R. Paul Wilson - 13.pdf - Ultimate Magic eBooks Collection - jimmybt

With thanks to Pete McCabe, Jason England, Lee Asher and William Goodwin

A ConCam Production

All Rights Resevered

by R. Paul Wilson

Layout and Illustrations by RFA Productions

Foreword

A few years ago I was working in Las Vegas, and Bob Kohler

asked if I had ever met R. Paul Wilson. I had not. Bob

immediately rushed me to his house, where Paul was staying,

and put the two of us at the kitchen table. Several hours later,

I had a great new friend in magic.

The items in this piece of work are examples of Paul’s thoughtful

approach to magic. You are given the details necessary to

understand the concept and performance of each effect. I

already have a place for “The Back Four”.

As I write this, Paul and I are working together as Technical

Advisors on the movie “Shade”, for RKO Pictures. It’s been a

source of personal pleasure to watch as Paul not only did his

job, but also delighted everyone from Sylvester Stallone on

down with his superb range of magic.

If you ever have the chance to see Paul work, I strongly advise

you to do so. A good time will be had.

Earl Nelson, June, 2002

Uprising

W hilst spreading an ordinary, shuffled, deck between

the hands a selection mysteriously rises out of the

spread. If desired, the three matching cards can be

instantly produced to end with four of a kind.

ever, get called on this move. It flies by everyone, including

magicians because it relies on a natural, relaxed action to see

the card. Credit goes to Bill Goodwin, who published the idea

in MAGIC Magazine (“Hofzinser Under Cover”) in March ’96). It

is based on an excellent peek by Edward Marlo (see

Revolutionary Card Technique). As you show the card, you

will see it at exactly the

same time as the audience.

This will not be perceived

thanks to two important

elements: the naturalness

of the action and the

inherent misdirection it

provides.

This is a very simple but deceptive card rise from a fanned

deck. It is a direct variation of Gordon Bruce’s Emerging Card,

which was published in Opus Magazine as part of an excellent

“Remember and Forget” trick. I released another variation,

“Emergence”, on my video, “Knock ‘Em Dead” and in my notes

“Crash Course In Brain Surgery”.

Fig. 2

I showed this handling to several extremely knowledgeable

magicians before deciding to release it. I was, and am, shocked

that this had not been invented before.

Begin by breaking the

spread at the selection, so

the outjogged card is on top

of the left half (all cards

remain spread), supported by the left thumb. Rotate the left

hand at the wrist so that the cards are raised to a vertical

position. It is important to turn the wrist a little past vertical

so that as you glance down over the top of the card you can

just see its index (fig 2.). An important point here. This turn of

the wrist is a quick, yet casual, motion. You need to learn

exactly where to stop so you

can see the card. If you turn

too slowly, the audience will

have seen the card before you,

which simply won’t be

deceptive – you need to be

looking at the same time. Also,

if you have to turn then adjust

so you can see the card then

the move will not fly.

You need a deck in reasonably good condition. Have a card

selected and glimpse it by your favorite means. There are many

ways to do this. You can even force the card if you like. The

following glimpse has been in my repertoire for many years. I

rarely teach it because Magicians often dismiss it after they

learn how it works. In actual fact it is a beautifully deceptive

ruse which shrewd performers will instantly add to their

arsenal.

Shuffle the deck and spread it face down between your hands,

inviting someone to point

to any card (not to remove

it, just point). When they

do, outjog the card by half

its length (fig 1.), asking if

they would like to change

their mind.

Fig. 3

You are about to perform

a glimpse that I have used

for over ten years. I never,

Fig. 1

Fig. 4

Once you know the card,

the right hand cards are

raised to meet the left and

the deck is re-formed with

the upjogged card in the

center. As this is done, the

card is adjusted and your

head turns so it is

impossible for you to see the

card (fig 3.). Square the card

with the deck and hand it

part of the selection (fig 5.).

Slowly begin pushing

upwards with the thumb.

From the front, this gives an

excellent illusion of the card

rising out of the spread.

Allow the card to rise about

half its width and then stop.

Fig. 6

Selection reversed for clarity

You now lower the fan so the

card can be seen. At this

instant your left thumb will move to the side of the deck under

cover of the larger motion (fig 6.).

out to be shuffled.

When the deck is returned, quickly run through the cards,

faces towards you, and centralize the selection so it is anywhere

near the middle of the deck.

This is an excellent production of a card to begin a few card

effects. If you wish to continue with another trick that uses

four of a kind, the following might be of interest.

Once it is in the middle, spread through again, ensuring only

you can see the faces. The cards are spread from the left hand

into the right. What you must do is create a spread where the

only card not held by your

left or right hands is the

selection.

Fig. 5

Cull four of a kind and force one of these using the classic

force before returning the other three to the top (a perfect use

for the classic pass). Palm these three cards off and hand the

deck to the spectator, inviting them to replace their card

anywhere they like and shuffle.

To do this, spread until you

see the selection in the

middle. The right hand

must be holding all of the

cards above the selection in

a semi-fanned condition

whilst the left hand holds all

the cards below the

selection, also semi-fanned

(fig 4.). Also, it is important that the left fingers press lightly

on the card directly below the selection while the right fingers

control the card directly above (also fig 4.).

This approach will even fool knowledgeable magicians if the

palm is not detected. Take back the deck and add the palmed

cards to the top as you turn the deck face up. Now you know

that the only card of your chosen value (the four of a kind you

culled earlier) NOT amongst the top three is their selection.

Locate and centralize it, keeping the other three on top, and

continue as described. When you’re done, you may now produce

the three mates in any manner you please, apparently from a

well-shuffled deck.

The card is maintained in position by the cards above and

below but is free to move with the correct motivation. Secretly

place the tip of the left thumb at the lower end of the visible

I f you are anything like me, you are probably terrified of

using invisible thread in the real world. Lighting is an issue,

audience control is an issue and, most importantly, the

resilience of the thread is an issue. Then, even if everything

works – thread is often the obvious solution. Many excellent

solutions exist for the floating bill – among them, Michael

Ammar’s handling is one of the best. This effect, however, is a

result of the aforementioned fears and was designed to be

performed in close up settings whilst surrounded. You need to

be standing at a table with people either side of you.

Remove the spool from your pocket, taking care not to break

the ITR thread. The thread from the ITR will move freely in and

out of the reel. Hold the spool with the right hand at the end

with the invisible thread projecting. Using the left hand, unwind

enough thread to be comfortably held across the table by two

spectators at either side. Have the spectator on your left cut

the thread with the scissors but keep holding the thread in the

left hand.

The right hand now tables the spool about an arm’s length

away and directly in front of you. The ITR-thread end of the

spool should be uppermost.

The ITR thread is now

stretched from the inside of

your jacket to the spool on

the table.

You will need an ITR reel, pinned inside the left side of your

jacket, behind the breast pocket. Take a spool of brightly colored

thread (orange is fine) and peel away the sticker at one end of

the spool, exposing the hole in the center. Fill this hole with

“Blue-Tac”, leaving a little space at the top. Take the end of

the invisible thread and push it into the space and onto the

“Blue-Tac”. Now take another small bit of “Blue-Tac” and push

that into the space, trapping the invisible thread under it.

Ensure this is flush with the top of the spool and press the

sticker back into place. Note that you may wish to tear the

sticker so the invisible thread is not trapped under it – I leave

that up to you. If there is a hole in the sticker too (exposing the

center), here is a trick I worked out: find a pen with a flat end

and a small dimple. The pen must fit the center of the spool.

Once the “Blue-Tac” is in place. Press it into the center of the

spool with the end of the pen. This will mould it so it’s flat with

a small nipple. It looks like molded plastic rather than soft

putty.

Place the spool in the left inside pocket, under the ITR. You

will also need a small pair of sharp scissors.

You must take care not to

hit the thread or the spool

may move suddenly. When

you do touch the thread, the

pressure must be applied

away from you so the ITR

thread comes out of the reel.

You now take the orange

thread and hand one end to

a spectator on your left and

the other to one sitting

opposite on the right. This

thread must be held over

the ITR thread. Once each

spectator has their end held

firmly and the thread is

loosely stretched between

To begin, borrow any denomination of bill from a spectator.

Ensure the bill is quite crisp, so it will hold its shape when

rolled into a ball.

Fig. 7

Threadbare

R. Paul Wilson - 13.pdf

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