R. Paul Wilson - Omerta.pdf - Magic Tricks (Sztuczki Magiczne) - hilakku

OMERTA

Paul Wilson breaks the code of silence

These notes have been compiled for my 2001 lecture tour. They constitute a body of work

that dates back to 1988 with one item as recent as April of this year. The routines in this book

are all audience tested. Some have appeared elsewhere, on video or within periodicals; they

have never appeared in any lecture, however. The style of writing here is very short and to

the point. I never illustrate my notes. A book on my magic containing concise, illustrated

instructions is on the way. If, however, you wish to learn anything herein, simply obtain the

necessary props and follow the text; you won’t have any problems. As these notes go to

press, three major products are being released under my name. Two are from Michael

Maxwell and A-1 Magical Media. These videos reveal my professional table hopping act and

several pet effects, which I use regularly. The third product is a card effect that, in my honest

opinion, is one of the strongest effects possible with the pasteboards. Ricochet is the first

product from Benchmark Magic, a joint venture between my friend, Lee Asher, and myself.

We intend to release products as we find them and new ideas are always invited. Soon you

will also be able to obtain cards for my effect Gypsy Monte. This set will include a new ending

you might enjoy. For now, thank you for purchasing these notes, I sincerely hope you find

something to share with your audiences.

R Paul Wilson, April 2001

Tip less

This silk to note routine is one of my favourite stand up effects. It has been designed to look

as fair as possible and to fool those spectators who might be aware of the thumb tip.

To perform you will need a large denomination bank note that is wide enough to hold the

thumb tip when rolled into a tube. I find US currency a little narrow but it is a simple matter to

obtain a British note or any currency that suits the bill (no pun intended). You will also need a

thumb tip; I use the large Vernet tip and a silk handkerchief that fits comfortably into the tip.

Before you begin, cut the tip of the thumb tip off (cut about one third of the thumb nail off) so a

small hole exists at the end of the tip.

Place the tip on your middle finger of the right hand, put the bank note in your right trouser

pocket and the handkerchief goes anywhere that the left hand can easily retrieve it.

I won’t bother with any patter here as I am sure you can work out your own. I usually perform

this in silence for reasons that should become obvious.

Show the silk briefly in your left hand as the right goes to the pocket to retrieve the note. The

note is produced from your pocket gripped between the right first and second fingers. The first

finger toward the audience, the second finger behind the note (your right palm should be

toward your body). The note is held at it’s approximate middle (length wise). You can now

show the other side of the note (and your empty palm) by rotating your hand toward the

audience. As this is done, your right first finger switch places with the second finger as if you

were about to cross your fingers but still keeping the fingers straight. This will cause the bill to

rotate, hinged between your fingers, so that the second finger (wearing the tip) is once again

behind the note. Try this a couple of times, it’s a lot simpler than it reads.

Turn your right palm toward your body once more, repeating the finger rotation to conceal the

tip. Place the note gingerly between your lips and show the silk, displayed briefly between

both hands (always keeping the tip hidden - in this case behind the silk). Hold the silk in the

right hand as the left hand is shown empty then rolled into a loose fist, thumb uppermost. The

right hand now drapes the silk over the right hand. As this is done the right second finger

goes down into the fist for a split second, leaving the tip behind as the silk is laid over the

closed left hand.

Show the right hand empty before pushing the silk steadily into your fist. In actual fact the silk

goes into the tip. Try and push the corner nearest you in first followed by the rest of the silk.

Poke the silk down into your fist with your right first and second fingers, stealing the tip on

your second finger once the silk is inside.

As soon as the steal is made, the right hand moves up to your mouth and removes the silk

gripped once more between the first and second finger. The second finger nearest you

(behind the note, as the audience sees it). Your right hand is wide open in an act of fairness.

Wave the note over your hand, then open it slowly to show the silk has vanished.

The above sequence should be performed with the body turned slightly to the left.

You will now roll the bill into a tube. Experimentation with the tip on the second finger will

show that the bill can be shown on both sides by merely bending the second finger in towards

the palm as the bill is turned over. Once you’ve shown the bill, the second finger aligns the tip

with the width of the bill (which is held vertically) and leaves it there as the right and left hands

roll up the bill around the tip. The open ends of the bill are now on the left and right. Turn the

tube so that the ends are at the top and bottom (i.e. hold the tube vertically) but ensure noon

sees inside the tube. It is important that the open end from the right is uppermost after you

rotate the tube (this is the original open end of the thumb tip - before you cut it).

Holding the rolled up bill in the left hand (hold it firmly), reach into the top with your right hand

and remove a corner of the silk from inside the tip. Then reach up into the bottom of the tube

and pull out a corner from that end too (this is why you cut that hole in the thumb tip). You

have now reproduced the vanished silk inside the rolled up bill. One half of the silk is

protruding from the top, one half from the bottom. By grasping the upper half of the silk and

pulling up, you will notice that the silk will come out of the tube carrying the thumb tip along

(half the silk still protrudes from the smaller hole at the end of the tip). You will need to loosen

your hold with the left hand, of course. When you remove the silk and, secretly the tip, do so

with your palm towards your body, gripping the silk so that the tip is covered by your right

hand as it leaves the note. The tip is then finger palmed (with the silk still running through it)

as the bill is snapped open with the left hand and also shown empty. Everything may be

examined by simply holding onto the tip with the right fingers as the silk is pulled free.

This fools people badly and, if they know about thumb tips, this fools them even more. I also

have a sucker ending to this with an odd coloured silk (a sort of dye tube ending) and one

where you remove a much smaller silk at the end only to push it through your hand and return

it to normal size. A little thought on your part will reveal these methods to you ,they use the

same thumb tip as described above.

Missed In The Mist

This is one of the variations I worked out on John Carney's excellent 'Coins in the Mist'. There

were a couple of bits in the routine that didn't suit me. First I don't like turning to the side, I

prefer to face the guys throwing tomatoes. Second, I wanted to routine it into a production,

vanish, production then vanish again type of effect.

METHOD: Begin with a coin finger palmed in each hand (both coins identical?). You will now

imagine that you have two sky hooks in front of you, one to the left and one to the right. Pluck

a coin from the left hook with the right hand, pushing the coin to fingertips sharply as you do.

Perform a shuttle pass, supposedly transferring the produced coin from the right hand to the

left. I use Ramsay's Favorite vanish as a transfer here.

Now produce the right hand coin from the right hook. Push the left hand coin to the fingertips

and place the right hand's coin beside it, fanned to the right, ready for Fingertip Vanish.

Perform the fingertip vanish and pretend to hang the coin on the left hook. Show your hand

empty and take the left coin into the right (the vanished coin is still in left finger palm).

Turn slightly to the right as you maneuver the RH coin into Titian Grip, clipped between the

base of the first and second fingers and close your fist. Your thumb lies across the top of your

fist (rather than across the clenched fingers) and squeezes down, forcing the fingers open

and covering the coin as the fingers spread. The third and fourth fingers fully open but the first

and second remain in contact the tip of the thumb as if holding an INVISIBLE coin at the

fingertips.

Pretend to hang the coin and move your hand back, opening your first and second fingers as

the thumb takes control of the coin, in a sort of “forward Down’s Palm”. The right hand palm

should be facing the audience.

This is a momentary display. After a brief pause the coin is retaken into Titian as the right

hand casually bends at the wrist so that the palm faces your body and the back of the hand is

seen by the audience, freeing the thumb. Use the Titian subtlety to its full as you reproduce

the RH coin, false transfer to the left hand and produce the coin from the left hook as

described for the production sequence.

Display both coins at LH fingertips, the one closest you fanned to the right. Appear to take this

coin with the right hand, actually allowing it to fall into the left finger palm. Repeat for the

remaining coin and a click will be heard as the two coins meet in the left hand. This is

perceived as coming from the right hand. The left hand relaxes at your side as the right

apparently hangs both coins in the air.

Wise Guys

Outside the Magic Castle one evening, Bill Goodwin showed me a startling revelation of three

cards, trapped, collectors-style between four aces. It was visual and stunning. I developed the

following, simpler routine, as a result. Since the objective is to get to the revelation at the end,

there is only one selection here that manages to locate its mates with the aide of four aces.

Cull four of a kind to the top of the pack as you openly remove the four aces (or begin with the

four stacked on top). Place the aces face up on top of the face down deck and spread briefly

to show them, catching a break under the two face down cards directly beneath the aces.

Square up, adding the two cards to the packet and table this to your right, on top of the card

box. Force one of the two cards remaining on top of the deck and reverse the other in the

middle. To do this you can use a riffle force followed by a Braue reversal. A novel approach is

to cut one of the cards to the face then riffle down the deck inviting someone to call stop. Now

execute the Braue reversal of the top card, cutting at the break. It gives the impression that

the new face card (one of your foursome) was freely selected. Take this card from the face,

table the deck and continue.

With the deck tabled and the selection in their hands, pick up the aces, with the two face

down cards secretly beneath. These two cards will secretly be interlaced between the aces as

follows. Holding the aces face up in right hand biddle grip, the left hand squares the packet

slightly. As this is done the left pinky pulls the bottom card of the packet down so a break may

be taken with the right thumb. The first ace is drawn into left hand dealing grip with the left

thumb. The second is taken in the same manner but the car beneath the break is also taken

under that ace. The left fingers aid in this action and the left pinky must maintain a break

under these two cards. The next ace is taken, side jogged to the right and the last ace (two

cards as one) is added to the right of that. The right hand does not release its card yet. The

right hand takes over the left pinky break and moves all the cards above to the right to form a

spread of four aces. The left thumb now comes down onto these cards, holding them in place

so the right hand can move away briefly. Try this sequence a couple of times cards in hand.

The right hand will now take the top two aces, thumb on top, fingers below and still spread

(there is a card secretly trapped between them) as the left thumb takes care not to let it’s

cards separate. You now hold two aces in each hand, both spread. You now have the

spectator present their card face down and take it between the two packets in each hand, so

it is centralised, face down amongst all four aces. Both hands now hold the packet. With a

simple spreading action it is a simple matter to reveal the other two hidden cards as you wave

the packet near the deck. This is a stunning appearance. My friend Bebel has worked on

similar productions independently. Remove the face down cards to show three of a kind.

Wave these over the deck and spread to show the fourth mate reversed in the centre. Note

that if you have the four of a kind separated into red, red, black, black from the outset the card

in the centre will be the selection’s mate. I find that to be worthwhile.

The ConCam Incident

Close friends know that the term “ConCam” indicates a certain pride on my part. This simple

method achieves a devastating effect. It was based on a trick shown to me by David Regal,

which finds it’s roots in Scarne’s Triple Coincidence from Stars Of Magic. David’s method

uses two gaffed decks and no moves. It may be found in his book Close Up and Personal.

This uses two ordinary decks and a rudimentary card sleight performed at exactly the right

moment. The real key to this is acting. The presentation is based firmly on David Regal’s but

in this case his ageing relatives do not receive any criticism from me.

You need a red deck and a blue deck. Remove any three cards from the blue deck (I like to

ensure they vary in colour, suit and value). Remove the same cards from the red deck and

ensure each group of three are in the same order. Place the blue cards on top of the red

deck, all face down. Place any red card on top of the blue cards and place the deck in it’s box

and close the flap. Now insert the three duplicate red cards into the box, between the box and

the flap, so they cannot coalesce with the rest of the deck. Replace the blue deck in it’s box

and put these into a pocket. We will assume you are wearing a jacket for this effect. Ensure

the outside right pocket is not cluttered with chop cup loads.

To begin, introduce the deck and offer to perform a mathematical effect you just learned.

Remove the red deck from the box, retaining the three red cards above the flap with the left

thumb. The deck is tabled face up so there is no chance of flashing the blue backs under the

top card. Ribbon spread the deck, close the red box and place it in your right pocket as you

talk about the remarkable qualities of the number 52. As you talk, look at the spread and stop,

apparently confused. Appear to count along the spread. You must now act as if three cards

are missing and seem quite annoyed. Propose a simple solution. Close the spread and hold

the deck face down in the left hand. Take the blue deck from your pocket, remove it from it’s

box and ribbon spread it on the table in front of someone. Be sure to toss the empty blue box

on their side of the table.

Ask them to push any three cards from the blue deck. As this is said, obtain a pinky break

under the top card of the red deck. Take each card they choose face down onto the red deck,

sidejogged. You now square these onto the red deck as you ask the spectator to gather up

the blue cards and replace them in the box. As they do this, palm all the cards above the

pinky break and push the new top three cards to the right with the left thumb. Table the deck

with the right hand, the top three cards still sidejogged.

As they are replacing the cards in the box, go to your right jacket pocket and retrieve the red

case, leaving the palmed cards behind. Table the red box, take the blue deck and place that

in your pocket. The method is now complete.

Cut the deck into four piles and place the blue cards onto the three leftmost packets, the top

blue card going furthest to the left, followed by the next two. You now place the rightmost

packet on top of the packet directly to it’s left, these go onto the next packet to the left and

then again onto the remaining packet. Ribbon spread the deck to show three blue backs

throughout the deck. Now patter again about the number 52, casually picking up the red box

in the process. Appear to notice something inside the box. Open it and remove the three

missing cards. Pause a moment, then look at the ribbon spread. Your audience will soon

catch on. Deal the cards in a row then remove the blue cards one at a time to show they

match exactly.

D-Generate Gamblers

Here I offer a routine with two phases from others and one from myself. It is a three-phase

comedy blackjack routine. The first phase is Darwin Ortiz’, the last belongs to Don Alan. The

middle sequence is my own. I have adjusted the timing on the Ortiz sequence, a small

change with a big payoff. The whole outine owes thanks to Lew Brooks’ Bughouse Blackjack.

You need an ordinary deck and a matching fourteen of spades (or whatever suit you can get).

Remove the sevens, six ten valued cards (any ten or court card) and an ace, three twos, two

threes and two fours. Set these up as follows:

Stack (X=10 value):X,7,X,7,7,X,A,X,2,4,2,3,2,3,4,X,7,X,14

Turn this stack face down on top of the deck. Place the deck in it’s box and you’re ready.

Remove the deck and false shuffle retaining top stock.

Your patter will be about a time you were cheated in a dodgy casino outside of Las Vegas.

You play the part of the dealer. Explain that the game was very attractive because the dealer

never hit his hand (never took any additional cards). Explain the rules of blackjack briefly if

required.

Cut your stock to the top and deal one card face up to the spectator, one face up to yourself,

a second face up to the spectator and then a card face DOWN to yourself. Here’s the rub: the

second card you deal yourself must be a double. The double deal is a gamblers move rarely

used in magic. Jerry Sadowitz is to be thanked for properly introducing this useful move to

magic in his book Inspirations, which includes several excellent effects in addition to the

double deal technique itself. To take the double, push two cards to the right with the left

thumb, square these with the right thumb and fingers as the right hand takes the card (cards)

and immediately slides it UNDER the first, face up, card. This last action really covers the

double deal. If it had to be dealt on top of that card, you might have problems.

State that with twenty in their hand and seven up on the dealers, it seemed like a sure thing.

Pick up your cards and place in left hand dealing grip. Take the top card, count “seven”

revolve it face down onto the double beneath and flip that face up, keeping the first card face

down, counting “plus seven”, now revolve the first card face up again and count it again “plus

seven equals twenty one”. Turn the packet face down. The audience will laugh a little. Deal

the three cards face up in a row saying “seven plus seven plus seven IS twenty one”. Gather

the dealt cards and place them under the deck. Deal the same way as before, this time

without a double deal. Show concern about the ace then turn the two cards over so the two is

now face up in your hand. Now their twenty against your two is a sure thing. Palm the top six

cards from the deck into the right hand as you say this. The left hand slides the two away

from the face down ace beneath as the right hand lowers onto it and spreads the palmed

cards to the right, as if you were spreading the single card into seven. This is a nice moment.

Count up all your cards to reveal that you got twenty one.

Now deal again, no doubles, no palming. Reveal you have twenty one yet again (seven plus

fourteen) and recommend they never play anywhere outside of Vegas...

Wilson On The Jazz Two Step

The following handling of Peter Kane’s Jazz Aces was worked out whilst waiting for Lee

Asher to wake up one morning. He finally surfaced at 12am. This was the result.

Remove four aces and table them face down then take five middle value (6,8,9) black spot

cards from the top of the deck. These five are counted as four. Set the deck aside and pick up

the aces, dropping them face up onto the face down spot cards. Spread seven cards to show

four aces in red, red,clubs, spades order all face up and four face down cards (last card is a

double). Raise the hands to show the four spot cards visible, lower and close the spread,

catching a break under the top six cards (four aces and two spot cards).

Lift the cards above the break in RH biddle, peel off the first ace with the left thumb and flip it

face down, taking it under the cards in the right hand. Repeat, this time maintaining a right

thumb break above the second ace. This ace is added to the top of the left hand cards as the

third ace (clubs) is peeled off, revolved face down and taken under the right hand packet.

Repeat for spades and drop the packet, forward jogged for half it’s length, onto the left

packet. Deal three cards from the Ace packet in a row, right to left. The last card is the ace of

spades, actually a double card. Show the face and then table the double face down as one

card (see “Wilson Tabled Double”) to create the familiar “T” formation (Vernon).

Perform a triple turnover to show a black spot card. Name it, turn the triple down and deal the

top card of the left hand packet onto the double card, side jogged, taking care not to split the

double.

Pick up the outer left card (an ace) and insert it into the three cards in your left hand. The card

goes second from the top and is face down. Wave the packet over the leader cards, flip it face

up and Elmsley count to show four black spot cards. Drop these to your left and scoop up the

leader packet in the left hand (this is done quickly to conceal the extra card). Flip these face

up and pull out the bottom card to show a red ace and the ace of spades. Table these face up

as two cards (the ace is still a double).

Repeat the first phase for the middle outer card. At the end you will actually have four spot

cards in the left hand. To show the second ace has arrived, simply turn the face down card

face up onto the other two (the double should stay square). Do not pick up the whole packet!

R. Paul Wilson - Omerta.pdf

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