R. Paul Wilson - 13.pdf
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13
With thanks to Pete McCabe, Jason England, Lee Asher and William Goodwin
A ConCam Production
Copyright 2002 by R. Paul Wilson
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
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
2
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
3
Threadbare
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