CARL EJ TER magicien lecture NEITESListen... Do you want to know a secret ?... Do you promise not to tell, whoa... Closer... Let me whisper in your ear. Say the words you long to hear... —From an obscure British musical reference. Itis relatively easy to argue that all Magic is derivative in nature. With this in mind, we've have tried within these pages to give credit when it was due. Please note that Carl does derive (ie. re-invent...) most of his material. Seldom does he construct routines from pub- lished material. When itis the case credits are included. As well, it a similar concept was known to one of the other members of the writing team, its credit was included by respect for its originator and by respect for the readers, should they be tempted to delve into the formidable body of magical knowledge already in print. Because we thought it was important. If you don't understand why, itis not important to you. If you do, we appreciate very, very much if you refrain from making Xerox® copies of these notes. Thank You And now... on with the Show! Copyright © 1993, Cari Cloutier Alll Rights ReservedTHE OBJECT OF DESIRE THE PLOT: This routine is quite utilitarian - suitable for stage or close-up. The magician sells a kiwi to a member of the audience. At the end of a magical interlude the bill is shown to have found its way in the kiwi. Obviously not a new plot (Jarrow’s Lemons comes to mind) but an interesting method. Kiwis have the added advantage of being smaller, a defi- nite advantage in walkaround work. THE REQUISITES: -3 kiwis, of similar appearance. -A knife with a protective sheath. It is put in the right inner jacket pocket, its handle pointing upwards... -A thumb tip and 2 bills of a same denomination, but different than the one which you plan to borrow. -A small fire wallet of the type with a Himber wallet feature;load the‘clean” side with one of the bills. -Hollowed out kiwi goes to the right (R) pants packet. -Thumb tip loaded for 1008 bill switch on R thumb. -Sheathed knife goes to the left (R) inner jacket pocket. -Fire wallet in the L pants pocket, loaded and ready. One of the kiwis is prepared by removing a plug of its flesh from it. There two ends to a kiwi, one of which shows a wider, darker knob than the other end. This is the side upon which you will enact your surgical skills. The wedge-shaped plug which you'll remove must accommodate a fingertip and go alll the way to the centre of the fruit. PERFORMANCE: The unprepared kiwi is sold to the spectator and traded in exchange of the signed bill. It is totally useless to perform this routine unless the bill is signed. A torn corner simply doesn't cut it... as far as convincing a sophisticated audience. The apparently empty hands receive the bill and proceed to fold it into a small packet, performing the bill switch at the same time. After suitable by-play, the bill is returned to its original denomina- tion. At times, Carl will indulge into a floating bill sequence as well. (Many thanks to the once ubiquitous Michael Ammar.) The bill is re-folded quickly and taken by the right fingertips as you comment upon the spectator’s frivolous spending habits. Do a false transfer to the L hand, thanking the spec- tator. Both hands immediately reach into the pants pockets, the L slightly before the R. In the pockets, the R feeds the bill in the kiwi and ditches the thumbtip. The L just fumbles about. (remember...that’s the one supposedly with the bill.) Both hands come out, waving ‘empty palms to the audience; you were just kidding L hand reaches into the L pocket and pulls out the fire wallet, flashing the similar bill within.Then, the fire gag is done. The wallet is returned to the L pocket as the R hand goes to its pocket. The R palms the loaded kiwi. Your attitude now changes. You look slightly preoccupied as L & R hands, after fumbling in their pockets, come out in unison to search the outside jacket pockets. Leave the kiwi in the R pocket. Both hands come up to pat your chest pockets and then down to tap the outside jacket pockets again; It is now apparent to the onlookers that you are looking for something. Look at the kiwi recipient... Ha-hal You now realise where the Object of Desire is! Ask the spectator to give you the kiwi. Your attitude is almost apologetic at this point; you've kept them waiting. The kiwi is held on the palm of the R hand. As you patter, you absentmindedly reach into the L outside jacket pocket. Finding nothing, the R transfers the kiwi to the open L palm. R hand then searches into the R outside pock- et. It apparently finds nothing, but comes out with the kiwi palmed. fig.1 L hand now shuttle-passes its kiwi to (apparently) the R hand. The kiwi’s opened end is toward the magician. L hand goes to R inner jacket pocket and ditches its kiwi. It comes out with the knife, pauses to show it, and puts it in the L hand, where it is clipped (thumb- palmed) between the thumb and the side of the hand. The kiwi is sitting on the palm, its opening still toward you. it better be... otherwise it would make for a very strange effect.)The next sequence seemingly shows both ends of the kiwi without challenging the audi- ence. You are turned slightly to your R side (Fig. 2). The performer's complete attention is on the R hand as the L index finger comes over to point at the knife. Comment on the knife. ey The performer now pivots to face partially L as the kiwi is rolled into the awaiting L hand (Fig. 3); the knife's point touches the kiwi as you comment on the kiwi. The fruit is held at the fingertips and the knife begins to slice across it. Once the knife is at mid-depth, it is the kiwi which is rotated at the fingertips. Once the fruit is cut, the R hand slowly reaches over to the top half and pulls it away; the bill will be visible. Dig in with the knife blade to bring it out fractionally. Allow the spectator to claim her due herself; let her remove the item personally. Surprise! No, no sleeving needed with this routine. Although this can be played as an ‘opening effect, it is much easier as a middle or a closer. If a few effects are done before you ask for the kiwi back A) the time delay reinforces the impossibility of what will follow and B) people are accustomed to see you use your pockets to get your coins, cards, pen i.e. in an innocent fashion. Acting as if you are looking for something (without overdoing it) will cloud the spectator's recall of the actual sequence of events. Experience will show you that most totally overlook the search-in-the-pockets segment when they try to reconstruct the sequence. Simply too many things have taken place. That particular segment probably reads immensely, terrifyingly long in print, but is very short in performance. To “live out" the appropriate timing, remember your own personal experience when you look for your house keys in your pockets. The third kiwi is to cover the possibility that the spectator throws the kiwi too hard... or not hard enough... and it gets damaged, or lands in an inaccessible spot. You now get #3 from your case, have it examined, and conclude the routine. You are still a demigod in their eyes. The routine, incidentally, may be performed with a ring. You must preface it with something else than a bill switch... But the mechanics are the same as far as the kiwi load & switch goes.A ONE COIN INTERLUDE * Let me demonstrate different types of Magic... using a coin. There's what we call pure magic... and then invisible magic... through (true) penetration... And finally, very confusing Magic!" THE EFFECT: The many peripatetic peregrinations of a coinage specimen which ... Okay, it just another one coin routine, albeit a very effective one. It is the opening segment of the longer coin routine which Carl performed at his award-winning presentation in Salt Lake City. Itis a short, eye-popping segment which can be performed whenever you are ready to sleeve. Nothing new in terms of effect, but it is a very effective attention-getter... and is always well received. Parentage to Slydini's one coin routine, Roth’s Flurry and Kurtz’s Flurrious is evident. THE REQUISITES: A coin of some weight and size. Carl uses a silver dollar. PERFORMANCE:1) Start with the coin in the right hand (RH), coin held in fingertip rest. 2) both hands come up to face level as the coin is sleeved in the R sleeve. The hands stop once at eye level, palms open, fingers spread. 3) Hands fall back down to below waist level just long enough for the RH to recuperate the coin. Produce the coin from the L elbow a la Slydini. RH pauses to display coin. 4) RH pretends to put coin into the LH which closes. Both H now come up to shoulder level: -LH remains closed -RH sleeves the coin on the way up. Once there, it breaks at the wrist and points to the LH. 5) LH is opened, effecting the vanish. Pause for one beat, and both hands fall to your sides. RH recuperates coin. RH then reproduces coin from the back of the R thigh. 6) RH throws coin to LH to display the coin; pause for one beat. LH then pretends putting coin into RH. 7) RH hand reaches behind R thigh and hits it with the opened palm; the LH reproduces the coin in front of the thigh. The coin has apparently gone through it 8) The hands come up in front of you, at waist level. RH picks up coin from the LH and shows it. The palm-down LH covers the coin as it pretends to take it; the RH uses this cover to toss the coin in the L sleeve (Fig.1). LH closes in a fist to simulate the grab. RH is held closed9) LH tosses up the invisible coin; RH remains closed. 10) As you gaze at the invisible coin in its flight, the LH is opened up, palm toward the audience. RH fist points its index at the invisible object's arc of flight. 11) The RH opens up at waist level and simulates catching the falling coin. All of the magi- cian’s attention is on the imaginary coin (which is still in its downward course) as the LH falls of to the side and retrieves the real McCoy. The LH has returned to waist level by the time the RH has “caught” the coin. 12) The RH proceeds to toss the coin back up. Your gaze (and head) now track the imagi- nary motion re-describing the arc back towards the L which is holding the coin in fingertip rest. 13) As your gaze reaches the apex of its course, the LH positions itself in front of you at an intermediate height between shoulder level and waist level. The open palm is facing you; the arm points up at about a 45 degrees angle. The coin is lying on the fingers, loose. 14) Rapidly drop your arm to waist level. Inertia will keep the coin where it is; Gravity then will take over and the coin starts to fall. 15) The coin resumes its course... and lands on the palm (Fig.2).Continue with your favourite one coin segment. Flurry would seem a natural. The last car- toon-esque sequence plays well even on stage. Carl follows up with his jumbo coin produc- tion. You'll find this routine is a snap to learn. HAVE FUN WITH IT.TWO CARD FINALE This card segment includes slightly more covered (physically and psychologically) render- ing of Michael Ammar topited deck vanish. A dash of the spectacular is added for good measure, enhancing visibility of the effect. The bare-handed retrieval of the two pocketed cards at its resolution makes for a stunning sequence which Car often closes with in walkaround. THE SET-UP: A pack of cards A small 9" silk. A Topit set-up on the left side of the coat. For the sake of explanation,assume that you will be performing this fortwo spectators; both are sitting at a table, facing you at close quarters. PERFORMANCE: Two cards are selected, controlled to the top of the deck. Palm them off and ask someone to hold the pack. Mention that something else is needed for the trick. Immediately reach into your R pants pocket under guise of obtaining the silk; leave the cards in the pocket as you extract the cloth. The pack is recuperated, held in dealing grip. The silk is opened up and spread over the deck. It is set a little off to your L; i.e. the overhang on the L is longer (Fig. 1). Pivot the torso fractionally to your R to show the covered deck to the R side spectator. The RH comes over as your body pivots to your R. Both hands rise fractionally as the RH lifts up the overhang to reveal the face card to the other side's spectator. The covered LH third and little finger take the opportunity to clip a bit of the fabric (Fig. 2). fig.Pivot once more to the L side spectator, lowering your hands in the process. The RH adopts a Biddle grip on the deck (through the fabric); thumb at inner right corer, second finger at far right corner. LH releases its grip. Lean towards the spectator. Request the spectator to touch the deck; illustrate your point with the L index touching the top of the deck. As you lean back, the deck is brought closer to your waist (at coat's edge) in the same plane as your abdomen. The LH is slightly off to the side. fig.3Flick your wrist up, releasing the thumb pressure inthe process. The deck will tumble towards the topit. The grip upon the silk is maintained. Without delay, both hands move up to chest level (Fig. 3). ‘At that level, the hands immediatly rotate around each other, terminating with the RH toss- ing the silk up and outwards. The deck is gone. RH goes to R pants pocket (RPP); it palms the outside card and comes out with the other ‘one held at the fingertips. (Card #1 is concealed in full palm position.) Both hands meet at chest height and buckle the visible card, making a clicking sound by softly warping it. ‘Simultaneous motions of both hands now occur; LH comes up and out to shoulder level, arm fully extended, card facing out; lock your gaze on that card. RH reaches across to Left Inside Jacket Pocket (LIJP) . LH drops #1 on the table. Your gaze now turns to LIJP. LH grasps L lapel and opens jacket fully. The card is pulled out only when the jacket is fully opened . Card #2 is displayed face out to the audience Cart'sTopit design is a little different trom the Ammar standard in that its backstop extends diagonally from the anchor to the middle seam at the back, all the way to the collar. This makes the topit virtually unmissable. As well, horizontal cells are sewn near its back portion. This permits the sequential use of the Topit. Objects tossed low are accessible by the side pocket; those tossed in an high arc find their way into the cells and are out of play. (A cellular topit?)SURGEON GENERAL'S NIGHTMARE The core of this powerful sequence is a Torn and Restored cigarette segment published in When Creators Collide, an interesting booklet written by Jay Sankey and Richard Sanders. Inspired by its directness, Carl fashioned a taut sequence which plays very well in walk- around magic. It integrates simulation, time misdirection, sleeving, topiting and... collaring. It was part of the Award-Winning Las Vegas Symposium Impromptu segment. THE REQUISITES: A packet of paper matches in the Right Jacket Pocket (RUP) A disposable lighter secreted in your Left (L) sleeve. The elbow is kept bent ‘A thumb tip secreted in an easily accessible place. Carl has a pocket behind his R lapel. A Topit set up on your L side. ‘A gimmick. It consists of a small cylindrical peg of some weight disguised as the non-flter half of a cigarette. Weight is important as the gimmick must be dropped down the sleeve to the hand. It accompanies the matches in the RUP. PERFORMANCE: ‘Ask for a cigarette from the group. As (hopefully) one of the spectators complies with your request, reach into your RJP, extracting the matches and concealing the gimmick in finger- palm: The RH reaches up and out; it takes the opportunity to sleeve the gimmick on the way up. The RH freezes in an emphatic gesture once it has reached shoulder level in order to dis- play the matches. The matches are offered to a spectator to hold while you'll “show them something’. Perform a quick Vanish, Acquitment & Recovery sequence with the unlit cigarette. Remember; your R & L sleeves are loaded. Both hands must remain at horizontal level, within their field of view; the audience must realise that there is nothing else in the hands. Your whole body relaxes at the end of the sequence. The LH rises to display the recovered cigarette as the RH drops to your side, copping the gimmick in the process. The gimmick is gripped lengthwise, nestled at the extreme finger- tips between the index and second fingers, held by the thumb. The gimmick is concealed from view. This is essentially the same grip as the RH... in which most of its cigarette is showing; the grip is limited to the filter end. Both H travel and meet at mid-chest level, the grip on the cigarette lightening as the thumb pushes the gimmick 3/4 of its length past the fingertips. When both H touch, the cigarette is pushed halfway into the L hand by the RH's stubborn stub. The grip is emphatically tightened; the magician immediately mimes breaking the cig- arette in half in a rough break & pull gesture. The movement stops when the both hands reach shoulder width, chest height. Display for a beat (Fig. 1).‘As you patter about the power of static electricity, the RH bends up at the elbow so that the LH may be brought to the elbow itself in order to rub the cigarette against it. This position conveniently allows the RH to place the gimmick in your neck collar (Fig. 2). Immediately reverse the position of your hands so that the RH is now seen rubbing its “piece” against the L elbow. Do keep your LH away from your collar. Both H once again meet at chest level. Both H meet fingertips to fingertips,completely con- cealing the cigarette. Use your thumb in order to push the cigarette toward the R, stopping at the cigarette’s mid-point (Fig. 3). Stop for a beat; open your fingers, revealing the restora- tion. ‘Ask for the matches. As you reach over to take the matches, the L arm relaxes to your side and the LH cops the lighter in fingerpalm. Both hands immediately meet at chest level as the matchbook cover is opened. Mime the tear of a match, turn the booklet and prepare to strike the imaginary match along the stripe. Sharply move the LH to the Las if lighting the match. Repeat the striking action; lighter is produced as LH terminates its second leftward journey. Pause for effect. The booklet is dropped on the table fig.2fig.4 The lighter is now lit, held in the RH vertically between thumb and second finger. Pivot to your L as you extend your arm leftward and ask a spectator to blow out the “match”. Keep some tension between the second finger and thumb as you begin pivoting to your R. Initiate the movement which will bring you to 3/4 R. Your RH will travel R as well; time it so that when you will be facing fully forward, the RH is at your coat's edge. Letting the lighter slip off your thumb at this point will propel it into the Topit (Fig. 5). There should be no per- ceptible pause in the main pivoting motion. When your body reaches 3/4 R, the RH rises in emphasis and puts the'lighter’ in the LH. Pivoting to full front, LH pretends a put into the RH. Snap the fingers and effect the van- ish. As you comment upon the strange nature of the matches, obtain them and return them to the jacket pocket. Use the opportunity to obtain the thumb tip (on your thumb). Your deportment at this point should suggest that the magical sequence is over. Manage things so that the cigarette is in your LH, clipped between the index and second fin- gers... Bring the H together in front of you at waist level. Index and second fingers of thefig.5 RH come and seize the cigarette in a corresponding position. Shove the thumb tip into the LH in thumbpaim position, which grips it. The H separate; pause for a beat. Returning the visual emphasis upon the cigarette, bring both H together inserting the cigarette into the tip. The Right Index crushes the cigarette into the tip. The index flexes, pivoting the tip back into the RH. (This is essentially like a thimble vanish.) The tip is manoeuvred into heel-clip Position, pointing towards the R sleeve opening Both closed fists now travel in opposing directions, at shoulder height. Direct your gaze to the LH as it flexes up and outwards; twist your torso as well. All of your attention is upon the LH. At the same time, the loaded fist is brought down slightly and the wrist flexed inwards (Fig. 6).Now interchange the arm and body position; the R wrist flexes in further as the RH rises and sleeves the tip in the process. The RH terminates its journey in full outward flexion. The LH is dropped back to a lower, flexed-in position as the verbal query is completed (Fig. 7). Both hands are extended out and upwards. Upon the spectator’s cue, the chosen hand | and its mate are sequentially shown empty. | The body relaxes, the hands fall to the sides... i the effect is over. fig.8 RH retrieves the tip which is topited with a stylized showing of the empty hands; RH topits the thumb tip as it touches the empty L paim (Fig. 8), which reciprocates by flicking up to touch the R palm (Fig. 9) fig.9 ‘As mentioned, the starting point of the routine was the Sankey-Sanders effort, which was in tum inspired by Slydini's work. The idea of using the collar as a ditching area is from an old coin vanish.The thumb tip transfer sequence was developed independently by Carl, although similar handlings were published by Bob Chesbro (in The Tipnician) and John Cornelius (in his lec- ture). Ditto for the topit vanish of the lighter; indeed, it is difficult to describe a topit tech- nique not already inventoried by Michael Ammar. Why should one topit (or sleeve, for that matter) a thumb tip, which is essentially an invisi- ble gimmick? Please remember that this routine was designed to fool laymen and magi- cians alike. Many now know of the hollow fingers. Indeed, the bare-handed vanish of a ci garette for seasoned audiences frequently triggers a Paviovian “let's stare at his thumbs’reflex. Hence the decision to take that particular route. Of course, an abbreviated version of this routine might play just as well. Use the available shortcut with tact and ais- cretion — results are audience dependent. The emphatic gestures are an application of Slydini’s concepts, similar to a mime's Click. if you are not familiar with Slydini’s approach stop reading this manuscript and order any book with Slydini’s name upon its cover immediately. Do it now! Properly applied his tech- niques will make audiences hallucinate, seeing the invisible... a low-tech approach to Virtual Reality. And perform this routine now... while you can. Smokers are an Endangered Species.THE PLOT: In the course of a close-up set, the strolling conjurer borrows a pair of eyeglass- es from a sympathetic spectator. Conjurer accidently breaks the glasses. Conjurer express- es embarrassment. Spectator expresses angst. Conjurer offers his own glasses as a tem- porary replacement; glasses which are in his pocket. Upon opening the case, Spectator discovers her very own glasses, intact, inside. Carl developped this segment for the Las Vegas Seminar Impromptu Magic Competition. Its inception derives from a stunt Gary Kurtz pulled two years ago at the end of an after- noon-long discussion on the virtues of performing Magic as a spontaneous event. Gary did not know the origin of the trick. (The stunt has seen print recently within the pages of Eric Maurin’s Secrets). Carl's imagination took off from there. The end result is an easily re-set- table, table-to-table effect which leaves the onlookers with a lasting impression. THE REQUISITES: a An horizontal slit is practiced in the jack- et, slightly below the level of the outside breast pocket. A snap attachment is sewn just above the slit. (Fig 1) A large, soft eyeglasses case of the type which loads from the top. A snap fastener is sewn to its extreme top edge. The case is loaded into the L breast pocket, through the slit, and partially fed to the inside jacket pocket. Fastener is locked in place. Four branches are pressed into use as potential fac-similes for this routine; thin light colored, thin dark colored, heavy light and heavy dark. These are set end- pieces down in the shirt pocket (SP) A permanent felt marker is clipped the Left Inner Jacket Pocket. A spool of 1/4 inch surgical tape in the right side jacket pocket (RSUP) PERFORMANCE: Locate a potential victim wearing glasses somewhat similar to those stocked up in your arsenal. Approach the group and perform a few miracles. Use a spectator other than the target and initiate a sequence in which the marking of objects will be necessary.Under guise of obtaining the marker the LH opens jacket fractionally as RH reaches into SP. The suitable branch is selected and loaded down the sleeve rivet side down In a continous motion the marker is removed from the pocket and offered to the spectator. During the sequence, the left forearm is kept slightly bent to prevent premature revelation of the gimmick... fig. 2 ‘The marker is offered to the spectator, with instructions that it be examined and used Turn your full attention to the mark. Comment about their eyeglasses; ask to borrow them fig. 3Both hands receive the object which is examined with much interest and comment Manipulate the frames so that they are gripped mostly by the RH, the rim held at the base of the fingers; the opened L branch parallel to your fingers, the earpiece is pointing down.2nd finger is positioned on the branch, 1/3 of the way from the junction between branch and rim. (Fig. 2,3) After an emphatic gesture, the L arm relaxes down so that the gimmick slides out of the sleeve; it is captured and held joint end down in the cupped LH. LH approaches the RH (concealing its load) and tugs lightly at the branch. Pantomime a stronger tug. In a fashion strongly reminescent of the Flipstick vanish, 2nd finger audibly snaps the branch back upon the rim, as both Hs recoil from each other to a distance of about 30 cms (Fig 4) \ fig. 4 Alternatively bring the rim and the branch close to your face,in utter disbelief; as you do, widen the distance between your hands. From this point on you do not look at your hands.Verbally express your embarrassment... and chagrin. Both hands meet at chest level to fold down the other branch of the glasses. RH brings the folded glasses to the breast pocket, loading them into the case, releasing from the snap fastener and pushing everything through to the L inner jacket pocket. Immediatly follow by producing the surgical tape from the jacket pocket. Pocket the tape after the gag. After a suitable pause, the case is offered to the spectator, who extracts the glasses from the frame herself. Car's patter; “Could I see your glasses... for a second? Oh... must be expensive... and fragile (loading point) So Sorry... this is quite embarassing... it rarely happens ... But it did happen before... Don't worry... | have what it takes.. 1 fix it up later... This may make the trick a little difficult to follow. You can use mine... | only use them to read... Humm... They look similar... as a matter of fact... they're identical...!” The handling is designed so that the fingers and hands do not touch the lenses at any given point in the routine, a point your “victim” will surely appreciate. The breaking action calls for a little acting, a light touch and plenty of common sense. Stay away from very light ornamental frames. Should you end up with two branches in your LH, it is reasonably safe to assume that something went awry, as Carl did on one (memorable) occasion. Please appreciate that the risk is tangible. Remember, they do know that you are up to a stunt... should the glasses be too fragile or already broken, simply return them and move on with the other trick that was already in progress. People will think that you are very nice... or very strange. Do include the bit with the tape. It provides time misdirection before the final reproduction; its mild comic line might help dissolve the potentially uncomfortable situation should your victim’s friends not get the point that this is a magical effect in progress. The line cues peo- ple to the fact that the “disaster” just might... be a controlled event. Its its apparently acci- dental nature which makes this effect so startling. The display of the “pieces" is very well covered. The commotion caused by the breakage, your apparent embarrassment, then matter-of-fact reaction, the other diners’ response... all of these factors amply cover the actual modus operandi. Besides, the only individual who really knows the frames well is somewhat blinded... by the proceedings.fig.1 TWO FLIPPANT PEN VANISHES Carl proudly showed these two vanishes to Gary Kurtz a while back. Gary liked them, but he had to break in the sad news that the fip-stick vanish had already been invented before... by Flip. However, the complete vanish feature(with sleeving) is original, and very, very effective. So, with a gracious tip of the hat to MrHellema, here are two new complete vanishes. VERSION #1 1)You are standing, facing the audience. The hands jointly hold the marker by their respec- tive ends by the thumb and index fingers, the second finger of the Right Hand (RH) leaning on the pen past the index, i.e. further along the pen. Left Hand (LH) second finger mimics that position. 2) RH second finger presses hard inward; index and thumb will act as pivot point in a se- ‘ond. LH relaxes its grip on the pen (Fig. 1). 3) Snap! As you pivot the pen inward, the hands come together, fingertips “colliding”. The pen smacks audibly onto your hand and wrist. The object is gone (Fig 2). 4)The hands move away from each other in unison, bending slightly at the wrist. The R fin- gertip rides up and is positioned at the end of the pen.5) The index pushes the pen into the sleeve as the arms are raised past the horizontal plane (Fig.3 ); wrists begin flexing outward. 6) Empty palms shown to the audience. fig.2 VERSION #2 1) You are fractionally turned to your L. The RH holds the marker by its end with thumb and index fingers, the second finger once again in position to flip the pen. The LH is close by, ‘opened, palm down-(Fig.4) fig.32) LH comes over the pen’s centre and appears to take it as RH performs the flip move. 3) LH, still palm down, moves L and up as the RH sleeves the pen and then flexes open. 4) RH loudly smacks the back of the LH as it opens up. After the impact, both H recoil frac- tionally and immediately to effect the vanish. That's it. While of similar mechanics, the flavour of the two versions are very different. The second one is quite physical and spectacular; it has a loud sonic feature to it. Carl uses one or the other, depending on his mood. Both are, with a little care, angle-proof.Playing with markers of different length and weight will give you a feel for it. if you must use one with a clip, ori- ent it so that it won't catch in the sleeve... Try it with Al Cohen’s sequence.THE ORIGINAL EASY-VANISHER Vanish any small object! Anytime, anywhere, and almost anything... Call now! Ask for operator number 666... Carl uses this vanish all the time in his Close-Up work and it never fails to elicit a gasp from onlookers. He has used it repeatedly in magic competition, always to good effect. Do not let its relative ease of execution fool you into underestimating it; it is very powerful, especially when sleeving is used as an adjunct. THE REQUISITES: You will need a silk, two hands and a small object to vanish. Let's use a ring. PERFORMANCE: The ring is placed in the center of the palm-up L hand. The hand is held horizontally, fingers extended and pointing to your R. The assisting spectator is facing you (Fig. 1). fig 1The RH (which has been holding the silk) comes over to cover the LH with the silk. As the palm is covered crosswise, the LH relaxes from its taut position as if the accept the silk. Under this cover the hand cups and the wrist is flexed down, tilting the palm down as well The end result is that the the ring rolls to the fingers’ phalanxes (Fig. 2). fig. 2 Verbally request the spectator to “pull on it’ (the silk...). Under guise of showing which edge to pull the RH reaches under the hand from the R side to emphatically show their proposed grasping point by pinching it momentarily between R thumb and index fingers. You ‘il find that your extended other fingers are hanging quite innocently under the LH. Spreading the L fingers slightly will make the ring fall into your waiting RH (Fig. 3). RH retracts as the spectator complies with your request. She will be quite sur- prised to see the ring gone. The ring is in your RH fingerpalm Dispose of it at your leisure. Note that the LH remains stationary throughout the proceedings. The cup- ping action when the silk is received is natural and essentially invisible to the onlookers. Carl uses this vanish regular- ly in conjunction with the performance of THE OBJECT OF DESIRE. fig. 3Carl Cloutier is an artist of consummate polyvalence . He’s a classically trained actor, working both the stage and televised mediums. He's done voice over work in both television and radio commercials, as well as dubbing American series in French. He was a radio news announcer. He's dabbled (quite seriously) in classical music. He's added prestidigitation to his palette of talents relatively recently. Carl made waves at his first appearance in the International Brotherhood of Magicians Close -Up Contest in 1991. He was honoured to be invited to attend and perform at the select Fetcher’s Fingers Flinging Frolics in Buffalo in 1992. He won the International Brotherhood of Magicians Close-up Contest that same year. On the European front, he’s reaped the honours of the MacMillan Convention International Close Up Competition in late 1992. 1993 brought yet another First Prize,the Las Vegas Desert Magic Seminar Impromptu Close-up Competition. Carl ‘makes his home in the outskirts of Montreal. He spends his free time sleeving things. Robert Audet provided graphic layouts and illustrations for this publication as well as acting in an editorial capacity. Robert has a passionate interest for all things Magical; this sometimes extends to Conjuring, when applicable. Michel Asselin has tried to translate into words Carl's presence and performance. Hopetully Shakespeare's tongue was not too severely malinged in the process. He quali- fied for the job simply by foolishly volunteering to do it. He has a lifelong interest in the Strange. World-renowned Le Café Paltoquet is the Official Coffee Supplier of these notes; many thanks for their allongés and café au lait, without which this work would never have been conceived. Last but most important... Many thanks to Gary Kurtz for being such an uncompro- mising craftsman. There are very few Artists (with a capital A) in Magic (capital M); Gary is one of them.He is an innovative conceptor, accomplished performer,a clever wordsmith and much, much more. In a field replete with eccentric egos, closed cliques and perfuncto- 'y posturing, Gary Kurtz somehow remains an incredibly nice guy, generous to a fault. Gary was instrumental in getting this project under way May the Curse of Talent not weigh too heavily upon him. Copyright © 1993, Carl Cloutier All Rights Reserved