24 April 2010

A Four Ace Trick

ourBy Sidney Carton
Having used a duplicate set of short Aces for use in this well-known effect for some time past (this being suggested by a chance remark made by Mr. Edward Victor, of which he has, apparently, no recollection,) the following easy way of getting the usual miracle to come to pass was evolved out of this idea, and a companion idea which was first utilized by Dr. Ford B. Rogers (an American) in quite another direction.
The following is the effect: Four Aces are, after some demur on the part of the performer, dealt face upwards on the table. Three indifferent cards are laid at the foot of each. The Aces are then turned over and pushed underneath their respective heaps of three cards. One heap is chosen, and at the last moment, before that chosen heap is placed aside in a rising card glass, the cards are ruffled before the assistant's eyes, and are seen to consist of one ace and three indifferent cards.
The other three heaps are shown each to consist of one ace and three indifferent cards, these are placed back in the pack, and the pack is shuffled. At the word of command the three Aces in the pack fly, for though the pack is ruffled over slowly under the assistant's eyes no Aces can be seen. The four cards are removed from the glass, and are shown to be four Aces - four cards only being shown, back and front.
The secret is that only one of the Aces is genuine. This is the one to go on the front of the chosen packet later. The other three Aces are shorts of a particular kind, and they are in duplicate, three of them (one set) having each an ordinary card glued to the back, as shown.
Once the set is made up the working should be clear. Three short single Aces are deal face up on the table with one ordinary, everyday Ace. On each of the shorts is dealt three indifferent cards, backing them are placed. The selection of that packet is forced, and the cards being slowly ruffled before the assistant's eyes allow the short Aces to 'run over' and only the ordinary Ace appears in front, and, apparently, three indifferent cards with it.
On placing the short Aces back in the pack, and after a shuffle for misdirection, etc., a ruffle will not betray their presence, and, to complete the effect, the little break each one makes will enable the performer to get control of them and palm them off before handing the pack on for further use.
Illustrating method of cutting the cards to form shorts.
Now, two tips which published versions of this trick seem to have overlooked. The shorts are not made short all along the top edge, but are cut as shown.
This is for the two following reasons. It leaves less of the ordinary sized indifferent card backing to show on exhibiting the four Aces, and also the short Aces when placed back in the pack can be pushed in, and ruffling the cards with the pressure exerted by the first finger of the right hand will allow them to 'run over.'
If the card is a thorough short there is practically a necessity to tap the pack on the table to send the card to one end before the pack can be safely ruffled without betraying the short cards' presence.
The second tip is to glue the cards together only by their lower edge as then they retain their flexibility and wear better.
Sidney Carton's A Four Ace Trick originally appeared in The Magic Wand, London, March 1915.
Next - A Four Ace Trick

Beadazzled

By Doug Edwards
Two large beads, one red, one green, are threaded on a shoelace or length of cord. Closing his hand around the beads, the magician wraps the ends of the shoelace around the hand. A spectator is asked to choose one of the beads, the magician moves his free hand over the top of the closed hand, then moves it away to show that one bead is now resting on top of the closed hand. He opens the closed hand to show that the other bead is still threaded on the shoelace.

I like the finger ring steal move in Earl Nelson's book 'Variations' (1978) but, because I already use a borrowed finger ring when performing Ring Flight, I wanted to adapt the move to a different premise. Beadazzled is the result.
You'll need a 24 inch / 60 cm white or black shoelace and two different color, hefty, round, 1 inch / 25 mm diameter plastic or ceramic beads with a hole through the center of each. The holes must be large enough for the shoelace to run freely. Wooden beads are fine as long as the holes drilled through them are sanded so they are smooth.
The beads are threaded onto the shoelace. The right hand holds the ends of the shoelace, the left hand moves between the loop formed to close around the beads. The right hand releases the ends so they fall to either side of the closed left hand.
Let's assume one bead is red and the other green. Openly thread the shoelace through both beads. By holding the ends of the shoelace with the right hand, a loop is formed with both beads hanging adjacent to each other. Move into this loop with your palm down left hand, close your fist lightly around the beads, and let the ends fall down at their respective sides.
The right hand picks up the lace end at the thumb side of the left hand ... ... and throws it over the top of the left hand. The right hand now moves under the left hand to take hold of the opposite lace end, at the same time getting hold of the bead closest to that end.
The right hand, concealing the bead, wraps the lace end around the closed left hand, in doing so the bead is secretly removed from the lace. The right hand moves away finger palming the bead ... ... then moves over and down onto the top of the closed left hand.
With the right hand, grab the strand that hangs from the side of the left thumb and toss/throw it over the back of the left fist. Now grab the other strand that's hanging from the left pinkie side and secretly steal the red bead in the act of wrapping this strand around the back of the fist in the opposite direction of the first strand. This steal is easy and almost self working as long as you relax the grip at the moment the bead is stolen. The bead simply drops into your waiting right hand.
The spectator selects one of the beads by color, then the right fingers slowly open ... ... and the right hand moves away showing the bead is now on top of the closed left hand, free of the shoelace. The left hand turns over and the fingers open to show the other bead remains threaded on the shoelace.
As the above steal is made, ask a spectator to name either color bead. Regardless of the answer, move the right hand (with the concealed red bead) on top of the left fist and slowly open the right hand.
If the red bead is indicated, show that it has magically penetrated upwards through your left hand. Should the green one be selected, state that you'll magically remove the red bead leaving the selected green bead still trapped on the shoelace.
Either way, the effect is truly magical and memorable.
Next - Beadazzled

Less Trouble Double

By Doug Edwards
Done properly this is an imperceptible double turnover. It may feel a bit awkward during your first few tries, but it will reach a comfort level pretty quickly. It probably will be done just a bit differently in different hands, but the basic idea is the same for all.
Hold the deck in left hand dealing position and bevel the top cards to the right by pressing inward with the base of the left thumb. Then contact the top card of the deck at the right long side with the fleshy part of your right first finger tip. Lift that top card ever so slightly as the finger tip contacts the side edge of the second card. The beveling makes this easy. The first finger tip is now under the top two cards (Fig. 1). Note that the right hand is basically palm up.

Turn the right hand palm down and start to 'ride,' or glide, the first finger tip down towards the deck's inner end and it continues moving to the left. The nail of the first finger glides along the two cards directly above it (Fig. 2). Firm pressure by the left thumb is maintained during the above action.
As the first finger tip approaches the deck's inner left corner move your right second finger tip up onto the top card(s). Continue moving the, now, two finger tips around the inner left corner and starting up the decks left long side, toward the base of your left thumb.
Here's where it may look, and handle, a bit differently for different people with different size and shape of hands. You can move the left thumb base back a bit to allow the two finger tips to slide up to and adjacent to it, as in Fig. 3. Or you can stop before you reach that point, or even at the left side of the double's inner end.
When those two finger tips stop, turn your right hand palm up to the right turning the double card face up in order to display it (Fig. 4). The two finger tips hold firmly, of course, so that the cards don't spread. And, if you move the double card downward, toward you, as you start the turnover, the long sides slide down between the rear of the left thumb and left finger tip, which assures that the two cards remain aligned.
Now, to turn the double down, revolve your right hand palm down and repeat the described action except this time allow the nail of the second finger to ride/glide beneath the double card (Fig. 5) and clip it with your right third finger (Fig. 6), turning it back down (Fig. 7).
Or, simply move the double to the right, a bit off the deck, and flip it face down to the left. Do whichever feels more natural to you. And smoothly, please; no jerky movements.
Next - Less Trouble Double

Recycling Alchemy By Ray Diaz

The magician transmutes a bottle cap into a silver half dollar.

After handing a bottle cap to a spectator to inspect, the magician places it in his left hand, and has a spectator blow on his clenched fist. When he opens his fist, the bottle cap has turned into a coin which can also be handed out for inspection if desired.
Props & Setup
A bottle cap, a silver half dollar or other coin, a magnet that is strong enough to attract the bottle cap through pocket and padding and padding material such as a handkerchief or other piece of cloth.

Wrap the magnet in the handkerchief which will dampen any sound as it attracts the bottle cap, but not so thick that it will make it difficult to catch the bottle cap or prevent it from holding the weight of the cap.

The magnet should be exactly at the height of your right hand when hanging down at your side. Depending on the type of pants, the magnet can either be in the right back pocket or taped to the inside of the pants behind your right thigh under the back pocket at arm's length.
The magnet must be positioned so that your does not stick out and call attention to what you're doing as you ditch the bottle cap. The left photograph above shows the proper position, the right photograph shows the position to be avoided.
Handling & Presentation

Start with the bottle cap and coin in your front right pocket. Reach into the pocket, classic palm the coin and bring out the bottle cap between thumb and index finger.

The photographs above show the hand position that makes the coin invisible from most angles. It is important to have your index finger inside of the cap as it makes it easier to do the switch.
Drop the bottle cap on your left palm, then hand it over for inspection. Extend your left hand, palm up, to receive the coin after inspection. I feel this is important since people will think it's a trick bottle cap if you don't let them examine it.
Pick it up between your right thumb and index finger. Rotate your left hand palm down, then palm up again to show it completely empty. Without saying anything like "Look, my hand is empty!" Keep your mouth shut and look at your left hand.

Here's the move: As you rotate the left hand you drop the coin from classic palm to finger palm then, using your index finger, push the cap into thumb palm position. This is a two step move.
You must keep looking at your left hand while you do the dirty work.
Notice the sequence: The coin goes from classic palm to finger palm. The bottle cap is thumb palmed as the coin is rests on the fingers.

Apparently drop the bottle cap (really the coin) in your left hand and turn your fist palm down.

The photograph above shows an exposed view of the fist palm down as the switch is made and the coin is placed in the left hand which closes around it.
The next step is to ditch the bottle cap. This is easily done with a little misdirection.
You haven't kept your eyes off your left hand so everyone's attention is still glued to it wondering how you're going to pull it off, when in fact you already have!

While you ask the some to gently blow on your clenched left fist, you take a step forward with your left foot while and you slowly drop your right hand to ditch the bottle cap by pressing it silently against the magnet. This move actually takes a bit of practice.
It's important that you step sideways so the motion of ditching the coin is hidden behind your body. Stage magicians are used to this type of motion.

Now for the revelation ... You slowly open you left hand to show the coin, then drop it on your right hand and hand it over for inspection. This shows both hands empty (aside from the coin) without saying a word about it. Take a bow.
If you wish, you may want to pick the bottle cap from the magnet and palm it (in your right hand), then extend your left hand to receive your coin. You then pick up the coin with between thumb index finger as you did at the beginning of the trick with the cap and drop it in your right-front pocket.
You are now set up to do it again, but not to the same group of people, of course.
Presentation
Patter is very important here. It will make the difference between doing a quickie opener or milking the trick into an unforgettable performance. I use something like this:
"I studied under the great alchemist Nicholas Flamel who discovered the secret of transmuting base metals into gold."
"Although I have never matched his skills, after many years of practice, I finally succeeded in turning base metals to silver. Let me show you."
If I'm in a situation where people are drinking, like a bar or restaurant, I pick up a bottle cap from the table and proceed with my demonstration. Otherwise, I pull out my bottle cap from my pocket and say with a wink:"I carry these around for quick cash when needed." And you hand it to a spectator to inspect.
She drops the cap on my open left palm.
I pick up the cap between right thumb and index finger while I slowly turn my left hand palm down and up again to show it completely empty. I would never say "Look, my hand is empty!" I simply do the action, and then put the "bottle cap" in my left hand and close it.
I say, "The secret ingredient is the breath, as it carries such enormous spiritual power within it."
I ask the spectator, "Can you please blow on my hand gently?"
As she does, my undivided attention is on my left hand. Everyone follows my lead and they stare at it too. (This creates plenty of misdirection to ditch the coin as described above).
I then say, "I can feel it. It's done."
I slowly open my hand to reveal the silver half where the bottle cap had been.
Slowly, I drop the coin from my left hand to my right and hand it to someone for inspection. This shows both hands empty aside from the coin, without having to tell them so.
No bottle cap in sight. I stand back and bask in my new alchemist reputation. :)
The Switch
If you're familiar with coin moves, you've noticed I use a simplified version of the Bobo Switch. The Bobo Switch is meant to be done under fire. You do the switch while everyone is looking right at your hands and your arm's motion hides the switch.
With a little misdirection, you can do this at a much slower and easier pace, as explained above. Slowly showing your left hand on both sides gives you all the time in the world to do the switch easily and at a much slower pace. Why do it the hard way if you can take your time and take it easy?
Performance Notes
This should not be performed as a quickie. Take your time and use good patter to build up tension before the revelation of the transmutation.
Next - Recycling Alchemy By Ray Diaz

The Holmes Production

By Richard Robinson
The magician walks onto the stage. He is holding a large sheet of colored paper which is shown on both sides. The paper is formed into a cone. He makes a mysterious gesture over the cone and suddenly it is filled with red roses which cascade out of the cone in magical abundance.
This effect is based on a clever method of hiding a load and then invisibly introducing it into a paper cone which appears to have been the invention of early 20th Century magic dealer Donald Holmes. After Holmes committed it to print it was promptly forgotten, which is remarkable considering that Holmes had provided a very workable solution to secretly loading a paper cone, a problem that magicians have struggled with since De Kolta first tipped a cone forward to show it was magically filled with flowers.
Props
A rectangle of stiff paper measuring about 18 by 24 inches / 45 x 60 cm. The construction paper used by school children is ideal and available at most art supply stores in a variety of colors. The paper must have enough substance to hold the cone shape once it is formed and not to become distorted when the load is introduced. Newsprint or other paper of that nature will not work.
A quantity of compressible objects for the production. Silk handkerchiefs, spring flowers or other items of this kind can be used.
In this instance, spring flowers are used. The flowers are held in place by a long strip of cardboard which is wrapped around them in a complete circle. An elastic band is then used to secure the cardboard holder and the compressed flowers within it.
A loop of thread. The exact diameter of the loop will depend on your body dimensions. After you've read the handling, you can work out the general size and then adjust it more exactly after practice.
While the photograph shows the cardboard holder covered with green paper to match the leaves the flowers so that it is not noticed as it falls out of the cone.
The thread is run under the top of the cardboard and then tied into a loop. This leaves the cardboard holder hanging from the loop.
The strip of green card and a red rubber band used to contain the spring flowers. The cardboard strip is wrapped around the package of compressed flowers. The rubber band is looped around the strip to secure the package.
The loop of line is run under the top of the cardboard strip. The load is lowered into the side pocket of the jacket. The arm then goes through the loop.
Setup
The load is placed in the left outside jacket pocket. The left arm goes through the loop of thread. Since, as magicians sometimes like to say, this is but the work of a moment, you can have the load in place and then, just before performing the effect, get your arm through the loop as you pick up the sheet of paper.
Handling
The loop arm hold the paper at the top. In moving the paper up, the load is pulled out of the pocket and swings behind the paper. The cone is wrapped around the load.
The hand inside the cone positions the load at the bottom of the cone. The hand at the point of the cone holds the load and presses it to release the flowers. An interior view of the compressed load.
The flowers blossom up out of the cone.
Performance
Hold the top edge of the paper with the left hand. The top edge of the paper should be just below shoulder height. Since the load is still in the pocket at this point, you must make the thread loop large enough in diameter to allow this amount of movement.
Turn the paper forward and back, showing it for what it is. The right hand can come in and participate in this display. For all practical purposes the thread is hidden by the twisting and turning of the paper and at the same time the hands and paper are seen to be unprepared.
Now twist the paper into a cone. This must be done neatly and without hesitation. Practice making the cone until you don't have to think about it.
The left hand holds the top (18 inch side) of the paper, left of center and raises it up to the top of your head. This action, pulls the load out pocket and leaves it hanging from the arm behind the paper.
The right hand goes behind the paper and moves down to the lower left corner.
The right hand is palm forward, the right thumb going under the bottom edge of the paper, the right finger tips pressing against the paper from behind.
The right hand rotates up and forward, turning the bottom edge as it does so until the right thumb and lower left corner of the paper (with the front side of this corner now facing you) are about even with the middle (top to bottom) of the paper.
The left hand now brings the top left corner back and down. Without stopping the left hand warps the top left corner around the turn made by the right hand. The result is the pointed end of the cone with the right arm inside the cone.
During this process the load has arrived inside of the newly formed cone without the audience being the wiser.
Now all that remains is to give the cone a mystic pass and a tap or two as you tilt it forward to shake the load out of it.
There is some work involved in releasing the load and depending on the objects you plan to produce you'll have to practice releasing the load neatly while it is inside the cone.
This is an important point since the load must be held securely enough to survive being pulled out of the pocket and landing in the cone, but must be able to be released without the audience wondering what you're doing which would quite spoil the magic. In the case of the spring flower load described, a slight squeeze through the sides of the cone against the ends of the cardboard holder will release the flowers.
Performance Notes
At some time in his or her magical career nearly every magician becomes enchanted with the idea of duplicating Buatier DeKolta's Flowers From The Paper Cone. On delving into the mechanics most magicians soon decide that there is just too much work involved to produce the effect. In fact, the elegance and simplicity of what the audience sees is matched by the elegance and simplicity of the method ... although it is a method that could hardly be described as self working.
Donald Holmes' loading method provides an excellent and relatively easy approach to introducing the first load into the cone. The trick is to secure the load so that it does not release prematurely.
In using spring flowers on the stage, it is a good idea to obtain a quantity of these props in the same color, preferably red with green leaves so that the audience is at least given the opportunity to believe that flowers are appearing magically from the empty cone.
Next - The Holmes Production

Mental Card Work

By Richard Robinson
One spectator selects a card at random, removes it from the deck and seals it in an envelope. Another spectator selects another card and writes the name of the card on a slip of paper.
When the name of the card written on the paper is read aloud it turns out to be missing from the deck. In fact, it is the very card that was previously sealed in the envelope.

Mental Card Work uses a variety of dodges, most of which you've probably run into in one place or another, although not necessarily in this combination.
Props & Setup
A deck of cards and one extra card from a similar deck. A note pad, pen or pencil and an envelope.
Let's say the extra card is the 9 of Diamonds. The effect begins with the 9 of Diamonds from the deck and the extra duplicate both on top of the deck as the first and second cards.
This can be done by having the two 9 of Diamonds in your jacket pocket, placing the deck in your pocket momentarily, then bring the deck back out with the two cards added to the top of the deck.
Handling

Two 9 of Diamonds are placed on top of the deck. The spectator is asked to call out a number and that number of cards are pushed off the top of the deck into the right hand.

The counted off stock is held by the right thumb and fingers. The stock is tilted to the left.

The stock is brought face up towards the face down deck. And placed face up on the face down deck.

The deck is cut near the center and thus below the number of cards in the first stock that are now face up on top of the deck. The stock that is cut away is turned over.

The turned over stock is placed back on top of the deck. Spread the cards to the right off the top of the deck until the first face down card is reached.

This first face down card becomes the spectator's selected card. The right photograph above shows the under view of the card selected disclosing that it is one of the two duplicate cards originally on the top of the deck.
Presentation
Ask the first spectator to call out any number between one and ten. As you make this request take the face down deck in your left hand and begin to push the cards off the top of the deck toward your right hand. When the spectator calls the number, complete pushing off that many cards into the right hand.
Take the stock of cards, turn them over so they're face up and drop them back on the top of the deck.
Now cut the deck somewhere near the middle, and thus well below the face up stock, lift off the cards above the cut, turn them over and drop them on the top of the deck.
Fan the face up cards off the top of the deck until you get to the first face down card. Ask the first spectator to take the face down card and without looking at it slide it into an envelope and seal the envelope.
You have just forced the top card of the deck using a force credited to legendary card man Charles Jordan. Although the force can be done with the spectator holding the deck, it is faster and more showy if you handle the cards.
Take the face up stock, turn it over and place it under the face down stock. Now turn to the second spectator and repeat the force. The duplicate card will now have been forced on the second spectator.
Ask the second spectator to peak at the card so that no one else sees it. The handling here is to move the face up stock away from the lower face down stock, turn the face up stock over and place it under the face down stock. At the same time the hands are moving toward the spectator with the deck held in the left hand so that when the right hand can lift the top card and the spectator can peek at it.
Once the spectator has had a good look at the card, the left hand, which is holding the deck, goes into the left jacket pocket and comes out with a small note pad. Note that the left hand is still holding the deck. Motion for the spectator to take the note pad from your hand. While this is happening the right hand has gone into the right jacket pocket and come out with a pencil which you hand to the spectator so that he or she can write the name of the card on the note pad.
Ask the spectator to tear off the sheet he or she has written on and fold it in half. As the spectator does this you use your right hand to take back the note pad and the pencil. As soon as the right hand has hold of both, your hands move back toward your body and your right hand pushes the note pad onto the top of the deck in your left hand so that both hands go to their respective jacket pockets to return the note pad and pencil.
When the left hand goes into the jacket pocket it also thumbs off the top card and leaves it in the pocket.
Now move a short distance away from both spectators and turn to speak to another spectator about what has happened. In doing this hand the deck of cards to that spectator. Explain that in fact an astounding mental event has taken place, although in all modesty you had little to do with it.
Tell the second spectator to open his slip of paper and hold it up so that the first spectator can read aloud what is written on it. The first spectator reads out, "9 of Diamonds."
Turn to the spectator holding the deck and ask him or her to please remove the 9 of Diamonds from the deck. The spectator looks but fails to find any such card in the deck.
Ask the second spectator to take the envelope from the first spectator and tear it open. When this is done the audience sees that the card sealed in the envelope is the missing 9 of Diamonds.
Performance Notes
There are a great many ways of playing this out, depending on your proficiency with card sleights, forces and switches. The handling above is fairly fast paced and requires only the duplicate card for setup. However for stage or platform work, using ESP symbols, Tarot Cards or a regular deck, I'd be tempted to switch in and out a one way deck for the force and let the third spectator keep the final missing-a-card deck as a memento of the occasion.
To remove the effect from the realm of card trick the use of Tarot or ESP cards is recommended. With these cards the effect becomes very spooky indeed.
Fans of Charles Jordan's work will note that the count added to the first of the two turn overs has absolutely nothing to do with the end result. This is correct, but it does obscure the events taking place and makes the spectator feel involved in the selection process.
Next - Mental Card Work

Card Riser

By Richard Robinson
Card magic books seem to be authored by those who have two favorite phrases: 'first, force a card' and 'bring the selected card to the top of the deck.'
Neither of these phrases and the work they imply are likely to inspire those who desire to do card tricks. If the reader knew how to bring a card to the top of the deck or force a card, the odds are they might not have purchased the book to start with.
Working The Room
Although rarely noted, there are two approaches to card magic. One is to become a super finger flinger capable of boring civilians but able to maintain a reputation among other flingers. The other is to entertain an audience using what works. Even if what works only raises a smirk among the flinger crowd.
It is interesting to note that the flingers can be fooled badly by something as simple as a competent deck switch, so flinging is not always a guarantee of omnipotence to the flingee.
Illusions With Cards
A case in point is getting the selected card to the top of the deck without the spectators being aware that you've done so. There are lots excruciatingly difficult ways to do this and one rather simple method. The simple method relies on presentation and how you treat the spectator who has selected the card.
Once the deck has been shuffled, you've spread the cards for the spectator to select one and the spectator is having a look at the card, you set up the deck by squaring it up on the left palm, then cutting off about half the deck and holding it in the right hand.
Reminding the spectator to remember the card, tell the spectator to put the card 'back where it came from' at the same time moving the left hand toward the spectator. Do not ask the spectator to put the card 'back in the deck' as they may be inclined to shove it into the deck anywhere. What you want them to do is put the card on top of the pile of cards you have in your left hand.
As soon as the card is placed on top of the half deck in your left palm, your right hand places the remainder of the deck on the cards in the left palm.
Well, almost. You're going to hold a break so that the cards from the right hand are slightly separated from the left hand stock. Often this is done by placing the end of the left little finger on the top (selected) card and then placing the cards from the right hand onto the left cards.
A more subtle and less detectable method is to catch some of the fleshy portion of the base of the left thumb between the bottom and top stock as you reassemble the deck.
The deck is cut for the return of the selected card (here the Three of Spades). The card is placed on top of the bottom stock. As the top stock is put back, a break is held at the base of the left thumb. The right hand takes hold of the top stock at the break, lifting and turning it faces toward the spectators. The left hand turns up, the bottom stock falls against the left fingers so the faces are also toward the spectators. The right hand stock is over hand shuffled down onto the left hand stock, the top (selected) card of the left stock is left undisturbed to become the top card of the deck when the shuffling is completed.
What is really important is that you don't stop after the card has been put back on the bottom half of the deck and the top half of the deck replaced. You must keep moving at a medium pace to create an effective illusion of the card being lost in the deck.
The right hand releases its hold on the top stock only long enough for the complete deck to be visible in the left hand. Then the following moves are executed:
The right hand moves back over the deck, then takes hold of the stock above the break being held by the left hand.
The right hand moves back at the same time the left hand turns up and to the right so that the back of the left hand is momentarily facing the audience.
The right hand rises above the left hand, taking the top stock with it. The stock in the left hand falls back against the left fingers so that the face card is visible to the spectators.
The right hand turns back so that the face card of the stock it is holding is also visible. Then the right hand lowers that stock in front of the stock in the left hand.
The left thumb presses lightly against the stock, the right hand rises, bringing most of the cards it holds with it, although some are held back by the left thumb and join the left stock.
This is repeated about three times. It appears you have just shuffled the deck. In reality you have only shuffled the top half of the deck, leaving the left stock intact and the selected card as the face down card on the top of the deck.
Don't watch yourself while you do this. Look at the spectator. Be casual and move right along. You've just rather easily managed to bring the card to the top of the deck.
Next - Card Riser

Card Thought

By Doug Edwards
Volumes can be written about tricks and routines based on a red/black separation of the cards. They'd range from the banal to the sophisticated. Obviously, you are past the stage of the banal, and sometimes the too sophisticated can be an audience bore. Well, this one is certainly not banal; I don't know how sophisticated you'd judge it, but it sure is a fooler. I mean you'll fool knowledgeable card workers with it.

Set the deck into reds and blacks; it doesn't matter which color is where. In the photos the red cards are above the black cards.
Performer
Cut a packet of about 10 or 12 cards from top to bottom.
When you go into the performance of the effect, shuffle the deck keeping the colors separated. Then, cut a packet of about 10 or 12 cards from top to bottom. Make sure your spectator sees you do this, since it is a legitimate cut.
Spectator
The spectator thinks of a number between one and 10, then deals that number of cards from top of the deck onto the table. He tables the deck, then picks up the packet and mixes the cards.
Table the face down deck in front of your spectator and ask him to think of a number between one and 10. Then instruct him to count that number of cards from the top of the deck into a face down tabled packet. Of course, you must turn away as he does this; tell him to count/deal silently, and so on. When he's done this, he's to table the deck proper.
The spectator looks at the bottom card of the mixed packet. He tables the packet and at the performer's request cuts the deck and completes the cut.
Now instruct him to pick up the small packet he's just dealt and to mix those cards. When he's satisfied, ask him to look at and remember the bottom card of the packet. Start to tell him to drop the packet onto the tabled deck but interrupt your self: "Wait. You may think that I know the top or bottom card of the deck. I do not, but you can make sure, cut the deck at about center and complete the cut." He does.
The spectator picks up the packet and drops it on top of the deck.
Then at the performer's request the spectator cuts the deck and completes the cut.
Performer
Then continue: "Now, drop your packet onto the deck. Done? Good. Really lose your card now, give the deck another complete cut. That really buries your card." Let him follow your instructions, then turn to face him. Pick up the deck as you talk about the free and fair selection and so forth.
The performer picks up the deck and fans it towards himself. The bottom card of the deck identifies the color of the thought of card. At the center of the fan are a group of cards of the opposite color from the cards to either side of them. Count the centered group of cards, this is the number. The right most card of the group is the thought of card.
Do a pressure (or thumb) fan, faces of cards toward you. As soon as you see the deck's bottom card, you'll know the color of the thought of card. If you see a red card there, he's thinking of a red card. And, at center of the fan you'll see a small batch of red cards surrounded by black cards.
Count those centered red cards. The number of centered red cards is his thought of number since they are the cards he dealt to make the tabled packet. The right most red card of that small batch is the thought of card. Lovely situation. So, let's assume you see seven red cards there, and the right most card is the Queen of Hearts. End like this:
Pull out a card that matches the number thought of. Pull out the thought of card and turn it over to reveal it.
Pull out any seven spot, table it face up, and say, "This tells me that the number you're thinking of is ... seven." Then, pull out the actual selection and as you toss it face up onto the table, exclaim, "And this tells me that the card you are thinking of is the ... Queen of Hearts!"
Close the fan, shuffle the deck, and you have fooled all.
Next - Card Thought

21 April 2010

Prediction Surprising From “1, “2, 3”

Sumber : Terinspirasi dari E-book ”Trik Yg Pernah Menipu Einstein”. Trik ini dibuat lebih variatif dgn menggabungkan, sedikit hypnotist/ manipulasi pikiran, prediksi dan mathemagic dgn media koin dengan ide sendiri.


Effek :

Jumlah koin Rp.500-an dikotak pilihan penonton jika ditambahkan dgn jumlah koin Rp.500-an dikotak magician adalah Rp. 21.000/ sesuai prediksi magician..


Persiapan :

- 2 kotak/ kardus tanpa tutup (anggap kotak ‘A & kotak ‘B)

- Koin Rp. 500 sebanyak 95 koin yg dimasukkan kedalam 2 kantong plastik transparan, dimana satu kantong berisi 55 koin & satu kantong lagi berisi 40 koin

- 3 amplop tertutup untuk prediksi, yaitu amplop ‘1 bertuliskan, “saya akan mengambil koin sebanyak yg tersisa dikotak sukarelawan”, amplop ‘2, bertuliskan “magician akan harus mengambil 13 koin lagi dari kotak yg dipegang” & diamplop ‘3 bertuliskan “magician sudah memprediksikan bahwa koin Rp.500 yang tersisa dikotak yg sukarelawan pilih & kotak yg magician pegang jika dijumlahkan adalah Rp.21.000 & dompet berisi uang Rp.21.000 milik magician (11 lembar uang Rp. 1.000 & 2 lembar uang Rp. 5.000)


Prosedur :


1. Sulap ini sangat baik untuk dipanggung/ on stage, jadi siapkan meja lengkap dgn kursinya plus banyak penonton

2. Magician bercerita bahwa sugesti positif akan memunculkan sesuatu yg luar biasa dimata para penonton& hari ini “saya akan memberi sugesti2 angka yg mungkin tidak anda sadari”. Magician memperlihatkan pada penonton amplop bernomor 1 ditangan kiri dan amplop no.2 ditangan kanan, lalu menurunkan amplop no.2 dan memindahkan amplop no.1 ketangan kanan dan amplop no.3 ada ditangan kiri. Lihat gambar 1 & 2.



Sebagai pembuka, magician meminta semua penonton untuk mengeluarkan HP-nya & penonton diminta memikirkan satu bilangan dari 1 sd. 10000. Magician mencoba memanipulasi pikiran semua penonton dengan memberi sugesti sebuah bilangan. Lalu para penonton diminta menambahkan bilangan yg dipikirkan tsb dgn 15 pada HP masing-masing, lalu hasilnya dikalikan 3, dikurangi 6, dibagi 3 lagi. Terakhir kurangi hasilnya dgn angka yg diawal dipikirkan. Suruh semua penonton mengingat hasilnya.

3. Contoh ; 25 + 15 = 40 x 3 = 120 - 6 = 114 : 3 = 38 – 25 = 13, ( 25 adalah angka penonton & 13 adalah hasil terakhirnya). Magician lalu tersenyum dan beranekdot, “sepertinya angka anda semua yg ada disini adalah angka yg identik dengan PNS diNegeri ini, sepertinya para PNS begitu mengharapakan gaji ke-13, “Saya yakin hasil akhir anda semua adalah 13”, pasti penonton terkejut.

4. Magician katakan itu hanya sbg pembukaan, masih ada yg spektakuler sebentar lagi.
Selanjutnya minta 2 orang penonton maju ke depan (sukarelawan dipilih acak)

5. Jelaskan bahwa magician membawa koin Rp.500-an, lalu perlihatkan 2 kantong plastik yg berisi koin Rp.500-an, & perlihatkan juga 2 kotak tanpa tutup yg ada di atas meja& 3 buah amplop yg dipakai nanti, bertuliskan 1, 2, 3 diatas meja.

6. Sebagai anekdot/ bahan candaan pesulap, katakan pada sukarelawan & penonton “karena sulitnya menemukan tempat menukar uang, saya mengumpulkan uang recehan ini hasil mengamen, silakan kalau mau dicek apakah asli/ bukan uang ini, jadi harap dimaklum koinnya kotor”

7. Tentu sukarelawan akan berkata ‘ya asli uangnya’, lalu magician meminta seorang sukarelawan memilih satu, dari 2 kantong plastik, magician beranekdot lagi ”saya belum sempat menghitung isi ke-2 kantong plastik berisi uang logam ini, karena pas mau dihitung eh’,,listriknya padam”. Pasti penonton tertawa (ini sebagai pengalihan pikiran)

8. Disini paksa sukarelawan memilih kantong plastik yg berisi 40 koin, magician memakai teknik forcing, jika penonton memilih yg berisi ‘55, katakan “ berarti ini untuk saya & yg tidak anda pilih untuk anda”, tapi jika sukarelawan memilih yg ’40, katakan ”Ok, ini pilihan anda, silakan diambil & berarti ini untuk saya”.
Gambar 3


Kantong Berisi 40 koin (Sukarelawan) Kantong Berisi 55 koin (Magician)



kantong plastic transparan berisi koin

9. Jika sudah, minta sukarelawan ‘2 memilih satu kotak antara A & B (yg mana saja, A / B), Jika sudah memilih kotak, minta sukarelawan ‘1 memasukan semua koin dari kantong plastik yg dipilihnya kekotak, magicianpun memasukan semua koin dikantong plastiknya kekotak 2.

10. Terus magician berbalik & meminta sukarelawan’ 2 untuk mengambil/ mengeluarkan kembali koin Rp.500 dari kotak yg dipilih sukarelawan. Sukarelawan boleh mengambil berapa saja. Kita anggap/ misal sukarelawan ‘2 mengambil acak sebanyak sebanyak 14 koin, berarti sisanya sebanyak 26 koin.


11. Minta sukarelawan 1 untuk membacakan perintah diamplop ‘1,“saya akan mengambil koin sebanyak yg tersisa dikotak sukarelawan”, berarti magician hrs membuang koin dikotaknya sebanyak sisa dikotak sukarelawan, hitungan harus benar!. Dlm hal ini sisa dikotak sukarelawan sebanyak 26 koin, maka magician harus membuang 26 koin dari 55 dikotaknya (sisanya 29 koin).

12. Minta sukarelawan membuka lagi amplop ‘2, & bacakan kembali untuk magician, “magician harus mengambil 13 koin lagi dari kotak yg dipegang”. Magician berkata “saya memilih angka 13 karena ingin membuktikan bahwa angka 13 bukanlah angka sial”, buktinya anda semua jawabannya 13 tadi, benar kan? & dgn membuang 13 koin lagi dari kotak ini, maka akan terjadi sebuah keajaiban”. “Ok saya akan membuang 13 koin lagi”. Penonton tambah heran dan bingung.

13. Terakhir persilakan sukarelawan ‘1 untuk membuka amplop ‘3 & bacakan keras-keras, sukarelawan pun berkata, “magician sudah memprediksikan bahwa koin Rp.500 yg tersisa dikotak yg sukarelawan pilih & kotak yg magician pegang jika dijumlahkan adalah Rp.21.000.



Hitung sisa koin dikotak sukarelawan & dikotak magician, maka dapat dipastikan berjumlah
Rp.21.000, dimana sisa koin dikotak sukarelawan = 26x500= 13.000 & sisa koin dikotak
magician =16x500= 8.000. Sehingga 13.000+8.000= Rp.21.000.

13. Magician menyerahkan dompetnya kesukarelawan & sukarelawan menghitung isi dompet, ternyata isinya Rp. 21.000, dimana ada 13 lembar uang kertas, Rp. 1.000 ada 11 lembar, dan Rp. 5.000 ada 2 lembar. Angka 1, 2, 3 berperan besar dlm permainan ini, percayalah!!


Rahasia :

Angka 13 = selalu muncul jika mengikuti rumus (n + 15 x 3 – 6 : 3 dikurang n= 13),
Prediksi = Jumlah koin sudah diketahui & diatur magician, uang yg ada dikotak penonton harus lebih sedikit dari isi kotak magician setelah dikurangi 13 lalu dikali Rp.500 ( 55 – 13=42 x Rp.500 = Rp. 21.000), walaupun diambil berapa saja jumlahnya akan tersisa 42 koin, asalkan koin yg diambil penonton tak melebihi 42 (diatas saya hanya memakai 40 koin). Kalau uangnya diganti Rp. 1000, maka prediksinya = 42 x Rp. 1.000 = Rp. 42.000.


Kesimpulan :
Inti dari permainan ini adalah ketika saya menggunakan 3 amplop lalu mengangkat amplop 2 & 1 (‘21) serta 1& 3 (’13), anda semua telah dimasuki dipengaruhi sugesti angka 1, 2, 3 dari saya. Sehingga munculah angka ‘13, Rp. (‘21).000 & ada ‘13 lembar uang didompet saya yg berjumlah Rp. ‘21.000!!. Ini semua bisa terjadi karena kekuatan pikiran, sugesti positif dan konsentrasi anda2 semua.
Next - Prediction Surprising From “1, “2, 3”

3 April 2010

Goldin's Cup & Ball Sleights: The Cup Steal

By Richard Robinson
The ball on the table is covered by the cup. The cup is lifted, the ball has vanished. The cup is set down and lifted again, the ball has returned.
The Cup Steal
Horace Goldin's method of stealing the ball from under the cup is unique in that there is no movement of the fingers as the steal takes place. He describes the move as giving the ball a slight knock with the inside edge of the cup in the action of covering the ball, the cup being placed down at a slight angle, this allows the ball to be driven right into the palm of the hand, making it possible to replace it immediately if necessary.

The cup is brought down so the inside front rim of the cup can contact the ball and send it rolling back. The cup is at a slight angle, exaggerated in the photographs for clarity. The kicked of the ball back must be done so the path of the rolling ball goes directly under the palm of the hand. As soon as the ball is set in motion and clears the back rim of the cup the cup is set down and the ball classic palmed by the hand.

With the ball classic palmed, the cup can be lifted to show the ball is no longer under it. In placing the cup down again the ball can be reloaded under the cup by releasing it from the classic palm with a forward motion so it rolls under the cup as the cup is set down.
Final Loading
Goldin manages the loading and revelation of large balls under the cups in a continuous action where the cup is lifted to show a ball under the cup, the cup is put down and lifted again to show the ball gone, the upright cup is taken by the other hand, turned mouth down, the lifted to reveal a large ball.
Discovering the balls under the cups, I remove them secretly by the above move and twist the cup's mouth upwards on the table showing all clear, boldly bringing the hand containing the ball down flat over the cup I introduce the ball by a little swinging movement, turn the cup over smartly, centrifugal force keeping the ball in.

The ball is vanished from under the cup by using the cup steal described above. After the cup is lifted, the cup is turned mouth up and the hand classic palming the small ball moves away. At the same time, the opposite hand, which has stolen the large ball and palmed it, moves forward over the top of the mouth up cup.

In one continuous action the large ball is dropped into the cup, the cup is revolved in the hand to land mouth down on the table, then immediately lifted to show the large ball.
Performance Notes
From the handling he describes, Goldin appears to change each small ball into a large ball, one after the next, keeping an upbeat tempo rather than pausing after loading all three large balls and then revealing them.
Turning the cup mouth up while classic palming the small ball requires some attention to angles so the ball isn't flashed.
Next - Goldin's Cup & Ball Sleights: The Cup Steal

Sponged Out

By Richard Robinson
The magician holds a large red sponge ball between his right first and second fingers. He places the ball on the palm of his open left hand which closes around it. On opening the hand, the sponge ball has vanished.
Sponged Out is a convincing vanish which creates a rather unique persistence of vision effect since it is the fingers holding the ball that are persistent rather than the ball itself. It can be worked with any sponge ball, even a larger 2 inch / 50 mm ball.
Handling
The right hand, palm forward, displays the ball between the first and second fingers. The ball is placed on the open left palm. The left fingers curl up to close around the ball.
The right first finger raised and the left fingers opened out to show the position of the right thumb between the right first and second fingers. The right thumb presses down on the ball and drags it back to the left wrist. The hands' position to the left of the body as the right thumb drags the ball back. Note position of the third and fourth right fingers.
The tips of the third and fourth right fingers grip the ball and swing into the right palm as the right thumb moves away. Front view with the right first and second fingers still trapped under the left fingers. The left hand remains stationary as the right fingers are pulled out from under the left fingers.
The right hand moves back, the left hand moves up. The right second finger curls in so only the right first finger points towards the left hand. The left hand is opened to show the ball has vanished. The position of the ball concealed in the right hand.
Presentation
Facing the spectators, display the ball by holding it between the first and second fingers of the right hand. The hand is held up at shoulder height and turned back and front to display the ball.
The left hand opens and turns palm up at just above waist height. The right hand is palm towards the spectators. The right hand moves down towards the left palm, the right third and fourth fingers curl up slightly towards the right palm as the ball is placed on the left palm just at the base of the left fingers.
The left fingers curl up to close over the ball, pausing as they come into contact with the right first and second fingers. As soon as the ball is masked by the left fingers, the right thumb moves down between the right first and second fingers until the right thumb tip touches the left palm. This causes the top side of the right thumb to press down on the ball.
The left and right hands swing to the left, the body turning to follow the hands. The left arm is raised and the left hand revolves to the left until the partially closed left hand is positioned with the thumb up with the left fingers towards the spectators.
The arms are now extended out to the left. As this shift in position is carried out, the right thumb presses on the ball and slides it back across the left palm to the left wrist. The right third and fourth fingers swing up and the ball is pinched between the third and fourth finger tips which swing back into the right hand.
The back of the right hand is towards the spectators by this time, the right first and second fingers trapped by the closing left fingers. The movement of the arms stops. The right hand pulls back to the right, pulling the spread apart first and second fingers out of the left hand. The left fingers finish closing over the left palm and apparently over the ball.
Continuing to look at the closed left hand, shift the body to the right so it is closer to facing the spectators. Move the right arm at the elbow to the right. As the right hand travels right the right second finger curls into the hand, leaving only the right first finger pointing at the left hand.
The right hand gestures at the left hand which opens slowly to show the ball has vanished.
Performance Notes
Sponged Out works equally well as a close up or platform manipulation. The timing of the coordinated movements has to be practiced until it appears that the ball is placed by the two fingers into the other hand which closed around it as the fingers are extracted.
With a good deal of practice and a fairly stiff coat sleeve it is possible to use the thumb sliding action to slide the ball across the left hand and into the coat sleeve for a both hands empty vanish.
Next - Sponged Out
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