Biagio Fasano - Virtual Oil and Water
August 26, 2022 | Author: Anonymous | Category: N/A
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B. Magic
B. Magic
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B. Magic
by B. Magic (Biagio Fasano) It nally becomes reality reality,, the dream of an incredible card card magic eect which happens in the hands of the spectator. spectator. Reproducible even from from a distance!
Title of the eBook: “Virtual Oil & Water!” (A classic Card Magic eect, completely in the hands of your spectator) Copyright © March 2021 by Biagio Fasano
THE PARTIAL AND / OR TOTAL REPRODUCTION OF THIS TEXT IS FORBIDDEN, AND NO VIDEO PERFORMANCE PERFORMANCE ON TELEVISION TELEVISION OR ANY SOCIAL SOCIAL MEDIA IS ALLOWED WITHOUT WITHOUT THE WRITTEN WRITTEN AUTHORIZATION AUTHORIZATION OF THE AUTHOR. AUTHOR.
Graphics, Cover Artwork & Editing by Natalino Contini
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Concept by B. Magic
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I dedicate this work to my Magic Teachers, Teachers, Illusionists and Mentalists friends that made it possible to create this eect and were the rst to experience its potential: Roberto Bombassei, Bombassei, Felipe Suau, Suau, Natalino Contini, Pino Rolle, Rolle, Marco Aimone, Gianluigi Sordellini, Diego Allegri, Andrea Clemente Pancotti, Michael Daniels, Massimiliano Scibilia, Alberto Colli, Mauro Mauro Morabito, Beppe Beppe Brondino, Giuseppe Verderone, Mariano Tomatis, Laura Lilyth Luchino, Renzo Grosso, Davide Rubat Remond, Remond, Viviana Viviana Garis…
Thanks to all of you, for your friendship, your teachings and the great MAGIC passion that feeds us and we share almost daily!
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B. Magic Brief introducon about the author: My name is Biagio is Biagio Fasano, Fasano, I was born in the mid-60s in Chieri, a province of magical Turin, and I started to take a serious interest in magic in 1984 when, in rst high school, I happened to read an excing arcle in a well-known science magazine, dedicated to the great and late magician, mathemacian, philosopher and popularizer scienc: Marn Gardner. Gardner. It thrilled me totally and captured all my aenon, so much that It soon induced me to voraciously read all the numerous publicaons available in those years, rst in Italian and then also in English. Since then, Mathemacal Magic has never le its place in my heart and lile by lile I have begun to be interested interested in all the other disciplines of Magical Art, in parcular Card Magic and Mentalism. In 1990 a friend introduced me to the Circolo Amici della Magia (CADM) in Turin, at the me chaired by the legendary Viorio Balli (aka Victor) and Gianni Pasqua (aka Pasqua (aka environment that has allowed me to meet so many incredible Roxy); since then, I began to frequent that wonderful environment arsts: quick change performers, mentalists, cardicians, illusionists, both professionals and amateurs as I was. In this environmentt I have made friends which, for the most part, connue to this day. environmen Therefore, I have not abandoned this passion pas sion for Magic for over 30 years, but rather it i t has grown to the point of nally nall y allowing me to teach Magic in workshops created specically for elementary school children, and Mathemacal Magic in parcular in Middle Schools. Also, at CADM I have the great honor and pleasure of being a teacher of Card Magic (in parcular for Semi-Automac and Mathemacal Eects, which always remain among my main interests) and Mentalism (my other greatest magical passion). I have published my other works, both in Italian and in English, in the form of e-Books, on www.Lybrary.com www.Lybrary.com,, and of Video Tutorials, on www.PenguinMagic.com, signing both my real rst name and the stage name B. Magic, Magic, chosen in 2020 when, at the beginning of the Covid-19 pandemic, I nally decided to open up to social media and create a YouTube Channel, bapzed for the occasion “Magic “ Magic in Quaranne”, Quaranne”, which you can sll nd today at this address: hps://www.youtube hps://www .youtube.com/channel/UCnm12dlUmt .com/channel/UCnm12dlUmt53YHUZesiLnFw 53YHUZesiLnFw Here are, among other things, the videos of over 15 unpublished card magic eects created by me, which are completely self-working (on a basis, oen hidden, of a mathemacal nature) and accompanied by the relave tutorials, in case it is necessary to understand, because each eect can take place directly in the hands of anyone who can carefully follow the instrucons given in the video... During this cursed Covid-19 pandemic I had the pleasure of aending the UMI (Internaonal Magical University) group online, following its numerous Magical Conferences and meeng its founder Gianluigi Sordellini , through whom I saw the birth and was able to enter the Magic Study Group ironically called “Italian Italian Escorial ”. ”. Later Gianluigi granted me the honor of keeping my column, “ An-Covid Magic” Magic”, in the presgious digital magic magazine UMI, to which I sll connue to collaborate. And thanks to Mariano Tomas we have created the group of “ Pill Wizards” Wizards” which is inspired by his videos of “Mesmer “ Mesmer in Pillole” to deepen their aspects, principles and methods and to be able to create new eects inspired by them. This group, of which I am honored to be part, currently has six dierent members: Mathemacians and lovers of Mathemacal Magic, Writers, Authors and Illusionists, Professionals and
Amateurs, each able to give their own incredible contribuon in our discussions, insights and ideas of magical eects! In addion to wring for the presgious CICAP magazine “Magia”, I am currently working on other projects, including a forthcoming book on Mentalism with business and playing cards, which will be tled “Bending “ Bending Minds”, co-wrien with friends “Wizards of Pills” Davide Davide and and Renzo, and of which my “R.E.A.C.T.” eects and “The Unusual ... SUSPECTS” are to be considered forerunners ... I am also culvang an ambious project (in a small part already published in English by Penguin Magic) which I called “Contactless ACAAN Project ” and which, at the me of wring, includes 12 of my original card magic eects dened in “Hands-O Any Card At Any Number ” genre, that take place enrely in the hands of the spectator : the illusionist will simply provide him with the tools (usually a simple deck of cards prepared for the performance, or at most two decks, some dice or numbered cards ...) and will not touch any of these again, unl the end of the experiment. If interested, you will nd these and other eects, published in English or in Italian language, on www.lybray.com www.lybray.com.. For now, I just have to thank you for the trust and aenon you have given me ... And now, let’s start the Magic!
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What is “VIRTUAL “ VIRTUAL Oil & Water”? Water”? It is a card magic roune on the classic “Oil “ Oil and Water “ theme, specially designed to be performed even at a distance (but which does not exclude the performance in presence, for example at a close-up table): the magic can happen directly in the spectator’s hands, whether he is next to the magician or miles away, engaged in a video chat with applicaons such as Zoom, Skype, Google Meet, etc. etc. What unl now you could have considered only a dream becomes reality within the reach of anyone who becomes aware of the secret: granng a spectator the “power” to perform, comfortably seated in his house, a famous cad magic eect “Oil “ Oil &Water ” in his hands, certainly arousing his amazemen amazement. t. A roune structured in three steps will then be presented below: the illusionist performs a rst “ Oil and Water ” eect for the viewer with four black and four red cards which, when mixed together, magically separate; then he “transmits” his magic to the spectator who, following the same indicaons provided by the magician, will inexplicably observe the separaon of the colors just before mixed happen in his hands; nally, both will perform the game one last me, repeang the same movements, at rst “devoid of powers”, powers”, so nothing unexpected will happen, but at the end with the help of magic the miracle will be repeated one last me! However, it is possible to present each step of the roune separately, or omit the rst or the last step, without the eect failing to impress the spectators!
Key Points: 1. Apart from the rst semi-automac demonstraon step, both the following eects are “hands-o “ hands-o ” (the spectator just follows the instrucons provided); 2. Simple and ideal roune to perform in any situaon, including remote video chat, e.g., with Zoom, Skype, WhatsApp, Google Meet etc. etc.; 3. For the most part they will be self-working eects, but they will remain inexplicable to anyone who does not know the secret (illusionists included!); 4. Only a dozen normal playing cards are used: six Black and six Red-suited cards cards (no gimmick!) 5. Easy to learn: apart from a simple semi-unknown false count (oponal), once you have read the instrucons you will know how to perform the eect immediately, although it will be the rst to deceive yourself!
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Eect and Presentaon Ask your spectator to prepare, by extracng them from the deck, any six black-suited cards (clubs or spades, indierently face or points) and six other red-suited cards (hearts or diamonds), whatever. whatever. On the other hand, you will have already prepared on top of the deck, placed face down, the following twelve cards that you will take, placing them face up on two piles in the following order, order, from the boom to the top of each pile:
9 ♥, 8 ♦, 9 ♦, 8 ♥,10 ♦, 10 ♥
9 ♠, 8 ♣, 9 ♣, 8 ♠, 6 ♠, 6 ♣
Tell him to relax and oer to start by showing him how illusionists perform the “ Oil and Water ” eect with cards.
STEP 1) (Felipe Suau) So, set aside, for the moment, the rst two cards from both the red and the black-suited piles (thus eliminang the two 10s and the two 6s). Turn the two piles face down, keeping the red-suited cards to the le, and place them at a certain distance in front of you, leaving a space on the table that allows you to form two more piles below the previous two. Ask the spectator to pay the utmost aenon to you: simultaneously take the single cards on top of the two piles with both hands and bring them towards you, deposing them to form two new piles placed in columns under the previous ones; then go back to take with both hands the new single cards on top of each pile, but this me, before placing them on the underlying piles, cross your arms so that the card on the le is placed on the underlying right pile and vice versa. As soon as you deposit both, uncross your arms and go back to take the cards at the top and arrange them individually under the two piles below; and nally take the last two cards and, crossing your arms again, bring them on the respecve opposite bunches: the right on the le and vice versa.
Now ask the spectator if he has understood what you have just done: if he has been suciently aenve, he will reply that you have just shued the single red and black black-suited -suited cards in each pile; if if,, on the other hand, he is not able to describe it well, explain it to him yourself and, for both cases, accompany the explanaon by showing your hands palm down and arranged where the two piles were inially; then intertwine your ngers and place your hands where the two new piles now stand; nally show him what you have just said by turning the le hand pile face up and, opening the cards, show him how the red and black-suited cards are alternated. Open the pile on the right in the same way and point out that here too the cards are obviously mixed between red and black. When turning both bunches face down, turn the relave pile towards the other with the le hand and, while turning the right one with the other hand, overturn the cards overlapping the previous one, forming a single stack again. Then tell the spectator to be careful again and start distribung the cards one at a me, face down, reforming reformin g two piles: one card to the le and one to the right, then again, to the le and one right, unl you have run out of cards and reformed two piles of 4 cards each, face down. At that point, ask the spectator himself to explain what just happened: normally you will be told that you have divided the cards again by color, separang them into two dierent piles! Again, make the concept explicit by using your hands: at rst you will intertwine your ngers with the palms arranged vercally towards you, and then you will separate them by placing each hand on one of the piles on the table. Compliment the spectator for his wit and, squaring the two bunches of cards, li them at the same me holding them with your ngerps and, turning your palms up, show the last card of both, the one facing up, as if to conrm his correct intuion. Place the le pile on the table, always turned face down, pass the other pile in your le hand and with your right hand slowly ribbon spread the le bunch, sliding the cards from le to right (without ever opening the cards too much to avoid that they detach from the one below and fall in direct contact with the table).
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B. Magic Now, if you want to reinforce the viewer’s idea that there are four cards of the same color (black-suited) in the pile on the right, you will perform a false count that will show the same two cards twice, giving the impression of really having four black cards in the stack and instead completely hiding the two red-suited cards present.
However, keep in mind, in case it is too dicult for you in relaon to your technical skills, that this false count, in card magic known as “ MIRAGE COUNT ”, can be omied and the eect carried carri ed forward successfully. successfu lly. Let’s see a brief descripon below:
Mirage Count by Larry Larr y West
This false count is praccally a fusion of Alex Elmsley’s “Elmsley “ Elmsley Count ” and Ed Marlo’s “Olram Subtlety ”: ”: Keep the four cards stacked face down and well squared (at the boom you will have the two black suited cards while on top of the stack the two red suited ones that you will never show). Hold the center of the edge of the le long side of the cards between the thumb (above) and the other four ngers (below) of the le hand, and with the right hand go to grab the center of the edge of the right long side, always thumb up and the four ngers below. Take the lower card with the ngers of your right hand, holding the three upper cards well squared together with your thumb, which you will leave in your le hand. Move the two hands from each other, the le will have 3 cards and the right the lower one: simultaneously rotate the two hands palm down, showing two black suited cards. Rotate them palm down again bringing your hands together but while the right hand slips its card under the others, the le will have pushed, with a thumb push-o , its two upper cards towards the other hand, pushing them together over the one sll held in the right hand. Now, as for the Elmsley Count , while the four ngers of the le hand pull the card in the right towards you, the thumb pushes the two upper cards to the right which will hold them for a moment and immediately place them on the table, passing them o as the two just shown. Meanwhile the le hand will have held the lower card with the four ngers and will push the upper one with the thumb towards the right hand which, as before, grabs grabs it with the thumb on the center of the long right edge and the other ngers below. With the same movement as before, the two hands turn together palm down and show “the last two cards”, also black suited (but they will be exchanged hands), deposing them on the previous ones. Note: this false count, lile known but absolutely elusive as long as it is shown with the right ming, has been very well described by Aldo Colombini in this video that collects other false counts and various subtlees, so it is well worth the paltry cost it represents and is highly recommended: hps://www.lybrary.c hps://www .lybrary.com/sleights om/sleights-and-subtlees -and-subtlees-2-p-238201.html -2-p-238201.html The execuon of this false count is also visible at this YouTube address: hps://youtu.be/Wkb5Fr0WaqY and meculously described by Jon Racherbaumer in his book “Counthesaurus” (2004), on pp. 101-103.
So, if you have just shown that you have four black-suited cards, cards, you will now go and insert them among the “red-suited” cards that you had just before spread out in a ribbon on the table. Having to slightly fold the cards upwards to be able to insert them beer among the others already lying on the table, to prevent the camera or the aenve eye of the viewer from seeing details of the color of the faces, we scking will arrange them one a meas among the from right to the le,cards but leaving these 4 cards out UNDER theat others, illustrated illustra tedothers, in Fig. 1, 1proceeding , where L1-L4 represent of the le pile that you have spread out like a ribbon, while R1 (the top card) R2 , R3 and R4 are the ones you hold in your right hand and have just shown as BLACK.
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Fig. 1 Aenon: if you have decided to omit the Count Mirage, you will have to insert the cards in the opposite direcon between those spread out on the tape, i.e., proceeding FROM LEFT TO RIGHT (it is also advisable, for a purely aesthec reason, to insert the rst between L1 and L2, the following between L2 and L3... up to the last one, R4, which will cover the lower half of L4), as in Fig. 2:
Fig. 2
Once all the cards have been arranged on the table, the two rows are leveled slowly and without wit hout suspicious suspici ous movements of cards together and nally close the ribbon by squaring all eight cards into a single pile.
Ask the viewer one last me to conrm what you have just done, again mimicking the gesture of intertwining your ngers and leng them, palm down, raised about ten cenmeter cenmeterss above the stack of cards. Obtained the response of the spectator who will conrm the mixture between Reds and Blacks suits, une your ngers, move your hands away from each other and, placing them on the table on both sides of the bunch, explain that the colors of the cards, such as water and oil, thanks to your magic they are separang again under your eyes. Turn the rst four cards face up, one by one, and stack them to the right of the pile: they will all be blacksuited; nally turn the last four together and spread the two piles outwards at the same me: the redsuited cards will be perfectly separated from the black ones!
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STEP 2) (Biagio Fasano) Now propose to the viewer to transmit your magic to him, depriving yourself of it for a few minutes: the me necessary to allow him to experience the pleasure of performing the “Oil “Oil and Water ” eect by himself. If you are in the presence of the spectator, point your right index nger at the spectator and invite him to touch it with his nger (simulang a scene similar to “The Last Judgment ” by Michelangelo) to allow him to receive your powers otherwise, put your index nger near the lens of your webcam and invite him to touch your nger with his on the screen (Fig. 3). Fig. 3 Then retrieve the two red and two black-suited cards and place them on top of your two piles. Meanwhile, ask the spectator to take his twelve cards dividing them into the two piles, according to the color of the suits. Both now place the two piles on the table, on your le the six black-suited cards and on the right ri ght the six red-suited cards.
Explain that, as before, the red-suited cards represent represent oil, while the black-suited cards represent water: two liquids that th at in nature are reluctant to mix with wi th each other. other. Therefore, propose to try again, both of you, to perform the eect: he will only have to repeat the exact same operaons that you will illustrate il lustrate step by step. At the same me with both hands take the cards that are on top of each of the piles and bring them towards you, always face down, in front of the respecve two piles to which they belong, to start forming new ones in which you will mix mi x the two “liquids”. Then proceed proceed by taking the two new cards on top of each pile and, crossing your hands, you will have to lay them on o n the cards already placed in front of the opposite pile (the le on the right pile and vice versa, then a red-suited card on a black-suited one and vice versa). So, you will connue by moving the other two upper cards into the two respecve piles in front of you, then crossing your hands and placing the next ones on the opposite piles; again, the two cards at the top on the respecve piles in front and nally the last two cards, crossing the hands, will end up on top of the opposite piles.
If the spectator has paid aenon to the various operaons carried out so far, he will have noced that, as in step 1), you have both “shued” the cards in the two piles, alternang both red suit cards with black ones ... In any case, propose to him to be able to check the result, liing l iing one of the two t wo piles and turning it face up, opening it to check the alternaon of the colors of the suits of the cards that compose it on. Meanwhile, you are the rst to control it, turning the le pile face to face and spreading the cards between your hands, revealing the alternaon of the colors of the suits of the six cards that compose it. The viewer will do the same with his rst pile, while you will already begin to turn the right pile face up. Apparently, you will also limit yourself here to seeing the alternaon of red and black-suited cards but, while the spectator will be distracted to check his second pack, you will perform a small secret movement that will surely go unnoced since the spectator will also be taken in observing his cards: as before, open the six cards between the le and right hand but, with the help of your le thumb, open the card on the far le, the lower one, slightly more; now, instead of closing the six cards and turning them together face down, pivong on the four ngers of the right hand that will be posioned under the cards, start turning face down only the card on the far le and bending the ngers of the le hand push its back towards the le palm, while the right hand will slightly raise the other six cards so as to slightly rub the backs of the two t wo lower cards; seamlessly, seamlessly, square the ve cards in your right hand against the back of the card just turned over and at the same me turn them all over together on the back of the rst card (Fig. 4)
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Fig. 4
This secret move of yours will ensure that you have passed, without showing it, the last card from the top to the boom of the stack of cards, now face down. At the same me the spectator will be observing how even his suits of the cards are perfectly alternated in color; colo r; however, however, point out that this will be the last me he will be allowed to look at the card faces unl the eect ends, as the Magic must nd its secret ways!
Both of you then lay face down that last bunch just examined on the other, other, le on the table, then collect all twelve cards in your hands. At this point, ask him to separate once again the two elements, oil and water, distribung the cards alternately alternat ely one to the le and one to the right on the table, forming two disnct piles again. As you perform your turn, carefully observe with which hand he deals his cards on the table, to ascertain whether your spectator is right-handed or le-handed.
- If the spectator is right-handed, ask him to beer space the two bunches by moving the pile on the right to the extreme right of the table, and explain how, with his right hand, he will have to slowly ribbon spread the cards of the pile on his le, opening them towards right. - If, on the other hand, he is le-handed, he will move the pile on the le to the le end of the table, and with his le hand he will ribbon spread the bunch on his right, opening it from right to le. Note: while the ribbon spread of a deck of cards is customary for any magician, it could be slightly dicult for a spectator who is not used to handling the cards: in this case, let him slowly open the various cards, paying the utmost aenon that none of the cards will be clearly separated from the one below below,, as this would aect the subsequent closure of the ribbon (or fan) causing the consequent failure of the eect having altered the order of the cards! In the rst case, have him perform the same operaons you will perform yourself, that is to place every single card of the right pile (R1-R6), starng from the top of the pile, in the middle of each pair of cards just spread out on the table (L1-L6) and leng them protrude in “outjog” “outjog”,, upwards, starng from the le le and proceeding proceeding to the right of the ribbon; in this way the card at the boom (R6) will end up being inserted above and to the far right of all those already laid out on the table, as in Fig. 5:
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Fig. 5 If, on the other hand, he is le-handed, while you are performing the procedure for right-handers described If, above, ask him to interpose each card of the pile on the le (L1-L6), starng from the top of the pile, in the middle of each pair of cards lying on the table (R1- R6) and always leng it protrude in “outjog”, upwards, upwards, starng from the RIGHT and proceeding towards the LEFT of the ribbon: in this way the card at the boom (L6) will end up above and to the extreme le of all those lying on the table, as in Fig. 6. 6. The interesng detail is that, in your case, having to li the upper corners of the L1-L6 cards to be able
Fig. 6 to insert them among the others, it will ensure that the aenve viewer will be able to parally see the faces of the cards that you will gradually insert and, despite being, only in your case, all of the same color as the suit, will reinforce the idea that he too is mixing “water” and “oil”: the red-suited cards cards among the black-suited ones. It will now be enough for both to close the ribbon of twelve cards and square the pile; ask him to look at your cards rst and, since you have transmied the “Magic” to the spectator, start turning them face up, one by one, and they will simply turn out to alternate between red and black suits, as would normally be expected.
Instead, explain that, over me, in nature the oil tends to separate from the water, rising to the surface. Make him perform a magical gesture: interlace the ngers of his hands and separate them by passing the palms of both hands over his own stack of cards. Then ask him to turn face up the rst six cards, one by one: to his great surprise they will all be of the same color of the suit, as well as, immediately aer, aer, he will obviously see the last six be of the opposite color of the suit! OIL AND WATER HAVE MAGICALLY SEPARATED IN HIS OWN HANDS!
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STEP 3) (Roberto Bombassei)
Explain to the viewer that the power of the transmied “Magic” runs out quickly, to inevitably return to you, and that, already from this moment, it is running out in him to return to “recharge” you quickly. However, once it has stabilized, you can also choose to temporarily share the Magic. To demonstrate this, now propose to take both of the twelve cards back, keeping them separate in the two bunches of disnct color of the suits. While you are performing in turn, ask the spectator to take the rst pile, slowly fan those cards (with the help of the other hand) and insert the six cards of the second stack one by one between the others... Here too it will be beer to see separately rst the case of the right-handed spectator and then that of the le-handed one: - If the spectator is right-handed (as, from the beginning, we assume you are), he will pick up the bunch on the le, fan it between the ngers of his le hand, opening o pening the cards to the right, and with the right hand will take the cards of the other pile one by one, inserng the rst (R1) between L1 and L2 and leng it protrude outwards (i.e., in “outjog”), the following R2 between L2 and L3, then R3 between L3 and L4... unl ending with the last card (R6) inserted above L6 and consequently on top of all twelve cards (Fig. 7). 7).
Fig. 7
- If, on the other hand, the spectator is le-handed, you will proceed as above but ask him to collect his right pile, fan it between the ngers of his right hand, opening the cards towards le, and with his le hand he will take the cards of the other pile one by one, inserng the rst one (L1) between R1 and R2 and leng it protrude outwards (i.e., in “outjog”), the following L2 between R2 and R3 , then L3 between R3 and R4… unl ending with the last card (L6) inserted above R6 and consequently on top of all twelve cards (Fig. 8). 8).
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Fig. 8
Close the fan and both of you lay down the rst six cards, counng them one by one (and thus secretly reversing reversi ng their arrangement) in a rst pile on the table. Deposit all the other cards together in another pile, next to the rst one. Since both of them have no Magic for the moment, you will nd that the cards in both piles have been mixed by alternang the colors of the red and black-suited cards. Now, however, declare yourself “charged” with your power again and, as in STEP 2, invite Now, invi te him to “touch” your index nger with his and say that you will try to share for a few minutes and for the last me your Magic: pick up and let him pick up one pile on top of the other and both distribute the cards again in two separate piles, one on the le, one on the right, again on the le, on the right, unl ending the cards. Mimic again with the gesture of your hands, intertwining the ngers and then detaching them, having both separated the red-suited cards from the black-suited ones in two disnct piles.
Now repeat, both you and the spectator, everything exactly as at the beginning of STEP 3, that is, fan the cards of a pile and insert, one at a me, the cards of the second pile in outjog; both close the new fan of twelve cards and square the cards. As before, you both count the rst six cards in a pile and lay the rest together on the table to form the second pile. Remember that, despite having followed exactly the same inial procedure, you are now both equipped with Magic and in fact, by turning face up the two piles, you will both nd yourself having incredibly separated the RED-SUITED CARDS from the BLACK-SUITED ONES:
OIL AND WATER WATER ARE, FOR THE LAST TIME AND UNDER YOUR EYES, MAGICALLY MAGICALL Y SEPARATED SEPARATED BETWEEN BET WEEN YOUR OWN HANDS!
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Explanaon of STEPS 2) and 3): Before reading the following, you are strongly advised to take your playing cards in hand and try yourself to perform the effect as your spectator will have to perform it, being instructed by the illusionist: at the end you will not fail to amaze you, I can guarantee it! To understand how the trick works, just repeat every single step of the effect with all cards FACE UP! You will thus realize that the first key to the secret consists in the fact that you initially have the cards really alternated but the two piles will not be identical while they will have the order of colors specularly reversed: if in the first pile the first card is red-suited and the last black-suited, in the second it will be exactly the opposite: the first black-suited and the last red-suited. This will ensure that, by overlapping the two piles, two cards of the same color of the suits will come into direct contact and the two halves of the deck will always have the colors arranged in mirror order. So that when we deal the cards, alternating them in two new piles, these will not turn out, as we would expect, one entirely composed of black-suited cards and the other of red-suited cards, but both consist of three black-suited cards and three red-suited ones; not only that, but between the two piles, once again, the colors of the suits will be arranged in mirror order: if the first has three redsuited cards followed by three black-suited cards, the other will be, conversely, consisting of three black-suited cards followed by three red-suited cards. Ribbon spreading out one of the two piles on the table corresponds in practice to reversing the order of the cards, since the last two will be the first among which we will insert the top card of the other pile ... If you have tried to perform the effect while reading re ading this explanation cards in hand, han d, you will now have perfectly understood the principle by which it works, but I am sure it will have amazed and amused you too, as much as it amazed and still amuses me! Similarly, in step 3), having closed the fan of cards for the first time, by counting the first six cards you will have reversed their order and consequently the two piles, although looking similar (both alternating red and black-suited cards) will instead be perfectly specular: if one has a black-suited card at the bottom, the other will have a red-suited one, as well as for the first card and every other ... . .. So, by now you will have understood that by joining the two piles and then alternately distributing distribu ting the cards in two new ones, they will not be one composed of red-suited cards and the other of black, but each will have three suited cards of one color and the other three of the color opposites too. This means that by inserting the cards of one in the fan of the other, in the end the cards will really be separated on the second attempt! It is incredible how such a simple principle can be so difficult to guess, so much so that I have also misled many magicians and mentalist friends to whom I had the pleasure of showing it. The fact that the viewer sees the trick happen only when the illusionist wishes it will completely eliminate the possibility for him to think that he has simply performed a self-working effect (which instead corresponds to the truth!) And, in any case, the three different phases of the routine will make it impossible for any audience to remember the execution, even of a single step. For the same reasons, it is absolutely not recommended to allow anyone to record the entire routine video.
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Credits and Acknowledgmen Acknowledgments ts This eect would not have seen the light without having been able to read and perform with extreme sasfacon “E-Oil “E-Oil and Water ” by Roberto Bombassei, contained in his Italian eBook entled “In “ In Your Hand Vol. 1”, 1”, which I strongly recommend to read. An eect very similar to that of Roberto, but not executable in the hands of the spectator, is described for the rst me in “Oil “Oil and Water ” by Karl Fulves, Fulves, contained in his book “More “ More Self -Working Card Tricks”. I am innitely grateful to my illusionist friend and writer Roberto Bombassei, not only for giving me his kind permission to publish this eBook, but also for giving me the idea of the nal eect in two parts, which I in turn inspired him and which has become step 3) of this fantasc roune you now have in your hands! “Virtual Oil and Water ” also owes its nal form of roune structured structured in three phases to the genius of my other great friend Magician and Master: Felipe Suau. His was the idea of starng with a performance of “Oil and Water” by the magician, who could also illustrate the methods and reasons for each procedure then required of the viewer for the success of the eect. Also by Felipe is the beauful idea of transming “the power of Magic” from the magician to the spectator and thus demonstrang that the eect will only be successful for the holder of “power”, completely eliminang the possibility that the spectator will later reconstruct the self-working eect by himself. I also thank my friend and Magician Natalino Conni, Conni, for the wonderful work he has once again been
able to do, creang the cover image and taking care of the layout and the numerous illustraons accompanying this eBook… And last but most mo st importantly, I thank you, dear reader read er,, magician or mentalist who you are, for trusng
once again to this new job of mine and for taking the trouble to arrive paently unl the reading is nished.
God bless you all! B. Magic
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What they said about “Virtual Oil & Water” “This me Biagio has surpassed himself, because when you go to touch a classic, and this is true in all elds, the result is not obvious... He managed to conceive a roune in which the dicules
“Great and beauful roune. So subtle! The rst phase as I followed instrucons really fooled me bad… Love these moments… I think I will use it… “
are essenally nil, keeping all the charm that characterizes the eects of this type... The pdf is very elegant, well wrien and illustrated enough to beer understand some salient points of the roune. In the eighteen pages of the pdf, the descripon and presentaon of the eect are wrien in a clear and understandable way to everyone, and it is not a foregone conclusion. One of the strengths of this roune is certainly the simplicity, easy to perform, immediately and by anyone. The eects that involve the spectator are hands-o: he only has to follow the direcons of the magician and everything happens automacally.
John Carey , Professional Magician and Author
The interesng thing is that the automac eects will remain incomprehensible to those who are not provided with the detailed detailed explanaon explanaon of the eBook. eBook. It doesn’t need any kind of gimmick, just normal playing cards. Another extraordinary thing about this eect is that it manages to amaze the performer himself... the magic of the simplicity of Magic.“
“This Virtual Oil &Water is excellent! Who would have thought one can create a decepve oil and water roune that happens enrely in the hands of a spectator who could be sing at home parcipang remotely via a zoom call? Biagio has done that! that! If you you are a fan of sleight-less eects, as I am, or if you are limited to remote performances due to ongoing lockdowns and limitaons on live performances, this should interest you very much. I can highly recommend it ...” Chris Wasshuber Founder of www.Lybrary .com .com
Davide Ruba Remond Review on www.Presgiazione.it
“ This is an amazing handling and is truly a hands-o hands-o,, impressive oil and water that the spectators can do in their own hands. The convincers that are present heighten the surprise ending for the spectator who has become the magician. This can be done virtually or with the spectator across the table from you. Superb thinking pung together classical phases of oil and water to make it a real presentaon piece leng the spectator be the star.” Jim Croop, from Indianapolis, on “The Magic Cafe Forum”
“... A solid roune, well structured!” Werner Miller Magician and Mathemacian
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“... As usual you did a high-quality job, excellent work also from the point of view of graphics and text uency... Very interesng... a job well done, this once again demonstrates your great passion... A roune like this generally, if you don’t work a lot, it is impossible not only to conceive it, but above all to translate it into wring, because this is even more dicult work and you know it well!“ well!“ Pino Rolle Professional Magician and Vice-President of the Magic Circle CADM in Turin.
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