ne reece Geo, Jury 957, Page so wren 24/01/2083 (On the recent Wry Creates Magic IL specie youn hen from England vide oie ‘ng impression witha clserup sequence that contbined «beguiling lowey manner with pair | f hight card effects In the opinion of many viewers, he wnlkedcwey withthe shown * ‘The two routines that he performed wil be detailed ina forthcoming book. Tb whet your appetite, Gay now explains am alternate version of hi opening effet rom the special Waving the Cees Sn Which Four Tarde re Seen to Curr Over Usibly by Guy Hollingworth. ‘THIS VERSION OF Dal VERNON's TwiSTING THE ACES ° uses a move which I call the GWR Alignment; itis a method of transferring 2 double eard around a tmall spread, {ec will be taught in che context of the routine, but it has ‘wider applications, which will be diteussed later. This is a ‘version for performance to a small group of people; a “stand- ‘ap version, soto speck. Teds performed at chest height so it ‘an be clearly seen by the audience. 5 ‘Whilst casually looking through the deck, arrange a ‘court carton the top, Run through the deck, upjogging any four ofa kind of coure card, but not of the same value as the ‘card om top. Let us assume that you upjog the four kings, ‘and chat there is 2 queen on the top. It is necessary to remove the queen secretly, and to add it to the back ofthe four kings. This may either be done by means of the now-standard, ‘Vernon addition move, as the kings are stripped out, or by the following move, which has some advantages: “Take the kings ou of the pack with the right hand, leave ing the ret of the cards in the left hand. Since the ret of the is ratonable to pat | them away in your pocket. Fence, you do this, punting them {nto yout left side jacket (or trouter) pocket. As you remove your hand from the pocket, simply bring the card fom the top of the pack with it. You may find chat you can held ic ‘deep in the hand, 30 that ici conceded in something Wke a Gambler Cop, bu thie ir noe paricwlacly neceteary; af the Jef hand leaves the pocket, the right hand moves to the lef, s0 that the hands meet almost at soon asthe le hand leaver the packet In a eonsinuing action, the four kings are placed con top of the queen in the left hand, and all the cards are addressing the audience, and passes quite unnoticed. It ix ‘very much like loading a large ball, of feuie or small veg cable atthe end of Cups and Balls toutine. The particular, advantage of using this method rather chan the Vernon mcthed is tat you can have been using the four kings in a previous tick, and then exsally place the rest of the pack away, loading an exta card, whereas the Strip-Oui Addition requires thatthe eardé be raken ait ofthe pack. Anyway, the four kings are held in the left hand, with a queen concealed behind them: Spread the Fier three cards ‘over to the right, leaving the final two cards held as one. Give this double card a firm squeene, to that eis bent in a convex. manner. This helps to keep the double card eogether, but is alto usefl in obtaining a break later on. Whilst the cards re24/01/2083 10:27 spread, range the kings such that they alternate in color. (ht double card, so altemate the others accordingly). FIGURE 2 Thelof had turns over the top card. the purposes ofthis trick (asthe move is used several times), ‘we will call it “the Termover” ‘With this accomplished, the hands come back together “The cards are therefore held in the lefchand dealing grip, pete lightly from the rst ofthe cards. rope, and held also in the right hand, below che fies card, ‘Square the cards face up in your left hand, and take the ‘op king into your tight hand; hold it up, facing the audi- cence, whilst your let hand drops casually to your side, As you gesture with the card and inform the audience that it will shortly cum over, che left hand secrely wens over the top card of its packet, so that it ends up face down on the face. “There is really no move here; it is just done whilst the audi- cence is not looking. Having said that, it can be done invisie bly, by keeping the cards close to the left leg, All that hap- ‘pens is thatthe left thumb pushes over the top card, and the ‘fingers flip it over se that it turns face down sind lands back ‘on the tap. You niay find it easier to torn it over against the Jeg oF justin mid-ait. Ths is an exaremely useful move that ‘ari be wsed for many thingg, not leatt of which isto prepare for a Double Liftin an Ambitious Card routine. A similar turnover appeared in Hugard’s Cond Menpulations series. For and the tight hand seplaces its card back tots original posi- tion, face up on the ret of the cards, whilst the left hand is caf not to expose the card that has now been reversed. | swith a facevup king on che face, a face-down king of the ther color below it, 2 farther king below that, and finally the last king and the queen, which are bridged, so they sep OO Holding the cards at chest height, with the backs toward the audience, ake the fist card into the right hind at its sight long side. Because of the bridge in the bowom two cards, there should be a natural bresk below the next ro (cds, This means that these next cwo cards can be taken as slightly to the left. The reversed card is cherefore con it, cealed behind the double. Then the next rwo cards are taken doesnt matter whether they are red-black-ted:-black or black | singly into the let hand, one ata time, also spread vo the lef red-black-red, but obvioutly you don’t want to move the so that it apparently holds a small fn-of fout cards. This sequence is repeated several mes within this effect. ‘For teatons discussed below, I prefer not to make the first king carn over visibly, s this me the method is vomewhat ‘eases: The cards are squared up once again and taken back into in the let hand. They are immediately spread again. as follows: che first three cards are taken singly into the right hand, one by one, spread as before, and the lax two cards, hheld as one are then placed on the end. Itappear, then, as if the king second form the top has wmed over. This part of the routine ete up the effect. The following times will be far more visual. Put the eaede, tall spread, into che left hand, and with the right hand remove the catd that has just turned over, and as before, gesture with it, whils: the left hand drops to the side, squaring the cards a5 it goes. Perform the Turnover agzin whilst talking to the audience, and, as before replace the right hands card back onto the lefrhand pile, although this time leave it face down, Spread the eards as described for the First cards single, double (made easy by the natural break), single, single, so four cards are seen spread in the right hand. This time the first card is facing the audience, 5 this one has alicady wmned over, the other dhice appearing face down, as the second reversed card is concealed behind the double. Now comes the GWR Alignment that will allow the following kings to turn over visibly: “Take the cards back into the lfc hand, sil spread, being careful not to disturb the double card. The exact position of the cards is important: 1) the lise Finger supports all che cards from below, at shown. 2) the extreme left card is pushed up as far as it will go into the crotch of the chumb, 4) The chumb is presing on the top and secon card (the tearmost of the double) and no others. 4) the other three fingers (not the litde finger) are touching the lower card of the double, and the card below it, and no others (Ke. the second and third cards as seen ftom the front). This posi- sion is actually quite natural, and you may well find the fin~ ‘gers ae automatically in the sight placer, but th24/01/2003 10:27 tect petitioning. Tb execute the move, all char happens is that the lefe fingers curl inwards slightly. This causes the two cards that they conact (the second and third) to move totic lefe They nun along the lice finger, like 2 train track. ‘As this happens, the reversed card is exposed, and the cards ‘continue to move to the lef, so that the card which is seer ‘ond from the bottom slides tight bchind che bottom card, ending up in perfect alignment, because itis stopped by the crotch ofthe thumb at the side, and che Litde finger below. “The portion now is that the top three cards are single ‘ards, and the bottom card is a double. The top wo cards are now facing the audience. The entire move is covered by & swing of the arm, rendeting it invisible. Ie need nos be done fast, Experimentation in a mirvor will ensure the reader that a smooth action of the fingers and arm covers the move ‘wally Ir appeare as though the second card has turned over whilst the cards ae fanned. his, hen is the basis of the routine, FIGURE 4 The move ait happens. ‘The thied card wocks in 4 similar way: Remove both the top two cards (thote which are face down) with the sight hand, and gesture with theas, mentioning chat they have magically tured over, As you do this, the left hand drops, squaies, and tims over the top card, exactly at before. Again the righthand cards are replaced (face down) and squared, whereupon the packet is spread, single, double, single, sine ale, this time showing two cards facing the audience, The GWR Alignment is performed again, apparently earning cover the tied card. ‘The final card is lightly different. Wich the cards still spiead in the Jef hand, remove the eard on the right with the ight hand, then the ney, then the next, leaving just the double in the lef hand. Gestare with these three cards asthe left dvopi and performs the turn over, and then replace them (ace down), The count i aso lightly diferene shi ime: Buckle Couint; chat is, cake the first card into the ti hand, then the second; spread to the left, then Buckle or Pull-Down the bortom éard in the left hand, s6'char the top two cards can be taken as one ints the right hand. Finally, the last card is taken, 10 chat four cards are seen spread, the, top three fcing che audience: Take the cards in this condi tion into the left hand, in GWR grip, and acta choogh you are about to make the last card turn ov, although this x of ‘course inpossible in chis state. 7 ‘Almost as an afterthought, you suggest thatthe audience aay believe chat would be easier to cazn a card over when it ia ac the end of the spread, as it could possibly be simply flipped over with the thumb. In order chat this final card i= no eatier chan the previous ones, you say, you will put it in | the middle of che fan, as.before. Crasp the spread of cards from below with the right hand, freeing the left hand, 10 that ic ean remove the rop card and place it in front of the | spread, ro that the only card still face down (from the audi y ence’ side) is now second fiom the bottom: This seems to make things very fair, bur in-fact it has put the cards it the cortect position for che GWR. Pur the eards back into dhe FIGURE 5 Thies to make thing ery fl. Jefe hand, stl spread, and perforin this move, which appa endy reverser the final king, ° whee 2 Finally, count the cards onc at a time inco the cight, hand, whking the lace swo cards as.a double; which conve’ | ‘ier places the extra card at the back of the spread where * jecan be eatily palmed out; or alternatively, all the cats €2a, tbe dropped onto the face-down pack, thescby losing the teI 18. VERY IMPORTANT THAT A repetitive effect like this should ‘become more and more impressive ‘each ime, otherwise the spectators ‘will lose interest. I perform the effect as follows, in an atempt co overcome Turns over as described aboves ie. not visibly. ‘Card two: With the cards spread, ready for GWR, I say that Iwill leave the cards in a fan, so that the card will actually be seen to turn over. | ‘Whilst saying. “turn over,” my hands sake small circles in the ar; a naturel igeeture, given the context. Note that I am talking 1 the audience, paying no attention to my hands, The move is done during this moment. Jn other words, it happens on an off beat, ‘when the audience is not expecting it They oaly notice it when Tcurm my attention to the cards. The first card ‘was exablishing what was going to happen. The second card now cape tures their interest, because they missed it turn over, but they know that it happened under their noses. Card three: This time I say that they must watch my hands careful ly, so at not to mist it again. ‘However, I make large ares with my Jefe hand 8 it turns over, so that the audience cannot see exactly what is going on even though they are looking at my hands. (Card four: This time I announce “that [ will not move my hand, so that they wil actoaly sce the last ard torn over. This is not strictly true as I do make a small sharp jetk, dp and” down, to cover the move, but ic does happen very quickly and is quite stare: ding. This is che most impressive ofthe four, and requites the most practice, as the cards need to be realigned a5 ‘quickly as possible, bur even bese, the “nove ean be done surpesigly slowly. Send $12.($19 outside U.S.) te: Christian L that always brings you the best in magic Hightech, Visual Wizardry “Disc” Located The image ofa chosen card matertaltzes on a small sheet ot plastc-—which is immediately handed othe crowdl A dabolieal concept and a Seaply ncinating effect to watch, 510.95 ppd Att Bongos Incredible Through the Mirror Mr. Bongo has “out-clevered” himself ths time! A die penetstes a slid iror {9.4 dramatic manser. The mirror and dle even ithstanel examination! “An elegant close-up illusion that's very (Orde by: Phone (920) 838-874 FAX + (680) B43-3049 EMail BOBMAGERHP cto check ar money rie ‘Boe James Macc Siar 107 Adiison Ave. Elmhurst, 1.00126 Nail Tenant US ade ppd re oth onde SESPr rcpt» tee een pee Shoo escape an, MarCad, Dcove td ‘peetae Bapee