ae ANTHOLOGY sy DANIEL MADISONBURN IN THE SMOKE 01. IN THE SMOKE 02. SNAP AND BURN BURNING LINK. BURNING HAND. REMAINS. SPREAD VANISH. CORNER SHADOW. BOX SHADOW. INDEX TRANSFER, INDEX ASH, NO SMOKE, WRATH TWO. BURN THRU |. BURN THRU 2. URN THRU 4. BURN THRU 5 VANISHING BURNS, BURN. BURN 2, BURN 3 WRATH DECEPTIONS 01 RES. CURE. SQUARE ONE. FRAGMENT. PUSH. ANCHOR. STIFLE. BOUNCE. FIX. CINDERS 2 DECEPTIONS 02 SLICE ONE. SLICE TWO. SLICE THREE. SLICE FOUR. MAKER. NIL BASE GAUNTLETT. GRAB. UPRISING. KICK. 2SEC. SAN. DECEPTIONS 03 PATCH. SLAINE. VEIL. GRIT. SLIDE. OTT. HEAT. PARIAH INSIDE, OUTSIDE. ENVELOPE. TELE. SEALED. AMENDMENTS. L FRAME THE SCOTT TRIBUTE FRACTUREFRACTIONS To celebrate the release of the 2015 e ion of ANTHOLOGY, | have decided to say thanks to all those who have given me continuous support and patronage during my time within the ‘magic’ industry. This thanks is also to those new to my ways and those yet to indulge. This thanks comes in the form of over 50 effects in a a 160-page book, named FRACTIONS. This book is made up of some of my favourite chapters from ANTHOLOGY. Those chapters are, BURN, WRATH, DECEPTIONS |, 2 & 3, PARIAH, THE SCOTT TRIBUTE and FRACTURE. This PDF book is free of charge. My full permission is hereby given to those who wish to share FRACTIONS. In addition, code IAMDANIELMADISON will give you 15% discount off of the 2015 edition of ANTHOLOGY, available at my website DANIELmadison.co.uk throughout 2015. 1am Daniel Madison. Magic is dead. This is FRACTIONS.FRACTIONS BURN BURN: PLAYING CARD REVELATIONS IN BURN - 2008Welcome to BURN and thank you much for investing in my ideas, BURN is a collection of card effects that in some way involve the use of fire or burns, primarily with the use of a lighter, candle and tailor-made gaff cards, As a performer | love to use acceptable gimmicks nd galls, I highlight the word acceptable as most purchasable gaff cards can’t be played off as actually affected cards, such as the gaff card that sees the ink on the index smeared across the face of the card, it look visually impressive, but as soon as the card is inspected, one can instantly see that the card was printed this way, and it’s the same for at least 90% of gaff playing cards. I love the idea that the magician can affect his cards in certain unexplainable ways, but it's only fair that the affected card be handed out, acceptable and fully cxaminable for the effects a magician chooses to use ultimately express and reflect who that magician is, therefore if your spectator hears that he/she can’t keep the effected card (as you have to use it again on the next spectator) or even inspect it, all credibility is questioned, and even worse if the gaff is inspected and revealed to be nothing more than a trick card, the magician will forever become a trickery kind of guy who uses tricky cards and not an illusionist who can actually affect cards. I'm sure you will have seen the printed burnt cards you can get and I'm also quite confident to predict that they have never been used, and I know there is an audience of magicians out there who printed gimmicks are ideal for who I wouldn’t judge for their purchase, as some magicians do still strive to be that Pappa Daniel’s-esque type of wet tricky magician. Magic plays its best through an accepted connection and not an unnecessary showease such as a restaurant or nightclub; it needs to be invited and not forced. Ihave a lot of respect for those who perform restaurant magic successfully, because 1 know how hard it can be to build a connection and perform successfully with those not interesteds especially in the se id trick-monkey. Pm r rio where you have to play the ninded of a local and somewhat famous magician and friend who blatantly introduces gaff cards to his deck from a half deck of random gaffs in a brown envelope, no part of the process of the envelope being taken from his pocket, the gaff bei ig taken out and added to the relevant part of the deck or the envelope going back to the pocket is done under any cover whatsoever, and this is repeated at least three times during one routine, ‘There are many careless magicians out there who'll not only attend a gig with more than one deck, but not care to try hide this fact, in fact, [ can’t count how many times I’ve uncontrollably shaken my head at he who performs one trick with a red deck, then changes for a blue deck for another trick, as if either the audience aren't bothered about this or the magician isn’t, either way it’s a good method for gaining a mediocre reputation - as opposed to amazing. 1 often wonder what that magician is thinking, if anything beyond his own disbelief in real magic, which is one thing I want to confront through Bum... Gaffs are ac go, for his actions only support eptable in magic, as long as, they are acceptable gaffThose who have discovered my 2006 notes; TWO, will already be aware of my interest in burn/voodoo effects, as it was through these notes that my burn ideas began in the form of the Blaze series, some developments of those ideas are included in this book. After TWO, | continued to develop the Blaze series and discovered many different and effective ways to portray Burns through card work. ‘Those ideas have now come together to offer you an in depth document on the subject through multiple Burn effects Day 1 at the Theory! 1.com headquarters and the run-through began, Wayne and I took an hour or so to narrow down a list of ideas I had put together for the Dangerous playlist, and on that list was a version of Blaze. Blaze made the cut and was set for performance on ‘the party night,’ but by the time we'd got to effect 12, we were all out of time, so Blaze was one of the few that never made it. Not wanting to waste the ideas that were recycled over the shoot, I decided to take the Blaze concept to the next level in a project unto itself BURN is designed (as all magic should be) to appear real, the gall cards are actually burnt and will appear to have be affected at the moment of performance impac nd for those known to use the printed gimmicks may risk portraying 1e realism of BURN deserves so much more this to their audience as just another galf Thope at least one of these ideas stays with you and that you gain the reactions from your choices that I have with mine. Enjoy D >BURN WaaNENG PLEASE TAKE YOUR TIME TO READ THIS. Smoking can be seriously harmful to you and those around you; I have never smoked and try to keep a distance from those who do, in no way condone smoking through the release of this document, My intentions are for the purposes of magic effects and 1 in no way accept responsibility for anybody who is influenced to indulge in the act ty of smoking from this document, ‘The principal effects that use alt cigarette, work. ‘There is a level of danger involved in each effect to which you have to take great care, Due to the effects being nothing more than suggested routines, I cannot and will not accept responsibility for any harm caused to any performers injured through the process of performing and effect from Burn, ter, a candle or lit flame of any kind are merely ideas of how the effects ‘The setup requires the use of fire through the medium of a lighter, candle or other form of an open flame. I do not advise anybody below the age of 16 to create such gaff cards by the suggested means and do advise all who wish to create such gaffs to do so with absolute care. Those below the age of 16 who wish to create these gafls in such a suggested ‘method must ask a responsible adult to do so for them. I do not take any responsibility for any damage caused whatsoever asa result of attempting develop the Bur gaff, Fire kills and is a dangerous clement, please be sensible and take absolute care if you do chose to develop the gaffs. For those who choose to develop the gafls, please do so in an open and well-aired area where no flammable substances are, 1 advise that this work is carried out above a bucket or container full of water and that a fire extinguisher is close by. After preparing the deck, please ensure for your own safety that the lighter or matches have been fully extinguished before concluding the creation, Check out www. FireSafety,com for further helpful fi regulations. Please be aware that when playing cards are burnt, potentially toxic fuels are released from the burning paint-work Keep the deck held ata good distance from your face and if possible, wear a protective facemask,BURN WAKING THE BUAN Caal ‘To make all of the gaff cards for the Burn series, you will need to make three important templates that will be used for applying playing-card-shaped burns to other cards or other items. ‘The Burn Fall ‘Template is to the left... a playing card, the 7 of Diamonds with all of the pips and index cleanly and carefully cut out. You will need a sharp art-blade and a rubber mat to use for cutting on, You will also need a steel ruler to guide the blade and a very steady and careful hand, Before you begin, make sure you chose a card that will adapt to the cutting process. Cards such as those values of Ace,4, 6, 8, 9, 10 and a Queen will not adapt as the centre of the loops in these cards will simply drop out leaving for an imperfect template. The easiest cards to cut and most effective in finish are those with definite lines such as 7 and King, although the other remaining choices ~ 2, 3, 5 and Jack ~ are also achievable. The easiest suits to create templates from are Diamonds and Hearts, although Spades and Clubs are achievable also. When cutting out the index value, cut outside of the ink as opposed to cutting the ink or even cutting the li allow a bigger gap for the flames to reach through when burning the card, ‘The corner template offers the idea of a torn corner vanishing in smoke and appearing anywhere the performer desires leaving behind nothing but a burnt image of where the For now we shall concentrate on making the template and the basic concept application, Decide on a force card, preferably a7, King or an easily adaptable template card and tear the corner from it. Carefully cut the index and index pip from the corner to make ‘a comer template as in the image to the left, For the burn revelation I have offered a few performance suggestions later in the book as the idea for this template is that it can be completely personalised, for the effect alone I shall keep to the template as shown in the image to the left - a King of Hearts revelation. Simply draw the shape of a K and a Heart on any card and cut it out to create a template, once again, beware of any joining loop shapes such as O's, B's or similarBurn Gaff One should look like the 2 of Spades shown in the image to the left. Hold Template One tightly in place in front of another card at an off angle so that the index can be clearly identified and burnt onto the white of the play ig card. Light your lighter and hold so that the top of the flame gently touches the template. Focus the flame on the openings in the template and hold the card and template at an angle allowing the heat to rise away from the card as shown in the image below. ‘This will prevent any definite burs that may scem too dark compared to the rest of the burns, Don’t try to authenticate the card with more burns after moving the template as you will do this naturally during the actual performances, Done correctly the template should last three or four applications, Hold template one aligned on top of another card slightly off to the side so that it just overlaps the index. ‘The image shown to the left shows how Burn Gaff Two should look + ns ¢ + card over to cover the running edge as shown in the image above * For this gal recommend and Ace forthe gf it wll be we in an elect expained ‘on the Ace of Clubs pictured to the left, To do this simply remove the template and let the P P y open flame touch different parts of the card as you can see on the bottom left comer of the Ace and a little bit in the centre and the top right Once again using Template One, and add the burns through the main index holes, you can add the index burns if you want hold the template on the back of any other playing card to but the image shown to the left of Burn Gaff Three appears much more authentic and acceptable without the index pips as it calls for more attention to the pip count. Once again, a few more burns have been applied after the use of the template to make the card seem more realistic You can also apply the same concept to the face of another card, preferably an ace. This idea will be covered through an effect late in this bookFor this gaff card you will need to choose a card with a lot of white on the face. As the template isa lot smaller than template one, you may need to stick the template down with a little magicians wax or sticky tape, although be careful not to add too much heat as such ‘on the card adhesives will burn and leave unwanted marking AAs you can see from the Four of Clubs to the left, the flame was allowed to widely overlap the template to add more burns making for a more authenticated finish, Burn Gaff 5 shows a very subtle burn that has been applied only to the index value and pip to change the cards value. Either template one or two can be used for this, you will see in the image to the left that template two has been used over a Seven of Hearts, It’s quite important to choose a card of the same suit to avoid confusion when the revelation takes place ‘Once again you may need to stick the template down with a litle magicians wax or sticky tape but remember to be careful not to add too much heat, You'll notice that this gaff has the least burn marks to allow for an easy cover up which will unfold later in the book, Burn Gaff Six uses template three to leave burns in the shape of the King of Hearts as shown in the image to the left, ‘The template has been held over the Six of Diamonds a al little off centre so that the revelation happens in a random place as opposed to dead c A few heavy burns have been applied after the application of the template so that the reyelation isn’t too clean and has to be inspected to really see the King of Hearts ‘You can also apply the same concept to the back of another card. This idea will be covered through an effect late in this book. Burn Gaff Seven has a large hole burnt through the Ten of Hearts. You will also notice that there aren’t too many burns on the card as these aren’t too necessary for the effects that this gaff is used for, To make this card, simply punch a few holes through any card with a pen or pencil and make a bigger hole by cutting through with scissors. Hold a bare flame under the card so that it reaches through the hole touching the edges. As soon as the card lights, take the flame away and extinguish the burns so that the hole doesn’t grow too close to the edges,As you can see from the image to the left, Burn Gaff Eight has a small hole burnt through the card To do this, simply punch a hole through any card with a pen or pencil then hold a bare flame under the card so that it reaches through the hole. As soon as the card lights, take the flame away and extinguish the burns so that the hole doesn’t grow too much. The hole is made small purposely so that it can be covered when the card is pinched between the finger and thumb, To add more effect or affect, I always apply the hole to the face of a face card; this offers more of a psychological impact as a level of darkness strikes through the visually harmed face, although this is down to preference. Burn Gaff Nin image to the left. is simply a card with one of the comers slightly burnt away as shown in the Take any card and tear a little bit away from the comer. Once done, apply burns to the corner; the tears should ignite very quickly due to the tares, as soon as they ignite extinguish them so that the index of the card is stil identifiable Burn Gaff Ten is the easiest to make and simplest of all the gaffs. The Five of Diamonds has simply been held over an open flame so that burns are left on the face of the card. You can decide on the size of the burns and their position. Burn Gaff Eleven utilises template one by applying the burns to the back of the box as shown in the image to the left. ‘The most prominent burn is made over the index which is conveniently burnt onto the white of the box. The rest of the diamonds are faint which draws all attention to the indexBurn Gaff Twelve once again makes use of the card box with the application of template two. As you can see in the im: eto the left, template two is held in place over the face of the box in a white area so that the burns can be identified ve Burn Gaff Thirteen makes use of template two it’s use for making the previous gaff cards, The corner should be authentic enough not to apply any further burnsBU RN SLEEOHTS Throughout Burn I'll refer to a number of sleights, and in stead of explaining them through the effects I offer them here asa separate reference list should you need them, GAMBLER uF [ shall explain this move as it was designed... to palm away the bottom card of a deck Held correctly the palmed card will not be s Hold the deck in dealers grip Use finger one to pull the outer corner of the bottom card in toward the palm causing the card to buckle as in image! Use finger 3 and 4 to pull the card down away from the deck toward the fingers, use finger 2 to align even more image0? Grip the deck from above with your free hand and pull the deck back slightly, along with the palming card Grip the palming card between the knuckle of finger 3 and palm under the deck as shown in image03 Now move the deck back into position leaving the palming card behind as in imageO+ Before you take the deck away leaving behind the palmed card, tilt the palming hand downwards as in imageOS [As you do this, take the deck away and slowly lower your palming had down to your side where you ean either hold it for as long as need be or dump the palmed card in your pocket, rif n from head on and is hidden from many angles as in image07, howe’ done comfortably and smoothly nobody will need to look at your hand anyway.e SLIP FURCE ‘The Slip Force allows the bottom card to be forced on the spectator through the means of spreading the deck from one hand to another and asking the spectator to touch any card. ‘Position the force card on the bottom of the deck and begin to spread the cards from one hand to the other ‘* Underneath the deck, reach for the bottom card with finger 2 of the receiving hand as in image 10 ‘© Pull the bottom card underneath the spread toward your opposite hand ‘¢ Ask the spectator to touch any card '¢ Separate the spread deck at the touched card so that the touched card is the lower card of the upper packet as show as the 8H in image! | ‘© Close the lower half and extend finger one from the lower half hand — image12 © Connect your finger with the touched card, as you raise the spread half to show the lower touched card, push the force card under the spread so that it connects with your finger as in image 12 8 Ste F VaREAT}Ou A pass allows you to invisibly cut the deck allowing a controlled card to be shifted from within the deck to the top or bottom ‘© At the held break in the deck, the holding hand pulls the outer edge of the deck down whilst finger I pushes the packet outward as in imagel 3 ‘© The packet reaches the edge of the deck and is stopped by the hand shading the move held over the deck as in imagel4 © The cover hand then guides the packet over to the top of the deck in an action of straightening the deck as seen in images 15 and 16BURN EN THE SMOKE 1 ‘This effect can be performed with a few different burn cards, however, for this explanation I shall refer to burn-gaf tone; pictured above as the 2S with a 7D burnt onto it. This version of Jn The Smoke is best performed as a walking performance, as in. standing/walking as opposed to sat down, I refer to this as a walking performance as this is best performed in a walk-about situation, This version of the effect can be performed completely surrounded providing you manage your crowd control abilities You will need a duplicate of the 28 which needs to be 2°! from top with the gaff card as the top card. ‘The force card in this ease is the 7D which needs to be in your favourite forcing position. For these effects I'l always carry a lighter just in case my spectators don’t have one, I mostly enjoy performing the Burn effects using a candle, however, as I rarely carry a candle in my pocket I'll always use a lighter, and I'll only ever use my own if the spectator doesn’t have one. Begin by forcing the card on your spectator, they can sign this card if you choose to allow it but isn’t necessary. This, card will now be lost in the deck. You can shufile as much as you like as long as you retain the top two cards, Ask the spectator for their lighter, oF use your own asking the spectator to light it and hold it out for you. As they do so, maintain a break under the top two cards in preparation for taking a double, When the lighter is lit, take the double from the top of the deck holding it from end to end as in image17 (to the left) so that you are holding the gaff card behind a regular duplicate of it. Make sure you hold the double slightly bent to secure them together as they burn, You can now either put the deck aside or keep hold of it depending on how you wish to lose the duplicate card in the next few stages Hold the double above the flame allowing the heat to leave at least a bit of a mark on the card. Hold the card up to show the spectator the burns then turn the card to yourself to inspect it before holding it to the flame once more, Take the card back and look at it again and ask the spectator hold the lighter up higher, as they do, bring the double back to the top of the deck and drop the regular card to the top so that you are holding only the gaff card... this needs to be done quickly, but not rushed... Alternative! the two as explained in the sleights reference towards the beginning of this book, I much prefer this method as the appear to have only ever been one card in play. , if you have got rid of the deck, perform a gamblers cop with the lower card of will Hold the gaff-card above the flame allowing it to Burn a little. Slowly turn the card on its side so that the spectator can see the face of the card to reveal the revelation. ‘The card can now be handed out for inspection as you dump the palmed card.BURN EN THE SwOKEZ 2 Ba 33 22 eanioan ‘This is an alternative handling for In The Smoke, developed for a staged or seated performance. For this explanation 1 shall refer to burn-gaff-six; pictured above as the 6D with a KH burnt onto it. The stronger difference in handling is that you never need to go back to the deck and you have a far better opportunity to shade the X card before the revelation. You will need a duplicate of the 6D which needs to be 2"' from top with the gall card as the top card. The force card in this case is the KH which needs to be in your favourite forcing position. ‘This effect handles much hetter with a low candle; alternatively you can have so -hodly hold a lit lighter with their hand oon the table so that you get that necessary low point Perform the effect in the same way as In The Smoke 1 until you're ready for the double lift. If you're not using a candle, ask the spectator for their lighter, or use your own asking the spectator to light it and hold it li¢ with their hand resting on the table so that the flame is steady. Hoiding your hand over the deck, pick up two cards at the back with your thumb before gripping both cards on the outer edges as shown in image18. Not only will this secure the double as it burns but it will also get you in the correct holding position for the Tenkai-stecl Hold the double above the flame allowing the heat to leave at least a bit of'a mark on the card, Turn the card face up to show the spectator the burns, then turn the card to yourself to inspect it, As you turn the card back to the flame, push your thumb down the back causing the card to pivot as shown in images19-21, Hold the double over the flame once ‘more so that the spectator can see the face of the card, as it burns, tlt it away from them and perform the Tenkai-steal as, shown though images22-24, You should do this with the card facing down so that the face isn’t revealed yet.As the card burns a littl, take it with your other hand keeping it in the flame, you can now bring the palmed card back to lap or dump, you'll find that sitting ata table will offer the best clean-up results Ask the spectator to take the card as itis still held above the flame, you can then rub your hands together and hold them close the flame as you blow it out. You can now ask the spectator to inspect the card for the revealBUR SNAP AND BUAN ‘This is a further variation of In The Smoke whereas the reveal is on the back as opposed to the face ofa random card. A different handling explanation will be covered so that you can decide for yourself the better handling for the gaff cards, ‘The explanation for this is very short and simply and relies on L. ‘method for this I can teach the method for the effect. Snap Change, although I cannot teach the For this effect you'll need the gaff card at the bottom of the deck ready for a slip force... In this case it’s the Queen of Hearts on the face, the actual QH from the deck will need to be behind this, Force the QH on the spectator using the slip force as described in the sleights reference page toward the beginning of this book... don't allow the spectator to remove the force card, simply hold it up for them to see before turning the deck around to see the card yourself, Close the deck so that the QH is back at the bottom, ick up both of the QH’s as one card and hold them in snap-change position with the face facing you, in this position the spectator will be looking at the back of the QH from the deck and you will be looking at the face of burn card three. Have the spectator light the lighter. Slowly wave the card through the open flame a few times before performing the snap-change... ‘The nature of the snap-change should extinguish the flame but don’t worry too much ifit doesn’t, this is not of importance ‘To clean up, simple take the burn card with your other hand and hand it to the spectator or allow them to take it from your hand leaving you enough time to dump the regular QH.BUR BURNING LINK For this effect you'll need the gaff card at the bottom of the deck ready for a slip force... In this case it’s the Queen of Hearts. You'll also need to remove the regular QH from the deck. Force the QH on the spectator using the slip force as described in the sleights, nce page toward the beginning of this book... don’t allow the spectator to remove the force card, simply hold it up for them to see before losing it in the deck, this will prevent the back of the burn card from being revealed. both hands, Shullle the cards a little before squeezing the deck tightly betw: As I squeeze the deck, 1 can pass cerain energies through it, and if I keep thinking of your card... Seven Diamonds, Seven Diamonds, Seven Diamonds... I can affect your card, the Seven of Diamonds... That's what it was right? As the spectator claims that the 7D isn’t their card, search through the back of the cards to reveal a card with the 7D burnt onto the back of it Ik wasn’t the 7d? What was your card? As the card is named as the QH, slowly turn the card to reveal their card You know sometimes I mess up but it’s bizaree bow this happened, usually a few burns are marked on the card I think of which should have been the 7D, but the 7D was burne omto your card, the QH, which I had no idea was your cand... That's messed ‘me up a litle; it’s not supposed to work that way ‘The final patter is offered to draw a little more belief to the effect, and as with all patter, this is entirely optionalPlace gaff card three (QH with the &D on the back as pictured above) on top of the deck with the real QH on top of it, place the 7D in your favourite forcing position and force the card. Lose the 7D anywhere in the deck. After a few false shullles, perform a double lift to reveal the QH as if to reveal this as the selected card, when the spectator claims that this isn’t their card, tur it back face down, You now need to glide the top card so that you can slide the gaff card out from the deck, Spread the top two or three cards aside with your thumb as in image25, “As you go to take the top card, quickly pull it back with your thumb so that the 2" This is done whilst tilting the deck slightly face up so that the top of the deck is out of view from the spectator card down is left out for the taking as in image26, burn mark from being se Place the deck aside as you place the burn card face-up in the participants’ hand. From this point on you are open for a powerful performance, through suggestion you can actually cause your spectator to believe that the card in their hand is heating up, here’s a quick example of patter want you think about the card that chose, not the card in your hand, the initial card and I want you to burn an image of it ‘omto the Queen of Hearts, imagine that though is on fire, you can feel the heat under the card becoming more and more intense as ifthe back ofthe card is about to literally et aflame. You may with so light a lighter and have the spectator focus on the flame, focus so much that they can feel it.BURN REMAINS ‘This effect is developed to follow up and conclude your favourite sandwich routine/effect, Remains does require a little extra setup, To start with you will need a duplicate 7D upon which you will apply random burs to both the face and the back, You can now plant this card anywhere where you want to reveal it at the end of the effect; you may just chose to keep it hidden within the deck for an in-hands revelation. Once planted, you'll need to perform your favourite sandwich effect using the black aces as sandwich cards and the regular 7D from the deck as your sandwich card, You may want to practice a routine that will retain the gaff card on top of the deck at all times as this is where you will need it for the effect. Following your sandwich effect you would begin, however, you can simply begin by showing the black aces and forcing the 7D and continuing as such Some magicians will make a selected card to appear between two Aces like so, but here’s something | like to do. With the 7D face up between the face up Aces - AS at the front/top card of the face up three cards and AC at the back... Get a break under the top card of the deck ~ the gaff card, Turn the three cards face down onto the deck and push the cards forward adding the gaff card to the bottom so that you have a packet of four cards above a break in the de Pick up the top two cards as one with finger one and your thumb as you use finger two to pull out the lower two cards above the break as in imgaes2 Allow the top two cards to square and drop to the deck posing as one card - apparently the AC Now peel off the top card of the two card you are holding - The AS - keep a break under this as it lands on the deck Now drop the other card — gaff card — to the top of that before picking up the two Aces — AC and gaff... This will appear that you have counted the three cards and taken them back from the deck, you will now be left with the gaff card bichind the Ace of Spades.If you chose to you can doa false count to display three cards, this will reposition the gaff back into place, but I never find this necessary Wave the two cards in hand over the open flame ~ lighter or candle etc ~ and slowly allow the cards to separate to reveal that one card has gone, turn the cards face up to show the two aces with the burnt shadow of where the 7D should have been between them as in image?9, you can now reveal the hidden pre-planted 7D that has burns on. You will appreciate at this point that it’s better to plant the revelation 7D somewhere away from you so that you have time to dispose of the 7D that is in the deck along with the unburnt AC.BURN SPREAD VAN ‘This is areal performance driven effect and the one I love to perform the most from this document, You'll need to start dex is away from you/closer to the spectator; the Ace of Clubs from the deck needs to be at second from bottom with the 7D as the bottom card. You can now also hide a burnt 7D with gaff-card-two on top of the deck so that the burnt anywhere you wish to reveal it, iFyou chose to end the effect that way. Kick about a third of the deck asin image30 Use finger 1 to rotate the lower half ofthis packet out from the deck as in images31-32 ‘Throw the remaining two packets to the top of the now lower packet so that the bottom cards of the thrown packets are left out-jogged as in image33, you now need to tidy the deck up leaving the lowest of the out-jogged cards out-jogged EAN You will now need to perform a variation of the EMOTION force from the ONE lecture... ‘The Emotion Force... Adapted for the Burn Spread Vanish Be sure to keep the out-jogged card shadowed from the view of the spectator, Riffle the deck a few times and explain to the spectator how a card will be selected when they call stop AAs you then riffle, the spectator will call stop, because of the out-jogged card, a natural and instant stop will be made at the Force card. This is all about timing, no matter when the spectator ealls stop you need to aim at stopping at the break, In most cases and with enough practice you will hit the mark every time. Once the stop is made, reach over with your ‘open hand pushing the out-jagged card in and lifting atthe same time the top two thirds ofthe deck. Be sure to keep your ‘thumb in place atthe stopped at card so that the spectator can clearly see that no switches or sights are taking place If you happen to make the stop too soon or too late, the force can still be achieved. Simply push in the out-jogged card and lif. the top two thirds above the force card letting go of the thumb break at the same time, Doing this whilst rotating the body and arms slightly to the right will shade the break-change, once the deck is cut no questions will be asked ‘The stopped at card in this ease will be the lower card ofthe lifted packet and not the top card of the lower packetBack to the routine ‘When showing the force card, spread the lower few cards a little to show the Ace of Clubs behind the 7D, don’t draw too much attention to this, just allow it to be a natural break in the deck Once the card has been seen, throw the top packet back to the lower packet in the same way as earlier allowing the lower card to out-jog at the back, as you square up the deck maintain a pinky-break below the force card ‘You now need to pass the packet below the break to the top of the deck: a basic pass variation is explained on pagel of this document ‘The 7D and AC will now be at the bottom of the deck and gaff-card-two will be somewhere in the middle of the deck You will now need to steel the bottom two cards into gamblers cop as also explained on page!1, you'll have enough shade and the perfect angle to palm the cards away to your pocket to retrieve your lighter Place the deck face up on the surface as you hold out and light the lighter want to show you an experiment in the transfer of energy, a demonstration ofa sill used by people who practice the science of voodoo, now I call ita science because moxt people perceive voodoo as something supernatural when really there's a scientific caplanation forthe strange things that can happen as a result of voodoo. What I want to demonstrate now is something usually used against other people whereas heat can be taken as an energy and transferred to another person in a harm nay... Lm not going todo that but I am going to use those principals by taking the heat from the lighter and applying it to the deck, or more to one card in the deck... Hold the lit lighter under your open palm, not too close but close enough to appear to be within burning distance. Wave/move your hand a little so that the heat from the lighter isn’t concentrated in one spot. This is where you're acting unfolds, you need to act as if the lighter is burning you enough to cause pain, you may find the bonus effect BUURN useful at this point. Hold it for a beat and pull away in pain. Put the lighter down and press the heated hand down on the deck Slowly ribbon spread the deck revealing the shadow of the 7D in place in front of the AC, the deck should spread a little further over the AC due to the warp in the card and the burn marks, if it doesn’t simply spread a few cards after the ribbon as if looking for the card. If you decide to use this as a vanish you can now reveal the card from your chosen place of revelation.This effect does require a little bit of a setup. You'll need a force card (in this case the 2H) for which you will need a duplicate... Hold the force card and its duplicate together as one card and tear an index corner off of both cards at the same time in an attempt to get similar tares. You will need to attach /fix/ glue one of these corners to the duplicate card of the gaff, in this case the 4 of Clubs as in image34, you can dispose of the torn duplicate 2H that matches this cor Place the new galf with the corner stuck to it at the bottom of the deck in front of gaff card four; then place the torn 2H in front of it ready to force, make sure that the torn comer is toward you before you start Now you will need to decide on the outcome of the effect, you can either end up with a revelation of the exact corner ANYWHERE you desire, or you can re performance style. In each case you will have to plant the chosen corner anywher al the burnt comer — gaff thirte close bys this is all down to your ‘you want to later reveal it For this effect you'll need to use a slip force as explained on page|. As you force the card, keep the bottom half — or at least the torn corner of it covered by your hand as in image35 Bring the top half back to the deck as you out-jog the card so that the bottom torn half is hidden in the deck. Remove the card from the deck by turning the excess packet face up in your hand, then add the force card packet to it like an open book as in image36 so that the torn card is still hidden, as you close the deck (like a book) slide the force card away into your hand as in image37 so that the corner remains hidden behind your fingers. At this point you can ask the spectator to hold the deck, make sure you give them the deck face down and keep their attention on the card in your hand so that they don’t inspect and discover the gaff card at the bottom of the deck. You will now need to perform Angle Zero from TWO and DANGEROUS. The idea is simply to pretend that you are tearing the corner from the card, as you do this, add a few nicks to the card to create that tearing sound, it will appear that a comer has been torn from the card... a very nice addition from Wayne Houchin, Hand the torn card to the spectator as you take back the deck. Turn the deck face up toward yourself so that the spectator cannot see the bottom gaff card, at this poi , fake placing the fake corner on the deck and allow the bottom card to be seen, So far it will just appear that the corner torn from the card is now sat resting freely on the deckYou will now need to perform a sleight that will vanish the gaff card to reveal burn-gaff-card-four, there are many slights, that will achieve this including the Ego Change, the these moves... ick Change or a one handed palm via the pinky, if you do not know Completely cover the card with your free hand. With your deck-hand, tilt the deck slightly and allow the card to slide away from the deck at an angle as in image38. Stretch your fingers to the side of the deck allowing the card to work its way over and under the deck as in images39-40. When the card has fallen into your hand, simply close your fingers allowing the card to flush under the deck... Remember, your free hand will shade any of this from being seen by the spectator Fae es You can hand the card out and reveal the hidden corner whilst you dump the gaff card that has the corner stuck to it.‘This is simply a variation of Burn Comer Short and is very simple to learn and perform. At the moment of vanishing the corner, simply rub the supposed comer on the face of the box and reveal that a burnt shadow of the comer was let behind. Clearly you will have to be careful on your angles when displaying or handling the box as the burns have no cover and in this case no real need for shade as attention is only brought to the box upon the vanish. You can make a shade card out, of an old box by simply cutting the face off to the size of a playing card, this can then be copped away at the right moment, but for the amou of effort involved you will find that working with the angles is far more comfortable working with the slights for this‘This effect uses the 7H with the 2H burt into it’s index as shown above. This is probably the easiest effect to achieve in the document and by far the most versatile gaff in the series. Retain the gaff card on top of the deck, make sure you know which comer has the burnt revelation on it, use your favourite force with the revelation card, in this case it’s the 2 of Hearts, Lose the force card in the deck and take off the top card/gaff-card-five holding it by the index, the rest should come naturally The transfer of heat from onc hand to the other is only my suggested method, sometimes you may wish to demonstrate how you are able to generate heat from your bare hands, or fingertips in this case, ‘This is also a good gaff card to simply hold over a candle or lighter by which burns are made in the shape of the revelation, ‘You may even want to hold the card over a candle or lighter that isn’t lit to demonstrate the power of belief. This effect also ties in nicely with any of the popular blister effects on the market at the minute.BURN EMDR ASH ‘This effect is played in the same vein as INDEX TRANSFER on a very basic level through which the card is simply burnt at the fingertips in stead of a burning revelation. This effect uses the JD which has its commer burnt away. The handling Shoulda ths pine be sel explanatory You may want to remove the deck duplicate of this arin eas of inspection. You can also perform this same effect by keeping the card in the deck and holding the comer of the entire deck over the flame, you can then reveal that the flame only affected one cardThe care ned over to reveal Burn marks on Although the handling on this effect is very simple, the effect is developed to a hypnotic next-level performance. You will also find that the handling and plot of this effect can be adapted to suit most of the burn gaff cards. ‘This effect uses gaff ten, whic is simply a burnt SD. josition... Force the card Place the Burnt card on top of the deck and it’s duplicate from the deck in your best forcit using a method in which the participant removes the card from the deck ~ as opposed to leaving it in the deck as with a dribble force. ‘Take the card from the participant and perform a top change so that you now hold the gimmick, place the gimmick on top of the deck and perform a double lift to show the card. ‘Turn the card back facedown whilst asking the participant to hold out their hand (palm-up of course.) Take the top card (gimmick) and place it in their palm (face-down of course.) Right now, I want you to focus on me, on my face, my words and the sound of my voice. As you listen to me talk I want you ro transfer the energy you feel through me talking to you and force all of that energy down your arm and into your hand... Right now, do you feel that? Like you hand is glowing... Allow the energy to become more and more powerful and flowing ‘and you'll feel that heat in your hand, you'll feel it pulsing, almost ike your hand is the most sensitive part of your body, ‘almost as if your entire body is drained becouse all ofthat energy is going to your hand. You'll fel your hand getting hotter and hotter and when it gets too hot just let me know Throughout your patter keep contact with the performers out-held arm to draw more and more attention to it, 90% of the time your spectator will feel the suggested heat duc to the design of the patter, as soon as you mention their hand all their attention will focus on it. Right now, if you sit very still for a few minutes and think of nothing but your hand, you'll notice how it feels heavier than your other hand, it feels like it's almost throbbing with energy... Right? Of Course, simply because you are thinking about it, and that’s all that’s happening to your spectator, and as the feeling is, fairly foreign to them, as soon as you attach a feeling to it such as heat, they will associate this foreign feeling with heat, and the more focus they have on the fecling, the more heat they will feel. Reveal.ard is not in the deck Wrath Two, although quite different from Wrath, will have the same if not better reaction with the use of a very deceptive extra gimmick that you will have to make... Don’t worry, this one’s invisible and very useful, You will need to use the 7D from your deck Find an old deck and peel off the bottom half of the torn seal, you'll now need to stick this to the back of the 7D as shown in inmage42 so that it lines up with the sticker on the back of the box (not actually shown on the title image used for this effect.) When you hold this card over the back of the box, you can show the box as a regular unmarked... box images. This cover gaff will be used as your force card and for this effect you will need to perform the slip force as covered earlier. Instead of having the card removed, simply hold it up in the deck for the spectator to see and then control it to the top of the deck, you will have to angle the deck so that the faces are seen through your shufiling to hide the back of the card You now need to place all the cards back into the box with the cards face up and the box the same, as the cards go into the box, buckle the 7D allow: it to secretly slide on the outside of the back of the box as in images43-44, You should now have the cover card in place allowing you to carefully show the box both sides, When showing the box, the back of the 7D will appear to be the back design of the box. Don’t point this out... just show it for a moment as you explain the cffect. Place the box face up in your hi flat, id ready to cop away the cover card/7D as you ask the spectator to hold their hand out Place the box in the spectators hand and ask them to cover it with their other hand. As you ask them to squeeze the deck, you will have sufficient time to dump the shade card currently copped in your hand if you haven’t done so thus far. Cover their hands with yours and demonstrate the amount of pressure you want them to apply to the deck. As you do this, rotate their hands so that the deck is now face-down, Remove your hands and ask them to name their playing card. Hold your hands a few inches away from theirs and concentrate on the deck as you pretend to add invisible pressure the ‘way a spiritual healer would pretend to form a ball of energy, as you do this ask them promptlyCan you fee! thar? k's warm right? You'll fee i heating up, don’t react too much, just let it warm up, hopeflly it won't burn you After a few moments ask them to open their hands to reveal the burnings. You can then continue... You seriously pickal that card the 7D? I just find that strange thas all because there's no 7D inthe deck Allow the spectator to search through the deck.yy recognise the Burn Thru effects from the TWO lecture, earlier named as the BLAZE series. ‘The effects have been developed for Burn with extra handling advice For this effect you'll need the 10H with the big hole burnt through it... Place the Burnt 10H to the bottom of the deck and the regular 10H in your best forcing position. Force the 10H using a method in which the participant removes the card from the deck ~ as opposed to leaving it in the deck as with a dribble or inner slip force. As the forced card is removed, cop the Burnt card from the bottom of the deck as you place the deck aside or in your pocket, Take the selected card from the participant with your free hand and ask them to hold out their hand (palm-up,) at this point, bring the 10H down (face down) on top of the burnt gaff so that you are hol ng them as one Flip both cards face-up as one and hold them from above so that you don’t expose the hole-difference, image47 shows how you should hold the card, image48 exposes how you shouldn’t hold the card, You'll now need to cop away the lower card leaving only the Burnt card in hand held as in image49 thus hiding the hole. As the card is held from above. the participant will not see the bunt hole. Place the Burnt card in the participants’ hand keeping your hand above it blocking the view of the Burnt hole. At this point, I usually keep the copped card in my hand and hold onto the participants arm with it, If Tam surrounded, I will reach into my pocket to dump the card and retrieve a lighter as part of the patter; I would recommend this method regardless of surroundings for obvious reasons. For this effect you'll ned to use alittle suggestion and control, the outcome requires a direct path to lead up to it... 1 need your full attention, stand straight look right into my eyes and fel every word I say Providing you have their full attention, you can momentarily move your hand from the card with a gesture before returning it back to shade the card; you need to get them comfortable with you moving away from the card implying that you are not hiding anything 1 want you to imagine a Burning sensation in your hand, imagine that you have the power to generate a strong heat in your hand... Even if you think this ts rabbish you'll stil fel some heat in your hand simply because of the suggestion, but eventhat alone is quite weird... But lets take this as far as we can... Imagine the card ison fire! You can feel the heat under the card becoming more and more intense... 90% of the time the participant will react to this in some way, as soon as you notice the smallest impulse of a reaction ‘move away your hand and imply the reaction yourself with a look of amazementBURN BURN THRU 2 This is another simple effect that relies more on the performance patter for the heightened impact. Leave the gimmick lost in the deck, preferable 2nd from the bottom. Force the duplicate and have the participant return it to the deck, as they do so, control it to the bottom as you shuffle the deck so that you can cop it away Cop away the selected card as you hand the deck to the participant to shutle, As they do so, dump the copped card as you casually place both hands in your back pockets, do this naturally as you step back to watch the shuffle, Don’t worry about the gimmick showing up; just don’t let them shuffle too much Okay, that's enough... Just hold the deck in both hands and squeeze it tightly... I want you to concentrate on your card, imagine you know where itis in the deck. Take that thought and chat energy coming from your hands as you squeeze the deck tighter... Feel the heat in your hands and focus on using that energy to affect the card in some way... Only you know the card so only you can effect it... Can you feel that? Can you feel that? A question which will always be followed by "Ye RevealBURN BURN THaU 3 For this explanation we shall use gaff card seven; the 10H. Place the gaff card on top of the deck, face-down, Place the pair of Kings on top of the gaff card face down and position the 10H in your favourite forcing position. Force the 10H on the spectator, as they look at the card, turn the two Kings face-up on top of the deck ensuring that gall card is not seen, Spread the cards and grip the gaff card flush-behind the lower King. Place the deck aside so that you are now holding the Kings wi the gaff card hidden behind ther, Ask the participant to insert their selected card, face down between the face up kings. Flush all ofthe cards together whilst hiding a break directly between the 4 cards (two above, two below) The bottom two cards now need to be secretly passed above the top two. Cop away the bottom card as you reach toward the participant with the other three cards. “The copped card will remain palmed and unseen until the revelation. What I want you to-do is genly rub the three cards Between your thumb and finger lke this... Begin to rub the three cards slowly between your finger and thumb allowing the cards to slightly part so that the middle card can still be seen to be the selected card. At this point you can dump the copped card (if you didn’t manage to do so through the performance.) What you're doing right now is generating heat, the Kings are merely acting as protection cards because I don’t want che card 10 burn you in any way... When you feel the heat, it's important to let go, you don't want to Burn yourself Most folk will feel the heat or the fear of it and want to let go of the cards immediately, if they do not react in any way, simply take the cards back, and complete the effect in your own hands, Sharply throw the cards to a surface and shake your hand as if Burnt, then simply point to the three cards — unless they separated on impact revealing the Burnt out card.‘Once again we shall use the burnt 10H; gaff seven for the explanation. 2526 Place the regular 10H on top of the deck. Place the gimmick card on top of that followed by any other car on top of that Perform a triple lift o show the regular 10H, tur back the cards and hold the deck up a litle so that the top of the deck cannot be seen by the spectator. Glide the top card to the side slightly so that you can remove the 2nd card down as explained earlier through images25+26, Side the deck and hold the gimmick card between your hands in prayer position... A look of serious concentration before a shriek as you throw the cards to the surface. Hold your hands as if burnt and allow your participant to react.This effect uses gaff card eight; the Jack of Clubs Position the gaff card at the bottom of the deck and the regular JC in your favourite forcing position. You will also need a lighter in your right pocket unless you are using a candle or a borrowed lighter. Force the force card on the spectator and as they are looking at it, cop away the bottom gaff card as you put the deck down. ‘Take the selected Jack from the spectator pinched between fingers | and 2 as in imageS1, As soon as you get the card, swing it into a tenks palm whilst at the s time holding your copped hand out to slightly revealing the gaff card, This is shown through images51-33 and is designed to look like the card simply being passed to the other hand. This move is quite difficult as there is a lot going on and you have to kt ep a bit of shade over the copped gaff when it's revealed as you don't yet want to reveal the burns just yet. You should keep the hole in the card covered by your thumb,Hold the open gaff card up a little and push the card up to your finger tip without revealing the hole. As you rub the card between your finger and thumb, add a lot of pressure, this will allow the hole in the card to leave an. imprint on both your finger and thumb, this may also Ieave a litte bit of black from the initial burn which will add a lot to the effect. Sharply throw the card to a surface and shake your hand as if burnt, then simply point to the card to reveal the burnt card. At this point you can dump the Tenkai palmed cardBURN VANISHING BURNS This is a very simple and requires the use of gaff card ten; the SD with burns on its face. You'll also need a random duplicate, for this example we'll use the 4H. Simply place both dupes (4H) on top of the deck and place the regular SD in your favourite forcing position. ‘The gaff card needs to be within the bottom half of the deck Force the regular 5D on the spectator and have it returned anywhere in the top half of the deck. You can now take the top two cards (4H) as one and simply burn the face of the first card. ‘Then drop the lower card to the deck under shade from the top card and place the duplicate in the performers’ hand, Ask the spectator to feel the back of the card; they will still feel the heat from the burnt duplicate. Slowly you'll feel the heat disappearing, and with i, goes che burns Ask the spectator to turn the card over to reveal that the burns have gone Bu chey didn’t jus vanish... Scan the deck until you find the burnt 5D and reveal the burns11 will have to touch, ‘This effect is very dangerous and I advise that you take extreme care when practicing the effect as an open flame for the effect to work. ‘This effect is very old and as far as I can find has no trace of ori pub-type trickery. The old version that I refer to is slightly different to Burn, as in the old version, the performer applied the burns to his own finger, and although this will be the main practice, the principal of the effect will call for you to involve a spectator. Having performed this effect many, many times, I got a little tiresome of the spectators thinking that some kind of protective payer was being used over my finger preventing it from burning, and so I tried the effect on a spectators’ finger, and my fascination with the effect began. n beyond simple In imageS7 you will see alt lighter, if you explore a lit lighter you will see that the flame is divided by two colours. The first of which is the main flame, the yellow /orange/white flame, which is the hottest part of the flame, ‘The second part of the flame is the lower part, the purple/blue base of it, which is the gas from the lighter... This partis not hot, or at least less hot, and the only way to realise this is to touc it, Now, before you stick your finger in, I assure you that you burn yourself if you do this incorrectly. Although the blue part will not burn, you will still be very close to the flame; the most important thing to note is that you have to keep your finger moving through the flame so that no concentration of heat can be made in one single area on your skin. The process requires that the flame is held still and your finger is pushed through the flame allowing the flame to work its way down the side of your finger to the base knuckle and then back up again as in images58-59. It's important to note that the flame is held to the side of your finger and not directly underneath it, this will allow the flame to reach up and away from your skin so that it isn’t concentrated on any single areas. When you try this, you will notice that the blue from the flame wraps around your finger thus protecting it from burning. AAs you can see from imagesS8-59, the foremost knuckle from th igerl on the hand holding the lighter makes contact with the burning finger allowing for a steady guide up and dow cdige of the lighter also touches the skin as the ihre dragged back and forthrecommend that you use a lighter on high, as in a high flame as this will allow more gas to protect your skin. Pull the lighter back and forth twice, as in four lengths, back, forth, back and forth. It should take no more than 3 seconds for the lighter to travel one length — from the tip of the finger to the knuckle, although when practicing you may want to start offa lot faster than this. If you feel a bum, pull away quickly. The more you practice, the more you will get used to your limits, As a bonus to this effect you will be able to watch any hairs on the back of your finger singe away, this will confirm to your spectators that the flame is real and there is no protection on your finger. You will also notice that the outside edge of your finger does hold much harder skin than the inside, thus adding more protection from the burn.a Now, performing Burn on your own finger may be as far as you want to take the effect, which agreeably is a powerful effect and a real magician fooler... The next performance explanation is not a suggested effect, but a tail of how I yend anybody try this perform Burn, I would not recom 70% of this effect is the patter and presentation of performance and the effect does require more than one spectator, { offer the participating spectator an opportunity to figure out what is going to happen... There's an age-old magic trick where che performer would light a match and ask che spectator to old out their hand and close thei eyes, the performer would then switch the matchstick for an ice cube and touch the peeformers hand with it. Due to the partcipants” expectations, the ice would fel lik a flame... they would feel heat when really i was ice cold. This concept amazed me so much that I studied che idea of being able to trick somebody's mind with expectations and I developed my own approach tothe concept I ask the spectator to hold out their hand, as they do, I take them firmly by the wrist and ask them to straighten their fingers. Watch what 1 do I light the lighter, then blow out the flame, I keep hold of the lighter as if it’s lit and slowly take it to the tip of their finger and slowly work it down the side of their finger. I make sure that | make contact with their finger with the lighter as if it were for real. 1 want you to imagine how this would feel right now ifthe lighter was actually it, imagine that the flame is brushing against the side of your finger, the flame is immense and blistering and harming your skin, it itches, it hurts, it stings but you're allowing it to happen. ‘The spectator will simply listen and accepts what I say, however, a hypnotic effect may take place causing the participant to puill away, in which eas all others will react as the participant claims to have actually felt the burns. This time, 'Il do exactly the same thing but I want you to Keep you eyes closed. I promise you nothing else will happen other than what we've just done, but with your eyes closed and expectations raised, your mind may feel a litle different. So take a _few breaths, and close your eye. “The lighter is lit. You'll hear the lighter lighting... You'll hear me blow out che flame, but I want you to Imagine thatthe flame is sil it I then blow some air to the side of the lighter ths NOT extinguishing the flame; I then gesture to the spectators to keep quiet You'll now feel the lighter atthe side of your finger: you may feel a hale bit of heat but remember; its just in your mind. I slowly let go ofthe spectators’ wristKeep your hand perfectly still and as long ax you are aware that the flame is only in your mind you'll be able to accept that it’s nothing more than imagination After a few moments of burning, I ask the spectator to slowly open their eyes to sce the flame on their finger. At this point the spectator will pull away in fear or remain in amazement at the sight of a cold burn.Once again, this is for information only and not a suggested performance. often find myself in circumstances where Lam asked many questions about what Ido, as I’m sure you have too. To me, it’s these times that are as important, if not more important than the magic, for itis the performer who is bewildering and not always just the magic and an interesting and intriguing performer offers the magic so much life, I often use Burn to demonstrate — when asked ~ the powers of the mind, especially with regards to mind control, hypnosis and mind. over-matter I'll begin by burning my own finger as I explain the theory of mind-over-matter, I'll then explain that it’s not a unique skill and that anybody ¢ do it and then perform burn on their finger as they watch in amazement, The jon between the performer and spectator is heightened and taken to a new level. Alternatively I'll offer the spectator a chance to be hypnotised so that they can’t feel pain fou'll be able to slowly allow it (Ona separate afterthought; once you're used to the flame reaching up and down the side of your finge take the burn a litle further, Once the flame has gone up and down the side of your finger a few tim to reach around the inside of your finger so that the flame appears to touch both fingers as in image60. As soon as the flame gets to the base of both fingers, pull the flame down and away from your hand as you stop the lighter, you'll notice that the flame appears to got bigger just before it stops as in imagesThope that at least one of the included ideas stays with you or inspires a further idea for you. Writing Burn was a lot of fun for me and something I have wanted to do for a long time and I found a few more ideas throughout the writing process, some were also removed, so because they were ily color-changes but mainly those that relied on principals that were way too gimmicky or gaffed up toall heil.... Some of these featured on the Burn trailer I always like to offer self-made effects to reduce prices as I know as well as any performer that magic can be an expensive art and as always I did my research to find that a production line of the templates alone would have tripled the actual price of this document, As always, your thoughts and feedback are appreciated, feel free to get in touch with your own experiences with Burn or reviews on the effects. offer you the best with your it weren’t for you, magic would be dead DEVILSADVOCA TE mrcoucrousconFRACTIONS WRATH WRATH: A BURNING REVELATION - 2009WRATH PLEASE TAKE YOUR TIME TO READ THIS ‘The principal Wrath effect and creation uses a lighter, a candle or lit flame of any kind. The ideas for effect and creation are merely ideas of how the effect works, There isa level of danger involved in Wrath to which you have to take great care, Due to Wrath being nothing more than suggested effect, I cannot and will not accept responsibility for any harm caused to any performers injured through the process of performing or creating Wrath, ‘The setup requires the use of fire through the medium of a lighter, candle or other form of an open flame. I do not advise anybody below the age of 16 to create such an effect by the suggested means and do advise all who wish to create or perform Wrath to do so with absolute care. Those below the age of 16 who wish to create Wrath in such a suggested method must ask a responsible adult to do so for them. I'do not take any responsiblity for any damage ‘caused whatsoever as a result of attempting develop or perform Wrath. Fire kills and is a dangerous element, please be sensible and take absolute care if you do chose to create Wrath. For those who choose to create Wrath, please do so in an open and well-aired area where no flammable substances are, I advise that this work is carried out above a bucket or container full of water and that a fire extinguisher is close by. After preparing the deck, please ensure for your own safety that the lighter or matches have been fully extinguished before concluding the creation. Check out www FireSafety,com for further helpful fire regulations. Please be aware that when playing cards are burnt, potentially toxic fuels are released from the burning paint-work. Keep the deck held at a good distance from your face and if possible, wear a protective facemask.WRATH Wrath is a trick deck that has one of the corners burnt away. Image01 completely exposes the final Wrath deck, ‘To make the Wrath deck you'll need 2 decks, one deck will become the Wrath deck. The cards from the other deck will be used as individual force cards and the box will be used to make a cover gimmick as exposed in image02 — which is used to cover the burnt corner to pose the deck as a legit unaffected deck, Start by removing the cards from the box and shuffling, With a marker pen, mark a diagonal line across an index of the lower card starting aprox 3em down 3cm across the top as in image03. Continue this line on the side and top edge of the deck so that they each meet at the top corner of the top card of the deck thus creating a triangle as in imageO4. Using scissors, you will now cards at a time and cut from one side of the marking to the other. The top card ne« to cut this corner (everything inside the triangle) from the deck. Take two or three ls to remain uncut. Image05 shows the deck with every marked corner cut off > Using a pair of scissors cut the comers of the cards off where they are marked. Don’t worry if any markings from the marker are left on the cards; they will be dealt with in the buming process. Make sure that the top card of the deck remains uncut, Once all cards are cut the deck should look similar to image05.... As ifa corner of the deck has simply be diagonally sliced off. You'll now need to authenticate the deck; through this process you'll need to make the comer of the deck appear to have been burnt away. With a lighter, matches or candle flame, gently allow the tip of the flame to caress the cut edges of the cards. In my experience of burning cards, any card held over a flame will warp before it burns; the best way to deal with this is by burning the deck as a whole as opposed to each card individually... however, you may wish to bum the most visual cards individually to offer more authentications. Don’t be tempted to burn the cards as they sit in the box, you'll only burn the box beyond recognition and you won't be able to perform the effect. With the deck held horizontally, allow the flame to reach up so that it licks the cut comers of the deck; the angle of the cuts will allow the its way away from the deck so that the burn is marked slowly. You can tlt the deck side to side as you do this and move the flame from edge to edge making sure it hits and leaves a mark on every card. heat and flame to fi You can authenticate the deck a little more by burning the back end of the deck as well asa little on the sides. You can also apply a few burns to the bottom card, ‘The top card should remain as stable as possible but you will need to apply a few burns to the exposed corner... make sure you don’t cause the card to burn away as the back of the card will need to remain legit,The finished deck should look like that in image06. a EZ 06; f 8: You'll now need to crate the Wrath box. Take the bottom card of the deck and hold it over the back of the box and with a marker pen, mark the box at the cut off as in image07 following in the same manner down the sides of the box ‘meeting at the comer as in image08. You'll now need to cut this corner off of the box. To authenticate the box, lightly burn the cut edges, don’t apply too many burns, you only need to allow the singe and ‘look’ burnt as in image09. : 10 You'll now need to crate the Wrath box cover, Open the other deck and remove the cards; these can be used as force dges to cards for the actual effect. ‘Take the bottom card of the burnt deck and hold it over the back of the new box so that the burnt comer is at the bottom. Hold the card about mm overlapping the top of the box as in image10 and with a marker pen, mark the box at each burnt corner. You'll now need to cut this comer completely off of the box. Image shows the final cover gimmick. When in place as shown in image12/13 the cover gimmick allows you to show the deck as a legit and unaffected deck of cards,NV ATH, With your selected ~ and un-burnt ~ force card on top of the deck, start with the deck prepared with the cover comer in place with the cards in the box. You won’t need to worry too much about the corner being noticed as the main feature of play will be the cards. However, you can simply cover the corner of the box by holding the deck at the ‘comer as you remove the cards. When you remove the cards do so in a way that the burns always face you, Be careful when you place the box down and don’t worry about the box being noticed, you can place the box in your pocket but for the best performance leave the box in slight at al times. You can dribble the cards a few times from hand to hand without the burns being seen. Fan the deck... as you do so, start with the deck held face down and gripped as in image14. As you fan the deck, lift cards as if to show a shuffled deck of cards image. In this image the burns are the fan up to show the faces of th hidden behind the fan as exposed in image16. As you close the fan, tilt the deck back face down so that the back of the deck can be seen again. Image17 shows the fan closing, which positions the burnt corner to the front. ‘The hand that closes the fan will cover the burns as in image19 and exposed in images} 7&18. At this point you'll go right into another fan, this time showing the backs of the cards as in image20... all of the burns will be hidden under or at the face of the fan as exposed in image21 This fanning process will display the deck as legit and fair as both sides have been shown from every possible angle, Apparently.)You now need to force the top card; the best force for this deck is a simple top force making sure that you do not expose any of the burnt comers. With the force card on top, riffle down the side of the deck as in image22 asking the spectator to call stop. As the spectator calls stop, the deck hand keeps a grip on the top card as the free hand strips out every other card above the stopping point leaving behind the top card which slips to the top of the lower half as shown through images22-24. ‘The card is then pushed forward as the rest of the deck is dropped on top, this displays the apparently chosen card [Ask the spectator to take out the selected card and offer them the marker pen for them to sign the card on the face. When you take the card back you will need to perform a top-change or top-switch with the top card of the deck, Push the top card over slightly as exaggerated in image27 and place the selected card on top of the deck. As soon as the card hits the top of the deck, strip out the out-jogged top card as in image28 thus switching the selected card for the top card. ‘This should be done quickly but casually and should appear that the card simply made contact with the deck. 30: You'll now need to prepare a tilt with the top card of the deck as exposed and exaggerated in image29. Insert the held card under the tilted card; this should look as if the card is being inserted into the middle of the deck as in image31.This entire process replaces the selected card to the top of the deck, which appears to have been placed in the centre of the deck. Dribble the cards and return them to the box ready for the Wrath burning process. With the box held by the cover comer as in image00, pass the box over to your free hand, as you do so, keep hold of the cover corner as in image33. You will then take this hand to your pocket to retrieve your lighter where you can dump the comer 32 33 Light the lighter and hold the flame under the burnt comer as in image34. As you burn the comer, slowly turn so that aled to the spectator revealing the burns —image35, the back of the box can be re 35: Remove the cards from the box and slowly begin to spread the cards showing that every card has been burnt. As you spread the cards, slip the top/force card behind the spread — image37._ Pull the force card all the way to the other side of the spread and insert back into the deck — image38. As you close the spread deck, keep the selected card side- jogged under your palm as you grip the deck — image39 — so that the comer isn't exposed through the burnt cards. As this card is side-jogged it will be hidden from the front as in image40, Now all you have to do is push the side-jogged force card into the deck to reveal the restored card ‘There are a few different ways to do this, you can simply stroke your thumb down the burnt comer a few times, on the mage40, Alternatively you last time push the card through and it will appear to have been fixed under your thumb can raise the deck up to your mouth, as you do so and as the corner is out of site, push the card in place and blow on. the corner, the card can then be revealed.AVR AT ALTERNATE HANDLING AFTERTHOUGHTS, The best way to perform Wrath is to end with the burnt reveal in the spectators hands.... Show the back of the box image#1 —and as you turn the deck face down, grip the deck by the corner and steal the cover corner ~ image42 ~ and with the same hand, point to the deck as you ask the spectator to hold onto it as in image43, this image exposes the palming of the cover comer. ‘This hand is then taken to the packet to be exchanged with the lighter. The deck is then burt in the spectators’ hands as in image44 and the effect continues. You can also end the effect this way, once you have the selected card in reveal position, place the deck back in the box and have the spectator hold the deck in the same way as in image43, light the lighter under the corner for a few beats before asking the spectator to turn the deck ‘over, the selected card will then be revealed as a restored card amongst the burnt deck. Now all ean be inspected. AA further revelation idea is to return the deck to the box before revealing the selected card, knowing the previous handling, all you need to do is in-jog the card so that it is protruding the box at lid end so that it cannot be seen through the burns, the card would then be flushed into the deck as the deck is turned face down and passed to the spectator. Although my explanations show this effect with the back of the box affected, you may find a better response by burning the face of the box asa less intricate and one-way shape will eave more of a memory than an intricate and symmetrical pattern such as the back of most card boxes. However, on that note, some boxe will offer an easy — but equally risky ~ slight of the co You'll find that when performing in your own hands you ‘can simply shift the corner from the burnt side to the other side to hide it actually on the box, this allows you're hands depending on your cut corner c time. to stay in sight the enti You don’t actually have to perform this effect with the box at all, dismissal of the box would open up an easier performance however, the burning box calls for a more visually stunning image when the burns are revealed. If you are yet to discover the book BURN, this makes for a nice addition to the entire burning magic rep. This book can be found at my site.RANDALL FREEMAN, JAKE GREEN Daw Hauss JAY SANKEY As always, thank you for investing in my ideas. When I was taking magic head on all had to turn to was unreal traditional magic and always wished there were more modern magic releases, so as well as releasing effects as such for you, also think these things for myself and am honored that I have a platform to share them with, and even more so that you choose to make the investment. Thank you for keeping magic alive in a world where magic is dead, D DEVILSwhoeatePRODUCTIONS com | DANIELmadion.cosk | MAGICADEAD com © DANIEL MADISON 2002-2009 for DEVILS ADVOCATE PRODUCTIONS | ALL RIGHTS RESERVEDFRACTIONS DECEPTIONS DECEPTIONS VOLUME ONE: TORN AND RESTORED PLAYUING CARDS - 2009DEDICATED TO SAM GOLD FOR SAVING MY LIFE DECEPTION | DI-SEP SH-N| THE ACTION OF DECEIVING SOMEONE ATHING THAT DECEIVES A RANGE OF ELABORATE DECEPTIONS DECEPTION NOUN 1 - DECEPTION DECEIT, DECETTFULNESS, DUPLICITY, DOUBLE-DEALIN FRAUD, CHEATING, TRICKERY, CHICANERY, DEVIOUSNESS, SLYNESS, WILINESS, GUILE, BLUFF, LYING, PRETENSE, TREACHERY; INFORMAL CROOKEDNESS, MONKEY BUSINESS, MONKEYSHINES, 2- TRICK, DECEIT, SHAM, FRAUD, PRETENSE, HOAX, FAKE, BLIND, ARTIFICE; STRATAGEM, DEVICE, RUSE, SCHEME, DODGE, MACHINATION, SUBTERFUGE; CHEAT, SWINDLE; INFORMAL CON, SETUP, SCAM, FLIMFLAM, BUNCO. DECEPTION (ALSO CALLED BEGUILEMENT, DECEIT, BLUFF, OR SUBTER- FUGE) ISTHE ACT OF CONVINCING ANOTHER TO BELIEVE INFORMATION THAT IS NOT TRUE, OR NOT THE WHOLE TRUTH AS IN (CERTAIN TYPES OF HALF-TRUTHS. DECEPTION INVOLVES CONCEPTS LIKE PROPAGANDA, DISTRACTION AND/OR CONCEALMENT. FICTION, WHILE SOMETIMES MANIPULATIVE, IS NOTA DECEPTION UNLESS IT IS PORTRAYED AS PARTIALLY TRUTHFUL OR ASTHEWHOLETRUTH. IN MANY CASES IT IS DIFFICULT TO DISTINGUISH DECEPTION FROM PROVIDING UNINTENTIONALLY WRONG INFORMATION. ONE OFTHE REASONS FOR THIS ISTHAT A PERSON OR AN ENTIRE ORGANIZATION MAY BE SELF-DECEIVED. DECEPTION IN PSYCHOLOGICAL EXPERIMENTATION ‘THE USE OF DECEPTION IN PSYCHOLOGICAL EXPERIMENTATION IS A. METHODOLOGICAL PROCEDURE WHERE THE RESEARCHERS PURPOSELY MISLEAD OR MISINFORM THE PARTICIPANTS ABOUT THE ‘TRUE NATURE OFTHE EXPERIMENT. THE PROCESS OF CONCEALING INFORMATION FROM THE PARTICIPANTS IS OMISSION ANDTHE. PURPOSELY MISLEADING OFTHE PARTICIPANTS ABOUT WHAT IS BEING STUDIED IS COMMISSION. THE USE OF DECEPTION IS RESERVED ONLY FOR WHEN IT IS ABSOLUTELY NECESSARY TO PRESERVE THE NATURAL- NESS OFTHE PARTICIPANTS’ BEHAVIOR,THE UNDERGROUND JOURNALS OF MAGIC by DANIEL MADISON VOLUME ONE : TORN & RESTORED MAY 2009 ee aoe “MAGIC Is DEAD: T 1S THMAGICTANS' RESPONSIBILITY TO PERSUADE HIS SPECTATORS TO BELIEVE OTHERWISE DECEPTIONS IS A MONTHLY JOURNAL DEDICATED TO THE IMPROVEMENT OF THE ART OF MAGIC TAKEN DIRECTLY FROM THE STUDIES OF DANIEL MADISON FROM THE YEAR 2000 TO PRESENT DAY. DECEPTIONS WILL STUDY, EXPLORE & EXCERCISE IDEAS & CONCEPTS OF MODERN MAGIC & SUBTERFUGE. EACH ISSUE WILL FOCUS ON A DIFFERENT AREA OF THE ART TEACHING NEW, EXCLUSIVE & RELAT- ED CLOSE-UP MAGIC EFFECTS. EACH VOLUME WILL BE PACKED WITH PROFESSIONAL INSIGHT, TEACHINGS & GUIDANCE WITH FULL TRAINING IN SLEIGHT-OF-HAND, SUBTERFUGE, DECEPTION & PSYCHOLOGICAL ILLUSION; HOSTING THOUGHTS, ADVICE & BONUS EFFECTS FROM FRIENDS & INDUSTRY PROFESSIONALS, RECOMMENDATIONS FOR RELATED EFFECTS, & ULTIMATELY OFFER THE READER A NEW RESOURCE FOR MODERN MAGIC. MAGIC IS DEAD; IT IS THE MAGICIANS’ RESPONSIBILITY TO PERSUADE HIS SPECTATORS TO BELIEVE OTHERWISE. WITH YOUR HELP, DANIEL NOW INVITES YOU INTO HIS MOST PERSONAL WORK EVER, KEEP MAGIC ALIVE. WELCOME TO DECEPTIONS. D PLEASE NOTE THAT DECEPTIONS ASSUMES THAT YOU, THE READY HAS A BASIC KNOWLEDGE OF MAGIC HT OF HAND AND ASSUMES THAT YOU WILL NI MAGICIsDEAD.comoh april 2009 journal entry 001: & am daniel madison When 4 was 16, ] should have decided avainst it. but all } wanted to do was lose myself in the skills of deception & suoterfuve. [It was an, obsession that took over my life. Naive and money-hunsry I toox my chances. [ was wise enough to ve smart and know my rules, bat not wise enoush to know when to stog.e—— my technique for card-countiny called for «ie to watch & wait for the hot moment: a stratesy that only brousht me more attention than i -could deal with. my casino ban only added ayeression to my ego & i started to perfect my sleisht-of-nand technique for a small-time backroom poxer circuit. a cocky and exposed sleicht landed me in hospital fishting for my life. i woke from nishtmares hooked up to machines, fear forced me to a wheelchair, fear wheeled me out to the nearest phone. i spent 25 weeks in that wheelchair, hidins from life, embrac- ing my fear and questionins why i made it after such terrivle acts. it was here where i became danie? madison, i wiped my identity and took on a new life, and yet despite the experience, deception and7siip- terfuve still had me by the brain. masic found me and save me a way to channel my obsession; it al- lowed me to do what i had todo, and feel safe and/ proud rather than fearful and ashamed. addiction, obsessions, i see them doth.as doors that my brain simply wont allow me to cto one cahfot avoid action, you simply have to deflect, or embrace, and by doins masic. i feel that i am doing both equally; deflecting the deceit and embracins its methods. when i was 16, & should have decided avainst it. bu all i wanted to do was lose myself in the skills of deception & sudterfuce.T A PLAYING Caap IS THE CawD INTO FIZCRS aT PERFORMERS COMA! TORN AND RESTORED CARD EFFECTS HAVE TAKEN TO INDUSTRY SHELVES AS WHITE WALLS IN CITIES SCREAM OUT FOR GRAFFITI, EVERY MAGICIAN WITH AN INTENT TO BECOME HAS DABBLED WITH THE CON- CEPT AND MOST WILL HAVE FOUND AT LEAST ONETO CLAIM AS THEIR REPERTOIRE FAVOURITE. AND FOR EACH VERSION CREATED IT’S WILLOWING TO THINK THAT NO MATTER HOW IT WAS PERFORMED FOR THE AUDIENCE, THEY’D ALWAYS BE EXPERIENCING THE SAME EVENT, REGARDLESS OF METHOD, THE IDEA ALONE ISTO PRESENT A PLAYING CARD THAT IS DESTROYED BY MEANS OF RIPPING FOLLOWED BY RECONSTRUC- TION BY MEANS OF MAGIC. BELIEF HOWEVER, CAN BE SECURED BY YOUR CHOICE OF METHOD. THE CARE- FREE WILL TELL TAILS OF YOUR WONDER. WHEREAS THE MORE SCEPTICAL - MY FAVOURITES - WILL DECON- STRUCT THE EVENT IN ATTEMPT TO SOLVE THE PUZZLE. IN ITS MOST BASIC FORM,A CARD IS TORN, THE PIECES ARE PASSED FROM ONE HAND TO ANOTHER WHERE THE CARD IS RESTORED, THE TORN PIECES WOULD THEN BE CONVENIENTLY DUMPED AS THE FOLDED DU- PLICATE IS UNFOLDED FOR THE REVEAL. TO ACHIEVE PERFECTION WE MUST USE THIS AS A FOUNDATION TO BUILD ONTO MAKE SURE THAT WE SECURE THE EXPERIENCE AND BELIEF OF THE AUDIENCE. IMPROVEMENTS ON THIS WOULD CALL FOR BOTH HANDS TO APPEAR EMPTY, APART FROM THE TORN CARD OF COURSE, CALLING FOR ONETO RE-THINK THE LOCATION OF HIS DUPLICATE BUT MORE IMPORTANTLY THE MOMENT HE INDUCES THE SW/ITCH...THEN ALL HE IS LEFT WITH ISTHE DUMPING OF THOSE SWITCHED OUT PIECES IN ORDER TO UPHOLD A CONTINUOUS FLOW OF THOSE APPARENTLY EMPTY HANDS. MOVING ON,TO CALL FOR INTIMACY OR RATHER INTERACTION, THE PERFORMER WOULD REQUEST THE CARD TO BE SIGNED TO (OFFER PROOF THAT NO DUPES ARE IN PLAY, BUT IN MY MIND, SHOULD A ONE DECIDE TO PERFORM SUCH A ‘VERSION, HE SHOULD FOLLOW HIS OWN FAIR SUGGESTIONS BY ALWAYS DISPLAYING THAT SIGNATURE BEING TORN, THEN RESTORED, AND SHOULD THIS BE DONE ENTIRELY VISUALLY WITH HANDS SHOWN. EMPTY - APART FROM THE PIECES -THEN ONE WOULD HAVE PERFORMED AS CLOSETO A MIRACLE ASA TORN AND RESTORED EFFECT CAN ACHIEVE. HOWEVER,THIS WOULD MEAN THAT THE PERFECT EFFECT HAD BEEN ‘ACHIEVED, AND AS MAGICIANS WE ALL KNOW THAT THERE ARE ELEMENTS OF THIS STRUCTURE, LISTED FROM ‘OUR SKILLS AND KNOWLEDGE THAT SOUND BETTER ON PAPER THAN THEY WOULD IN PERFORMANCE, FOR EACH ASPECT OF THE PERFECT EFFECT WOULD REQUIRE A SLEIGHT OF SOME KIND THAT WOULD COMPRO- MISE THE LAWS OF PERFECTION. I. CAN THINK OF ONE TORN AND RESTORED CARD EFFECT THAT COMES VERY CLOSE CREATED BY DANIEL GARCIA NAMED ‘TORN! AND | OPT THAT THIS EFFECT SHOULD BE USED AS A GOAL-POST FOR WHICH ALL OTHER T&R EFFECTS SHOULD BE COMPARED. IN SAYING THIS | ASSURE THAT ALL OTHER COMPARISONS WILL HIT THE RECYCLE BIN AS TORN DOES OFFER AN UNCANNY LEVEL OF UNPARALLEL PERFECTION, ‘AND SO, MY TRAIN OF THOUGHT ATTACKING A WAY TO ACHIEVE PERFECTION IS NO MORE THAN A MODEL FOR THE ‘AIM’ FOR PERFECTION, A TANK DESIGNED TO HELP MOULD MAGIC INTO BELIER AND FOR THOSE PROPERTIES THAT CONFLICT WITH PERFECTION, AS LONG AS WE ARE AIMING FOR THE PERFECT EFFECT, WE CAN ASSURE THAT WE'RE OFFERING OUR AUDIENCE AS CLOSE TO THAT WHICH THEY MOST DESIRE AS WE CAN... BELIEF THE FOLLOWING EFFECTS ARE A STUDY OF IDEAS AND CONCEPTS IN THE TORN & RESTORED SECTOR OF MAGIC EFFECTS, DESIGNED, IF ANYTHING, TO INSPIRE CREATIVITY IN YOUR APPROACH TO T&R EFFECTS. ‘TAKEN DIRECTLY FROM MY CREATIVE STUDIES BETWEEN THE YEAR 2000 TO PRESENT DAY.gy A TEAMED UP WITH RIP RES HAS TO BE ME JOINT FAVOURITE T&R EFFECT. WHERE RIP OFFERED MYSTIQUE AND TENSION, RES OFFERS IMPACT AND VISUAL MADNESS. WHEN CREATING RES, | HAD ONE GOAL:TO FAIRLY SHOW THE SPECTATORS SIGNED CARD TORN AND INSTANTLY RE- STORED WITHOUT COVER FOLLOWED BY AN INSTANT INSPECTION FROM THE SPECTATOR. THIS IS WHAT I CREATED. THIS IS RES. THE SPECTATORS SELECTED CARD IS FOLDED IN HALF BOTH THE PERFORMER & SPECTATOR SIGN A HALF EACH THE CARD IS THEN TORN IN HALF ‘THE PERFORMER TAKES ONE HALF & 'HITS' IT AGAINST THE OTHER ‘THE TWO HALVES MEET, ‘THE TWO HALVES ARE INSTANTLY RESTORED. RES ISVERY EASY TO PERFORM, YOU MAY FIND THE INITIAL FAKE-RIP OF THE CARDA LITTLETRICKY BUT THERE IS AWAY AROUND THIS COVERED IN THE AFTERTHOUGHTS, FOR THIS EFFECT YOU WILL NEED A SIMPLE GIMMICK - SHOWN IN IMAGE 01... THIS IS NO MORETHAN A CARD TORN IN HALF ON WHICH YOU WILL NEED TO WRITE YOUR INITIALS (OR ANY- THING YOU CAN LATER DUPLICATE WITH EASE AND ACCURACY) THIS GIMMICK WILL BE HELD FACE UP UNDER THE DECK UNTIL IT IS NEEDED. ‘THE MATCHING CARD (IN THIS CASE THE 4H NEEDSTO BE IN FORCING POSITION) WHEN DECIDING ON YOUR GIMMICK, MAKE SURE YOU CHOOSE A SYMETRICAL CARD SUCH ASA 4,2 OR COURT CARD ETC. THIS WILL SAVE YOU FROM HAVING TO MAKE SURE THE CARD IS THE ‘RIGHT ‘WAY UP’ DURING THE SIGNING PROCESS. ONCE FORCED, TAKE THE CARD AND FOLD IT IN HALF TO CRATE A CREASE DOWN THE CENTRE THUS CREATING A DIVIDE INTHE CARD. ON (ONE HALF YOU WILL DUPLICATE THE INITIALS ON YOUR GIMMICK AND ONTHE OTHER HALF YOU WILL ASK YOUR SPECTATOR TO SIGN OR MARK IN ANY UNIQUE WAY. IMAGE 02_ (MAKE SURE THEIR MARKINGS DON'T CROSSTHE LINE INTHE CENTRE OF THE CARD) ASTHE CARD IS BEING SIGNED BY THE SPECTATOR PUT THE DECK AWAY INTHE BOX, AS YOU DO THIS, MAKE SURE THAT THE GIMMICK IS MAN- AGED TO THE OUTSIDE OF THE BOX UNDERNEATH. TAKE THE SIGNED CARD AND PLACE IT FACE UP ON THE BOX,AT THIS POINT, AS YOU EX- PLAIN WHAT IS ABOUT TO HAPPEN YOU WILL BE ABLE TO PALM THE GIM- MICK INTO PLAY BY SHIFTING THE GIMMICK FROM A BASIC PALM FROM UNDER THE BOX (IMAGE 03) AND ALIGN IT ON THE CARD IN PLAY SO ‘THAT IT COVERS YOUR INITIALLED HALF AS IN IMAGEO4, ‘THE GIMMICK WILL NEED TO OVERLAP THE CREASE BY ABOUT ONE MIL ALLOWING FOR PURCHASE ON THE END OF THE CARD - ALSO SHOWN, IN IMAGE 04. THIS OVERLAP WILL ALLOW YOUTO HOLD THE GIMMICK IN PLACE WITH YOUR DECK-HAND THUMB, YOU WILL THEN BEABLETO GRIP ‘THE ACTUAL SIGNED CARD ON THE END WITH YOUR DECK-HAND FIN- GERS AND PULL IT DOWN SO THAT IT FOLDS DOWN THE SIDE OF THE BOX - BOTH SHOWN IN IMAGE 05.EXPLAIN THAT YOU WILL USE THE BOX AS A LEDGE ON WHICH YOU WILL RIP THE CARD CLEANLY IN HALF... PULL THE GIMMICK DOWNWARD SHARPLY IN A RIPPING ACTION AS IN IMAGE 06. DONE QUICKLY WHILST BRUSHING AGAINST THE EDGE OF THE DECK YOU WILL BE ABLE TO OFFER ‘THE ILLUSION OF A RIP IN BOTH VISUAL AND SOUND. YOU CAN NOW DISPLAY TWO HALVES OF THETORN PLAYING CARD. ONE IN HAND AND ONE SAT ON THE DECK AS IN IMAGE 07. YOU DO HAVE TO BE AWARE OF YOUR ANGLES AT THIS POINT BUT THE FOLLOWING STAGES OFFER FURTHER CONVINCERS THAT THE CARD IS ACTUALLY TORN IN TWO HALVES... WITH YOUR FREE HAND (NOW HOLDING THE GIMMICK) PINCHTHE CARD. FROM THE DECK AT THE SUPPOSED TORN EDGE BETWEEN FINGER AND THUMB AND TAKE IT AWAY FROM THE BOX ALLOWING THE FOLD TO CLOSE SO THAT YOU CAN HANDLE IT AWAY FROM THE BOX. PLACE THE GIMMICK BEHIND IT SO THAT THE RIPS ARE ON THE SAME SIDE SO THAT YOU CAN TURN THE CARDS OVER TO SHOW THE BACK. ASYOU DO SO YOU CAN POINT OUT THE TORN EDGEAS IN IMAGE 08. TURN BOTH BACK OVER AND PEEL OFF THE FOLDED CARD TO THETOP OF ‘THE BOX AND THEN TURN THE GIMMICK FACE DOWN ONCE AGAIN TO. SHOW THE RIP ON THE SUPPOSED ‘OTHER’ HALF OF COURE YOU WILL HAVE JUST SHOWN THE SAME HALF TWICE BUT THIS OFFERS THAT ILLU- SION THAT YOU ARE HANDLING TWO TORN HALVES. THIS IS HOWEVER ONLY AN OPTIONAL CONVINCER SHOULD YOU SENSE ANY SUSPICION FROM YOUR SPECTATORS. GRIP BOTH CARDS FROM ABOVE WITH THE GIMMICK OVERLAPPING THE FOLDED CARD AND HOLD THEM BOTH AWAY FROM THE BOX ALLOWING ‘THE FOLDED CARD TO OPENAS IN IMAGE 09. PLACETHE CARDS BACK ON, ‘THE BOX ALLOWING THE BOXTO PUSH THE FOLD OPEN SO THAT YOU ARE BACK TO THE INITIAL POSITION. YOU CAN HOLD THE FLAP AGAINST THE BACK OFTHE DECK AS BEFORE WITH YOUR DECK HAND FINGERS. TAKE THE GIMMICK CLIPPED BETWEEN FINGERS | AND 2 WITH YOUR THUMB ON TOPAS IN IMAGE 10. YOU WILL NOW NEED TO SHARPLY HIT ‘THE GIMMICK AGAINST THE DECK, THIS IS WHERE THE RESTORATION WILL Occur, SWIFTLY PULL THE GIMMICK DOWN SO THAT IT HITS THE BOX AS IN IMAGE || AND ALLOW IT TO PASS ‘THROUGH SO THAT IT GOES BEHIND THE BOX. AS THIS HAPPENS, THE DECK-HAND THUMB (HOLDING THE FOLDED CARD IN PLACE ON THE BOX) PULLS BACK ON THE CARD ALLOWING THE FOLD TO UNFOLD AGAINST ‘THE EDGE OF THE BOX AS IN IMAGE 2. YOUR FREE HAND THUMB WILL LAND ON THE RESTORED CARD INTHE SAME POSITION IT WAS ON THE GIMMICK AS YOU HIT IT AGAINST THE DECK, THIS WILL OFFER THE ILLUSION ‘THAT YOU NEVER LET GO OF THAT HALF YOU WILL NOW HOLD THE GIMMICK UNDER THE BOX WITH YOUR DECK HAND AS YOU HOLD THE RESTORED CARD OUTTO SHOWTTHE RESTORATION. YOU CAN INSTANTLY HAND THE CARD OUT FOR INSPECTION, HELD CORRECTLY YOU CAN HIDE THE GIMMICK BETWEEN THE BOX AND YOUR FINGERS ALLOWING YOU TO SHOW BOTH SIDES OF THE BOX. ‘THE RESTORATION WON'T TAKE LONG TO GET USED TO, IT'S ALL ABOUT TIMING AND SPEED. ONCEYOU GET IT YOU'LL EVEN FOOL YOURSELF WITH THEVISUALS. MAKE SUREYOU GET YOUR ANGLES WORKED OUT AND ALWAYS BE AWARE OF THAT FOLDED CARD,ALTHOUGH ‘THIS MAY SEEM LIKE AN ANGLE-SENSITIVE EFFECT YOU'LL FIND THAT A SIMPLY TILT ON THE DECK HIDES THE FOLDED CARD, THE TORN HALF ALSO OFFERS A LOT OF SHADE,FOR THOSE NOT HAPPY WITH THE USE OF THE BOX, YOU'LL FIND THAT RES CANALSO BE ACCOMPLISHED USING THE EDGE OF A TABLE - PROVIDING IT ISTHE OPPOSITE END TO YOUR AUDIENCE, BUT THIS IS SOMETHING I HAVE NEVER ACTUALLY PERFORMED FOR ANYBODY. FORTHE HARDCORE VERSION OF RES, KEEP READING, INITIALLY | WANTED TO PUSH THIS VERSION MORE THAN THE PUBLISHED RES, BUT IT ISA LITTLE MORE TRICKY AND THERE ISA BIT MORE TO HIDE, ‘THIS VERSION DIFFERS AS THE BOX IS TAKEN AWAY: ALL YOU HAVE IN HAND FOR THIS VERSION IS THE GIMMICK AND THE SELECTED CARD. ASTHE CARD IS BEING SIGNED, GET RID OFTHE CARDS AND THE BOX AND KEEP THE GIMMICK PALMED AS IN IMAGE 13 SO THAT THE TORN HALF IS AT ‘THE BOTTOM, ‘TAKETHE CARD BACK HELD WITH YOUR INITIALS ATTHE TOP. PLACE THE GIMMICK OVER THE TOP HALF OF THE CARD,AS YOU DO THIS, FOLD THE CARD BACK AND PINCH IT IN PLACE WITH YOUR THUMB AS IN IMAGE 14, YOU WILL MAKE THIS LOOK LIKE YOU ARE SIMPLY GRIPPING THE CARD READY TO RIPIT IN HALF... FAKE-RIPTHE CARD IN HALF AND DISPLAY BOTH HALVES IN THE SAME WAY AS BEFORE THUS SHOWING THE FRONT AND BACK OF EACH, GRIPTHE FOLDED CARD SO THAT THE FOLD IS HANGING OVER FINGER | AND YOUR THUMB AS IN IMAGE I5. MAKE SURE THAT YOU HOLD THIS CARD HEAD ON TO YOUR AUDIENCE SO THAT THEY CANNOT SEE THE FOLDED BACK HALF TAKE THE GIMMICK AND HOLD IT SLIGHTLY IN FRONT OF THE FOLDED CARD BEFORE SHARPLY PULLING IT BACK SO THAT IT HITS THE FOLDED CARD AS IN IMAGE 16. AS THIS HAPPENS, EXTEND FINGER | OFTHE OTHER HAND CAUSING THE FOLDED CARD TO UNFOLD SHARPLY. THIS WILL HIDE THE GIMMICK BEHIND THE CARD AS SHOWN IN IMAGE 17 AND APPEAR THAT THE HALVES MET AND RESTORED. YOU MAY FIND THIS EFFECT EASIER TO PERFORM FROM ABOVE SO THAT YOU HOLD THE CARD LOWER DOWN ALLOWING PEOPLE TO LOOK DOWN ON IT RATHER THAN HEAD ON, THE GRIPS DO CHANGE SLIGHTLY BUT THE RESTORATION ISA LITTLE EASIER AS IS THE CLEANUP. GRIP THE GIMMICK IN PLACE BEHIND THE CARD AND DISPLAY THE CARD ‘AS HOLE FORA BEAT. BEHIND THE CARD, CLIPTHE GIMMICK NEAR THETOP BETWEEN FINGERS 2 AND 3S IN IMAGE 18. PUSH THE GIMMICK SOTHAT IT ROTATES SLIGHTLY TO A POSITION THAT ALLOWS YOUTO GRIPTHE GIM- MICK BETWEEN YOUR KNUCKLES AS IN IMAGE 19. THIS WILL ALLOW YOU TO HOLD BOTH HANDS OPEN DISPLAYING NOTHING BUT THE RESTORED CARD. YOU DON'T ALWAYS HAVE TO DO THIS EFFECT WITH A SIGNED CARD,AN UNSIGNED CARD AND GIMMICK WILL SAVEYOU FROM HAVING TO MAKEA NEW GIMMICK EVERY TIME YOU WANT TO PERFORM THE EFFECT. YOU MAY WANT TO JUST SIGN ONE HALF YOURSELF THIS WILL STILL APPEAR IMPRES- SIVE AND YOU'LL BE ABLE TO REPEAT THE EFFECT UNTIL THE FOLDING CARD RIPS NATURALLY.» — ) 4 fi] CCURE FOLLOWS THE CONCEPT OF TORN AND RESTORED TO ITS MOST BASIC RULES AND UNLIKE MANY OTHER TAR EFFECTS, DOES NOT CALL FOR THE PER- FORMER TO PLACE PIECES IN HIS POCKET (A MAJOR DISCREPANCY IN MY EYES) INTHIS VARIATION OF T&R, THE CARD, OR NO PIECES OF THE CARD APPEAR TO EVER LEAVE THE PERFORMERS OPEN HANDS. PERFORMED IN OPEN AND EMPTY HANDS,THE FREELY SELECTED AND. SIGNED CARD IS FAIRLY TORN INTO PIECES THE PIECES ARE RUBBED TOGETHER AND THE CARD IS FULLY RESTOREDTHE CARD IS HANDED OUT INSTANTLY AND THE PERFORMER IS LEFT WITH ‘OPEN AND EMPTY HANDS CURE REQUIRES AN INWARD-FOLDED STRANGER CARD WHICH IS HELD UNDER ‘THE DECK. AS THE FREELY SELECTED CARD IS SIGNED BY THE SPECTATOR, YOU NEED TO LOAD THE FOLDED STRANGER CARD UNDER THE DECK INTO A BACK-KNUCK- LE-PALM AS SHOWN IN IMAGE 01. YOU CAN QUITE OPENLY USE YOUR FREE HAND TO DO THIS AS THE SHADE OF THE DECK WILL COVER THE EVENT AND ALLATTENTION AT THIS POINT WILL BE ON THE SIGNED CARD. MAKE SUREYOU, HAVE A COMFORTABLE GRIP BETWEEN THE KNUCKLES OF FINGERS | AND 2 OR 2AND 3 (IMAGE 01 & 02) THE IDEAL POSITION FOR YOUR SPECTATORS WOULD BE TO YOUR RIGHT (ASSUMING THE PALMED STRANGER IS IN YOUR LEFT HAND) MAKE SURE THAT ‘THE PALMING HAND IS ALWAYS PALM UP, YOU CAN USE THE SELECTED CARD TO COVER THE GAPS IN YOUR FINGERS IF YOU FEEL AS THOUGH THE PALMED CARD IS SHOWING THROUGH THE FINGERS, FOLD THE SELECTED CARD IN HALF - INWARDS. AS YOU DO SO, CLIP THE PALMED STRANGER CARD BETWEEN FINGERS 2 AND 3 OF THE FREE HAND AND POSITION IT BEHIND THE LOWER HALF OF THE NOW-FOLDED SELECTED CARD. ‘THIS IS SHOWN THROUGH IMAGES 03 & 04 KEEPING BOTH CARDS GRIPPED TOGETHER, FOLD THE SELECTED CARD ONCE AGAIN, ASYOU HOLD BOTH FOLDED CARDS TOGETHER YOU WILL NEED TO SHIFT THE SELECTED CARD INTO BACK-KNUCKLE-PALM - INTO THE SAME POSI- TION IN WHICH YOU HELD THE STRANGER CARD. TO DO THIS, TURN YOUR FREE HAND FACE DOWN AND PINCH BOTH CARDS ON THE TOP EDGE AS IN IMAGEOS, WITH THIS GRIP YOU WILL NOW NEED TO TURN BOTH CARDS OVER,AS YOU DO SO, THE GRIP FROM THE FINGER WILL FORCE THE CARD TO SLIDE OVER, AS IT DOES, USE THE MOMENTUM TO PUSH THE CARD BEHIND YOUR FINGERS AS YOU GRIPTHE STRANGER CARD (SHOWN THROUGH IMAGES 05 & 06) ONCE THE CARD IS BEHIND YOUR HAND, AS YOU BEGIN TO UNFOLD THE STRANGER CARD YOU WILL HAVE ENOUGH TIME AND COVER TO SHIFT THE SE- LECTED CARD INTOA KNUCKLE GRIPAS IN IMAGE 07. OmYOU NOW NEED TO UNFOLD THE STRANGER CARD, MAKING SURE THAT IT IS ALWAYS FACE DOWN. ONCE UNFOLDED YOU'LL NEED TO SLOWLY RIPTHE CARD INTO QUARTERS. AT THIS POINT YOU MAY FEEL THE URGE TO RUSH THE PROCESS IN NEED TO AVOID THE FACE OF THE CARD BEING SEEN OR QUESTIONED, AND ALTHOUGH YOU SHOULDN'T TAKE TOO MUCH TIME YOU DO NEED TO MARK THAT MEMORY OF THE CARD BEING CLEANLY TORN BY SLIGHTLY EXAGGERATING THE RIPPING. WHEN ‘YOU RIPTHE CARD IN HALF MAKE SURE THE GAP BETWEEN THE RIPS IS WIDE AND THAT THE TWO HALVES ARE ‘SEEN FAIRLY,AND THE SAME WHEN RIPPING THE CARD INTO QUARTERS. ONCETHE CARD IS RIPPED INTO QUARTERS, YOU'LL NEED TO CLIPTHE PALMED CARD AND PULL IT BEHIND ‘THE TORN CARDAS SIMILAR TO BEFORE IN IMAGES 03 & 04. THIS CARD WILL POSEAS ONE OR AT LEAST A FEW PIECES OF THE TORN CARD IN HAND AS IT HIDES BEHIND THE TORN CARD. ‘TAKE THE FOLDED CARD AND SEPARATE IT FROMTHE TORN CARD INTHE PALMING HAND AS YOU CLIPTHE OTHER 4 PIECES BETWEEN FINGERS | & 2 OF THE FREE HAND AS IN IMAGE 08;AS IF TO SIMPLY DISPLAY THE PIECES. YOU NOW NEED TO PLACE THE FOLDED CARD ON TOP OFTHE TORN PIECES,AS YOU DO SO YOU WILL BE GIVEN COVER TO SHIFT THE TORN PIECES TO THE BACK OF THE PALMING HAND AND BACK INTO A BACK- KNUCKLE-PALM AS IN IMAGE 09, ALLTHAT IS LEFT TO DO IS SLOWLY UNFOLD THE CARD, OR HAND THE CARD TO THE SPECTATOR FOR A MORE INTIMATE REVEAL YOU CAN THEN STAND WITH HANDS OPEN AND CLEAN. SHOULD YOU DECIDETO HAND. THE CARD TO THE SPECTATOR YOU CAN CLEAN UP BY COVERING THE PALMED CARDS WITH YOUR FREE HAND ASYOU JOIN YOUR HANDS TOGETHER, THE PIECES CAN THEN SIMPLY BE DUMPED IN YOUR POCKET OR HELD UNDER THE DECK. CURE AFTERTHOUGHTS IF YOU REVEAL THE RESTORATION IN YOUR OWN HANDS YOU ARE GIVEN THE OPPORTUNITY TO CLIP AND. PULL THE PIECES BACK INTO PLAY AND HOLD THEM BEHIND THE RESTORED CARD AS IN IMAGE 10 ALLOWING. BOTH HANDS TO BE SHOWN NATURALLY EMPTY. THE PIECES CAN THEN BE PALMED AND DUMPED. ‘THE EXPLANATION FOR CURE FOLLOWS THE EFFECT WHEN PERFORMED WITH A FREELY SELECTED AND SIGNED PLAYING CARD. THE DOWNSIDE OF THIS IS THAT YOU CAN'T SHOW THE FACE OF THE TORN CARD. IFYOU PERFORM CURE WITH A DUPLICATE CARD YOU CAN ELIMINATE THE FIRST SWITCH NARROWING THE EFFECT DOWNTOA ONE SWITCH PERFORMANCE AND ALSO FAIRLY RIPTHE CARD UPWITH THE FACE IN FULL VIEW. ‘THROUGH PRACTICEYOU MAY FIND THAT THE BEST PERFORMANCE WILL BE DONE CLOSE-UPWITH YOUR AU- DIENCE LOOKING DOWN ONTHE CARD, THIS NOT ONLY SHADES THE BACK-PALMED CARD BUT ALSO CALLS UPON A MUCH MORE INTIMATE AND UNDENIABLE PERFORMANCESQUARE ' ‘THOSE OF YOU FAMILIAR WITH THE CONCEPT OVERKILL FROM MY PREVIOUS BOOK COLLATERAL WILL TAKE TO THIS IDEA VERY QUICKLY. YOU'LL NEED A DUPLICATE OF THE FORCE CARD FOLDED FACE INWARD AND HELD UNDER THE DECK AS IN IMAGE OI. YOU'LL NOTICE THAT THE BOTTOM CARD IS FACE UR THIS WILL ALLOW THE DECK TO APPEAR FACE DOWN ‘THROUGHOUT AT MOMENTS WHERE THE DECK WILL ACTUALLY BE FACE URTHIS. ISN'T NECESSARY BUT CAN AID IN HIDING THE MAIN SLEIGHT. ‘ONCE FORCED, TAKE THE CARD AND RIP IT INTO QUARTERS. PLACE ALL FOUR PIECES ON TOP OF THE DECK READY FOR THE OVERKILL SWITCH... REACH WITH YOUR FREE HAND TO TAKE THE PIECES OFF OF THE DECK WITH YOUR ‘THUMBAS IN IMAGE02... NOTICETHAT FINGER2 FROM THE FREE HAND HAS BEEN MANEUVERED UNDER THE DECK TO MAKE CONTACT WITH THE FOLDED DUPL- (CATE AND THAT THE DECK HAND THUMB IS AT THE BACK EDGE OF THE TORN CARD, ‘THE TOP PIECE IS SLID FORWARD SO THAT THE DECK HAND THUMB CAN GRIP ‘THE LOWER THREE PIECES AGAINST THE DECK. IN ONE SWIFT MOTION, THE FREE HAND PULLS THE TOP PIECE AND THE FOLDED DUPLICATE SO THAT THEY PULL ‘AWAY FROM THE DECK JOINING EACH OTHER, AS THIS HAPPENS, THE DECK IS. TURNED SO THAT THE TOP OF THE DECK CANNOT BE SEEN THUS HIDING THE ‘THREE PIECES UNDER THE THUMB, THIS IS SHOWN THROUGH IMAGES 02 & 03, DON'T EXAGGERATE THE TURN OF THE DECK,YOU DON'T WANT TO DRAW TOO MUCH ATTENTION TO THE DECK ANDTHE DECK SHOULD ONLY BETILTED SLIGHTLY SO THAT THE TOP OF IT IS OUT OF VIEW. THE DECK IS NOT TAKEN FOR- WARD BUT AWAY FOCUS IS BROUGHT TO THE TORN CARD. ‘THE FOLDED CARD AND SINGLE QUARTER IN HAND SHOULD SIMPLY LOOK LIKE 4 TORN PIECES. ONCE YOU HAVE THE FOLDED CARD UNDER SINGLE QUARTER (OFTHE TORN CARD YOU CAN PLACE THE DECK IN YOUR POCKET DUMPING THE ‘THREE OTHER QUARTERS. LINE THE TORN PIECE UP WITH THE FOLDED CARD SO THAT IT MATCHES AND COVERS THE FOLDED CARD. YOU CAN SEE FROM IMAGE 04 THAT THE RIPS FROM THE QUARTER GIVE THE IMPRESSION THAT FOUR TORN PIECES ARE HELD TO- GETHER. SLOWLY UNFOLD THE TOP HALF OFTHE FOLDED CARDAS IF HOLDING TWO PIECES, RUB YOUR FINGER DOWN THE CENTRE AS YOU LET GO, THE SECOND PIECE WILL SEEMTO HAVE CONNECTED TO THE FIRST; YOU'LL NOTICE FROM IMAGE 05 THAT THE RIP FROM THE ACTUAL TORN PIECE STILL GIVES THE IL- LUSION THAT THE PIECES ARE ALL TORN THE FOLDED HALF CAN NOW BE FOLDED DOWN IN THE SAME MANOR TO REVEAL THE FULL RESTORATION. AS YOU TURN THE CARD OVER TO SHOW THE FACEYOU CAN PULL THE TORN QUARTER TO THE CENTRE AS IN IMAGE 06, THIS ‘CAN BE PALMED AWAY ASYOU HAND THE CARD OUT FOR INSPECTION. rySQUARE 1 AFTERTHOUGHTS ‘SQUARE | STATED OUT ASAN IN-HAND SWITCH WITHOUT THE NEED TO USE THE DECK,THE MAIN CONCEPT BEING THAT ONE OF THE CORNERS WOULD ALWAYS BE IN PLAY - AS IT IS NOW THROUGH SQUARE I - TO (OFFER THAT TORN EDGE, IFYOU COMBINE SQUARE | WITH CURE YOU CAN GIVE THE RESTORATION A LITTLE MORE LIFE... IFTHE RE- ‘STORED CARD IS BACK-PALMED, YOU CAN HOLD THE TORN CARD IN OPEN PALM, THEN YOU CAN PERFORM ‘OVERKILL WITH YOUR HAND BY SIMPLY TAKING THE TOP TORN PIECE AND THE BACK-PALMED FOLDED CARD, ‘ASYOU TURN YOUR HAND DOWN YOUWILL ADD SHADETO THE TORN CARD WHICH CAN BE DUMPED AT A LATER TIME. HOWEVER, IF YOU PREFER TO USE THE DECK AS A COVER YOU MAY FIND THAT A PREFERRED PERFORMANCE FOR USING THE OVERKILL SWITCH WOULD BETO REPLACE THE CARDS TO THE BOX, SO THAT THE FOLDED. ‘CARD CAN BE HELD UNDER AWAITING THE SWITCH, THIS WILL ALLOW MUCH BETTER HANDLING WHEN THE ‘SWITCH TAKES PLACE WITHOUT HAVING TO WORRY ABOUT DROPPING ANY CARDS.a RTNCy mt hE IN FEBRUARY 2009 | SAT IN ON A CONSULTANCY PITCH WITH DAVID BLAINE & DOUG MCKENZIE, AMONGST THE MAGICIANS DEMONSTRATING NEW IDEAS ‘WAS MICHAEL AMAR, WHO WOULD EVENTUALLY OVERTAKETHE SHOW. EACH ‘TRICK WOULD BLOW US AWAY & EACH WAS MORE MAGICAL THAN THE LAST, DURING THIS SESSION | WAS INSPIRE BY ONE OF MICHAELS T&R EFFECTS TO CREATE WHAT YOU ARE ABOUT TO READ, | OWE HIM CREDIT AND THANKS FOR BOTH INSPIRING AND HELPING WITH THE EFFECT AND OWE THANKS TO DANNY GARCIA FOR HIS DYD TORN TOO; FROM WHICH FRAGMENT ALSO TAKES INSPIRATION. THE PERFORMER RIPS THE CORNER OF THE SPECTATORS SIGNED CARD BUT LEAVES IT CONNECTED BY A FRAGMENT. HETHEN RUBS THE CORNER. AGAINST THE CARD WHERE IT COMPLETELY RESTORES ‘THIS ISA T&R EFFECT THAT CAN BE DONE WITH ANY FREELY SELECTED CARD; THE CARD | SIGNED ON THE BACK BY THE SPECTATOR AS WELL AS THE PER- FORMER. THERE ISA LITTLE SETUP FOR THE EFFECT, BUT IT IS SOMETHING THAT CAN BE DONEWITHIN SECONDS... YOU NEED TO RIPTHE CORNER OF A CARD LEAVING IT CONNECTED BY A FRAGMENTS IN IMAGE 01, NOTICETHAT THE RIP INTHIS CARD STARTED FROMTHE SIDE AND WORKED IT'S WAY TO THETOP. YOU CAN STILL ACHIEVE THE SAME BY RIPPING DOWN AND TOTHE SIDEAS IN IMAGE 06 BUT FOR THIS EXPLANATION YOU'LL NEED THE SAMEAS IN IMAGE 01. INITIALTHE BACK OF A SPARE CARD ACROSS THETOPAS IN IMAGE 02. PLACETHE TORN CARD ON TOP OF THE DECK AND SLIPTHE INITIALED CARD UNDER THE RIPAS INTHE SAME IMAGE, LINETHE CARDS UP SO THAT THEY AREAS SQUARE AS CAN BE, BECAUSE OF THE RIP THERE WILL BEA FRACTION OF OVERLAP BUT YOULL SEE THE ILLUSION OF THE CORNER FROM THE TORN CARD BEGINS TO LOOK LIKE IT IS ACTUALLY THE TOP (INITIALED) CARD THAT IS RIPPED. YOU'LL NEED TO MATCH THE PART OF THE INITIALS COVERED BY THE TORN FLAPWITH YOUR MARKER AS YOU CAN SEE IN IMAGE 02 - THE M MATCHES THE M ON THE CARD IN POSITION, STYLE AND SIZE HAVE ANY CARD SELECTED AND ASK THE SPECTATOR TO SIGN THE CARD ON ‘THE BACK ACROSS THE BOTTOM HALF, ONCE DONE. YOU WILL DUPLICATE THE SAME INITIAL AS ON THE EARLIER SPARE CARD ON THE TOP OF THE SELECTED CARD SO THAT IT HOLDS BOTH THE SPECTATORS SIGNATURE AND YOUR INI- TALS. WITHTHE TORN GIMMICK CARD ON TOP OFTHE DECK, TAKETHE SIGNED CARD AND PLACE IT ON TOP OF THE GIMMICK ALLOWING THE FLAPTO OVERLAPTHE CARD. STARTING FROM THE EDGE, GRIP THE TORN CORNER OF THE GIMMICK AND PRETEND TO RIP THE SIGNED CARD ALL THE WAY UP UNTIL THE LAST FRAGMENT. WHEN LEFT HANGING AS IN IMAGE 03, BECAUSE OF THE MATCHING INITIAL, THISWILL APPEAR TO BETHETORN CORNER OF THE SPECTATORS CARD. ‘THE CORNER ITSELF WILL OFFER SHADE SO THAT THE DISCREPANCY OF A FULL CARD CANNOT BE SEEN UNDER IT BUT DO BE CAREFUL OF YOUR ANGLES, PRESS THE CORNER DOWN BACK IN PLACE,AS YOU RUB IT GENTLY YOU NEED ‘TO PUSH THE TOP TWO CARDS OVER SLIGHTLY. THE CORER WILL KICK UP AND (OVER THE TOP CARD AND SWING BACK UNDER INTO PLACE AS IN IMAGES 04 AND 05, YOU CAN NOW ALIGN THE CARD ON TOP OF THE DECK AND REVEAL ‘THAT THE CORNER IS BACK IN POSITION AND IN FULL TACT. WHEN TAKING THE CARD OFF TO HAND OUT FOR INSPECTION JUST MAKE SURE YOU TILT THE DECK SOTHAT THE TOP CARD CANNOT BE SEEN,PUSH ISA T&R EFFECT WHICH UTILIZES THE DECK ASA COVER FOR THE RESTORA- TION OF A CARD TORN IN HALF. THE PROCESS IS VERY BASIC AND SIMPLE WITH VERY LITTLE SLEIGHTS INVOLVED AND THE REVELATION HAPPENS INTHE SPECTA- ‘TORS HANDS. A SELECTED CARD ISTORN IN HALF EACH HALF IS PLACED FACE UP AND, PROTRUDING AT OPPOSITE SIDES OF THE DECK. THE SPECTATOR PULLS BOTH PIECES OUT TO DISCOVER THAT THE CARD HAS COMPLETELY RE- STORED. YOU'LL NEED A DUPLICATE OF THE FORCE CARD FACE-UP ON THE BOTTOM OF ‘THE DECK,THIS CARD NEEDS TO HAVE BEEN FOLDED IN HALF SO THAT IT IS CREASED, ONCE THE FORCE CARD HAS BEEN CHOSEN, CUT THE DECK THROW- ING THE BOTTOM HALF FORWARD TO THE REMAINING HALF SO THAT THE BOTTOM CARD IS LEFT IN-JOGGED - IMAGE 01. USING YOUR FREE HAND THUMB, PUSH THE CARD AT ITS INDEX CLOCKWISE ROTATING IT TO THE SIDE OF THE DECK - IMAGE 02. KEEPTHE CARD GRIPPED BETWEEN THE LOWER PALM AND THE, CLOSED FINGERS OF YOUR DECK-HAND. HOLD THE DECK SO THAT THE SPECTA- TOR IS LOOKING AT THE BOTTOM CARD AND BACK OF YOUR HAND, THE HIDDEN FACE-UP DUPLICATE WILL BE HIDDEN IN HAND. ASK YOUR SPECTATOR TO FOLD AND RIP THE CARD IN HALF TAKE ONE OFTHE HALVES, AS YOU STATE THAT YOU WILL INSERT IT INTO THE SIDE OF THE DECK, BRING THE DECK DOWN SO THAT THE SPECTATOR CAN NOW SEE THE DECK FROM THE TOP.AS YOU DO THIS PUSH THE FACE UP CARD THROUGH THE DECK WITH THE BASE OF YOUR DECK HAND AS YOU QUICKLY PASSTHE HALF CARD UNDER THE DECK WHERE IT IS HELD UNDER THE DECK - IMAGE 03,THIS IS/AVERY SIMPLE AND FAST MOVE THAT CANNOT BE CLASSED AS A SLEIGHT, MOREA MOVE ‘TOO FAST FOR THE EYETO FOLLOW. THE HALF-TORN CARD WILL NOW APPEAR ‘TO BE PROTRUDING THE DECK. ASK THE SPECTATOR FOR THE OTHER HALF AND INSERT IT INTHE SAME FASHION ONTHE OPPOSITE SIDE OF THE DECK AS IN IMAGE 04, (THIS TIME YOU WILL INSERT. IT INTO THE SIDE OFTHE DECK) YOU SHOULD NOW BE DISPLAYING A DECK WITH ATORN CARD PROTRUDING, ONE PIECE FROM EACH SIDE. YOU NOW NEED TO SLIGHT THE PROTRUDING TORN HALF UNDER THE DECK AND PUSH THE RESTORED CARD CENTRAL TO THE DECK. USING YOUR FREE HAND, CONNECT YOUR THUMB WITH THE FULL CARD AS YOUR FINGERS COVER, ‘THE TORN HALF - IMAGE 05. ‘AS YOU PUSH THE FULL CARD THROUGH THE DECK WITH YOUR THUMB, YOUR FINGERS WILL PUSH DOWN ON THE HALF-CARD AS IN IMAGE 06 CAUSING IT TO. POP’ OUT AND FOLD UNDER THE DECK. TAKING ADVANTAGE OF THIS POSITION YOU CAN ALIGN THE FULL CARD SO THAT IT APPEARS THAT YOU SIMPLY PUSHED EACH HALF FURTHER INTO THE DECK AS IN IMAGE 07, HOLD THE DECK FROM THE END AS IN IMAGE 08 HOLDING THE TORN PIECES UN- DERNEATH AND ASK THE SPECTATOR TO HOLD ONTO EACH HALF. ASTHEY DO. SO, SLOWLY PULL THE DECK AWAY TO REVEAL THE RESTORATION. ‘THERE ISA LOT OF ROOM IN THIS IDEA FOR SPECTATOR INTERACTION, BUT FOR AN EFFECT SO SIMPLE I'LL LEAVE THE PLAY AND PATTER FOR YOU TO WORK ON,Ne ANCHOR IS ATORN CORNER EFFECT THAT UTILIZES ONE OF MY FAVOU- RITE ‘SILLY’ SLEIGHTS EVER - THE OVERCHARGE. THE OVERCHARGE IS A SLEIGHT | USE FOR THE COLOR CHANGETHAT YOU MAY OR MAY NOT HAVE. SEEN CALLED - OVERCHARGE;A ONE HANDED SNAP CHANGE ALTERNA. TIVE. NOW, | CALL THIS SILLY SLEIGHT AS THE SETUP AND METHOD, AL- THOUGH VISUALLY ACCEPTABLE ISN'T ALL THAT PRACTICAL, BUT I THINK, ALLTHE JUNKIES OUT THERE WILL APPRECIATE THE AMOUNT OF CREATIV- ITY THAT HAS BEEN WASTED ON IT. A.CORNER IS TORN FROM A PLAYING CARD AND PLACED IN THE PER- FORMERS MOUTH, HE THEN SPITS THE CORNER AT THE CARD WHERE IT RESTORES, YOU WILL NEED A DUPLICATE OF THE FORCE CARD ON THE BOTTOM OF ‘THE DECK FACE UP. ONCE THE FORCE HAS BEEN MADE, PUSH THE BOTTOM CARD FROM UNDER THE DECK ALLOWING YOU TO CLIPTHE CARD INTO A, FINGER PALM BETWEEN FINGERS | AND 2S YOU CAN SEE IN IMAGE 01. TAKE THE FORCED CARD AND HOLD IT IN THE PALMING HAND ASYOU RIP ‘THE INDEX CORNER FROM IT. YOU'LL NEED TO CLIPTHETORN CORNER BE- ‘TWEEN THE KNUCKLES OF FINGERS | AND 2 OFTHE FREE HAND AS ALSO IN IMAGE 01. YOU'LL NOW NEED TO POSITION THE CARDS SO THAT YOU CAN PERFORM THE OVERCHARGE SWITCH. YOU NEED TO MOVE YOUR PALMING HAND THUMB FROM ABOVE THE PALMED CARD TO BELOW IT, IMAGE 02 SHOWS ‘THE THUMB REACHING BACK,AS YOU WILL HAVETO LET GO OF THE TORN, CARD YOU WILL MOMENTARILY GRIP IT WITH YOUR FREE HAND. YOUR ‘THUMB WILL THEN SLIDE UNDER THE PALMED CARD WHERE IT CAN RE- CONNECT AND PINCH THE TORN CARD BETWEEN THE THUMB AND FINGER 2. FINGER | CAN MOVE BACK SLIGHTLY TO HOLD THE CARD DOWN ON TOP OF THE THUMB - IMAGE 03, IMAGE 04 SHOWS HOW THIS. SHOULD LOOK TO THE SPECTATOR. YOU WILL NOW NEED TO FAKE-PLACE THE TORN CORNER INTO YOUR. MOUTH, AS THE CORNER IS CLIPPED THIS WILL BE EASY TO FAKE. IN ONE SWIFT MOTION WHILST MOVING THE HAND TOWARD THE MOUTH, FINGER, 3 FORCES THE TORN CARD INTO TENKAI (|MAGE05) AS THE THUMB MOVES. UPWARD AND FINGER | DOWN CAUSING THE PALMED CARDTO ‘POP’ UP - IMAGE 06, AS THE CARD POPS UP GRIPPED BETWEEN THE THUMB AND FIN- GERS | & 2,THE FINGERS CAN ROTATE THE CARD SLIGHTLY SO THAT IT MATCHES THE ORIGINAL POSITION OF THETORN CARD - IMAGE 07. ‘THE FULLY RESTORED CARD CAN NOW BE PUSHED TOWARD TENKAI PALM SO THAT THE PALMED CARD CAN BE ALIGNED ON THE BACK OF IT,THIS WILL ALLOW YOU TO TAKE THE TORN CARD TO THE DECK AS THE RE- STORED CARD IS INSPECTED. THE CLIPPED CORNER CAN BE DUMPED IN POCKET OR UNDER THE DECK OR EVEN EATEN, ‘THIS MOVE WILL TAKE A LOT OF PRACTICE IN FRONT OF A MIRROR AND. MAY NOT MATCH EVERYBODY'S NEEDS, IF ANYTHING, | HOPEYOU HAVE FUN PLAYING WITH THE COLOR CHANGE.LK) Ebel” oa | Ld. fs) eo A SELECTED CARD IS SIGNED BY BOTH THE PERFORMER AND SPECTATOR. A CORNER ISTORN FROM THE CARD AND PART OF THE SIGNATURE IS SHOWN ONTHE CORNER. ‘THE CORNER ISTHEN RUBBED AGAINST THE TORN CARD WHERE IT IS INSTANTLY RESTORED. YOU DO NOT NEED A DUPLICATE FOR THIS BUT IN ORDER TO OFFER MORE REAL- ISMTOTHE EFFECT I SHALL EXPLAIN THE EFFECT USING A DUPLICATE. THE DUPLI- CATE NEEDS TO HAVEYOUR INITIALS ON THE BACK ACROSS THE TOP. THIS CARD NEEDSTO BE SECOND FROM BOTTOMAS IN IMAGE 01 ONCE FORCED, ASK THE SPECTATOR TO SIGN THEIR SELECTED CARD ACROSS THE BOTTOMAS IN IMAGE 01. THIS CARD ISTHEN TURNED FACE DOWN ONTOP OFTHE DECK. YOU NOW NEED TO DUPLICATE YOUR INITIALS FROMTHE CARD SECOND FROM BOTTOM ON THE BACK OFTHE SELECTION. ONCE DONE OFFERTHE CARD FOR INSPECTION. PLACE THE CARD ON TOP OF THE DECK FACE DOWN. YOU WILL NOW NEEDTO PASS THE BOTTOM TWO CARDS TO THE TOP OF THE DECK. CLIPTHE BOTTOM TWO CARDS WITH FINGERS | AND 2. OFTHE DECK HAND ASIN IMAGE 02. EXTEND YOUR FINGERS AS IN IMAGE 03 FORCING THE CLIPPED CARDS TO UNFOLD AND WORK ‘THEIR WAY UP THE SIDE OF THE DECK UNDER THE COVER OF YOUR FREE HAND ‘WHICH IS GRIPPING THE DECK IN PLACE. THE CARDS ARETHEN PASSED TO THETOP OFTHE DECK, THIS IS ALL DONE UNDER COVER AND VERY QUICKLY AND ASYOU PRE-INITIALED THE CARD SECOND FROM BOTTOM NO VISUAL CHANGES WILL APPEAR TO HAVETAKEN PLACE. TO OFFER MORE SECURITY TO THE SITUATION, YOU, CANTTRIPLE LIFTTO SHOW THE FACE OF THE CARD SIGNED BY THE SPECTATOR, ‘THEN TURN THE THREE CARDS BACK DOWNTO SHOW YOUR INITIALS, YOULL NOW TAKE THE TOP CARD AND RIPTHETOP CORNER OFF OF IT MAKING SURE THAT THE RIP GOES THROUGH YOUR INITIALS. ALTHOUGH YOU CANNOT SHOW THE RIPPED CARD YOU CAN SHOW THE INDEX VALUE ON THE RIPPED CORNER TO OFFER A CONVINCER THAT IT ISTHE SIGNED CARD THAT HAS BEEN TORN, ASYOU HOLD THE TORN CORNER AND TORN CARD IN ONE HAND.YOU. WILL NEED TO PERFORM A CHARLIER CUTWITH THE DECK CUTTING ONLY THE ‘TOP CARD TO THE BOTTOM TO UNCOVER THE ACTUAL SIGNED CARD, WHICH ‘WILL NOW BE SAT IN PLAINVIEW ON TOP OFTHE DECK. MAKE SURE THAT THE DECK IS TILTED FROM THE SPECTATOR SO THAT THE INITIAL ON THE BACK (CANNOT BE SEEN, PLACE THE TORN CARD ON TOP OF THE DECK ALIGNED WITH THE SELECTION BELOW IT SOTHAT YOUR TORN INITIAL LINES UPWAITH THE SIGNED CARD. ASYOU PRETEND TO PLACE THETORN CORNER IN PLACE ON TOP OFTHE DECK YOUWILL ACTUALLY NEED TO INSERT IT INTO THE DECK A FEW CARDS DOWNTO GET RID OFITAS IN IMAGE 06, PUSH THE CORNER ALL THEWAY IN SOTHAT IT CANNOT BE SEEN. YOU CAN NOW DISPLAY THE CARD ONTOP OF THE DECK. THE INITIAL ON THE BELOW CARD WILL OFFER THE ILLUSION THAT THIS IS ACTUALLY THE TORN ‘CORNER SAT ONTHE DECK. PINCH THE ACTUAL SIGNED CARD WITH FINGER AND THUMB AT THE RIP AT THE TOP OF THE CARD AND SLOWLY REMOVE FROM UNDER THE TORN CARD AS IF HOLDING THE CORNER IN PLACE. THETORN CARD WILL BE HELD AGAINST THE DECK AS IT ISTILTED. SLOWLY RUBTHE SIGNED CARD AS IFYOU ARE HEALING’ IT. YOU CAN THEN HANDTHE FULLY RESTORED CARD OUT FOR INSPECTION,OTe BOUNCE IS WHAT I'D CALLA DISTRACTION EFFECT WHICH THROUGH AN INTERESTING ‘THING’ TAKES THE ATTENTION AWAY FROM THE ACTUAL PUR- POSE OF THE EFFECT ALLOWING THE RESTORATION TO LAND AS QUITE A, NICE SURPRISE. ‘THE PERFORMER RIPS UP THE SELECTED CARD AND PLACES A PIECE IN THE DECK PROTRUDING. THE DECK IS RIFFLED CAUSING THE PIECE TO. FLY OUT INTO THE AIR WHERE IT IS CAUGHT BY THE PERFORMER. THE PERFORMER THEN ACHIEVES THIS WITH TWO PIECES. THEN HE PLACES ALL FOUR PIECES IN AND RIFFLES THE DECK ASKING THE SPECTATOR TO SEE HOW MANY PIECES THEY CAN CATCH. AS THE PIECES FLY OUT, THEY LAND INTHE SPECTATORS HAND FULLY RESTORED, YOU WILL NEED A DUPLICATE OF THE FORCE CARD, FOLDED OUTWARD INTO QUARTERS SO THAT BOTH INDEX CAN BE SEEN AS IN IMAGE 01. THE CARD WILL BE HELD UNDER THE DECK UNTIL NEEDED. AFTER FORCING THE CARD, | TALK A LITTLE ABOUT SOME OF THE BLAND. THINGS THAT INTEREST ME ASA MAGICIAN AND THAT I WILL SHOW THEM RIPTHE CARD INTO QUARTERS AND PLACE ONE OF THEM INTO THE TOP OF ‘THE DECK SO THAT IT IS PROTRUDING AS IN IMAGE 02. NOW RIFFLE THE DECK FROM FRONTTO BACK. THISWILL CAUSE THETORN PIECETO FLIP OUT. INTO THE AIR WHERE YOU WILL CATCH IT, AFTER CATCHING IT | MAKE A. JOKE OF HOW PATHETIC IT IS BUT HOW I HAVE BECOME QUITE GOOD AT CATCHING THE PIECE WHEN IT FLIES OUT. I THEN DEMONSTRATE THE SAME ‘THING WITH TWO PIECES. IT DOESN'T REALLY MATTER IFYOU CATCH THEM (OR NOTAS BY NOW YOUWILL HAVE DELETED THE QUESTION "WHY DID HE RIPTHE CARD UP? AFTER ATTEMPTING TWO PIECES, TAKE ALL FOUR PIECES AND SQUARE THEM UP ON THE DECK,AS YOU DO SO,ADD THE FOLDED CARD UNDER THE DECK TO THE PILE (IMAGE 03) NOW CLAIM THAT YOU WILL ATTEMPT THE SAME THING WITH ALL FOUR PIECES, BUT THIS TIME THE SPECTATOR MUST CATCH AS MANY PIECES ASTHEY CAN. WITH THE RIPPED PIECES BEHIND THE FOLDED CARD, AS YOU PLACE THE STACK INTO THE MIDDLE OF THE DECK, ALLOW THIS GAP TO OPEN THE WHOLE WAY THROUGH THE DECK. ASYOU LINE THE PIECES UR ALLOW ALL (OF THE TORN PIECES TO FALL THROUGH THE GAP INTO YOUR AWAITING HAND AT THE BOTTOM. YOU CAN NOW GRIPTHE TORN CARD BEHIND THE DECK, THE VISUAL OF THE TWO INDEX WILL DENY ANY LURKING SUSPI- CIONS. NOW ALLYOU HAVETO DO IS RIFFLE BACK ON THE DECK ONCE MORE, THE (CARD WILL FLIP INTO THE AIR WHERE THE SPECTATOR WILL CATCH IT, ALWAYS FIND IT QUITE REWARDING NOT TO INVITE THE REVELATION, BUT TO SIMPLY ALLOW THE SPECTATOR TO DISCOVER IT ON THEIR OWN TERMS. YOU'LL FIND QUITE A NICE REACTION, IF NOT JUT TO THE REALIZATION ‘THAT THE DISTRACTION HAD ALL BEEN A SHAM, IFYOU DON'T ENJOY THE EFFECT,AT LEAST ENJOY FLICKING TORN PIECES AT. STRANGERS IN THE STREET AND SEE HOW LONG IT TAKES FOR THE WHITE \VANSTO ARRIVE,FIX IS ONE OF THOSE INSTANT RESTORED EFFECTS THAT OFFERS A SERIES OF POWERFUL CONVINCERSASA EFFECT SHOULD. ‘ACARD IS SELECTED AND SIGNED ON THE BACK BY BOTH THE SPECTA- TOR AND THE PERFORMER. A CORNER ISTORN FROM THE CARD WHICH IS HELD BY THE SPECTATOR. THE TORN CARD IS PLACED INTHE DECK FACE UPAND PROTRUDING AND THE CORNER IS PLACED ON TOP OF THE DECK. AS THE SELECTED CARD IS PULLED FROM THE DECK,THE CORNER VAN- ISHES AND THE CARD IS FULLY RESTORED YOULL NEED TO USE A DUPLICATE FOR THIS EFFECT WHICH YOU WILL HAVETO PRE-SIGN ON THE BACK AT THE TOP. ONCE DONE, SIGN THE BOTTOM OF THE CARD WITH A DIFFERENT MADE UP SIGNATURE... THIS CARD WILL BE THE SECOND CARD DOWN INTHE DECK, ONTOP OF THAT YOUWILL NEED A DOU- BLE-BACKER - IFYOU DO NOT HAVE ONE OF THESE YOU CAN SIMPLY STICK ‘TWO CARDS TOGETHER FACE-TO-FACE, ONCE YOU HAVE FORCED THE CARD,ASK THE SPECTATOR TO SIGN IT ON THE BACK ACROSS THE BOTTOM, YOU WILL THEN TAKE THE CARD AND SIGN IT ON ‘THE BACK ACROSS THE TOP. THIS CAN NOW BE INSPECTED. ‘TAKETHE CARD AND PLACE IT FACE DOWN ON TOP OF THE DECK. TURN OVER ‘THE TOP THREE CARDS. YOU WILL NOW TAKE THE TOP CARD AND EXPLAIN. ‘THAT YOU ARE GOING TO RIP IT. ASYOU DOTHISYOU WILL NEED TO CHARLIER CUT THE TOP THREE CARDS TO THE BOTTOM OF THE DECK POSITIONING THE FACE UP SIGNED CARD SECOND FROM THE BOTTOM OF THE DECK. RIPTHE INDEX OFF OF THAT HAS YOUR INITIAL ON THE BACK AS IN IMAGE 02. AND HAND IT TO THE SPECTATOR, ASK IF THE SIGNATURE ON THE BACK OF IT ISTHEIRS OR YOURS,AS THEY LOOK AND IDENTIFY YOUR SIGNATURE YOU CAN (QUICKLY FLASH THE BACK OF THE CARD TO SHOW YOUR TORN INITIAL AND A RANDOM SIGNATURE, DONT MAKE A BIG POINT OF THIS, YOU WILL SIMPLY ALLOW THE SPECTATOR ENOUGH TIME TO NOTICE THAT THE CARD WAS SIGNED...THEY WILL ASSUME IT WAS THEIR SIGNATURE, PLACE THETORN CARD FACE UP ONTOP OF THE DECK (TORN CORNER POINT- ING TO YOU) BUCKLE THE BOTTOM TWO CARDS SO THAT YOU CAN GET A BREAK ABOVE THEM - IMAGE 03, CUT THE TOP HALF OF THE DECK TO THE BOTTOM AND DROP THE BOTTOM TWO CARDS ONTO THE TORN CARD, AS SOON AS THEY LAND, PUSH THE SIGNED CARD QUT AS YOU CLOSE THE DECK AAS IN IMAGE 04. THIS WILL APPEAR TO BE THE SAME CARD,THE TORN CORNER WILL APPEAR TO BE HIDDEN IN THE DECK. AT THIS STAGE YOU CAN SHOW THE BACK OF THE CARD TO DISPLAY THEIR SIG- NATURE ON WHAT IS THOUGHT TO BE A TORN CARD. PLACE THE TORN CORNER FACE UP ON TOP OF THE DECK NEAR YOUR DECK-HAND-FINGERS - IMAGE 06. GRIPTHE PROTRUDING CARD AND SHARPLY PULL IT UP OUT OF THE DECK, AS THIS HAPPENS, PULL THE TORN CORNER UNDER THE DECK WITH YOUR DECK-HAND-FINGERS. DONE SMOOTHLY IT WILL APPEAR THAT THE TORN CARD CONNECTED TO THE CORNER AS IT LEFT THE DECK. ALTERNATIVELY YOU CAN ASK THE SPECTATOR TO HOLD THE DECK, THEN ALL YOU HAVETO DO ISVANISH THE CORNER AND ASK THE SPECTATOR TO SLOWLY REMOVE THEIR CARD FROM THE DECK.05 may 2009 journal entry 002: the deception it was only a month before when [ azreed to make the show. it would be based on my background & the methods would be put to the ultimate test life situations. i sat there wired up. flashbacks of the last time { sat with the same intentions. this time fear was set-+—~— ting the better of me, the risk of hidden camefas & electronics taped to my stomach would cloud my call to perform the same sleights that almost took my life just 5 years ayo. i had a crew of 25+ waiting in the wings, yet i was never more alone, surrounded who had violence written in the & me with makeup covering the at a poxer table ny goncept was as is, to expose cheating tech- niques as a form of warnins & protection for vulner- able could-ve-victims of camblins-deception. minutes in & money up. 4 sleizhts & no 3 sions, confidence was on nigh, yet it technolosy that would end the Show. a in the earpeice - throusn which a inform me of the opponent hands - feedback throush my head, so sh i react be pulling it from my €ar- once axain i victim to a room of anxered samoler the presence of the crew only added to that which felt like a riot, the only thing that stopped the chaos wag the ruaner yelping POLICE at the top of his quivering voide. 5 in hospital without insurance quickly prousht an end to the show. @ ideas can be destroyed by reality. but the show rans true. it was i who had fallen for the dece tion, siven in to the temptation of redeeming that whieh i had once pat wrong. we may be through with our past, but our past is not through with aEver reviled, accursed, ne'er understo Thou art the grisly terror of our ag Wreck ofall order," cry the multitude, John Henry Mackay ER ALEXA THE HEARLOF w tJ DEFINING: A JOURNEY DERGROUND MAGIC BREAKING| DOWN THE UNDERGROUND,“PRANSGRESSIVE? FICTION, AND ROCKNROLL AN ESSAY BY: CHRISTOPHER ALEXANDER IT'S EARLY MORNING HERE, AND THE SUN'S NOT QUITE UPYET, NOT OVER MY HORIZON. SHIT, IT NEVER RISES OVER MY HORIZON, MY WINDOW DOESN'T FACE EAST—AND I CAN'T HELP BUT THINK THAT THIS SENTENCE RANG WITH SOME SORT OF RELEVANCE IN MY HEAD THAT HAS SEEMED TO ESCAPE IT’S PAPER INCARNATION. .. ANYWAYS... ON THE GROUND BY MY FEET,AMONGST A MESS OF NOTEBOOKS AND SOME SCATTERED CARDS, LIES A COPY OF EMMA GOLDMAN'S ESSAY ANARCHISM: WHAT IT REALLY STANDS FOR; AN ESSAY I'VE READ MORE TIMES THAN | CARE TO RECOUNT. SIMPLY PUT, IT'S A PLEA FOR UNDERSTANDING, TRAGIC YET CAUSTIC, SHE ZEALOUSLY TRIES TO DEFINE THE PARAMETERS OF A WIDELY MISUNDER- STOOD IDEOLOGY. IN SOME FORM OR ANOTHER, HERE I TRY LESS DESPERATELY TO DO THE SAME, TO CLEAR THE AIR OF MISCONCEPTIONS, TO DEFINE. | BEGAN THIS ESSAY MIRRORING HERS. IN PLACE OF “THE UNDERGROUND” SHE BEGINS WITH “ANARCHY.” A ONE-WORD SENTENCE,A ONE- ‘SENTENCE PARAGRAPH, IN ALL CAPS.THE WORD ECHOES IN THE READER'S HEAD ALLOWING IT TO RESONATE,THE BRAIN FLASHING THROUGH ASSOCIATIONS AND DEFINITIONS OF THE WORD. ALL ‘THE THINGS YOU THINK ABOUT IT.AN EFFECT | HAD HOPED TO RECREATE. FOR IS ‘THE UNDER- GROUND" NOT AMBIGUOUS? CONTROVERSIAL? IT IS LEFT UPTO INTERPRETATION, AND EVERYONE FEELS THAT THEIRS IS CORRECT. NO DEVIATION ACCEPTABLE. IRONIC, BECAUSE | FEEL THAT DEVI- ANCE ISA MOTIF THAT RUNS STRONG THROUGHOUT THE FOUNDATION OF UNDERGROUND MAGIC. ‘SO HOW DO WE DEFINE ‘THE UNDERGROUND’ OR UNDERGROUND MAGIC? NON-COMMERCIAL? NO... THAT'S MORE OF A COMMON FACTOR RATHER THAN A QUALIFICATION. UNDISCOVERED? NO, BECAUSE IT EXISTS TO THOSE WHO ARE A PART OF IT,AND FOR THOSE WHO LOOK. HIDDEN? POSSIBLY. MORE THAN A SET STYLE OR ANYTHING GUIDED BY A SET OF TANGIBLE RULES | BELIEVE IT ‘TO BE ABOUT SOMETHING ELSE, SOMETHING MORE: INTENTION. MY FIRST INSTINCT WAS TO SAY “HEART” BUT THAT ISTO SAY THAT THE INVERSE LACKS THIS AND THAT SIMPLY ISN'T THE CASE. WE ‘ARE GUIDED BY INTENTION, BUT WE ARE DRIVEN BY HEART. “THE UNDERGROUND’ OF MANY INDUSTRIES IS DEFINED BY NON-COMMERCIAL AND SOMETIMES, UNDISCOVERED (MARGINALLY). THERE'S INDIE-ROCK AND INDEPENDENT FILMS, BUT WE NEVER SAY ‘INDIE-MAGIC’ LOOKING AT LITERATURE I FIND SOME COMMON GROUND. BEFORE MAGIC PERVADED INTO ME, | WANTED TO BE AWRITER.AS YOU CAN SEE, ONE OBSESSION WAS NOT TRADED FOR ANOTHER, SIMPLY ADDED ON,AS | AMWRITING TO YOU KNOW. HOWEVER, | CANNOT HELP BUT TO THINK ‘THAT THESE TWO PASSIONS HAVE FUSED ON MORE THAN ONE LEVEL. | LOOK ATTHE TYPE OF LIT- ERATURE | ENJOY AND THEN AT THE STYLES OF MAGIC THAT DREW ME IN AND THEY ARE MORE THAN SIMILAR, THEY ARE EQUIVALENT TO ONE ANOTHER IN THEIR RESPECTIVE FIELDS.NEVER ENJOYED READING ASA CHILD—IT WASN'T THAT | LACKED THE SKILLS, | EXCELLED IN IT, ADA LARGE WORKING VOCABULARY AND A HIGH COMPREHENSION LEVEL—BUT I WAS FORCED TO READ THE SAME FLUFFY BULLSHIT ALL MY LIFE AND NOTHING HELD MY INTEREST. NOTHING THAT | FOUND WAS EDGY OR WRITTEN WITH ANY DISTINCT STYLE, IT WAS ALL INTHE SAME MONOTONOUS, UNORIGINAL VOICE, FOL- LOWING STOCK STORY LINES WITH TYPICAL OUTCOMES. T WASN'T UNTIL I STUMBLED ONTO “TRANSGRES- SIVE" FICTION, THAT | BEGAN TO READ. FOR ME, THE LOOKING GLASS INTO THIS BEAUTIFUL BRAND OF LIT- ERATUREWAS THE NOVEL FIGHT CLUB...QUICKLY FOLLOWED BY THE REST OF THE BODY OF WORK OF (WHO | DECLARE) TO BE THE KING OF “TRANSGRESSIVE” FICTION—CHUCK PALAHNIUK. IF YOU'RE WONDER- ING WHAT “TRANSGRESSIVE” FICTION IS—I THINK AFTER THAT DECLARATION THAT IT IS ONLY APPROPRIATE FOR MR. PALAHNIUK TO DEFINE. INA Q&A AT A FOUR-DAY CONFERENCE IN EDINBORO, PENNSYLVANIA IN 2003, (RECORDED INTHE DOCUMENTARY POSTCARDS FROM THE FUTURE) HE SAID THIS: ‘WELL, “TRANSGRESSIVE” FICTION IS—SORT OF—LOOSELY DEFINED AS FICTION INWHICH CHARACTERS MIS- BEHAVE AND ACT BADLY—SORT OF COMMIT CRIMES OR PRANKS:AS A WAY OF EITHER FEELING ALIVE OR SORT OF AS POLITICAL ACTS OF CIVIL DISOBEDIENCE.AND INA WAY THEY STARTED WITH THE MONKEY WRENCH GANG—THAT SORT OF ECO-TERRORIST BOOK ABOUT—YOU KNOW MONKEYING WITH BULL- DOZERSTO STOP LOGGING: THINGS LIKE THAT.THEN THEY CAME UP THROUGH AMERICAN HIS-NO- AMERICAN PSYCHO—WITH BRETT EASTON ELLIS,AND ALL OF THOSE MURDERS. AND THEN THEY CAME ‘THROUGH TRAINSPOTTING—WITH ALL THE HEROIN STUFF;THEN THEY CAMETHROUGH FIGHT CLUB- WITH ALL THE PRANKING, AND ALL THE CHALLENGES THAT PEOPLE USE TO BUILD THEIR OWN SELF-CONF- DENCE., NOW I LOOK AT THE TYPE OF MAGIC THAT I WAS ATTRACTED TO—THE GATEWAY—IT WAS "THE UNDER- GROUND! UNDERGROUND MAGIC DIDN'T [I]INVOLVE PRANKING PER SE, BUT IT DID HAVE ITS ROOTS IN IL- LEGITIMACY. MUCH OF “TRANSGRESSIVE” FICTION DOES AS WELL IN FIGHT CLUB, IT WAS THE BOMB RECIPES; ‘THE CONTORTIONIST’S HANDBOOK (CLEVENGER) TAUGHT US HOW TO FORGE DOCUMENTS. WHETHER IT. BE ONE'S HISTORY, CHARACTER, OR THE INSPIRATION OF HIS OR HER MATERIAL THE IMPLEMENTATION OF CON-ARTISTRY HAS BECOME A DEFINITIVE MARKER OF MANY ASPECTS OF UNDERGROUND MAGIC. | MEN- ‘TIONED EARLIER THE MOTIF OF “DEVIANCE” THROUGHOUT UNDERGROUND MAGIC, THIS IS PERHAPS ‘WHERE IT RUNS THICKEST. THE IDEA OF EMPLOYING THE TOOLS AND SKILLS USED IN ‘THE HUSTLE—FROM PICK-POCKETING, CHEATING, MEMORY TECHNIQUES ~ ETC. ALL OF THESE REAL LIFE APPLICATIONS OF SLEIGHT OF HAND, IS A STYLETHAT'S GROWING PREDOMINATELY IN THEVEINS OF UNDERGROUND MAGIC, BUT STILL, DON'T FEEL THAT DEFINES UNDERGROUND MAGIC. “TRANSGRESSIVE" FICTION APPEALED TO AN ENTIRE GENERATION TIRED OF COMPLACENCY AND SUBMIS- SION TO THE WHIM OF PREDETERMINED AND BORING LIFE-SCENARIOS. IT ACHIEVED THIS BY OFFERING SIMI- LARLY FRUSTRATED CHARACTERS WHO ACTED OUT AND CONFORMED TO A MUCH LESS ACCEPTABLE NORM; BY CHOOSING NEITHER OPTIONS A NOR B, BUT OPTION C THAT WASN'T GIVEN AND WAS MORE OF ANANTI-OPTION. WE ARE ABLETO CONNECT WITH THESE CHARACTERS BECAUSE THEY CHALK-FULL OF ‘THE FLAWS OF THE READER, DETAILS THAT ARE USUALLY LEFT OUT.THIS IS WHERE I SEE NOT ONLY MORE SIMILARITY, BUT THE BEGINNING OF SOMETHING RESEMBLING A DEFINITION FADING INTO EXISTENCE FRIEND OF MINE MENTIONED SEEING A POPULAR BAND. AT THETIME THAT BAND HAD ALREADY HAD TWOVERY SUCCESSFUL ALBUMS,A LEGENDARY USE OF ONE OF THEIR SONGS IN A TELEVISION AD.THE VENUE MUST HAVE HAD ONE HUNDRED PEOPLE—MAYBE. IT WAS OUT BACK OF THIS DIVE BAR HE HAD DRIVEN AN. HOUR AND HALFTO.TO THIS DAY, HE DECLARES IT THE BEST CONCERT HE'D EVER BEEN TO. BEFORE THE SET ‘THE BAND WAS JUST HANGING OUT DRINKING WITH EVERYONE IN THE BAR, THEY PLAYED THEIR SET AND ROCKED OUT, PUTTING ON A KILLER PERFORMANCE,AND STILL HUNG OUT WITH THE CROWD INTHE BAR AFTERWARDS. | REMEMBER THE LECTURES AND CLASSES FROM POWER CHORD ACADEMY,ABOUT ALL THE WORK YOU GO THROUGH TO TRY TO MAKE IT WHEN YOU'RE INA BAND, TOURING AND PLAYING ANY AND EVERY BAR THAT WILL HAVE YOU. YOU LIVE OUT OF AVAN WITH X AMOUNT OF OTHER PEOPLE AND THEN, SOON YOU CAN START TO LIVE OUT OF MOTELS AND YOU JUST TOUR YOUR ASS OFF BECAUSE THAT'S WHAT YOU LOVETO DO. CHUCK PALAHNIUK IS NO DIFFERENT, HIS BOOK TOURS HAVE GREAT Q&A SECTIONS AND ‘THEN HE STAYS HOWEVER LATE IT TAKES TO SIGN EVERYONE'S BOOK, TO TAKE PICTURES,AND HAVE CON- \VERSATIONS WITH HIS FANS. THERE HAVE EVEN TIMES WHERE HE'S PARTIED WITH THEM AFTER, SOME PEOPLE WAIT UNTIL THERE IS NO ONE ELSE AROUND AND WILL APPROACH HIM AND SAY SOMETHING LIKE"\CAN ‘TELL YOU SOMETHING I'VE NEVER TOLD ANYONE ELSE IN MY ENTIRE LIFE?” HE ALWAYS LISTENS, INTENTLY.A LOT OF THESE STORIES MAKETHEIR WAYS IN SOME FORM INTO HIS BOOKS. THESE SEEMINGLY UNRELATED EXAMPLES SHARE A COMMON FACTOR THAT IS ALSO A COMMON FACTOR AMONGST PALAHNIUK'S BOOKS, ‘AND | FEEL ULTIMATELY WHAT MAKES UNDERGROUND MAGIC UNIQUE,AND IN LARGE PART: DEFINES IT.FROM ROCKNROLLAS TO AUTHORS TO UNDERGROUND MAGICIANS—IT COMES DOWN TO TWO. THINGS: DOING WHAT YOU LOVE, BECAUSE IT ISYOUR PASSION AND IT IMPACTS OTHERS,AND USING YOUR PASSION TO INTEGRATE YOURSELF INTO SOCIETY, TO MEET AND CONNECT WITH PEOPLE WHO YOU WOULD HAVE NEVER MET BEFORE AND EQUALLY IMPACT EACH OTHER;TO CREATE A SENSE OF COMMUNITY. TO DO THIS WE MUST BREAK THE BARRIER OF PERFORMER AND SPECTATOR TO THE INFORMAL JUST AS “TRANSGRESSIVE” FICTION GAVE US THE FLAWED AND. FRUSTRATED TO CONNECT WITH, OUR HUMANITY DOES THAT ON ITS OWN. IT IS JUST DIFFICULT TO CONNECT WITH PEOPLE ON A MEANINGFUL LEVEL IN A DAY AND AGE WHEREIN PEOPLE FEEL THEY MUST BE SO GUARDED ALL THE TIME. MAGIC IS JUST A WAY TO INITIATE CONTACT, TO GET PEOPLE TO LOWER THEIR GUARD, PUT DOWN THEIR DEFENSES AND FROM HERE WE CAN CON- ECT. ALMOST EVERYONE POSSESSES COMMON GROUND, EVERYONE HAS A STORY TO TELL, MAYBE ONE OF THOSE STORIES WILL CHANGE YOUR LIFE, OR SOMEONE ELSE YOU KNOW.THIS IS WHY WE MUSTN'T USE OUR MAGIC TO PUT OURSELVES ON A PEDESTAL. THAT BAND | MENTIONED, IT WAS JET.| FEEL IT IS THIS ASPECT THAT MAKES UNDERGROUND MAGIC. IT STARTS WHEN ONE FIRST STARTS PERFORMING AND BEGINS TO DO IT RAMPANTLY BECAUSE HE OR SHE ENJOYS IT SO—THE ABILITY TO HAVE SUCH MEMORABLE IMPACT ON ANOTHER'S LIFE. | GUESS THIS IS WHY WE SEE UN- DERGROUND MAGIC AS MOSTLY STREET MAGIC, NO ENTRANCE FEE, NO STAGE TO SEPARATE ONE PERSON FROM ANOTHER; IT ISN'T DONE FOR MONEY OR GLAMOUR BUT OUT OF LOVE FOR THE ART.THIS IS WHY UNDERGROUND MAGIC SPANS FROM THE BEGINNER TO THE PROFESSIONAL BE- CAUSE THE INTENTIONS HAVE REMAINED THE SAME OVER THE JOURNEY, AND IT IS THE HEART THAT HAS DRIVEN HIM OR HER FROM POINT ATO POINT B, CHRISTOPHER ALEXANDER PICTURED ABOVE: A YOUNG ME (RIGHT) AND PALAHNIUK (LEFT) AT THE UNIVERSITY OF MIAMI IN 2004; TWO THINGS WORTH NOTING: | HAND QEVELOPED AND PRINTED THIS PHOTO, AND INSTEAD OF ‘CHEESE’, IT WAS “ON THREE SAY ‘LOOSE ‘BOWEL MOVEMENT’. ONE...TWO...THREE.CINDERSS2 DN Tou ape ue THIS IS AN EFFECT WHICH I'VE HELD CLOSE TO MY CHEST FOR A WHILE NOW, I ORIGINALLY RELEASED. VERSION ONE OF CINDERS LAST YEAR ON WHAT'S NOW MINDLAPSE.NET, BUT | DIDN'T THINK I'D LET THIS VERSION SEE PRINT. THROUGH DISCUSSIONS WITH MADISON HOWEVER, WE AGREED THAT THIS WOULD BE THE BEST MEDIUM - DECEPTIONS IS SET TO BE AN INFLUENTIAL PUBLICATION, ONE WHICH THE UNDERGROUND WILL RAVISH I'M SURE. SO HERE IT IS, WITH OUT FURTHER A DUE - CINDERS TWO, MY CONTRIBUTION TO THE TEAR AND RE- STORE PLOT, GIVING A TWIST ON THE IDEA TO CREATE A VISUAL, PRACTICAL INCINERATION//RESTORATION ‘THERE IS NO SET UP INVOLVED IF YOU ARE HAPPY TO BURN THE CARD WITH THE BACK FACING THE SPECTA- TOR, THIS IS THE WAY | DO IT. IFYOU DID WANT TO USE THE FACE OF THE CARD, YOU WOULD NEED TO USE A DUPLICATE. OTHERWISE, THIS IS A COMPLETELY IMPROMPTU EFFECT. YOU JUST NEED TO HAVE A LIGHTER IN YOUR LEFT PANTS POCKET. ‘ACARD IS SELECTED... YOU WILL THEN PLACE THE CARD ON THE BOTTOM OF THE DECK AND HAND IT TO ‘THE SPECTATOR TO SIGN, THE PLACING ON THE DECK IS A PERFECTLY LOGICAL STEP AS IT ACTS AS SOME- THING FOR THEM TO LEAN ON WHILE WRITING. ‘YOUWILL TAKE THE DECK BACK FACE UP IN THE LEFT HAND INTO MECHANIC'S GRIP. YOU CAN GRABA BREAK UNDER THE TOP TWO CARDS OF THE FACE UP DECK (THE SELECTION AND AN INDIFFERENT CARD) AND YOU ‘WILL NEED TO TAKE THE CARDS UP IN A SPECIAL GRIP REQUIRED FOR THE SWITCH. THE SWITCH YOU WILL NEED TO USE IS A HYBRID OF THE MARLO MIRACLE CHANGE AND THE SPIN CHANGE. THIS MAKES A ONE HANDED SPIN CHANGE. YOU WILL GRIP THE CARD IN BETWEEN THE MIDDLE AND FIRST FINGERS IN A SCISSOR STYLE CONFIGURA- TION. YOUR THUMB WILL ALSO BE IN USETO STEADY THE CARD AND IS PLACED NEXT TO THE FIRST FINGER, YOU WILL FIND THAT IN THIS POSITION, YOU CAN MOVE THE FIRST FINGER FREELY AS THE CARD IS PINCHED BETWEEN THE THUMB AND MIDDLE FINGER AS SHOWN IN IMAGE 01 SO,TO GET THE GRIR YOU WILL SIMPLY ROTATE YOUR LEFT HAND AND THE DECK 45 DEGREES SO IT'S AT A NAT- URAL ANGLE FOR YOU TO REACH INTO THE GAP YOU CREATED IN BETWEEN YOUR DOUBLE AND THE DECK WITH THE MIDDLE FINGER OF YOUR PALM DOWN RIGHT HAND. YOU WILL GRIP THE CARD IN BETWEEN THE MIDDLE AND FIRST FINGERS IN A SCISSOR STYLE CONFIGURA- TION. YOUR THUMB WILL ALSO BE IN USE TO STEADY THE CARD AND IS PLACED NEXT TO THE FIRST FINGER, ‘YOU WILL FIND THAT IN THIS POSITION, YOU CAN MOVE THE FIRST FINGER FREELY AS THE CARD IS PINCHED BETWEEN THE THUMB AND MIDDLE FINGER.BRING THE CARD UPTO THE EYE LEVEL OF YOUR SPECTATORS. AS YOU DO. THIS, YOU CAN REACH INTO YOUR POCKET TO BRING OUT THE LIGHTER WHILE STILL RETAINING THE DECK IN YOUR HAND. YOU WILL FIND THAT YOU CAN STILL LIGHT THE LIGHTER WITH THE DECK IN YOUR HAND, FOU HAVE SMALL HANDS AND THIS IS DIFFICULT, YOU CAN ALWAYS PUT THE DECK IN YOUR POCKET ASYOU BRING OUT THE LIGHTER. YOU WILL NEED. TO BRING THE DECK BACK OUT HOWEVER TO DO THE CLEAN UP AFTER ‘THE BURN. YOU CAN LIGHT THE LIGHTER AND SHOW IT'S FLAME.THEN LET IT EXTIN- GUISH AND AT THAT TIME PERFORM THE CHANGE. IT SHOULD LOOK TO YOUR SPECTATORS THAT YOURE JUST ROTATING THE CARD ALONG THE HORIZONTAL, FLIPPING IT SO THAT IT'S BACK IS NOW IN VIEW RATHER. THAN IT'S FACE, THIS IS/AVERY SIMPLE MOVE WITH THE GRIPYOU'RE IN.YOU WILL JUST NEED TO PULL THE MIDDLE FINGER IN AND YOUR CHANGE WILL ALMOST DO IT'S SELF! ASYOU PULL THE MIDDLE FINGER IN, THE TWO CARDS WILL ROTATE. YOU WILL WANT THE INDIFFERENT CARD TO ROTATE TO SHOW IT'S BACK (WHICH IS WHAT YOU WILL BURN) AND YOU WILL WANT THE SIGNED SE- LECTION TO BE PULLED INTO A TENKAI PALM. IMAGE 02 SHOWS THE FACE CARD AS IT BEGINSTO SHIFT INTO TENKAl PALM AS THE CARDS ARETURNED OVER. IMAGES 03 SHOWS THE CARD BEING FORCED INTO THE PALM WITH ‘THE MIDDLE FINGER WHERE IT IS GRIPPED BETWEEN THE THUMB AND THE PALM. USE MY THUMB TO HELP THE INDIFFERENT CARD AROUND WITH IT'S ROTA- TION, THE GRIP YOU WANT TO END IN LOOKS VERY SIMILAR TO THE GRIP YOU BEGAN WITH, BUT THE CARD IS NOW PINCHED BETWEEN THE FIRST FINGER AND THUMB, WHILE THE MIDDLE FINGER IS BEHIND THE CARD. YOU. CAN KEEP THE MIDDLE FINGER PRESSED AGAINST THE SELECTION TO KEEP ITTIGHT TO YOUR PALM, NOW.YOU JUST NEED TO PUT THE LIGHTER TO THE LEFT BOTTOM CORNER, OFTHE CARD, AND BURN AWAY AN AMOUNT OF IT BIG ENOUGH TO BE VERY NOTICEABLE. YOU STILL WANT THE TOP LEFT CORNER TO BE INTACT FOR LATER HOWEVER. ONCE YOUVE FINISHED BURNING THE CARD, YOU ‘CAN DISPLAY AND PUT THE LIGHTER AWAY. YOUWILL NOW BLOW ON THE ASHES THAT STILL CLING TO THE CARD, ITS A REALLY NICEVISUAL TO SEETHAT ORANGE GLOW FADE IN AND OUT AS ‘THE ASHES FLUTTER DOWN. YOU WILL THEN BLOW A LITTLE HARDER,AND ONYOUR FINALTHIRD BLOW YOU WILL REACH OVER AND APPEAR TO TAKE THE CARD: IN YOUR OTHER HAND TO BRING IT TOWARDS YOUR FACE, WHEN IN REALITY YOU ARE PULLING THE SIGNED CARD OUT OF TENKAI (IMAGE 04) AND AT THE SAME TIME USING YOUR FINGER TO PULL THE BURNT. ‘CARD INTO IT'S PLACE IN TENKAI PALM. (IMAGE 05.) THIS IS ALL DONE INTHE BLINK OF AN EYE AND YOUR HEAD AND EYES SHOULD FOCUS ON THE CARD YOU JUST PULLED OUT OF TENKAI,THE SE- LECTION. TO THE SPECTATORS, THIS WILL LOOK LIKE THE CARD VISUALLY RESTORES IT'S SELF INA BLOW. ‘ONCETHE RESTORE IS DONE, YOU WILL NEED TO BRING YOUR HANDS BACK TOGETHER FORA MOMENT JUST TO PULL THE BURNT CARD FROM YOUR RIGHT HAND TO YOUR LEFT, AT THIS MOMENT YOU CAN TAKE THE PALMED CARD BACK TO THE DECK (IMAGE 06) WHERE IT WILL HIDE BEHIND THE DECK. FROM THIS POINT YOUR CAN HAND OUT THEIR SIGNED CARD IFYOU WISH AND PUT THE DECK IN YOUR POCKET. YOU CAN THEN REMOVE IT AGAIN LATER ON, LEAVING THE BURNT CARD BEHIND,. MAGIC SDEAL THOUGHTS ON UNDIERGRIOUND MAGHIIC SCC OAC el RET a Ror Ws a Colt CIN Soro enon ea Ot a et eae Re ol eel eee ANAT eee OEE TEN UT CENCE a aa ce On Ue ee Pan aa GROUND MAGIC IS NOT WHAT MOST OF PEOPLETHINK. MOST MAGIC AND IT’S PRESENTERS TODAY, | FEEL, ARE NEEDING SOMETHING. A STANCE, AN OPINION, AMONG OTHER THINGS. IN HIS BOOK ‘TANGLED WEB’, ERIC MEAD WRITES “ BEING A PERFORMER OF ANY KIND MEANSTHATYOU HAVE A PLATFORMTO USE ASYOU SEE FIT, WHY IS IT THAT MAGICIANS MOST OFTEN CHOOSE TO USE THAT PLATFORM TO DO ROUTINES THEY LEARNED FROM A VIDEO... WITH THE PATTER THAT CAME FROMTHE VIDEO? WHAT THE HELL ISTHAT? WHAT ARE THEY SAYING? MY ANSWER IS NOTHING. IFYOU ARE VERY LUCKY, IT’S WELL REHEARSED, PROFESSIONALLY PRESENTED, AND ENTERTAINING NOTH- ING, BUT IT'S NOTHING, NONETHELESS,” I HEAVILY AGREE WITH ERIC, YOU ARE GIVEN THIS PLATFORM TO PRESENT ANYTHING YOU LIKE, TO TALK ABOUT ANYTHING YOU LIKE, GIVEYOUR OPINIONS AND YOUR IDEAS AND WE DO A CARD TRICK? WE SAY SOME WORDS THAT ARE NOT EVEN OURS? WE NEED TO TELL THESE PEOPLE SOMETHING, WHERE AREYOU FROM? WHAT DO YOUTHINK? WHAT DO FEEL? WHO AREYOU? EVEN IFYOU DO NOT THINK SOME OF THE PEOPLE WILL AGREE WITH IT, LETTHEM KNOW. THEY WILL RE- SPECT THAT HONESTY. MAKE A STATEMENT, UNDERGROUND MAGIC IS MAKING THE AUDIENCE “FEEL” A CERTAIN WAY, THE ABILITY TO HAVE AN OPINION, TO SAY SOMETHING TO YOUR AUDIENCE, AND MEAN IT, THOUGH SPEECH AND PERFORMANCE BOTH, WHEN PEOPLE SEE A PAINTERS’ ART WORK OR WITNESS A. SCULPTORS’ PIECE SOME SAY THE CAN “FEEL” WHAT THE ARTIST IS TRYING TO SAY. THEY CAN “FEEL"YOU ABOUT WHAT THE ARTIST WAS TRYING TO CONVEY. SAME THING WITH SINGERS/SONGWRITERS, THEY COULD “FEEL” THE MUSIC, PEOPLE CAN “FEEL” WHAT THAT ARTIST WAS GOING THROUGH WHEN THEY WROTE THAT SONG, MOVIES ARETHE SAME THING, WE HAVE FAVORITE MOVIES BECAUSE THEY MADE US “FEEL” A CERTAIN WAY. JOHN RIGGS SAYS “PEOPLE MAY NOT REMEMBER WHATYOU DID, BUT THEY REMEM BER HOW YOU MADE THEM FEEL.” ‘THEY REMEMBER HOW YOU MADE THEM “FEEL”. BUT, YOU HAVETO FEEL IT BEFORE YOU CAN MAKE ANY- BODY ELSE FEEL IT, UNDERGROUND MAGIC IS A LIFE STYLE. UNDERGROUND MAGIC IS NOT ABOUT PERFORMING FOR YOURSELF AND IT IS NOT JUST ABOUT FOOLING PEOPLE, IFYOU JUST FOOLED THEM, YOU WOULD BE NOTHING MORE THAN A CON MAN. MAGIC IS ABOUT THE MOMENT CREATED, BYYOU, FOR THEM. MAGIC IS AN EXPERIENCE. YOU DO NOT WORRY HOW HIGH. YOUR MUSCLE PASS IS, IT IS ABOUT YOUR AUDIENCE, TRY NOTTO PERFORM AT THEM, PERFORM FOR THEM. TELL THE AUDIENCE SOMETHING, HELP THEM REMEMBER WHO YOU ARE. YOU MAKE UNDERGROUND, MAGIC, BUT IT IS WHATYOU MAKE IT AND HOW YOU MAKE IT FOR THEM. IT IS WHATYOU DO AND HOWYOU DO TT, FORTHEM. YOU ARE UNDERGROUND MAGIC. MAKE THEM FEEL IT, “WHAT A LOT OF FUNYOU GUYS HAVE BEEN REAL SWELL AND THERE'S NOT A ONE WHO CAN SAY THIS ENDED WELL ALL THOSE SECRETSYOU'VE BEEN CONCEALING SAY YOU'RE HAPPY NOW, ONCE MORE WITH RN eaeok april 2009 journal entry 003: something wicked when you cover your world with ta take on the act of a mavician to adapts and falls in line. some can swi between the world in which they perform and that before it, others simply choose not to. i have fought between worlds for th 19 years, not in favour, Dat w— avainst so th do not lose one for the ther. 19 years have taxen their toll and now both worlds have mersed causing a defect in my personal- the ity; two lives in one world, two minds in one body, yet it is that little something wicked, knowing that the after-effects of valancins control that i now embrace as they who i have become. { have not moulded my worlds. they have moulded me. and i have come to realise that there never were two worlds. and there have always been two of me. events will always try us\cit is our expectations that decide if those trials will be wicxed, or virtuoTHANKS AKNOWLEDGEMENTS CREDITS yet aA CMU Ro MAU DL acl UDB TOLER clo aN Lol) IN OVERVEWTORNAND RESTORED CARD EFFECTS NO MATTER HOW PERFORMER TEALLOEAGe Wa EAMES PEE ESSN TNT WaT TES HORE TIGHT EE EOWER OF OU CARSON ANS ow OR nae TERS DEAL WITH SUCH A CHALLENGE OF RESTORING A TORN CARD. = TO ACHIEVE PERFECTION IN ANYTHING WE MUST FIRST MASTER OUR TOOLS AND METHODS AND WHAT WE NEED TO PAY MORE ATTENTION TO IS THAT WE ARE THE TOOLS OF MAGIC AND NOT THE OTHER WAY, WE MUST FIRST MASTER OUR CARACHTERS BEFORE WE CAN ATTEMPT MASTERING THAT WHICH THE CHARACTER PER- FORMS, NO MATTER HOW MANY SLEIGHTS OUR EFFECTS INCORPORATE, WE NEED TO UNDERSTAND THE BOT: TOM-LINE OF THE CHALLENGE,A CARD IS TORN AND RESTORED. THE SIMPLER IT LOOKS, THE MORE MAGICAL IT WILL FEEL, BUT SOMETIMES SIMPLE VISUALS CAN CALL FOR THE HARDEST OF HIDDEN SLEIGHTS... IF WE CAN. (CAUSE OUR SPECTATORS TO REACT WITHOUT AWAKENING SUSPICION THEN WE CAN CLAIM COMFORT IN OUR METHODS, NO MATTER WHAT THEY MAY BE, ‘TO ACHIEVE PERFECTION IS NO MORE THAN A MODEL FOR THE ‘AIM’ FOR PERFECTION, A TANK DESIGNED TO HELP MOULD MAGIC INTO BELIERAND FOR THOSE PROPERTIES THAT CONFLICT WITH PERFECTION, AS LONG AS WE ARE AIMING FOR THE PERFECT EFFECT OR CHARACTER, WE CAN ASSURE THAT WE'RE OFFERING OUR AUDI- ENCE AS CLOSETO THAT WHICH THEY MOST DESIRE AS WE CAN... BELIEF. SEEYOU INVOLUME 2 ° 11DO NOT CLAIM TO HAVE INVENTED OR BE THE ORIGINAL CREATOR OF ANY OF THE EFFECTS INCLUDED IN DECEPTIONS, CLAIM ONLY TO HAVE DISCOVERED THE EFFECTS & IDEAS. UPON MY OWN TERMS WITHOUT INFLUENCE UNLESS WHERE CREDITED & THANKED ACCORDINGLY. ANY SIMILARITIES. BETWEEN EFFECTS & IDEAS IN DECEPTIONS & OTHER EXISTING] PUBLISHED EFFECTS ARE PURELY COINCIDENTAL & UNINTENTIONAL, SUCH CASES WILL BE ACKNOWLEDGED & FULLY CREDITED ACCORDINGLY. FOR A LIST OF FULL CREDITS FOR EACH SLEIGHT & EFFECT PLEASEVISIT MAGICisDEAD.com/CREDIT FOR THEIR CONTRIBUTIONS TO THE FIRST VOLUME OF — DECEPTIONS I OFFER SINCERE THANKS TO. pit re RANDALL FREEMAN, CHRISTOPHER ALEXANDER, DEE CHRISTOPHER & MERAUX DANTES FOR THEIR INSPIRATION AND HELPWITH EFFECTS | OFFER THANKSTO MICHAEL AMAR, DANNY GARCIA DAN HAUSS, MYLES NAKOUZI & DAVID BLAINE PROTECTED 2000-2008 TO DANIEL MADISON ALL RIGHTS RESERVED EXCLUDING CINDERS2 WHICH 1S COPYRIGHT TO DEE CHRISTOPHER 209. HECEPTIQNS VOLUme Two : COMING SOO VICHEFFECTS fo Pmw a. owenFRACTIONS DECEPTIONS DECEPTIONS VOLUME TWO: THE SANDWICH EFFECT - 2009THE UNDERGROUND JOURNALS OF MAGIC by DANIEL MADISON ® VOLUME TWO : CARD SANDWICH EFFECTS JUNE 2009 rae Sy ° s a MAGIC DEAD: Tig HARIGANS MESPONSBILTY TO PERSUADE HS SPECTATORS TO BELIEVE OTHERWISE DECEPTIONS IS A MONTHLY JOURNAL DEDICATED TO THE IMPROVEMENT OF THE ART OF MAGIC TAKEN DI RECTLY FROM THE STUDIES OF DANIEL MADISON FROM THEYEAR 2000 TO PRESENT DAY. DECEPTIONS WILL STUDY, EXPLORE & EXCERCISE IDEAS & CONCEPTS OF MODERN MAGIC & SUBTERFUGE EACH ISSUE WILL FOCUS ON A DIFFERENT AREA OF THE ART TEACHING NEW, EXCLUSIVE & RELATED CLOSE-UP MAGIC EFFECTS. EACH VOLUME WILL BE PACKED WITH PROFESSIONAL INSIGHT, TEACHINGS & GUIDANCE ‘WITH FULLTRAINING IN SLEIGHT-OF-HAND, SUBTERFUGE, DECEPTION & PSYCHOLOGICAL ILLUSION; HOSTING THOUGHTS,ADVICE & BONUS EFFECTS FROM FRIENDS & INDUSTRY PROFESSIONALS, RECOMMENDATIONS FOR RELATED EFFECTS, & ULTIMATELY OFFER THE READER A NEW RESOURCE FOR MODERN MAGIC. MAGIC IS DEAD; IT ISTHE MAGICIANS’ RESPONSIBILITY TO PERSUADE HIS SPECTATORS TO BELIEVE OTHERWISE. WITH YOUR HELP, DANIEL NOW INVITES YOU INTO HIS MOST PERSONAL WORK EVER. KEEP MAGIC ALIVE. WELCOMETO DECEPTIONS, VOLUME 2. PLEASE NOTE THAT DECEPTIONS ASSUMES THAT YOU, THE READER ALREADY HAS A BASIC KNOWLEDGE OF MAGIC & SLEIGHT OF HAND & ASSUMES THAT YOU WILL UNDERSTAND BASIC SLEIGHT.OF. HANDTERMS. FOR FURTHER HELP & GUIDANCEYOU CAN EMAIL USAT DECEPTIONS@MAGICIsDEAD.com eT eo UL CS MAGICIsDEAD.con18 april 2007 journal entry 90% how magicians striving a fair ¢ y ever to come chanse, journey time expectation for s et looking wanted to fulfill most amazin to David, he did an amazing more masic lixe simply noti appealed me, alize. to was itations the end of were no ido in many i an Bat at nere experience instead of siving expectations with becoming } feel this forte too. ian are 1 vers sod. rath and have bat belief there lies eyes by the ike he now it future ye ne and up peoples there is to to makin to achieve th not throu ma sic bat i this zs. Throw im magic i character i a time for chan idea ent minds good to ve don't seem to true. gras is impos e. the impossible. then the method dea. allenge, bu close to, just th masic, omething a lone as David Blaine. witness the acician that really couldn't find anything an amazing and my a bric sh sh spent a as amazing the my mind the de froma by x ire to me thing. ARE. is artist and to find wall... there journey i found disappointments. journey i need ny. d too thi, found out there to satisfy searched for and ap on magic, i filled those creating effects, hooxed for for isa but i the expectations those of scientist will soon enoash discover to deal with it the vest better him and hi many myself, ‘dy 50 it a new shame, know of the who he wild ems. video, a simple idea their own expectatio only a different approach and i to open made you think.PLAYENG CA&D IS LUST IN THE DECK, THE PEAFORM- CARDS (USUALLY a FAIR OF ACES) OVER THE DECK ENSTANTLY ZaRS BETWEEN THE ace. ‘There's not a magician alive who doesn't have a go-to sandwich effect, of all sandwich routines/tricks, most are im= promptu & very easy to perform & for a while the sandwich, to me, was a filler effect, a what-to-do-next card trick ‘when all other killers had been performed... That was until | took the conscious decision to develop a few variations of the classic that I'd always performed In their essence, sandwich effects, no matter on the variations, are all mapped out exactly the same & itis only the pre- sentation that changes the performance of the effect. A little like the ambitious card; you can do the same effect 100 times & the spectator will recall 100 different tricks... The selected card is loaded between the sandwich cards from the top of the deck where it hides between them behind the top of the two cards;the card is revealed as the performer ‘waves the two cards whilst pushing the top card over to reveal the selection ‘The development of the sandwich begins when the magician actempts to make the presentation of the effect more & more impossible, quite like most tricks. To do this, the discrepancies have to be torn apart & re-built in order to shade their chance of inviting any possible skepticism from the spectators... For me, the biggest discrepancy has always been the loss & load: this is the section of the effect where the card is lost in the deck & the pair of aces are taken away from the deck. In this momene the card is not lost in the deck but retained on top, then the aces are shown on top where the load is made. This load has always been way to obvious for me, even before i knew magic i could see this from a few miles away as once the selected card is lost, the suspicions begin to help one understand the process. The most simple solve for this is something most performers I've seen fail to meet... The selected card is taken out of the deck, the aces are then shown & taken away from the deck, the selection is then lost in the deck & the aces never meet the deck during the rest of the effect. The visuals of the aces never meeting the deck & the selection being on display as the aces are taken away kill any suspicion of subterfuge as at his point all appears to be fair. However this is merely my thought-train on perfecting the simplest of effects that‘might’ pass the spectator by regardless, but i like to think that my performances cater for the more intelligent part of the brain (however not always the case.) My second problem with the sandwich is the reveal, which in many ways is the biggest give-away a magician can offer his audience & a perfect way to lose credit for what he does, To me, when the aces are spread to reveal the card be- ‘tween, regardless of how deftly this is performed, it’s far too obvious that the selection was hiding between the cards all along yet the ideal of magic is to present the appearance of that card at the hand of magic, & not trickery,as the sand- wich effect is that simple that to display it only as an effect of sleight-of-hand would not offer the best image of the ma- gician,as a true sleight-expert would not need any two cards for the hiding of the selection as a footballer would not need a bigger size shoe in order to kick the ball with more efficiency. The most simple way to combat this would be to offer the aces for inspection to portray them as no more than two cards shown fairly on both sides but done so in ‘a way that doesnt have to say “hey look at me, nothing to see here, I'm not hiding anything, make sure if you want, there's nothing but us two aces, honest.” ‘Above all problems with the sandwich effects, which I'we witnessed way too many times is the performer offering the punch-line before the joke by saying I'm going to use this two aces to catch your card.” this simply ruins the surprise ‘& openly invites the spectator to watch closer & attempt to spot the loading of their card. Now, refer to these issues as problems in order to combat them as always to strive for the most near-perfect perfor- mance possible. The closer we can aim to perfection, the better magicians we'll be, & although this sounds obvious & even a litte patronizing, | tire of experiencing careless magic. Your magic is you, its spectacular, then you are too, & if it's bland, then you have to take the fll for it ‘The following effects are taken from my personal magic journals through my strive to achieve the perfect sandwich effect. Some are simply ideas, others are as close as could get to my perception of perception. If anything, hope they help to inspire your creative side. Welcome to Deceptions, Volume 2. The Sandwich Effect.OS This is by far one of my favourite sandwich effects of all time & an effect that makes good use ofa very common gaff-card supplied with most decks... a double back card. This is a card that has the back design printed on both sides of the card. If you do not have one of these you can simply stick two cards from an old deck face-to-face. With the red aces out of the deck & the double- backer on top, have the spectator freely select any playing card form the shuffled deck & ask them to sign it. Take the card & place it face up on top of the deck. Pick up the top two cards & turn them face down, this will position the selected card 2nd from the top with the double backer on top of it... maintain a pinky break under the top two cards. Holding the aces together, feed the top two cards between the aces as in image OI... be careful not to seperate the double. Holding the sandwiched cards from above so that you are looking down on the aces and the back of the andwiched double, finger3 connects with the index of the selected card & shifts it to the side forcing it out of the sandwich as in image 02. Turn the deck face up and perform a charlier cut and allow the cselection to fall into the cut as it closes as in image 03... This will all happen under shade from the sandwich cards. The double backer will be left in position & nothing will appear to have happened from the front.Hold the cards as in image 04 so that the spectator is looking down at the red Aces with what they think is their selected card face down between them. You will now lift your arm up to eye level so that the spectator can see the backs of the red Aces & the face of their card... it is in this motion which you will perform the Slice vanish... As you move your arm up, finger! connects with the middle card as in image 04 and pushes the double-backer flush behind the top red Ace. By the time the cards get to eye level, the spectator will be looking at the back of the two red aces with no other card between them. You will now lower the cards slowly to show that the selection has vanished and all that you have in hand is the red Aces. You can hold the Aces in each hand displaying both sides of them & hi other as a gesture to show only two card. ig them against each As you invite the spectator to search the deck, you are given the opportunity to dump the double-backer to your pocket. Alternatively you can keep it in place and simply drop it to the deck when you take the cards back. SLICE ONE ALTERNATE VANISH HANDLING Once you've hitched the selected card the deck amidst the Charlier cut, hold the Aces with the double-backer held out to the spectator at chest/eye-level so that you are looking at three backs — image 05. Shake the cards slightly, as you do so, using fingers 2 & 3, pull the middle card flush behind the first Ace. Once done, show the backs of the two cards before holding an ace in each hand to show a complete vanish.Sr This is something of a reverse effect to Slice One For this effect you will need a different gaff card... a double-face card, this is a card that has two different faces printed on either side. For this explanation the gaff has an Ace of Clubs on one side & a 7 of Spades on the other. If you do not have a double face card | wouldn't recommend making one as it may be too think for this effect, you can purchase one of these cards from your local magic shop for a very reasonable price. Place the double facer on the bottom of the deck so that the 7 of Spades is on show. Remove the two black Aces from the deck & place the actual 7of Spades from the deck in your favourite forcing position. Force the 7 & have it returned face up on top of the deck. You'll now need to vanish the card using a classic colour change move or by performing the Half vanish (my fav) so that the 7S is 2nd from the top, face-up. Offer a very simple reveal by showing that the selected card is on the bottom of the deck. Take the two black aces & place the Ace of Spades face up behind the 7 & the Ace of Clubs face up in front. Take all three cards away & Charlier cut the deck before you hand it to the spectator. Turn the Aces face down one at a time leaving the 7S face up You'll now perform the same vanish as in slice one by squaring up the 7S behind the AC. As the 7 has an Ace of Clubs on the back of it, when the cards line up, it will appear that the 7 has vanished. You can now reveal the 7S face-up in the deck held by the spectator.SLICE 3 Slice 3 offers something of a Slice | & 2 with no gimmicks, it is something of a predecessor but the selected card is seen to change, not vanish... The handling for the sleights is the same as for Slice 1, for guidnace through Slice 3 you will need to know how to perform Slice | first. You can begin with a regular sandwich effect & then follow it up by asking the spectator to do all the work. Take the red Aces out of the deck. The selected card is on top & a break is held below the top two cards. Take the red Aces face up & feed the top two face down cards held as one between the red Aces. Lift off all four cards squared, push over the top card slightly & pull the bottom card out slightly thus showing the red Aces either side without separating the middle two cards. Show both sides of the Sandwich, as you do this, turn the deck face up. As you turn the sandwich cards face down, clip the rag card with finger3 & pull it to the side so that it rotates away, as soon as the index of the card clears the sandwich, force the card upward into the back of your hand & out of the sandwich... As you do this, Charlier cut the deck & allow the rag card to be caught in the cut as it closes.. this is all taught in Slice One. Hand the deck to the spectator... Hand the Sandwiched cards to the spectator with the Aces face up & ask them to wave the sandwich cards over the deck. As nothing will happen, ask them to try again with the sandwich cards face up... At this point the spectator will either instantly notice that the sandwich card has become theirs, or blindly wave the cards without noticing; at which point you can allow them to witness the card changing. You can then finish by inviting the spectator to search the deck to find the face up rag card.eS Created independently from Madison's slice, it just so happens that the two effects are very similar in effect and also very similar in workings. This handling is a little more difficult to get the hang of, but can be done with a borrowed deck. Start with deck in the left hand, fan through and grab out a pair of court cards as our sandwich pair. Drop these onto the table or have a spectator hold onto them. A card is selected and you can perform any of the sandwich routines in this mag, or whatever sandwich routine you favor. This gives the opportunity to say; "Let me show you what happens when we reverse the motion.” Take their selection and place it back between the face up sandwich cards face down. You must hold the cards in the right hand - Position them for the vanish Daniel mentions, or for an alternative vanish, try the following. Hold the cards from above in the right hands, spread horizontally so that you can see the faces of the pair and the back of selection. For the vanish, you want it to look as if you wavelstroke the cards and the middle one just van- ishes. I do this by moving my hand forward so that the selection is hidden from view and | kick it behind the top card with the heel of my hand before gently running my finger down the seam of the two remaining cards. From here, 'll take the bottom card with my left hand and | have just a back to back double left in the right. To ditch the selection and show the back of the second card of the pair, | simply allow my right ring finger to contact the corner of the cards below it and use my fore finger to rotate the top card as | pull the bottom (selection) into a tenkai palm.This is all done in a 90 degree rotation at the wrist to end up with both of the pair cards held at finger tips | drop these and pick up the deck, dropping the selection on top as | turn it up towards me hiding the top from view. as | come down with the deck, | execute a pass, though a turnover pass could be employed for those not as comfortable with a classic. Spreading thru the deck, there is now one card face up and more likely a room full of impressed on-lookers!MAIER This effect was inspired by a conversation | had with Dan Hauss about a the idea to change a playing card into some- thing else entirely. | developed an effect which saw the signed selected card would be thrown in the air & land as a £10, this is a little tricky so | worked on using the change as a sandwich effect. This is Maker... You will need a £10 / $10 bill,a duplicate Ace of Hearts & a duplicate Ten of Spades Images 01 & 02 show the setup... Take a £10 & fold so that it is slightly smaller than a playing card. Place the duplicate Ten of Spades in your wallet Place the Ace of Diamonds on top of the deck, followed by on of the Ace of Hearts, then the folded £10, then the dupli- cate Ace of Hearts. Your force card — Ten of Spades will need to be in forcing position. Force the Ten of Spades on the spectator & ask them what the cards’ equivalent nomination of money would be. Occa- sionally you'll get the fool who says 10 pence or £100 or even the sarcastic £2.19p... to which you'll simply suggest that the most logical equivalent would be a £10. Get a break below the top three cards & turn them over, push the Ace of Diamonds over to display the two red Aces — the £10 will remain hidden. Place the Ten of Spades between the red Aces & square the cards up. Take the top four cards from the deck so that the red Aces are face down. Pull the bottom two cards out slightly to display the sandwich without exposing the £10Hold the sandwich in open hand so that you are looking down at the backs of the Aces. As you shake the cards... Pull the Ten of Spades square with the Ace of Diamonds as in image 03... As you do this, the duplicate Ace of Hearts will also move over... Square up the Ace of Hearts on top of the Ten of Spades... In turn, as you do this, the £10 will shift to the side. You will now appear to be holding the two red Aces with a £10 between them. Allow the spectator to take the £10 from between the cards to inspect. Take the top Ace of Hearts & place it to the bottom of the four cards in hand & turn them all face up to display the two red Aces. You can now drop all four cards face up to the face down deck, the duplicate Ace of Hearts will land face up but will be covered by the face down Ten of Spades, you can now reveal the Ten of Spades in your wallet. MAKER AFTERTHOUGHTS If you have the grits & time, you can crate an amazing effect be revealing the Ten of Spades in the spectators wallet / purse. You may also want the Ten of Spades to be signed, this does change the handling slightly as you'll have to palm the card away to your wallet. This effect can be used for a simple color-change by replacing with £10 with any other card Set up the cards as in images 05 / 06 and simply perform the same sleight, this can also be done with all cards face up as in image 07.EAS LS Nil Base is a very simple idea born from a drive to make the most simple effect look so much better with the adaption of aggressive visuals... Load the selected card face down between the red Aces & keep it hidden there. 5 Place the sandwiched cards on top of the box which you will need to sit on a table as in image 01 You will now need to spread-throw the deck at the box, to do this, simply throw the deck, very close to the table about a foot away from the box. The deck will spread as soon as it hits the table, if aimed correctly, the spread will continue we’ 2 & knock the box from under the Aces, The red Aces will fall from the box & land on the spread deck & due to the motion of the cards the red Aces will separate causing the hidden card between them to be revealed CF This is shown through images 02, 03 & 04. The spread-throw will take a little practice & time to get used to but eventualy you'll get use to the force needed for the better reveal. This works particularly well on a pool table and you'll also find that you can perform this effect with a few other objects such as a cig-box.eT US This is a very simple concept but does require quite a bit of target practice to pull off the prestige. Load the selected card face down between the red Aces & keep it hidden there Squeeze the deck a little so that it curls inward as in image ol. Spread the deck across the surface... The curl in the deck will cause each card to arrow up along the edge causing con- tinuous gaps for the landing of the Aces... Holding the sandwich cards squared, throw the cards in a scaling fashion into the spread as in images 02 & 03. As the cards land, they will slice into the spread deck and separate revealing a card between them as in image04. oom | You can then flip the cards over as in image 05 to reveal the y WE Il " | \ I io selected card between the Aces HsPe This is a very simple idea that has been used many, many times before, credits for which are in the usual place at MAGICisDEAD.com/CREDITS Control the selected card to the bottom of the deck. Take the red Aces & place one on top of the deck & one out-jogged on the bottom as in image 01 Place the deck in the spectators’ hand & ask them to grip it with their thumb. Due to the bottom card being outjogged their fingers will not only grip the Ace but also their select- ed card as in image 02. All you have to do now is strip the deck away. 4 Grip the deck as in image 03 making sure you don’t have too much of a grip on the top or bottom card & quickly pull the deck away from the spectator leaving the Aces in their hand \ with the selection between.UPRISING This idea was inspired by quite a few different ideas, the main thought was to find a three-level ambitious card which ended with the penultimate sandwich. For this effect you will need a duplicate Ace of Hearts. Place the Ace of Diamonds on top of the deck face up with both Ace of Hearts on top of that, also face up. Turn over the top three cards as two to display the red Aces... square all three cards up & place them on the surface face up so that they pose as only two cards - the red Aces Have a card freely selected & control it 2nd from the top. Double lift to show the selected card & place the rag card in the centre of the deck protruding. The spectators card will appear to be protruding the middle of the deck but will actually be on top. Take the three Aces on the surface & catch a break below the top two Aces. Push the top card of the deck over slightly & feed it into the break in the Aces so that one of the Ace of Hearts goes under it as in image 01 Buckle the bottom card & place the Ace in the gap so that it is face-up 2nd from bottom as in image 02. This will appear to be on the bottom of the deck. This card should be protruding. As you shake the deck, push the protruding cards (bottom Ace and rag card) into the deck as you spread the top three cards. The Ace of Hearts and the selection will appear to have travelled up the deck to the top to create the sandwich.This isn't an effect that you will be able to beat with a few minutes practice, it's taken me a while to perfect but you'll be glad with the practice once you see the result. If any- thing, you'll at least take a nice centre-pop-out move from Kick... Control the selected card to the bottom of the deck and cut the deck in half throwing the lower half to the top allowing the bottom card to back-jog. Square up the deck retaining the selected card injogged at the back of the deck Take the red Aces and hold them as in image 02 so that the lower card is closest to the deck. You will now need to perform a pinky-pop out move. To do this, grip the injogged card between your pinky and palm as in image Ol. Allow the card to ‘snap’ over the tip of your pinky causing the preasure in the bend to cause the card to shoot and spin out of the deck. The more pressure, the better the pop. Once you've perfected this move, you'll need to aim the popping card at the lower Ace as in image 03. The card will hit the Ace and jam itself between both Aces as image 04.This effect took about 2 seconds to create during a mini- sesh with Dee Christopher. You'll need... an invisible deck to acheive this effect. (please note that my invisible deck is set up slightly different from the standard invisible deck.) State that you have predicted the spectators thought of card by sandwiching it in the deck with two face-down cards. Thanks to you're knowledge of the invisible deck you'll be able to name the card behind the freely named card, so lets say the 4 of Clubs is named. | know that the 9 of Spades is the card behind the 4 of Clubs in my deck, so as i take the cards from the box and begin to scan through them. | My prediction is sandwiched between the 9 of Spades and the Then by the time I get to the 4 of Clubs I'll clock the card before the 4 of Clubs and name the card behind it, in this case it’s the King of Hearts. When | get to the King of Diamonds i'll spread to reveal the face down King of Hearts then V'll spread the 4 of Clubs to reveal the sandwiched prediction. | can then back up my predic- tion by showing the sandwiching cards. I mainly use this as a back-up effect should | remove the deck the incorrect way from the box. Every now and then you'r spectator will name the top or bottom card, to which you can simply ststae that you cause the named card to move from the sandwich to the top of the deck. Done.a ®& be This is another little simple idea that doesn’t really follow the standards of a standard sandwich effect, but it does look quite cool.. After performing a sandwich effect, place the two red Aces on top of the deck face down and load a card on top of them. Turn over the three cards keeping the stranger hidden thus only showing the Aces. Have the spectator name one of the Aces, pretend to lose it in the deck but keep it retained on top. You can now place the deck on the surface. Take the selected card and place it on top of the deck face up. & pick up the Ace behind it so that you can place the other Ace behind both cards, face up & protruding as in image OI. In this position the named Ace should be now face down sandwiched between the other Ace with the selection on top. All you have to do now is hit the protruding Ace, this will cause the top two cards to flip over and land on top of the protruding Ace; which should now have found its way out of the deck. This is all shown through images 01 - 05. This will take a litte practice to get used to the level of pres- sure needed when hitting the Ace, once you get confident with the effect you'll be able to perform this in your specta~ tors open hands.When | wrote the intro for The Blood System, | told Daniel this quote | had read by David Hockney—"The moment you cheat for the sake of beauty, you know you're an artist” and Daniel told me the story of when he actually met Hockney, who had said something to the extent of “Magic is an art too y'know...” which was a little pretentious, not ‘Bono-Pretentious’ but enough so that Daniel replied“! know... so is painting.” am elated to be able to say that | am surrounded by more than just conjurors and dex- terous manipulators, than clever and charismatic performers. | am surrounded by artists...for the most part, there are a few that break it up here and there (just as | broke up any eloquence that sentence began with). Ic is an art though—through and through, and those most passionate for it will treat it as such, just as with any other form of art. | recall a piano recital | attended sometime in the past year—the performer, a tiny man, Boaz Sharon, he sits down in front of this Steinway Grande Piano; it’s a leviathan of an in- strument, the elegant monstrosity is a 12,000 part amalgamation of wood, string, metal, and lacquer. For the next 45 minutes I watch in amazement as this guy takes complete control of this enormous instrument. Though the piano is inanimate there seems to be a mutuality between it and the man; evocative of something pliable like clay, or even how sand or water will fall between one's fingers, the piano seemed to ebb and flow to his every movement, to work with him rather than to sit complacently. Such is the case with any artist who is a master of his or her craft; a painter with his or her paintbrush, Hendrix with his Strat’, and you see it in magic too. I'm reminded of the above scenario every time | watch good flourishers. Well, actually it’s kind of the other way around; the entire recital I'm thinking ‘Dan and Dave’. And though less tangible, somehow it is almost equally visual to watch Derren Brown manipulate someone's mind, as if you can see in- visible hands sculpting the grey matter like clay. This just shows us that the artistry goes far beyond the tangible aspects of our art, and we know this because we all know first hand that it takes much more than just dexterity to be a performer. I want to pose a question or two, just a few aspects | find interesting to think about.What is the avant-garde of magic? As of recent, the internal movement of magic is to advance it as a form of art, and magic in itself is about pushing and/or breaking the boundaries. So what can be or is being done to push the boundaries on pushing the boundaries? More over | am leaning towards what the perception of anything avant-garde is and that is something provocative, shocking. | think we should always strive to create something of this nature.An effect that is almost potentially offensive. However, in the words of Joe Cocker “please don’t let me be misunderstood.” | am not suggesting that we should try to offend our spectators, (such a task can be achieved simply with lewd and vulgar behaviour). However, what | do mean is this: by an effect ‘offending’ one’s sensibilities | mean that it has moved this person in such a way that he or she is uncomfortable in more than just the immediate sense. This means two things: one, the person has been successfully deceived, and secondly, what you did struck a chord. You unsettled something in this person’s core, shook them like a tectonic shift, you found a fault line. Effects dealing with religious significance, life and death, and occasionally self- mutilation—are at the frontlines of achieving this. Of course such reactions are not ited to only these types of effects. But, no matter what is done, the most important aspect is to make the person believe in his or her disbelief. The spectators must buy into your lie, so you have to be convincing. You have to act, and not overdo it.You have to test and watch reactions and then alter your performance and try again, you have to feel it; and this is where the intangible part of our art is at. | heed warning to the success of such measures, and remind you to be very gentle when dealing with topics such as life or death or something of religious significance—you needn't delve deep into these subjects to get a strong reaction and you don’t want to step on toes too hard—simply brush ‘over them as you teeter on that very thin line. Lastly, art is a form of self-expression and for the creator it is oftentimes used to digest inner emotions. You can hear the longing in a singers voice or a poets words and see the depression of a painter by something as little as a colour scheme, or the infatuation of a subject by certain details the artist provides. How do we do that with our magic? Yes, the 52 is constant and will be there for you to pick up when you need to escape or when you are frustrated but that is because it is a passion and an addiction. Is it possible to use magic in such a way of such person self-expression? Personally, | think in some ways it is, but it must remain much less direct, perhaps simply in the motivations for creating effects or the state of mind we are in when creating or practicing or when we are inspired to do so and in most cases | think that this it is best to keep it vague, out of sight. Magic needs to have common ground where you meet your spectators, to make them part of the experience it needs to seem personal to them and they have to be able to connect with it, identify with it, with you. Thus is the challenge, or if nothing more, perhaps just something to think about, either way, | leave you to explore this yourself. cA28 may 2009 journal entry 005: truth i know a man who lives by the thou nobody until they prove otnerise.' oposite and always will ve; ‘trust everybody antil they prove otherwise.’ i expect nothing from life, this keeps me constantly amazed and surprised at what life has to offer me. { accept everything as i know that this is jdst the way it is, this is life, sood things /nappen and bad things happen and we have no control; accepteance is far more empowerins that an ex pectation from life. i will accept and i will embrace every livins moment. when people betray us, it is not they who hart as, Dut our expectations! that cause us to react in a negative way thas hurting oirtselves. i have been betrayed, i accept and i embrace, i learn, and not once will 4 ever think 'i shouldn't have trusted him’ for. until moment i had no reason or want to dietra his apolosy finds me bat has no meaning i know it is mot to correct m accept his sorrow bat no same place in osy is only heal Ais own ni wrongs. y outlook, my action are pass not to teach him that a tance will be his sreatest lesson. he was man ywho always used to say ‘trust nobody they prove otherwise’ and i don't think he'll ever change. we cannot be hurt, actions cannot be avoided, we mast embrace or deflect, either way we have to react. nobody was there to teach me this, so it maxes me wonder which one of me is writing right now.13 ogtober 2008 journal entry 006: the hunger: way am i doing this? 4 F answer the one on paper... because i want know t happens to my mind, bat there nas to ve omethins deeper. risht now nothing seems more than self-distruction, not to beat to destroy him. how do we xnow we feeka~— we bleed? ny i'm doing thas? nothing in my life that i xnow eres nothing fulfill, maybe this wil maze him worse? i dream of becoming friends with him. or at least somebody united, bat then i waxe ap hunsry and realise it's only a dream. even when i dream i'm a fool who now's he's soins to wake ap. it's day 11 and i feel worse. ‘my mind i + it's ihterestids bat Uthat wi tl stop me now body or the end of the challense. i tel mind i'12 do’ 4 months, only aim for weexs. i don't want or need to lose weisht, need to lose something. rigot now i need food, he %eeps telling me so. bat this is me in control > and i say no. ing tricks on me scares me but aTHANKS AKNOWLEDGEMENTS CREDITS Pyro aa ROMO RAR AU DOL CcL CoO BOUVET In overview, the sandwich effect offers something of a back-up effect due to the spectators thought-train flaw & the fact that a card appearing between another two only serves to suggest that it was hiding there all along, however the methods for combating this do supply a solution. Rules in magic are imperative, and one of the underlying messages throughout this volume is that we have to be strict and precise with our executions, even if we think that spectator-ignorance will help us, and its the sandwich effect that can offer us such a lesson. Magic can lift us in our spectators eyes, but it can also destroy us twice as fast. Anybody can bal- ance on a wire, but it takes more than just effort for one to balance there forever. See you in volume 3 D I do not claim to have invented or be the original creator of any of the effects included in deceptions, | claim only to have discovered the effects & ideas upon my own terms without influence unless where credited & thanked accordingly. Any similarities between effects & ideas in deceptions & other existing published effects are purely coincidental & unintentional. Such cases will be acknowledged & fully credited accordingly. For a list of full credits for each sleight & effect please visit MAGICisDEAD.com/CREDIT For their contributions to volume.2 of Deceptions i offer sincere thanks to... Randall Freeman, Dee Christopher, Christopher Alexander, & Myles Nakouzi All designs, photos, literature & ideas included are copyright protected 2000-2009 to Daniel Madison all rights, reserved excluding 2Sec & Slice 4 which are copyright to Dee Christopher 2009 & ‘Twenty3; copyright to Myles Nakouzi 2009.FRACTIONS DECEPTIONS DECEPTIONS VOLUME THREE: SWITCH THE DECK - 2011DEDICATED TO JAKE GREEN FOR SAVING MY LIFE DECEPTION |DI-SEP SH-N| THE ACTION OF DECEIVING SOMEONE ATHING THAT DECEIVES, A RANGE OF ELABORATE DECEPTIONS DECEPTION NOUN | - DECEPTION DECEIT, DECEITFULNESS, DUPLICITY, DOUBLE-DEALING, FRAUD, CHEATING, TRICKERY, CHICANERY, DEVIOUSNESS, SLYNESS, WILINESS, GUILE, BLUFF, LYING, PRETENSE, TREACHERY; INFORMAL CROOKEDNESS, MONKEY BUSINESS, MONKEYSHINES, 2 TRICK, DECEIT, SHAM, FRAUD, PRETENSE, HOAX, FAKE, BLIND, ARTIFICE; STRATAGEM, DEVICE, RUSE, SCHEME, DODGE, MACHINATION, SUBTERFUGE; CHEAT, SWINDLE; INFORMAL CON, SETUP, SCAM, FLIMFLAM, BUNCO. DECEPTION (ALSO CALLED BEGUILEMENT, DECEIT, BLUFF, OR SUBTER FUGE) ISTHE ACT OF CONVINCING ANOTHER TO BELIEVE INFORMATION THAT IS NOT TRUE, OR NOTTHE WHOLE TRUTH AS IN CERTAIN TYPES OF HALF-TRUTHS. DECEPTION INVOLVES CONCEPTS LIKE PROPAGANDA, DISTRACTION AND/OR CONCEALMENT. FICTION, WHILE SOMETIMES MANIPULATIVE, IS NOT A DECEPTION UNLESS IT IS PORTRAYED AS PARTIALLY TRUTHFUL OR ASTHE WHOLETRUTH, IN MANY CASES IT IS DIFFICULTTO. DISTINGUISH DECEPTION FROM PROVIDING UNINTENTIONALLY WRONG INFORMATION, ONE OFTHE REASONS FOR THIS ISTHAT A PERSON OR AN ENTIRE ORGANIZATION MAY BE SELF-DECEIVED. DECEPTION IN PSYCHOLOGICAL EXPERIMENTATION THE USE OF DECEPTION IN PSYCHOLOGICAL EXPERIMENTATION IS A METHODOLOGICAL PROCEDURE WHERE THE RESEARCHERS PURPOSELY MISLEAD OR MISINFORM THE PARTICIPANTS ABOUTTHE ‘TRUE NATURE OFTHE EXPERIMENT. THE PROCESS OF CONCEALING INFORMATION FROMTHE PARTICIPANTS IS OMISSION AND THE PURPOSELY MISLEADING OFTHE PARTICIPANTS ABOUT WHAT IS BEING STUDIED IS COMMISSION, THE USE OF DECEPTION IS RESERVED ONLY FOR WHEN IT IS ABSOLUTELY NECESSARY TO PRESERVE THE NATURAL NESS OFTHE PARTICIPANTS’ BEHAVIOR,DECEPTIONS: JOURNALS OF SLEIGHT of HAND ano DECEPTION WITH PLAYING CARDS sy DANIEL MADISON VOLUME THREE : THE COLD DECK MARCH 2011 “When you dance with the Devil, you wait for the music to stop” Deceptions is a series of journals dedicated to the art and psychology of sleight-of- hand and deception with playing cards. Direct from Daniel Madison’s studies, each volume will explore and exercise ideas and concepts of artifice, subterfuge, deception and devilry. Each volume will focus on a different area of the art and teach techniques, mechanics, trickery and demonstrations of playing card deceptions. Each volume will be packed with professional insight, thoughts and guidance and will ultimately offer the reader a new resource for the art and psychology of deception. Deceptions began its life in 2009 as ‘THE UNDERGROUND JOURNALS of MAGIC sy DANIEL MADISON’ waa Series of studies and excerpts from Daniel's journals mixed with new material and additional input from other industry professionals. Along with all other studies ‘on magic at that time, Deceptions ended as Daniel said goodbye to the magic industry, but as one door closes, another ‘opens and Deceptions is now back with a new direction and focus on the psychology and art of sleight-of-hand and deception. WELCOME TO DECEPTIONS, VOLUME THREE.““JOURNALS OF SLEIGHT of HAND AND DECEPTION WITH PLAYING LCi Tr EQQINTSS; ogtan a Welcome to Deceptions Volume Three; The Cold Deck. This issue is dedicated to the idea of switching a deck of cards - openly yet secretly - leaving the victim none-the-wiser. An idea daunting for most and often shunned with thanks to the magic industry -specifically the magicians who prefer the shide ‘I'll just get this piece of toilet paper from my pocket’ methods. Such pleb-worthy moves have made rugged deck-switching quite redundant and absent from would-be deserving publications; and the vicious circle of self-destructing art continues... It work's for them, and turning up for work a few hours late works for my mate Dave, but he gets there early because he respect’s his position. In thought, the idea alone doesn’t invite comfort. The Cold Deck must arrive at the situa- tion unnoticed, in return, the Play Deck must leave in a similar fashion, and by denominational logic one can gather that this exchange is brought about by hand. Any rummaging in and out of pockets is an open invite for the victim to practice his hammering skills on your little pigs. There is an art to the switch, which deserves discipline and time. you will not be rewarded for the move, as none must ever be aware that it took place, but you will be awarded by the means for which it was used. In this issue | will describe with generous and ample detail the mechanical techniques and psychological subtleties that I've been successful with at the card table and in performance. One should note that techniques explained for card-table deception are written from the dealers perspective. | will also touch on thoughts of stacking the deck and also include my marking systems Blood and The Score, if not just to offer you reasons to switch the deck. I take no credit for any move, technique, sleight or effect published in this book. Everything | explore and write about has been discovered in practice and play without influence from other books or resources (unless stated and duly credited.) Any similarities to existing sleights/techniques are unintentional, and purely coincidental. Due credit will always be given and | offer thanks to those who take the time to let me know of such similarities. Please note that this book is written in a consecutive order and designed to be read from page to page, and not sectional as suited: Vital information needed for later ideas is written throughout earlier techniques, therefore skipping a section may leave such a reader confused about earlier missing information. Please note that although techniques and sleights are explained in detail, | assume that this book has met its target audience who will already have a grasp on basic sleight-of-hand tech- niques, which | have subsequently refrained from explaining. And finally, this is not a book of tricks, it is a series of deceptions - for which you will need a deck of playing cards. Welcome to Deceptions Three03 march 2011 journal entry 007: i am himself i was never himself, or the i who i tried on; i was peter parxer in a superman costume. There's adapting. and there's conformins, and i was the latter, forever fixnting to force that square pes throush the round hole... hiding my deceptions dehind mavic tricks. forcing them to appeal to mavicians, foreyer uncomfortable with the horrivle industry and the shit eatins people within it. There are no friends here, only dos maxing you smile in nope to be carried or siven p pprowal. i did not velons and i knew it. app Woney can chanze a man, dut lack of it will do a lot worse. at me and i will bdleed deception, it! lange and infects my mind. [won't cheat you because i can, i'll do itcvecaus can't stop me. You don't see me a 5 Tove this: in ay "i'm the hand up Mona Lisa Macic, you're dead because i killed you, it was a death match and you were outplayedy tryinu™ to play snakes-and-ladders with a man wno plays hess, nis is my third identity.”% nave others. destroy Daniel Madison a piecé at a time, and let the saps fill with what nature-allows So.far i'm further into the recess of ‘deception that I've ever been before. and it like home.To achieve the desired result of a Deck Switch, one must first analyze the procedure, actions and dangers. The action describes the process. The deck in play is switched for another deck - typically a stacked or marked deck - and all other players are none the wiser. They call it the Cold Deck as it has yet to gain any body heat from the using hands of the dealer and players alike... The more skeptical and knowledgeable gambler will keep a subconscious check on the temperature of the cards, and in the midst of a cheat can bring a hex to his attempts or even use them against him. In most all cases, the player must retrieve the Cold Deck by hand and lose the Play Deck the same without notice. There are few ways around this and this is something he must come to terms with before confronting the idea. This is the obstacle of the switch. Hands in pockets draw attention and a deck unnaturally covered for any longer than a split-second will invite questions. The Patch Deck Switch not only involves muddling, but takes advantage of it. The deck never leaves the sight of the players and it never leaves the same hand of the player. The idea works, in concept and method, however, the act requires imperative tailored distraction To avoid annoyance from the start, | will expose the mechanics first, so as not to distract you with the crappy act of distraction - which can be tailored to your suitability. | shall first ap- proach the situation as if one were to apply this technique at a card table. The Cold Deck, which is stacked, is in the left jacket pocket, with the faces facing away from the body. THE MECHANICS: |. The deck is cut and collected by the player - right hand above the deck, lifting and placing it into left hand lower mechanics-grip. The right hand retains the same grip offering shade throughout. 2. As the deck is placed into the left hand it is set free and the top card shifted forward by no more than an inch. The right hand, maintaining the same grip, now only holds the top card of the deck yet appearing to hold the entire deck. 3. The lower 51 cards are gripped into the hand with finger4. 4. The left hand tilts almost face down to the floor whilst at the same time retreating to the trouser pocket. Done correctly and with steady speed and motion, the hand will appear empty and the deck will appear to be still held in the right hand over the table. 5. The deck is dumped in the trouser pocket. After ‘The Act’ the left hand returns to the jacket pocket to collect the cold deck in the same palming grip. 6. The cold deck is now returned to play and secretly loaded under the single shade card in the right hand. The right hand instantly releases the top card offering the illusion that the deck was passed from the right to the left hand.This deck switch, aside from ‘The Act’ is faced with a problem. Although you have brought a full cold deck into play, you are left with a stranger card on top of the deck, which will duplicate one of the cards in the new deck. The player can combat this before he begins. Lets's say the top of his stack is the 2 of Clubs. He can remove this card from the deck. During play, he can locate, or await the 2 of Clubs being dealt to him, which he will then Crimp. Upon his deal he can control the 2 to the top and palm it away from the deck for the cut. Once cut, in retrieving the deck, the palmed card is added to the top of the deck and the deck switch proceeds. By completion of the switch, the 2C is at the top of the stack - where it belongs - and there are no strangers in the deck. Assuming that these precautions weren't followed, the player must employ a series of sleights to eliminate the excess card from the game... Faced with an extra card on top of the deck, following the switch, the player must second deal until his first card, then deal himself the stranger card. He must then deal himself a double on his final card. This will leave him with one more card than he needs: the stranger card at the bottom of his pile, which can be removed by bug / lap /palm /other. To fully understand the mechanics, one must first be confident with ‘The Act: The Play Deck has been palmed to the trouser pocket. The Cold Deck awaits in the jacket pocket. The player must be seen going to his trouser pocket, and then going to his jacket pocket, right in that awkward moment between the cut and the deal. In fast company, no excuse for an act would not play, so one should always be intelligent with the devices he uses to foil his victims. THE ACT // ONE: Hold on, | need more money... With money in the right jacket pocket, the player takes to his rouse in the guise of needing to fetch more money from his pocket. But which pocket is the money in? |. The Play Deck is palmed and dumped in the left trouser pocket. 2. Upon finding no dough in his trouser pocket, he tries his left jacket pocket. This is where he loads the Cold Deck into palm. 3. Finding no bacon in his left jacket pocket, he returns his secretly loaded left hand where the right hand connects and drops the shade card on top. This appears as though the deck has merely been passed from the right hand to the left. 4. The right hand then finds its way to the right jacket pocket, where he finds his cheddar. Amongst drunkards one can find an easy ride with this act. Players generally frown at money finding its way to the table mid-play so one must be wise in the act construction by having a low stack (of chips/change) at the table and also hope that no other player mentions this before the act. One will find ease with this ‘excuse’ in a friendly or lazy game and should never risk without confidence. One will feel the urge to speed up the process, as the time he must hold the single card as if holding a full deck may induce panic, but this only causes unnatural actions within the pockets. Here are some other ideas for playing out ‘The Act.’THE ACT // TWO: Mum, | told you not to call me at the office... With his portable telephone in his left trouser pocket, he is able to hide the switch in the warming mist of humiliation... |. The Play Deck is palmed. The player reacts to a vibrating phone in his pocket and so, appar- ently keeping the deck in his right hand, he dumps the Play Deck in his left trouser pocket and takes out his vibrating phone. 2. “Mum, | told you not to call me at the office, Ill call you back tomorrow.” 3. He returns the phone to his left jacket pocket where the Cold Deck awaits. 4, The Cold Deck is palmed back into play and the game continues. One may wonder how to plan the phone-call so accurately, but the play is simple as the phone never rings nor vibrates. The player does not make a big deal about the call, he simple becomes aware of the vibrating phone and answers it. He is careful to hold the phone in a way that shades the blank screen from the other players and of course has already set the phone to silent (in case it rings when he is pretending to talk on it.) It’s a quick call, loaded with humor and will hopefully create a little conveniently distracting banter at the table. IN PERFORMANCE: Learning the card table methods for this deck switch will have already set you a few paces beyond the needs of the performer, as a duplicate card in the deck (for most) is not a disadvan- tage but a rather welcoming advantage. Even if the duplicate has no use to you, it causes no risks that cannot be easily solved. Because of the relaxed nature of performance, one needs very little excuse nor need to ex- plain his mid-performance pocket-visits... Were the spectator to sign a selection, the performer would have the opportunity to removelreplace the pen from/to his pocket, he would also have the opportunity to turn away as the card is signed - to prevent any goose-necking. An‘act’ quite unnecessary yet worth a mention would see that the performer placed a joker atop his stack. Following the switch and into patter he would double lift to show the joker and state that he does not need this card in the deck, which he then places in his pocket (with the stranger card hidden behind it) and the stack would then be pure. Most - in the right mind - will not be of the pocket-visiting sort. To which | offer you some- thing rather intriguing... Slaine...NS As stated, one takes a risk searching his pockets with one hand whilst the deck is in the other. When sat at the table, one as the opportunity to load the Cold Deck on his lap, which would sit in the shade of the table, he would then only need to ditch the Play Deck from his lap between the completion of the switch and his exit from the chair, offering suffi- cient time for the sleight. Slaine is a device which eliminates the pocket. The Play Deck however is lapped and ditched after the switch (which will be covered.) Slaine, is a ‘Deck Dropping Device’ which will attach to the inside of your jacket. Ideally you'll be wearing a suit jacket or one of simi- lar length. The device will place a full deck of cards in your hand whenever you need it with no inconspicuous moves or any visits to your pocket... To construct the device, you will need a card box ///_an elastic band of a size comfort- able enough to wrap around the deck once without too much pressure /// sticky tape Ill anda safety pin. DEVICE CONSTRUCTION: |. Cut approximately one inch from the top/bottom of the box. 2. Wrap the elastic band around the box with the deck in it. 3. Feed the enclosed safety pin under the band and tape both to the box.With your jacket on, the device should be in a perfect position to reach naturally and se- cretly without the need for any questionable motions... Pin the box to the bottom inside left of your jacket so that it can be easily reached by your left hand. Practice knocking the elastic away from the box and allowing the cards to slide out into your awaiting hand, Be- cause of the comfortable location, actions will go unnoticed; it should appear as though you are simply holding your hand at your side. One may wish to make further effort in sewing a patch of material to the inside of the jacket so that it is hidden when the jacket is open. | took the time to unstitch the seam of my jacket so that the device hides inside an open ‘upside-down’ pocket, however, this is quite unnecessary for the performer. THE MECHANICS: Specifically clever for card-table artifice, this technique is designed for one sat down, a little further away from the table as he should be... |. As the deck is surfaced for the cut, drop both your hands to your sides to adjust your seat, ideally puling your chair closer to the table. It will appear that both hands are used for the grip on the chair, however, only the right hand will move the chair. 2. The left hand connects to the device and releases the deck into a finger-palm grip, which is instantly adjusted into a gamblers cop position. The hands are brought back to wait at the players laps, or instantly to the table for the deck switch. My intentions to refrain from offering a deck switch method at this point will make more sense when you continue with the next method (Veil) as this section is dedicated to the device alone. IN PERFORMANCE: ‘As with most performance devices, one need not stress about his moments,as they can be ma- nipulated and controlled without question. However, this device allows you to load a full deck into your hand right in front of your spectators. With practice in front of a mirror (and with the device in the correct possition) you will notice that you can load the deck with no unnatural movements or stature whatsoever. Once you have the deck loaded, your choice of deck switch is your peril, however, | have always found the OTT Deck Switch is the easiest for stand-up performances - which will be covered in a few pages.15 Introducing deck-switchnig methods with Patch was a consious step to prepare you for the suggested mechanics for deck-switching at the card table: by the means of using the top card as a shade card as the deck is switched beneath it. | suggest this as a strong and proven method and using the idea with the Slaile device will offer a much easier procedure. In this case, however, | offer a technique far more accessible and far less risky - with a little help from the Slaine device.. THE MECHANICS: |. As the deck is surfaced for the cut, drop both your hands to your sides to adjust your seat, ideally puling your chair closer to the table. It will appear that both hands are used for the grip on the chair, however, only the right hand will move the chair. The left hand connects to the Slaine dtevice and releases the deck into a finger-palm grip, which is instantly adjusted into a gamblers cop position. 2. The right hand then aproaches the deck as the left hand hovers at the table level, tilted, hiding the Cold Deck. 3. Finger | of the right hand is curled in to contact the top of the deck. The thumb at the back of the deck. Finger2 connects with the top card at the inside left corner causing it to breach the end of the deck by a few millimeters; the thumb stopps it from pivoting from the deck. Fingers3 and 4 curl over the front of the deck and the deck is lifted. 4. As the top card is slightly seperated from the deck it is gripped between finger2 and the thumb and kept in place by finger one on top. The deck is taken back and over the edge of the table as it makes it's way to the left hand. As the deck reaches the end of the table, the deck is released keeping only the top card in hand, in the same action, the left hand brings the Cold Deck under the single shade card for the complete move. This entire action will appear simple. As the deck is cut, the dealer pulls his chair in, then takes the deck from the surface and passes it to his left hand and begins the deal. The grip on the top card will take a good practice run for a comfortable sleight and one must ensure he drops the Play Deck on his central lap, so that it lands complete between the legs. Once again you face the issue of having a stranger in the deck, and for this situation | would reccomend that the ‘sec- cond-dealing until the players deal’ idea would best suffice CLEANING UP A LAPPED DECK: There is no such sleight devised for vanishing a lapped deck that one would care to apply at the card table. One may employ the use of a Toppit, however this would require the player to launch the deck into his open jacket in hope that it goes unnoticed - something | have not at- tempted for obvious reasons, however, | have been tempted.With the deck on your lap, you won't have an opportunity to clean up whilst dealing, so the soonest one could take action is following a fold or during another players shuffle and deal. It is important that the player sit close to the table, and lean in even closer following the drop as he needs as much shade as he can forge over his lap. In resting moments, when there is nothing to hold on the deck, the player can sit back and drop his hands to his lap without the worry of suspicion, as this is a common behavior of one who is out of play. The player can use this to his advantage for the clean. There is no technique surpassing the obvious. One must simply gather the deck in the shade of the table and get it to his pocket. Nonetheless, here is my method... |. With the deck in left hand finger-palm, the player makes his excuses to drop out for a bath- room visit. 2. He swivels to his left bringing his left hand to the left side of the chair. His right arm swings over to the left as his entire body turns. He now has enough cover to dump the deck in his pocket as he stands to leave. 3. During his bathroom visit, the deck is dumped in the toilet cistern. Alternatively, the player has the opportunity - once the deck is loaded in left-hand finger-palm - to retrieve and check his phone for messages etc. In which case the deck is simply taken to the pocket at an appropriate moment for the act. One should avoid attempts to ‘sleeve’ the Play Deck. not only is this an awkward process but it carries way too many risks. One may be fortunate enough to be seated at a table that has a double-structure providing a small platform under the table suitable for the Play Deck ditch. I have practiced the idea of itching the left ankle and secretly forcing the deck into the sock at the same time. This is very tricky and can consume more time than one would expect to take ona simple leg-scratch. One may be of the sort to have invested in the wear of / and be incline to wearing combat jeans / trousers to his game, in which case he has a natural reach to a pocket situated near the knees, making for a very appropriate deck-dump. However, I'm yet to meet a serious player sporting such an outfit. Following, are some direct deck switches, which take advantage of the Slaine device, most of which also incorporate one of the mentioned clean-up methods.Named apropriately for the balls needed to apply this to a game, Grit is Veil with a death-wish. This technique eliminates the cover card and is a direct deck switch - one-for-one. It is a bold move and has a discrepant moment where the hand will appear to be holding a deck, when really holding nothing at all... Providing you have your Cold Deck loaded from the Slaine device, prepare to lap the deck from the table... |. Following the cut, take the deck from the table with the right hand and bring it over the the awaiting (and loaded) left hand. 2. As the right hand breaches the table, drop the entire deck to the lap. 3. The right hand, keeping it’s shape (as if holding the deck still) meets the left hand, which has since turned face up to produce the loaded Cold Deck. To put this move into perspective, the Cold Deck makes its show before the Play Deck touch- es the lap, of course, they are not seen at the same time, but this should explain how quick the move is. The deck isn't dropped until both hands appear to meet at the table edge. As the deck is dropped in motion it will travel down at an angle, therefore the body turns slightly over to the right, which incidentally offers more shade over the lap. One should not attempt to speed though this technique, although the actual switch takes a split-second, it is not done at top speed. The shade is offered from the movements made by the arms and hands meeting. You will find through practice that the hands play a great part in shad- ing the deck. In the mirror, you may even at times fool yourself. Seeing the deck leave the right hand is not always a bad thing, as the appearance of the Cold Deck will offer the image that the Play Deck was simply dropped into the left hand for the deal This switch takes practice that cannot be fully translated on paper. The Play Deck is dropped with perfect timing as the hands meet. Nothing is done without natural motion. The deck is not thrown and there is no room for error. Without a term of practice, one should avoid this switch. Perfecting Veil, will offer the best training needed for Grit.This is the first deck switch | mastered and the only one | used in my early days. It inspired the OTT Deck Switch (following) and makes the most of the Play Deck, which remains in the game right up to the point of the first deal. Providing you have a loaded Cold Deck in palm, prepare to lap the Play Deck. |. Maneuver the palmed Cold Deck into a lower Gamblers Cop; gripped between finger2 and mid-palm. Finger! curls over covering the end of the deck. 2. Following the cut, collect the deck from the table with the right hand and bring it over to the left. 3. Raise the left hand loading the Cold Deck under the Play Deck. The Play Deck sits on top of the Cold Deck slightly forward. Finger! now curls over the front of the play deck. 4, The top card of the Play Deck is pushed over for the deal. At the same time, the dealing motion of the deck hand begins by tilting up at the front and down at the back, almost as if to flash the bottom card but seen to simply be passing the dealing card to the taking right hand. 5. In the rocking motion of the deck, as it tilts back, a moment of shade is offered over the deck. In this motion, the Play Deck is released allowing it to be thrown/slide off of the Cold Deck and into the lap. The top card of the cold deck is then the first card to be dealt: The motion of dealing covers the move. The Play Deck, sits on the Cold Deck, and is then simply thrown out of play to the lap in the motion of the first deal. This carries as many dangers as any deck switch, but uses a natural motion to cover that sliding ditch/lap. One may wish to attempt sliding the Play deck over to the lap the instant it touches the hand (before the deal) but one will find no cover wiser than the actual deal As with all techniques, practice is key. The arms need to be in contact with the table or as close as they can be to hide the fall and one should put as much practice in the landing of the lap as the actual technique itself. For those in performance, either stood or sat, The OTT Deck switch follows the same initia- tion as Slide, but has a safer clean up than lapping the deck...Following Slide, one can assure a safer performance technique in OTT (Over The Top.) Al- though | displayed this change toward the end of the Subterfuge One demonstration video, it’s not a move that can be applied at the table unless the player is in cahoots with the dealer (something | am strongly against.) | designed this technique for display and performance only. Itis quick and direct and the Play Deck will be long-gone before anybody know’s what's hit them. It can be done in extremely close surroundings without danger and hides itself in a simple cut of the deck. |. The spectator is invited to shuffle the deck. In this act, load the Cold Deck from the Slaine device and prepare for the switch. Adjust the Cold Deck so that it is in a Gamblers Cop. 2. Take back the Play Deck with the right hand and load the Cold Deck under it. The Play Deck will be overlapping the Cold Deck slightly. 4, Without hesitation, with the right hand, grab the Cold Deck at the very back ends and strip it from under the Play Deck. Draw the entire deck back to the body tilted downward and circle it up and over, slapping it on top of the Play Deck. This should appear to be a simple end-strip cut, cutting the bottom half to the top from the back. 5. As the Cold Deck makes its way to the top, finger! pushes the Play Deck further back into the hand. The Deck’s will end in the same position as they were after the load. 6. The right hand now takes the Cold Deck from above as the left hand tilts palming the Play Deck away in a Gamblers Cop for the ditch. I have ended explanation at this point, as how you continue from here depends on your choice of effect. The deck is taken back from the spectator after their shuffle, all that is seen is the player cutting the deck. You may have a pen in your left pocket, which you will need for the next part of your effect. This gives you a valid excuse to make way to your pocket for the ditch. If you have switched in a memorized stack, once you have palmed the Play Deck away, tilt your body and reach over the surface with your right hand, as the deck touches the surface you will turn it face up and spread the deck face up across the surface. In this motion your twisted body will provide it’s own shade for the Play Deck in the left hand to be dumped in the left back pocket. Executed at a table, you can reach back with your left hand to pull your chair closer to the table. The Cold Deck will remain in sight and the Play Deck can be dumped on your chair during your move, which you will then sit on.eT Unlike other previous entries, Heat allows the player to show an open left hand as the Cold Deck is hidden in the collecting right hand in a rather difficult full-deck flat-palm... |. Once the deck is loaded in the left hand, the player transfers it to a right-hand flat-deck-palm (below) :The deck is bevelled into the hand and gripped between the thumb and the inside of finger4. All fingers are completely straight and the hand is held flat 2. Following the cut, the player takes the deck from the table with his right hand, the Cold Deck is dropped on top of the Play Deck. Both decks are lifted and taken to the left hand 3. As the left hand tilts upward and over to feed the top card to the right hand for the deal, the Play Deck is set free and dropped over the edge of the table to the lap It’s not the players intention to wave at his opponents to prove his empty left hand. It is a psychologically subtlety. Practice and precision with the flat-palm is the drive behind this switch. No unknowing player will imagine that two decks could ever be held in one hand unnoticed, so. the act naturally avoids suspicion. The grip on both decks in the right hand lasts for no longer than a seconds, and the same when held in the left. The act should be understood and practiced as one solid move and not a series of sleights; there are no breaks in motion. On an ending table (without an edge or bumper) one can complete the switch without lifting the deck. Once the Cold Deck lands on top of the Play Deck, both decks can be slid off of the edge of the table. The Play Deck of course, falls to the lap as the Cold Deck takes over. Hopefully by now you have enough material to work on to aid your deck-switching. Following, I have included two previously published books that cover interesting marking systems for play- ing cards. | hope that these offer you further reasons to practice deck-switching and offer you a further insight in the art of deception with playing cards...28 December 2010 journal entry 008: personal demon destroy yourself, whatever is left standing when rock-bottom arrives is your foundation. and waiting for me was a deck of cards. lt on it. The only giant's shoulders | on are those built in my head. Don't When you make yourself a part of \ you are no lonser unique. The moment in is the moment ] bow out. doing this for anything, I do what know nothing more. They say imitation is flattery, but it ju minds me that original thousht is dead. are people so lost that they pretend to be what they are not? E don't asree that the artist su nis art. he is an artist because ne would have it no other way. appress your demons, yoy sive them — time to plan their attack"11 february 2011 journal entry 009: a message to youMOUGHTS Instincts will beguile the beginner with false priorities... Hide the deck. Hurry the switch. Distract the players. These are all misplaced thoughts. The best cover for any sleight is con- fidence and a natural disposition; anything that betrays nature or appears to force attention away, will only attract unwanted eyes and suspicious minds. Practice will mould your ini- tial-stumbles into a second-nature and is imperative. The same is said for all sleights. The deck switch is not needed by all, but demonstrates an ability to deceive in a way unlike no other; it is a true test a bravery and skill. The content of this volume has been written from the dealers perspective. There are many opportunities to switch the deck when in- vited to cut for the dealer, allowing them to unknowingly deal out your stacked deck; as such a procedure requires lesser work i have decided to leave it right here, as no more than a suggestion. Often in exposing demonstrations, spectators need a nudge to realize that the deck has changed, even after a direct and open color-for-color switch... | leave you now with a few more performance ideas... For those with a glass deck... Crimp the selection and allow the spectator a shuffle. Load the glass under the deck and manipulate the selection to the bottom of the deck. Clip the selection to the top of the glass and perform the OTT switch. After dumping the deck, you will still appear to have the deck in hand; soon to be revealed as the glass deck with the se- lection on top. The revelation can happen in the spectators unknowing hands or one can drop the deck flat the floor causing it to shatter over the appearing selection. Switching to a different color deck - as a display of ability - one may find pleasure in using Veil to keep the appearance of the same deck. The performer can then change/vanish the top card followed by a spread of the deck for the reveal. In deeper thoughts, one may have the signed card atop the deck, offering quite a powerful brainwave child. And finally, switching a shuffled deck for a deck in new-order offers the performer a plat- form of a tremendous display of control that would par with the phantom himself. | wish you my best with your deceptive endeavors and invite you to dig deeper into your urges to indulge in the art. Keep your eyes open, your mind on the game, and do your best to avoid falling for the biggest deception of all. 0THANKS AKNOWLEDGEMENTS CREDITS pl