| THE SIMON LOVELL LECTURE AT ... THE — P.CAM. CONVENTION 1995 Eighteen effects - Over eighty illustrations by Hannah Ammar - Full patter and detailed explanations!hanks for buying these printed pages. Although the cover says that they are ja blatant attempt to raise some dollars after the horrific car accident of six weeks ago you will hopefully find that your money has been well spent. There are over eighteen routines, over eighty illusrations by Hannah Ammar, every routine is complete with patter, moves and, as only I could say, the FULL otter! They really are complete! All you have to do is add a bit of time and effort, put on a low oven heat for a while and some splendid gourmet magic will be yours for the serving! Every one comes directly from my own performance. I can therefore assure you of their powerhouse effect. I'm really rather proud of all of them! Thanks are also due to the many friends who sent money, cards, good wishes and letters. If you are from that group - thanks again, Itis the love of friends, the caring of your peers and the kindness of strangers that have made me realise afresh that this magic thing of ours is actually a pretty cool thing. It is all of the above that have, along with a myriad of doctors and specialists, helped me to start to feel a lot better! FINGERED 3 FINGERED 4 PACKED WALLET PEN THROUGH TONGUE TONGUE OF WAR SELF WRITING PEN THE NIGHTMARE DECK ANOTHER DEPARTED POINT SELLING THE ROLL OUT SELLING THE SIX DICE STACK GRANDFATHERS BEER ELMSLEY CUT ELMSLEY SIMON TAKES ON LE PAUL PREDICTED BERMUDA SNEAKY SNAPPER LEMMING ACE E: HEARTLES CHANGE DOUBLE TROUBLE BALLS OF STEEL NTROpucTION AND __ CONTEFINGERED NUMB E ingered number three is my favorite opening routine, ‘Although very simple it plays big to the lay audience. Often, if time is short, it may be the ONLY effect I do to a group! ‘The effect is basically a two card transposition but the funky patter fines make this a KILLER routine, 1 fan out the cards face down and say, *O.K. George, since you've won the chance to do the first effect I'd like you to ‘remove your very own pet card from the rest! Remember you don't have to feed it but do remember its name in case it escapes one night and you have to chase it through the town!” This line may not be much but I prefer it to ‘take a card and remember it! Now I remove a Sharpie pea fom my pocket and hand it to the spectator as Tsay, "To make your pet card unique amongst all others I'd ike you o sign your name across the {face ofit using this small Chinese dog. Sharper Tee hee! ‘Don't panic you sce other names already onthe card just add yours on. When I get seven names on a card I form a self | help grow! 1 then hold out my hand. They nearly always offer the card back to me first. If this happens T add in the following extra | line, “Pen first George ... you see this is a business thing! Pens are a dollar and the card is only worth two cents... my granddaddy taught me well you know!’ The pen is then | teplaced in my pocket. This geis an extra prop out of the way AND resets my pocket management | ‘The card is then replaced and controlled to the top of the | deck. I simply shove it into the deck and take a break over it. | Then Ido a couple of euts onto the working surface to leave | the chosen card on top. As simple as this control is, it is the one I use most often | Now I hold out my right hand palm up and say, *Cowld 1 borrow one of your hands flat like this to use as-a table? This | saves me carrying a table around or, indeed, a mummified ‘hand on a stick which you'd have 10 hold omo anyway!" I then give the deck an in-hands riffle shuffle letting the chosen ccard fall last on top and say, ‘A nicely mixed up deck, so ‘mixed up they may need therapy ... but they can't talk, they ‘can't tell us, so let's not hold against them something that ‘may not even be true .. don't worry, I have no idea what I'm talking about either!” 1 continue by saying, “Please keep your hand held out | Because I'm going todo something I shouldn't actualy do. | bes I'm going to teach you how a magician does his tricks. what a bonus!” It is during ths line that my let hand drops casually down and I take a break under the top two cards in preparation for a double lit. This is done by shoving the top two cards over abit with the left thumb and then pulling them back, taking the break as I do so. This is not a hard move and should take you about five minutes to perfect! Now I double turn the top two cards as one and say, ‘A frainee magish has 10 find the wrong cards first and then, by elimination, find the right one! I know this isn't your card because it hasn't {got your signature on it and you didn’t say, “Wow, gasp I don't believe Mr. Magish!”" I then turn the two cards face down again. The top (chosen) card is then dealt face down conto their hand. Don't make any importance of this. You've just shown the wrong card and are getting it out ofthe way. Take a little finger break under the top card of the deck. Now grasp the deck from above in the right hand in Biddle | ‘rip. The right thumb takes over the break. Your left hand | now cuts about half the pack from the bottom and, turning | them over in the process, dumps them on top of the deck as in figure 1. The cards are now squared onto the deck as in figre 2 The right thumb keeps its break The pte for this pation is, *T also ow that this isn't your | card!"The left hand then | |euts all the cards below | |e break and turns them | face up to the line, ‘Or ‘indeed this one ... see how easy it is 10 cut to the wrong cards!" The |right hand then drops its —= cards onto the left hand ones neatly reversing the original top card of the deck in the center to a logical pater line. This reversal action is, of course, a standard Braue reversal I then say, “But I sense a certain boredom factor creeping in here as you realize | that this magical maniac has) got another forty-eight cards to 0! OLK. let’s cut the chase and go straight for the card! ‘The deck is fanned out face up to reveal the reversed card in the center as I say, ‘Wow, one card reversed in the center is this just more fun than grown up human beings should be allowed to have in public?!’ The reversed card is removed and held out face down to the line, ‘Have you any idea | which card this might be?* 99% of the time they will say their card, but however they answer I tum the card face up and say, ‘Nope, it’s the of the one that you thought you were holding! Turn over the one in your hand and say, “Wow I don't believe it Mr. Magish!" ‘That's it! Despite it’s simplicity of method it is as powerful an opener as I've found. It has humor, clarity of effect, logically covered sleights and the bonus that the magic | happens in their hands? This effect also leads neatly, both patter and structure wise, | into Fingered Number Four which follows next!Db NUMNBE ingered number four came about quite by accident after a spectator said to me, *Yeah, but could I have shuffled the cards?” I jumped straight in and ad-libbed this effect. It has changed very litle since then. Actually itis litle ‘more than a bog standard card to wallet... but the sell is killer! ‘The wallet I use is a Kaps/Balducci style one but any wallet will work with the presentation. I have the wallet (set to g0) inside my left breast jacket pocket, The wallet contains a couple of low value paper money bills. Since I always use this following Fingered Number Three I'l assume you are as | welll ‘As the spectators finish their plaudits for the preceding effect 1 say, ‘You know, you're being way 100 kind! What you should be saying is, “That's all well and good but why didn't you let me shuffle the deck?” .. go on, ask me!" As 1 say this I have taken the chosen card. popped it back into the middle of the deck and taken a break above it, just as T did while doing Fingered Three, I then CASUALLY cut the card to the top and idly overhand shuffle the deck keeping the top card in place using the old ruse of taking cards from the middle and shuffling off I pause and look expectantly at the spectator. I stop shuffling and take a break under the top (chosen) card. When they do the line I look suitably dismayed and say, I said that's what ‘you should Be saying... I didn't say you actually had to say it!” Tthen say, ‘How do you shuffle cards? .. Just show me with your hands... no cards yet, just mime it!” As they mime the shuffle I palm the top card of the deck. This is a high moment of misdirection so don’t panic! Here's how I palm a card. As my hands come together I get ‘my third finger into the break as well as the little finger. This is shown in figure 1, My right hand approaches the deck and | as the hands come together the c ie third finger pushes up on 1| the card. The top ear tts up, (ee between the fet thumb i= in figure 2. The lef thumb [then revolves the card into the ‘right palm using the left first Jand second fingers as an axis AAs the right hand takes the deck in Biddle grip the card nestles into the right palm ‘and left first and second fingers asin figure 3. A fine point, is to curl your right forefinger on top of the deck as in figure 4 to give everything a nice and very natural look. The whole paling action takes place under very strong cover. A. nice point here is that the right hand never actually| covers the deck. The card ‘moves to the hand! With my right hand T now hand the deck to the spectator and say, ‘O.K., 1 can handle that! Now really shuffle the cards!" As soon as they take the cards I reach into my pocket, load the card, and remove the wallet. [ open | |the wallet and say, as I show the bills, “By shugfling ‘you have accepted the bet! | But don't worry, we're not talking a real big bet here! 1 then close the wallet and throw it down on the working surface, I take the deck back from the | spectator and say, ‘1! find your card with a simple cut ofthe | deck that any five year old child should be able to do... with thirty five years of practise! Here I doa five way one-handed cut! But any magicians style cat will do! Then tum over the top card and look dismayed I say, ‘Want 10 go for best out of three? O.K., O.K., I know when I've been beaten by a professional shuffler .. you win the content ofthe wallet!" open the wallet and start to unzip the center compartment that is a feature of the Kaps/Balducci wallet, I say, "Yes, you ‘have won the contents of the inner zippered compartment of ‘my wallet! Are you geting excited yet?" 1 then start to pull out the card slowly as I say, “The contents dare a card just like yours! In fact, if the teeny tiny Xerox ‘machine in there is working properly .. even the signature should look prety good!" 1 give the card to the spectator saying, ‘You'd better keep this «as a souvenir of a wonderful moment! Actually it isa really lucky card .. well it was lucky for me so it may be for you too! Next time you go to Las Vegas take it with you. If you win a million dollars, think lovingly of me .. if you lose a ailion dollars, don't ill me. it’s not that lucky!" ‘The wallet is replaced into the jacket pocket and reset as I do this line, It really isthe work of a moment to do the reset one handed. Often I'll put one of my promotional stickers | (Complete with contact numbers!) onto the card. They'll keep this a lot longer than any old business card! The card to wallet is a classic effect... very direct and very strong. All | I've done is personalize it to me ... and damn powerful it is, too! Try this out and you'll love me forever!WALL (F a p VFACKED TR] mt eos wane nce tpg fore come up with so far! It's really easy to do and plays big to both magicians and laymen! You will require TWO wallets and two decks. ANY two identical wallets will do just so long as you can squash @ pack of cards into one of them. Into one wallet place a single card. This willbe your force card so don’t forget it! Into the ‘other wallet place the remaining fifty-one cards from that deck. Put both wallets into your inside left breast jacket pocket, Finally, on top of the second deck set the duplicate ‘of your force card and you are set to rock and roll! Force the card on your spectator. I often use a fan force but really easy force, should you not know one, is as follows Riffle down the comer of the deck with your left thumb asking the spectator to say ‘Stop’ anywhere they like. When they do so fp all the cards above your thumb fae up onto your right hand fingers ————___—— as in figure 1. With a) continuing SMOOTH action the left fingers lif up and flip these Se cards face down onto the right hand as caught jn figure 2. The right | ‘thumb pushes the top ‘card of its talon forwards and offers it to the spectator as in figure 3. Actually this is the original top (force) card of the deck but if the flip is | done casually and smoothly te atone very deceive indeed. Bly McComb uses |this all the time and has added a neat visual ruse to it, As the left hand fingers ip the cards face down on a the right hand he allows the | Tet hand cards to fall down face up onto the lft fingers, Imagine figure 3 with the left hand cards fave up and you'll get the idea. This strongly implies that the card they are being offered is the one they stopped at! > A very nice touch from Sir | Wittiam but, then again, he’ | is a genius! Charles. Reynolds tells me that this is very similar to Blackstone Sar's revolving pass so he gets the credit for the Worlds Easiest Riffle Force! The patter I use during the force is as follows, “I need a card chosen for this next experiment of doom. Will ‘you just say “Stop” as I squiffe through the cards with my ‘mutant magical left thumb! .. Perfection, take the card you stopped at and show it 10 the mob, Don't show it to me I've seen the trick before!” ‘After the card has been seen by all and sundry I dribble the cards between my hands and say, ‘Yell out "Stop" again and replace your card where you want" When they stop me I stop dribbling and have the card replaced, Then I dribble the remaining cards onto the rest. IF the dribble is finished when they say stop I take their card and put it on top saying, “Cool Jou 're really trying to make my job easy but I can't allow ‘such a shameless ploy. Let's really mix them wp!’ then I cut and shufile the deck. 1 continue with, ‘Yes, now the card is hopelessly lost in ‘amongst the others. I'd better find it quickly before the forment of its isolation from you tears its very soul apart like a starving Parisian artist eating his own canvases to survive in his tiny garret .. Whoops, sorry! I just drified off {into my own secret world for a moment there® Vthen pop the deck down onto the working surface and link my fingers together. I show them back and front a couple of times in the manner of the interlocked production so beloved of manipulators before stopping and saying, “Don't worry, 1 shave no idea what I'm doing either!” T then reach into my pocket and remove the thin wallet saying, * What a card, with no thought for its own personal safety it leapt through space 10 make a miracle for the ‘humble owner of the pack... that's me .. Yes, all the way t0 the wallet” I remove the card from the wallet and pop it back on top of the deck. The wallet is then closed and returned to the pocket BEHIND the fat one still in there ‘That's the end of stage one and, believe me, card to to | wallets don’t come much easier than that! Now I say, ‘But as a Nobel prize winning professor might say’. would you like t0 see it done again but under TEST Conditions” I take back the deck and hold itn my let hand. Under cover of offering a wacky range of options I'm going to ditch the deck just keeping hold of the chosen card Here's how | My right hand comes over the deck, lifts up just the top | (chosen) card and moves it forwards leaving the bulk of the deck well back in the hand as in figure 4. Timing is absolutely | critical now. This is nota very hard ditch butt must flow as, i ~~ jone motion, Pace this ‘well and it will become | second nature to you, Let's | take iin rice easy stages. | As Ttum slightly to the let 1 say, “You can chose 10 | Ihave your super brave | card appear anywhere you | ike!”| Atthis EXACT moment the lef hand tums inwards and down niu 5 ard dumps the deck into my left jacket y pocket leaving the right hand holding onto just a single card. As this is happening 1 “am saying, ‘Jn this pocket |Gdump deck) , im this sock | (having dumped the deck my | left hand points to my left | sock), in my mouth or nose |__*__ teh hand points to my mouth card making it look ike I'm Jet hand is pointing out other options. It's a really casual | snd nose or nh walt"On he a option | pty sil boing the decks in pre yore P Ne action ... just tum and dump! | together to hold the =e