REPUTATION-MAKERS by Harry Lorayne
Illustrated By William A. Morales
Edited By Harry Lorayne
Published By
HARRY LORAYNE, Inc. 62 Jane Street New York, N. Y. 10014
CopyrightŠ 1971 by Harry Lorayne All rights reserved.
Manufactured in the United States of America
This Book is Dedicated to and was inspired by my son, Robert, who at the age of three never ceases to amaze me.
REPUTATION MAKERS By Harry Lorayne
BOOKS BY HARRY LORAYNE HOW TO DEVELOP A SUPER-POWER MEMORY SECRETS OF MIND POWER INSTANT MIND POWER MIRACLE MATH MEMORY ISOMETRICS COURSE MENTAL MAGNETISM COURSE CLOSE-UP CARD MAGIC PERSONAL SECRETS MY FAVORITE CARD TRICKS DECK-STERITY DINGLE'S DECEPTIONS REPUTATION-MAKERS
CONTENTS
Page FOREWORD THE CARD SHARP AND THE FOUR GAMBLERS STRANGER CARD FARO LOCATOR SUPER LOCATION FURTHER THAN FURTHER THAN THAT THE MAGIC ERASER TO CATCH AN ACE (#1 THROUGH #6) CASE ACES FOURCEFULLY THE PHANTOM CARD LORAYNE'S MOVE-A-CARD, A LA MOE ROLL YOUR OWN PSEUDO MEMORY #3 THE LORAYNE CARD SPIN THE DIFFERENCE & THE SUM THE HC DIFFERENCE & SUM TALLY-HO! SNAP! PLUS HALF A FARO ONWARD CIRCLE OF LIGHT CIRCLE OF DARKNESS LORAYNE'S POKER DEAL #2 THE AUSTRALIAN SIXES FOUR BY FOUR RING ON STICK CARD TO WALLET THE MEMORY MAGIC SQUARE INSTANT MAGIC SQUARE THE FLYING KINGS SUPER INTERCHANGE THE PECKING BIRD THE COLOR-CHANGING DECK
VII 11 26 32 37 42 50 63 79 81 88 91 97 100 105 113 115 125 136 140 146 151 164 168 179 187 193 206 210 217 234 239
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CONTENTS MIXED BAG Page
SUPER TRIPLE CHANGE FARO QUICKIE & FOLLOW UP SANDWICH LOCATOR THE AUTOMATIC FAN CRIMP TRAMPOLINE, THE SECOND SPREAD-PASS DELAY BEHIND-THE-BACK FORCE FOUR IN ONE THE LORAYNE DOUBLE-LIFT BREAKTHROUGH EVOLUTION OF A SLEIGHT THE SCOOP CHANGE LAST WORD
248 254 258 260 262 265 269 272 277 281 285 287
VII
FOREWORD All my magic books have included effects and routines that were thoroughly audience tested and "audience preferred." This book includes more of the same - even more so. Ordinarily, it's a chore to think up a title for a book. No such problem here. Checking through my other books, the phrase "reputation-makers" kept jumping out at me. The moment I decided to write this, that phrase, Reputation-Makers, came immediately to mind; because this book does contain many routines that have been (and are) reputation-makers for me. Of course, so do my other books. Speaking of my last one only (Deck-Sterity) for the moment - if you haven't learned and performed, say, Foursome, The Indicator, Ten Card Poker Deal, 1-2-3 Aces, Favorite Aces & Kings, Flying Aces, Deal And Duck, to mention a few, you're out of your skull! That is - so far as I'm concerned. I can only judge by myself, of course. (And from the many letters I've received from magicians all over the world.) There have always, since I started writing magic books, been certain routines that I just didn't want to give away. I guess all magicians have some effect or other that they'd like to keep to themselves; or as exclusive as possible, anyway. Well, I'm still keeping one or two to myself, but basically, I'm including routines here that I've used and guarded for many years. Please don't make me sorry that I've done so. What I mean is-learn and perform them properly; and don't give them away. Keep them for yourself. A few of the ideas have already appeared in print. I've mentioned this (and where they've appeared) at the beginning of the effect or routine, where apropos. Frankly, this book came into being when (and because) I decided to write The Card Sharp And The Four Gamblers. I had intended to publish that alone in pamphlet form. Then I thought
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FOREWORD
that I might as well include one other routine; then another; and so a book was born. The Card Sharp And The Four Gamblers is (or was) the nucleus of the book. It's probably the one routine that has "stood me in better stead" than any other routine I've ever done. I think that it alone is worth more than the price you paid for this book. I believe the same is true for quite a few of the other routines included here. The fact that I honestly believe that many of the routines are worth more than the price of the entire book was instrumental in my writing the book in the first place - which after all, is basically a labor of love for me. More important, is whether you think so - and there's no way of knowing that until you've learned and performed the routines. I did have to be careful that the title didn't keep me from including some good effects; effects that, perhaps, did not necessarily fit the category of "reputation-maker," in my estimation. I didn't want to get "locked in" by the title. There are some, obviously, non-reputation-making ideas included. I consider them good ideas, nevertheless. Most of the effects and routines do fit the category; some are new, but I know they would have - had I used them years ago. I do want to express my thanks to all the contributors. Some of the effects and routines belonging to others were offered even without my asking; others had to be tracked down and/or bargained for. Of course, there were many that I discarded because they didn't even come close to fitting the title, or they just weren't my kind of magic. I believe that selectivity is quite important in writing a book. More often than not, the problem is not in having enough material but in selecting the proper material. As usual, I've included my complete patter and presentation with most of the routines. I've mentioned, wherever I was aware of it, when a routine was someone else's idea, or where someone else's idea rattled around in my brain until I came up with a routine for it. And also as usual, I suggest you read my Afterthoughts for any thoughts I may have included there. I've always believed that acting is a very important (if not essential) aspect of close-up magic. I had, at one time, thought of doing a book based on the acting, timing, etc., necessary to the performance of magic. Some of the effects I had intended to use
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as examples of acting are included here. I've used the same format in this book as I have in all my others. That is, I rarely describe the "effect" first. I've given my reasons for this in other books; I see no reason to reiterate. As always, it is impossible to please everyone. Recently I read an article in a magic magazine wherein the writer gives some pointers on "how to write magic for the reader." One of his points, and he uses me (without mentioning my name) as an example, is that "many people simply will not wade through the instructions — without first having some idea of what they are trying to accomplish." He is, of course, entitled to his opinion. Since however, I know of little else this writer has written besides this article on how to write for readers of magic - I'll have to go along with my own ideas on the subject. One of those ideas is that I occasionally want to force the reader to start reading a routine without knowing the "effect." Sometimes that's the only way to get him to read it! And it's the ego of a writer to want what he's written read! Also, many of the routines in my books would use as much space to describe the "effect" as would the instruction itself. When it comes right down to it, I can only judge by the response to my other books. That response has told me that I must be doing something right! If you're interested in some of my other theories pertaining to close-up magic, I suggest you check the forewords and "Last Words" of my other books. My theories haven't changed that much that I need take time and space to expound on them here. Although I have "snuck" in a bit here and there within individual routines. Anyway - if you're looking for some Reputation-Makers, read on - if you'll forgive my immodesty, I think you'll find them here.
REPUTA TION-MAKERS
I think that the theory of handling a deck sloppily (or as a layman would) while doing miracles - is passe. Most people are sophisticated enough to know that you're doing sleight-of-hand. They expect you to handle a deck better than their friends do!
When I have a choice I'd always use a subtlety rather than a sleight, if it serves the same purpose.
REPUTA TION-MA KERS
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THE CARD SHARP AND THE FOUR GAMBLERS
Of all the routines I've ever performed with cards, the one that impressed laymen the most, and the one that magicians, for years, have asked me to explain in print - is this one! And - if you're looking for a "quickie" this is not for you. It has always been my contention that a long routine is fine -if something is happening all the time; jf it is interesting; ]f it is entertaining. May I be immodest enough to tell you that I've proven this contention for many years. This is the kind of routine which will cause your spectators to remain silently stunned, or to stand and applaud -_i_f it's done well. It all started with Dai Vernon's "Cutting The Aces." Then an old friend, Don Costello, added a new dimension to Vernon's version by including the four kings - he made it an entirely different (and better) routine. I used it, after having added handling, patter and presentation, for so long, professionally and otherwise, that it has become identified with me. I tracked down Don Costello, and asked his permission to include it here. He graciously and enthusiastically gave it, after telling me that he hadn't used the routine for so long that he couldn't wait for me to put it in print - he'd forgotten not only my additions, but the entire thing. Now that I've given the history - let's get to the routine. You have to understand the double-cut and the one-hand slip-cut - and you need the ability to patter as you work. The one-hand slip-cut as used in this routine, is explained in Stars Of Magic, in Vernon's Cutting The Aces. I'm sure that most of you know it by now - but to keep this complete, here's a fast description. The idea is to make it appear as if you've cut the deck, with a slight flourish, near center, with one hand. Actually, the card you cut to, and reveal, is the second card from the top of the deck.
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REPUTA TION-MAKERS
Try it. Hold the deck in your right hand, from above - thumb at inner end, fingers at outer end; forefinger curled on top. Allow as much of the deck as possible to be visible. The little finger is not actually on the deck; it hangs free. (See Fig. 1.) A non-sticky deck will make the move easier to accomplish. Now, the second fingertip lifts about half the deck, slightly, which automatically causes the top (lifted) half to swivel to the left a bit. The forefinger straightens out so that the ball of the fingertip rests lightly on the back of the top card. (See Fig. 2 - this is how it would look in a mirror if you stopped action.) Fig. 1
Fig. 2 A sharp toss to the left and a sharp pull-back to the right, as the second fingertip releases the top half and the forefingertip retains a light pressure on the top card - will throw the top half to the table as the forefingertip retains the top card. (See Fig. 3.) Turn up the top card of the tabled half, and you're showing the original second card of the deck. That, basically, is the move. I've told you to use a sharp toss and pull-back; once you've got the idea and "feel" of it, it needn't be that sharp. That's up to you. I also, usually, keep my left hand on the table, near where that top half will land. This is so that I can stop this half from spreading too much or flying off the table altogether! In other words, I use my left hand as a "stop." Okay, if you've got this basic move down - here is the exact routine, patter and presentation I've used for, perhaps, over twenty years. I never change it! The same words are said at the same time, always. This is important to me. First of all, I can do
REPUTA TION-MA KERS
13
the routine drunk or sober; secondly, it keeps it in beat, in rhythm, so to speak. I can give all my attention to showmanship and presentation, because the words and actions flow automatically.
Fig. 3 All right then; you have a shuffled deck in your hands, face of deck toward you, starting to spread (so only you can see the faces) and you're talking — "Let me tell you a true story (which 1 just made up). You've all heard of 'stacking a deck;' well, the word is actually 'stock,' but since most people say, 'stack,' I will too - " (By this time, you should have cut the first king you've seen, to the face of the deck.) "In order to do this for you, I need the four aces." As you're talking, whenever you come to an ace, drop it, face up, to the table. I'll give you the rest of the patter I use to give me time for the set-up, but first let me tell you what the set-up is. At the face of the deck, as you patter and as you find them, place any king, then any other king, then any spot card of the same suit as this second king. Now a third king, and finally any spot card of the same suit as this third king. For example, when you're through, you might have, from face of deck, moving toward the rear - the 7H, KH, 10S, KS, KD. It does not matter which kings are used or which indifferent spot cards are used, so long as the spot card is of the same suit as the king on which it lies, as explained. At the top of the deck, place the last king (it would be the KC, in this example) and directly beneath it (second from top) place either the 3- or 4-spot