rare ear PES OY) Rg Ea (13 ~~) etl Te 7 i) TRANSFORM PHOTOS-ON A BORROWED PHONE . MAKE CARDS GRow OX THEIR ORIGINAL SIZE! JUST ADD WATER DUVIVIERER FROM THE EDITOR é to change the way you look at the 52-on-1 gathered a diverse array of incredible effects the 52-on-1 card from some of the biggest gic. yaches you how to shrink a SIGNED card and its original size. You heard that right you can jard! Ryan Schlutz teaches you how to change {tor’s cellphone with a crazy bit of technology own! ‘With Dean Dill’s effect in this magazine you can place a card on the table, and then have any card named. The card they name is the one you predicted on the table everytime. We also have an incredible effect from Steve Beam, where you can shrink a deck of card down and then blow it up to 60 times it’s original size. With everything in this issue you'll see that the 52-on-1 card is a flexible tool you can use in some incredible presentations! Pyrek Josh Bureh, HEADEDITOROCTOBER 2022 2 by Erik Tait Eee ce by George Schindler Tit enna uc 06 16 Diy Pee ase ee toy 18 08 eee Peto] ye Hee eee ad Josh@PenguinMagic.com penetrate to be featured in an issue!PENGUIN MAGIC MONTHLY COMEDY PREDICTION by George Schindler, introduction by Nathan Kranzo eorge Schindler is a great magician, and he has been performing fantastic magic around the United se States since the 1950s. In fact, it was in 1953 that he originally came up with the brilliant idea of com bining the 52-on-1 with a force card. Many people have used George's brilliant 52-on-1 card routine over the years, not even knowing it was his! Here's hoping that NOW George gets the credit that he deserves. What follows is George's original routine, first published in 1953, We supply a 52-on-1 card; 52 cards are on one side. You will need to tape or glue a force card to the other side of the card. ‘The 52-on-1 card is placed in an enve- lope marked "PREDICTION" andis set inan obvious place where all can see it. The prediction card is in the envelope oriented so that it faces "away" from the flap side. This way, you can open the envelope without flashing it when you remove it.During the routine, you will need to force a duplicate of the prediction card. Here is an easy force. The force card is on top of the deck. Ask the spectator to take the deck and to deal down cards, one at a time, until he or she feels like stopping. After this has been done, pick up the cards he dealt and show him the bottom card of the pile (the former top card), and say, "Remember the card you chose." “Ladies and Gentlemen, you will notice that I have prepared a predic- tion. A prediction of something that is going to happen but has not hap- pened yet. In this envelope, there is a surprise. Please hold this, sir, so that you have control of this predic- tion. Make sure no one goes in or out of the envelope.” Hand the envelope toa bystander. "Do not let it out of your sight for a moment.” Produce a deck of cards and show it by spreading the cards face up. Be sure the top card is not exposed. "An ordinary pack of fif- ty-two cards, all different. Madame, will you please take the cards in your, ‘own hands and deal them onto the table face down, one card at a time." Hand her the deck. "Madame, whenever you feel like stopping, please do so.” When she has stopped, continue the patter. “In this envelope, ladies and gen- tlemen, the is a picture of a playing card. It was predicted hours ago, and yet..it is a picture of the very card this lady selected moments ago." Turn the tabled’cards face up and show the bottom card. "Madam, what is the name of your card, please? May | have the enve- lope, please? " The spectator names the card. Open the envelope and look inside, do not remove the card. “Yes, that pictureis here in the enve~ lope." Pause, “You don't trust me? Have | ever lied to you before?” Remove the card from the enve- lope showing the 52 on 1 card. "Yes, here it is right here! The THREE OF HEARTS. Run your finger up and down the card and stop at the selected card. Wait for the reaction. Speak as though talking to yourself. "It's amazing how many people don't like this trick.” ‘As you speak, openly turn the card over to expose it and slowly put the prediction card into the envelope. Be sure all have seen it by working slowly. While the effect may seem corny and bold, it is the highlight of George's trade show perfor- mances. Do not underestimate its entertainment value. Do not rush the performance. When working witha larger crowd, do not return, the card to the envelope, but hold it up, so that it can be seen and patter, “Can you people in the back see this?”DEHYDRATED DECK Steve Beam is the author of many influ- ential magic books and effects. His mag- azine The Trapdoor has become a favorite for those looking for innovative takes on card magic from the best in the business. He now offers the magazine asa three-vol- ume book set (over 1700 pages long!) on his website. The ideas below were first printed in issue 30 of the Trapdoor. (1989). Itcan currently be found in Volume 2 of Steve's bound ver- sion of the Trapdoor. always thought the 52.on one card had more potential than most magicians realized. Picture the following open- ers. The magician brings out a "dehy- drated” deck of playing cards. “It’s the latest thing. There is just enough humid- ity in the room to reconstitute the cards." Saying this, the magician fans the card. It spreads into a complete pack of play- ing cards. THE WORK Start by Tenkai Palming a deck of play- ing cards in your right hand. The faces of the cards should be facing up. Display the 52-on-1 card in the left hand. When ready for the spread, hold the card as. shown inthe illustration (fig. 1) Bring your right hand over to the card as if to fan it. Place the deck directly on top of the card and execute a thumb or pressure fan. The fan should be tight toward the back to prevent the 52-on-1 card from showing. Once you have a complete fan, you can proceed into any other effect. TASTER'S CHOICE The exact same patter story can beused for a freeze-dried deck of cards. Or, you could "reconstitute" the pack since you made it from “card concentrate.” PORTAPACK "Being a magician means traveling lightly. Leven use a special deck of cards. portable pack of cards. Think of ble pack as a deck of cards on a die in these days of miniaturization, to believe they could get a whole deck of cards this thin." During this discussion, the magician has shown the back of the card. While discussing its thickness, he points to the side of the card, The audi- ence doesn't understand how that cardcould be a whole deck until when he turns the card face up. "To bring them back to normal, | simply ‘squeeze (pressure fan), and they are ready touse." SQUEEZERS When ready to conclude with the card trick portion of the act, the magician runs the pack through his fist as he ‘squeezes it. When it emerges from the fist, it has compressed into the thick- ness of a single card. This card is shown to have all 52 on the face. This is placed inabox that is thick enough tohold only one card. THE WORK I started out using a lapping move from Alan Ackerman's The Esoterist. Consult that book if you are interested. | later replaced that move with a lapping move explained in Rick Johnson's Practical Impossibilities. The top card of the face-down pack is the 52-on-1 card. The deck is in the left hand in the dealing position with a break under the top card. Transfer the pack to the right hand, where it is held from above. This position is similar to the one-hand top palm position, except that there is now a break being held at the back by the right thumb. The right fingers cover the front edge of the pack and prevent the spectators from seeing, how many cards are in the pack. Apparently, spot some dust or int onthe far side of the table. (You may wish to compliment the hostess with a remark about the filthy places in which you per- form.) As your left hand goes forward to brush the lint away, the right hand comes back to the rear table edge. The left hand brushes while the right hand releases ll the cards beneath the break. They are released asa blockso that they fall together and silently. ‘As soon as they drop, the hands come back together, apparently to square the pack. Act alittle here, so they believe you are holding 52 cards, not just one. When ready for the climax, drop the card onto the left fingertips and exe cute the Vernon Push-Through Flourish. The flourish should be accompanied by a squeezing motion. Asingle card will emerge from the heel of the left fist. Pause for asecond or two for the effect to sink in. Then turn over the card for the comic climax. 2022 UPDATE Steve wanted me to include his current handling, which he uses while stand- ing. To perform the effect while stand- ing, place the 52-on-1 card face downon. the facedown deck. Obtain a little fin- ger break below the 52-on-1 card with the left little finger. You will now appar- ently take the deck from the left hand with the right hand. In reality, you will leave the deck copped in the left hand and only remove the 52 on 1 card. Todo this, reach over with the right hand and move the deck back in the hand in preparation for the gambler’s cop. Take the 52 on 4 card in the right hand in a deep biddle grip, with your fingers cov- ering the front edge, obscuring thenum- ber of cards you are holding. The left hand relaxes at the side, secretly hold- ing the deck. The single 52-on-1 card is. going to poseas the entire deck for just amomentas you ditch the copped deck in the left pocket.PENGUINMAGIC MONTHLY ps Rl |_| >| peed [see een aes] tthe roe Bess aS > Saierrs neffect, the performer removes an “emergency card” in case he has any trouble and places it face down on the table. A spec- === tator names any card, and the performer hands the spectator the card that they selected, but it is invis- ible. This is tossed, by the spectator, towards the performer's breast pocket. Dramatically, the performer shows his hand empty, reaches inside his pocket, and removes one card. “Wouldn't it be amazing if your card was here?” the per- former questions. Dramatically, the per- former turns over the card to expose a card with every single card in the deck rinted on its face. “You're not too impressed; | see...well, it's in situation like these that this card comes in handy. Very cleanly, the performer turns over the face-down card, which has been on the table since the start, to show that it is, in fact, the card that was named by the spectator. EXPLANATION For this effect, you will need two 52-on-1 playing cards with a back design similar to the back design of the deck of cards that you are using. These are both placed in the left breast pocket with the faces towards your body. You tell your spectators that you are often asked what happens if you mess up when performing magic. You offer to explain how you overcome this situ- ation. “Let's say | was doing acard trick, and | messed it up...'d just use this. It's sed in case of emergencies. It helps to get me out of a bind. I'll show it to you if anything should happen.” You now place the emergency card face down onto the table. If your spectators are grabby, you may want to place something on it. If they reach for it, say, “No..youcan't look at it now...your eyes will fall out” (Thankyou, Eugene Burger). Act like you are going into adifferent card trick and forgetting about the card that you've placed on the table. Have the spectator name any card in the deck. Once they name the card, hold the deck with the faces towards yourself and spread through them until you come to the card they named. Cut the deck at this point (both hands hold part of the spread of cards), with the right hand holding the named card at the back of its spread. You ask the spectator to hold out their hand, palm up, as your right hand turns palm down. Touch the end of the spread of cards in your right hand, for just a second, to the spectator's palm (FIG. 1). You tell them that you've given them their card, but it's invisible, While doing this, your left wrist has rotated so that your left hand is palm down as well. The right hand's cards go on the back of the left hand's cards. This places the named card at the back of the deck. This move was created by a very talented and clever magician from France, Bernard Bilis. You have the spectator show their invisible card around. As they do so, you flip the named card face up on the back of the deck using your right hand. This is done very casu- ally; no heat is on your hands. The left hand is still palm down, thus killing the view of this one face-up card. You then have the spectator supposedly throw their invisible card towards your breast pocket. Show your right hand empty and remove the 52-on-1 card with the back toward the audience. You ask them if it would be amazing if their card were here. When they acknowledge that it would, you slowly and dramatically turn the card over. They will laugh as you point out the card they named on the face of this card. You now add the 52-on-1 card face up on top of the face-up named card on the deck. The 52-on-1 card is added as the left hand starts to turn palm up, being careful not to let them see the face-up named card as you add the gag card to it. You now do a double lift to turn the card(s) face down. Immedi- ately after turning the cards down as one unit, your left hand raises to gesture as if to say “wait.” This allows motivation for turning the card down on the deck. The right hand then removes the top card face down. You have thus switched the 52 on 1 card for thenamed card on top of the deck. Of course, you can substitute the Top Changehere to switch the 52 on 1 card for the top card of the deck (ie., the named card). would strongly recommend Robert Giobbi's excellent books, Card College, or Daryl's wonder- ful video tapes, The Encyclope- dia of Card Sleights if you wish to learn the Top Change and use this instead,"You may remember that before we even started, | placed one card on the table for situations just ike this, as | can see you are not impressed." The right hand's card (which is supposed to be the 52 on ‘card, butin actuality is the named card) is slid under the long front side of the tabled card as the right hand continues to move backward, levering both cards up as if to flip them face up (FIG. 2, FIG. 3) Your left fingertips apply light pressure at the back long side of the emer- gency card so that the two cards, don't just slide back when they are flipped face up. ‘Once the cards have reached a face-up position, they are simply separated (FIG. 45). It appears that you used the 52-on-1 card that you removed from your pocket a few moments ago to flip the tabled card face up, revealing that itis the named card, Donot makeamove of this turn over. The audience is absolutely con- vinced that you have the 52 on 1 card in your right hand prior to turning the tabled card face up. Since, at the end, they get the pic- ture of only the 52 on 1 card and the named card, they will thus be convinced that the card on the table since the start was, in fact, the named card.LES Oe AO O02 ee eR MOT No, you don't need glasses. Yes, it's floating! TIES ARE THE EASY AND AFFORDABLE WAY TO FLOAT STUFF. GET A PACK TODAY! LUMO Sa a aCe C Oa RCO Le Ls i AVAILABLE rou) Ne PENGUINMAGIC.COM ; i 4 eet dPerens PENGUIN LIWIE SP -TLIGHT PL ae Tego ona enter atari Pee eae mT en NNR eaten Ry different performers who both have Pe Rice eat Psat acu ue sac ‘Alexandra Duvivier shares with us some Serer ec Pre eee Sue can in Europe. Our second lecture features RU eee Peace eee ae re Nee eu yc Pec Rea ets cotter sn Prensa lice in the spotlight this month ALEXANDRA DUVIVIER enema Rea Pence a creer kg) eae reer tm NIN Ie Peete age Prem erm eee ia Paris, France, In this lecture, she shares ee acs eeae SC nA Cn usa ia Me Meer ea re! Pree rae aCe se cuss ra ee ee eens Ere eae eae Oren aca areas Regie lane cn oer en Cie eeeS Pemeaeuehuenke sul auc Cee N OVA on Torey fills with thousands of brightly colored Rotor eg came dS ER aim ena oa UE effect, but with real emotional impact. REV R Ac lecture has to be the Impromptu Wild (ern ner Ce ue Leu toons style routines, and this one begins like many others. The queen is introduced as. the money card and placed in the center PaaS Rant cig Dream un nurtecuec Ree MMU a See audience shouts the center card, there is lots of comedic byplayas the magician Cesena Mi mc aed find the money card. When the center card is turned over, it is discovered to PERS re ata ene eee tent nee cen eau Miler Reece ed Renae cas rai oe Mena pene DAVID JONATHAN David Jonathan is our second lecturer Ceca eA Tessar he shares some incredible effects that pen aes eee rTFLICK! BOX DIAMOND CUTTEREidh eetetea ve): BIOLUMINESCENT te) 43 le)FEATURED MAGIC TRICK by Jon Armstrong Cres ieee oc) AN ee ean tas) eo feu ae ae ee eet eee) eae aS ee eee ee ad of Hearts, This is placed in a wallet or Pool eee Run a) cards-to-pocket routine so we will say Pera etais cs {eee HER bia Let: See tego ae Cae eee CaS Sere Eee ee Meng ts Sees an cel CeCe Meee pears hee is Cees auc g ete) hig eee Las Ciera eRe a ad Oe Relea et une Pee suc ture emars Eva eg era to even has your writing on it!" Give them Ce ER ee ear eet Cre mem og react to this top change the card for the ese nec manasa ct eee og nee mee cn Perea en bec es ee eleDR. CYRIL THOMAS ave ayers rubber band tricks you Oe tsa rT AVAILABLE NOW AT PENGUINMAGIC.COMFEATURED MAGIC TRICK by John Carey or this effect, all you need is adeck of cards, the 52-on-1 gaffcard, and aregular deck of cards to match. After shuffling the cards, produce the 52-on-1 card and place it face down on the table, Announce that this card will remain a mystery as it is a prediction, Have any card selected and signed, Control the selection to the top using your favorite method. Now tell the audience that you will try to find their card by simply cutting the deck twice. Get a break underneath the top card Take the bottom of the deck with your left hand. Flip the packet face up onto the face-down remainder of the deck. Hold the deck in this, half face up, half face down, state in a biddle grip in the right hand. After you make this first cut, ask them if the new face-up card is their selection, and they will respond with "no." Now 8 sg ~ repeat the cutting sequence and cut the rest of the deck, face up on top. You are holding the entire deck face up with the face-down selection reversed on the bottom of the deck. Place the deck directly on top of the 52-on-1 card on the table. Turn the entire deck over, which will reveal the 52-on-1 card. Point your finger at the selection on the card, pointing out that you did, in fact, reveal an accurate prediction! Now simply perform a double turnover, flipping the two cards facedown, and cleanly deal off the face-down selected card onto the palm of their hand. Allthat's left to dois to make a magical gesture and ask them to turn over their card to reveal their signed selection.