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Jon Racherbaumer - Artful Dodges of Eddie Fields PDF
Jon Racherbaumer - Artful Dodges of Eddie Fields PDF
JON RACHERBAUMER
Edward Harlo in this book for myself. But ainc. be baa al-
'or all tbe reasons ready decided to publish thi. book, let me
••riou s students of
aaslc eventually discover. tell you about Eddie Fields and hi. maaie. 1
met Eddie Fields for the first time in 1950,
"1be conjuror collects his poor belongings.. _
1he colored handkerchief, the magic rope, while he was working in Q1.icago. To meet h1JD
1be double-bottomed rhymes, the cage, the
is to like hum. He is a very di.arm1n& fellov--
You~.
tell him of the passes you d etected.
from the way he smiles, to the twinkle in hi.
1be lIY.tery remains intact ••• "
eyes. When he does a trick for you, you know
you're being put-on by a master--but you love
_ 'lladumir Nabokov
every minute of it. I Can honestly lay that
I've never seen Eddie do a bad trick. By that,
1 mean a trick which wasn't only baffllDa but
entertaining. He possesses a great UDderataD4-
ing of human nature, &8 you'll ••• by the
material in this book. Eddie Field. tb'p"
good magic and entertainment. Now off you 10•••
to a veritable fairyland of ~ "~ .tuff •
wAY AHEAD CARD TO CARD CAIE detail •• Such minutia, when properI7 puC
together, cr.ate. the orch••trated .traaie.
_ ...... doo't deceive
IIQIIr U8: Before anything ia detailed let'. recOD.l~
John North Hilliard'. atatement: -the az-ac-
J---"c
-.. doe•• " ... Goethe eat tricka ever performed are not doae &C
all. The audience aimply think tbey ... ~••
IPPIcr" !be apect.cor freely ahuffles a deck ot ~ Way Al!W ~ 12 liu:4 lOAn 1. ouch AD
Rria( °referablY hi. own), then apportions the effect. The spectator', selection DeVer flew
deCk ~to seven pack.ca--placing them 1n a rove from the shuffled deck. 21:. was it maneuvered
!be rformer bands the spectator a sheet ot there by the magician's cunning: IT ~s 1"
pe requestl!l8 him to number the aheet frOlll THE CARD CASE BEFORE THE EFFECT WAS EVER
:::-~hru aeven. It', further explained that the COMMENCED. In short. it'a a .windle' It' • •
card' of each packet must be subsequently swindle. however. that mu.t be indulged. Do
fetid' .110 the spectator must choose One of D2£ be mislead by its apparently .~le
me ~r. and delign.te it by encircling it. operation. Because the usual "tricky· part
flow the performer a •• lscs by turning over the is accompLished prior to the performance doe.
top .even cards. calling them out in any pre- not lighten the incubus of the performer. He
vioully agreed order. After all cards are must convince his audience of something that
named and listed, the spectator reassembles will never occur, resulting in something that
che packets and shuffles the deck. The perform- has already taken place. Needless to .ay, thia
er take. the deck, cuts it, reverses one half is a formidable task. requiring all the .how-
(10 that it'. face up)and shuffles it into the manship and ingenuity a performer can muster.
face down haLf. Once again the deck is cut and
the card c.se is placed between both halves. lhe minor detail that actuate. thi. miracle i.
1ft tuna. thb amalgamation of "cards-snd-case" s willful slip-of-the-tongue: mifFalliA' a card.
11 •• thed in a pocket handkerchief. After a which dates back to Ponsin. However, there are
cara-Uc paus•• the performer snaps his fingers. no cobwebs on this subtlety, and it rank. vl~
arab•• corner of the hank. snaps it open. Francis Carlyle's application in bi. effect
hurl1n& tbe cards and case helter-skelter over cslled--CARD TRANSPOSITION(See VerDon l • YIS1-
the tabl•• From tbb debris the performer picks mate Secrets of Card Maaic, pase 233).
up the card c•••• shakes it. opens it. and
~ • • •ip.l. card: it's the spectator's
Keeping the outline of the effect in ~(a.
Ml.eet10D1 it's described in the beginnlD&), the follow-
ing details will benefit your practice ....loaa
IDIlIIO: thi•• ffect 1. a test in presente- and more fully clarify the mean1n&' of Cbl.
e.... 1hi. belng the ca.e, to achieve maxi.mUlD effect's compelling approach.
"fectl~•• ,,,,pd.attention to special 1) Never use this !.U!Sl. u. U mIIIII£. 'DI8 . .
looker(s)"""iiiU.th4ve-.n lIIIpre••10ilof coca:L
provisetlon. Everythina must be oftba-I••"
casual.
abeu 1d ~ borrowed. When FieLd, would be HlSCALLED. (8) 'lb. fitit'
2) JbI ~.Ck--•• he opens the card case to overlwhether it be '7 or #.)1. ahOMa
borrows h do he glimpseS the bottom Card so everyone can aee 1t. the actlan .uac . .
~ t . car
it 1n , the case. Everyt hi ng 1s done deliberate; everyone must understand ...ec~
IDd l~re' Once the cards have been removed, what's happening. The second card 1••lao
Datura Yi. closed and casually tossed aside. shown openly. The third card 18 1Ih0Wlt0 nCb
<he e •••, faw effects and wait for the proper less d*liberation. Everyone 1s aettlna ~
Per f orm
moment co l'-~x a short dynamic routine
C ~UD ,
idea. By the time the performer reach•• ~
vim the card case miracle. card to be miscalled, few persons are pa1lal
close attention. Beaid.s-~the Whole proce••
3 e ~ handle the cards y seldom .!.!. seems quite innocent, inconsequential, abowe
p~'~l'. Since the effect actually requires suspicion. However, Fields warns that the
little handling, one should capitalize on HISCALLING must be done nonchalantly and
thi_ fortunate condition. convincingly. Any falae feelings will b.
transmitted. Thus, 8 steady, uniform calltQI
4) The aheet with the numbered list is an should be accomplished eerfUDcsorily. lC)
example of good misdirection, for it neces- The top card that's HISCALLED, of cour.e, 1s
••rily occupies the spectator A! the swindle barely peeked: the performer merely names the
eake, place. Likewise, this explains t~e card PREVIOUSLY LEFT IN THE CARD CASE and the
r •••on for using seven packecs--for it s a "dirty work" is done.
psychological fact that repetition induces
inattention. The rhythm of monotony lells. 5) ~ ~ unimportant ~ 1mP0rsant. As
Therefore, the MISCALLING action must occur the actual "secret" of this effect occurs
three, tour, or five cards LATER during the during a phase that seems uoiJnport'ph' the
NAMING PROCESS. Fields handles the "card actual unimportant phases must 8eem IMPORtANT.
calling" In the following manner: (A) De- The performer handles the card. during the
pending on which number the spectator pre- "eal ling sequence " (actually he handl•• only
viously circles, he decides whether to begin seven cards)j however, most spectator. vill
calling the top cards(of the packets)from a only concentrate on extensive hapdligt--1UCb
numerically descending or ascending order. as shuffling, cutting, etc. During th s effect
For example, it the apectator circled 92, the spectator will remember the top.y-eurv,r
it would be wrongful to begin calling cards shuffle and handkerchief-wrapping actioa••
in the numerically descending order--trom 1 He'll drill the performer's every move. After
thru 7--because one would have to MISCALL all, this is the phase he SUSPECTS; thi. 1.
too soon, long before monotony sets in. In- the phase that seems lMPORtANT. Wbile tbe. .
stead, one would work in the ascending order phases are technique of a pointle•••ort.
(or backwards), calling the top card from they're psychologically sound.
pacut 11 and working backwards to packet 91.
Monotony s.ts In. Pollowing our .xampl., flve 6) The climax should. be a CCIiPLETI SIIll~lU
card.s would. b. caUed BEFORE the sl.xth card The card case must be opened .1ov17 . . .
a model of fairnesa. 1he card 8bou14 ...
FACE OOWN and held at the f:LDaerClpa.
caBe must be IHMEDIATELY a!l.owa . . .
-~th • little enap and a crimp sOW rd ygur"~C. (8M 'bOlo I
the card .... deplcS8 this action Natural17 . .~
h handled in the ..-.~• • latat.a...::-:-'
uniformisy. Of coura. the cr~ 1
.... are never deceived: we deceive ouraelves." only the 8e1eesion. • S puC la
- Goethe
A MARLO VARIATION
PHOTO 3
PHOTO 2
14 15
PHOTO 3, itts held sliShtly point •• you lower the carda f.c.-~.
,au'11 no~~o;nthe "tiltlng-pivotlng-rlght~ 80 the spectator can ... the back. of boCb
arc and be "Once they converge, the jogged packets. Ot coura., h.'ll ... DOCblaI.
hand-paC~t. ket overlaps the lefC-hand while wondering ~ you were atarina at •••
rll ht - ban P~~hind or on top). Once this
pactet(tr~conditiOn 1s accomplished, the '!he packets are telescoped to&.~r V1tb «be
out-jog:e can be removed from lts slight_ right thumb and fingertips, and the deck 1.
right d
"d osltion--while the lefe hand given to be fairly mixed.
11 .~hr t~O packet6 together.(See PHOTO
holds t e .. i f th Of course, &s you'll see When experlmentinl
4) Ostensibly this posicion 5 to ur er with this move, the glLmps8 is ta~n dur1n&
display the spectator's selection. the crucial, cock-eyed, clock-wi .. , pivot1n&
movement. As you' 11 note in PHOTO 3, the
entire face of the selection is flasb.d--and
we mean floBhedl There is no hesitation durlaa
this movement. The whole sequence takes a fev
seconds. Don't worry about the spectator ...'9'
YOU seeing the selection: your glimpsins occur.
at the split second ~ noting the AlII card.
The diversion is perfeCt.
For some peculiar, visual quirk--the obliqlM
turning movement is not obvious to the apec-
tator. Ihe entire sequence appears natural.
from your side, however, the whole thing wiU
look atrocious. It's bold. It ta~s gall.
ltls deceptive. ltls good.
***
Why do we forget the simple saw: the old
seems new to those who've never .een it
before?
PHOTO 4
A• • non••nlieal bit of mlsdirection(while "Out of intense complexities lnten. .
the .peet.tor 18 looking at his selection), simplicities emerge. II _ Sir W. ChunbUl
Itar. at the ~ of the lower packet(or
or1&inal left-hand packet. '!his Btaring
would leem to indicate a glimpse of a key.
- IGlDlthina' Continue acaring at this
The performers now ahow. the top card of Cbe
lISix-card Pile, II saying: "Pl•••• rem bar
1 wt.ng stunt was first shown Fields this card. II (This 18 the old lO-:lO rorc.)
1be fol 0 der in San Francisco. The effect The selection is placed back on top of ~
by •• :-~~::resting history and is based On "Six-card Pile" and the three packet. are
be' lent mathematical trick. ~Iost recent ... assembled in the following manner" the
an anc i tion of this effect was described "Nine-card Pile II originally pl.ced ••14.
~~ E,;;~;aCard Con1ur~ng(pP. 72-73. called is put on SS?J2. of the I'Six_card Pile It
~rely It. Coincidence' by Al Sharpe). and covering the selection. Thi. a.Sembied
u••• dice a8 an additional subtlety. As a packet is placed on top of the remainina
•••ing thought-- bartenders may be mediocre card and !l! is placed on I22 of the talOD
:'Sieians. but they usually know what pleases (At this point itls optional to falee •
their cultomera. shuffle again) If the aforesaid is still
unclear, after all action the ~ of the
PREPARATION: cards from top to the 16th card(in thi. c••e)
is: 2D-2H-2C-AS-KS-QS-JS-IUS-9S-2S.
Thia effect requires a lO-card set-uPt which
il from. the top, down(cards face down): 9S- 1he performer asks the spectator to name hi.
lUS_JS_QS_KS_AS_2C_lH_2D-2S. Be sure the last selection. Upon hearing "Two of Spades ll the
card of the set-up is the Two of Spades. This performer deals 3 cards, spelling T.. W-O.
lU-card let-up is placed on top of the talon. Once again he deals, spelling S-P-A.. D-E-S
dealing 6 cards to the right of the "TWO'"
ROUTINE: pile. The top card of the deck is now ShOWD
to be the Two of Spades. The effect is
!be performer asks the spectator to think of apparently over. Kicker: The "TWO" pile i.
an7 number between lU and 2U. As the spectator turned face up, revealing all duecea, and
decides. the deck is given a false shuffle the IISPADE" pile i8 turned face up, reveal-
and cut. It. number of carda ~ to the number ing a ROYAL nUSH in SPADES.
decided are dealt face down in a neat pile.
Par example. if the number chosen is 16. these
"n)' eard. are dealt onto the table. The per- ItA11 originality is relative. n
former then .ay.: tIThe number sixteen consists - Emerson
of the number. on• •nd 8ix ••• " As this line i8
delivered. the packet of 16 cards is picked up.
1 eard i. eleelt to the left and 6 cards are
dealt to the richt; Th. remaining 9 carda are
p~ced ••1d•••• tempor.rily. The performer askS
if "'~hlna ba. be.n .ccomplished fairly.
order from the 1A£lt: lUll - JH - 101 _ QH _ All
CALLING YOUR HAND, AGAIN - Any Ace - Any K(exeept the KC) - Th. ~
remaining Aces - Ke.
1 es. "
Yet mirac_Goethe to perform this effect I the following .1.1&b~.
"l:yster i e s are not are necessary: (A) Bottom Deal--preferably
I~rlols Illusionary Bottom Deal(Notea of
doing thiS poker deal for
fields has been December 15 , 1965); (8) Double-cut; te)
v iCY is an attestation, Any convincing False Shuftle. Those having
LU years. Its longe ublished the idea in llarlo's RIFFLE SnUFFLE SYSTEHS will have no
for Annemann tirst p 0 The set-up has been
The Jinx many year~ ~;n~ and as you'll see trouble.
credited to i.icha e in f~ature. Subsequent
ROUTlNE:
the set-UP is th~t~ of both taste and
handling is a ~ f e llowing is the Fields' 1) Explain the conditions of the effect to
i..m8ginaCion ....e 0
the spectator. asking the appropriate ques-
version-- tions.
:fFECT: Unlike many p~~:rf~~~~~~~t~f~e~~W 'L) ::ow--dependi~ on the kind of hand request-
notable exceptions), 1 conditions. After the ed--double-cut the specific number of cards
succeeds under unUSU8 the 5 ectator
cards are shuffled and cut, b d P alt which indicated by the following chart:
oanes any nUr.lber of hands to e. e '---;;-
h d he wishes to contain the w~nning c~rd~, STi;AIGlIT i:one
an~ the kind of hand tv-inning the de~l. lhe
perfo~r also adds ::hat \1hatev~r lund of _ FLUSli r:one
hand is chosen, it wl.ll be the IlI~HEST pass
ible hand of its kind. This selt-lIllposed . 110YAL FLUSH r:one
challenge. then. con~ists of ~ features.
ALL CilOSE\; BY TilE SP.CTATOR. OUE PAIR Card to the TOP
26
als wieh both lit and unlit You'll also lind that the fleffect" workl Hie
After. feW ~~~s "dOuble~arettell is if the lit cigarette i. allowed to "burn
cigarettes, The spectator, naturally, is down" nearly half-way. Often, it the e10naated
introduced_thiS elongated cigarette. When cigarette is too long, the smoke become.
unavare of the spectator will suck cooled before it reaches the spectator'a
held properl~, tar lit end, receiving the lips--and itls the temperature of the smoke
8U\Oke from s~t~ons accompanying such 10- that produces the senSation accompanyins
proper sen Ihe conclusion should be obvious: inhalation and not the smoke it'elf.
halation s • te the double cigarette,
Secretly separ~it one in the spectator's
leaVing~~~e~laCing the lit one back into
mouW, Since the spectator will not
an as~~r~~:i.nglHe still feels the unlit Blake redone: ~~gic is the revolving door of
~:~~ ofYthe elongated cigarett~ between Perception.
his 11 ps,) ·~en the blindfold ~s removed
11
~e'll be quite surprised to find an un t
Wl'
ErrECT:
tbat. car
th:thodox telephone experiment--in
~r ,elected under 8 given, if not
I f circumstances. Then, the
~~giclan names the selectionl
pecullar, :et~b8equentlY named without any How? According to Eddie Field., Step. 1 ~
..leetlon Sns or clues. The following des- J, exclusive, repre.ent a technique called
.pparent ~a ver differs radically in the HONOLULU SHUFFLE or LOCATION(whlcb 1a
described elsewhere 1n this book). the 8Ub-
crlP~onNO ~:; ca~ds are used(in the con- tlety here, however. i8 that the ~eY1D&•
..th • 1 sense). No stooges. No elaborate device is not a card but an entire run pC
..ntl~iO 5 or devices. No memory work. No ~--composing an uninterrupted spread of
pr~h:~tic~l principles. In short, itts one face down cards. Because of the predi.po.la&
~ the dlrectest. least involved, and baffling sequence of the foregoing actions(a. per
telephone stunts devised. verDal instruction). the selected card will
be the !1£!! FACE UP card to the immtdia!'
WORKING: left of the longest run of face down car •
in the spread. More specifically, if the
Once the spectator is contacted by telephone spread deck were examined. one notes that
and given the standard spiel--with his deck most of the face up cards are disunited by
at hand he's given the following instruc- 1. 2. or 3 face down cards(depending on the
tiona: evenness of the shuffle). However, u.ually
central to the entire spread is a protracted
1) Shuffle the deck and divide it into] run of face down cards(which .verage. 20
packets. cards). This run of cards composes the euDD-
ing key. As you'll note later, this .... kay
Z) Cboose any of the 3 packets, reshutfle it is utilized in a VISUAL way in the .ffect,
and note the BOTTOM card. Turn this packet DROPSY DIDDLE. In SILENT TRANSHISSl~. tbe
f,S! up and place it on ~ remaining face key is obtained in an AUDITORY way. 1be pee-
.dmrJ:l packet. Finally place the last face down former HEARS it--which i8 a ~riumpbant ~
jieiet on top of the combined packets. In ance for this kind of an effect. He bear.
other words, you've sandwiched your chosen it in that the LONGEST PAUSE beev.en tbe
paCut--the one you turned face up-- naming of face up card. repreHnta Cbe . .
betweeD the two race down packets. 6llQli it takes the spectator to deal tbe
face down cards compo8ing the procrac~
J) Gi". the aa.embled deck one or two run. ~diftely fOllowing Chia ~s."I=t
.~.lIbt CUt. and finish by riffle pause1Whtch i. quite obvlou8 to tbe ~
IbDrrl1D& the cerde. tener)the ~ card name4 by tbe •
i8 hi8 selection •
• ) _-bold1na the deck 1n your d.eUng hend •
...1 tlw 0&1'41 to the table. Each tlme you CONSIDERATIONS:
~_'- a lICE UP card. name 1t and d.al 1t
.I~. The key1ng dev1ca la qui'-
followiaa rea.aDII
ink that the protracted run evening. Jay Marlboro IUSle.ted the polli-
1) One might ~~rds__ followed immediately by bility of uling the HONOLULU SHUPfLI a • •
of face dovt'l would appear obvious. After telephone technique, lett ina the apactator
~ .electiOn-~ausal relationship. The Iccompli~ III the Ictionl b~.elf. Jay
aU, there 11 a r 1s too involved. He is tried out his notion, but it required ~
,pecutor, ho,,:ve ~er' he is a PARTICIPAHT. spectator to name all 52 card., explaLDlDa
more tban an ° ~e with t carrying out instruc- whe~her they were face up or face dowa. tbil
~e's preoccupiekins for his selection. He's took too long, Bounded too complicated, aDd
tionlj with 10~ the exac~utcome of the ex- diminished the directne •• de aired in .ueh
also unaware 0 effecta. Still his idea of using the HONO-
peri.me nt • LULU SHUFFLE was good.
telephone stunts, there
2) Unlike °iJnrhe1~ed mathematical foundations-- Finally Fields bit upon an idea: Tell th. .
exists no"double
p to spread the cards and name ~ the face
the value 0 f your car d , or up cards1 This was an improvement. However,
such as of cards equal to your va 1u e •••"
deal a nurnb e r b 11 instructions were still too complicated, and
The only information directly or ver a y the information given was somehow vague.
i 16 the order of the face up cards.
~;~SiS is placed on this knowledgetwhich Yours truly suggested the "deal1t\8" handl1n&
wiLL give those who'lL attempt reconstruc- Which was sure-fire and less complicated.
tion a real problem).
Joe Ireland supplied the deck and a forth-
3) the actual keying device is SlLE~CE. party-serenely-objective opinion I
,./hat could be less ostentatious?
***"*
it is almost incredible vhat 'naivete'
1I • • •
Always remember the first face up card named the best educated often display."
by the spectator tor write it down). Often
t~s(due to the cutting), the protracted -H. J. Burl1t\8aJDe
run will fallon the last twenty(or so)
cardl. In that event, you'll not be
caUl,ht ",i th "egg on your face, It or ******
haVing to ask them to re-name all the
cards. FIELD'S ZODIAC CARD MIRACLE
tha .pactator, Uling b1l deck, mixes them 2) In handling the carda,
to hl• •atl.factlon. Tha performer then into the 1aR card.
introduc•• bie -1nvillbl. pen." This pen,
3) PaYChologlcallY, .iDee
.. is bosh, he t 11 place and the longitudinal side of the entire pack
hI! whole "pen bit to what'S actually taking is turned toward the operator(a. when .pIlt-
ittrle importance him the important aspects ting the pack in order to faro shuffle the
with it- To His attention relaxes.
Placestill halves).
are to come.
t to the card in the follcw. The selection can now be maneuvered to the
The work is put kniS tabled(or held)long- top or bottom of the deck by cutting at the
ing WAY: The dec d wn This is a logical edge-marked selection. Aa just mentioned,
itudinally I face n 0 writing, particularly a faro ehufflers will have no difficulty here,
position since a h~uld be done on the widest as the technique appears natural and the
person's name, She fingertip comes over the selection is brought to the top during the
surface. The rig to write acroSS the white course of the shUffle.
deck, pretend~~TO 6) As this 1s accomplish-
border. (See b IlIJ.l is dragged across
ed, the ri(Sht th~d:point)of the longitudinal
a segment ab~~t should be applied with suffie-
TRIPARTITE
~. The na to infinitesimally flatten the
ient pressure d This card will now appear
edge of the car • This effect is one of Fields' pets and altho
it's really a magician's trick, it appeals
to an analytical layman's imagination. It'.
taken in 80me of the most informed cardmen in
the country. Considering these aspects it's
worth including in this notebook.
EFFECT:
PHOTO 6
·1:=-
cards the magi asks the spectator to c 00 •
a num~er from 1 thru 3. Atterwhlch th:.
tator is allowed to e~ume~:;~ ;~etg;~ pil.'.
any way he choosesi~ ~l:n.el.ction.
in • klnd of "baa relief"when mixed amongat top card--making
the ~.t of the pack. the pack being squared.
40
then reassembled in any shown in PHOTO 7, uling the foreflnae~
!he packetS ar:ntire deck is freeLy mixed. pointer. The thumb nail lightly hue cl
order and the h llenglng conditions, the
DI!.plte these c a !11£.lt! the top card of Wateyer ptpbtEt4a:t1t
mas 1 finds the selection. is selected. Study both PHOTO 7,
which •
the action from above, and PHOto 8 whiCh
shows a side-view close_up of the ~ ~.
WORKING:
fore said seems to depict an tm-
AlthO the a t rest assured that the effece
f ea ,
,",o.sible
r b d as such an unfeas ibl e per f arm-
is remem ere h h
Witnesses will even swear t at t e magi
~~~:; touched the cardsl This, however, is
-.gi does touch the cards, but
The ..-
huntrue.
1y barely - briefly toue h es tern.
and h In
~o~~ the selection is nail nicked. As in
5 , ., IIh w" the
the previous feat, however, 1t 5 0
work 15 lI pu t in ll that: makes the effect a
small. wonder.
Once again the main thing to remember in
selling this effect is to make a big fuss
over those things that mean absolutely
nothing to the essential secret of the effect.
The fuss, however, must concern aspects that
would .!.S.!!!l consequential. (note: As you know,
magicians are more aware of such items; far
more conscious than the average layman. Thus
he' 8 more suseptible to being duped.) The
work, also, must be put into the card during PHOTO 7
• moment when the spectator is busy making
• decia1on--namely the choosing of a number Hore specifically you'll note that the fore-
and the enumeration of the 3 packets. finger actually touches the top card(the
selection) and slides it • sixt.enth of aD
.Lhe dirty work occurs !!.ill. the number is inch toward the thwnb. lhi. make. the card
cho.en and a. the magi asks the spectator cantilever ~uat e~~ to allow the thgeb
~ ~
Mit to Dis its l I I I t ' . (PHOTO 8 1.
how he wanta to number the packets "One
two, three, from right to left ••• o~ one,' actually an exasger:f?on araphlc
two, three, from left to right'l" As this
que.tion 1•••ked , the magi gestures as
This disposing of the evidenc.
ed by taking the selection and
nicked edge between your thumb and f
D!1l. This resembles a pinchlns actiOft.
entire length of the edge i. then .11d
the "nail pinchers,t1 flattenina out ttw
and removing the nick from the card.
In subsequent analyzation of the effect. Id-
ward Marlo devised a method whereby the
selection could be removed from the deck,
the work taken out, etc., without l'.y~
the room. With Edls kind permission, hra-
method is included:
MARLO'S HANDLING
=t:
i.turally. with a nail nick on the end edge of
the lelection, it's an easy matter to sight the not look at the cards.
card. For many years, Fields would take the pack
leave the room. Upon returning he would have 4) To locate the selectlon, take the
lt l I.lection. if your eyes are good of course, one at a time--and hold it at th~
b po.sible to maneuver the selection to the corner with your right hand. "£he 1.
o om or toP. during cuts and shuffles, finger and thumb now ~ move
bottom edge of the ca~th.r.'.
ther.'. an tmpo t the card youlll be able to feel it,
room: it Siv•• r ant advantage to leaving the
mo¥e ~ •• l.ct~h. magi an opportunity to re-
1n the carel. on awl dispose of the "work II
that you'll follow the end of transpires underneath the tabl. _ "'~lilIl
5) Itt, ··'U:::Ch the nicked card 18--.0 that the back.
the pack 1n his end when feeling the card.
you ,tart at t
Fields has over a dozen methoda of . ~
climaX: When you are feetina performing the same effect. Harlo alao be.
6) "OW, for th~o 80 on the first three carda,
che card. you t one of these. Bring these additional ideas and application•• H~.
such material would compo•• another maauaecipc
A.aume it 1_ n~ face down and tapped. Then,
three cardS! ou down onto the table. In conclusion, practice the presentac10a of
to" them ace
both versions and strive for amoothne•• and
i the above manner, each tLme finesse in " pu ttil\& in the work." Onc. YOU' ...
1) Continue t ~hree cards fanned and tossing mastered that, you'll have .n inter•• tlna
brinsing ou bi Now when you finally teel effect and when performed .t the right t~.
them to th~ ta t~n it face uo and add three for the right people, a re.l mir.cl••
thed·ellect o!:~ onto it, cover!ng it. Bring
car 8 n a d
out and toss onto other car s.
8) Continue for about six more ca:d~.;.
Now bring the deck out as you say. 1 1 ~ "A good spectator also cre.t.....
not lure I'm going to sueceed in th s.
At the same time slowly run or spread the - A SW1.8 proverb
cards(remainlng 1n the deck)between both
hands as you look at the backs of the cards. "He who does not know the mech.nical .1de of
(Note: The idea here is to make sure every- his craft cannot judge it."
one sees that !ll the cards are face down) - Goethe
p.O·p PEEK
cm~SlDEllATIO~S:
:::r.
Cba ~e~·~n·three beatS: (1) Wi~h_
(2) Display, (3) Replacemen~•••
to the !2Lt of ~he performer'a key ~.
5) :';ow ~he performe~ requeue that Speacac.
I, 2, 31 A pass the pack ~o Spectator B--who is ~
quested to perform the SA!~ actlans ~o ..teee
his ~ card. At this point, maglcian.
p.O.P EFFECT intrigued by the 'Iselecting techniqu." will
be "thrown off the traCk" by the WAL s.lec_
tion. Being aware of IIkey card principl••-
utilizing the p-Q-P Peek, was their train of thought is derailed the ma.enC
This e ff ec t Fields
t
one night i n ""ew Crl eans. Spectator B handles the cards--especi,lly
created b since the performer doesn't handle the carda
had been requested by ~ h e 1 oce 1 mag i c
Y
in the in~eri.m.
He rform a trick. Not having really
c;~ba~~dP:nything, ~he following effect was 6) After Spectator n cuts the cards. the per-
P P i se d • Since it fooled a number of ~he
1.mprov former takes the cards and says: "U.ing only
.. decided ~o included 1 there •••
b oys, .'. the power of thought, I'll attempt to find
your selected cards. 1I
Again, there's nothing new or radically
original in this effect. The particuLar 7) Looking at Spectator ~, the performer
order and combination, however, recreates spreads the cards until he finds Spectator
~he known principles into a different and A's selection(to the left of his key). Thi.
more deceiving cast. card is removed and placed face down on the
table a8 the performer says: "I think I've
1) A pack is borrowed and two spectators are got itl" The performer asks Spectator B: • ....t
reques~ed to help the performer. Spectator A is your selection7 1t Remembering the name of the
ahuffle. the cards and hands them to ~he per- card given, the performer adds: "Well, thaC's
former. The performer does no~ look a~ the one of theml 11
s,rds UDtil he explains the technique for
,[(ivins ,t a random selection. 8) Turning to Spectator A. the performer loQk1
into his eyes. spreads the card. and ~ .
2) After s~ preliminary patter on ESP or Spectator B"s selection, saying: "ibls 1• •
Whatever, ~he performer turns to Spectator A bit more difficult ••• but 1 think 1 ba. . ltl-
'nd a,k, h1m ~o do the following, selecting a
CArd 1n ~he process. 9) Spectator B's selection i8 placed OD CQP
of Spectator A'S selection. Both ~ ~
3) Ac Chi' juncture the performer execu~e. picked up and i..nInediately 59'nd faee up
the . , . . . of the p..o-p Peek, noting the top in front of the spectator••
k8r card. then h. handa the card. ~o the
lpeceacor.
4) '!be lpeCCaCor perform. the nece8.ary riC.,
Mb. bl. card, sut. the pack, and 80 on.
excellent example of a mlrael. l.oo"~
be found in an effect called, If1b. YOil •
6 as soon as the spectator CUts Secret. 1I Two features make this part1eu. . .
After StePth~ performer may wish the spee_ effect unusual: (1) The daub us.d 1. fl.~
th_ pack, ive the pack ~ RIFFLE SHUFF1..E and colored; t2) The manner 18 which l~ ta
tator to g cuts This 1s not sure-fire, but applied is quite ingenious. Uslna the.. e-D
additional fa~or.ble that the shuffle WILL items, Fields developed the follawLna .ffeee,
the odds arxe card or two between the key card which extends and slightly aleers the .ppc reb
ftfOT put an used in the Kaplan feat. Instead of • mare
and Spectator A's selection.
location, the classic "you-do-a8-1-do" plot
r thOle favoring the additional shuffle, is presented, elevating the entire effect to
Fo technique would be for the perfonner a memorable phenomenon of mentalism•
• ~er the pack a FARO SHUFFLE(either an IN
~~ :nv~UT ) __which would place 1 X card between t::FFECT AND iolOIU<ING:
the selection and the key.
........... As mentioned earlier, the only accessory
needed to perform this effect is a small
container of flesh-colored salve to Berve
"Everyone haa talent at twenty-five. The as daub. This can be a form of make-up;
however, it must remain moist and not dry
difficulty 1s to have it at fifty." out once exposed to the air.
- Degas
Before this effect commences the performer
must secretly put some of this daub on his
right-hand middle finger. The rest of theM
effect folLows the usual lI you_do_as_l_do
YOGI YOU·DO·AS·I·DO outline: t 1) ".1.'\10 decks are introduced--.
red and a blue(preferrably borrowed). the
spectator freely selects one. The perf~ M
thi, effect, once again, demonstrates the way says: "Please do everything that 1 do.
Fields utilizes a known or old principle in a t2) The performer claims that such lmit.tloa
different and more deceptive manner. helps two unlike minds to become attuned to
each other. This line of patter eontlauaa ~
The principle of daubing a card for identiti- develop with particular empbaB1s ~~
caUon purposes is as old as card magic. nost- ference'of thought, from mind ~ m ~
ly daub 11 used in "location" effects. 'J.his-" at this juncture that the perfo~NTI
Whil. often accounting for many baffling idle but pertinent ges~.: HE
f •• ta--does not constitute an entertaining
rout1.ne •
nu:
0\"1-: FOiilincAD, TIl";1 pOU,TS TO sr
"CTUALLY PLACIHG HIS IlIGHT-1lAN1l KI
AGAlr;ST TI-IE SKUl. This anolnCs «be
Kaplan's The Fine Art Of llagle, an with the daub. Since it'. fl.
unaware that it's there.
l.nc. 1 I many of u', ov.r the Mny yeaw• •f •
h performer shuffles his deck. The meeting., joinina bull ••••1on. vltb
3) No" t • followS lult. The performer places and foes of our .peeialty, haVtl bMa lUi
.pect.tor~ion(baCk outwarda)against his fore at misguided inter••tT Why do we AIEf8aa
h il lelec..
t 1 ning concener..."i on. Th e apectator - magic? (Note that I didn't ••y, . ~. ._ .
h.ad, : ~o follow 8uit. When he does, he which i. a ditt.ranr rhinal Hopetully ~
;:1~'::wUtin81Y daub his own selection. answer ie, Il • • • to ent'rta1n an audience.-
ThiS, then, is your r.al IUbi.ss and. OM tbaC
4) the performer places hiB selection lnto .hould engage ~ high"t reapect and lD~
hi. deck and shuftles it. The spectator 1s Interest in principles and technique. of ...tc •
I.ked to folloW 8ult. The decks, once again,
are requisite and important, but they ahauld. be
ancillary to your real intere't and loal--
Ire exchange' and shuffled. to entertain and bring pl.aaure to your
audience.
5) The performer asks the apectator to re-
flIQve hil •• leetlon AFTER the performer takes
hi. lelection from the deck in his possession.
(t'aturaUy the performer merely looks thru When performing for women do not invoke their
hi. deck and remove. the card with the daub intellects. They prefer to approach ~.t.ry
on It.) intuitively. Appeal to their .ense ot fo~,
design, and color. Surprise them. Pertor-
CILrnax: Carda are shown to match. effects that are happenings ~ them, tnac..d
of tricks that happen !2 them. And by all - . -••
AI you can lee, this variation nicely elimin- create an ally, not an .nemy or a victim.
ate. the ule of conventioMl key carda and
other chanay handling. AlSO, as previously "'AAA.","
1.lDpl1ed, it cr'ate. an effect that camouflage.
the 1I1oca tion nature" underlying the effect. "The modern wizard must po••••• in a blab ....
In other word., a spectator's selection was the 8ame quality a8 a phyl1c1an. He mu.t ta-
not ~ by the performer. Instead an apparent sp1re confidence. II
teat of SYMPATHETIC REACTION was performed. - Robert Houdtn
6
ANOTHER PROBLEM POSEO METHOD
64
Ilel DOWN card he chooees. The performer Th. performer saye: "1 told you ebat 7auc
..-oa.erates this action. dropping the coin .election was ~ tha coinl" A. thl. ~
GIl a faee down card. following rhis he pushes prise is regietered, ettention 1. diracead
both the coin and the card out of the apread. to the card SCSUfll! under the coln, a.
l . .vtns the coin on top of rhe card. The che performer continue. "You didn't expect
perf~r says: "the difficult Ching is to it to be here, did you? t Yet a. ~l. card 1.
drop Cbe coin on the card previously selected turned face up, it proves to be the spactatozo'.
Sl.nee the chances are 52 to 1. the feat ls. • .election.
ind..d, a difficult one 1" Concinuing he .aye,
.Would you believe that the card under the
coin is your aelection?" WORJ<ING :
Hasardle•• of the reply, the performer lift. This is a "presentation piece, .. and 1f par-
the coin and turns over the card underneath: formed properly, very strona. Since no arduoul
it'a the .pectator's selection. .leights are involved, the performer can con-
centrate on the essentiel features: his own
Now the spectator i. invited to try the .ame acting ability and Simina.
atunt. Once again he .elects a card. The deck
i • •huffled with the carda topay-turvy, and Two artifices are requisite: (1) " top chana.;
apread acro•• che table. The spectator drops (2) Any deceptive force.
the coin on a FACE DOWN card.
Naturally the halt doUar is previously pre-
Th. performer now bet. that tile spectator ha. pared by gluing a minature card to one alde.
baan succe.sful; that he haa dropped the coin (Rubber cemet or Elmer's glue work nicely)
on hia mm. .election. The .pectator, howevar
DlSAGREES--BECAUSE HE SEES HIS SELECTION AS • The prevloua EFFECT DESCRIPTION glv•• you the
OIIE or THE rACE UP CARDS IN THE MIXED SPREAD main PRESENTATION STRUCllJRE. The firat pba. .
1ha spec~tor-·becau.e of the bettins Situation of the effect involves, one. . . .In, the HOft-
--vlll not .. y anythil18. Still the performer OLULU SHUFFLE-LOCATION. This technique find.
bees, aayil18: "I'll bet you that the card a very apt and log leal place ln this effact.
1IIlder... the coin 11 your s.lactionl Would you
t or nott" THE HONOLULU SHUFFLE-LOCATION 1. c1eoc:r1_
elsewhere in this book, but brlefly It'.
~ ·pecr taeor , nov amused, good-naturedly bets accompll.hed in the follovina -.nner:
&AWl per O~r a.k. for th •
••_ It'. the QH It. e name of the ••l.ction. 1) The deck ls .huffl.d and dlvided into ~
....d tba • s soon a. this card i.
parfon.ar pick. up the ~ snd face down packets. A .pactator chao". ear
Clam. 'it
d.r.idaov::.•u:::..
,
r neath , pa.ted to it.
tun replica of the QH.
packet, peeks the top card, turn. the pac'"
face up and .andwlch.' lt b.t~aa th. ~
two fac. down packets.
2) th. d.ck il Iplit into halve. and given 2Ql one' the spectator drop a tb. COin on
l'altlmat. riftl. Ihuffle. Then the deck i. down card and the card(with the Coin ec
tum.d over and ribbon spread(lt'. turned over tOP of it)is pushed fr•• of the 'P~d
10 that the lelection will be face down). performer "right'" the r.at of the dec'
he delivers appropriate patt.r 1..d1 ••
3) The card. will appear well mixed. with the cl1rnaX. na up . .
.ome card. face up. others face down. One
viII not•• however, a long. uninterrupted It is during this Ilrighting of the card.- tbII
.pread of f,ee up cards--much longer than the FORCE card i, brOU$ht ,ecr.tly to the top~
any other face up groupings. THE SPECTATOR'S
SELECTION IS TIlE mu
IMMEDIATELY TO TIlE
FACE DOWN CARD
ilfI OF TIllS LARGER
In conelu8ion--the method of revealina the
minacure card i8 important. The performer
FACE UP SPREAD. lifts the card beneath the coin and u ••, it
to flip the coin over. revealing the mlna_
Following the effect description. then, ture card. The deck, of cour.e. i, held ln
the performer simply locates the selection the left hand(with the FORCE CARD on top).
a' per HONOLULU SHUFnE-LOCATION and drope
the prepared coin on top of it. The misdirection at thi8 lnstant 1, very
good. A8 the line. "l told you that your
The 'econd phase of the effect i8 initiated 6electlon WaS UNDER the eoln. II la delivered
by controllins the FORCE CARD to the top of the performer move8 back slightly(a, if t
the deck--., the first phase is registering. surprised). looking intently W2 W 1aK-
tator's ~ !ll w.~. and t..ediately
The clrd i, FORCED and re-controlled to the executes the TOP CHANGE.
top. Once again the deck i8 divided into
three packeta. The packet will the FORCE Now, holding the spectator', original a.lec-
CARD on top ia eurned face up and sandwiched tion. the performer cues all attentlon and
between the remaining face down packets. .ays: "You didn't expect lt to be here t d1d
you?" Selection i8 turned face up and fUpped
}bIbl',d'Ck i, ,pi it and given a riffle 'huffl•• to the table. Double Climax.
~
...
~th~.:J,a~ t~: d de~l.
--8&i C__ NOT turned over and
r!ffi!!ns face u~.
From this point onwards t h
Itructur. of the eff 'd e presentatlon
",,"'' ' ... ''''''''''''
followed-_vith the ect escription is II If something can go wrons t
ev.r bita of buaine~:r~~~er adding what_ and at the worst poslible t~.-
ehooael. umor that he
_ Murphy" Law, • ~
of apace ac1enelaCe
FIELD'S VERSION OF AN OLOIE
.....t this point do you thlnk lt l • PO'
anyone.·other than your••lf__to know tbe
v there are umpteen eelephone of your selectlon1
AI you ~o idee the SILENT TRANSMISSION
trickl. •• in rlnciples borrowed from "NoW here is where our expert.ment come. into
lay. 1 want you to do two tht.nS.: (1) eon.
:~~~:~ ~~~ter~, At Baker, Audley Walsh Pentrate heavily upon the color of YOUC caRd.
Geor • Kaplan de.erve to be rehashed, (2) Deal the cards from the deck PACE UP ,
and 8.... d .nd presented once again--
reineeSn.. • f 11 naming each card SLOWLY and CLEAkLY •• y:U
.U In I presentation that hope u y come to it. Do this until 1 tell you to stop.-
avoid the u8ual complicated procedures
characteristic of this kind of effect. After all this foreplay(if youlll .XCus. the
expression), the performer is ready for the
dirty work. As the spectator begins to
EFFECT AND WORKING: successively name the carda he d.als fac.
upwardS, the performer must do the follovins:
The performer telephones anyone(who 1&
willing to lilcen)and delivers the follow- 1) Ignoring the first card called, he mu.t
------?
ing patter: IIMello,-- ... This Is
____________ cailing. Would you mind assist- stmultaneously count to him.elf(or make a
list on a handy piece of paper)a. each
ing me in an experiment? Fine. Do you have successive card 1s called-~l, 2 , 3, 4, S,
• deck of playing cards handy?(Pause. as 6 7 ••• As soon as the spectator name. a card
.pectator obtains deck)Plea.e mix the whose value COINCIDES with his mantal(or
card•• Now 1 want you to take the deck written)number ANY~ERE IN Ttl, SERIES, the
Into your LEFT hand and guietly deal-- performer rememberS{or check.5thie card. 'or
I don't want to hear the cards as they're example, if the spectator named the follow1~
dealt~·each card face down. one on top of cards: QS. 10H, 60, AR, AS, 9S, 3D, 8D••••8H•••
the other, onto the table. You may deal as the performer would ignore the QS, bealnntna
many cards as you wish, stopping the deal his count(or llst)with the 10H •• 1, th.6D
whenever you like. Have you done. this? a. 2, and so on. The first card to b. r t.r-
Now~-pe.k the TOP card of the packet on ed is the 8H--which i8 the first named card
the ~LE. Please remember this card. both to coincide with his mental count of .isht.
lta VALUE and SUIT. Now, it you will,
pl•••• d.al a number of cards from the 2) This process is carried out for at l ...t
pack IN YOUR LEFT HAND ~ to che VALUE fifteen cards(His card will n.c••••rl1y be
of your chosen card. For example, say you amongst these cards).
P·.ked at the TEN OF HEARTS, you would
deal ten cards from your lett-hand packet NOTE: If more than one card coincld•••~nep
OIfTO mE PACI(ET ON mE TABLE(coverlng che in the mental-count seri••• the perfOl'Ml'
.electlon ln the procee.). (Pauae) Have to "fi.hiI18" in whatever way h••••• flC.
you done thl.t Now place all the carda
raat 1\11 TABLE on top of the carda 1n 3) Once the performer know. the ..leee
~~ ~ HAND. Now piece the ENTIRE deck ConclUdes with the followlna pace...
_n on the table.
vou lilY .top de.Ung nOW. Have you been the selection(maglelan l • failure)
O~'
concener.tins on your card? Well, please lY the card changea(tran8formati ,)but ~
your card from the tace up carda spectacorla selection(ld.ntiflca:~ol)toCbe
~ t of you. Hold it next to the are four ba.ie effects combined lnt: • Here
multiple effect. If One were to ext a
:,ero:r
1n1Ir ne receiver and at the same time
card over and over TO YOURSELF. mathematically, the pO.~lbl. combi rarOlace
are remarkable. The 19 combinatin&t on.
-Are you ••y1ng Eight of Hearts, Eight of give one 361 possibilities. The 19o~ ~d
HearU, £isht of Hearta111" bin&tion would give one 6, 859 PO•• ibilitie••
AFTERTHOUGHT: If. performer decides to All of this with a fleXible prop that fit. ift
perform chi• •tfect before. group rather your hand.
than over the eelephone. it's a convenient
device to place your hand in your pOCKet ***......*..
and do your mental count with your fingere.
SPONGE BALL CLIMAX
PHOTO 13
74
75
FIELD'S RELAXATION DOUBLE TURNOVER
- H. J. 5urllns&me
Ql1caso. 1547
I RELAXATION DOUBLE TURNOVER Clln go lfte-eJ" a "one-hand ~
!be rte1tl .ffeetivenel. trom an appll_ lsft thumb to pu.h over the ce~dl.)
C:
derive. f he "lilting .ense of aecion. 11
cation 0 jUICifiab1Y be described. It mule
left fingertips to flip the Ca~d( )'
~p onto the talon. • f ...
It call1lot'lb.. following, however, relat••
be lIJ.1.. • roach. '!he reader may wi ah to
the ba~~~ .i:lght lI.a i.t atands, II or he may
adopt
vi.h to.
1UDl ca.t.
dju1t hi. practicing to the und....
~
..."""" ..
1) n.e deck i. held in the LEFT hand in the "ASK YOURSELF ALWAYS: HOW CAN THIS BE _
Mechanic. or Marlo Malter grip or position. BETTER?" _I
A break 1. aecured under the top two carda - G. C. Lichtenberg
and held by the lett fourth finger. This
break 11 maintained by • flesh tip and 1.
III invent nothing; 1 rediscover.1I
no Sreatar than • t ".
2) n.e left thumb move. alongside the left - Rodin
lonsitudinal .ide of the deck. Simultaneously
finser., .1
the entire band openly alightly(mostly the
though 1t were Buddenly relaxlns
itl srip on the deck.
liThe man who is too old to learn WI. probably
alwaya too old to learn. II
....."".
ordinary perceptions. The cwnulatlve effeet
of three or four successfuL card locations
is simply enormous. It Elsewhere, ln the lame
text, it's written: "One of the fundamental
"'lbere is a vast difference between telling axioms of advertising is that repetitlon
how a trick is done and teaching how to do it~ makes reputation. II The following Fielda'
routine can be exercised alone, or it can
- Professor Hoffmann follow on the heels of 8uch recommended
5..Card routines or effects such &. O1a Vernon'.
"A elever man conmitl no minor blunders. If IIMental Fon:e," liThe Princes8 Card Trick."
or llPhantaso. II In actual practice(mainly for
- Goethe other magicians), Field. can perform thi.
routine in six or seven DIFFERENT phase••
"tlarlns: idea. are like che.smen moved forward;
the)" . y be beaten, but they may start a EFFECT:
VlDDtna S.... •
- Goethe Magician names a mentally selected card fro-
tmonst five freely selected cards.
B t - , ....dioerity il excellence to those
1••• than Mdloc:re. WORKING:
II II
PHASE 11
PHASE 1
1) Same as Step 1 1n Pha8e 1.
1) Thumb off 5 cards. one a time. from
8. t:
the top of the deck into the right hand
this action 1s accomplished very slowly
and openly. The right hand holds the 5
.c.r.de_
2) Wh 1 le the specta tor look• • t th
ciding upon a 8e 1 ection, no ADO ON ia
d
d'
Instead--as the patter 11ne, ..... 8nd re:m.::r
carda 1n a fan and displays the faces to its position in the fan ••• " ia delivered the
the spectator. saying: IIPlease
1I
think of performer holds the fan o~arde 1n front of
anyone of these five cards. him and to the LEFT SIDE of hie cheet t 1
his head AWAY from the fan(towards th~ R~~~T)'
2) WhUe the spectator looks at the cards, Patter: "Th1nk of any card, any card at .U ...•
deciding on a selection, the performer After a moment, the performer turns b.ck to
execute. the FIELDS I AOD ON, saying:" ••• the spectator, points to the fan, .eking:
and remember its position in the fan-- IlDid you think of oneill A8 this Une i. de-
whether it'a I, 2, 3, 4, or 5 from the livered, the FAN IS TILTED bACKWARDS AND
top." This patter gives one the logical SLIGHTL Y TO THE .!llillU. This action should be
excuse to gesture toward the fan. making very slight--only enough to allow the per-
the add on during the process. There 18 former a view of the five cards.
now an X card on the rear 0 f the fan.
3) At that instanC, with the five cards 1n
3) The fan 11 closed and squared. The X view, the performer memorizes theBe card.
card, naturally, ends up on top. The 6 and their order. As outrageou8 a8 thiB Bound.,
card. are placed squarely on the talon, itls easier than you might think •
•• the performer asks for the position
number of the spectator's selection. 4) First, concern yourself with the VALUES of
the cards only. Don't worry about the SUITS.
4) After the number i. named, the per- Actually one can utilize any aystem to IMIDOri"
former OPENLY deals a number of cards the values. Remembering them like. sequential
~111n& the ros1t1on number. Example: telephone number ia very good. Afterward.,
the apectator name. the 4th position believe it or not t the SUIT will come back
(~a~r 4, the performer deals 4 card. to you--for the suit is UNCONSCIOUSLY noted
e own, one on top of the other) while the VALUE is CONSCIOUSL:t r~red.
on t 0 the table Th.
juat dealt i • e top card of the packet
..LeetH I apparently the mentally PHASE III
card.
Ususlly if you've performed the fir.t CWO
S) the packet-of_f phases successfully, youlll have the .,.a-
tbe center of the:urk i8 placed into
took. directly i ec. Now aa the magi tator "going.1I Now you can rep•• t .1tbV
1:18 "Y.: "CoDee nto the apectator'a eyea Phase, depending on your .pectacor aad
skill •
• nd aU......:""t
'lbe performm: ntrat. on your card I II
•• • Top Card P.ek
••1ection.
MARLO VISION
'nle boX is brought forward and to the t."
of the performer. IQl performer ~ ....
COLOR VISION, the claaaic pocket trick ~ as !h2 boxl Inatead the p.rfOiiirn.Slf. . .
invented by Martin Sunshine, has been intently into the eyea of the 'p.ct_toe
around quite awhile. Ed Marlo, who usU&u brinltng the box into the rans. of hll I
add' something to anything he touches andY PERIPHERAL VISION. Now--wlthout looklna
askance--the performer can ae. the choaen
lJDprove. thing- with remarkable details
hal added the following features to COLOR color.
VISION: The UNDERCOVER COVER ARIGHT and performer patters: "Look into my .yel{Whlcb
the OPTICAL REVOLVE. is a direct conmand, bringing, ~ att.ntlon
to the fact that you are looking at 1bIBi
ltla alway. been one of the weaknesses of that you are not lookln& anywhere .1 .. ,
COLOR VISION to bring the box behind the particularlY at the box)and concentrate Oft
back. The performer shows the box, moves your coloI'I II
it behind the back(after a color is chosen)
for a moment. then brings it back 1n front. Performer, wlthout diverting, hi ••y•• fro-
~. the color, moves it back behind the the spectator--names the color a. h. ex.eut••
back, and finally brings it forward for the UNDERCOVER COVER ARIGliT and tabl.1 the
subsequent examination. The "behind-the- boX, block, and cover.
back-business" occurs TWICE. This 1s not THE UNDERCOVER COVER MIGHT
magic. This 1s playing ~ trickl Most
11mpletons can suspect that the performer This affected title actually d,.crlbel a
doe. " lome thing" behind his back; that clever maneuver. ltls so atmple tbaa It''
he does lI somethingll I2. or with the box. surprising that it's been overlooked. lc'.
purpose ls to eliminate the laat cumber.OM
¥.rlo approaches the effect from a natural IIbehind-che-back II handlil\8.
an&le. The performer eurns his back a8 the
.pect.tor selects a color and places the 1) The box, when brougbt forward, 1. held 1D
~~oCk back in the box. This is natural: the left hand--between the thumb and .-eGad
~t~er~ormer turns around so he can't see flnger(wriet bent backwardI Ilishtly)TIPS
'l'URNE~ going on. 1I Then. WITH HIS BACK ~ at the points marked X in the lllulcraCloa
aayina ~ ~. takes the box into his handS, on Page 96.
to kno~ t~ you think it's possible for me
c.iv1na • Color you selected?" Upon re- 2) The box 10 lowered to jUlt IbOWl -.uc
perforJlle: predictable " no " answer, the level, II Btill on the left and lft the hi
Vlth box turne, facing the spectator, hand position.
point th.~ bahind the back. (At thie
tbe pel"fOl'lMr·r i. transferred) Once agaln,
POlllble for humoroully aekl: "NOW 18 it
abo..,- . . to know the color you
pivoting the box downward. a
i ht hand comes over and grasps "arighted" position. Se. lllnd inco
3) Now the r g ht thumb at point Y, the ultrauOll S
the lid-- the rig at point Z. The right hand
rll5bt fO~:~~n~~~ether, cover the box from 1~
flnsers illustration 2.
"
Z ... ...
*--~A~ ~
front as per
" /1
"I
1
12'
----- l '
"
~:
',(1) /
t
l"JI
ILLUSTRATION 3
~
and the ~abling of both the Ud and box
is an afterthought, following, the 8Urpri...
it occur
:ry
",1' .. nueve describe. Like the Curry atange
dlfflCU1: quicklY and achieves a simple t
r the detailed coordination It
calk' hOW ve •
enul1' il another matter.
co ecrusg1e through the description, and
TrY t A ... 4ftll' the move. Ie can be done and 1,
att_P ~
quite effective.
I) the pack 10 held in the LEFT llANO in the
_chanle.' grip, only the left forefinger 11
curled under the deck, near the upper left
corner.
2) the left thumb riffle. upper left corner of
the pack for the ulual spectaear "atop. II After
Itopping and holding. separation. the RIGHT
HAND approach•• the pack from above and take.
all the cerda ABOVE the break. See PHOTO 15
for exact poll.tion of hand and fingers at thh
point.
3) Next phAl. conlilta of two simultaneous
llOVea: (A) the LEn llANO tilts its packet
usn-rds .1 the left thumb pushes the 'top
card to the ~. SIDE-JOGGING it .0 the
.pectator can ae. the index· (B) The RIGHT
HAIlD tilta ita packet olightLy inward and
umerd'(atmolt •• if the performer were
.tt_ting to glimp.e the bottom card of
~t pacut). Thia RIGHT-llANO PACKET is noW
llblt.b~the 2nd. 3rd. 4th tinger. and thumb.
or !III 'lIi_~flMU reat. FLUSH ON THE EDGE
lp .0-._
' - ' PHO'l'O lOGGED SELECTION. carefullY
6 acroll the page. which exact-
-.MI~. the action.
4)
... la,bu4
f.
PllZ'po••• of lucidity. the RIGII
T
OJeEatlon. vlll be deoeribed
Ia - t:b'"'C!' both action. haPpen
5) After the RIGHT HAN~D-~;::::-::-----"··
move~
A) The LEFT HAND begins to tilt: its packet b ~ the LEFT-HAND PAC~~ooPs itl paeue
42KQ to its original position. As i t ' . finger, third and fourth ft the right fore_
j~g6ed. card so that it' 8 flush ~t~)
downward. the left thumb pulls back(to the 1 f stretched and pulled A::A:£ t ngera are out-
the out.. top packets. THE RIGHT SECOND F~: the -na8 s1na
ite packet.(The Wh! forefinger will aid in Chi REl'1AINS "TRAPPED" BETWEEN THE ER. HOWEVER
action by pushing a. the thumb 1U!ill.) • PHOTO 18. PACKETS. S';'dy
B) The RIGHT HAND moves its packet from its
lIinw.rd.upward~ tilting position to ~ the
LEn-HAND packet. 'Ibis action 18 a SWEEPING
SCOOPING ACTION. l)Je to the relatlor. of the'
ll
packet I , the Itaeoap action 18 easily executed
(It'S alia at this "SCOOp" point that the rlgh~
fore tinier pushes on the side-jogged card)
Optically, this action sLmula.ces placing the
RIGHT-HAND packet on TOP of the LEFT-HAND
packet. PHOTO 17 depicts the action mid-way
lnto the u.coop," .fter the select:ton has
alFeedy been pUlled-pushed flush.
PHOTO 18
PHOTO 17
100 101
When performing Copper and Silver
t the term "dragS" is used. This the moves until the switch 18 4-
Note tha
closely desert b es the action t f or the performer and spectator have h~d· and. ~
molt
d is neither pushed nor pulled. It's ~t this point, say: "Would it be • clo••d.
car 11 dragged out. This manuever must crick if the silver coin in H'i HA:Ll&~r'
actua cYtiCed until a "knack" is developed over and joined the copper coin i YOUe¥
be
A. pra
n It there'll be a tend ency to anglp. • l-tAf\07 lt Nat:urally hthe I<
' l l spectator ...,ln1 1 agr••
t~e "~ragged card. lI But if you study and, 0 f course, e have. tendenc t
PHOTO 19 below, you'l l notice that the tighten his grip on his coin. Thh t y ~h
RIGHT THUMB aids the dragging movement: waY, is .the performer's paychologi~al In-·
at the lower end of the Ildragg e d card." sura nee • he does not want the apectato r t
ThiS, of course, prevents the card from open his hand prematurely. Then--aa an af~er
thOught .. ~the performer says: 111'11 tell you
angling out. whatl Let' s tr~ even some~hing !!12£l dUUcult.
I III make my s~lver coin Jump over to your
hand, and your copper coin ....ill jump over
to my hand. Wouldn't that be more difficult!·
SINC£.R£L.Y,
&Jj.iL tiJ.1rW