..a lecture by EUGENE BURGEREugene believes that the challenge of per- forming is to make “that puzzle" into a fun- filled and entertaining romp OR a stunning, esotional experience. His aim is to have “only strong effects" in his repertoire, How well hhe has succeeded was attested to by England's Bob Read after I had taken him to see Eugene work at, a local bistro: "He's marvelous," Bob said. “Every item's @ closer!" As an enthusiastic, even unabashed, admirer Of Eugene's performing ability and “persona, T am pleased to be able to help bring his notes to you. If you have attended this lecture, no words of mine are needed to tell you about his ability. If you have not, I am pleased to {ntroduce you to a good friend and wonderful magician through these notes. Excelstor!! Pro- ductions has also published his book, Secrets and Nysteries of Close-Up Entertaining. —T com ‘mend that €0 your attention also. Tam confi— dent that you will enjoy and benefit from read- ing it just as Iam sure you will benefit from his lecture. : == Phi WAT Imarth EXCELSIOR! ! PRODUCTIONS 3 Banbury Cross Asheville, N.C. 2601 -27-‘ABOUT GENE BURGER, Eugene is a professional close-up magician. Magic has been his sole means of support for several years -- and Eugene lives very well, indeed, ‘A Tover of magic since he was ten years old, Eugene is a native Chicagoan and had the ‘great good fortune to watch and know and learn from the many fanous Chicago close-up workers of ‘the 1950°s and ‘60's. Throughout high school in Chicago and col- lege in Wisconsin, he was utterly absorbed in magic. Then his interest dropped away, his Subscriptions lapsed, his apparatus and ‘books were sold. During the years "away," he studied ‘at Luther Theological Seminary in Minnesota, at Yale and at the University of I1linots where he also taught philosophy and comparative relig- fons. He left the university in the '70's and moved to Evanston, Illinois, where he eventually became Director of General Assistance (welfare), a job which he could only take sone four years. In 1976, Eugene and Erik Counce formed the Spirit Theatre Company and twenty months later “Haunt ings" debuted. This powerful and intimate "psuedo-spirit" seance played colleges and the Chicago area Playboy circuit, and ts the subject fof a book to be published by'Magic Inc. in 1982. T have seen the show and read the manuscript and can highly reconmend both, While developing "Hauntings," Eugene took stock of his life and decided to become a full- tine professional magician. This normally dif- ‘ficult metamorphosis was “aided by a benignly benevolent appearance, a sincere love of people, anda highly developed sense of what he was about. = 26 PRESENTATION The great danger in listening to lectures ig that we are only Ifstening to words, only Vistening to the other fellow talk and show his magic, and not making any real progress of our own == and that, after all, is what is imor- tant; making my’ own progress toward ... what? What are my goals? What am I seeking to accomplish? What results do {wish to attain? If the goal of performing (whether on the trapeze, the “guitar, ‘or WIEN'a pack of trained seals) ‘ts to entertain people, the goal of magical performers ought to be to entertain then through deception. Notice that_ the word “enter~ tain” cones before the word “deception.” This isn't simply a trick of sentence construct fon or a play on words; it points to a primary fact recognized by almost all magicians who earn their entire "living" (meaning "noney" ... ham ses) performing magic. Close-up magic as performed by many ama- teurs is deceptive but not very entertaining. Energy has been put into constructing the decep- tion, but not enough energy and thought and work has been put into constructing an entertaining, yresentation within which they might, as we Say, AETGaE the Foor.” And, hoaxes, I submit, really ought to be cloaked with sonething. <3.It's more fun that way! Not only for your audiences but, hopefully, for you. Persentation Ys that point where you’ put yourself into your magic. Even {f your presentations tend toward the wow I'm going to do this; now 1 am going to do that" format, your Ines must be rehearsed and ‘spoken as if you were saying something impor~ tant -- something worth the spectator’s tiine and attention. Consequently, the style of close-up presen- tation which I personally least enjoy is one which we see all too often -> and which might be called: "I'm doing this as a throw-away so that $f you catch me it won't be such a big deal." I enjoy this Teast because (among other reasons) hen one sees it, it does not appear to have been so much consciously chosen by the performer but, rather, fo be the nevFtable, result of #99 Tittle rehearsal. According to "Burger's First Lins!” “Yao any’ performers, practice’ the" oves Ele rorget to rehearse the show You must practice the parts and rehearse the whole. You must practice the moves, the sletghts, the various physical maneuvers until your fingers can do them smoothly and without awkwaraness. Now you've leamed the trick -- and the work (and, hopefully, the fun) is about to begin, If one is a silent performer, the trick generally must now be choreographed to music; if fone is a speaking performer, the trick must now be choreographed to what you will say (your tate Notes Don't be in a hurry -- particularly when you unrol1 the tube. T have fooled many magi~ Cians with this simply because they were looking for something on my thuab or first finger. |The movenent of the right hand tovard the spectator, fas the left removes the rubber band, 1s smooth and unhurried. It's all over before you know ite The best kind of glass to use -- since you don't want the DIT] to get wet(!) -- is 2 cordial glass. Pour slowly but. steadily -- ntl” the water is about one-fourth inch from the top. With his Liquid Pull, Vernet supplies ‘small plastic glasses which are designed to pour perfectly and which hold an ideal amount to use With a finger tip. Again, a paper cup fs also fine since it can be squeezed together at the top before pouring -- and the water will pour straight down (which is what you want). One last word concerning the presentation of this -- and other -- close-up effects. The greatest failure, it seems to me, 1s a failure fof the Imagination on the part of the performer ‘fo imagine that he is really doing things that fare absolutely fantastic and amazing. If the performer can imagine this to be the case, he is, Tiready. on. nis way toward communicating "that ‘energy and wonder to his audience. This little trick, for instance, really can be played into something quite marvelous in the perception of Tayen -- and, if you do it smoothly, even magi- clans might wonder where the tiunb tip went. oeMater 1s slowly poured into the bil]. Just. before 1 do this I usually say, “This is. the reason I didn't want to use my own money!” Stop, let it sink in. Don't be in a hurry. Slowly ++ 35_ if you vere doing sonething tremendous .:. slowly slide the card fron under ‘the BITT until it is free of contact. If I am Performing this behind a bar or near a table, 1 will “spin the card onto the surface toward the spectator. If you do this as if you were doing sone- thing utterly unbelievable, you will find that many people will gasp when’ you renove the card. Taking the glass im the right hand, slowly raise the tube in the left, pause, and then slowly pour the water back into the glass. This very often generates laughter. Put the glass down -- or hand it to sone- fone. Look the spectator right in the eye as you deliver “Bie “tal ortng” Ther ~“kna “the nast amazing thing is that bITT ts not even wet!” ‘This Tine covers a multitude of sins -- not the least of which is the steal of the tip from the tube, But don't even think of it as a “steal” -- it isn't, hat I do is simly insert the third finger of my right hand into the tube (andthe tip) as ay left hand slips off the rubber band. I allow the bill to unroll by itself as ay hand moves toward the spectator -. Finishing about a foot from his face. The left hand immediately turns the dill over several times and hands’ it back to the spectator -- as both hands are shown empty (Fingers pointing ‘toward the spectator's eyes). ~ mh script). Expecting to be "inspired or the spot regarding your script shows very lizt'e ~espect for your audences! Much Tike a dance or a granatic piay, the Close-up magical performer's novererts and actions are choreographed to the words ne will Use in performance. And it 1s this which needs to be rehearsed, This interaction of the per- former's acttons and handiing of his props on the one hand and his words on the other -~ and the surprises which are thereby generated -- is the show. Again, the show must de. retearsed Of course, the close-up performer's script needs to be flexible and open rather ther rigid ne closed, This is required. bocouse. of the intimacy of the performing situation wherein spectators often will talk to each other and to you. In the context of such intinacy, 1 have found the following to be a helpful ‘rule of thunb: “If you expect spectators to be attentive to you, you must, in turn, be attentive to them, Close-up perforners need to listen to what their Spectators are saying -- so they can respond to then. One evening 1 went on a tour of a few of Chicago's many magic spots with ay friend and former partner in the Spirit Theatre company, Dennis Rook. Afterward, Dennis remarked: Quite a few of the magicians we saw tonight related to audiences as if they were only technical neces- needed to select cards, renenber then, "Great fob!" to the performer at the How true. Yet much of the fun of close-up magic for spectators fs that it is close-up -- -5-and that they may, therefore, participate all the more fully in what is happening. People enjoy getting involved. They want this to be fun. They might even talk and laugh and joke with you. Don't give them dirty looks. And, please don't treat then as if they were “hecklers!” (How awful!) Play with them. Haye fun yourself. Allowing the spotlight to drift occasional ly to a spectator (when this ts not done for purposes of humiliation and/or eabarrassnent) is not only gractous, ft 1s theatrically wise. We are creating a magical context of mystery and fun and surprise and play and, in this. con~ ‘text, audience involvenent can enhance your presentation and deepen the impact you have as a performer. But lest you think I'm preaching, let me say that I'm only telling you how I approach my ‘own work. I agree with Leo Buscaglia when he said: "Beware of giving advice. Wise men don't eed it and fools won't heed it. band). The finger tip 1s already on the first Finger of your right han fe the bill is being produced by a willing spectator, slip the uber band off the finger tip and hold it in your left hand. The bill fs received in your right hand, palm up, and rests on the palm -- thus covering the tip. The left hand turns the bi11 over once or twice and then holds up the rubber band as you say, "Would you trade the D111 for this Tubber band?" "This question usually takes folks off guard and you should get many inter resting responses with which you can work. Whatever the answer, hand the rubber band to the spectator with the request that he pull on it (Fantasy being what it. ts, this usually gets a laugh fron the other spectators). hile the attention is. thus on the spectator and the rubber band, form the bi1T into a. tube around the finger. tip == which ts tmediately removed before the tube is TinaTly formed. This takes a second. D0 it casually =~ as if you were just doing“, use Forming 3 111 tata tube == Without getting flushed tn the face and genera- Ling your sense of guilt to the audience. Take the rubber band and slip it around the tube thus formed. The tip. should be near the 0p of the tube. | (This is the polnt where you tell.all of your “rolling the dollar bil! into a tube" fokes.) A card is taken and placed on the third and fourth fingers of the left hand. The tube is placed on top of it and held in place by the thunb and first finger of the left hand. aeWATER SUSPENSION Laymen often believe, erroneously, that if they are seated close to’a aagician, they will have a better opportunity to discover his se~ crets, While this is often true, it is by no wmeans always the case, This effect, for ex- ample, fs effective precisely because it is performed right under the spectator's nose Further, it is perceived by the spectators as being completely impromptu -- the only proper- ties used are a dollar bill, a rubber band, sone water or other liquid, and the perforner's’busi- ness card. (You might think this is a clever vray to pass out your business cards -- and, per~ haps, it ise Personally, I never give my card to anyone unless they ask for it. Should T be asked -- and should there be some liquid handy == I very often perform this effect.) The baste effect first came to my attention in Milbourne Christopher's book on the thunb tip. If you wrap even a newish bill around a thunb tip and slip a rubber band around it, you might think the whole thing Tooks wrong: ” The tube thus formed seems too large -- obviously Suggesting to the discerning spectator that Something is inside it. I felt a finger tip Formed a thinner and more believable tube -- and that is what I use. If you put snal) rubber band around the finger tip and put TE in your pocket, the effect 1s wonderfully impromptu. Routine Ask to borrow a bil] -- "the larger the d nomination the better." Ask that the bill be rnewish (a worn biT1 would crush under the rubber -2- TOP CHANGE 1 was taught this effect, step-by-step, when I was Sixteen or seventeen years old by Alex Berecz, a magician-bartender at Dix and Norb's Magic’ Inn, a Chicago magic bar popular in ‘the 1950's. Because the effect is little more than theatrical dressing around a top change =~ a Sleight which T assured was terribly affficult to execute -- I consequently made hard work of the lessons. Alex, however, was 2 patient teacher and ‘slowly got me to "see that what ts important here -- and what makes it al! decep- tive -- is not primarily what your hands and ‘Fingers are doing, but the situation you are creating through your words, your eyes, your gestures, and your interactions with your audi- ence, Once this is realized, the top change rather does itself -- and you just help it along. I confess this 1s one of the cornerstone effects in my card work for laymen. I perform it all the time. It allows me to get people's names and talk with them. I perform the effect sitting at a table, standing behind @ bar, or standing in the middle of a cocktail party or hospitality suite with spectators completely surrounding me. People simply will not see the exchange of the cards if their attention is on tthe two spectators who are in the spotlight. Yet tthe exchange fs done boldly -- right under their noses. Perhaps this is why I like it. Routine “Do you ever do card tricks?" I ask a spec tator on ay right. Go with the answer. "Well, -T-this is a card trick that you will do. May I ask your name?" Spectator replies his name is John. “Nel, John, T hope you're lucky tonight. Turning to a spectator on my left, I ask her name. She replies it is Mary. “Wary, I want you to select one of these cards. Show it to everyone except John and me. Now, John, don"t peek! We're all watching you!" (Indeed! If everyone continues watching John and Mary, 1f you continue to Keep then in the spotlight, no ‘one will ever see the exchange!) Mary shows her card and replaces it in the deck. I maintain a break above the card with ay left fourth Finger. “John, tell us the truth: Did you see Mary's card? As everyone looks at John for his reply, I execute a pass which brings the se- lected card to the top. Alternatively, if one of the spectators is staring unmercifully at the deck, I will "absent mindedly" double undercut. the card to the top. This needs to be done as 1 He mas ao bearing whatever on the proceedings s+ and without shane or guiTt. T turn toward John and slovly riffle the cards. "I'I] do that again and you say "Stop!" wherever you Tike." If 1 feel playful, I might riffle the deck so rapidly that it 1s’ finished before he says anything at all. "This is a motor skill: You ‘ust coordinate with me!" The point is that T play with the spectators here and keep it Tight. John finally succeeds in stopping me and I take the card in my right hand -- keeping the deck in ay left. -8 can be the first and only Ace which you attempt to send to the audience. It ts simply picked out of the face-down fan by its secret marking. The advantage of this pack over the pre- vious one is that it can be made up using a regular deck of cards -- thus making up new decks 1s an easy matter. Again, with this deck ‘the reversed card can be removed from the pack, back toward the audience, the pack itself turned ‘around, and then the reversed card turned around so it can be seen by the audience -- a far more interesting display visually. -a-pocket as I say, "In a deck of cards there are thifteet cards of each suit. Name any one of then.” It's a matter of ‘timing and eye contact. I ask the spectator if he would like to change his mind and name another Heart. 1 make a game of this. When the spectator is Solid on one named Heart, I remove the deck and spread it faces toward the audience. The cards are separated at the appropriate point. I say: "One card is reversed ... and only one card ... the three of Hearts (or whatever). As I Say this, T remove the reversed card (without show- ing its face) and slowly turn the pack around so the other side can be seen -- as I am saying, “and only one card." The card itself is then turned around to reveal it fs the very card named! Second, if I am perfoning at a table, I might place the Heart pack on the table but off to the side. If Hearts is named, I pick it up. If Spades is named, I switch the deck for the Spade deck in a way shown to me by Bruce Bern~ tein, a very clever Chicago performer, which T 18 not free to explain. Since the spectators do ‘not know what you are going to do, the switching ‘of the decks is not a big production -- and can occur on a natural off-beat. Third, standing before a group, I use the unbo {warked) Aces. First, T hand out the Weart (or Spade) deck. Then I show the jumbo ‘Aces and propose the telepathy experiment with the audience. I attempt to transmit one Ace and ‘then another (neither being the Heart). The two fenaining cards are given to the spectator and ‘the Kee of Hearts is, selected throes, site process of equivoque ("Would you hand one of then to me.*) Alternately, the Ace of Hearts - 20 - T hold the card so that it faces Joho and Took at Mary and say. somewhat triumphantly, Mouldn't “Tepe amazing 1 donn did find your card?* Mary usually admits that Tt would be amazing. I tip the card back so that I can see its face. My right hand continues moving -- and crosses over to show the card to Mary. Before Mary can say anything, I say: "You picked the four of Hearts (or whatever)..." My right hand inoedtately (but not quickly) moves back so that it is held about seven or etght inches in front of my body ~- and about waist high. At this point, I am looking Mary directly in the eyes -- as I’ continue the Tast sentence, "... and that's exactly the card at which John stopped!” It fs during these final words that the top change is executed. As I say these last words, my left hand crosses in front of my right, con Einues its movement and finishes pointing dir- ectly at John -- as if for emphasis. During the crossover, the exchange is done. The left thund pushes the top selected card about one-half inch to the right. The card tn the right hand is held between the thumb and first finger. The first and second fingers of the right hand Separate so that the selected card can be fed between them by the left thumb. The left thumb inediately lifts slightly upward so that the card in the right hand can be taken onto the top fof the deck. AND THE HAND KEEPS MOVING until it cones to a stop -- pointing at John for en- phasis. One other point: Once the exchange is made, the left hand, in continuing its movement toward John, moves more sharply upward until it ‘stops, pointing at John, -9-Mary may get a bit confused and look to others for support as she tells me that this was not her card. I tell John that I ama little disappointed with his card trick -- and then ask him to blow fon the card. I turn it over and show that it has changed to Mary's card. Once the surprise has begun to subside, I repeat the exchange as follows. I Took at Mary, smile, and say, "You didn't’ think that John could’do it, did you?" As these words are begun, ‘the right hand (with the card) gestures for emphasis toward Mary. When I get to the nage “John in the script, the left hand is moving to potnt to John -- and the card is exchanged in the process. ‘Were, John, blow on it again." I Took at Mary and turn the card over -- showing it has now changed back to the first card -- and say, "You see, it's never what you think!" I give the card’to Mary so that she can touch it ~~ and, in the process, see that it 1s not prepared (which, interestingly, is often suspected by spectators). Notes I want to discuss this effect not only because ft has a very high impact upon Taynen but also because it shows us what we need to practice and what we need to rehearse. The ‘hystcaT action of the exchange of the two cards needs to be practiced -- repeated over and over and over until it can be done smoothly and ef- Fortlessly, without strain. -10- This is such a strong effect -- a named card found reversed in the pack -- and, here, the effect is the same but the method 1s diffe fent. No double-face or double-back cards are required. The "miracle" has its price, however, especially if you are squeamish about ‘multiple- outs and thinking on your feet. Just renenber, “thinking on your feet” is made easy by thinking in rehearsal. The pack can show one suit only: Hearts. The entire suit of Hearts has been roughed on oth sides and then sandwiched between two other ‘cards -- one of which has been roughed on its face and the other roughed on its back. Thus we have groups of threes with the reversed card tn On the backs of the cards which sandwich the Ace, three, six, nine and Queen, make a ‘small scratch on the ‘upper eft and lover right corners -- which will make counting so much easier. use two decks. One shows Hearts and the other shows Spades -- the two most frequently naned Suits. T have used these decks in several ways. First, I have placed a deck in each of ay vest pockets (the Heart pack over the heart ~~ where else?). I ask a person to nane his favor- ite card suit. Again, if efther Clubs or Dia- monds is named I go into another effect -- with- out flinching! If Hearts or Spades is named (which will happen in the vast majority of cases), I renove the appropriate deck from ay -19-begin by handing out the deck, Then 1 show four jumbo Aces == one of each of the suits <- and’ propose an. experiment In telepathy wherein T'witl mentally attempt to send the nane of one ofthe card. suits to the audience asa whole. If you don't play this as conedy and if you keep the pace ioving, audiences seen thoroughly to enjoy such excursions. into parapsychological. Hoo Woo. People enjoy guessing and being right and raising their hangs and showing off. (Just 11ke you! Task someone to mix the Aces and then return them to me. I fan them so that neither ‘the audience nor I can see any of their faces ‘and then select one, apparently at randon. Act ually, the backs of the cards are marked and it is an’easy matter to select the Ace of Clubs. I look at it and attempt mentally to send it to the audience. I ask how many persons thought of "Spades?" I ask then to raise their hands. Then "Hearts" and then "Diamonds" are call~ ed out. When I name "Clubs," I turn the card ‘around so everyone can see it -- and, at the same time, scan those who now have their hands raised. Picking a likely person near the front (for better audience visibility), I ask him or her to. stand up and continue with the experi- ment. I discard the “already used” Ace of Clubs (hy "not 21) and hand the spectator the remaining three Aces and ask him to mix them thoroughly land then to select one -- stressing the fairness Of the choice, I am now ready to begin the effect proper without the possibility of @ detour. - 1B The whole routine needs to be rehearsed -- fron beginning to end. The words which you are using for the exchange must fit into the frane- work of the rest of the script you are using. During rehearsal, talk out loud to imaginary spectators. During performance, I am seeking to have fun with John and Mary and the other specta- tors =- and I will allow the situation to de- Yelop as it will -- knowing that T can always get back ‘on track” with my script. Renenber, the reactions and responses which you are able to elicit from John and Mary greatly enhance the show, The magical change of the cards is but ‘The “topper” to the situation -- John's attempt ing to find Mary's card -- a situation which should be fun and entertaining in and of itself. “ue3) BRAIN-WAYED Why another version of the Brainwave Deck? Certainly any self-respecting magician ought to be satistied with the original Vernon version or, should he for sone reason prefer a face- down card appearing in a face-up pack, Joe Berg's Ultra Mental Deck. Performing as I do in public places where both local and visiting magicians often drop in to see a little magic, it appealed to me to develop 2 version wherein both sides of the deck could be displayed at the finish, This has caused quite @ few magical mouths to drop open == as magicians suddenly realized they were ot seeing one of these now-standard packs. And, that is exactly what I wanted (perverse soul that I can sonetines bel). It 1s great fun to have a few effects in your repertoire that are “magical traps for magictans® because magictans, generally, deeply enjoy being fooled. It ts unwise, of course, to gear your entire repertoire toward aagicians because, according to "Burger's Second Law:" Laymen tend to re- rember what they like about your show while agielans tend to rafember what they don't Tike. Gearing your work to magicians, then, Ts a los- ing battle. (And we haven't even begun to talk about magicians as “tippers” in a restaurant or Tounge!) ‘The routine I am about to describe is based upon three points which, I think, are indepen dently interesting. First, audiences do not know what you intend to do until the ending fs revealed. This is why multiple-out effects have the impact they do: The spectator does not know 12. Again, go with the spectator's response. Then continue: “Let us see. You naned the suit ‘Wearts' and the ounber ‘five'." The cards are taken fron the spectator, removed from the case, not cut at the tad be- cause of the card chosen, and slowly spread with their faces toward the audience. Watch for the Heart guide card and then count to the five and spread the roughed-together cards apart. A face- down card appears to the spectators. In fact, it is the double-backed card, Right next to it, facing you, is the five of Hearts. The fanned deck 1s turned around and the five is displayed and removed. Finish! Notes If you are worried about an Ace (the nusber one") being. selected (this will not happen, since you asked for a number between one and ten), you can place four Aces in-your breast pocket In CHaseD ‘order from the front of the pocket to the back. Thus you are able to pro- fuce any of the Aces from your pocket as if this were the effect. Another’ spectator can then be ‘5ke6 to mane another nunber between one and ten and you can proceed into the effect, This perhaps seems Complicated in print but, in prac- fice, itis really quite steple and sppears to be direct. On the very rare occasions when I present a stand-up performance before a large group of (seated) persons, I generally present this ef- fect but I use @ different way of getting into it which eliminates the possibility of the first detour (necessitated by a selection of “Clubs"). -u-changed and, at Teast in Las Vegas and Atlantic City, vacations have been ruined because of it. Ina’ moment, I want you to call out a nunber between one ‘and ten -- but so that later people won't think you made it too easy for me, don't callout the number “seven” as this is most always called. So... call. out a number." ‘The spectator replies, “Five.” To the spectator with the deck, "Sone time ago I gave you a pack ‘of playing cards which T asked you to place in your pocket. Would you take then out and hand then to this gentleman (who made the selections). Sir, please hold the deck up. This deck of cards was given to me by a man I once met, an old gambler. He had spent Several hours using this deck to deal the most wonderful poker hands -- royal flushes and all of it -- and at the end of his deaonstration he gave the deck to me, no doubt to prove to me that what I had deen witnessing was the result of real skill on his part. He said that he hoped the cards would bring me Tuck." To the first spectator: "Do you believe in luck?" If the answer is "Yes," I say, "Wonder- full" If the reply is "No," { say, ‘Well... T certainly hope that you're lucky tonight!" "You see, when I first looked through the deck after the ganbler gave it to me, I was sur- prised to discover one card was reversed -- up- side down -- in the pack. An accident ... per- haps... or one of the gambler's secrets. I simply ieft the card reversed ... where it is ight now ... to see how lucky people really can be. I wonder ... do you think that you are, Lucky?" 16 - what the “ending” is supposed to be and so any one of a set of endings can be intracuced as “the” ending. Second, when describing effects afternard, ‘spectators’ notoriously sisrenenber details. "1 have very often heard this effect described by spectators to their friends as: “I named a card and it was reversed in the deck I was holding!" -- which, as you will see, 1s not what happens. Sut it’ IS the effect which the spectator believes he saw ne perform. Third, 1f asked to nane one's favorite card suit, the overwhelming choice will be "Hearts." 4 fairly strong second plaae choice 1s "Spades." Wonen, to a much lesser degree, will sonet ines smile'and say "Diamonds" ~~ perhaps remenbering that "Diamonds are a girl's best friend.” "Clubs" 13 named very rarely. If you ask where I have discovered such curious secrets about the human psyche, my answer is that I have simply asked this question of hundreds and hundreds and hundreds of persons over the past few years and ‘this Ts what I have discovered. Consequently, this deck is designed to exhibit three suits: Hearts, Spades, and Dia- monds. If Clubs is naned at the beginning, I inmediately fan the deck, ask that a Club be selected, and 90 into another effect -- most often ay’ version of Matt SchuTien’s Card in the Matchbook. At the conclusion of this effect, I ask that another suit be named and the choice is now between the suits which the deck can display. This is, to be sure, a detour -- and fone which may disappoint magicians Because of its apparent lack of directness. It does not trouble me, however, because I equally enjoy performing the Card in the Matchbook and because =ethis lack of directness is gerceivable only by the performer. The spectator has no sense of what 1s going to happen. He does not perceive a detour at all -- or, more precisely, he will hot perceive a detour unless the magician is Unable to hide his own disappointeent over the spectator's choice! The pack consists of 24 double-back cards and 24 double-tate cards. (The application of ‘double-face and double-back cards t0 the Brain- wave Deck, though In another form, was something T first. read about in Sam Dalal's excellent but short-lived magazine, Swaat.) The double-face cards are as follows (read across the columns for order of double-face ards in the deck): BD - 3c Dem 4 50 > 9¢ 6 = x0 @ 3s 9 = 2c 100 - 6c 232 aH 35. 7c 45 = gH SIS = TH 65 - AD 8s - aC 98 = 75 105 = oD 2H > 3¢ 3H ano 5H > 5c oH AS 8H > AW oH Ka 10H > 7, Since no stardacd double-face cards are so backed, you will either have to spend sone tine splitting cards or engage soneone to do it for you. Net) Lester (of Cards by Martin) made ay eck for me. The card are roughed together in pairs One side of a double-back card ts roughed along with the Oianond, Spade and Heart sides of the Gouble-face cards. The four unused cards (8, KS, KC, and 10C) are placed on the top and bot tom of ‘the deck respectively. Thus fran the -ue top of the deck down we have: 8C, KS, 0B, DF (2 up), 0B, OF (30 up), etc., ending with’ the Unprepared KC and 10C on the face of the pack. Using a razor blade, scratch the backs of the doublesback cards which are roushed to the 2, 25, and 28 on the upper left and lower right hand corners. These will be your guides as you run through the deck, faces toward the audience. The guide cards will tell you where each suit begins (and so each suit. should be marked differently). You then count fron the qquide card to'the funder selected =~ resenbering to anit the aumber “seven” which 15 not used. I Confess my deck has marks on the 6's as well since I prefer to do even less counting! Using transparent tape, put a small tab on ‘the bottom of the 65 - AD’ about one-fourth inch in length. This wiiT be used as @ guide for cutting the deck should the Final choice be either the 2, 3, 4 or 5 of Dianonds or the 6 8, 9, or 10 of Hearts, The cards are simply cut at the tab once the deck is renoved from its case. The reason for the cutting 1s to bring the chosen card more near the center of the pack for its Final display. Routine The pack in ite case 1s given to a specta. tor several effects before I intend to use #¢ ~~ with the instructions chat it 1s something we'll ase Tater and to put it into his pocket. "Do you have a favorite card suit?” I ask. Assuming the spectator replies "Hearts" (or spades" ‘or “Oiaronés"), I continue: "Let's Took at this faea we cal’ luck. Lives have been -15-