LENIGMAS Lecture Notes e Michael Sibbernsenall of whom have been my gracious volunteers throughout the years To Fapaton and my beautiful wi I wish to thank all those names that appear within these lecture notes, as well as those I may have inadvertently omitted, for the ideas and inspiration. Lalso wish to thank you, the reader. I sincerely hope you find something that will enhance your ability to create a magical experience for your audiences. Cood Abgic | “ll — Enigmas Written, Designed, and Published by Michael Sibbernsen Copyright © 1997 by Michael Sibbernsen Al Rights Reserved. These lecture notes or any part thereof, may not be reproduced in any form without the expressed permission of the author. Performance Rights Granted to the Purchaserva a I 1 I 1 f£nigmas Table of Contents Lucky Card 25¢ Off Altman Turnover Leather Wallop Triple Indemnity Ace Speller Levitations- Humor Future Shock Levitations- Humor Thumb-Off Addition Force One Handed Reversal Top Floored It’s All Over Mama! Tricks of The Trade- The Silk Hangar Post-Cards Am Curious George Million $ Milli-Miracle Parenthetic Coins ious Monte Levitations- Humor Time Warp Tricks of The Trade- Logo Watches Knowledge From Fire ESPieces Levitations- HumorLucky Card ———-——————— The following, a simple two card transposition, embodies a routine that makes an excellent opening effect. It contains the right amount of comedy, audience participation, and magic, to get your close-up show off to a good start. The effect utilizes a clever move called the Altman Turnover which is explained on page 3. You may wish to become familiar with it before proceed- ing to the Working and Suggested Presentation. Effect; A card is selected and returned to the pack. A so-called “lucky card” is introduced and held by a second spectator, who uses its power to magically locate the selection. The card she divines is flipped to reveal the “lucky card”, and the card she has been holding the entire time turns out to be the selection. and ested Presentation: “Pd like to start out tonight with the help of a deck of cards and a dashing young gentle- man.” Turn to a nearby male, and pause for a moment to look him over. “You sir, will have to do.” Spread the cards and offer a selection. “Slide any card out of the pack and commit it to memory. Good. Please return the card.” Using the Hindu Shuffle Control, shift the selection to the top of the pack. “You know I'll tell you, when ever I shuffle this deck of cards, no matter how much or little, one card, a special card, always rises to the top of the pack.” On that note, double turnover the top two cards as one and triumphantly proclaim the name of the face-up card, we'll say- “the Two of Hearts!” Pause, looking distraught. “Which is apparently not your card. Actu- ally I knew this was not your card, for the simple reason that it was on top of the pack when you made your selection. You see, this card is top notch, top dog, number 1, the cream of the crop. It’s a magic card, every deck has one, and the Two of Hearts is it. Using the magic of the Two of Hearts, you (point to a second spectator) are going to try and find his card (point to the first).” ieLucky Card / 25¢ Off 2 Side-jog the double as in Illustration 1. “Please hold out your right hand like this.” Demon- strate by just holding your hand in front of you. As she complies, come back and flip the double face-down and immediately side-jog the top card apparently as before. This reinforces its iden- tity. Wait a beat, then place the card face-down on her palm. “Now stretch your fingers out and hold up your left hand with first finger up; like this (IMustration 2). In this position, besides look ing kind of funny, you are now drawing the magical energy, luck if you will, from the Two of Hearts. Can you feel the magic pouring into your body?” Don’t be surprised if they say “yes”, just work it either way. Spread the cards. “Using your left finger, just touch a single card. Now you may think you are selecting just any ol’ card, but in fact, the magic of the Two of Hearts is ‘guiding you to a special card.” Out-jog the selection from the spread and turn to the first specta- tor. “Teil me, would you be impressed if she was able to find your card?" -Yes- Tur back to the second spectator. “I think I'd be so impressed I'd let you perform the rest of tonight's magic!” Square the pack, leaving the out-jogged card. “Well without any further adieu, lets take a look. Out of all the cards you could have selected, you chose the . ..(Perform the Altman Turnover) what? The Two of Hearts? But that’s our lucky card! If it’s here, then what's in your hand?!?” The spectator reveals the card. Accept the applause and thank your assistants. Afterthought This effect is an excellent precursor to an Ambitious Card Routine. Under the misdirec- tion of the trick’s finale, place the “lucky card” second down from the top of the deck. Double Turnover the top two cards and ask; “Do you remember our “lucky card”, the one that always pops to the top of the pack? Well...” 25¢ Off Here is a very cute variation of Lucky Card that uses primarily the same handling. I'll explain it briefly. [ruses the 25¢ Off coupon card found in many Bicycle decks. Place this on top. Have a card selected. Swing cut the deck and have the card returned. Control the card(s) to the top, preferably using a pass. Do a little magic (wiggle the fingers) while saying that their card is very special and will rise to the top of the pack. Double Turnover, showing the coupon. “What?? Hey 25¢ off my next deck, I could use that!” Turn the double over and take the top card (theirs) and place it into your breast pocket. “Well I can’t find it, maybe you can.” Turn to some- one else, and ask them to touch any card. Out-jog it, and do the Altman Turnover. “You picked... another coupon? Are they all coupons?” Haphazardly turn over the hands inward exposing the regular faces of the rest of the pack. Then with sudden understanding and a little smile, eye the breast pocket, and remove the selected card.Altman Turnover This is a clever utility move that switches an out-jogged card for the card on the top of the deck. It is credited to magician Jeff Altman. Although explained in individual parts, the entire move is done in one fluid motion. Asa prelude to the move, a card has been chosen by touch and out-jogged halfway from the rest of the spread. The deck is squared, with the selected card still out-jogged. The pack is in aleft mechanics grip. Apparently the following move turns this card face-up, but in reality, switches the top card for the selected card. 1) The right hand comes over the pack as to hold it in Biddle. The right fingertips clear the out- jogged card, lightly pulling it upward while squaring it into the pack 2) The right fingertips (specifically the middle and ring fingers) are inside of the pack holding a huge break between two halves of the deck. 3) The top half is moved to the right, while the top card, with the left thumb on it, stays in place. 4) Just before this card is edge of the right pack. “slipped” on top of the left-hand pack, it is flipped face-up using the ‘You should now have the deck in two sections, one in a deep right hand Biddle, and the other in left mechanics grip with a face-up card on top. The right hand pack should be directly over the left just after the flip. 5) The right hand moves back and its fingertips, over hanging its top edge, touch the face-up card and up-jog it half way. The right hand pack it dropped on top. Just after the move, the pack it spread between the hands, apparently back to the original posi- tion after their selection Altman Turnover Sequence2 fa np Heme me Ee eS eS a3 aoe Leather Wallop —— This is a Card To Wallet with a great deal of magic and a surprise ending. No palming nor special wallet is used. Effect: A card is selected from the pack, and lost within, The magician boasts of his abilities to cut to any card within the deck. They name their card, and he cuts to his... driver's license?!? A bit confused, the performer looks through the pack for the selected card to no avail. Then it hits him (an idea, not the deck). If the driver's license is in the deck, then maybe the card is... Reach- ing with bare hands, the magician’s wallet is removed and the selected card is found within the license window. This is just the beginning. The card is removed and placed face-down on the table, The license is placed back in the wallet. Commenting that this was the work of his “magic” driver’s license, the magician rubs their card on the wallet window. The card is flipped to reveal a Joker. The deck is spread face-up and one card in seen reversed. This is removed and found to be the selection. Requirements: 1) Deck and one duplicate card. 2) Wallet, preferably with a driver’s license window. Any wallet will do as long as two cards can be tucked into one of it’s compartments and be partially seen, We will assume the use of a win- dowed wallet. Place a Joker and the duplicate card as one in the wallet window with the dup. facing out. Put wallet in your pocket. Place your driver’s license near the center of the deck, with the force card (same as the dup.) above it. Working: The deck is held in a Left Mechanics Grip in vertical position, the right hand assists in loose Biddle. Ritfle the cards with the right middle finger and ask the spectator to say “stop” whenever they wish. In fact, you will force the proper card using the license as a “thick” key- card. The riffle will abruptly stop just beyond the key and at the force card. You need only proper timing to match the “stop” of the spectator to the stop of the pack, a knack that is easily achieved. Lower the hands a bit and bend up the top portion to show the selection. Afterwards, continue the riffle, Place the deck on the table, and comment about your uncanny “card cutting” skills. Ask for the identity of their card, and immediately cut to the driver's license (easy to do because of its thickness), Act a bit confused as you complete the cut bringing the license to the top (and the force card to the bottom). At this point you can use the old “indicator card” bit (described below) if you wish. Now you will execute an interesting reversal of the bottom card while apparently searching for their selection. Holding the deck in a Left Mechanics Grip, theright hand in Biddle up-jogs the entire pack a quarter inch except the bottom card, In other words, the left hand palm because of friction, retains the bottom card in its original position (Illustration 1). The right hand cuts off half of the pack, moves to the right and then under the left hand portion. You will have to do a little finger manipulation with the left hand to allow admittance of the pack. The transferred half should be placed square with the in-jogged bottom card (Illustration 2). The right hand immediately comes up and pinches the out-jogged end of the new top half between the thumb and finger and turns it end for end face-up and square onto the bottom half. At this point you should have half of the cards in the deck face-up, the first face-down card being the forced selection. This whole move is done quickly and openly, without hesitation. Continuing your actions, spread through the top portion looking for their card. When you get to the face-down portion, obtain a Left Pinkie Break under the force card, square the spread, and cut the entire portion to the table. Turn the left hand talon face-up and continue the search. The card is apparently gone. Pick up the tabled half and add to the face-up portion in the hand, You now have the face-down force card in the center of the face-up deck. Place the pack back on the table as you comment- “wait a minute, if my driver's license was in the deck, then maybe...”, Show hands openly and reach into your back pocket to remove your wallet, and continue- “the card is in my wallet.” On cue let the wallet fall open revealing the card in the window. Immediately pull the card out a little from the window exposing it even more (this is an important point). You will in fact be pulling out the dup. force card/Joker double (Illustration 3). Alll patter and body language should indicate the effect is over. Apparently as “clean-up”, pinch the windowed card as you tilt the wallet towards you. Use your fingers to slide out the Joker, and the thumb to push the dup. force card back into the widow. Place the Joker (which they perceive as their card) face down on the table, and place the license back into the widow cover- ing the dup. Turn the wallet face-out showing the window once again. “You know, I would love to take credit for that little piece of magic, but you see, my license with its strange mystical nN re= | TS Leather Wallop powers is to blame.” Pick up the face-down Joker and rub it on the window, then flip to expose its changed identity. “You see the joke’s on us, because the card never left the pack”. Put the Joker down, and the wallet back in your pocket. Hold the right hand over the pack and give a snap, then ribbon-spread flourish the face-up deck. “One card is found face-down in the deck, and that one card is... yours.” Remove the card and flip face-up. Final Words: This is an interesting and very easy card to wallet; a little nonsensical, but entertaining to watch and fun to perform, The card cannot be signed, but with this particular rendition, it seems not to matter. The “indicator card” bit, is an old chestnut of a joke. You comment that the li- cense is actually an “indicator” card, then continue- “you know what it indicates don't you?, That the trick didn’t work!” You can even say that maybe it actually found the selection, and turn over the top card directly under it. A bit shaken by the card not being correct, you then start the search, If you are nervous about the thick card force- don’t be. If you don’t have experience with the short card variation of this force, you may need a bit of work. Practice with a willing volun- teer (a spouse or friend in the know), and watch their lips. Time your stop with theirs. It is much easier done than said, Even more magic: During the reversal move- instead of picking up the tabled pack and adding it to the pack in your hand- do just the opposite. Leave the pack on the table and add the packet in your hand on top. This will leave the selection face-down on the bottom of the face-up pack. For the final revelation, carefully ribbon-spread the pack on the table, careful not to reveal the bottom card. With both hands on either side you will square the spread, but will effectively pass the bottom card to the center. To do so, place the hands on either side with the left fingertips under the spread. Collapse the cards, but halfway through, break the spread and place on top. This will be unnoticeable at full speed, Give the pack magical snap, and ribbon-spread again. It appears as if the face down card appeared from nowhere. Another Point of View: by Peg Shickler (Re-printed with permission from MUM, May 1997 ) While I really like this effect a lot, I thought the mechanism Michael chose to reverse the card in the center was unnecessarily belabored (and somewhat suspicious-looking). People looking for a card in the deck do not first cut the deck in half, then turn half face up, look through that, then turn the rest face up and look through that. I would take a much simpler approach. The card has been cut to the bottom as described in Michael's effect. Then simply take a break above that card and from a right-hand Biddle Grip turn the rest of the pack face up to look for the card. Your right hand should naturally cover the move, but if you are a nervous type, you can angle the deck slightly downward. Spread through the cards holding the bottom card as a double. I would probably spread through about half the cards then casually cut that portion to the table saying, “Well, i isn’t in this part..” Then spread through the remainder, dropping them on top of the others. This naturally cuts the reversed card to the center. You could also spread through the entire deck, then casually perform a straight cur while fiddling with the cards; but I think the other handling is more deceptive.Triple Indemnity, ~ This effect was inspired by both John Bannon’s “Discrepancy City Prediction” and Paul Curry’s “Open Prediction”. It results in a quick, straight forward, impossible looking card trick. Effect: A deck of cards is freely shuffled by the spectator and handed back to the performer. He explains that because this is a “new” prediction trick he’s going to “cheat” by selecting three prediction cards, as opposed to one, thus increasing his chances of being correct. The three cards are placed on the table, and the deck handed back to the spectator. After another shuffle, he is asked to deal cards onto the table one at a time, and whenever he chooses, deal one onto the performer’s prediction cards. The deck is placed aside. When the cards are revealed, it is found that the value of all three prediction cards match that of the spectator’s choice. Working and Suggested Presentation The deck is freely shuffled by the spectator and returned. Hold the pack faces to you, and look at the bottom card; this will be your prediction value, Spread through the cards and up-jog the three like values (Illustration 1). ‘This is to be done slowly and deliberately so that the audi- ence can visually acknowledge the number of cards. Explain the “new trick” situation and why you are using these three predictions, Square the rest of the pack, keeping the three out-jogged, and turn the deck face down careful not to reveal the identity of the cards, Make a small fan with the three predictions, while secretly pulling down on the bottom card with the pinkie and securing a break. You will now you use the Vernon Strip-out Addition as follows; With the right hand palm up and the lower three fingers curled, stick the pointer finger directly in the break above the bottom card, and pinch the deck between it and the thumb (Illustration 2). ‘The left hand, holding the bottom card moves forward, while the right hand pulls back. The left hand continuing forward will strip out the prediction cards adding the bottom card to the packet. The packet will nearly square itself upon arrival in the left hand. The right hand continues its motion 1. 2forward again to give the deck to the spectator. Under this distraction, the prediction packet is casually placed onto the table, After another shuffle, have the spectator deal cards one at a time onto the table, and whenever he chooses deal one onto your prediction cards. Take back the deck and position it face-up on the center of the table. Pick up the prediction packet and hold in a left dealers grip. You will now perform what I call, the Back Spread Double Turnover as follows; The top and bottom right corners of the packet are gripped with the pads of the right middle finger and thumb (Illustration 3). The left pointer finger pulls the bottom card slightly to the left counterclockwise. The middle finger pulls the second card from the bottom, and the ring finger pulls over the third. Immediately double turnover the last two squared cards. This face-up double should be equidistant of the others, producing a four card fan in the left hand (Illustration 4). Point to the three face-down cards as well as the face-up double and patter, “Even though I selected three prediction cards, it would still be pretty amazing if one of the values matched yours (point to face-up card). Right?” As they answer “Yes”, pick up the double in biddle grip and place it onto the top of the face-up deck. Move the deck toward you to make room. Con- tinue, “Good, then this should to really impress you”. Reach over the pack and slowly reveal your three prediction cards placing them onto the table in a diamond formation (Illustration 5). Afterthoughts: If you prefer, you can have any four cards appear during the final phase. For example, if work- ing into a Four Ace Routine, cull an ace to the bottom while up-jogging the other three as your predictions.A.C.E. S.P.E.L.L.E.R. The following is a very easy “spelling-type” effect that finds the four aces from an apparently mixed pack. The routine ends with the last ace “accidentally” lefi-out, but makes an appearance in the end, followed by a return of it’s three mates, The routine is done in the guise of a pseudo gambling expose’. You can however vary the patter to suit your needs. The handling requires a {few false cuts and false shuffles, the type and extent that are used is up to you. The routine might be followed by a “twisting” effect or any other trick that requires the four aces. You might also wish to team it with another spelling effect that locates a selected card. Handling and Suggested Presentation: Remove the deck from its case. “I would like to show you something rather interesting..., a special way to locate the aces in a deck of cards. But first, lets see the way a magician might go about it...” Smile, and simply go throughout the pack removing the four aces tossing them on the table face-up. During the process, arrange the cards in CHaSeD order; the Diamond at the face and the Club at the table. “Kind-of boring I know, but you see the magician performs the miracles after the cards are removed. It is in fact the gambler that does amazing things with the aces beforehand; the way he arranges the cards and later finds them. I would now like to show you how a gambler might do it.” Place the ace packet on top of the face-up deck. “First however, T'll show you that there are no other aces in the deck; no one trusts a gambler, let alone a magi- cian playing a gambler.” Spread the cards left to right openly displaying the deck. As you go through, remember the ninth card after the four aces. The best way to quickly locate the card without looking like you are counting, is to push off three blocks of three; the last card of the last block being the key. “No other aces.” Open the spread again and quickly obtain a Pinkie Break under the key card as you square. “Now we cut the aces to the center.” Double Undercut at the break and then turn the deck face-down. You should now have 9 indifferent cards, then the four aces. “And another few cuts, to separate the aces from each other.” Give the pack a false cut and (or) false shuffle of your choice, keeping the top stock. “Let me show you I’m not hiding any aces here on top...” Slide three to five cards into the right hand, and turn face up and back down again. “Nor on the bottom.” Turn the deck face up and spread the bottom few cards. Again turn the pack face-down, “They are truly lost within the deck... well not lost really. A good gam- bler always knows exactly where the aces are, because he put them exactly where he wanted to. Although the shuffles may have looked haphazard, they were mathematically created to disperse the aces to four precise and diabolical locations. Believe it or not, the gambler simply needs to spell the name of the ace he wishes to locate- for instance the... Ace of Hearts.” Count the cards face-down onto the table one for each letter. “A. C. E. O. FH. E. A. R. T. and S.” On the S, flip that card face-up to reveal the Ace of Hearts. Replace the face-down pile on top of the pack in the hand, leaving the ace on the table. “Since a card was removed from the deck, we need 10 perform a minor adjustment (do a false cut) to find the A. C. E. O. F..” Immediately count off the cards as before, again turning the last S face-up, this time revealing the Ace of Spades. This is placed on top of the tabled ace. Replace the face-down cards as before. “Another brief adjust- ment, (false cut) and we can count to the Ace of Clubs.” Once again count down to the ace, andce Speller/Levitations _10 place it on top of the others. Pause for a moment, then pick up the three aces and toss face-down onto the pack in the hand, followed by the rest of the cards. “And that ladies and gentleman is how a gambler might find the aces.” This will cause a noticeable lull because of the apparent incompletion of the effect. During this time, perform a nice false shuffle, preferably different than those used before. Look up and with a “non-patter” sounding voice ask- “did I forget an ace?” You might not even need to ask, and they will quickly remind you which one. “Hmmm, Lets see.” Give a couple false cuts. “The Ace of Diamonds”. With a little more pizzazz than before, count out each letter into a pile onto the table, When you get to the O in Diamonds, place that card face-down to the left of the tabled pack. The N card to the right, the D below, and flip the final S-card face-up at the top completing a diamond formation. “The Ace of Diamonds!” Pause, and then one-by-one turn over the other three cards. “Not fo mention the other three aces.” LEVITATIONS ...Future SHock Here's an off-beat effect, with a double punch. The main principle employed in this trick was first used (I believe) in Jack Vosburgh’s “The Future Deck”. Effect: ‘A deck is ribbon-spread on a table, and a single card freely selected, but not viewed. This card was chosen for the Magician as a “prediction card”, He states that he will write the name of another card on the face with a marker, Afterwards, it is freely inserted back into the pack. While the Magician shuffles the prediction into the deck, a second card is selected, this time memo- rized by the spectator, and returned. Once again, the pack is ribbon-spread on the table, and a third card is freely selected. This card, chosen for the “spirits”, is kept face-down, and set aside. The deck is ribbon-spread face-up. The magician implies that the selection will be missing, but to his surprise, is said to still be present. It is then noticed however, that none of the other cards seem to be written on. The Magician points to the card set aside and exclaims; “Apparently, the spirits have once again guided your finger to this same card, my prediction card, my correct prediction card!”. It is flipped to find the name of the memorized card written on the face. Secre His selection is forced, and every other card (except one) has its identity written on it. By use of a special one-way principle, the “predictions” (although never done) can only be seen when the deck is spread in one direction (Illustration 1). It remains invisible when spread cor- rectly. The last and final elements are, a dry marker, and a little bit of acting. Preparati 1) Purchase two “Sharpie” fine-point permanent markers. Keep one aside for future preparation, and “dry” the other. The best way to do this is to empty the cartridge from the body, wash and dry the tip, and then clog the felt-tip pores with a dab of super glue. I put a black dot on the end of this pen to identify it from “live” pens during performance. Prepared pack, spread the wrong way. Force card is the 10 of Clubs, and the cover card is the 7 of Hearts.a Future Shock 12 2) Select two cards from the deck, one to be the force card, and the other to be a cover card. The cover card is used to cover the print on the second to last card during face-up ribbon-spreads. 3) Use the second marker to write the “prediction” (the identity of the force card) on the middle right-hand side of the other 50 cards (Illustration 2). Don’t worry, this only takes about ten minutes, 4) Assemble the cards with the predictions face-up on the right, next goes the cover card, and then the force card. Working and Suggested Presentation: Ribbon-spread the pack face up from left to right. “Here I have a pack of playing cards, 4 different suits, 13 cards in a suit, 52 cards, and 52 possible selections.” Using the right index finger, slowly lift and turn the first card on the left over, letting the finger run along the apex until all the cards are face down." I would like you to place your finger on any card, and slide it straight out of the pack, but don’t look at it. Good. The reason why I didn’t want you to look, was because you selected this card for me.” Square up the pack, then pick up the card, keeping the face towards you. The writing should be on the left. Turn the card sideways so the writing is now on the top. Remove the “dry” marker, and it’s cap. “I'm going to use this card as a diction card”, and I’m going to write a portent of a future event, actually a future card selection on it’s face.” Overlapping the already present print, “write” the prediction. Sometimes I make the joke “I waste more cards this way!” When done writing, be sure check to see if the ink is dry by smudging it with your thumb, and blow on it to let it dry quicker. This little bit of over- acting lends an aire of authenticity to your actions. When done, cap the pen and pocket it. Put the card face down next to the pack, with the prediction on the left. “I would like you to go ahead and break the pack any wherever you wish, and insert the card at that point. Good.” When he has done this, pick up the pack and slowly do a Hindu Shuffle. “Now while I'm shuf- ‘fling the prediction into the pack, I would like you to say “stop” when ever you like.” When he says stop, lift the remaining pack (Hindu Force), to allow him to see the selection. “You had mestop right here. This “your” card, I would like you to commit it to memory.” With that, tilt the pack face-down, and peel the card onto the table using the left fingertips. Then transfer the right- hand portion to the bottom of the pack. This will take the cover card back to the bottom. “As before I would like you to break the pack anywhere you choose, and place your card within.” They usually try to “seek a peek” at the card before it goes in which in, this case, works in your favor. Pick up the deck, and again, ribbon-spread it face down on the table. “First you chose a card for me to write a prediction on, then a card for yourself that you memorized. Now I would like you to choose a card for the “spirits” (over dramatically), the spirits of all those magicians before me, the spirits that are hopefully helping us out with this very card trick. Again place your finger on any card you wish, and slide it straight out, keeping it face down. They do so, and it is placed aside. Square up the pack. “Jt may have appeared as if that was a free selection, but in fact the spirits guided your finger once again to a special card.” Flip the pack and ribbon- spread as before. “Tell me (as a challenge), do you see your card in the deck?” They do. “You do? That's strange, the spirits have never let me down before, which one was it?” They reveal out-loud. “Oh wait, I see, the spirits did indeed guide your finger to a special card. You may notice, there is not one card with writing on it”. At this point, pat the top of the cards, simulating a search. You will be surprised at how liberal you can be with the card separation without reveal- ing any print. After a few seconds worth of searching, carefully square up the cards, and set the pack aside. Motion towards the spirit card. “Apparently, the spirits have once again guided your ‘finger to this card, my prediction card”. Flip the card. “My correct prediction card!” Final Words ‘The beauty of this interesting trick is in the way the patter, movements, and force meld into one. The routine will keep them guessing to what will come next, and is highlighted with a surprising ending. For those sensitive to using “spirits”, a fine substitute is ol’ “Lady Luck”. LEVITATIONS ...mame meme ee Ee ee ee Se eee eee Thumb-Off Addition Force Here is a very practical and deceptive force that can, depending on your use, simultaneously control the card to the top of the pack. It is similar to a variation of the Hindu Force. 1) The deck is held in a left Dealers Grip, with the right hand resting on top in loose Biddle Position, The force card is on the bottom of the pack. 2) Obtain a Left Pinkie Break above the force card by pulling down on the card with the little finger, or counting off with the right thumb. 3) Grip the deck in Right Hand Biddle transferring the Pinkie Break to a'Thumb Break. The top 1/3 of the deck is then Swing-Cut into the left hand. This gives you a little ballast, making the cards a bit easier to handle. 4) The left thumb starts to slip-off cards from the top of the right hand pack onto the left at a medium pace. The spectator is asked to say “Stop” whenever they wish 5) When they do, indifferent to the position of your hands, the right pack is immediately shifted back into the crotch of the left thumb. Under cover of the right hand pack, the left little finger pulls down and releases the force card onto the top of the left pack 6) The right-hand pack is lifted an inch, and then used to tap the top of the left pack while asking “Did you want to stop here . ..”, the left thumb then taps the top of the right pack, “or do you want to thumb-off one more card?” (At this point there are two possibilities, although with proper timing, and without asking the above questions, you can do either variation depending on your needs.) 7a) They say “Stop right there”. The pack in the right hand is placed on the table, and the top card of the left pack (force card) is displayed. ‘The card is then tossed onto the tabled pack, and the talon dropped on top, genuinely loosing the card into the deck. -Continue with your chosen effect 7b) They say “One more card”. Thumb-off one more card onto the top of the left pack over the force card. While placing the right pack onto the table, the left thumb does a two-card push-off and back again, retaining a Pinkie Break below the top two cards. 8) Double Turn-Over the cards displaying the face of the force card, and flip back. Thumb the top card onto the tabled pack, and drop the talon on top. The force card is now on the top of the deck. -Continue with your chosen effect.One-Handed Reversal / Top Floored As the name implies, this move will reverse a card with one hand; in this case, from the center of the pack back into the center. The move might also be described as a “Charlier Rever- sal”, since it is within the Charlier Pass that the reversal take place. While this move seems to be an obvious off-shoot of the Charlier Pass, I have yet to see it in print, nor have the magicians 1 have shown it to. Because of a natural camouflage of the card during the reverse (only the backs of cards are ever seen), the move can be done right in front of the audience. You may use it in the guise of a flourish, or if you prefer, execute the move during a turning of the body or other point of misdirection. Hold the Deck in Straddle-Grip and release the bottom half portion into the palm as in the first part of a regular Charlier Pass. Carefully let the thumb slide down until the tip reaches the center of the face card. As in regular style, use the first finger to push the bottom packet upward, here until it meets the thumb. With delicate movement, complete the pass. The face card should slide upwards from the friction of the thumb tip, and when the first finger drawn out, flip face- up as the pack falls together. Refer to the sequence below. To flip a specific card, you will need to cut the deck for the move just below the selec- tion. To do so, hold the deck in a Mechanics grip with a Pinkie-Break below the card of choice. The break should be at or near the center of the pack. While holding the deck flat, release the thumb, and use the fingers to bevel the deck inwards. The pinkie should lose it’s position, but you will find that the top half has turned slightly, leaving a step at the heal of the hand. The thumb bends downward and lifts the top half to a pre-reversal position. Complete the move. Top Floored. Using much of the same movement, but without completing the cut, you can make the selected card make a very visual face-up appearance at the top of the pack. The right hand is used to make a “magical pass”, covering the movement of the left. Refer to the sequence below. Also notice how the left hand must tilt back up after the move to simulate the original position. Timing is crucial. Reversal Sequence (From magician’s point of view) ]pe | Za It’s All Over Mama! A logical conclusion, and pleasant routine for the popular “Red Hot Mama” by Ryan, Everhart, and Leech. Since the effect is unchanged, only the presentation and working of the conclusion is given. Red Hot Mama is most easily obtained in Michael Ammar’s Easy to Master Card Miracles series Vol 1 Effect: A volunteer couple, (a husband & wife, boyfriend & girlfriend) is asked to participate in a magical effect. A single card is freely selected by the lady, and returned to the pack. She is then asked to “hug” the deck of cards. Being a strange thing to do, the magician demonstrates that to hug a deck, one simply squeezes the corner. She does so, and then asked to do it again, but this time with “feeling”. This is done by squeezing the pack while repeating the phrase “I wuv you!" As she does so, she is said to blush, but she is not the only one. The pack is spread to reveal that one, and only one card in the pack has “blushed” as well (it has changed to a red back in an otherwise blue backed deck.) After identifying her card, the red card is flipped to reveal that it is indeed one in the same. She is asked to temporarily hold on to her card under her palm. Not to leave her significant-other out of the picture, the gentleman is asked to perform the same steps. This time however, something goes awry. Blamed on a lack of sincerity on the man’s part, the back of his selection does not blush. The card is removed from the pack. To remedy the prob- Jem, the magician explains that one and only one card was really meant to change, and that is exactly what happened, as he points to the card under the ladies hand. She is asked to turn the card over, and it is found to be the man’s selection. All eyes revert back to the magicians hand, where the gentleman’s card was residing a moment ago. The magician slowly turns the card over revealing it as the woman's original selection. Working and Su; tation: Perform Red Hot Mama as in the classic rendition up until the point where the red dupli- cate card is placed under the lady’s hand. At this point, her actual card is on the top of the pack, and the force card is on bottom, During the motion of turning to the man and commenting about not leaving him out of the game, you will control the top card to second from the bottom using an overhand top-bottom slip shuffle as follows; Hold the pack in an overhand shuffling position. The left thumb and fingers squeeze the deck causing enough friction to slip the top and bottom. cards off together as the rest of the deck is removed with the right hand. The right hand contin- ues to overhand shuffle. To apparently mimic the previous selection process, the pack is Hindu Shuffled, but this time using a Hindu Force to force the bottom card. As opposed to lifting the half to show the card, it is counter clockwise jogged to produce an A-frame. The entire pack is tilted upward to display the chosen card at the break while commenting; “This way you will be able to view your card at all times.” The man is asked to hug the pack at the corner (not remind- ing him of the key phrase). It is then commented that he forgot to say “J wv you". This phrase will invariably place him in a pseudo-uncomfortable state, and will almost naturally produce a halfhearted response when he repeats the hug. (This progression of events always gets a goodlaugh from onlookers) The top portion of the pack is removed in Biddle and turned upwards to again display the face of his seletion. The “I don't know if this will work this time, but if all went well, the back of your card should have blushed as well.” As the right hand lowers, it executes a Side Glide and the originally selected card is second-dealed with the left fingertips to an out- jogged position. Pluck the card out while placing the rest of the deck onto the table. Stare at the card and then towards the gentleman, and exclaim; “It didn't work.” Look at the woman and ask “Has he always had a problem showing his affection?” (Another audience pleaser.) Explain the reason for the apparent mishap, and that actually only one card was really meant to change, and that is exactly what happened. Ask her to turn over the card under her hand. Give the audience time to absorb the magic and to eye the apparent doppleganger in your hand. Slowly turn it over to reveal the woman’s original selection. ‘i . Because of a silks colorful brilliance and surprising com- ‘ard. @ ks of pressibility, they have become an anor aseaa ce ina parlor and stage magicians repertoire. They naturally lend th e a themselves to some of the most beautiful effects in our art Unfortunately, silks are rather difficult to store, and their ‘The Silk Hangar appearance is easily marred by wrinkles and creases. The Silk Hangar is a simple to build device that will store your silks in excellent condition from the moment they are pressed to the day of your show. Different hangars could be used to separate sizes, colors, or even silks for different acts. 1) Carefully unwrap a thick wire coat-hangar at the neck and proper joints. 2) Run about 25 clothespins onto the hangar through the hole in the spring. 3) Re-bend the joints, and the neck. After pressing your silks, clip them by the corner, and hang them ina closet or on a door hook until needed. In a pinch, while on the road, you can hang the silks in the shower to be steamed,18 Post-Cards Post-Cards is a “spectator finds the aces” type effect using commercially available (and identi- fiable) Post-it brand “sticky notes”. It was directly inspired by the set-up and handling of Allan ‘Ackerman’s My Favorite Gemini from his book Las Vegas Kardma. This is a visual quickie that is best used as a precursor to any four-ace routine or effect needing four specific cards. It is virtually self-working, with only one real “move”. After first demonstrating what he wishes, the performer thumbs-off cards from one hand to the other and has a spectator say “stop” whenever they wish. The spectator then marks the division point with a Post-it note as the magician did the time before. This is done two more times with two other spectators. Afterwards, the Post-it notes are carefully removed with four cards attached to them. These cards are revealed to be the four Aces. Props: 1) Deck of cards. 2) Post-it brand sticky notes. The “Page Markers” configuration is ideal. They are 1”x3” with the adhesive on one end. If they are not available, larger ones can be cut down to size. Remove four of the Post-its from the rest and lay them on a table sticky side up. On top of each draw a small arrow pointing outward directly over the adhesive. These are meant to be seen but really do not need explaining. They merely denote the orientation that the Post-its are to be stuck into the deck, Whether the spectators realize they are inserting the notes sticky-side up is irrelevant. When done, replace these four back onto the stack. You could if you wish, prepare the entire stack in advance. In face-down pack of cards, you will need the following set-up; Ace on top, five indifferent cards, two aces, then the rest of the pack with an ace on bottom. Working: Hand a single Post-it arrow side up to three different spectators, and keep the fourth for yourself. To “demonstrate” what you wish them to do, you start to thumb-off cards (with the left thumb) from the right hand (deck in Biddle) to the left palm. Stop after the sixth card, and tell them to say “stop” whenever they wish, then place their Post-it in the division. As an example, you place yours on top of the left hand packet arrow up. The Post-it should be placed 3/4 of the way in with it’s left edge against the left side of the pack (Illustration 1). Place the remaining deck on top. (The Post-it will stick to the face of the ace on the bottom of the right hand packet And so it goes...) Face the first spectator and start thumbing off cards into a new packet. Have them say stop when they wish, and place their Post-it inside the division. Immediately procure aLeft Pinkie Break above the bottom card by pulling it down with the little finger, or counting it off with the right thumb. As your body turns to the second spectator start your count as follows; The bottom card is copped in your left hand while the right pulls over the deck, slipping the first card on top (Illustration 2). Keep counting with even rhythm, asking them to say “stop” when they wish. Have them place their marker inside. Turn to the third spectator and start thumb counting from the top once again. They say stop, and insert the last Post-it. After the right packet is placed back on top, squeeze the pack in the corner to reinforce the adhesion points. Hold the deck vertically with the faces towards the spectators, and slowly pull on the four protruding tabs. Each should have an ace adhered to it (Illustration 3). Although in reality, the spectators only chose 3 cards, when reflected upon, it will be seen as all four dL20 Ambitious Monte The following is a variation of Paul Cummins’ “Old Faithful”, found in his excellent lecture- notes From a Shuffled Deck in Use. The plot is nearly identical to Paul's, but in my mind, a bit more logical. The handling is completely different, and looks very natural. As the name implies, the effect has elements of an Ambitions Card routine and the Three Card Monte. Sleights: The two main slights are variations of the Simple Spread and the Back Spread, each allowing you hide one card while showing the rest. They are used as both a convincer, and a substitute for a card count. The variations are called the Back Spread Double Turnover (ex- plained in the effect Triple Indemnity elsewhere in these notes), and the Turnover Simple Spread, explained below. Other sleights include, Double and Triple Turnovers, the Vernon Strip- out Addition (also explained in Triple Indemnity), the Flushtration Move (explained below), and the Rumba Count (explained below). The handling in the routine may seem intensive at first, but is actually quite easy to perform. It will be well worth the extra read or two. Effect, Handling, and Suggested Presentation: After performing a few effects with the entire deck, the magician resolves to make things a bit easier on the spectators by using just three cards. Up-jog three aces from the deck while culling the Ace of Spades to the face of the pack. The order of the up-jogged cards should be red, black (Clubs), red, Remove the all four cards using the Vernon Strip-out Addition. Place the deck down, and transfer the packet to a right hand Biddle Grip. Explain; “This effect will use just three cards, all aces. The only ace you need to watch however, is the Ace of Spades, the most powerful ace in the pack.” While this is said, using the left thumb, slip the top two cards one at a time into the left palm. The right hand holding the last card (actually a double) is turned upwards to show the Ace of Spades. Turn the hand back down, and place the double on top of the cards in the left. “Some say this ace is quite magical, maybe even the cream of the crop.” Careful to keep the cards square, thumb-off the top card into the right fingers tips and transfer to the bottom of the pack. “And like cream, always rises to the top.” Give the packet a little shake, and perform the Turnover Simple Spread as follows; Thumb-off the top card into the right fingers and turn face-up. At the same time thumb-off the next card, keeping the last two square. (For an in-depth explanation of the Simple Spread see Jerry Mentzer’s Counts, Cuts, Moves, and Subtlety.) Place the face-up card on top of the other two completing a three card fan in the left hand (Illustration 1). After a pause, turn the ace face- down and square the cards. “Lets try that again, the ace goes on bottom.” Hold the packet in Paradise Grip, and pull the bottom card loose with the left forefinger (Illustration 2). You are effectively performing a triple lift, Place all three as one underneath the single in the left. “We give the pack a little shake (do so) and the Ace of Spades is back on top.” Perform the Back Spread Double Turnover (de- scribed in Triple Indemnity with five cards) to produce the familiar card spread in the left hand (Illustration 3). Turn the double over and square the cardsco ¥ “Boy, I'll tell you, I could keep this up all day: Once again thumb-off the top card into the right fingers and place underneath. Give the packet a shake, and perform the Turnover Simple Spread to show the ace on top again. “Now I know what you are thinking, I never a. showed you the other two aces.” Turn the top card face- ‘ co down and place on the bottom of the packet. “Afier all, this trick would be very easy if I used all Ace of Spades?” Perform the Flushtration Move (also found in Mentzer’s book) to show three identical cards as follows; With the packet in Biddle Grip, turn the right hand upwards to show the bottom card. Turn back down, and using the left thumb, slip the top card into the left hand. Again, turn the right hand upwards showing the bottom ace, and down, then slipping the top card into the left hand. The last Ace (a double) is shown, and placed on top keeping a pinkie break underneath. Smile. “But I would never do that, after all that would be cheating, and magicians never cheat”. Pick up the double, and then thumb-off the next card. Use the double to turn it face up (Illustra- tion 4). Thumb-off the face up card, and place the double underneath, then square. You will miscall this as the top card. “You see, the top card is in fact the Ace of Diamonds (it could be either red card)...” Thumb-off the face-up card into right fingertips, and then thumb-off the next card careful to keep the last two square. The right hand card flips the other face-up (Illustration 5). “And the middle card is the Ace of Hearts (up-jog these two slightly), the two red aces”. Pinch these two at the top and turn end-for-end face-down. “The black ace is on bottom”. Pinch the entire packet at the top and turn end-for-end, revealing the bottom card. “The Ace of Clubs!”Ambitious Monte 22 ‘You will now perform the first phase of the Vallerino Rumba Count as follows; Hold the packet between the right hand fingertips. Tilt the pack inwards and counterclockwise, and let rest on the outstretched left fingers. Using a rubbing motion with the right fingertips, separate the Ace of Clubs from the other three. These are released and drop face-down into the left hand. Flip the Ace of Clubs face-down on top of those. See illustration 6 for the entire sequence. “You see, by using the other three aces, I don't even need to think about the one you were supposed to keep you eye on...” You will now do a series of deceptive miscalls and odd exchanges to show all identical cards, “You remember, the one on the bottom...” Grab the packet in Right Biddle, and turn over the hand over to show the Ace of Spades on the Bottom. Turn the hand back down again and using the left thumb slip the top card face-down into the left hand. Immediately triple turnover the talon on top of the left hand card keeping a left pinkie break underneath. “The one here on top...” Flip the triple back face-down square. Thumb-off the top card into the right fingertips, and then thumb-off the next. Use the right hand card to flip the other. “Not to mention the one in the middle”. Quickly transfer the Ace of Spades to the bottom. Hold the square packet in Right Biddle Grip, and turn both hands palm up and say with a smile, “Any questions?” Rumba Sequence may also wish to use it as a simple packet trick. By pulling the cards out of a wallet instead of the deck, it strengthens the red-herring during the middle part of the effect, i.e. all cards being identical. This is a fun trick, good luck with itCurious George This is a cute pocket effect to always carry with you, ready to perform at a moments notice. It is a combination of Larry Becker's Mind Probe (with a few modifications) and the old “Smiling George Washington” bill fold. If you wish, after the effect, the bill fold can be explained as a unique “give-away.” This effect is included with Larry Becker's permission. Mind Probe is found in Book Two- Larry Becker's World of Super Mentalism. Effe: Aone dollar bill is removed from the magician’s wallet and folded nearly in half. It is commented about the little known fact that the father of our country was a bit of a magician, and in fact a mind-reader. To demonstrate, the magician has the spectator chose one of the eight digits in the serial number of the bill, and allowed to change their mind if they wish. They are then asked to concentrate on the number and look into the eyes of George Washington, who is in turn said to be reading their mind, At first he has a bit of a hard time and dons a noticeable frown, But with a bit more concentration a smile adorns his face, an indication that he was successful. For the first time the spectator reveals the identity of their number. It is shown that George (or possibly the magician) did know beforehand the selection, as their number is seen clearly marked on a previously unseen part of the bill. Preparation: Possibly the most difficult part of the effect is finding a suitable bill; it is however well worth the perseverance. Within the eight digits of the serial number, it needs to have only three true choices. For instance a serial number of 77874484 or 25352253 would work. Each has only three actual numbers. The odds of finding such a bill in good condition seem to be rather low, perhaps 1/150 or worse. But since we deal with quite a few $1 bills on a day to day basis, a little glance at each, should yield one rather quickly. Who knows, you may have one in your pocket right now, One suggestion that Larry makes, is to go to the bank, withdraw $100 and ask for a pack of $1’s, After a quick search, you can return the balance into your account. Preparation of the bill is as follows. First, make the classic “Smiling George Washington” fold (see illustrations on following page). This is what produces a smiling or frowning illusion when the bill is slightly tilted fore- word or back. Second, write the predictions on the bill (illustration page). Since there are three numbers, each one needs to be accounted for. One number is written on the face next to ‘Washington’s portrait, the second is circled on the opposite serial number, and the third is writ- ten the back of the bill. The numbers and their positions are handled in numerical order to make it easy to remember at the point of the reveal. The bill is held, so that the right thumb covers the first prediction. A fold in the bill pre- vents both the second and third predictions from being seen until the reveal.Curious George 24 Smiling George Bill Fold Front View /\ Mountain Fold Vo Valley Fold M MM Side View Prediction LayoutWorking and Suggested Presentatios Remove the bill and patter about the former president's magical hobby. Hold the bill at eye-level towards the spectator. Ask her to quickly scan the serial number and chose any one of the eight digits. Once she has done so ask if she would like to change her mind. This and the “eight digits” reference are little subtleties that make the selection seem more open. If you wish, you can also ask; “Now you did have a good selection of numbers to choose from, right?” After the choice is made, have them look into the eyes of the president and concentrate on their num- ber. Slowly tilt the bill downward. “J can see by the frown on George's face that he is having a little problem reading your mind, please concentrate a little harder.” Now slowly tilt the bill upwards producing a smile; not just on the bill, but one will develop on the spectator as well “Ahh, I see George has done it. Now for the first time, say out-loud your number so everyone can hear; don't worry I'll cover George's ears.” This joke will buffer the request. “That's ex- actly what George thought! Really! To prove that I- ‘I mean George’, knew which number you would choose, a prediction was made right here...” Now reveal the correct prediction. inal Thoughts: If you wish, after the effect, comment that while you cannot teach George’s fantastic mind reading skills, you would be glad to show them how to make George smile on their very own bill, This is a cute give-away that surely does not violate any exposure laws. It also gives you an opportunity to ditch of the gimmicked bill by placing it back into your wallet to get another to fold. This effect is best suited for two to four people. With more than one, it rational- izes them revealing their selection out loud, and for less than four, everyone will be able to experience the “smile”, 1peepee eed eel eal ay A 26 Million Dollar Milli-Miracle Like the previous effect, this is an extension to a piece of magic by Larry Becker, included with his permission. It’s also similar in that it requires a “special” prop; in this case a “Million Dollar Bill”. If you don't have the ways and means to pick one up at the local bank, very nice counterfeits are available. Sources are given in the “Final Thoughts” section. This novel effect is excellent for table-hoppers, especially for banquets and country club dinners. It is certainly worth the time, money, and effort to produce. The original effect “Millimiracle”, is found in Larry Becker's World of Super Mentai Effect: As an avid fan of science and technology, the performer decides to demonstrate a new type of film with amazing properties. A regular looking 35mm film cartridge is dumped out of it’s canister. A piece of film is removed, which unfolded looks strangely like a regular piece of blank paper. “Not so” the magician explains, but actually a special film which when developed can reveal human thoughts. The piece of paper is folded and placed inside of the empty film canister, and given to a spectator to hold. He is asked is close is eyes and imagine his greatest wish. Upon opening the canister, the spectator finds a fully developed million dollar bill. Requirement 35mm Film Cartridge (with film removed) Film Canister, with lid Sheet of Paper cut down to 6 1/8" x 25/8" ( Thumb-Tip Million Dollar Bill (see below) Canister ill size) Preparati The effect relies on a very clever use of the thumb-tip and subsequent bill switch, both credited to the original Becker routine. The Million Dollar Bill is folded into 16th’s (folded in half four times) and placed inside of the film canister along with the thumb-tip (Illustration 1). The tension of the folded bill holds the thumb-tip in place, even when the canister is inverted without it’s lid. The bill-sized paper is folded in half lengthwise, and carefully inserted into the film cartridge (Illustration 2). Giving the paper an inward arch along it’s length can aide in the insertion. The film cartridge is placed into the left jacket pocket, and the closed canister with the tip and bill in the right.A table is approached and magic performed. During a break, the magician remarks about his keen interest in science and technology, and wishes to demonstrate the newest in photo- graphic films. The left hand reaches into it’s pocket and finger-palms the film cartridge. The right hand pats the right pocket while carrying out a “not in the left, must be in the right” type action. The left hand, with hidden cartridge, is removed as the right hand enters the right pocket and openly removes the film canister. Next, you will apparently dump the cartridge onto the table from the canister; the illusion is very convincing. Place the canister between the left thumb and first finger as in illustration 3. The right hand peels off the canister cap upwards, while the Jeft hand tilts in slightly. In immediate sequence, the left fingers release their grip, and the film cartridge falls onto the table (Illustration 4). The “empty” cani table alongside the cap. Pick up the film cartridge and remark; “Although it looks like a regular roll of film, in fact it is the newest development in photographic technology. Lets remove a bit of film.” Pull the length of paper from the cartridge and unfold. “Now I know what you think, a ce 4. er is placed facedown on the |ee ee ee ee a Million Dollar Milli-Miracle 28 5. piece of ordinary paper. No, it is actually a piece of film with a special chemical emulsion, one that is sensitive to a very narrow bandwidth of the electromagnetic spec- trum. A bandwidth that is normally correlated to that of human brain-waves... really! That's right, this film when developed can reveal what your thinking.” Turn to an unsuspecting volunteer and ask; “Would you care to help me demonstrate? You have nothing to hide do you? Good.” Continue; “You know, the best thing about this film is that the very canister it comes in, is both the ‘camera’ and processing tank.” Quickly fold up the paper into 16th’s and pick up the canister. Turn the mouth inwards, careful not to expose the contents. With the paper held as in illustration 5, jam it and the right thumb into the tip. The canister is held in the left hand so the thumb keeps the million dollar bill inside as the right thumb and tip is removed. Snap on the canister lid as you ask the spectator to hold out his right hand. Place the canister into their palm using the right hand, Although it may feel strange, I think it’s important to keep the “gimmicked” hand busy. Soon you will have plenty of opportunity to dump the tip. Continue; “Now place your other hand on top, covering the canister: I would like you to close your eyes and visualize something that you want more than anything else in the world, something that you have always desired.” Pause. “O.K. now, keep it clean, this is a family show. It should be something that would be the answer to all of your problems.” Address the rest of the audience; “Now hopefully an image of his thoughts will materialize on the paper. Keep in mind however, the quality of the image is directly correlated to how well he visualizes the subject, and how much he truly wants it. The image may be very faint, lets see.” Ask the volunteer to open his hands and container, and re- move the film. When the bill first becomes visible, comment that, “whatever itis, it sure looks well developed”, and when unfolded, bellow; “A Million Dollar Bill!” “Now there's something we have all wished for.” Allow the bill to be passed around and inspected. Take back the bill and conclude with; “Thanks a million, I hope you have enjoyed the magic.” Final Thoughts: Obviously, a million dollars may not be what they were actually thinking of, and really doesn’t matter. Many-times however, you will find that the volunteer will say that this was what he was thinking. Whether he is stating the truth or just playing along, go with it. As far as the Million Dollar Bill, there are two different types, and with them two differ- ent philosophies. One bill, is very realistic; the design is beautiful and paper nearly authentic. The other bill is much cheaper, and printed on regular paper. With one, it comes down to looking like a “switch”, (the bill is too perfect), and with the other, it may be possible that the paper magically printed, but is definitely not a “real” bill. Which is used is up to you. Personally I like to use the more expensive realistic bill. At the time of writing, the “realistic” million dollar bill is available from Hank Lee’s, and the other from Sasco, both with quantity discounts available.Parenthetic Coins Parenthetic Coins isa very practical “in the hands” coins-across routine. It was inspired by Larry Jennings Parapathetic Coins, as well as David Roth's Winged Silver, both being “tabled” effects. This routine is perfect for strolling or restaurant work, where a table might not be avail- able or is unusable. Effect: Four silver coins seem to magically jump from one hand to another; the last coin appear- ing right inside the spectator’s own hand. Required: Four 50¢ pieces (or comparable sized silver coins) and a matching shell. Working and Suggested Presentation: Remove the four coins from a coin purse or pocket, with the shell nested on third coin from the top. The four are displayed in a staggered stack on the right hand fingers (Illustration 1). Explain; “Here I have four silver coins-” The left fingers pick up the first three coins pinch- ing them at the inner side as is Illustration 2. The left hand stays motionless while the right tilts inward, the fourth coin hidden in a Finger Palm, and grabs the stack at its fingertips (Illustration 3). The left hand opens palm up to receive the coins. The right places them in the familiar stag- gered position, letting the shelled coin at the bottom of the stack un-nest to reveal apparently four coins (Illustration 4). This entire move is done while completing the sentence; “-fourParenthetic Coins 30 American 50 Cent Pieces, sometimes I need to remind people what they look like.” Continue; “What we will do is this, hold all four coins in a tight fist-.” Close the left hand around the coins, nesting the shell. “-and will do the same with this hand.” Close the right hand by first turning it palm up (with the coin hidden behind the fingers), then immediately closing into a fist (Illustra- tion 5). This “quick view” application of the Ramsey Subtlety is very convincing. “Neither hand touches... except perhaps the thumb-tips.” Touch the two tips together “Fonzie Style” and con- tinue; “Bur that’s all it takes for now I have one coin in my right hand, and only three in my left.” Open the hands as they are mentioned. When revealed, the right-hand coin should be “bounced” positioning it to the center of the palm. The moment the left hand opens, the fingers of the right curl inward touching the coin, The hand is then turned downward retaining the coin in a Classic Palm, the fingers are used to help push in into ideal position. The fingers drop and pantomime as if they are holding the coin at their tips (Illustration 6). This position may appear to magicians as a “real bad classic palm.” The right hand places its (non) coin on top of the others in the left. It then immediately un-nests the shell and retains the top coin (IIlustration 7). Use this coin to “count” the other three, tapping their surfaces. “Lets try that again, three coins in the left and one in the right.” Close the left hand into a fist nesting the shell, and carefully close the right into a loose fis ng care not to let the coins clink. “Now this time we should actually be able to ‘hear’ the magic! Listen.” Motion the left fist towards the right, then allow the two in the right to clink, apparently marking the moment of arrival. “Now I have two in the right hand, and two in my lefi.” Open the hands on cue. Once again, when the left hand is opened the right turns face down. This time let one coin drop to the fingertips while retaining the other in a Classic Palm. Again, you may need to bounce the coins in the right hand when you display them to get one into the center of the palm. As before apparently place the right-hand coins on top of those on the left. Un-nest the shell and retain two coins at the right fingertips (Illustration 8). Tapping thecoins, use these two to noticed, this is a very “ ‘count” the other two. “Two coins, and two coins.” If you haven’t already neaky” method of transferring coins right in front of the audiences noses in the guise of necessity. “Once again, we close our left hand and our right, and once again a little magic.” Jingle the coins in the right hand to mask any noise from the shell. “And now we have three coins in the right and only one in the left.” The three coins are displayed in the right hand, and the single (shelled coin) with the aid of the thumb, is carefully “twirled” at the left fingertips. This produces a very open display. Now for the final phase, credited to the Jennings routine, “Now I’ve been doing all of the magic in ‘my’ hands, but the final coin with travel into yours! Would you like to see that?” “Please hold out your right hand.” Place the three right- hand coins into theirs. “Now keep your hand open and watch.” While saying this, carefully place the shelled coin onto your face-up right palm. “It’s going to jump right over in front of all of our eyes!” While counting out-loud, open and close the right fingers with each number. “One... Two... Three!” At the count of three, immediately pick up the shelled coin with the left fingers and slap it down on top of the stack in their hand with a big smile. In the lull that follows the laugh, quickly reach in with the left hand and openly remove the shell. Use the other hand to coax them into closing their fingers around the coins. “O.K. that was cheating, but lets try it again. Close your fingers, don't even let the air get in.” This phrase will keep them from peeking at the coins. Do a Toss Vanish, keeping the shell in a left Finger Palm while apparently passing the coin to the right hand. “Hold your fist this high.” Lift your closed fist to a position a bit higher that theirs, waiting for them to comply. During this misdirection, push the Left Finger Palmed shell into a Classic. “Good, now watch.” With “tossing” motions accenting the numbers, again count to three. At the final count, open the right hand revealing the vanish. At this moment Tusually out of habit like to perform the “Wiped Clean” Subtlety coupled with a Spider Vanish to exemplify the emptiness of the hands. This is a nice touch, but not necessary. Finish up by saying; “the last coin is gone, and now you have all four.” They will open their hand, and hope- fully marvel at the four magical coins adorning their palm LEVITATIONS ... AFTER ASHow. I WILL ALWAYS REFOLD MY SPRING FLOWERS AFTER A SHow, eI WILL ALWAYS REFOD1 4 Time Warp A number of years ago, Iwas privileged to internship at the Los Alamos National Laboratory working on High Temperature Superconductivity. When demonstrating related principles to the general public, we used very small extremely powerful magnets made of Neodymium-Iron- Boron, They still hold the record for power per area, Since this time Magicians have adopted these wonders for various “PK” type effects; hiding the magnets everywhere from inside thumb- tips to behind the tooth. Time Warp, first developed while in New Mexico, uses one of these magnets that now are easily available at your local Radio Shack*. While the principle of stop- ping a watch with a magnet was certainly not new, I believed the self-contained nature and ease of method was, Time Warp is best suited as a “quickie” to demonstrate your strange psychic powers, or as an addition to a larger routine. Effect: Holding his watch at the fingertips and staring at the face, the second hand mysteriously stops on the magician’s command. It then again starts whenever he wishes. et up: You will need a analog watch with a second hand and a leather watchband. The magnet is, imbedded within the strap at the apex of it’s natural curvature when lying over the watch back as shown in illustration 2 on the following page. You may need to use a razor blade to cut the band at the seam, and a set of tweezers to insert the tiny magnet. You can resew the watchband or use a small dab of fabric glue to bind the incision. See illustration page for supplies, and further magnet placement. *The special magnets (pkg. of 2) can be found at Radio Shack under the name “Rare-Earth Magnets” with the part number 64-1895. Working: With the face of the watch towards the magician and the spectators, the first finger hidden from view, pushes on the hump of the band (Illustration 4). The strap flattens on the back of the watch and the magnetic field magnetizes the gears stopping the watch. This becomes an effec- tive “on/off” switch for the watch. Proceed with your chosen presentation, but don't overdo it. ‘Any feat this amazing should be portrayed as “difficult” and “mentally exhaustive.” On another note, although damage to the watch is negligible, I certainly would not do this with your new Rolex. Ona lighter note; If you believe in so called “magnetic therapy”, wearing this watch may relieve back pain, cure migraine headaches, help you quit smoking, and even clear-up that prob- Jem acne,the ‘Orel Logo Watches Speaking of watches . In just about any flight magazine tucked inside of your favorite airlines will find no less than two or three ads for “Logo Watches.” They are meant to be “give-aways to clients baring the logo of big corporate service companies. Although your means may be a bit more modest, you can certainly take advantage of their “sample offer” and order one to four logo watches for around $15 each. You can send them a logo, general graphic, or a photograph to be overlaid onto the watch face. Many different watch styles are available. The possibilities for the magician are endless; card reveals, predictions, gags, or even just your logo. You may even develop a watch face design and routine for use with the Time Warp effect just described. Many of these logo watch companies are now on the World Wide Web, and you can conduct all of your business electronically.Knowledge Froa Fire Although I'm not one that performs a great deal of “Bizarre” magic, (nor is the reader, I sus- pect), I have found this effect befitting during the Halloween season. I will be the first to admit it is a bit “over the top”, but Ladd it for your consideration. It’s overall weight depends on the theatrics employed; it can be played tongue-in-cheek or deadpan serious. There is also a small amount of cold reading involved; the text will give you a fine example. If the trick is simply not your style, you may still wish to examine the flash-paper principles utilized. They could find favor in many other effects. Effect: (without the histrionics) Candles are lit and the mood is set. The soothsayer removes a tarot deck, and other tools to divine the spectator’s fortune. The pack is cut and a card selected. The mage removes a piece of paper and writes a secret incantation and then sets it aflame. All that remains is ash in the erie form of the spectator’s card. A fortune is then revealed. Requirements 2 Large sheets of flash paper (commercial size is 8.5" x 8.75") 2 Sharpie markers; one red, one black Glue-Stick Tarot Deck (these can be found at your local bookstore) Candles (optional) Big “spooky-looking” book (optional) Metal or ceramic plate or pan with flat inside surface Preparatior You will be forcing one of two cards, the Three of Rods or the Four of Rods. The two pieces of flash paper will be treated in a way so that the resulting ash will apparently represent their selection. First the paper: If there are any crease marks from the original packaging folds, you can rid them by rinsing the paper under water and laying it out to dry on a flat surface. The paper is then given an “aged” look by cutting it’s edges unevenly and scoring them with the black Sharpie (Illustration 1). Next, you will treat each paper with a prediction. Using a glue stick, make three broad, thick lines on the face of one of the sheets, and four lines on the other (Illustration 2). Note: Glue-Sticks are now available in a purple variety that quickly dry clear. These are great for allowing you to see what you are writing. When finished, turn each piece of paper face-down onto a sheet of wax-paper. With the thumb, push down on the paper over the reversed glue path This will help impregnate the glue into the flash paper. Peel off the wax-paper and let dry for at east an hour. When the paper is lit on a flat surface, it will burn relatively slow. The treatedareas will be all that is left, seen as three or four lines of dark ash. Complicated characters like words, shapes, and numbers might also be possible, but in this effect, less is more. You may wish to mark one of the two sheets of flash paper so not to forget which is which; pethaps a small black dot in one corner. In performance, neither of these sheets of paper is seen at first. You will later retrieve them from some hidden location. I like to place them both under the front cover of an ominous-looking book. T.A. Waters’ Mind, Myth, and Magic (without the slip) does well. This should be on the table with your other props. The Tarot deck: You will be forcing the Three or Four of Rods using the venerable Cross-Cut Force. To set up, place the Three of Rods on the top of the deck, and the four on the bottom. Sitting at a table with your audience, candlelight being your only source of illumination, you announce you are ready to proceed, Remove the tarot deck. “Tonight we will attempt to reveal the past or foretell the future of someone sitting at this table with this, a tarot deck. Throughout the ages the tarot has been used in this fashion by countless soothsayers, fortune tellers, and psychics. Each card represents a broad range of meanings for those that look upon it's face. Tonight we will chose just one, and ponder those meanings.” Turn to one of your spectators and ask; “Would you care to help me with tonight's reading?” Riffle shuffle the deck keeping the top and bottom cards intact. Hand the deck to the volunteer and have her hold it for a few moments, and then place it on the table in front of her. “/ would like you to cur the deck wherever you wish, and place those cards on your left. Place the remainder on your right. Now cut each of these starting with the pack on your left and complete the cut, but place the top portion sideways forming a cross.” Pantomime the actions. “Now do the same with the pack on your right.” The pack on the right will have its force card on the face of the top half. The pack of the left will have the force card on top of the bottom portion. “A cross on each side will help ward off any evil spirits that might interfere with tonight's proceedings. The cards on your left represent your past, and those on your right represent your future. Tell me, which do you choose to observe, the past or the future?” Suppose they choose the future, as almost all will do. “The ee ee ee ee eeKnowledge From Fire 36 future. Please turn to the cards on your right and lift the uppermost packet, peeking at the card underneath, (Again pantomime the actions) Do not let anyone see this card. Look at its value, and the suit that accompanies that value and remember them. Place the packet back down the way it was, Now for me to tell her future, I must know the identity of the card, but we have a bit ofa catch 22 here. You see, it is like telling someone your secret wish after you blow out the candles on your birthday cake. If she tells me the name of her card, that future will be void. 1 must learn its identity by some other means.” Reach into your book or other hiding place, and remove the proper prediction. “This is a piece of parchment that was ripped from a magician's grimoire, and on it, I will write a simple incantation.” Using the red Sharpie, write GNARITAS EMANIO FLAMMA in your best script (see Illustration 3). Place the paper flat on your plate or pan, “This incantation written in red, loosely translated means ‘Knowledge-From-Fire’ (and it does). Now watch.” Remove one of the candles from its holder and light the flash paper. After the flame subsides, all that remains is three lines of ash. “Hmm, Tell me, when you look at this, does it convey any meaning toward the identity of your card? It does? Ahh, (with a smile) would the card you selected happen to be the Three of Rods? It was? Good. Please show everyone that this is true.” Have her lift the packet once again and show everyone the card. “How that we know the identity of your card, we can foretell your future; I'll make this short but sweet:” “The Three of Rods usually depicts someone who is strong willed and self-sufficient. You like to have things done your way, and usually do, many times without others being aware of it. Lam happy to say that your future looks good. Very prosperous. Not "money wise” mind you (sorry), but towards relation- ships with family and friends. After all, these things are already very important to you, and they will be one of your greatest assets in the future. Thank you very much for participating.” a meclusi Naturally, if they choose their past, you will have them look at the opposite force card, remove the proper prediction and proceed as described. The final bit of cold reading will need to be slightly altered to become “past tense”. If you are nervous about the Cold Reading, my only advice is to say it with conviction, and act on any positive response. For more information on the art of Cold Reading, I highly recommend the works of Herb Dewey, starting with King of the Cold Readers.ESPieces This effect, depending on your presentation, can be passed off either as a “magic trick,” or a powerfull piece of mentalism. Best of all, it’s completely impromptu. Effect: The Magician/Mentalist writes the five ESP symbols (Circle, Cross, Three Wavy Lines, Square, and Star) on the top half of the first five pages of a small notepad. As the performer's back ‘is turned, the spectator is asked to write or draw any word, number or picture, on the bot- tom half of the five pages. The sixth page of the notepad is used to record these pairs for him to keep, so to remember his choices. The top five pages are torn from the pad and then ripped in half by the spectator. The Magician takes half, while the spectator retains the other half, and each packet is mixed, The ten pieces are placed in random order onto the table. Using his powers of psyhcometry, the performer is able to match the ESP symbols with the spectators written characters. Secret: By using a special shuffle of the spectator’s characters, and a built-in numbering system of the ESP symbols, the two halves of the pages are easily re-configured, The special shuffle of the spectator’s characters results in a known order as they lay on the table. (The shuffle itself is given in the “Workings and Suggested Presentation”), Because the order is known, you simply match the halves with the symbol that was on that page. The ESP symbols have a built in num- bering system that makes this very easy. O+201* Look at the number of lines used in the different symbols. The Circle has one, therefore is #1, the Cross has two, so is #2, the Three Wavy Lines is then #3, the Square #4, and the Star #5, The Circle is written on the first page, the Cross on the second, and so on, Note: You could simply “remember” the order of the symbols on the pages, but this system makes it much easier. Props: All you need is a pen and notepad, preferably a 3x5 pad with the pages connected at the top. Since this pad is ungimicked, you could use or borrow any pad of paper; a notepad from an re ee ee a ee ee ee eeESPieces 38 address book, a steno pad, or possibly even a large Post-It® pad. Because of its ease of use, a 3x5 Mead®-type spiral notepad is recommend, however some prefer a solid white pad con- nected at the top with red adhesive. It has a “cleaner” appearance, and the lack of lines negates many possible explanations. Workings and Suggested Presentation: Present the notepad and pen. “Here I have a small notepad in which Lam going to write the five ESP symbols, do you know what they are?” At this point, whatever the answer, you start writing them on the tops of the first five pages. You could appear as if you are “remembering” the symbols along with the spectators as you write. You will in fact be writing them in the set order- the Circle on the first page, the Cross on the second, Three Wavy Lines on the third, the ‘Square on the fourth, and the Star on the last page. “Now what I would like you to do is to write any word at the bottom of each page, it can be a color, a fruit, a car, whatever. It can even be a number or a picture if you would like, and should be different on each page.” Flip over the last symbol and call attention to the blank sixth page. “This page is for you to re-write these pairs, and is for you to keep, to help you remember your choices. Do you understand the instructions? Good (or re-instruct). I will now turn my back, so I cannot see a thing (do $0), you can go ahead and start.” You will want to coach them through the operation and re-instruct them on the recording process on the sixth page. This record page is very important to the effect. It allows the spectator to later verify your matches, otherwise they might forget, misquote, and make you look incorrect. After they are done writing, instruct them to tear off the first five pages together, but leave the 6th intact. They can then place the pad face down on the table close to their person. “Keep the remaining pages in your hand face-down so I cannot see them.” You turn back around at this point. “Now J would like you to tear them in half. .. now hand half face-down to me.” This will look extremely fair, however the half you receive must be their characters (the lower half). You will be able to tell which is the bottom half by those pieces without the adhe- sive top or the tear fringes from a spiral pad. When asking for half of the pieces you simply motion toward their hand holding the bottom half (or use a magician’s choice). “O.K., go ahead and shuffle your pieces any which way you would like.” As a visual cue you start the “special shuffle.” Any prearranged shuffle in which you know the out coming order will work. This is the one recommended. The five-piece packet is held in the left hand, fingers underneath and thumb on top. The right hand thumb and first finger slips off the top piece to the remaining right fingers, the second piece follows that, and then the third. These three are placed under the two in the left hand. This “slip shuffle” is done two more times, first with only one piece, and then with two. You will not have to worry about looking “clunky”, or own shuffle. They will stop usually pre-arranged, because they will be concentrating on thil In rT UT i, ‘Milan | a —— -————— r d rH ! ‘The spectators pieces (with fringes on top) are laid down in random order across from the Magician's, which are in a 1, 32,5, 4, order right after you do. “Are they good and shuffled? Excellent. Now go ahead and place your pieces down onto the table, across from mine.” You now turn your packet face-up and deal them down to the table from left to right. You should end up with the following order . . . #1 #3 #2 #5 #4. This order, while looking random, is quite easy to remember, (You will want to practice this with numbered pieces to make sure your outcome is correct!) The inner workings are essentially over. Remaining is only to match char- acter #1 to the Circle, #2 to the Cross and so on (but not in numerical order). To continue, “Psyhcometry, in it’s purest form (if it exists), is the psychic ability to tell about a person by the resonance vibrations of a personal object, like a watch or a ring. I plan 10 use it a little differently. will attempt to use psyhcometry to match your words to the given ESP symbols. Since the pages were ripped in half all at once, I will not be able to look at the ‘rip marks’, but I do have a few things working for me. One is that the two halves where linked together for quite a long time, and I should be able to pick up on their identical vibrations. The second is that the pages have very symbiotic things written on them. You see, even though you ‘might not think so, your subconscious ‘picked’ each word or number for you to somehow repre- sent the ESP symbol at the top of the page. This characterization will help me as well.” Add some convincing theatrics by holding your left hand over a given character or ESP symbol, and waving the right over the opposite pieces, rubbing and twitching the fingers as if they are “sensing” something. Finally the right hand comes to rest over a symbol, and both hands slowly fall on the pieces and then connects them. Another nice touch is the endless varia- tions patter that is possible when slowly revealing the matches. “Hmmm, the color blue and . the Three Wavy Lines, possibly representing the color of flowing water, or the Ocean. Here we see a Square, which could easily be seen as... the bottom of a house, and a Circle that could represent the shape of a fruit. . .maybe even a peach” The patter extrapolations give an aire of authenticity to the psychometry, and is only subject to your imagination. Finish the matches slowly, and afterwards “exhausted” from your feat, take a well-deserved bow.Final Words: ‘A number of ideas and recommendations have passed their way since the inception of this effect, here are few. 1. Use a dull pencil during the written procedure, so the images are less likely to show through the pages during the shuffle, and lessen the effect. 2. When using adhesive topped pads, the 5 pages will be connected at the top when first torn from the notepad. Later, the spectator will find they need to separate the pieces before mixing their halves. This can add a little comic relief as you say “go ahead and shuffle your pieces” and they cannot. By the time they can start their shuffle, you are finished with yours. 3, Some magicians prefer to rip the pieces themselves to assure retention of the correct halves. 4, As opposed to motioning to the correct halves for their retrieval, you could simply state “hand me the pieces in the left hand.” When the time comes to separate their pieces before the shuffle (if using an adhesive top pad), smile and make the apparent off the cuff statement “that's why I wanted this half, so I didn't have to work.” Although the rip marks cannot be used to identify the like halves, this is still the only possibil- ity in the eyes of some spectators. If you feel uncomfortable with this, a pair of scissors can be used. In this scenario, hold the pages for them to cut, and then hand them the correct halves. 6. Since there are 5 symbols and pages; you may consider using 5 different people for your psychic experiment. LEVITATIONS ... ‘wish to thank my wife, Kendra, for her fun and artistic contributions to these lecture notes —————— Michael tries out his new “Hat Terror” at a local kid’s bithday party.rr ane )