks up the ~IWo of (=:Iu bs and. changes it into the Nine of'C~ubs as wel'~:!'I"en someone t~ asked to rub rhe Iwo ofDiamonds on the 'tihle and turn the card over .. It too has changed to the Nine' of C)ub.s!

'The perfonner turns the deck face up and p.asses hls hand over' it~ The random card .:1.., "'bI _1!_ h N"" '. ''''''CI b' 'H'·' 'L ... ~'i ,.n-~ ,L, d .... :L .iIL.. • -L__H mere VlSl ',' 'Y Olafiges to 11:: :c e ",' me ot '.'_U'.:S~_ e next runs truuU§,u. me .. ' e~ SnO~V'Ul.g mat au

rhe cards there are now Nines, of Clubs,

Hash through YOllI mind, and y-9U would grab at the very Hrst idea that promised ro correct marters and successfully conclude rhe effect. It is J110:5t Ii ~[y that this course of rectification

uld ~ II -'.'IL r,rn~l-.~ -.._;;_j 'Oc di rr; d ~_ . ..:L l~ rr, ~,._:

WO' InVOlve' producing rne n&lt earn m a u rrerent m:,. somewnar tess errecnve manner

than .ne one that you had planned. To ensure', then, thar the audience believes that you have honestly missed, you do just that

Push the face ... up Two of Diamonds £6cward and'our of the' spreaiL Then" 'with youe left hand, gather all the cards to the lefl of the spot the~T we oGCupie,d, 'y.rhile with your right hand. you pick up the remaining portion of the spread, Put the right hand's cards: under' those in the lett hand, In effect'.~ you have mbdy rut the deck at the ~p in the spread made by the extracted ~lwo~ Most of your 5C:tUP is now on tap of the deck reading from 'lOp dmvn: 'Two of Clubs; Two of Hearts and Nine of Clubs. The court: card ,lies on the bottom of the pack

Hold the deck face down by its sides in yuur palm .. (town left hand. With your right hand, cut about a third of the Ideck froln rhe rop and quickly peek at the 'm of the card to which you\!'~ cut .. You dotil con ceal thi~ peek .. That is, you. dont direct attention eJ sewh ere' as you ,gti 111.flSe the Gud. Bur you dont make the glance an obvious. one either. You don't b.~. - ,__, rernernh the -"'!i·.d vouve pecked !'::I [ v ..... r - nl - motive In makine this ifiOU:_'L..t1y

lIa~ LeU . QU.llb 1eJ." ,: ,e CiIii!rJI.· )'v" ""~ ' .. " __ " pl.,~ l.~U_ a : ly . i,", .'., I • ctN'D .:Ii 'i2t;',fY1 . ,

awklvard move is, to. suggest to 'title spectators that you are improvising your my O'U[ of a. difficult spot,

Now butt sllu·ft1e the ri,ght hand's smaller packet into the larger one (Figure' I), (The burt shum~" fOlf those unfamiliar wirl1 'the term, is a form of':Wo shuffle done 'with both hands pping; me packets from above,.) The shufBe doesn't have [0 produce a perfect: weave'. It can, in facr, be quite crude, }\.H you. desire is to mesh the smaller packet with the large.r~

Raise both. hands, turning the. faces of the woven packets toward the audience, Under cover of this upward sweep, use. the. right fu,re:finger to push the tiop card o.f me' right-band, nacket half an inCh or more to the leA: (Figure 2). This is the T,yo of Clubs,

You wiD, IlQW' produce the T'\f\u in (j) ra ther pretty fashion (derived &om a Karl Fwvcs concei r, ~'(~:enter Control" :fllom his Faro and Ri..fJk TaJmiqucOj 19,6:9" p. 40) .. Lower your left hand. and its packet as yo,u,iimultarteou51yraise the right hand and its cards.These motions cause the'Iwo of'Clubs, fiom its adJusted posltion .• , to 9M.veil out ofthe deck, plvodng between your le£t second .finger and right thumb, (Figure 3). The hands continue to move lCOWlMlclockwise around 'me Two , stripping the packets oompIe:tdJr apaIt and stopping o.o1:y

2

4

\

.

3

.

when me right, hand is directly above the left hand, At this point the Two of Clubs will be entirelyout of the deck, 'trapped. between the backs of ' the .Len second finger and right thumb (Figure' ,1) ~ This production might sound djfficu1t, bur it is acfu,ally quite the 0PpO,g lte,

Pause and let eV~'you,e see die face of the Tw'o.. Then kt it fuJ1 face down 01100 the d.oublefdLed, card. on. the table" Place [he r.i:ghl ha.nd~5, packet under the ief?'s as )"n1U look to th e audIence fiJI" sIgns OfYOUlF success; but again yon discover mat you have: missed ~ The' remain.i. ng three cards of YUltlir s.eru,p are now 'buried in, 'the deck in this orden uppermost is the OOUJt taJ1d~ then the T we of Hearts foUowed by the Nine of Clubs,

The audience art this polnt has two good, reasons to believe that: you an~geflubud.y AIl [rouble. First,) the revelation you have Just used to produce" the Two uf Clubs is less magical and less impressive ilian tht: producdol1 of ~he f:a.c~up Two of Diamonds in 'the middle of the {leek. (Magician_s ulay' til i nl~ oth erwi se, .~ i nee the; second revelanon is more novel '[0 them, btu the pu blic doe." nil:t see thi ng', that war) This sU,gg~,t5 that yun are groping for a method of :n~oovr;ry. And second, )ron have just produced. another Two ~ making the audience think that you believe the chosen card is a Two" {l\.&cr all, they don~t know how cards are controllcd.) '~'Wo'\~'~' they ale thinking, "he believes we chose a Two! Hes completely on the wrong path," The imminent production of the T\¥O of Hearts will strengthen this belief

Spread through. tb.ededc~ f:;K~s roward you~ andcut d.leTVt"o of'Heans EO the top, Square the cards and rake the deck 'bce dOWID into lefi-,h::urnd dealing position, 'Then remove the Two of Hearts fro 111 dh e 'fop ~ nd di~r ~a.y i t~

The least eJJective ~Y' to. produce a card is to. lookfo1" it in the pack", then. t:lke it OUt and show it.., That Is exactly wna't you have; Just done. At [his pcinr b: seems, YOou no. longer care about fJindiug the card in an impressive manner, ,AfreE '[VID failures you are [ust trying [0 saw £aGe 'by identify1ng me card, This: is: precisely what at none 'IDO oo]npc:tr;:nt magician rnighr do in "these (:ilrcwnst«l1c:esm

Now, in utter disbeliefat your repeated misses, blatantly ~k,jfthe card was the'Iwe of Spades? This, question draws anention upward to your faa!~ permitting you to execute '6L top change, switching the'Iwo of'Hearts in. your right hand for the Nine ofClubs on top of the deck, Throw the faa-dO\vo, 'Nine onto the pair of cards on me 'ruble ..

The (OP change is never seen .. In addition to your question cl:a.inl'ii'ng the audience's atte n tio]"]" no o ne is any IQ n,ger interested in the cards, They are more concerned with how you, win handle rhe predicament you are in, which condnues to worsen.

'On hearing that the selection wasnr the Two of Spades, seem to give, up efidrel~ Pre'tend dIll all is: lost: and.the rrick is over. This pretense of complete defe31t'is important. 'XIhen 'me audience believes th~[ you are givirlg up, abandening the trick, they' have been oonvincOOl that YO'H. have truly faHt".d", .AJI your aceions have' led them to this conc~us'inn. yrn.l have pm ... d,1lJ.ced three 'IWo~~ in. sllLce.~~ive~,y less: interesting ~~" and in rhc end YOll have not found 'the selection .. In aU my performances of this .rourine, ] neve', encountered alar ,pef'50n who wasnt convinced by aU this that I was honesdy in trouble'. There was no suspicion, that 'they 'were being set up,

Frequently - .. tbe conclusion of .... he routine people told m- j:!j ,.ii:r ... 1.. - - A"k.,t had _"",'FI

, , ',Il .' " y; a:!LUl ," ;, '~. ;' I _" - rn : ~ ,,'1.41,' - , ~" r~~ ~- , LV, ,,"!i..'~ , mouf,'.J.I' yoU. ll.a! n.:auy

. d v. £ J d .~ I = 11 f ;L '. 1 ~II;' Th' o c 1 d e. 1 ..... .J b ~L ~

nUS5e __ , • .lOU. oore me: 'EW8S au part-a .tne rrickl" . :eywere :[00, ec ,~£ao_cu -y'one actlD_g'

more than by anything else, The technical elements don~t seem important to them,

RE y

DE1vfPTION'

Ask the spc:t.:1B'turs . whirl, card was chosen, ~len they tell you i-l, was tile Nine of Clubs, look through the- deck and shrug~ acting as if)'Ull can)t understand how the trick could. possibly have gone wroh& ~ 11hen .~qu,are the ,cards a)J~ld, hald. them bi::E dm\ro in left-hand dea1 i ng position ..

A- _L ~ . ,I' . h b- 1- h ~t_ d- hI c.: d' ,...I; I""f":! r- D" , _II._ '. .r., [ 'U;-i~ ,pOint, on t te I:91; e you: nave rne • ~ ou -:'e-ra<.:e· cam, 115 J WO or uamonas Slut:

showiln~ a bce-down Two of Clutts On top of this' and, a face-down. N ine ofCllubs, (bdi,It;VW to be the Two ofHeruts) 0.11 top ofall e- T,he Two ofI~Iearts is, on top of the deck. and. a COUlt

d- · t.. ~ c~

au: . _ IS at taL mce.

Plck up the Nine' of'Clubs from the pile on the table and rub it against your left sleeve.

Then peek ar im face. "The card, was, the Nine of~ ~ .'~ The sp-ectaton: will help vou: "Clubs, t1

" :1. I "

'~Ah ~~ clubs." Rub the card a Iittle more on yoursleeve, then ,:;hIOW it' to he the Nine of Clubs t By asking in 'this manner about me sui~ you givc' the impression 'that you could. have changed the wd to whatever the spectators tell you. This implies rha t rome real magic is, happening now,

With thi,s surprising change of 'the Two 'of Hearts to the chosen card, your audience Ibegins 'to understand that your mistakes weredeliberate, With. 'this realization they relax, You arc our of trouble, me rension and embarrassment disappear) things are in. control again} the correct card has been produced, The. sudden relief and, relaxation provide the perfect opportunity for' you 'to execute another top change, ~itchin,g' the Nine of Clubs ,in 'your

"nob ha .... ..J c- - ... ,l.,. ~ - cH _ .... ~L d _I..,. 'Dt . - • . I £:.. t:..~,_L 1!n break der th

rl~"t ,,' anu. 10[" me rwo Or . eans on me " et..;,K., ,l\.eruD a ,~II. L LOW~ UJ,-,ll_ ~geru _ QK, una _._ e

'Nine as you make 'the ch3n,ge.~

Set the, right hand's card; the T",o of Hearts, :fiwe down onto the table., At the same time, turn your left hand palm down, 'with me pack, and with, this hand pick. up 'the next card ofrhe pile, 'me Two of Clubs, drawing it &ee down wd square under we deck. Turn your hand. palm 'llfp sgain, displaying the &ce of the'Iwo, 'You nowsecretly hold a left founh ... finger break . under 'the' 'topcwo cards .. Execute a double Iifi, tmng me cards into: position fu,[ the matp' change. That is, _your palm-down righ-r hand gr=JS'p~: the t\VO cards above the break at tilt: inner end, rhumb 011 the lefi corner, second fingertip on the rigp t corner and forefinger resting ligh:tly on the faa of the Two (F.i:gure, 5),. You are h.o.l~ing t~e;. Two of'Clubs bade to 'back with the N'me of Clubs,

Now pe,rtorm the snap change as you rub idle double card under your left sleeve (an,A] leech idea that makes this changr: appeai more' rn'agica'I),. The change is simple, Y~Ilr fore ... fin1ger' mere]r P,fe.'\·'u:;s lighcly downon 'the double card as, you. let the right corner escape the' second tln,ger~ The .do .... ible snaps; ovett' automatical,~y," and ends pmched ,tigb,dy by its right corner between the thumb and. forefinger (Figure 6).,

Withou.t hesitation, drop the doub~e card squarely' onto ·the deck, dlspla)ing the face fth~ Nine there, Make some remark and use your right hand to gt:5.nu-e appmpriar:dy, ~ving rome outward reason for' .placing the card on the m:ck;. then tm the Nine: face up into your ~ .... e hand! You are RO'\V going to, perform ·H.o.FLinsels wild ~UI turnover switch, Your right I-~~J",-_·· uses the 'Nine it holds to srnop u.p the double-faced card on the table (figure 7), It then smoothly rotates palm down, wrnin~8 over both cards, 'The Rnp .!e·t the top mrd of two (rhe normal Niue of CJubs] ·esc~pe and slip face down onto the table' (Figure 8) ..

5

6

7

A ·V

A V

Withou.t hesitation, drop the doub~e card squarely' onto ·the deck, dlspla)ing the face fth~ Nine there, Make some remark and use your right hand to gt:5.nu-e appmpriar:dy, ~ving rome outward reason for' .placing the card on the m:ck;. then tm the Nine: face up into your ~ .... e hand! You are RO'\V going to, perform ·H.o.FLinsels wild ~UI turnover switch, Your right I-~~J",-_·· uses the 'Nine it holds to srnop u.p the double-faced card on the table (figure 7), It then smoothly rotates palm down, wrnin~8 over both cards, 'The Rnp .!e·t the top mrd of two (rhe normal Niue of CJubs] ·esc~pe and slip face down onto the table' (Figure 8) ..

5

6

7

A ·V

A V

£oen,ger around the: outer end lMeul irs: tip contacts me double-Fittr (Figure 9), .. Then, as the hands meet and the left hands turns prulm up) bringing the deck, momentarily below' the right hand .. the leftfolrefi.nger',pull~ dawn, and.slighdyforwani~ drawingrhedouble-faoed card aroundthe outer end ofthc padk This causesthe inner end of the card to spring quiCidy upward, a,,'ay from me deck and smack against' the right palm where it em be taken directly into, classic pa&n (Figure 10').

Wi£lho ut a pause} the' right llaIld glides dWltward~ s4uMing the ernh of the deck. The: left fingers' chen flip' the deck sidewise and fare lIl) into deal i ng ,pO.'Si'l~o:n~ These ~c(iCJr1~ must be perfO.rmed smoothly and without hesitation,

The' moment the deck is: face up, wa~e your right hand, over it and perform a dlassic color change. Here is where ms)[ IOOun: cam we included in. our senip earns hs keep, It 3:SSULreS that the color change '\\'illl be a distinct one) from court card to Ntne of CIlllDS. The color dlatLge is p-aruculady str.ikin,g because. it seems impossible that you could have stolen a card from the pack, there W1llS no time to (10 so by traditinnal means, 'T~~ deck is turned face up and. [he color change occurs a U10U.1ten [ fa tel'!

FHp the deck face down in rolUf left hand; You win next show 'that the: entire deck has

ch - oJ 'N' f"'C-] b 'T'L,~ ,i I-~ k_.J ' .. t, .... L -H" ,,', d 1L_,_m ~ .. L __ ,_~u'1m

:. _angw to Nmeso -1- mos. ims is accomp isneo witn tne ~, ll.U! __ U snume In 'wC"WWi-_:___OYm

manner: SltufOr: off' a fevl small packets, and rslse the aleck in your ,right hand to expose, the Niu~ of Dubs OIl ·the bottom, to someone on, your lefi:- Then rum a hit rightward as, you :shuBle off a few more ,smalJ packets, then show the bottom card to someone else, ShuH1.e some more as yOUl turn farther '~O, the right and. show the 'Nine to another person. Repeat onoe more, if YOll like, with someone on rour tar righ t ~ rYe fuund rhae by mrn: ng 'in 'this 'bs'h.'ion ~ k,~e'pi n g th,e dock i F1 m orion ~n,d showi n g' the catd to a. di'ffe rent pe:rso n. each ti me, 'the ,shufBc d,mplay is more deceptive, p\llso ~ '1 limit the displays to three or fanr~,

Having finished me- shufBe, place me right hands packer under me left~s;,~ retaining '[be dQuble..fa~ card at the bon om .. Turn the: deck fa~e up.' in vour len hand and take me Nine

- . ~

:into your ,right ,Lanu~ SitnultanoouSly turn YUIl[ 1m hand palm down. to. conceal the court

card ,now at the face of the pack. -

LOST IllUSIONS

.t~,el· having go,ne 'thro'ugh_, 'thiB rapid transformation, of every card in !light 00 the Nj'ne' of Clubs, ynu stop and explain 'that the whole thing has. been an optical illusion. \Vith your right hand, use' the Nine to flip' the cards, on the' table face up, J\aually~ 'you. execute a 'variant: of 'the' 'wiJd-eard .tumover (an idea I believe is originaJ): The right hand, slips the double=£W:er under the three tabled cards (Figure 11), lifts all four cards digh.t1y· and rums

"~'l __ L ; ---J1-- Th' '. _'h If! .' _.J ~_l _. __ 'L _'L L___ _J'_ (f-

over wim tne entire pat:Kc:t~ , ...• e 1'1tTllt nngers tmmeeusrery plll$ll we upper truce cams 0. . '

Ole NilIe' of Clubs and slide' them onto 'th.t:, table' (Flgurt: ll),. TIle ri,ght hand is kfi hulding the face-up Nine~ and on the talbie ar-e seen the three 'T~'OS. (the uppermost being the double ... , FAcer)., The Nines have changed badk to Twus a,gain! Conclude the turnover ,soquenc.e hy'

rurR1R~ r . ' .. ur rizht hand. -:'atm 1i ~ .• ,and rhe N1nJ~ face down,

11

12

fA. rry

.....

'\

'While attenri on is fOCU5Cd on yO'UF turning over of the Twos, the I~: fingea maneuver the deck bee down while keeping 'the hand palm up. After performing the turnover switch, ~-ep yOllf right hand statienary, holdingthe face.'"iio'\Th Nine. Then move your .left hand in

di ,-~.J:~~ - . C. .J ~--..J ... L~, '" .... t-. .. L_ d _1- he ri ;i""t.1 h d'~ N'"

a _. agQ'Riill cnrecnon, [0 rwara ann 'to me n~:1I. t~ lcatTJ11ng tne " ,el.;tb past tie ngnt ~ an i. S, '. me

(F" . ') I .. ~L N' .. ch d fo · d-·' n: d

19ure 13, ~ , n passing, tne , me IS, top e -mge·. ror an mdrttercur care.

13'

- ---=1"

At, the end of irs trip [he left hand WIns the dcck, face up' and ribbon spreads it across the table, from right to 1st'" Ktt!.p the Iirsr F~ cards bunchro together a.~ you. make this spread,

hid _L 'N° -",'l ~ 1 d 'l.111'lL ~ 1,~ d 'h =~, ~..J. « i\ ,~, ... L. -

to j I", e. tne r me at tne ng lit el'll' ~. \i\r rule you S,prea., '. t~ ,C catruii!~ say" Jl1!ij you can see, mere IS

.. gl N· l~ 'C'l L • "L L :r.-

nut a- ,S10 ,e ',', me DX _ n,DS In tne pacl(',.

Then turn over the card in yOU$' right hand, "This mt 3" Nine e'_;'dl,er~ In fdCt, there has, never been a Nine of Clubs in the deck. Il bas all been ~I optical illusio n, jtL~t our imagina-

, '@"IIIWh"I··th"'d,L-:: .... l·,hJ)J th ~._,...J. d oui 1',~1I eh th'

'tlonS.",._,l esaYlng,_ 1S.,~, !rop tne r~lit . 'aiIO$ earn onto t ~ f. sprtau lID: qw,C.liJ.Y gat cr te

_t... diP O~ _. d . ._L ] ~ ... L L 'bel~ ef

·deck. To me aua ence, the ertecr seems overt ann, luring the consequent re axanon rrus ene

causes, you, can saf1dy top palm the Nine of'Cluhs.. COnclude the: routine bY' producing the Nine &om your pocket, almost as if the action were an aftertho,ughtil

11982

E have all heard about Dr. Pavlovs Eun,ous do~, who ah~'rays hem! a bcll ring jusc btf.ore dley were ,fed. After a whi~e~ the ,dogs became so accustomed to hearing the bell at: fe.OOjng rime, just its, sound caused Ith'eic mouths [0 water, Pavlovian conditioning is common in humans as well,

You might be surprised m hear that me. Pavlov effect can be a 'valuable tool. 'fOr improving yourmagic, Firsr you, must understand that there is. 'a g_reat difteref1~ between p't.Qcticing your magic art horne and per€onl1ing it in ,kont ofan audience~ This is something you will haw found out ,if you've ever p~rformed, in frra:nt of a, ,group" Before a show~ anticipation of making this chang~ from mirror to live audience can arouse a, number of problems: anxiety~

iI'FI~;r..,. n ' ~ ;j!i,~,~ tension ~ un- happ '~nDC1.i'< e~ .,..,...

:SL¥ LiLL: ,en~own,,",;i~;! u.:__I~n .. ~" ~," ,-' n '.', ':)I, ~ --,~Q~ ':I.Jio",.!I'

"'When perfol11.ung;t; it is extremely important '[hat you ~e1 at case and happy-and mat '~s easier said than done~, TIie E.ts r step tnward attaining the proper state of mind is" of course, to 'work, out an, (he bugs, in your magic; so that virtually nothing can go wrong, You can discover rhe vast majority of problems through thorough rehearsal. i\ basic: rule of ~rfonnance" is that anything t~t can go '\VIOn.g', some day will .. The more' 'you rehearse'] the better the chance for that unexpected thing to> go wrong at home rather than. before' all audience, That is how it should. be. Practice is nor so much the process uf learl1ing a trick, Rather, learnin,g is JUSt me first' stage of practice. 0 De of tht main teaW1'"eS of practice, and rehearsal ls discovering what. em gP ·WIron,g. Wlu~ll, S.o111ethin.g does go nvry; H nd a way TiO StOP i'E from ever hap p en.ing agaill,. And if dlia..t isn1r possible, wor:k our an emcr-genqr'measure [0 cover 'these circumstances the next time they O(jCUf .. Sometimes solving the problems, will mean changing the method .dighdy,; other times 'the changes may have to be dramaric,

N- "ell '. _L ~ .u., ~'~111 k d j h d

ow suppose you ve mace cerram tnar your 'tnCK.S ww WOf. anc you W corn en out

:aJl the bugs. You might still ,diswV'er thar you~llie not at ease in frnn.t of a Living breathing ,audienoe'. ExperiencE' will help, of course .. Once you've performed 'the trick many times for. an audience, you211 ev~n.t:uaU,y feel at ease "itb it, But that takes time,

As 'they S3J~ though, "'men you start something new, yon have to go through hent but rheres no reason [0 stay in hell any Junger than abso'lutdy necessary;" The usc' of the Pavlov effeCt can shorten tht: break ... in rime of a. new 'trick and help 'to put you at ease as

Ii cld "bl 'Tt .. J .. T F If' b h- L ~ , AI'

quic J .. .y::lS POSSl ,_,: 'e. ne OCLO] ~s .~I mpl,e:, 'orce yoursc to ee .app)twuen you pracuce," ' . ways

-,~1i":.-.--,-1I~..c' .1",,-,-" d·' H .. :. do :-:. ,r'··, _:: I" •• ,....,.-~·1f~'· be h~ '-"~ s·· .. · 1.~, ·p.1_ ·1 - .-- _.

make yo urseu ree gooc .. ' . ow ,0 you 10.["00 JO~ to .t:~. appy ... lD,lpll: lily some rnusrc

you like, sing: along with it; dap your hands, d31UJf! around the reorn, Take a few good deep 'breaths of air, (HI yours.elf·"ri.th oxygt:n and ellel',gy. Be happy~. Th en. start practidngl

'When you practice a move or sleight, you, can keep rh.e music on if you fed ·that it helps ro sustain your happy mood .. HOWev~I, whatever you db, make. sure you're feding good,

All this may S~In. a. bit s.iHy; but 1 firm.ly heJi.e\'L· it lean be' of great help, If you always feel happy' when doing s.om~hiog;if you feci good about doing it.llater, undercircumstances in which it l1'light be: at hit hamer to feel cheetfUl and at ease, such as when yon 'be,gin '10 ·peflorln.~ than k" to the Pavlov ,effect the familiar feeUn,g ,of happiness '\\ilIl auto!llaticaUy well up 1: nside yon..

Also, never practice to me point of exhaus;tinn. This ,v.W. only create emotional links between yom practice and. negative feElings. Never practice when you aren-t feeling good, The idea nlay seem, strnnge at first, but if you are always happy' in rehearsal, the good feel ... illg ·will return whenever }lnu do, a ~hm\i1

N 1.977 Pan_l Harris published a. truly reV'o]udonary method. Ibf doing me Torn and. Restored Card ,eff-ect·~ a. method tbal uses only one un prepared card, rnaking Eb.e trick improrrrptu anr] extn~mdy ·praL-tirnl. Since its publlcation, irs merits ...,__ ........ _~, have been wi d,ely rocogni7m by nlagici ans, a nd it has; bec.onle~ a m ndern elas .. sic, I imagine: that many readers of'this llook are familiar with it,;. and for those who arenr, [ haven't the right or the inclination of denying them the plCasurc of'discovering it and M.f~ Harriss oeher wonderful ideas in his: book Su.per:M~tic (see "The Ultimate Rip~offJ~; .P~ 63~ or' the forthcoming: three-volume set of his collected works) I I will, rhough, o.ffer'some small. changes in 'me method mar" although minor, '\,Vii ,s:ig~ificancly impr-ove the effect'l

To begin, leis discuss the counting of" me pieces of crud aftet it has appaI-en cly been to rn into quarters-s-and, for that matter, the coun ti:ng of small .gm'ups of cards in ~neraJl, In illy opinion. when you have three Of' four OJ even five eards, ot. pieces of card, it is both siUy

- - - fa 6

- . .;(, - . !U ,-- -.- -

and unnaturalto count them - One, ,[\VO~ three.~,. ere, lfyou think for a rew moments as a

normal person, rather than: as a magician, trained by 'past' example, you wlll realize that. these amounts are too, small to r-equir-e such dellberare counting, It is much more natural and to the "(lint simply to dis~l jj;Ij,r the few cards or pieces ' J\im:.' aJl1- the human. PVP. .lis nPrfe,:"""h~ capable

- - .r··-·" - . - ,r ~., '!!I: .. .,~J I. 1 ", ~. .~~ . -, - ---- - ~.J-"" r~ _w~J ,',

f _I_,~ '0 hr c. .J:.... .,.J '\'VTt _'L .~ _L -

o tillU.n_g: in rn ee or tour CMU5 ax ,R ~ance. W nen mere are nve, me average person may

che -, i'L ... ,.J1; d sr I" - . .."L .. ..,:. i! "",1"1.:", ~ - -'1 . -:, . ---.~J],,:, - "dl ~~L . -- , .,11.,,:, .' ·1L·'ch" he th ,~-.- .... - ..

C ·eJJt ,3, JIl:Ue arx SP1( I:LLe-woup VlSU..uy Into rn 0 ~ ane U tree GUUS~ wai . . e . en ll\.,U.ow,s,

". 11 C, A ~- do' ,_- .... ~,l- , • ,e ~'rd,.. ~ . - ~- d'lll - !~ .. ~ - - ., UiO:· ,_.~". .. t::. _,,;T) ~.L...._ .-.

taw nve, ..rul· '" 1u1\ SIX ca. s, you W ..1[ nUea I: c coun t . ~ rne, two, tnree, ,IOUJJ - men s to p, as

eve.ryune can ~dlSiIy see that two cards are lett. IOrt1y idiots and. magicians count such small

'b- Th ... "de' ~ th in whi h adc leks

._ ". " "1 -. -, .' -. ,"":.-:::.' :". ,,-- -': ," . I~.·.· "11 ~- -:- ...• ' .• ~!- -::--. - _- -_, ,," -" ,:_. :! -~, - --; ... - ~I ... ' -,"_'" . "",', _. "

Jgroups on e . y one, . . 1..~ canrS~ . ration . J. . . elii t if: frl.annet Hi lV. ,le .. many p' . et tt .". are

commonly .. _. performed, to mv 'W<w of tffinkinP'": very odd. and unnatural,

_ . ~ ~-

I ~ fa- h · 1 ~- --_ L_ ~_L_ __._O 11 ~. ~~__j iii!: "

r IS: un . rtunate 'it aar In our p-arlllillD: we nav'e cnosen tu 0ilI ('eit"Jiil _prou:LllliIieS "counts j!;

such as: the Elmsley count; (he Jorda:n ctlun4 the Hamman C1Junt when the purpose. of such ~~eq ueno~~ is usually one of displaJ~ Instead of counting the cards as fourj, you should simply

h ... 'L h- ::1 ~.l~ ·1!:1.. ," H' tb .11\ ~.~ :Ii) 'ill:;Th- - - ~_j~- n h 'bl

s ow tnem W, rue Ma&.ng, a comment ute _ ere arc '. _,_C t~S or . r esc cams WI r aVE .. ue

'L._ ~ .... '1 ~~ " There i .. t th . .l~ r '1 d·, - _I f ~ - - - - ... 'L ~ e·ir~ __._ soeclfl

oacss. .. aere rs no reason ,~:o count ne cares au: iouc I'Wll~, a course: me ·.;Ul:(.;t iiJr-:_";'_ ,-

caD th h fautk·

. ..". ..' J - • '"··1 .-.. I· :." .... ..-: .. I :-:-., , '.', ,'.. -:- ,-. .

y ,concerns ~.. e· num·.'er 0 ' , ' .. ' . > Ul. LlSe~

'\vlt.... = .... h ~ 1J . Ii.. ..1 ,.' ..... '= "'rb Ul -s Ri~~·" 'T, ........ 'L .. _1 h dlin

'W B.ac : as at rnis to ,00 '\\i1m - ",- JC:~ _.' nmate ','_,p ... orr·~' tn tne ongmai " -m' I~ ,g~ once

the card has been roth up~ three pieces are counted to p'cove them separate, This articulated.

. . . b L d - ~~,.......:l"'T. 1~'~ ~ - .... 'L .... ,_,.J 1:' - h , d' ., ed

rountln,g IS 'ot~i un nfce.~~~ an t unnaturat J:O enrmnate me need for r -,e count, J); ._ evis - ' _

'aJ method. of di splaying the p ieces mat is very deceptive:

A... L_ ~ _L,' s.; L h ~ L 11 _._" " . !I! tI ff h ~d--

£U. tnat momenr In, we mck W: en tne ~1 piece IS ap pa.L~11' Y torn Orr" you are '01 mg

three-quarters of the card, untorn but ,Fohlo:I, in your left hand, and the £omth~ separate quarter in your right, as shown in Figure l , (A 110te here; I tear the card. ""ith im face turned outward, which resul ts in I'llly rearing off a non .... index corner; This varia from Ml"~ Harriss

_....l buti t: th "n 'b 1 b di .. L 'Co-

p roc nLU lie" "llt lS. :nece.ssaJ.}l TO[" reasons -- . at: wiu ecome c. ear w sen we '·JSCUs.s 'UJe ·.··m'""

pktlc Restoration. The ilhisrrarions reflect this small change, but the display tan be easily adap'[ro (0 [he or! gi,n al handling, if it is, preferrect)

Wirb your ldi:: thumb" push up and rightward on me lower left corner ofrhe folded packe.t, fOrcing the near' quarter of the card to move diagonallY' to the ri,ghtj forming a minimal

r: ~ (FO 2-)' T' h- l' 1L· ah- L d" -- _-1 ",,1.. L.. -- f-- rhl e. =. b ,I, rh

ran I. ~'lgu.re .'. ~ j ... en pace tnc 119"':.:t band squatter cam on me I~ or r 'IS .m.n" ies e t e

angled piece, This creates a fan of three pieces; that can, be clearly perceived wim,out physi-

.... _11- • h (Fi ,- d" ;0)

J,:~JL.Ir counnng t em', 'lgure -"', an auenence 'Vtew,~,

1

2

3

=- ......................... ~---....__

(I.~ '-, -_

~~-~~. ~

,~! -..__

.J

This display is." I: think, fat more natural and convincing than 'the false count origi_· .nallly used; and the .many magicians Ive taLugat it 'to over the 'rem seem to agree"

F' A CH,'· n ~'rv:rO.·.·.· ''f)A/n' ... '0'- ··· .• ·N:· .. _LnU_~~ ~! .... ~ ",_."

From this position I have discovered a method for 'instan dy res rof.in,g· the card. which is extremely visual and. surp.ris,ing. Bring your rIght hand to the fan of "pieces" and grip the

.... L ~gh .... 1:... b · th fa" f':: .,'L 11 • d -It.. >Ii :£

two quarters on me n :."c, your' mumn contacnng I e . ce or me lOOSe piece, anc me '[Jp OJ).

your forefinger the back of the anaehed, angled corner (Fip ,4). k. the. right hand assumes. ,this grlp, shift your ,left thumb down onre me llO,WEt' Ie&. corner of the folded. packet .. This will bean exposed portio.n. of the 4 face of the folded card; the rear quar[er~ '[0 be. precise,

Now move vour left hand

,~

upward and the light hand

d!OWDi Yon will fin.d that the folded portion of the card immediately opens out to reveal itself no longer torn (Figure 5).~ If-you, do, ehis very qulcldy; the result 'is an, insranraneous visual l"esEO'ra: ..

..,.

rlonl A'( rhe same rime, pull me t'

loose' piece back behind me right flngtfi~ concealmg it,

Once: the card is op~n.~ press the creases on. beth untorn edges of me card between your 'th umbs and Angers, crimping 'them a bit in me opposite direcdoo '[-0 prevenT ehecard fro.m ooUl1psing back lnro 3 semi-folded S·[3!tei!' ~you can now conclude the effOCt as explained in the original, O',F you can follow 'mat: with, ~ i!'

1HE COMPLE]~ REsroRATION

,If rhere is one serious flaw in. "The 'Ultimate RiPll~~, it is that. the final, restoraticn, though surprising and baffUn,g~, is nevertheless Incomplete, The card is only three-quarters resmred,

A n')i"-lFie- wh o L -... p - rform e -4 t·hl- is trick ~ ,f"nit"l ~'bJ't. r o·t..en becom ,-, ~I:" n'n:,"" re rhar ,...!'IL R audi ,! enr,e

, .: 'U1I . .Ii,.: '. . l~liIb. .ta" lU·· " -,,_.Q. '_ 01.:11 ~ loW. .' L:~~ • .t-A," :1;. ··U._", . ~~ ,.I~ a. "'h'VlaJl1! lIla., '[]I!&- . " 'W& &~

, '

has a sense of unfinished, business IOn the ,pan of the magician,., It is not uncommon tohear

_,_~L ~ UN d .~ -' L d)!:'.) jIIj, d-· 'f" ~~11~~ ..

SUOll quesnons as ,~"QW em yuu restore . ae iast Plecr ('0 me car ~ ,l'\U, r no one: sprn.u It"

it is still a Pdlr[, OflHOS,t spectarors' expetrations, There is a general desire for a totalresohition, and if it is H,Ot' fottbcn,m.ing1t me trick. j us,t doesnr fed qui te A:nish,edi

j Many maglclans have wrestled with this

problem, as have I, Same years ago I came' up with a defusing stJr:":d!qgy; As soon as I Iinish~d the three-quarters restoration, 1 laid the parti aI card :and, the loose :fourth q uarter in front lof someone and said, 'f\nd if you can restore the .last piece 'with ~e rest'~ I'n tclll yo'a how '1: did me others, )~, This anticipates me

;i 'b-c- 'i be- 11",=.J d .J~~ •

I quesnon .: etore l't can, 1-- t1$Keu" an ntsnlisse5

./ ~~ it. wlrh a, p~yfu1 challenge that is obvi.owly

~

i not serious, The ploy was sucwssfuJ. in ;side-

stepping the problem, but after a wh~]C' ]' carne u,P 'with an idea J think is much betret. It does requio; a litde preparation though.

Befu,re'yo1.U" performance, you must score one corner of the card you will lat-er tear and restore, To do this, by' the Clrd faoe down on a table and; w,ith an. ,X ... acto knifi.;~ 'caJtflllly' score two lines on the back of the card where yon will tear off the' quarter during performance (Figure 6) .. You must slice through on.l}~ half the rhickness of the' cam, SO! that me curs arerit visible fronl diu; face~

6

Next you, must And some very sticky white rape~ Use E\VO narrow le.nWhs of this to. cover me soared lines you have j USt made.

Th .11. Fth .' ' .

.. e POSt no nlDg' o:r t _ ~ e tap~ ts Importanr ..

The ends of the tape strips should ~mp jll.~t short of the ~p ofthe card, and the edges of the 'tape must only slightly overlap 'the surface surrounding the scored q,uarte-r. Slightly here means less than an ei,gilth. of an

· ch ( .. 'IE'" .."

mer . rlgurf i.i~

,As you perform "The Ultimate Ripoff" you will find that, .if you start' with the filee' of the card turned ou~ as YOU tear

,~

o,ff'a quarter, the eaoe on the back of the card aut, be ea:!i1y concealed throughout the handling. When 'you 7 ' tear the quarterfrom the card, your t-ears ,should easily follow the soofing and the taPe will come away with me quarter piece, Bemuse the tape overlaps the. of 'the piece b,)" SlO linle, and because it is white in co101" from even a short distance ·.it 'will, be mistaken for' tom edges.

So you proceed unhindered through the'tearing and the three-quarters restoration. (When,; during the fanning of the "three" pieces, you add the loose, piece to the folded card [.Fig,ure 3 above], you'll And. the two 'taped edges are mtucilly hidden, behind your fingers and me rest of the card.) To complete the efIecf, ,fit 'the loose quarter into lrs place. on the card and.hold it there as you say something like ~'And fbl~ piece. :filS perfec:d¥» During; this displ3!y~ secretly useyour thumbs to press the tap to the back of the card, reartaching the quarter 10 the rest ( jigu'ft: ,8)~ Then release 'the piece, spin the card straight U.p about a Ioo t in the air and catch it as it descends" 1d.is.,p1aying that me final quarter has been resmred to the card~

8

Immed =avp1,·v· rAe.e ... La.~ ... ~.J1 'fa~-'f'IoA Up'" 0' aI-D' the .... b le ..... nd "'~~p··t, tho Iiii, applai ',I"C 'Vnll'11 .i""I"I_ fl'YJ'IA"'""t .

. " _~ .. ' t:W.- ,L1L-JJ.J. 'Ir~ m~1 t;.am . _ ~ I. :." _LI . m -: ~ ._.' " 1IInI.1·- '\I:~ _,'_ - - I '''''14, .Il.~ .. 111 lb-u: ~ ~~.

'that someone will pick up the card and eventually discover the rape. on tlu:! back, 'When, this happens, shrug and 8a~ ~'What did you e.xpJect, ~ miracle?" YtS,) it diminishes the magical

,...ir rh .nJ... ~ d ~ n _1 1"" · 'tVT1! ~.,C _'Ill d·'~:.J .~'L.~ L_ "Ii errect _', OU,5':i.1I oesnr compietery e nnmate It"wilere;. alter '_3..U:t [ __ m rne tape come rromr

Bur the alternatives are much less :3 .. ttr~cti"'[e,, as : . shall show in a moment, First, however, lets 'calk about ii •.

o,ff'a quarter, the eaoe on the back of the card aut, be ea:!i1y concealed throughout the handling. When 'you 7 ' tear the quarterfrom the card, your t-ears ,should easily follow the soofing and the taPe will come away with me quarter piece, Bemuse the tape overlaps the. of 'the piece b,)" SlO linle, and because it is white in co101" from even a short distance ·.it 'will, be mistaken for' tom edges.

So you proceed unhindered through the'tearing and the three-quarters restoration. (When,; during the fanning of the "three" pieces, you add the loose, piece to the folded card [.Fig,ure 3 above], you'll And. the two 'taped edges are mtucilly hidden, behind your fingers and me rest of the card.) To complete the efIecf, ,fit 'the loose quarter into lrs place. on the card and.hold it there as you say something like ~'And fbl~ piece. :filS perfec:d¥» During; this displ3!y~ secretly useyour thumbs to press the tap to the back of the card, reartaching the quarter 10 the rest ( jigu'ft: ,8)~ Then release 'the piece, spin the card straight U.p about a Ioo t in the air and catch it as it descends" 1d.is.,p1aying that me final quarter has been resmred to the card~

8

Immed =avp1,·v· rAe.e ... La.~ ... ~.J1 'fa~-'f'IoA Up'" 0' aI-D' the .... b le ..... nd "'~~p··t, tho Iiii, applai ',I"C 'Vnll'11 .i""I"I_ fl'YJ'IA"'""t .

. " _~ .. ' t:W.- ,L1L-JJ.J. 'Ir~ m~1 t;.am . _ ~ I. :." _LI . m -: ~ ._.' " 1IInI.1·- '\I:~ _,'_ - - I '''''14, .Il.~ .. 111 lb-u: ~ ~~.

'that someone will pick up the card and eventually discover the rape. on tlu:! back, 'When, this happens, shrug and 8a~ ~'What did you e.xpJect, ~ miracle?" YtS,) it diminishes the magical

,...ir rh .nJ... ~ d ~ n _1 1"" · 'tVT1! ~.,C _'Ill d·'~:.J .~'L.~ L_ "Ii errect _', OU,5':i.1I oesnr compietery e nnmate It"wilere;. alter '_3..U:t [ __ m rne tape come rromr

Bur the alternatives are much less :3 .. ttr~cti"'[e,, as : . shall show in a moment, First, however, lets 'calk about ii •.

dbviously h;aing it in his fISt. He then tosses it'into the air and Cln:hes it hadron his, han.! This is a silly bit of panromim.e that fools no one, and b~ knows it. J--Ie shrugs, smiles at his, audience, then returns to anomer deep, Dl-YS1ie:ry. Witll that shrug and, Simile he lets his audi-

.. enee know that he knows thet:rick is one: you would do to amuse ,children. Then they begin [0' think, 1 wonder if he.has Iddls? \mJat's he like' at home? And suddenly, for'that moment, he is another human being.llike them. He: is real and has made contact-and he is much easier to like,

'These Utile moments ar-e very important, and.semetiraes they are worth much more than 'a Rat-out mirade~o a. good magicim.

Ofcourse, if )'nu do poor magie! this strategy is unnecessary Your audience is aln;::~d}'l quite aware tha,t you are human.

198

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