I love lecture notes. I have a thing for
them. I always buy lecture notes. I buy
notes for lectures that I haven't even attended.
As you might imagine, this drives my wife
the accountant absolutely nuts.
I like reading notes for a lecture that
I haven't seen because it forces me to fill
in the blanks. Lecture notes are usually
fairly sketchy accounts, designed only to
jog your memory of the effects you saw at
the lecture. However taken on their own,
they are an exercise in creativity. You
must take those bare bones and add the meat
to it yourself.
Back when I was a kid, in the late 70's
I bought a set of notes written by Steve
Dacri. I don't know why I hadn't heard
anything about the lecture, nor about the
notes. To this very day I've never even
seen Mr. Dacri. Yet, as a teenager scanning
through the Tannens' Catalog, something
about his notes called to me.
And it was a good thing it did. Dacri wrote
up a working routine for the "Color Changing
Deck" that became a standard in my close-up
work. I use the color changing deck in almost
every close-up situation I perform. It is
visual, versatile and has the kind of whimsical
nature I look for in my intimate magic.
I hadn't read those notes for many, many
years until recently. I was surprised to
find that my handling of the mechanics have
changed only a little from Steve Dacri's
notes. It worked too well as it was. Indeed,
as I recall, Dacri didn't claim originality
to the effect; rather some subtitles that
he found effective.
My contribution to this trick for your
consideration is the use of story and motivation
for the magic. I have added a number of
presentational items to the effect, which
pull the viewer into the entertainment.
The basic technique that I use will not
come as a surprise to many, but let me highlight
the presentation that I use and more importantly,
WHY I use it.
There was no script in Dacri's lecture
notes. What is laid out below was written
over years of use in the field.
The basic effect goes like this; A blue
backed deck of cards is casually shown.
The performer explains that the cards suffer
from stage fright, and when one is singled
out it will blush and turn red. A spectator
points out a card and sure enough, it blushes
as described. Explaining that this ruins
his trick the magician has another card
selected and signed, where upon all the
cards turn red except for the chosen card
(remaining blue). Finally the spectator
"causes" the last (selected) card to blush,
retaining the signature. Quickly the completely
red deck is handed out for examination.
The required and setup is this; A red backed
deck of cards, remove the jokers. Grab two
Jokers from a blue deck (same back design)
and stick each in the deck at different
locations but not too close to the top.
Finally put a double back red/blue of the
same back design, blue side up on the top
of the deck and close it up in a blue card
case.
Here is the routine; Display the box with
the cards inside saying, "I thought all
cards were created equal, but I have one
deck (point to box) that has given me nothing
but trouble. I think it is because they
just aren't cut out for show business."
Slide the cards out of the box flashing
the blue back. "Now I should tell you that
these cards act so strangely that I've actually
had people write on the faces of them."
Flip face up and fan out showing some of
the marked up cards.
I have called attention to the marked cards
for several reasons. First, it explains
their presence. Lay people have no relation
to cards with signatures on them. It is
not an ordinary sight for them or a comfortable
action to do (signing a card). Indeed to
them it "ruins" the deck. Second, I engage
them in the faces of the cards instead of
the backs. I want them suspicious of the
faces, therefore missing the fact that I
am passing off 52 red cards as blue. I never
mention the word "blue" until the end of
the trick and by then it's too late. Third,
it draws in the spectators. It begins to
engage them, making them think, "Why does
he have the faces all marked up?"
As I remark, "I've actually had people
write on the faces of them." I add, "But
they are marked on the wrong side for cheating."
As I fan through the deck I get a break
under one of the Jokers. I square, keeping
the break and I pivot the portion above
the break up and turn it over revealing
the blue back of the Joker. This appears
to be a random split of the cards and therefore
"proves" the blueness of the deck without
saying it. We are using assumption. Once
the pivot is done I hold the two halves
(both face down then rotating back and forth
face up/face down as I say)"Card games are
all based on the idea that all cards look
exactly the same on the backs, and everyone
completely different from the fronts." With
that I turn the packs face up and reassemble
the deck.
"With one exception, they always put two
jokers in the deck. And I think I they're
still in this one."
Fan through careful not to flash to double
back. Up jog the jokers when you come to
them.
"Since they have almost exactly the same
name, I'll kick those out right from the
beginning to avoid any confusion."
Suit action to words, remove the jokers
and place them face down on the table. This
reinforces the blueness of the cards visually.
Square up. Its possible to give a little
false overhand shuffle, keeping the deck
face up and leaving the double back undisturbed.
Simply hold back the bottom cards, pulling
from the middle and shuffling onto the top.
Once squared you can flash to the blue card
on bottom by tilting you hand in a gesture
or pointing with the deck hand.
"Here's the trouble I've had, just point
to a card, it really doesn't matter which
one." Fan the deck face up and offer a free
choice. Spreading from the face usually
means a card will be pointed to long before
you're in danger of spreading the bottom
portion too much and flashing the double.
I usually question their point. Fingers
are wider than the card indices, so you
can say, "Is that the two or the jack?"
This is minor, but it establishes an atmosphere
of casual freedom. This card, that card,
it doesn't matter.
Remove the card they indicated still face
up.
"When one card gets separated from the
safety of its friends, it gets nervous.
(Give gentle shake to the card.) It has
stage fright. This card will actually become
so embarrassed, that it will blush (turn
face down) and turn red."
Giving the cards a human quality is fun
and seems to disarm the spectators. Fear
of public speaking is overwhelming to many
people. It is something all experience.
Therefore it is a good theme to play with.
Everyone relates to stage fright why not
cards?
"Now of course, the trick is ruined. If
I were to place the card back in the deck,
(push the red card into the facedown deck
so that one quarter protrudes from the pack)
it sticks out like a sore thumb. You'd say,
'big deal, Fred. I could find that card
just as fast as you can.' Because it becomes
effectively marked on the back."
Remove the red card and lay it facedown
on the table near the jokers.
"There is a way to avoid this from happening.
Instead of removing a card from the pack,
we leave it where it lies. I'll run my thumb
down the edge, you say 'stop.'"
Holding cards face up, you do as described.
"Do you like that card or would you rather
go a few more?"
Giving them this chance to change the card
is important when the recap comes in a few
steps.
Once settled on a card, cut the deck at
the indicated position, and lay the upper
portion on the table but close to you. Have
them mark their card in anyway they wish,
but hold the card on the bottom portion.
If they want to take the card explain that
removing it would cause it public humiliation
and make it surely blush.
After it is marked, "We'll give it a moment
to dry, I don't want the ink to get on the
backs of the other cards."
Act as though you are inspecting the wetness
of the ink, and get and retain a little
finger break under the chosen card. Then
cover with the tabled portion and square
the deck, holding the break.
"It is my job to find your card just by
looking at the backsides. (Flash blue back)
Now you stopped me right in the middle,
so let's give them a little mix."
With deck face up, double undercut the
deck, which brings the double back into
the center and the selected card to the
bottom.
"Oh, I should warn you, when one card gets
embarrassed, (touch the tabled red card
to the bottom of the face up pack, then
revolve the deck over, finally displaying
the deck face down) it seems the rest of
the deck thinks there is something to be
upset about too." Casually fan with an eye
to not yet showing the blue card. I have
found with experience that it is not difficult
to spread the cards fairly, but with hiding
the blue card in a clump. There is not really
a technique to describe, just a judicious
use of displaying.
"But that's okay, it is still hard to tell
one card from another, I mean would you
know which one is her card? (Make an offering
gesture with the deck to a spectator.) No,
otherwise you'd have my job. Still, you
can put yourself in the magician's shoes."
"It's pretty much impossible to know which
card might be..."
As you are saying the above, you spread
passed the blue card, interrupting your
sentence.
"Look at this, one card and only one card,
remains its true blue color." *First mention
of "blue."
Remove that card (the double) and place
it on top. Keep the cards slightly spread
and you will be able to show the contrast
of the rest of the deck next to the blue
one. This also lets you get ready for the
double lift coming. Slowly get into position
as you recap the action.
"Now when you picked your card, you could
have gone further, but you said, 'no Fred,
I want that six of hearts!' (Or which card
it was) I think it would be a remarkable
coincidence if the only blue card left in
this deck was the six of hearts But not
just any six of hearts, but the only one
in the entire world with your [mark], in
your own handwriting."
Turn over the double, showing their card
with their mark.
This is a powerful moment and let it sink
in. I scan the faces of the audience and
usually spot one lady that looks perplexed.
At which I say, "Look, she's mad at me now."
This gets a laugh. I hold the double away
from the deck, showing the apparent blue
back. Then I lay it face up on the face
down deck. I split the double by slightly
up jogging the selection.
"Here do this for me, tickle the six, right
there on it's tummy." They do. "Hey, you
made it blush." Turn it over revealing the
red back. This kicks them in the teeth.
Hand out the card.
All attention will be on that card. If
I want a little extra cover for the clean
up, I'll add, "Is the mark still on it?"
Everyone looks to check. I pick up the jokers,
simultaneously getting a break under the
double back. I turn the jokers over onto
the deck briefly. Then casually place all
three in my pocket.
Now I'm free to say, "And take a look at
the entire deck, make sure it's not battery
operated or anything like that."
If asked, I can reach back in my pocket taking
the jokers out, leaving the D/B. I say, "They're
here, but as you probably already know, there
is no way to embarrass a Joker." This seems to
have some social comment and actually gets a good
chuckle. But I only use it should the question,
"what about the jokers?" comes up.
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