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Interlock Production PDF
Interlock Production PDF
by Michael Pascoe
I first saw this years ago when I was a kid first starting out in magic. I use to love to watch magicians on
television and saw a young handsome manipulator from Italy named Silvan. He did very good card productions.
I enjoyed it because I read so much about Cardini producing cards from mid air and always wanted to do such
an act.
I had the basics down until I saw a move I was not familiar with. Silvan interlocked his fingers. Then he
showed them empty by moving them front and back. Then without removing his fingers, he proceeded to pro-
duce cards one by one. I was stunned because I could not understand how he could have moved them around.
Then I looked at the reaction of my dad. He was so dumbfounded by it that he laughed. I will never forget
this reaction and wanted to learn to do a move that completely fooled my dad.
I searched for this and found it in Hugard and Braue, “Expert Card Technique.” I learned so many moves
from this book including a second deal and a double lift. When I saw the interlock production, I was excited.
Could I learn to do the move that fooled my dad?
I found out that Cliff Green came up with it. I practiced and practiced and it was something of an obses-
sion. However, I could never really get the move down like I wanted. Down the years I picked up the move here
and there from others who taught it to me. I studied and worked at it and came up with a few moves of my own.
Effect:
Even though the hands are interlocked and shown front and back, cards are produced singly. Then the
magician drops it either on the floor or in a hat. After producing a few cards this way, he is dismayed to find out
that his hands runs out of cards as he shows it front and back. He does this again and still doesn’t have any cards.
Then the cards return as he produced them like this without unclenching his fist.
His hands move in opposite directions and a fan of cards are produced in each hand for a nice display
that frames the two hands and face.
The Sleight:
Hugard and Braue suggests practicing the move with one card. That is not a bad idea. I first learned it
from their book, “Expert Card Technique”. I never found it practical, but kept it in the back of my mind for years.
After playing with it for awhile, I realized that you really don’t need to do a Classic Palm with the cards,
but Thumb Palm them. Of course you start off in the Classic Palm position and move it so you can clip the card
or cards between the thumb in the upper part of the palm like you would if you are palming a cigarette. See
figure 1.
This frees up the fingers so you can clench it together. We all know how to do. It’s like praying but with
clenched fist. When you clench your fingers together, facing yourself, the left forefinger is first, then alternating
as in figure 2.
Fig. 1 Fig. 2
Fig. 3 Fig. 4
The reason for this is to hide the card or cards during the routine. One card is no problem, but a bunch of
them will stick out and must be hidden. The other purpose is to free the right index finger to do one more set of
camouflage. This will be described in the instructions.
With the card Thumb Palmed, the other thumb also does the same move so the corners the of the card
sticks out at each end. See figure 5. This left thumb is only there temporary. Next, move this right index finger
over to the top of the card cradling the corner of the card with the tip of the finger. See figure 6.
Move the left thumb from the corner of the card over the left lower corner and under it as in figure 7.
Notice that the right index finger is still cradling the corner. It must stay there to hide the edge of the card.
Fig. 9
Fig. 8
If you use a half a deck, it might be too much for the trick, but I like the idea of producing two fans from
each hand at the end. To solve this, I use the Nielsen cards which are much thinner so more cards can be pro-
duced, but it doesn’t take away from the finale.
To practice, use about ten or twelve to get the feel. Then work up to twenty six.
To perform:
During the course of a manipulation act, the magician palms about a half of a deck in his right hand. In-
terlock the fingers as you did when you practiced with the single card. Thumb Palming is easier because there are
more cards.
Remember to tuck the left index finger in and have the right index finger cradle the top left cards. This
is also easier and more important because this bunch will now be seen even from a distance. The index finger is
dead on to the audience and hiding the packet. In figures 10 and 11 the left hand is removed to explain the move
better. But during the performance of the routine, you of course use both hands.
Fig. 11
Fig. 10
When the thumb goes under the packet, it brings it up a bit. Turn the hands so the fingers are face up. Put
the right thumbs underneath while the hands rotate even more. The left index hides any cards peeking free.
Most magicians like Silvan would do this move over and over to show it empty, but I think this is overkill.
One time is enough. There is no reason for it. We get the idea, the hands are empty. From there, the production
of the cards should come.
With the tip of the left index finger, press the upper innermost part of the card near the right corner as in
figure 12 and buckle it back. Don’t do anything with this yet. Now Thumb Palm the packet separating the crimp
card away. See figure 13.
Fig. 12 Fig. 13
Fig. 16
Fig. 14 Fig. 15
Fig. 18 Fig. 19
Fig. 20 Fig. 21
Fig. 23
Fig. 24
Fig. 25