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    Rick Merrill - Home Schooled PDF

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    Rick Merrill - Home Schooled PDF

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    3 ANTINOMY MAGIC Publication Home Schooled The Self-Taught Creations of Rick Astle i t Table of Contents Introduction ... Openers . ‘The Restaurant Opener Life Lesson #1 ‘Approaching o Table of Strangers The Standup Opener The Classic Force Bonus Card Effect For Magicians Sybilations Sybil Cut Rise Sybil Cut Flush The Do Vander Code Life Lesson #2 Heart Up His Sleeve. Impromptv Hitman with an Extra Punch The No-Sleeve Vanish Home Schooled . (On Sleeving ‘On Competition Life Lesson #3... Touchstones and Crosstoads .. Thank You's Home Schooled the Self-Taught Creations of Rick Memill ee The SeltTaught Creations of Introduction {you heve seen Rick's contest act, then you know he uses < “Home Schooled" reference to Fumorus resul. Il you nevent seek iivoct Im not here fo spol the reference for you. #f you gel the chance to see his act, see il, Espacialy f you caulc use {Glaugh or two. More thon a reference ta his contest act, “Home Schooled” specks volumes about his process in corning up with the act. You seer ine harspent lol of lime alone thinking about his magic. And that “aloneness” shows in his performance, While he hos Fee eee nine worships, ond 6 cicle of fiends within the magic com-nuly, i si his distinctiveness that shines through, The ee ions shows because of the thought he has put inte #. By Being "Homme Scholes” in regards to his magic, he has ‘qvorenieed his uniqueness. , Performers on the sloge speck of certain actors that have the “shine.” By that, hey mean that extra soecict. indefinabie some. thug thot sols some performers opar! from the rest. Rick has thal thing. Maybe ft came ftorn ai the time he spent looking at hs Dwsrotiection in the minor while practicing, Time spent at home, alone, lecming about himself and his magic Rick is new to the magic scene. AS such, you will not see much in these pages that shows bits onl business from his evar ch Fino 20%, But f you look closely, you wil see few moments trom i, Look closers and you wil see moments hat influences Mrethents inf. Ashargie here, acon there, a bit of advice or a story about his performances, He is here, his magic is here. his Dros are here. Forgive him hs enlie act is not, Perhaps some day when he retires i! or stops honing ithe wi pubsh itl Thot day's no! today. ‘The materia! presented here is ¢ combination of things that Rick has developed fo perform for laymen. for magicians, andi for Te etiion, fwal be tempting for the cosa! Teoder who reads phrases in these notes tke, "Perform a Classic Force or sSewNe the sharpie,” fo grumble and move on, but that would be ignoring the real odvice presented. The fact is, Rick per Torres ol of the things presented here in eifferent venues. He does them well and they ploy well. you ploy with hem, they can {grow into similor tools for you. | should mention that Ricks lefehanded. In most cases, the descriptions of routines have hed the hands transposed, since the thojorty of you ae right handed. Exceptions fo ths ore noted. In some cases the photos have been “topped so they portray Trash handed magicion. In other phates, the reader wil have fo view them os o miror image of thelr wn Rant. | shoutd oko ont out nat Rick wrote Cerfoin pars ofthis manuscrin These exceptions are noted as well and include his thoughts on sleev- [ng on magic competition, and the "Life Lessons" sprinkled throughout. For those who ate bound to ask the inevitable question, "Is he really Home Schooled” Well we wil lt the futh of the matter Fide ond respond onather doy. For now, turn the page, and prepare to step into schoo! with the award-winning magic of Rick Merit Gene Toyior February, 2005 Home Schooled Openers tr tne question everyone osts: "What shou | open wth?” Rick's choice of openetss contrary fe popular wisdom, Mod Tea ea a ese yal card ficks should be avoided, not jst fer opening ticks, but Pemaps for the entre ast. The conver” Co eo oe youre going 10 do any card Wicks, choose just one and make sure i's good ane, Arid don't open wilh ie Wel os you'll fing, Rick isn't conventional Instead, he asks these questions: How mony people actualy get a chance fo see « good card tick? cee saSnle realy ate cord ircks or do they hate the magicians thot pertarm them (badly)? cones (eoivaice agaist good card McK, if shared by the general pubIc or pu! forth by only magicians? ‘Ask yourself Which group sees more bod card tricks? is answers ere in tne opening routines he uses in lwo eliferent venues. They are cord ticks, and he has one for use in estou fonts and another that he uses n standup performances, The Restaurant Opener A Cheeky Cheek-to-Cheek The magician introduces himself ond offers to do 0 quick cord tek [For more on how the magicion Is nroduced, see te soc Fare ecacring @ group of sane). He proceeds to seemingly miss and then find two selections. Another selector Fo ei oot ariatious Card sequence, and then, along with yet one more selection, itis found in @ deck tna hes Deen Pere ies face up and face down. In hue iumpphant fashion. the final cardi he erly face Up card afer the other Cards magically right themselves. : } The Method 4 é The Effect : You will need! roe ee peek Deck — A deck consisting of half « deck of normal cards and half @ deck of double backed cars T fie Gverage value noxmal cards pencil dotted on their Backs at opposite comers Set the deck up 08 fotiows, rom the top of the deck: “Two, doubie-backed cords ’ “Tw normal cords f “the remaining double-backed cards 4 “The two pened dotted cards “ne rest of the normal cords when the deckis spread, one side appeos ta be a normal face down deck. The other side reveats the tue station. Put he E ‘deck in is case and place the case in an accessible pocket. ‘The Sell-Taught Creations of Rick Merl ‘Opening locations and transpositions oprooch the table, infioduee yourselt, and take the cased deck from your pocket. Remove the setup deck from the cars Case ond fable Ihe case to your ight. Spread the deck face down between your hands and have two cards selected. Of Course, you must spread post the double-backed section of the deck and ensure thet the cards ore selected from the group Sfnormol cards. Have the fist one selected by a spectator 10 your elt. Have the second one selected by spectator on your tight. {As the spectators memotize their cares, overhand shuffle the deck face-up os follows: Run ene card from face fo top, then Shuffle the remaining face-up portion ond place back on the face. You are reinforcing that its @ normal deck of cords. Note: The adctfonal face tiown normal cord on top of the deck could be port of your initia setup, but since @ cord isrequired fo be positioned in his manner for each selection, Rick does this placement during the performance. ‘Swing cut o portion of the deck into your left hand. Make sure you have cut deep enough so you cut into the group of'normal ards, Hove fhe fist selection retuined on the swing cul portion. Place the block of cards onto it and maintain @ pinky break ‘between the sections. You can now control the selection fo the top of the deck using your favorite method. A double under- cuts oppropéate, but Rick simply tus the deck in preparation for another face up overhond shuffe, cuts at the break, anct ‘Shullles of Ths again shows the deck consists of normal cards. At the end of this process. or during it, run one card from the face fo Ihe top of the deck. you use on oltemative procedure, you wil have te contrive to ploce an adaitoncl card above {ne selection. {At this point, your deck selup should be on indiferent card, the fist selection, onotherindiferent cord, ond the remainder of the deck sefup you storied with. Repeat the procedure, staring with the swing cut, to have the second selection retuned. Again, overnand shuffle face up by Culting at the break and shutfing off. You now have the second selection on top, followed by an incttferent card, the fist Selection, and another indifferent card. Speaking to the second spectator, tel them “tf everything went okay. your card should be on top of the deck.” Double it! to Show the wrong cord. name it and say, "Righi@" as you fun the double down and place the top card in thet hond. Then crib ble @ group of cards into your left hand, making sure you stop in the group of normal cards, Tum the right hand group of cards ver to display the cord on the face of that packet and say, I meant the [nome the cord you see). \When they confirm thi is not their cord elther, repiace the packs! onto the group in your lett hand. Say, “I guess | screwed up. What was your card®" When they state what it was, say, "Isn't that the one I gave you?” and have them turn over the card in thei hand Fist surprise. As the cord is revealed, sip cut the top cord of the deck [an Indifferent card) into the group of normal cords. Perform a double turnover to show the top card is net the second spectator’s card. Tun the double back face down. Take the top card ond place ft partially into the middie of the deck. pause, cnd then take i! back out fo show that itis now the second spectator’s card ‘You can proceed with the next section of the routine using this spectator's card, but itis ao on opportunity to get a thi pet- son involved, If you choose to have a new selection made, retuin ths spectator’s card into the deck. making sure it goes into the notmal group of cords. Then, sip cut the top card into this sore group of cards, Ths returns the deck to the setup you stort ed with where there ore wo double-backed cards on top of the deck, Home Schooled ‘An Ambitious Sequence, Cord to Pocket, and “For the Unambitious” Tun the deck face up end spread the deck to have ony card selected. This ‘again "proves" that you are ysing @ normal deck. You should have this cord Signed. Turn the deck face dawn and place the selected card face up on top of it You ore going fo use the hwo double backers to achieve a brief, anc very clean, ambitious cord sequence. Perform a couble tumover onto the top of the deck, saying you will ploce the Selected cord into the middle of the deck. In actually, you take the top double. Backer and inser it ito the group of deuble-backed cords from the outer end of the deck. Push this card flush, Snap your fingers and show that the selection has risen to the top of the deck. Perform 0 double turnover again and supposedly place the selected card info tthe middle of the deck from the outer edge again. You repeat the same actions os the previous sequence, but this ime leave the double-backer outjogges. Do & ouble turnover on the fap of the deck, showing on incffferent card andi confirm: ‘ng that tne selected cord is ct yet on fop of the deck (Fig. 1). Tum this double ‘down and :ay tha! you wil use the incifferent card to push in the (supposed) Selected Card. Do this (Fg, 2). When the cords pushed flush, show that the former top card of the deck, now in your nands, has turned into the selection (Fg. 3). Pain pres elu the selection to the top ef the deck, face down, and sip cut i into the eck. Hold 6 break abave iin position to Classic Farce the card on the same Speciator again while csking them to “Take cnother card.” Nole: in the event you Connot perform a Classic Force, you can acquire @ break above it end perform the popular Rffle Force. Rick, however. performs the Classic Force and performs it ‘very well, Advice on performing the Classic Force is presented later Take the cord from them, commenting, “That's never happened before.” Top Change this selection for tne fist indifferent card on top of the deck and place the card slightly under the cord case that is ving on the table, Sip Cut the octual selection again into position to perform a Classic Force. Do $0 ond act surprised tha! they have the selection again, Show the card under the cose os different fiom the selection. As the spectators reac! to this, Tap Change the selection ‘again and place it on the table face ‘down. Turn over this card fo show thot ifs not the selection either. As the spectators react to ths, Top Pim the actual selection. go to your pocket with i, ond reproduce it. Replace the cord face up on top of the deck, Rick now pertorms the “For the Unombitious” sequence created by Edward Maro. Obtain a right thumb break above the bottom card of tne The Selt-Taught Creations of Rick Merl © eck by using 0 buckle o puldown technique (Fig. 4). Holding the deck In right hand Biddle Grip, swing cut the top Rott into Fes ichrhone: Turn the selected cord over by pushing it fo the right sighty with your lft thumb and tevering the cord over onto Te packet using the ell edge ofthe right hand packet. Fp the cord ever again so tha! I lands eujegged end face down on the lett hond packet. “Bitty postion the right hand pactet over the fop ofthe lef! hand packet and tote the bottom card from the ight hard Paci Shonto me top of the let! hond packet [Fg. 1. Take the cord square onto the Buk of the packel 0s you rotate your left han {ieee to deploy tne face of the sfil oujogged selected cord. Move the ight hand packet away as you do tis. Rotate the Jen hand packet Bock face down and as you do $0, push the ouljogged cord square with the telt hand packet. When the left and pocket arrives foce down, push over the top cord with the let thumb (Fg. &). Perform o one hand fan of the rant hone! Gece we thr bet Fm np rancon fem ne en eke ntact oe (Fig. 7). Fick's conclusion to this sequence varies from the original, He has the spectator push the card flush into the fon. As they do {hs ho goes up to hs mouih with the left hand packet and inserts a comer of the selected cord between Ns iss. He lowors hit [eit hondl back os the spectator finkhes pushing the (supposed) selection into the fon ond then rotates this fon foce up £0 the spectator con lock for het cord. As they look fori. he rises he fan towards his face until the spectator reaize thot the Cord, FSanging from he mouth (Rig 8). He bures th card into the group of normel cards and proceeds into the lst phase of the routine, ‘Cheek to Cheek Replace the fon of normal cords to the bottom of the deck. The order of the deck rom the top dewn, should be the entre bank of double-backed cards, fol. owed by the two pencil dotted cords, with the remainder of the deck consiing Ginomal cards, Classic Force one of ihe pencil dotied cords. Have a second Cord selected from the group of normal cards. Altematively, the signed cord from the previous sequence con be used as the second selection. Spit the deck s0 that the remaining penci dotted card becomes the bottom ard of the top hall [the only normal card in the group of double-bockers), Take thisholf of the deck into your fght hand and retain the other in your lft. Perform hwo one-hended fons with these two hall-decks, keeping their outer edges (those Closest fo the oudience) fited slightly downward so os not to reveal the five con dlfon of the upper hai (Fig. 9. Home Schooled Weave the two fans of cates info each other creating @ deck with naif he cords Jace op ong the other half face down (Fig. 10). This type of shuffle alows you 10 [Storm o tiumphstye elfect wihout the need foro surface to shtie on Peters and spread the cords between your hands. Look for the pencit dotted Meee own cords It will be the lost face down card in the spread, When you see [Semove i, tum it over and replace it face up in ihe upper par of the deck. eseeeeat ets gol one more face up card.” Tiss a subtle convincer that the Socks @ normal ene ond it cleans up the situation by turning the only normal face down card face up. at wil spit the deck into two halves ond place them down in front of the spect. csk- i tnem to shule. Take the deck back, square it, and spread it face down 10 Ing he 30. Corl Seuere tne pack and! oe ft fowards your eve level. Ning it sidewoys in ne process ond Poston: a gn sce te spectators jt sows facing them again. Spread the cards agin so the spectator eon see, inglt go ne sor"; tne cards Done smoothly, they should believe they are seeing the other sce of he saxead) bul Wis Mot race sores you proud the cards, you wil S26 ol Backs acing you except for the Iwo selections Look fr the second Selection and determine opproximately where ities in the deck squcte he pack ogain ane tum it sideways os you lower your hands back fo wat level Spread tne cad unl you Soa Soe re vou now cantons he second selection, Since you've nartowed the area yOu Rave 10 ook in. sree a Ane oe reel dot on Misaelection. Onee you recch ft perform R, Pau Wison's "Ernergence.” This lows he cote fe myste= rioualy float from the deck. I has the Some effect as a card rise, excep! _gravily helps in this cose, R. Paul Wilson's “Emergence” Briefly. you spread fo where the cord lies in the spreac. Your left fingee and thumb clamp the cards immedictely 1o the leit of the selected card. Your right fi ‘gers and thumb do the same to {ive cats on the right of the selected card, This leaves the Selection as the only loose cord inthe spread. By fing your hands downward and contraling the amount of pressure placed ton the car by the others. the Selected card con be made to Slowly move out of the deck Done corecti. it looks very mys terious (Fig. 11 & Fg. 12) Don't let the selection fall rom the deck. Leave it protruaing trom the flack and square up (Fig. 13) Swivel The Self Taughi Creations of Rick Mer | the deck so the cords pointing Upward, keeping the back of the (Gora towards the spectator Fig. 14). ‘Bak the spectator the nome of their ‘Cord ond remove the card with your fight hond (Fig. 18), evecting the Selection, As you revec! the card, ‘you simply lower the deck in your left frend (Fig. 16) This turns the deck : ver. Ask the name of the frst spec: Re fotor’s cord and then spread the = Gack fo revedl that is the only face i be Up card in the now. suddenty face wn deck. Alternotively. i fable space is ited, you can spread the cards between your hands te show the some resut. b © Mr. Vocal is Stunned info Silence F "ysl no liege earns ace | workin fo.0 couple‘of youines fot fhe group, For my last routine: ‘ Everyone ol ne table wos excemely mendy but the guy Immecicely omy ett as ate more vocal than the ethers. nc es horote fate au pen ovening eran redo Sess oe es eee hare! bu o wos tement bull es carey oe be he est one eveciea | sexes reveaing the carde ona ato frne.anc the ex ‘faunduslecton oferseecton Al began to de the rovelaontr cas #5, (pad of the ie Nosats Gar) | Re ee re isle el ov caec ees oe Poe net ree ca 5 Bvenone one ble wa oes at he ns fs once we nae been echt Rend bs Ne pe toner reas a tooo Cones nde macerated | ‘ohm tat we _woupel cow ten cord ooing oe {op ole decker each te! ihe pore efiseare When We tric sbalng i cord woid be The ¥en et Gar. kre hk wean Bong 19 work hea. Ik Ears Wes oreay 40 make bi, fmesied up. tied tim down the garden path. 9: ag “King of Hecr's® $0! started counina dovin tom the top of ne 0 cr er Sc attests inoue! crepe hap cach timo, won the King of Hears A he! momen Pine! wos the ony ane sirrsad bythe gomeht. £4 ee er orca Cloporig becatre, somahar. had Gone wnt | nla wos going fe do. ey a though he Wek seria be vocal chars ond says"hats prety good. But nano realy my ot" Up unl tht momen | hough Pre WeiNlea cp. hesgha nest neve pamed of ie wrong Co one load i under is dine Asoqn ashe Sid Thats notte my cor" knew Fad hen. : at z an coe Be sash : bE & sat thbicot wnat ruil neve been Going tGuah this aus React He tes o yaw me of Sp when fete Im going fo spel | fet are ne narhes some other cor ractahypat ire cade panes Wl aeite eres Ste: Hanover he inks het lf he wine becovte| hove! loune Hs ca, He thinks he few me of thos Rscomment Thos Fret gece. bu nals gol realy my cas"tm pol cocky oF regont by naive, Bul the Wendy sparing we in BEI Pres ro ales could push the-erwelape arte Bh wih this Quy. So yok my Beat pare scolding his i fone “Spats bocouce you teal cord sundae your ne. Never screw wh hr. Magi” : __ Al oto sucden, le Vocal become Mc Sbeechies He Hed his dirk. lonceg oround the fable ol eyryone ooking ot him. 1 RpS mnen siaiened beck into his chal rowing his tea cord foce-up onthe fable. He wor defeated. Clas demised. Home Schooled Approaching a Table of Strangers What to say and why to say it It's the biggest unknown for many magicians considering warking at a restaurant: What should be soid? Even harder than knowing who! tnck to perform fist fs knowing what should be said fist. Rick has worked !hrough his opening comments, both fnentoly one through trol and error fo ove at @ sequence of words and phreses that each have @ reason to be said. For many yeors of restaurant work, he used just these words because they worked, Rarely wos he turned down in his request 10 parferm some magic, So. here is what he says and the reasoning behind the words "Good Evening.” (or Hi, er Good Aflernoon, etc.) "My nome is Rick and believe it or not, 'm not your waiter” [Acting enthusiastic, but not over the fop, he says, “t'm actualy the magician here at Fat Boy's ond I'd lke fo show you @ quick fick or two. t's free.” Pause. Then a ile more doublfuly, he says, "it's Cool” This always gets c lough and clecrs up cry ques: fons Ihe people at ihe table have in ming. Behind these simole lines, what Rick is realy saying is this: «He s0ys he i the magician atthe restaurant, «0 instant they know he part ofthe restaurant andi nat somebody who wan: dered in off he street. «+ The show wil be quick ("0 Quick tick or two"), Rick actualy es fo them about ths because his opening routine consists of hove thon one or we duick ticks iis actualy bout a sk minute cord outne ha! is Jul of magical moments, The specto- Tom end up rot caring. By ihe fine he one or fwo quick Ficks in, they are ready io see more, Besies, as magician, Indoehinoting them o.@ bit of ying con’ be a bad thing. + By s0ying,“l's Hee," he lets hem of the hook. Many magicians would dscourage the use of this ne becouse it may lead tO youno! geting slip. Rick never really eared ihe Qo! tipped oF not, The restauran? paid him wal fr his services. Tips were ever somatting he counted on. Yet, he id get hos regulaty. Saying. "i's tree.” never deterred onyone frern giving him & Gp. People wil ip you you entertain them. On the offer hand. Mey may no! tip you they feel ike you're just showing them magie horde fo make a buck + saying, sts coal is fo ghten the sing of saying it's ree and to put the focus back on the magic. The money aspect has 10 be ccknowledged because they wil wonder about it. Rick doesn't won! them fo watch because “i's ree." So he adds "i's Cool Ihe usual response is “OK Let's ee i" He wants them fo watch because i’ cool When someone at the fable says “OK.” (giving him permission to perform], ne says "Great. Do you guys ike card ticks? Just fay "Yes." Tris gets another chucks Rick then puls ou! the cards ond fons them and says, "i's a normal deck, it eally is. They mmoke those fancy tek decks, Dut they'te really expensive and my wife ond |just got married so | can't afford them.” This gets nother chuckle. The "it's a normal deck’ fine fs sold so the question doesn’t have to be answered later. They should remem Ber you saying up Front so that avenve for a method is emmoved from their search, They may stil thinks a tick deck, but lalerin the routine they get a good look at It. Some wil even get fo touch it. Rick mentions his wife and his marriage so there sno misperception about his intentions when interacting with the women at the lable. He doesn't weor his wedding fing when he performs so il's possible someone might reach the wrong conclusion ‘bout his raritol stotus. While Rick the fist fo admit that he hos no reason to believe that women would hit on him, taking this route in his patter odaresses the issue up front and takes the possiblity Out of the equation. Besides, he's pretty sure his wife prefers that he mention it too. 10 The Selt-Taught Creations of Rick Mert The Standup Opener A Multiple Selection Routine Where You Wind Up Empty-Handed The Effect ‘he magicion has six Cords selected ond finds them each under progressively more difficult cicumstances. The fis! pops out of the deck ond i cough’. The second & found by the spectator who selected i. The third ends up os the oniy cord the magician Totoins as he remoinder of the deck coscodes to the floor. The fourth is pulled from the magicions pocket and then magically tronstorms Info the Tith selection. For the finale, the sith cards found in the magician’s sock; The Method ‘You wil need: = Anormal deck of cards TA Goptcate of one e! the selected cores. Thisis placed in one of your socks so that its back is visible when your pent fea is ‘oised, but securely held in place soit won't fall out. = Rdoubie index cord or Ihe speci! gatfed versian of a double index cord that Rick uses called "The Double Agent.” This cords placed in your lel! pants pocket with the face side towards your leg. I should be postioned so that the enc af the Cord whote value matches the fist card is pointing downward in your pocket. Tis Card plays the role of two of the selec: fions during the revelation phase of the routine. In this routine, three of the selections are forced ond the remaining three are fteely selected. Rick uses the Classic Force exciy- fively as his ferce of choice. This routine is @ good one to practice the force with since you have six oppertunites fo force the three key cards. To begin, the duplicate of the card in your sock is on top of the deck. followed by the two cords thet comespond fo your dou. ble index card. For instance. if your double index Card fsa nine of clubs at one end and a eight of clubs ot the other you wit Sack the nine of clubs folowed by the eight of clubs. You con shuffle the cards f you ike, whie retaining this group of Cords on top. Cot the cards and hold a bres in preparation for forcing the fist card on the fist spectator {for pointers on the forcing proce- Sure: refer fo the section "The Classic Force” immediately folowing this routine). This is the Cord that isthe duplicate of the one Gur sock. Pertorm the force on someone to your right. This spectator #1. You will work rom your right fo your left ding the: Selection procedure and then laf fo ight during the revelation phase. Rick almost olways forces the required three cords on Spectators | rough 8. In the event tnot a force fs missed, then the order of the selections i remembered ond the ode of the Tevelations is edjsted occordingy. For purposes of explanation. the fis three spectators wil have the force cores, Spectators PPS ond é val hove the lree selections. The revelalions willbe made in the opposite order, starting with spectator 6 50. the fist cord is forced on spectator #1, followed by the second and third cords being forced on spectator’s 2and 3. Ago Hou mis any of these forces ty the force again on the next spectolox, remembering that you are now out of order anc men: oly re-numoering the spectators forthe retun ond revelation sequences, You can fale shuffle between selections i you feel i is appropriate, Have spectoto’s 4. 5, and 6 each selec! cards. These are free selections. then, have the s cords returned stor ing with epectator #1, Since speciotor cards 1 through 3 were forced, and not used for the revelations, you have them foiy olumned fo the center of the spread deck, Shuffle in-between the retuin of one oF two of these cords, But keep the process (rst For the return of Ine nex! ‘Free cords, cut the deck, holding the bottom portion in your left hand. Have spectator 4 ploce fis card on thé half of the deck, followed in tum by spectator 5's card. Add one cord above spectotor §'s card and then have pectotor 6 return the card on fop of those. Bring the two haives of he deck together and hole a break between the hoives Double-undercut or shuffle off to bring this @roup of four cards to the top af the deck u Home Schooled The Revelations The fist card revealed is he one selected by spectator #6, Perfarm a double turnover to show thei cord is not on top. Tun the Gouble back face down. Then show that their card is not on the bottom of the deck, Claim that their card will now "pap out of the deck, rotate 25 times, and lond in my left hand." You then confirm your claim (axcep! far posibyy he number of rotations) by performing a popout move os follows: Grasp the deck ino modified right hand Biddle Grip with the ight thumb holding the deck ot is lower right comer. As much of the pad of ihe tip of thumb as s practical s off the corner and overlaps over the corner af the lop cara. The right second fin- get gfips the deck coposite the thump at the upper rignt comer of the deck, The right fist finger is nat holding the deck, but hovers over the upper tight portian of the top card Turn the dack so that the bottom card faces the audience (Fig. 1). Your thumb is towards the floor and your fingers are ot the lop edge of the deck. Contac! the: top cord wih the pad of your fist fingar tip necr its upper edge and close to ‘where your second finger contacts the some card, Pull down with your fist finger sharply towards your humin, maintaining contac! with the top cord (Fig. 2 & Fig. 3). Pull untl the card is released from your fist finger. f everything works conecty, he cord will be shot off the deck and spin up into the ai. Wilh @ it of experimenia- tion, you can get the care to shoot up in an are that wil come down neat your left hand. With further practice, you can learn to catch the card. I's ako possible to shoot the card straight up info the air, and then quickly breok the deck open in your right hand! at lis upper edge, and have the card land ack inthis opening, That technique is not the one used here, PENN To learn this technique, you should practice while standing next to a bed or other elevated surace. You will drop a lot of cards an the floor while learning this and on elevated surface makes it easier fo pick them up, The most common problem “utile teorning ths thal the cord. instead of popping up in the ait, will instead. fick off the right thumb towards you and fluter ungracetully 19 the floor. The way {0 correct for this fo use the fleshy pad of the thumb to lock the card against the deck and ensure the card goes up from the thumb instead of backwards off the thumb, ‘You've successfully caused the fist selection to pop into the aie ond caught i in your left hand, Show the card to the spectator ane nave them confirm that the Cards the comract one. Note: For the fist two selections, Rick doesn't osk what the card is before finding It. He fins, and then has the spectator confirm iis correct, Insert this selection into the center of the deck and then cut the deck. pastioning the second selection [that was on top) fora Classic Force, Approach spectator #5 and ask them to select heir own card, Perform the force. I he force works correctly, control the next selection to the top of the deck. In the event that the force misses, cut the actual selection to the top of the dack, ell he spectotor that it doesn't always work as you fake back the incomect card, Top Change the wrong selection for the comect one as you ask them what the name of thelr cord was. Show ihe card has magically changed into the carrect ane, Control the third selection from the top to the bottom of the deck. if you had to 2 ' } The Selt-Taught Creations of Rick Ment Top Change during the prior revelation, you wil need to contol the top two cords fo the bottom of the deck, Rick now pro- coeds wilh his own Unique tevelotion, jstfied through @ bit of humor ond some acting. Saying, "Wateh.” place the deck in your mouth s0 that one corner of the deck is between your lips, locked in place by your teeth pressing down on the inside of ‘Jour lips The deck is postioned! so that the face of the boltom card {the selection] faces you. 8y releasing pressure on the Bock with your upper jaw. you con couse al of fhe cards to fall korn your mouth excep! for the selection (Fig. 6 - Fig. 6). Rick loys this momen up by aifermpting fe catch the cards when they fall It also happens very quickly, He says, “Watch.” just Betore the cords go In his mouth. Then the cards sudlenly fall His expression leis the audience that thisis on accident and a muffled "oh geez" is head trom him. Any of the cares he catches, he stores at momen- tatly, realizing ais lest and then leis those plummet fo the for as well Reatzing he sll hhds one card in his mouth, ne asks with his mouth stil closed, “Whot wos your care" When the spectator names the cord, he uses his tongue fo lever the slection up for the aucience to see (Fig. 7). With the deck now out of play ond scattered fon the floor, Rick asts Spectofor #3 what theit Cord war, This the fist cord of your double Index card. in Rick's case, ifs the Jack of Heorls, as this Ihe fst value of his custom Double Agent card. When the spectator names their card, fel them it hos traveled fo your pecket, Reach in ond pul out the card bbock towards the audience. Glance at i! 0 make sute you are covering the correct end ff the cord os you turn it around to show that its the spectator’s cord. ‘Ask spectotor #2 whot their cords. For a normal double index card, rotate it around inyour hand as you ask them [With ¢ Double Agent cord. ths rotation isnot neces- soly. The cara fs changed fo the Jack of Spades and a fulkface display of the Chonged card is possible), Then rub the face against your sleeve and show that it hos Changed to spectator #2's card, After ine cudience acknowledges the change. ‘whether ts © normal double index cord or a Dauble Agent cara, throw the card tonto the floer with the rest of the deck For the final revelation, ask Spectator #1 whot thei cord was. After they name if, os grocetuly os possibe, it your leg high enough fo pul up your pant leg. A card wil be ‘exposed sticking above your sock with is back facing the audience (Fig. 8). ‘Tiumphantly, pul this card from your sock ond turn it over to reveal the fine selection. 13 Home Schooled The Classic Force It isn't just "Classic" because it's old One of the key ospects fo both of the opening routines just presented is Rick's confident ond reiable technique with the Chase Force, Thers hove been mony words of advice writfen on this venerable sleight, and some of those sources ore listed at fhe end of these notes, But the single most important advice is this: In order fo perform the Classic Force wel, you must attempt itas offen as possible, Rick offers the advice that you must not give in to the temptation to perform an Sasier force, Whenever force s requited. you should attempt a Classic Force. ‘An extension of this advice Is that whenever you have a cord selected, whether G force fs required or not, you shoule attempt the Classic Force. It's certainly eos fr ond less rsky to practice the technique when it ry doesn't matter what cord the sbectator lakes fou are atlempting the force when a force is truly requied, ‘you must Rave some outs. You must be prepared to de a tick thot is not depend bat ona force Card, oF prepared to secretly exchange the selection for the desired card. ‘The specific tachnique thet Rick uses when performing the Classic Force is this: the torget card is usvolly on top of the deck. You can then cut i to the center of ihe deck or sip cut i info the center of the deck. Either way, « breaks held Gibove this card (Fig. 1). Many descriptions of the Classic Force wil fell you that the break should be held below the card. In Rick's case, he doesn't do that, Also it's probobly better to positon the card below the half-way point in the deck, This ‘gives you more cards fo spread prior to the selection being made. As your tech Pique and confidence improves. you con postion this card closer to the Bottom of Ihe dock. When you do this, tha spectotor believes they ore waiting unt very Tate in the selection proeass fo take a cord. This further convinces them thet they have made a free selection. ‘Once you have the caid postioned and the break established, you wl stat to Spread the cards 05 you approach the spectater. As soon os you start to spread the cords, you drop the breck. You wil find thot a smal steps created in the Gack that Glows you 1a easly spot and keep tack of the target card (Fig. 2) This Silos for a very open spreading of the deck. [o complete the force. all that is Tequired i to Hime the spreading of the cards so that, when the spectotor reach: ‘Ss fer one, the Card postioned between thet thumb and fingers is the target Cord (Fig. 3). of course, ths moment that must be practiced over and over ‘with real people in order to achieve the comect fiming. Remember tne routines presented os Rick's openers will nol be as successfulif o force other than the Classic Force s used. “4 | foce-up aces ore produced trom o toce- The Selt-Taught Creations of Rick Mem "Slip, Flip, Pop ‘A Bonus Card Effect The Effect ra cvick sequence of movements. four The Method You vail require « nownal deck of cords The aces ore setup inc face down deck «as follows: Face Down Black Ace, Face Up Red Ace, Face Down Red Ace, the remaining Caro of the deck. and finaly. the iost Ace Face Up on the bottom of the deck, Note: Placing the colo in this Corder is only important # yau would tke the aces to shaw up with the colors tilernating. Otherwise, the orcer of the ‘colors relevant. Hold the deck by ils encls os it you were preparing the deck for a running sip cut. Obtain a breck ot the right end of the deck “with your right thumb above the bottom card. Ether rifle up the other end of the deck fo the half-way point, or simply break the deck ot that point. While the right index finger opplies pressure to the top cord, pul out the upper half of the deck, This stp ‘cut reveals the fist ace (Flg. 1). Move forward with this packet, oughly in front of the packet hei by the other hand and use the lef fis finger to push the ace off the left packet onto the table (Fg. 2) [As the fist ace is deposited to the table, your right index finger pushes the top cord ofits packel (an oce} off the lel side of the deck. Asit s pushed, its angled slightly 3 that the left comer of the card closest to you is off the deck. To produce the second ace, You move the half deck held by your let! hand back over the top of the right hand haf ond press down on the protruding corner of the ace. The pressure i inioted by the right side of the lelt hand packet. Continue fo press until the ace fips over ond is happed between the two halves of the deck (Fig. 8 - Fig. §). You don’t have to press very hard to make this hoppen. The key iso move each hand in @ small half-cicle. The left hand travels from above the right hand to below it, mov- Ing towards you 10 do so. The right hand moves away from you and then circles back above the lef hand. Remember the ‘es traveled are small and both halves of the deck maintaln contact with the ace the entire fime, The production of the ace hoppens very quicky., The third ace is produced through a similar sequence. The lett hand again moves forward and deposits the ace on the table off ofits packet. As it moves bockword, the le fist inger pushes the fop ace off the right side of the packet. This fime I's tangled so the for right hand comer of the cord projects off the packet away from you. The tight hand packet is pressed ‘against this comer fo lever the card aver (Fg. 6- Fig. ). The hands travel in similar arcs os those described for the second ace, Dt this ime the Fight hand roves down and under the lef wnile the left hand moves up and then back away from you. I's importont not to hold onto the ace with your fingers while thisis happening. The ace should be free to rotate face up. During these productions. you have maintained the break over the bottom ace with your right thumb. You now use it fo pro- ‘duce the lost ace using the familar pop-out move created by Piet Forton (Fig. 9] ‘hete isa quick ond steady rythm to the production of the four aces. They are produced in tempo to 6 four count. 5 Home Schooled For Magician’s When the desire to fool leads to a desire to hurt people Sybllations After you've learned the cut, how fo further entertain your fellow magicians Sybil Cut Rise Effect The magician has a cord selected and retumad fo the deck. One extremely fancy cut foter he is able to cause the select: 2d cara to rise from one of five packels held precariously between his two hands, Method tn addition to the obilly to perform Chris Kenner's Sybil Cut, you will also need an invisible thread loop, Rick uses those sold Os Jeff McBrie’s “Kundalin’Risng.” Place the loop on your left wast (or the wrist of the hand you typically hold the deck in) prior lo performing, The deck of Cords is out of is case and lying on the table, When ready, using the opposite hand, side the loop from your wrist so that itis wrapped around your left fingers (Fg. 1). Pick up the deck Even with the loop in postin, you can esl spread the cards and nave o selection made. While the Epectotor looks ot the card and shows # around, you perform the folowing procedure fo place the loop around a portion of the deck. Insert your left thumb into the loop ond lf up with it [Fg. 2). Doing this creates an opening big enough to side the deck jnto fiers your other hand, Do ths ana postion the loop around the deck, situated slong Is longest axis (Fig. 3 & Fig 4). From this position, you can move the deck into ovethand shuttle positon. itis possible fo shuffle he deck with the loop Ground the deck, moving cards out fom the loop while retaining a packet with the loop stik around it, shui off cords rom, the face of Ihe deck until you are left with the loep around apprcximately the top one-fourth of the deck (Fig. 6). Reploce: the shutfied pertion fo the face. Run two mere cards trom the face fo the top of the deck. wb The Sell Taught Creations of Rick Meni Relieve the selected card from the specator and inser it into the end of the deck focing yau (Fig. 7), The card goes into the portion of the deck withthe loop wrapped Ground it. There & some Tension when you do this. so push the cord home ond hold it securely in place os you post tion the deck for the Sybil cut The Sybil Cut The move i dificult to describe and the reader s encouraged 0 obo wevew ihe Kenner deserpin, The Geck & cul into five Docket during Ihe sequence. 55 indhidvol pockets are referred fo 05 “ths" ofthe folel deck. For the cut inthis particular ick, one pocket const of only single cara Tiss noted below. Hold the deck in decler’s erp withthe forefinger overlapping the end of tne ceck (Rg 7). This finger wil serve as one ofthe etic vot point during the cul Approach the deck with your other hana ond pivot fou-itns ofthe deck upword, breaking the deck ot fhe ace wih your right thumb (Fig. 8). Your lft foretinger serves es the pct poln. The upper section of the decks held in @ idle sivle @' By the igh! hand, Using your tight forefinger. breck another packe! frm the Iergor one ct the outer end of the deck necr your if forefinger. The ht and belt acing three ffths ofthe deck whl two Individual packels consiing of one-fifh each Rave been broken fiom the des {hs leaver you wth tne bottom packet Neld In your elt hand. the fop larger packet held by you right hand. and a center packet fheld at each end by you left Foretinger Gnd right thom, Th packel fee tO PvoF a these two points and wil pivot up ond Gown ‘between them as your right hend moves up and down (Fg 9). ‘he uppermet! packe!Isrotated fo the right while he center pocket pivos in c mace harzontal plane (Le. approximately paral o the fog] between your lel loetinger and right thumb. Te botlom packet is gripped pimarty between your lft pinky and the base cicor lat nomb. Move Ini pocket in your Rond 39 that the end that was against you left forefinger & moved Qway trom itand i pPoloted more o less towerds he celing (Fg. 10). The end of ts packet held by your lel pinky peins fowards the floor. The target ign hone packet continues fo move, rolaing #9 a postion where is face &s pointed towards your lft paim (In progress in Fig. 1]. The {9001 fo pesion itso that ‘nother packet con be cut ftom fs foce by the lef sec- ‘ond finger ond tet thumb. ‘uring ts movement of the top pockal the center packet naturely changes Srienotion so Mat now {esis o plane where is lett tong sde points towers the ccaling. ths means that the face ofthis pocket i texpoted f0 you. I's bottom edge rides above the top ledge of the packet he'd by ‘yout tet pk (Fg. 12). ” Home Schooled From this position, grip the packet new by Ine tght Fiand near fs Bottom edge ‘with yout let second! finger ‘nd iat thumb Fig. 13). Cut Snolner Fith from this pock- tf, Ths pocket is puled out fiom petwaen the packet held by your ight Rend and the ene held Between your Joi forefinger ara ight thumb, Pull down ang Sway os the ight fr fototes ts pockets upward ‘he packet just cut shouts bbe completely clear ofa fther packets [fig 1), Rotate the fell hond so it's ‘again more or ess pom up {tetuning it t0 dealer's pos! on), During ths. the packet [Wst Gut ¢ held securely Dy the fe thumb and second finger tou wal have fo cage the right hand packets ‘Sghty wey Hom the itt hens ile sll maitciring Contac! between these pockets ond the let forefin- Ger the goal to olow the {ost packet cut fo clear ine fight hana packets the pocket shown moving, ast the 10 of Spedas in Fla. TS e Fg. 16.1 wile lett extanded fromm the front of ‘ho ett hand a the ight hhond packels are rototed in yur so ther Backs mare oF [es face the celing (Fg. 17) ‘ou should now be oble to pivot your right hand sighty tothe [otto positon your ont zacand finger on the ff side of the Boca ust cut, Your ight pinky shove Be on the igh side of {hae pocket ust cut The postion i shown from the performer's View infig, 8 & ig. 19 The postion is shown from the Front Te 20, hese hwo night inges [second finger and pinky) wil ip {he conesponcing ses of te packet hed by he let tngers ‘Gnd move I out fom between the other pockets while the lt hand felooses', They rial maintcn o rp on ths pocket during the concluding phase (the packel s shown moving away in 2) ‘The Selt-Taught Creations of Rick Merril she right honed is agoin pestioned as twas for he cutting ofthe lost pocket win the face of the pocket towards the lef polm. The Free iets cre alowed fo retole be place ogo as previously descbed. the enfre sequence is ilusroted in ig. 22 through Fig. Be Fi 23 show he begining of the movement, Fig. 3 and Fig. 24 show the postoning of the packet so thot the let second Inger FEF Rms can break of tne finol pocke!. Fig. 25 shows the pace! beng pulled ou! fos betwee the others. In tne normal Sybil cu, the le Second finger ond lft thumb sol he remaining group of cards inte two approximately even packs. ronthe Sid tse expleined here, everthing but tne very lop €or is taken by the lef fingers Ti wl const of the entire packet thet Fox Soop around it A few cards should be at the bottom [face) of tis packet lo ride ihe loop, This pocket rotated from between the other packets jul os the last one wos, Presiue mointined on is sides 30 that the spect Fan SGt it not tevowed prematurely. The final postian a the five packets ofthe Sybil Cut splayed rom the performer's view in Fig. 26 ‘he Cord Rise you mode i through the cutting procedure, you should have artived af the postion shown in Fig. 27. Conclude by orienting the last packet cut soit's top edge points towards the Ceiling, Release the pres sure on the sides of this Docket and ollow the card to pop up. It wil angle up and fowards you as shown in Fig, 28. To conciuds, bring the card up Bhd place iin your mouth as shown in Fig. 2. While the normal Sybil cut isa false cut i the packets are retuined fo the Ghgino! order in this Case you can just reassemble the deck so that the section with the loop on itis placed second from the bottom. The other packets coalesce as the deck is squared up, ‘The Clean Up Cut the deck so thot the fight hand has al ihe ‘cords above the section Contoining the loop (Fig 30). Rotate the left hand packet into overnand Shulfle postion and shuttle off onto the face of the eck (Fig. 3). After this shuttle, the left fingers Should be in postion so that they con be inserted between the deck and the loop (Fig. 82). 8y rotating the deck ogain into {he overnand shuffle postion and iting t out of the left hand. the loop will be removed trom the deck. In tis case a face Gown overhand shuffle s performed. The loop con be moved back to the left wist ater he deck is handed fo the specto~ tor for examination Ww Home Schooled Sybil Cut Flush é. Effect Atlee performing a somewhat mundane Four Ace production, the magician seeks feedback excitedly trom his lend (also Ae oe nl. Te ena con only offer lukewarm praise. since there & nothing new or orginal about Ine Four Ace produc: Soe e coroner nen asks, "iove yOU seen ths onee” He then performs the Sybi cut and at the face of ecch of the five packets one card of o Royal Fush in Spades Method Jou wit need a specially constructed deck, Take @ deck of cords and remove the four aces. Se! these aside. Remove the Tee Mihaning cords thet make up o Royal Fush ia Spades (108, JS, QS, ond KS) Split the remaining cords into five approx! MMately equal packels. Using a give stick, lve each card in the five individual pockels logether wih each card from the Royal Fish, including the Ace of PSades, ot nei face. Ths gives you five separate blocks of cords. This is actu- ty o usetul fool for practicing and learning the Sybil cut since you don't have fo wory abou seporate cards faling from the packets. You need an addition GLAce of Spades from anether deck. Arrange this card and the other three Gces on tap of the deck ond you're ready fo begin. The order of the setup is Shown in the photo to the right. the four loose cords and ingividual packets clow you To perform a convincing overhand shuttle. Do this, eturring the deck wee iigncs order withthe four aces on top. shuffle several times, s0 that your fiend is convinced the ceck's wel-suie Haricreltur favorite, yet most ordinary, Four Ace production. Be excited about it, exclaiming something along the Ines of cee 2h tne coat new Ace production | came Up with.” Rick performs a version of Father Cypion's “Swindle Aces.” This Ae SSi-krown method for producing the Four Aces, The version described here briefly t Gary Oueliet's Start with the deck tabled in front of you end secure @ right thumb break below the top two aces. Cut below three blocks See ae wath your right hand ond move this group of cards forward. Return the hwo aces fo the remaining group of cords : Si eroor ight hand while your left hand moves forward fo the lront group of cards (Rg. 1). Cut two of the three blocks of cee eintne font portion tothe left with yout eft hand while simufaneousl cutting one of the blocks rom the rear pack Pio ne ight You wel end up in the fomior diamond pattem shown in Fig. 2. There are two aces on the left hand group of 2 rae Canes two aces on the ight hand group of cards. Remove the top aces from each of these groups ef cards and epee them face up on the other two packets (Fig. 3). Conclude by fuming over the remaining two aces onto thei respective packets (Fig. 4) The Selt-Taught Creations of Rick Mem when you have produced oll four aces, ask for feedback. Your magictanstriend should be less than excited and may point Gu" that there is nothing new to your performance. As you solic! feedback. gather up the deck with the aces on top anc Grit in preporotion for the Sybilcul. Perform ihe cut, seporating each ol the glued packe's info the disolay shown in Fig. 12 For o description of the Sybil Cut, refer 1o the previous trick. The sequence of the cut is shovn in Fig. 5 - FI. 17. \What is not shown in Fig. 128 the grin on your face as your friend wonders how you were abe fo produce the Royal Fish from a wellshufled deck, Of course, they'll oko be puzzled about how you could cul fo them during this procedure, Reassemble the deck. pocket i, and walk away. Home Schooled The Da Vander Code A mystery revealed to those who have experienced it Ihave personally seen Rick (and his fiend Brion VandlerKalk) fool mony magicians with this technique. | beleve itis the framing of the trick that gets under their skins. They believe if 10 be a certain kind of magic Wick, when in fact itis something else com- pletely different, The devious disguise of the method within the appings of another supposed method sends magicians off an the proverbial garden path, Unfertunately, they can never quite gef back on track and the secret has stayed safe. At least nti now. The Effect The magician has a spectator loke their own deck, shuffle it, and then hes them select a cord through a seemingly logical, but complicated procedure. He nas them cut the deck into three piles. They are instructed fo pick up one of the piles ond cut i tany number of times. When they are salistied, they look at and remember the top cord. They reluin the card anywhere into the packs! they hold. Then they shuffe this packet and centerit between the other two packets. They can give the deck ONE life shuffle, Did ! mention that the magician has hed his back to the spectator the whole time? The magician turns arounct fond the spectator hands him the deck. He spreads through it and removes one card. itis the selection! The Method While the trick is framed as an inscrutable type of Impossible Location, possibly based on some sort of advanced key cord werk, itis nothing of the kind. It's instead. one person who knows the cord cuing another who does not. \While two-person cuing systems hove existed for some time. it seems that they mostly fallin two categories: 1. A verbal system where the words spaken communicate the information. 2, Anan-verbol system wnere the placement of objects in o certain ores, say @ tabletop, communicate the information. In this case, Brian VanderKok is the primary author of a system much tke option number two, but inthis case. the “table top" is Completely portable since it consists of the body of the communicator. Rick and &iian honed the details of this code over many trips together to a variety of magic conventions, The specics of who came up with what cre lost, But both agree the idea war sparked by mutual conversation and that Brian came up with the frst version of the code, So, the key aspect of the trickis that on unsuspecting ally must see the card selected and communicate it to the performer. A secondary aspect is thot the boldness of the method is best disguised by an altemative procedure. In the description, this pio ‘cedure takes on the look of other "impossible Location” procedures based on the gimpsing or placement of a known key cord. The code iself communicates card values and is as folows: 1, The color of the card is communicated with a Right hand for RED or the Left hand! for BLACK. If RED card, then the * In Right serves as the memory aid. 2. The suit is communicated as Major or Minor with an Open or Closed hand. Therefore, an open Right hand means HEARTS, whereas a closed Right hand means DIAMONDS. An open Lett hand means SPADES, andi a closed Left hand means CLUBS. 3. The value of the cards communicated by what the closed or open hand (left or right) touches, ‘Ace ~ The NOSE is louched. Mnemonic: ONE Nose. ‘wo — The CHIN is touched. Mnemonic: A DOUBLE Chin, Three ~ An EYEBROW Is fouched. Mnemonic: Tracing one eyebrow from the side of the face, down to the bridge of the nose, and then over the other eyebrow, forms the shape of a THREE lying on its side. Four-A YAWN is covered by the hand. Mnemonic: You're boted at o Golf match: "Fore!" RRR << ona Pa AE CREE The Sett-Tought Creations of Rick Mer Five ~The HAND is placed on o table or down at your side. Mnemonic: AVE fingers on the hang Si: Animagnary SPECK of int is picked a and removed rom your clothes. Mnemonic: Picture a speck of lint in the shape of 0 Six Seven - The NECK is touched. Mnemonic: The base of the SEVEN is shoped tke the back of o neck. Eight ~The EAR is touched, Mnemonic: The inner folds of the eor look ike an EIGHT. Nine ~The FINGERNAILS ore touched, Mnemonic: The rock band NINE inch Nai Jon the lop of the HEAD or HAIR is touched, Mnemonic: Pethaps nicivre the hair af Bo Derek in the movie TEN, Jock - The EYE is tubbed. Mnemonic: One Eyed JACKS. Queen. The RING or RING FINGER is touched. In he case where ils the mojor sul. the thump of the appropriote: Fond touches the open fing finger or fing f present. Ifa minor suit, your thumb is poked paral through the second ‘and third fingers in an “I've got your nose" gesture. King - The TEETH are touched. The lis will aso work. Mnemonic: CROWNS are worn by Kings Gnd could alte be on your teeth. icoted. 4 pass of one hand through the hair cleans the site. ifthe It for some reason the volue of the card is not communi Sender did nol see ?he cord, 6 pass of thelr hand through the hair means the performer ison his own. I he receiver cle see the code, o pos of their hand through thelr hair meons the sender should re-rarsmit the value of the ears. hile each eve could've been ilustrated with it's own photograph, that would've called foo much attention fo this routine: For thase thot have actually read it, have fun with i Fv fen near stoves ol thoxe precious mes duthg & performance when cksumstonces alow thi mpdgician fo aopear 0 oe nc eo ec Ss onc pt Guing my feral estado il bas perio a cn outa fe See eee ee mye Woe tend 1 see wal Na cough ry ayeiboked doer sen 08 See ere cera oe crip foray hod beer scion perv rine be ord he Whe ot Werle? Se Eo oes re gage Ing gn aned Vw cous oko my Bente Tsoked bose Taser Gig lero they wore sming pl how cule Te Ite oF wOS.} wos oboUs they would ind fod mp PICKS a ee ee ae ie attain het to comers ub lo he obsod nonred My plete, The sh wen {AS aces te chen at een rare anes nna asx. Te le gare ara sla ene You Flash Photography, Both Real and Imagined : olere she Eula leave, | grabbed my.deck of cards olf the table and sted hie iit wocic “be OK it | took her Blake 100 Serre yor ond slotes fo hand Ine her camera | tak! her that (gidn! need tose ber camera becavse (had my deck Sr ecics, Held ine deck of cords up to any foe tke 0 comer ond asked her to say. "Cheeses" As she did, o bight Hes sro of ton te desk of cori de | heard audible gps from many Beople In he restaurant. the lita gis eyes aot very Wie or she vested fo register who! hed! lst hoppened. {told the ite git "nanks forthe pict” ond thot | weld hold on iS cog tens. wan yes oP wice Ip wondler she Tuned to oak other parents for erection, Her arent were ahockect ‘and véde-eyed as wel. 4 Fim convinéec dt not lye Iie gr but er Buren the people at thesable | wos berloring Bt ond meny athe Je Sharan pe emneanber thet moment and Wink oe foal moar. I wos One hose rove lomenis where everyting rere agetnes partecly Iwas the ony fe | used 0 FSM Rosh the entre nigh. Was # wort luaona it arbenc fr tha} one Jfomenif es |wouls have paid free lines the price lor hot single prformance. : % in the eory 50 levers Magic Empotum pct outa video on the “at of ResiGvtont Magi." contafed the work of Michal cians Be eshman, Bi wdlone, and! Jen sisi. Jn Sew hag @ routine on that fape thot vies John Comels’ FSM Flay os ‘pat 6lo pretty cool Card evetaion los ths ravine hal popped into my head when thie gt took my Biche 23. Home Schooled Heart Up His Sleeve : How a boy and his sharpie gave up writing and learned to leave their mark i's the core of his routine. Thase who walk in Jote and miss his name end up cating him “The Sharpie Guy.” Rick has taken o caste J magica! moments centered around a Sharpie brand pen and made them info o gasp producing sequence of mag sie 2 candy. He offen gels comments after his act about how @ certain moment looked Ike “rea! magic.” Knowledgeable fnogicians reaize thot Rick's melnods involve sleeving, but he has come up with @ combination of actions that actually don't Involve o: much sleeving a5 one migh! Ihink. Rick dscusses more about Fis approach to sieeving ond the roots of his Goproaches in the article "On Sleeving” af the end of this section, Rune Klan’s “Impromptu Hitman” with an Extra Punch Fick gives fll ered fo a Rune Kian routine os the stating point of his ove affair with Shorpie masic. In thi sequence, a coin Ba eee ter magically ranspose. Rick slots with o magical production ofthe objects, then odds a different tend to the fone klon sequence inet provides a humorous "callback." He then concludes witha stunning simuitaneovs wonsh of Both ‘objects. Tis 6 a sequence from his award-winning act. The Effect The magician produces 0 coin and Sharpie marker. Both objects transpose in a magical and humorous sequence of events For afinish, bath items vanish af the same time. The Method You will need! x Sharpie Marker ~ Rick prépares the morker by Cutting off the clip from the cap as close fo the cap as possible, He uses on eacto knife fo accompish this i ‘A coln ~ Rick uses o Siver Doflar 1 A small sponge bal or crumpled up piece of cloth TA lang sleeve shit with let breast pocket ~ For more on the type of shir Rick recommends, see his article "On Sleeving” to prepare, the coin goes in your ight pants pocket and thie Sharpie goes in your left sieeve. Optional, you can obo star with the com in ight hand finger Baim, The smaf sponge ball or crumpled piece of cloth goes into the bottom of your shins le tres! packel This keeps the top of the pocket open. You will use this pocket to ciich the coin later in the routine, You are set to begin. y Note: As mentioned in the introduction, Rick is left-handed. this routine is q Goseibed as Rick performs i. That isnot true of other routines inthis publication . 3 there the hands have Been transposed from lef fo right and right fo left In this outing, mos} of the actions are No? dependent on the dominant hand and, in focl, Rick performs a French Drop at ane point just as c right-handed magician would. The reader s welcome fo experiment with switching the hands ii feets more comfortable. A Production, « Return, and a Reproduction Reach info your fght pants pocket and finger paim the coin. Blefy show the ight hand empty. along with the left hand, by pointing your open palms at the cud. ence wilh yout fngers curled downward sightiy, The cain fs hidden from the audi- face through the use of the Romsey subllely (Aig. 1]. Reach across your chest 4 5 7 The SettTaughi Creotions of Rick Ment swith your ight hand. white dropping your left arm to your i¢e. jynen the left azm dope, clow ine left hand to receive the Sharpie as i ols from your sleeve. Let is tip rest an your 2° fin

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