evi ae Ee COURSE INSome say the real secrets of magic should never be revealed... But I believe, if you are sincerely interested, you should have the fines, clearest instruction possible. (Over the years we have presented hundreds of television and stage shows. Now it's time to pass ‘on what we have learned to you. That’ why we created the Mark Wilson Video Course in Magic. Till teack you hundreds of tricks and illusions, everything from simple close-up to the latest creations in the world of magic. Learning is easy and fast, just watch the video tapes. Want to perform illusions? If you like illusions, you should have the Mark Wilson on Illusions videos. Mark Wilson and the beautiful Nani Darnell each you how to perform powerful illusions just as they did on television, Want to see some great magic shows? “The Magic Land of Allakazam was the frst nework television magic series. Each half hour show features fast-paced openings, audience participation comedy magic, sleight of hand and at least one major illusion, The Magic Circus television specials were the first prime-time full-color modern day magic shows. Mark, Nani and a glamorous cast perform 33 lavishly-produced illusions and many other powerful magic effects. Guest stars are che world’s greatest magicians, Carl Ballantine, Shimada, Jay Marshall and Lefty and the Professor Dai Vernon. We have more: The Magic of Mark Wilson, The Magic of China, and many others. Need some magic props? ‘We also have a fine selection of professional magic props, as well as classic memorabilia. To learn more and enter the wonderful World of Magic go to: www.markwilsonmagic.com To order call: (800) 367-8749 e-mail: mark@markwilsonmagic.com RO. Box 801839 Santa Clarita, CA 91380 Web site design by Presto Productions www.prestoproductions.comCOURSE IN MAGICACKNOWLEDGMENTS ‘The contents ofthis course do not represent the efforts of only tW0, three, ora dozen individuals, but instead, ofall those magicians of the past and present who have labored so dligently to create, perfect, and present the art of magic. Just as @ stalagmite, buried unseen in 2 dark cave, builds from tiny drops into a towering structure, so has our art increased through the centur shrouded in a ike darkness of secrecy, which remains a prerequisite to its growth. With this course, you wil jin the ranks of those who have learned these Inner secrets—and you must acknowledge and respect those whose cont tions we snjoy. Acknowledge by being aware ofthe countless hours of study, work, and practice that have been expended by the magicians of the past ‘create our ar. Respect the magicians of today, by never revealing any of these hard-earned secrets. This, then, ie the grateful acknowledgment ofthis course, tothe Magicians of all times and places, for their countess contributions tothe art of mag MW CREDITS Course Coordinator... Lary Anderson Assistant Course Coordinator ... Don Wayne ‘Art Director ... Julia Laughlin ‘Assistant Art Director... Manny Katz Photographers... Tery S. Uri, Michael Wilson ‘Graphic Production .. . Susan Kennedy, Ksthryn Capp Digital Photography... Lincoln Bond Contributing Writers (in alphabetical order) Larry Anderson Fr Jim Blantz Eart Nelson ‘Tor O'Lenick Peter Pt David Roth Brick Tiley ‘Alan Wekeling ‘Special Contributing Author... U.F. Grant Copyint © 1975, 1981, 1888, 2002 by Mark Wson Prete the Unt States of Amaia. Alightsrserved under the Pan-American and ntational Gayright Conventions Tis Book may not be aproducad hr whale or hn part ian frror any mars, electro or -mechanest incsang photocopying, rearing. by any infomation storage nd retriva system ow kno Pret nvertn, without writn parson frm the publehor eo 8 7 GO Go da Dit on he right inate the rumber of tis iting rary of Congress Contot Number 2002083018 ISBN 0-7604.1456-9 for pacarback ISBN 0762416920 for hardeower Front jacket photograph by Weaver Ly Revised ection eiod by Michael Washburn ‘gra ection pubis by OtnheimerPubohes, nc. or Courage Books, an prin ot unig Pros Book Publisher, 125 South wenty-scond Stet Philadelphia, Pennsytania 19103, ‘This book canbe ordre by aio the publisher ut try your bookstore fat! Veit us on he webs vwvrunringoress comCONTENTS Introduction . ABriet Biography How to Add Magic to Your Lile ‘The Benefits of Learning Magic ‘The Universal, International Appeal of Magic ‘Card Magic Card Definitions .- Card Handling Techniques The Pte Shute. . “The Table Shuttle Dealing the Cards ‘The Card Count—Retain Order ‘The Card Count—Reverse Order ‘Spreading or Running the Pack in Your Hands Self-Working Card Tricks ‘Automatic Card Discovery ‘Super Automatic Card Discovery ‘The Fantastic Five Turnover Card Double Turnaver - ‘The Double x Mystery “The Super Double X Mystery ‘The Super Anytime Double X Mystery ‘The Signed Card in Wallet ‘The Tom and Restored Card You Do As 10 ‘The Hindu Shuttle The Hindu Shute . “The Hindu Glimpse The Hindu Key Card Location Spell-A-Name SpelFA-Card SpelF-A-Card Outdone The Hindu Flash Fovee “The Hindu Color Change ‘The Color Changing Decks (Two-Deck Version) Hindu Shutie—Bottom Stock Control AFalse Cut Hindu Shuffle Pick-Up Controt “The Hindy Aces Reverse Order Count Trick Overhand Shuttle The Overhand Shute ‘The Overhand Reverse Shuto The Card Case Escape Cverhand Shuffle Glimpse ‘Shute Control with Key Card COverhand Shuffle Cantrol—Top Card te Bottom The Transterred Thought ‘The Overhand Siip Shutie ‘The Card Through the Handkerchiet ‘The Card Through the Handkerchlet—Face-Up Method ‘Overhand Shutle Card Contro!—Bottom Care! to Top 20 3t 32 32 34 86 38 39 39 40 42 a 46 a7 48 49 50 51 51 52 53 55 58 37 58 59 60 et 62 “83 64 68 56 67 87 69 70 2 crs ‘Ovethand Shutle Conta!—Bottom Card to Top —Second Method ‘The Overhand In-Jog Top Card Control ‘The Magnetized Card Overhand Inslog Controi—Placing a Card ata Specie Location in the Deck A Surprise Appearance 74 75 Forcing a Card The Sip Force : ‘The Sip Force—Second Method 10:20 Count Foree ‘The Rollover Force ‘The Count Force RollAny Number ‘The Double Lift Lite Finger Break The Double Lit ‘The Elovator Card Pile Revelation Snap-tt Color Changing Aces No. 1 Reversed Card in Deck ‘Sandwiched Aces ‘Thought Projection ‘AClever Combination The Glide The Gide ‘The Glide—Aternate Methoo Color Changing Aces No.2 (Double Lit and Glide) ilana Water Dos | Do Ol ane Water Birds of a Feathor Double-Backed Card “The Stubbom Card Satan Behind You The Perfect Card Force ‘The Two-Card Force Insto-Transpo “The Perfect Card Location You Can’t Do As | Do (Five Cards) Double-Faced Card Two-Card Monte New Card Monto Forced Cards Reverse Impossible Prediction Four-Card Assembly The Short Card... How to Make a Short Cara How to "ill the Short Card tothe Top ‘Short Gard to Botiom— First Method ‘Short Caf to Bottom —Second Method ‘Short Card to Bottom —Third Method ‘The Shon Card As a "Locator" “The Surprise Discovery (Using the Short Card As a Locator) ‘AWeighty Probiem (Using the Short Cara As a Locator) Quick Rifle Location ‘The Short Card Force ‘The Mystic Count Down, Cutting the Aces: Giant Cards “The Biggar Card Trick Sympathetic Cards ‘The Applause Card Double Applause Card A Giant Mistake—First Version ‘AGlant Mistake Second Version AGiant Mystery 76 78 7 78 79 20 22 83 83 a 85 26 89 1 92 95 96 97 97 9 9 101 102 102 105 105 108 108 109 110 112 114 115 118 7 19 nen 128 125 105 428 128 428 127 328 129 129 129 131 192 133 136 195 138 139 141 141Special Card Tks . Sat Reversing Pack Selt-Reversing Pack—Outdone Grant's Superior Card Trick Flourishes. (One-Hand Cut—Basie Method (One-Hand Cut—First Vaialon ‘One-Hand Cut—Second Variation ‘One-Hand Cut—Second Method Sereeing the Cards—The ibbon Spread Ribbon Spread Tumover Reverse Turnover Tumover Pick-Up Pressure Fan (Closing the Fan—Two-Hand Method Closing the Fan—One-Hand Method ‘The One-Hand Fan . ‘Springing the Cards, ‘Arm Spread Catch .. ‘The Waterall Throwing a Cara ‘The Boomerang Cara Genii Cards The Geniiof she Lamp Tre Geni's Number The Genii Predicts .. The Sandwiched Geni! ‘The Geni Saves the Day Gonis Library Money Magic ‘The Coin Fold Coin Through Handkerchief Coin Through Handkerchiet—Second Version Magically Multiply Your Money Four-Coin Asserbiy The French Drop (Using a Coin) The Finger Palm Vanish The Pinch or Drop Vanish ‘The Classic Palm (Using @ Coin) ‘The Coin-Vanishing Hanckerchiet “The Coin- Vanishing Handkerchiet— Second Variation Grant's Super Coin- Vanishing Handkerchief ‘Super Dooper VorsatiloVanisher Coin Through Leg ‘Challonge Coin Vanish Goin-A-Go-Go Continuous Coins Copper-Siver Penetration The Shrinking Coin Coins Across. Lapping —PulL-O# Method “The Coin in the Ball of Wool ‘The Expanded Shall Hal Dollar ‘Two Halves and Two Quarters “Two Halves and a “HaiP Dollar Coins Through the Table Coins Through the Tabi The Coin Roll ‘The Rall Down —Aternate Method ‘Money Magic—Bils, Roll he Bil Bils From Nowhere Bils From Nowhere —Version No, 2 The Tom and Restored Dolar Bill 343 144 145 146 148 149 150 381 152 163 154 155 156 487 158 188 159 160 161 162 163 164 165 166 167 a1 2212 213 214 216 218 219 221 202 222 223 204 225 Intaton “The Six-Bil Repeat ‘The Bilin Lemmon Rope Magic Rope Preparation (Coring) Cut and Restored Rope —First Method CCut and Restored Rope —Second Method Comedy Cut and Restored Rope ‘The Triple Rope Trick ‘Triple Rope —Muliple “Do As | Do" Knot Triple Rope—Times Two" Double Restoration Cut and Restored sting Threading the Needle (One-Hand Knot ‘The Melting Knot ‘Shoelace Flone The Tho Rigid Rope Equal-Unequal Ropes ‘The Great Coat Escape Rope and Coat Release ing Off Rope Impossible Rope Escape ‘Silk & Handkerchief Magic Hypnotized Hanckerchie! Fatima, the Dancor ‘The Dissolvng Knot The Knot Through the Arm Hanakerchief Through Hanckerchiet- ‘The Penetrating Handkerchiel ..... ‘The Magical Production of a Handkerchiet ‘The Vanish ofthe Handkerchief ‘The Universal Vanisher ‘The Serpentine Sik ‘The Serpentine Sik—Second Version . ‘The Phantom The Broken and Restored Match Eggs From Nowhere ‘The Vanishing Glass The Vanishing Glass—Impromptu Version Impromptu Magic ‘The Jumping Rubber Band Reverse Jumping Rubber Band ‘The Double Jumping Rubber Banxi— Version 1 ‘The Double Jumping Rubber Bana Version 2 ‘The Challenger Jumping Rubber Band Linking Paper Clips Linking Paper Clips With Rubber Ban Bag Tag Escape Ltesavers on the Loose! Cords of Fantasia “The Sucker Torn and Restored Napkin ing on Wand ‘The Jumping Match The Flying Match Dots Magic (Paddle Move) Dots Magic—Impromptu Version Glass Through the Table ‘Mental Magic ‘Three-Way Test ‘The Magazine Test. “The Curious Coincidence Millon to One ‘The Gypsy Mincreacer 28 290 235 237 ‘237 2a 242 ‘284 245 245 247 249 251 251 284 256 258 260 262 267 270 273 a) 275 ‘302 .3tt 314 314 317 318 ‘322 323 326‘The Genter Tear “The Center Tear—"Standing’ Variation Spectrum Prediction ‘Spectrum Predicion—Number Variation Ping Pong Prestidgitation . The Envelope Stand ‘The Envelope Stand—"Bank Night” Variation Betchas : ‘The Impossitle Penetration ‘The Impossible Knot The "Do-t-Yourself Knot “Tuned Up Glasses Fubber Band Release Knot in Hanckerchiot Make At Home Magic ‘vase of Allah ‘The Aghan Bands The Utity Cone The Sorcerer's Stamp Album (Svengali Book) “The Comedy Cut and Restored Paper (Cippo) ‘The Magic Card Frame ‘The Double-Walled Bag... ‘The Double-Walled Bag— Vanish ‘The Double-Walled Bag— Transformation ‘The Sun and Moon ‘The Cut and Restored Necktie Wine Glass Production ‘The Take-Apart Vanish CConfett to Gandy—First Version Contett 10 Candy—Second Version Confetti to Candy—Thira Version Thank You Banner—First Method ‘Thank You Banner—Second Method ‘Thank You Bannor—Third Method Vanishing Bow! of Water ‘The Bunny Box Production Box ‘The Square Circle ‘The Allakazam Hat—Intoauction ‘The Allakazam Hat ‘The Alakazam Hat—A Variation Magic Tztle ‘The Black Art Well Mechanical Magic ‘The Dove Pan ‘The Foo Can ‘The Lota Bow! ‘Sponge Ball Magic ‘Sponge Sorcery ‘A’Sponge Appears “The Fight tothe Pocket ‘Guess Which Hand Spectator’s Doubles ‘Transpostion in Your Hands Impossible Penetration “The Spectators Hand Revisited “Two in the Hand, One in the Pocket—Phase One ‘Two in the Hand, One in the Packet—Phase Two ‘The Total Vanish Billard Ball Magio “The Classic Palm (Using a Balj ‘The Classic Palm Vanish “The French Drop (Using a Ball) Fist Vanish . 27 ‘329 331 334 395 aa 338 "339 3a 3a 2343 345 347 ‘382 (353 387 358 359 360 362 363 365 367 369 370 371 372 373 374 375 376 378 379 ‘380 "381 ‘382 384 385 385 386 388 391 393 ‘383 394 394 304 295 397 297 298 398 400 403 405 405 407 408 tS RN ftp ten EK Ry dort get Change-Over Palm ‘The Finger Roll Flourish . The Mark Wilson Biliard Ball Routine Cups & Balls (Cups and Balls (Routine) Penetration Invisible Fight - ‘Any Cup Called For ‘The Repeat Production ‘The Lemon Surprise Magical usions - ‘The Arabian Tent Ilusion ‘The Haunted House ‘The Victory Cartons tlusion ‘The Mystery of the Magical Mummy “The Mystery ofthe Magical Mummy—Second Version ‘The Curious Cabinet Caper aoe Mummy's Casket Who's There Tip-Over Trunk ‘The Farmer and the Witch ‘Tne Suspension Ilusion Reputation Makers ‘The Challenge Coin Vanish Cowboy Rope Trick Magie For Campers. Tie Tae Toe Prediction After Dinner Magic ‘The Ring on the Rope Party Magic Fandom Number Selector Mystery Salos Magic Secrots| ‘Your Magic Will Open Many Doors Speeches and Presentations IWYour Customers Come To Your Business ‘Trade Shows and Networking Magic Business Card Printing ‘The Magical Bottom Line ‘The Last Trick in the Book ‘The Chapstick Caper ‘Your Future in Magic ant 412 423 425 425 428 428 431 437 at 446 449 452 483 457 460 462 464 468 472 473 478 481 481 483 484 486 490 492 499 493 493 494 494 498 498 498Dedication Gratotully dedicated to two lovely snd loving individuals without whom this would never have been written. My beautiful mother, Teta, for italy obvious reasons, but also for her Continuing inspiration, and... My beautiful wife, Nani, who has given up so much .. . so ‘that another prop could be purchased ... another illusion bul... another show suc cessfully presented ..- another step taken in a journey toward some luminous, unknown (goal... .. and in the process has managed to raise our two fine sons, Mike and Greg, ‘ard make i all worthwhile It my magle were but realMark Wilson's Complete Course In Magic INTRODUCTION Welcome to the wonderful world of magic! Inthe following pages ! sincerely believe you wil find the best ilustrated, most easly Understood, most completely developed method ever produced for learning the Art of Magic. Allof the material was carefully select 4, then writen, rewritten, checked, and rewritten again. Ovey 50,000 photographs were shot—rom these over 2,000 ofthe best were selected and then rendered as the line drawings which ilustrate every move in the course. We have added a new section, "Reputation “Makers,” and sections on how best to use the magic you will eam in the course, ‘As you will $69, most ofthe tricks have been divided into the folowing sections: EFFECT This is what the spectator soes—the mystery—the miracle~as performed by you, the magician SECRET AND PREPARATION Describes the props that you will need, and the secret of how they work. Most of the items need: fd can be found around the house. METHOD This isthe actual performance, explaining how you present the trick to the audience. COMMENTS AND SUGGESTIONS These are extra tips, suggestions, and ideas that will Nelp you make each trick even more baffling and entertaining ‘As you read and learn these great secrets, please remember and follow these four important rules: (1) Never explain how a trick ls done. If the audience knows the secret, then the mystery, the glamour, and the entertainment of the magic are lost (2) Never explain what you are going to do ahead of time. Ifthe audience doesn't know what's going to happen, they wevr't know hat to look for in advance and are much more likely to be bated {@) Never repeat a trick for the same spectators. Once an audience has seen a trick perfermed, they have a much greater chance cof "catching on." (4) The most important rule of all Always practice each trick before you present it Read the instructions, Practice with the props. When you can perform the effect smoothly and without hesitation, you are ready! With the closely guarded secrets you wil learn inthis course, you can entertain your friends or a theater fll of people, so there's. an important point! must make. As a professional magician, | have promised never to reveal the inner secrets of magic except to those who are sincerely interested in learning our art, Before | open the door to these great mysteries for you, YoU must give me your ‘word that, to the best of your ability, you will never reveal the secrets you learn to anyone. You are not signing a legal document. i's a matter of honor and respect for the magicians who have gone before us. Maintaining these secrets is how we preserve the wonder and mystery ofthe art of magic, of which you will become a part, Magic has taken my wife Nani and me around the world and Nelped us make trends everywhere. Now, with the complete course, Yyou have taken the first steps on the road to the wonderful world of magic. With your pledge not to reveal hese powerful secrets, I'm delighted to show you the way. Happy Magic! W hb lun —Mark WilsonABRIEF BIOGRAPHY Mark Wison Is nat only @ world-famous magician; he's also a producer world traveler, teacher, author, businessman, Creator of new approaches to sales and marketing, and the Creative force behind an impressive display of television and stage attractions. Perhaps he's best known for his tievsion appearances. TV Guide called him “the World's most tele- vised magician,” and i's easy to see why. When James Mark Wilson was eight years old, he watched @ magician perform and resolved then and there that the mystic at would be his own life calling. That amb tion was furthered much sooner than he anticipated. Five years later, when he was a high school student in Dallas, ‘Texas, where his family had settled, he took a part-time job _at a magic shop called Douglas Magic Land and became the magic demonstrator. Billing himself as Mark Wilson, he gave his first profes sional show at the age of thirteen before a Rotary Club fora modest fee of five dollars, confident that such engagements ‘would increase in number and financial return. Gone were the gokien days of vaudeville and the full evening magic ‘shows that heralded such names as Blackstone, Thurston, Houdini, and Kellar, playing theaters from coast to coast and ‘even embarking on world tours. With a definite goal in mind, Mark enrolled in Southern Methodist University's School of Business Administration to major in advertising and marketing. He was postive that he ‘could use magic as a means of seling products and servic- ‘88 28 well as entertainment, combining his knowledge of the art with his business training. That was proven when Mark linked the old art of magic withthe newest form of commu- ication, television. [After graduating from S.M.U, Wilson met beautiful Nani ‘A. Mark Wilson, fifteen years old and already an ‘accomplished sieight-o-hand performer. B. A twenty-year-old Mark, busy working his way through Southern Methodist University in Dallas, Texas. ©. In 1953, Mark won his first award—Most Outstanding Magician—at the Texas Association ‘of Magicians Convention.[A Bef Biography Damell Arends, then a stewardess for American Aitines, who ‘200n became his wife. With Nani's help, he was able to cre- ate, sell and present his first TV magic series, Time For Magic, sponsored by Dr. Pepper. The show debuted in February 1954 on WFAA-TV. It soon became the highest rated daytime show in Dalas. Realizing, in 1958, that greater success could only be ‘ound with the major networks, Wilson began nis efforts to sel the show as a network series. Success didn't come eas: lly and he spent two years traveling around the country talking to every major advertising agency, kid-show sponsor ang network executive he could corner. After many months of meetings, phone calls, letters and. presentations, sleepless nights and disheartening rejections, he received a call from the Kellogg Cereal Company who ‘wanted to fully sponsor the show as part of the CBS Saturday morning lineup. Mark and Nani and their then six= year old son Mike left Dallas for Los Angeles to begin ‘Mack Wilson's Complete Course In Magic production of The Magic Land of Allakazarn, America’s frst ‘etwork magic television series, The seras began October 1, 1960 and aired for two years on the CBS network before being sold to the ABC network, whare it ran for another three years. Allakazam was the first saris ever aired on U.S. net- Work television devoted exclusively to magic. ‘The Magic Land of Alakazam algo set the standard for all future magic shows on television. Wilson always did his ‘magic in front of alive audience, never used trick photogra- phy, and never allowed the camera to cut away during a trick, alto assure the home audience that magic was not accomplished trough camera ticker .. principles stil used today on all major television magic shows, In the 19708, Mark Wilson produced and starrad in ix ‘one-hour "Magic Circus" television specials, which were syn- ‘cated nationally by the Pillsbury Company. Later, in the 80s, he was host of The Magic of Mark Wilson, a half-hour, ‘syndicated series co-staring wile Nani and the Wilsons’ seo ‘ond son, 12-year-old Greg. ‘And when television and movie producers want magic, ‘they know that Mark Wilson is the man to ask for. Once Mark and his creative statf have developed an appropriate con- cept, he turns to his vast warehouse, which houses the fargest single collection of llusions (arge magic props) under ‘one roof in the entire worl. In adaition to his many “on cam- era” appearances, Mark has also often acted as magical creative consultant for many TV series and specials for all ‘A. Time for Magic, Mark and Nani’ first television series, made its debut in February, 1954, B.A three-year-old Mike Wilson performs his frst il ©. Nani Darnell Wilson. D. Mike, at four, picks up a ‘ow pointers from Dad.‘A Brief Biography three television networks as well as mast ofthe major motion picture studios. Of particular note is The Magician television series for \Which Wilson provided all of the elaborate magic props, sup- pled storylines and script ideas and taught star Bill Bixby all (of the magic for his role. Mark has also instructed Hollywood's top stars in the performance of magic, working with such luminaries as Cary Grant, Tony Curtis, Peter Falk, Dick Van Dyke, John Oenver, ‘A. Greg Wilson enjoys performing with Mom and Dad. B. Cary Grant presents the Magician of the Year award. C. The Magic Circus television specials were syndicated throughout the wor, D. The Magic Land of Allakazarn was the fist national magic show televi- sion serie, E_ Alakazam! Rebo (Bev Bergeron), Mark, and Nani ‘Jackie Gleason, Cher, Johnny Carson, and Burt Reynolds. ly addition f0 his television appearances, Mark has toured extensively, producing and presenting magic shows throughout the worl. In 1980, Mark Wilson received one of the greatest honors ever given to any performer when he was invited by the government of the People's Republic of China to be the first Western entertainer to perform in that awakening county. It was a landmark event when Mark and Nani Wilson, along with a company of 20 people, a television production crow, and over two and a half tons of props, per- formed throughout China, For the Chinese people this was their first opportunity ever to see an American performance, since no Wester per: formers had appeared In mainland China in the 92-year history of the People's Republic of China. They called hime the "Magical Marco Polo,” and in the packed theaters where they appeared, Mark and Nani introduced the Chinese peo- ple not only to Western magic, but also fo Western dance,‘scenery, costuming, pacing, and showmanship, So unique was this event that Time magazine carried both an article and photo coverage of Mark's advance visit to Baling. China Central Television videotaped the show and aired it nationwide, another frst for a Western performer. The {government estimated that 200 milion Chinese viewed The Magic of Mark Wilson television special, and the show has ‘been rerun throughout China many times. In addition, Mark reached out to the Chinese people by performing on location, another historic first. Mark enter- ‘tained at agricultural communes and elementary schools, on trains, among workers tiling the fields, at the Children's Palace in Shanghai, in the Forbidden City and Tien An Mien ‘Square in Beijing, inthe courtyard ofthe Mausoleum of Sun Yat Sen in Nanking, and even on the ancient Great Wall, The tour produced three television specials, The Magic of China ‘and The Children of China, and The Adventures of @ Young “Magician which sired on the CBS network and featured Greg \Wiizon co-starring with Bill Bixby. Mark Wilson's work in China made him a celebrity there and, through the airing of his television series and specials in ‘many countries, his fame has spread throughout the world In 1983, he toured Southeast Asia, including Malaysia, ‘Bangkok, Singapore, and Hong Kong, appearing in large the aters and giant arenas with an even larger cast and ten thousand pounds of equipment. Mark Wilson authored The Complete Course in Magic, the highly-acciaimed volume which has been transated into alan, French, Chinese and Russian. With more than three quarters of a milion copies in print, it's the most popular 'book of magic instruction ever writen Wilson has created and produced custom-designed ‘magie productions for some of world’s fest theme parks, world's fairs, and expositions including: The Hall ot Magic Pavilion at the New York World's Fair; ATT's Magic ot the Telephone Pavilion at the Hemisfair, Disneyland; Disney World; Legoland; and all of the Busch Gardens Six Flags, and Kings Entertainment Parks. Wilson's Magical Attractons are unique devices designed to attract, entertain and deliver commercial impact at trade ‘shows. They include The Amazing Hand Machine, Man From Mars, Half Humanoid, Miniature Girl, Robot Girt, Miraculous ‘Materialzer, and Wisoa’s copyrighted Cinilusion®, wich is the combination ofa projected image of film or video, live action performers on stage and magic. Wilson has been |saued five US. patents for these and other magical devices. Mark Wilson and Nani Darnet's fist son, Michael, born in 1984, graduated from the University of California, Berkeley with a Bachelor of Arts degree in 197. In 1980, Michael was FRosd Show Manager for Mark Wilson's history-making tour of China, and became so fascinated by the Orient, he enrolled as a Chinese Language and International Business ‘major in the graduate school of the University of lino, whore he received the coveted Master of Business ‘Administration degree. While studying for his degree, Michael attended the prestigious Peking University, ling in Baling fora year. Michael Wilson speaks fluent Mandarin, the oficial language of China, and now heads his own com= pany, bringing international’ performers to the U.S. and Mark Wilson's Complete Course In Magic ‘A. With Bill Bixby on “The Magician” set at Peramount Studios. B.A giant billboard announces the appearence of the great American Magic ‘Show in Bangkok. CC. Rehearsing with Dick Van Dyke. "booking U.S. entertainers overseas. ‘The Wilsons’ younger son, Greg, was born in 1965, and he developed such an interest in magic that he became a skilled magician by the time he was eight years old, the very age at which his father, Mark, had first witnessed a magic show. Inthe early 1980s, Greg co-starred with his father and mother in The Magic of Mark Wilson series, which has. dolighted and battled television viewers in many countries throughout the world. Greg is now an internationally recog~ ‘nized magician and ilusionist carying on the Wilson name. In 1961, Mark Wilson brought a young college student, Johny Gaughan, to Hollywood from Dallas where te had ‘worked for Wilson. As John’s great talent in design and Woodworking became apparent, Mark made him supervisor (of the Wilson workshop. John Gaughan now heads his own ‘organization and is recognized as the leading expert in il sion design, John has built or supervised construction of ‘almost all ofthe hundreds of ilusions in Mark's warehouses, ‘8 well as for many other prominent magicians throughout the wort. Alan Wakeling, well known as a performing magician, joined Mark Wilson Productions in 1968 as Creative Director Wilson credits Wakeling with the creation of many of his most effective and baffling magical presentations, including the Spiker, Excalibur, and Aquarian Ilusions. After twenty-five years, Alan retired from Mark's company to pursue endeavors including the building and restoring of exquisite ‘automata, Mark Wilson has become one of the world’s most hon- ‘ored magicians. He is President Emeritus and former Chairman of the Board of the Academy of Magical Arts at the Magic Castle in Hollywood. Mark and Nani have received awards from major magic organizations throughout the Worl, including the Magician's Hall of Fame from the Society of American Magicians and Super Stars of Magic from the International Brothernood of Magicians. Wilson was the first ‘magician ever to receive two of the prestigious Magician of the Year awards from the Academy of Magical Arts, the magician's equivalent of winning two Oscars, and the ‘Academy's top award, the Masters Fellowship. The readers ‘of Magic magazine, America’s leading independent publica- tion for magicians, voted Mark Wiison one of the "Ten Most Influential Magicians of the 20th Century.” ‘The eight-year-old boy who watched his fst magic show with wide-eyed wonder has become the most well-known performer in the entire history ofthe ancient art of magic. But Wilson's world is not only one of magic, encompasses the realm of producer, world traveler, teacher, author, business- ‘man, creator of new approaches to sales and marketing, and the creative force behind a wide array of amusement park and stage attractions. For a couple as diversified and talented as Mark Wilson and Nani Darnell Wison, the greatest trick ofall is finding the time to do everything. 12 ‘Mark Wilson's Complete Course in Magic ‘A. Mark and his cast perform Robert Harbin’ famous Zig Zag illusion on the Great Wal, BB. The "Magic Exchange." Magicians traveled from throughout China to ‘exchange magie secerts with the magician from the west. CA Chinese boy is delighted by Mark's magic,WALTER GIBSON (1897-1985): CO-AUTHOR Walter Gibson was one of magic’s most prolific journalists. As a young man, while working for the Philadelphia Ledger, he was commis- sioned to do a syndicated series of simple ticks, puzzles, and games. These caught the attention of Howard Thurston, who was then America's leading magician, and he engaged Gibson to prepare special Booklets on magic to be soldat the Thurston show. Next, Gibson was working for Thurston on magical articles that were sold to popular magazines such as The Saturday Evoning Post and Boys' Life. Impressed with what he saw, Hary Houdini called on Gibson to prepare a series of three books to be published under Houdin's name. Only ‘one had been completed atthe time of Houdin’s unfortunate death in 1926, but a few years later, the Houdini estate provided Gibson with all ‘of Houdin's unpublished notes on magical methads, From those Gibson prepared two books under his own name—Houdini’s Escapes and Houalni’s Magic, which have become classics inthe fed Harry Blackstone, who had been one of Gibson's earliest magical friends and inspirations, contracted Gibson to write two books for him. Joseph Dunninger had Gibson pen books for him as well. Added to that, Gibson wrote innumerable magic books under his own name, and ‘edited several different magic magazines throughout the course of his life. Walter Gibson is probably best known as the creator ofthe character The Shadow, a hugely popular fictional crime fighter. Under the pen name Maxwell Grant, Gibson turned out 1,680,000 words of fiction during the year from March 1, 1932, to March 1, 1983, an alltime record {or a year's wordage devoted to a single mystery character. In 1966, a much younger mystiier was fast establishing himself as @ master magician of the future. His name was Mark Wilson, and it was inevitable that he sould later mest with Weller Gibson to discuss the shaping of magic in the years fo come. When they did meet, thie prime ‘object of consideration was the comprehensive magic course that Mark Wilson was planning. They agreed that by combining the underlying principles ofthe past withthe vast aray of present methods currently available, future etlects could be developed on a grand and lavish scale. Since then, they have cooperated to make the projected course the reality that It is today. Walter Gibson's vast, highly respected Iterary output represents an immeasurable contribution to the art of magic. iEN.” GRANT (1901-1978): REATOR OF MAGIC “There is probably no other magician who has invented, devised, and improved more magic effects than ULF. “Gen.” Grant. Practically every ‘magician has performed at lest a few (and often many) of Gen.'s creations. Certainly every madern magic catalog introduces some of Grant's remarkably marketable effects. Most assuredly this course owes a large debt to his fertile mind. As you progress in your knowledge ofthe prin- ciples of magic and their implementation, your respect and admiration will grow for this true master of magical inventlon—Mr. UF. “Gen.” Grant. LARRY ANDERSON: COURSE COORDINATOR By “magical” standards, Lary Anderson has attained a degree of pro in the art of maui, highly regarded by his peers. Lary first came to Wilson's attention at the age of nineteen, while stil at the university in Minnesota. Mark required assistance with a large llusion show in the Twin Cites, and Larry's knowledge of magic, bearing, and hard work made him a stand out, Wilson was so pleased with his contribution, he flew Larry to California to be a ful-time associate in his organization. For this course, Larry, withthe assistance of Don Wayne, coordinated the photography and artwork, and made valuable contributions in creative writing and rewriting, ll essential to the result. Larry is now pursuing an acting and directing career, but stl finds time to study, prac- tice, and enjoy his frst real love~magic. 134 Mark Wilson's Complete Cour In Magic deg tocate Sit, feb pttey Ry HOW TO ADD MAGIC TO YOUR LIFE | created the Complete Course in Magic because | believe that leaming and performing really good magic can make your entire life better, Just as it did mine. In the Course, you wil find some of the most closely guarded secrets of the art of magic. In many ways, this book is simi- lar to discovering a legendary volume of magical spells. Each trick is ike an anclent Incantation that will help you achieve some long wished for goal (Watch out Harry Potter, here you come!) Let me tell vou @ few ofthe things magic has done for me. As a youngster in school, | was shy ... smaller than the other boys my age ‘not particularly good at any sport. Nobody hated me, but nobody seemed to ike me very much elther. | discovered | was not lucky enough to be inherently talented and certainly | was not an athete. | was more of an introvert than a party animal, not particulary strong, and not as tall ‘or well bult as some of the other guys in my class. When they were picking a team for a ball game, Iwas not the frst one chosen. | was allright, ‘scholastically, but my social life was lacking. Then | saw a magic show. | was fascinated. | got books from the library. I studied everything | could find. Soon, I could do some simple Wicks. | did some magic for a few kids at a class party... everybody gathered around .. they liked my magic. More importantly they liked me! ‘The girls, as well as the guys, all seamed to ike me more. | never expected ths. The “magle” was working for mel ‘Then | figured out why it worked for me, and why it will work for you, too. When you show someone @ really good magic tick, their first reaction is one of surprise and wonder "How did you do that?”... followed by admiration and respect for you, the magician, “That was real- ly good. Can you do something else?” | began to be recognized as a magician. | began to stand out from the crowd. My confidence and feeling of seMf worth increased. | began to overcome my shyness, | was better able o deal with people. | became more successful in everything | did. My ite seemed to change, not immediately, but overtime, as more people discovered what | could do. By the time | enrolled at Southern Methodist University, whenever | was invited to a party | always had some magic in my pockets. | got invitations toa lat of parties. Infact, | was invited to so many parties, | couldn't attend them all. ‘Then | said to myselt, “Wait a minute. They ask me to all hose parties because | am a terrific qu. I don't need that “magic* anymore. They like me for who | am, not for my magic!” So, when | was beginning my sophomore year at the university, | took the tricks out of my pockets and stopped doing any magic at partie. just went as myself. I didn't need that “magic!” Sure enough, it worked! But not the way thought it would. It worked in reverse. After a wri Invitations dwindled even more. That was not what | had expected. | had learned my lesson. | was not invited to many parties. Then the | put the magic back in my pockets. | did tricks for anyone who would watch, Sure enough, everyting tumed around, | was "popular" again. | was performing magic shows to help pay my way through colege. | was asked to be the Master of Ceremonies for the annual homecoming show. My fraternity brothers elected me president of our chapter When | became a senior n an attempt to gain more prestige for my fraternity, ran for head cheerleader in the annual school election. | had never been any kind of cheerleader. | had no experience in leading thousands of people in “coordinated yeling.” My opponent had a good track record as a cheerleader. I igured, “Okay, | won't win, But | will gat some Publicity for the fraternity.” When the election was held, I won by the largest majoty of votes of anyone running for any office that year. ‘The point of allthis i, I'm sure none of these lfe shaping events would have ever happened if my fraterity brothers, the faculty members. \who produced that homecoming show, and my fellow students who voted for me in the election, had not known who | was. I wasn't, “Mark? (Oh yeah, he's the short guy in my statstice class, | think.” It was more lke, "Mark Wilson. | remember him doing some magic at our sorolty party last week. He might be a good head cheeriaader. Maybe he could make the other football team disappear”... or whatever. So, you $06, it wasn't me, my athietic ability or my “wonderful” personality that gave me that recognition. It was because those people remembered who | was. And that was because ofthe magic ''m alot older now. | have kept the magic in my pockets. | also have magic in my house, my office, and my warehouse. | have nover left ‘magic out of my ife again, That's what magic did for me, and it will do the same for you. Study this course, practice and rehearse the tricks, then try them on your fiends. You will soon be recognized as a magician. Magicians ‘make the impossible happen. There aren't many people who can make that claim. You wil become a "special person” to your fiends and to ‘everyone you meet,How to Add Magic to Your Life—The Benefits of Learing Magic It really does happen. I've seen it hundreds of times. You will become more popular, your confidence will grow, your feelings of self-worth willincrease, The magic will work for you. Here are a few of the many ways you can put the power of magic to work for you. aera TE Bat Ry derbgetttey HH THE BENEFITS OF LEARNING MAGIC You can meet people and make new friends. Your magic can help you “break the ice” and make new friends on a plane, in a restaurant, at the beach, just about anywhere. If there is someone you want to meet, perhaps he or she is across the room at any gathering, waiting near {you in a line, or seated at another table in a restaurant, your magic will pave the way. Singles find i's an excellent way to meet members ofthe ‘opposite sex You will be invited to many parties. As soon as your friends know you can perform magi, you'l be invited to every party. Ifyou are not already known as a magician, do a tick or two for your host or hostess. They wll ask you to do your magic for everyone at the party. You may just become the most popular person at the affair. The next time they see your name ona list of possible guests, someone will say “Oh, ye Invite him. | stil can’t gure out how he did those amazing tricks at that last party” ‘You will be a sought-after dinner guest. With what you will learn inthe course, you can do magic with objects found on any dinner table, Doing a few baffling ticks after dinner, along withthe coffee, adds entertainment to the evening and azsures your invitation to many more din- rer atti, ‘Sometimes, when dining in a restaurant, | do a few tricks for my fiends at the table. Often the waiter wil gee what | am doing and ask if will do @ trick for him. When he is completely baled, he will Say, "Would you mind doing that for some of our ather walters?” When some wait- es are gathered around, other dinner quests want to see what Is going on and come over to our table to find out, So | warn you, it you are not careful, you can iterally “take over” a small restaurant. I've had that happen many times. ‘You can be the family favorite. With just afew tricks, you can turn an ordinary family get-together into a special event, You'lfind that magic has made you into a spacial person. A friend tells me his grandchildren are unanimous in saying, “I have two grandfathers, One does magic! ‘And then there's that other guy.” Another example, is when mom says, witha great big smile, “Everybody climb into the car, we’ a.” She doesn’t want to hear, “Do Ihave to go, mom? We were just there last month.” She's much happier when the respons ‘maybe grandpa will show me a new magic trick.” going over to see grandma and grand- ‘Oh, goody, ‘You can spread a bit of joy. Your magic can bring afew minutes of happiness to an orphanage, a children's hospital or a retirement home, You can be a great help at their next fund raiser. Church organization, civic clubs, underprivileged children’s groups and many other charitable organizations are constantly looking for entertainment for their members. When you see that your magic brings smiles to those faces, i wi? Cone of the greatest rewards you'll ever receive. ‘Your magic can help you set new sales records. Here's where your magic can really shine, you call on clients at their offices or business establishments, a clever trick will brighten a receptionst's morning and glve you an edge getting through to the boss. The right magic effect ‘can emphasize your selling message and dsfnitely add fun toa clen’s day. They'll be delighted to see you every time you call rf the customers come to your business, magic can help increase the selection of your establishment over your competition. “Let's go Cover to Joe's Place for our hamiourgers. Maybe he will do one of those cool magi tricks for us." You'l find a whole section on appiying magic to your sales fater inthis discourse ‘You can make teaching interesting. Throughout the world, public interest in the art of magic has greatly increased, not only in watching ‘magic, but also in earning how to perform it. With the knowledge you gain from this course, you may wish to become a magic instructor. There are many possibilities. The teaching of magic can be talored to any group, selected and structured for their particular needs. As an example, check out what we suggest for summer campers in Magie for Children. ‘Many professional teachers have added magic to their course curriculums to entertainingly deliver educational material, emphasize partic Ur learning points, maintain their students’ attention in the classroom, or estabish attendance: building, extra-curicular after-school activites. ‘You can make extra money in your spare time. There are many opportunities to make additional income with your magic. You don't have to_be a full-time, professional magician to do it. You might want to become what we in the business call a “semi-pro.” In your own neighbor- hood you can perform at bithday partes, bar mitzvahs, restaurants, retirement homes, anniversaries, sales mectings, office parties and all kinds of social affairs. There are many who have “worked their way through college" performing magic shows and many semi-pros who have ‘magic as a secondary occupation, adding substantially to their income. 1516 Mark Wilson's Complate Course In Magic x Fe; ate hR Bat a atte HR THE UNIVERSAL, INTERNATIONAL APPEAL OF MAGIC Magic isa truly unique form of entertainment, appreciated by old and young alike, Magic knows no racial, geographic or language barriers. Itis not even necessary to speak a country’s language to perform magic and make frends in foreign lands, Presenting a few good magic tricks will make you welcome around the word. Many times our personal experiences have illustrated to my wife Nani and me that the appeal of magic is truly universal and international Universal because magic is equally appreciated by children in kindergarten, senior citizens In retirement homes, and every agen between, That ‘appeal is also international, because magic works in any country inthe word. Here's a perfect example of how the captivating power of magic 's both universal and international In 1960, we were invited by the Chinese government to take our magle to mainland China, The invitation came from the Ministry of Culture, ‘an agency of the People's Republic of China. At that time, they were in charge of all the performers in the country. China had been behind the “Bamboo Curtain” for 32 years, and the invitation came shortly after "joint recognition” between the U.S. and the PR.C. Ancient China is the legendary home of magic: We were the first “Western” entertainers allowed to perform for the people of Ching since the current government took contro ofthe coun- {ty in 1948, We had been preceded by a symphony orchestra and a ballet troupe, who performed one show in Beling and another in Shanghai {for government dignitaries and leading officials, We were to perform our illusion show in theaters in major cities and conduct the frst ever “magie exchange" with Chinese magicians. (One part of the exchange was for us to teach the Chinese magicians the latest in western magic. That was easy for us. They hadn't seen ‘any western magic for over three decades. (in @ country of over a bilion people, | was the only magician with a Zig Zag ilusion!) The Chinese ‘sorcerers would show us some ofthe classic Chinese wizardry handed down through the ages, To Us, the most important part of our visit was to See what “modern” China was like, We were going to a country that had been out of touch with the West for over thity years. We spoke no Chinese. Their language, written in Chinese hieroglyphics, was totaly unrecognizable to us as ‘well. Our cultural backgrounds were ently different. We were told different fary tales as children and learned different nursery rhymes. Their music was oacophonous to us and ours equally strange to them, Almost all ofthe Chinese people we met and performed for had never seen ‘anyone from the West. 'm sure our faces looked very strange to them. In the truest sense of the word, everything was as foreign to us as Wwe Were to the Chinese. And yet, our magic worked beautiful. Because we wanted to mest as many ofthe people of China as possible, we performed not only in theaters, but also in communes, facto: fies, schools, on trains, at national monuments, in parks, in Tiananmen Square, at the temple of Heaven, and on the Great Wall of China. The levitation of a young Chinese gi at the Great Wall was featured in Time magazine. Everywhere we went our magic got a warm welcome. But it was in our appearances for smaller groups of Chinese that | could see their wonderful reactions. Several times | wert alone to a pub lic park and approached a group of old men, visiting in ther retirement. | would say, “Ne ow,” which is Chinese for hallo, the only word of their language | knew. Then | would then show them a magic tick. ‘The initial puzzlement on their faces turned to smiles. They understood immediately that what they were seeing was "magic.” They com- mented in pleasure to each other. After several more effects, | could tell they were glad I came to see them, Ihad a feeling they would be telling ‘stories about that Western man they mat in the park for years to come. ‘The most important part of that experience was | could feel the warmth and friendliness created by the magic. had that same feeling dur- Ing our visits to chitcren in grade schools, family groups in communes and workers in the factories. The wonderful esponee to our magic was Certainly universal and truly international inthis foreign land. Check tout, you'l se. Magic works everywhere. ‘That's what magic did for me, and it will do the same for you. Study this course, practice and rehearse the tricks, then try them on your {tiends. You will soon be recognized as a magician. Magicians make the impossible happen. There aren't many people who can make that claim. You will Become a “special person to your friends and to everyone you meet. It really does happen. I've seen it hundreds of times. You will become more popular, your confidence will row, your feelings of self-worth wil increase. The magic will work for you.CARD MAGIC “Ticks with cards form a branch of magic entirely on their own. In fact, there are soma magicians who specialize in card ticks and nothing ese, due tothe \wide range of opportunities offered by that field. This applies to everyone to ‘Some degree, because from the moment you start doing card tricks, you nat- uraly acquire @ manipulative abil The mere act of cutting and shutting a ‘pack of cards, then dealing it, demands skil of a sort. When you spread the pack, inviting someone to “take a card,” or run rapidly through the face-up ’pack while looking for cards noeded for some special trick, you acquire fur- ‘ther facility. Next you may find fancy cits and flourishes to your thing; and if you do, you will be on the road to becoming a card expert almost before you realize it ‘There are many tricks Involved in the discovery of cards selected by mem- bers ofthe audience. These depend upon variety of methods, which enable you to keep a “jump ahead” of keon-eyed and koen-witted spectators. Basically there are three ways of alscovering a chosen card: One is to “Yorce” It on the spectator, s0 that you know the card beforehand and thereby can predict it, name I, or procice a duplicate from some unexpected place. ‘Another way isto “locate” the card by its position inthe pack, so you can find Itby simply looking through the pack or studying the cards as you deal them. ‘The third way Is to "control" the chosen card, by shuffles, cuts and other ‘manipulations that enable you to reveal tat any time All three ways are covered in this section and each has its own variations {depending on diferent degrees of sk. So, by switching from one method to another, you can leave your audiences utterly nonplussed. Here, you will be further aided by special devices described or supped with this course. One 's the “Shot” card, which you can find or contol by the sense of touch alone. ‘Another isthe "Double-Backed” card which is responsible for several special effects, including those where a card reverses itself in the pack. Also, there is the "Double-Faced” card which enables you to apparently transform one card Ingo another, [None of these devices is suspected by your audiences, yet all can be added to.a standard pack, enabling you to accomplish remarkable feats that Would 'be impossible witn an ordinary pack alone. All this will add to your growing reputation as a card master while simpliying your work to a marked degree. By adding some of the more elaborate effects described inthis section, you ‘can soon round out a program of care magic that wil stand as a complete act initset,The following isa list of definitions of words or terms used in Card Magic. You with either a brief definition or a reference to the page in the Course where that particulars FULL DECK: 52 cards consisting of four suits, Die ‘monds, Clubs, Hearts, and Spades with 13 cards per’ suit from Ace through King. . with the Joker as an optional 53rd card, TOP OF DECK: When the deck is face down, the ‘uppermost card or portion of the deck. BOTTOM OF THE DECK: The lowermost card or portion of the dock. FACE: The face of a card shows its value and suit BACK: The back of 2 card is the pattern or icture on the opposite side of the ace." The back design is repeated on all cards throughout the deck Mark Wilson Course In Magic CARD DEFINITIONS oe PATTERN BACK DECK: ‘Any deck with a pattern or geometri cal design on its back. PICTURE BACK DECK: Any deck with @ “picture” on its back ‘The picture may be of anything such as 2 dog, a cat, or the Grand Canyon. Since these are mostly “novelty” cards, ‘hey are usually not well sulted for magic effects except in special in- stances such as card fans. WHITE BORDERED BACK CARD: Most "PATTERN BACKED” cards have a white border around the outer ‘edge. (One notable exception is “Bee” brand decks.) A white border back is essential in the performance of many Of the tricks described in this Course. This is because, when a card is reversed {turned face up in a face-down pack), it will not be noticeable because the White edges of the face are the same as the white border of the Pattern Back. ‘SPOT CARDS: Any card from Ace through Ten in any suit Deuce: Another name for a Two. Il find many of these used in the Course. Each is listed ht or term is described. 19Card Definitions - Cont'd. +) TREY: Another name for a Three. FACE CARDS, PICTURE CARDS, ‘OR COURT CARDS: Al of the Jacks, Queens and Kings. POKER-SIZE DECK: ‘This Is a deck of “standard size playing cards, meesuring 24" wide BRIDGE-SIZE DECK: This is a deck of cards slightly smaller than a Poker Deck, meas: uring 2%" wide. Bridge-size cards often give the magician an advantage in certain tricks because of their smaller width, Many magicians work with only Poker Size while others prefer Bridge: Size because they find them easier to handle. Algo, most "trick docks” ate made in Bridge Size. GIANT CARD: ‘An extra large card which is usually four times larger than a regular Poker sized playing car. MECHANICS’ GRIP ‘A method used for holding the deck in ‘the left hand for dealing, The lft first, finger extends around the front of the deck, the second, third, and little fingers around the right side, and the ‘thumb on top {as shown). This is superior and more professional than the Standard Dealing Position in that the first, finger keeps the cards squared.” The MECHANICS! GRIP should be used in almost all “dealing” tricks so that it becomes natural and easy. It is essential for more advanced sleights such as “Second” or "Bot: tom” dealing 20 Mark Wilson Course In Magic OVERHAND SHUFFLE: See page 61 RIFFLE SHUFFLE OR DOVE-TAIL ‘SHUFFLE: See page 24 CUTTING THE DECK: SINGLE CUT: Removing a packet of cards from the top of the deck, placing it beside the lower portion and then “completing the cut” by placing the lower portion on top fof the upper portion. DOUBLE OR MULTIPLE CUT: Dividing the deck into more than ‘wo stacks and then reassembling the deck FALSE CUT: ‘Any “cut” that leaves the deck in the same order as it was before the cut, FALSE SHUFFLE: ‘Any shuffle which leaves the deck jn before the shuffle the same order as it was ‘One-hand dealing DEAL THE CARDS: Removing eards from the pack, singly fr in groups. Although this is usually done with two hands, It ean also be ‘done with one hand,Card Definitions - Cont'd STANDARD DEALING POSITION. ‘The pack is held in the left hand rest. ing on the palm, with the fingers ‘extending around the right edge of the pack and the thumb on top. From this, Position, the thumb is ready to push, Off cards across the tips of the fingers, 0 that the right hand can draw, oF "deal." each card away, STANDARD DEAL: Cards are drawn off, one at a time, face downward, and placed on the table, each card going on the card be- fore it, This reverses the order of the cards. TURN-UP DEAL: face up as they reverse the order of the deck. ONE-WAY DECK: This is usually aPICTURE BACKED” deck in which the back patterns may all be arranged s0 that they face one way. This type of deck may be quickly ‘made into a "trick deck’ by arranging the Picture Backs so they are al facing fone way. Have a card selected. ..then merely turn the deck around so that, when the card is returned, ITS "PIC TURE” IS FACING IN THE OPPO- SITE DIRECTION, Then, by running ‘through the pack and looking at the backs, you can easly find the selected card. FORCE: Causirg 2 spectator to select a partic Ular eard or cards when he thinks he fs making a FREE choice. See FORCES, Page 76 FORCING DECK: ‘A deck in which all of the cards are of the same value. (Usually the bottom or “face” card of the pack will be of a different value to mislead the spec- tators.) ‘Mark Wilson Course In Magic TWOWAY FORCING DECK: A deck in which ‘the top half is com: posed of cards all of the same suit and value while the bottom half is com: Posed of cards all the same but of @ different suit and value, Used for “forcing” two different cards by spreading the cards so that the fist spectator selects from the fop half and the second spectator from the bottom halt. THREEWAY FORCE: Same as TwoWay Force Deck except deck is divided into three similarly faced sections 50/50 FORCING DECK: ‘A deck in which the top half is all the Same (forcing) cards and the bottom half is differing (regular) cards. With this deck, the magician may turn the ppack face up to show that the cards are all different, as long as he does not spread past the lower half. and then turn the deck back, face down, and “force” a card by having it selected from the top half. LOCATOR CARD: Any card which ean be used as @ “key to find some other card in the pack. Some examples of Locator Cards are: Short Card, See page 125 Long Card, a card that is slightly longer than the rest of the pack. This’ card may be easily located because of its extra length. KEY CARD: Any card that can be used as a “locator” card) CARD LOCATION: ‘Any method that allows the magician to “find” or “locate” a selected card after ithas been returned to the pack. aCard Definitions - Cont'd. DOUBLE-FACED CARD: A specially printed “trick” card with @ FACE on both sides, DOUBLE-BACKED CARD: A specially printed “trick” card with ‘@ BACK on both sides. SET-UP ‘Any preparation done before a show {or in many cases during a perform. ance) which arranges the cards ina special order or location. PREARRANGED DECK ‘A deck which has been “set up” or arranged in some special order before the performance. sTOCk: Any portion of the pack containing cards which have been “set up” in a special order. COUNTING THE CARDS: ‘See page 26 2 Mark Wilson Course In Magic REVERSE COUNT: ‘See page 27 SLEIGHT: ‘A “secret” move done with the cards which is not known to the spectators. . such as Double Lift, Glide, ete. Move: ‘A “move” may be either secret in which case it is a Sleight, tof the cards which the spectators can “see,” the Pack. BREAK: ‘See page 83 DOUBLE LIFT: ‘See page 84 GLIMPSE: Secretly noting a card while holding ‘or shuffling the pack. See page 48Card Definitions - Cont'd. Mark Wilson Course In Magic FLASH: Allowing the spectator to “briefly see"” ‘the face of any card. REVERSED CARD: Any card which Is face up in a face: ‘down pack (or face down in a face-up ack) CONTROL: FLOURISH: Any method (usually unknown to the audience) that allows the display of skill with the cards. performer to know the location of a particular card or cards in ourishes” are usually not tricks, al ‘the pack. This term is used extensively in the Course and in though they can become important most every instance refers to the return to the pack of the parts of some effects. Examples of selected card by the spectator and the magician’s ability to“"Con-_figurishes are Fanning the Pack, Spring trol” the card to the top, bottom or some other location in the ing he Cards, the Ribbon Spread, One pack where the magician wants it. Hand Cuts, etc, Gimmick: Any “secret” device used to perform a trick. The audience is usualy never aware of a "gimmick. FAN OF CARDS: ‘A number of cards held in the hand inthe shape of a fan. CARD DISCOVERY: ‘The climax or end of mony card tricks wherein the spectator’s ‘card is revealed or produced in a “magical” mannsr. THE "MAGIC LOOP": A very useful article in many magic effects is cellophane tape. Cellophane tape is manufactured in two ways. (One is the conventional tape with the "sticky surface" on one side; the other has the “sticky surface’ on both sides and is called Double Stick tape. As you will see, Double Stick tape is quite helpful for magical purposes, Particularly if the audience is unaware of its presence. However, if you wish to do any of the tricks that cali for Double Stick tape and de not have any on hand, you ean easily make your own by forming a “Magic Loop.” This is done by taking a piece of the regular single-sided tape and forming it into a loop, a8 shown, WITH THE STICKY SIDE OUT. Now, by placing this on whatever surface you wish to apply the tape to, and by pressing the loop fat, you will have, to all intents and purposes, formed a piece of Double Stick tape. At various places throughout this Course, you will find the Magic Loop referred to. Now, with this knowledge, ‘you can form a piece of Double Stick tape and perform the tany magical effects possible with it from stan ‘ape. CARD HANDLING TECHNIQUES Throughout all Card Magic, you will find that there are certain basic card handling techniques which are essential to your ability to perform card tricks. These include shuffling, counting, dealing, and spreading the pack. All of these techniques will not necessarily ‘appear in each card trick, but there are very few tricks, for example, that do not require at /east a shuffle, You probably already know fone, but in Card Magic you will find that there are several kinds of shuffle, Most of them serve some special purpose, such as controlling the position of a card, and together they give you the opportunity to introduce variety into your card handling, Similarly, there are different techniques for dealing and counting which control card locations. The success of a trick frequently depends upon your skilful accomplishment of one of these manipulations. Therefore, you are urged to practice ALL of the following manipulations until you can do each one smoothly, confidently, and without hesitation. Remember also, the mere appearance of skill and confidence in your handling of eards will add much to Your audience's respect for your ability as a magician 23Mark Wilson Course In Magic THE RIFFLE SHUFFLE ‘The RIFFLE SHUFFLE is probably the most widely used method of shuffling cards; and for that reason alot - YOU should be familiar with it It is not difficult, but it will require some practice to perform it smoothly, METHOD (1), Hold the pack in your right hand with your thumb at one fend and your second, third, and fourth fingers at the other. The tip of your first finger should rest against the back of the top card of the pack. The pack should be held so that your right thumb is ‘toward the ceiling with the face of the pack pointing to your eft. (2), Place the palm of your left hand on the bottom of the pack 4 shown, With your right hand, bend the pack outward and riffle ‘bout half of the pack wsich your right thumb, allowing the cards 10 fall forward onto the left fingers. (3). Place the tip of your left thumb on the back of this new packet (B) and raise the lower end of Packet B upward until it clears Packet A in the right hand. As the end of Packet B comes clear, shift your left thumb to the righthand end of Packer 8. (4) The two packets should now be facing each ather held with the same groin each hand. Your thumbs should be at one end of the packets, your first fingers resting against the backs of the Backs and the remaining fingers at the opposite ends, (5) Turn both packets face down and move the “thumb end” of each packet together. The backs of the second, third, and litle fingers of both hands should rest on the top of the table. i) Slowly begin releasing (rifling) cards from both thumbs ‘causing the cards to fall to the table and become interlaced at the inner ends. The ends of the cards should overlap about a half inch 2s they are “shutfled’ together. 17} When all the cards have been shuffled from both packets, push the ‘two packets completely together snd square the deck. This completes the RIFFLE SHUFFLE. (8) Repeat Steps 1 through 7 in quick succession, executing the shuffle as many times as you wish, to thoroughly mix the cards THE TABLE SHUFFLE ‘This basic exercite is intended to show you how co shuffle a deck of cards in the proper manner. This is similar to, but considerably more “professional” than, the standard R/FFLE SHUFFLE. When working with cards, itis to you sdvantage to be able to mix the cards ina quick, graceful fashion and, since some of the best card tricks are performed while seated at a table, every magician should be familiar with the TABLE SHUFFLE. It gives your work an expert look, convincing your audience that even your simplest tricks ae the result of great skill. Fy‘The Table Shuffle - Cont'd Mark Wilson Course In Magic EFFECT “The magician divides the pack into two packets which he rests face down on the table. Lifting the rear edges of both packets, he begins co release the cards in succession causing their corners to Interweave as they fall. He then pushes the two packets together and squares the pack, thoroughly mixing the pack. METHOD, (1) Place the pack face down on the ‘able in front of you and grasp the sides of the pack from above as shown, Using your thumbs, lift about half the pack from the top of the deck, near the middle (3). Lift the inner edge of both packets with your thumbs and move the packees cogether so that the innermost corners will ‘overlap slightly. Now, begin releasing the cards from your thumbs, allowing them to riffle downward onto the table so the inner corners of the cards weave together. (4) Here isa close-up view fof the cards interweaving. The cards are released from your thumbs interlacing at the corners only. (2) Now, separate the halves and place the packets on the table as shown, The outer ends of both packets should be angled slightly toward you, 10 bring the innermost corners of the packets very close together. Hold both packets with your thumbs along the ‘nner edge; the first finger of each hand rests on the top of the packs, and ‘your remaining fingers rest along the outer edges. (5) Once all the cards have been released, ... (6) ...move your fingers to the extreme ends of both packets and push them together to form one complete "shutfled” pack, (7), Repeat the shuffling process as many times as you like until all the cards in the pack have been completely mixed. COMMENTS AND SUGGESTIONS This type of shuffle, sometimes known as the “Dovetail Shuffle,” is often used by gamblers or professional “dealers.” Therefore, it is particularly effective when doing card tricks that have @ gambling theme. Many gamblers, after completing the shuffle, will cut the pack by drawing out the Jower half of the pack and placing it on rap of the unper aeckee, As a magician, you can foliow the same procedure, adding a natural and professional touch to your card work, 2