Frank Garcia Million Dollar Cards Secrets

11

(

MilliONDOllAR CARDSECRETS

.r by

FRANKGARCIA

Edited. by George Schindler Illustrations by Al Cooper Cover Design by Paul Flayer

Published by MILLION DOLLAR PRODUCTIONS New York, New York

Affectionate/y ID

Copyright @ 1972 by Frank Garcia

dedicated

All Rights Reserved: No part of this book, text or illustrations may be reproduced in any form without permission in writing from the publisher.

FIRST EDITION

);

to my

13 year o/d son, Frank Nico/as, who makes it a// worthwhi/e.

~

I CONTENTS J

11

~

From the man who gave you:

CHOICE OPENERS Chicago Opener Double Lift Double Cut

..,...

,.. ...

Eye- Mazing ...... Perplexing . Cut the Kings

,

,

..,......... .,......... .,.........

...,

,. ....... "

,

13 15 16 18 20 23

STARTUNG EFFECTS GARCIA ON SPONGEBALLS J GARCIA ON BILLIARD BALLS WILD CARD MARKED CARDS AND LOADED DICE

WildCards Danbury Delight

,...,

.............................

,

,........

Impromptu Card Rise ................................................ Three in a Million ',"""""""""""""""""""""""""'" Swi tchcraft ','" ."....... Million Dollar Transposition ,........................ Eight Card Brain-Wave "............................ Razzle

Dazzle

"""""""""'"

,

21 Force Control

...... ,........

Knockout

,.

"... """"'"

THE AMBITIOUS CARD (Five Select Moves).

.............

...................

25 28 30 32 34 35 38 40 44 45

48

FOUR ACE EFFECTS 52 , ........... Easy Aces Anytime Four Aces ................................................... 54 Hide & Seek Kings :,............................. ,;>7 TV Aces... ,. ...... 59 SELECT DISCOVERIES Quasi-Mental ........... Dual Discovery ... , ...... Clear Voyant """",,"""""""""""""""" ..................... Uncanny Revelation ................................................... ~

~

4 I

t

64 65 67 69

I I

I

II I I I

I

Peekaboo Revelation Miracle Stab ............... Stab-Mental ,......... Once In a Knife-time ................................................... Case Card ,.......................................................... GAMBLING PLOYS & POKER DEALS Head to Head Poker ................................................... Shoot-Out Poker " Swift Poker Deal......................................................... Poker Dream ........................ Just a "Second" ......................................................... Winnipeg False Cut ................................................... Cooper's Cut ... ... Affas-Gaffas False Cut ................................................ Gambler's Cut ...

FRANK GARCIA'S NOTEBOOK Culling the Aces Winning Aces Adding a Card Color Change

lOS

106

""""""""""""""""""""1""

Cough Cover Peek Key Control Notes on the Zarrow Shuffle Zarrow Shuffle (Method 2)

106 107 lOH 109

CARD PRODUCTIONS Million Dollar Production

11'

Eclipse Production

11()

DOING CLOSE-UP MAGIC ..........................................

MAGICIAN'S RECIPE

,

&

.J

u

;j

1,05

Secret- Reversal Puzzling

82 84 86 88 91 93 95 97 99

102 104 """"""...

FOREWORD

71 73 75 77 79

......

I ~.I

I]

J

The essential ingredient of successful magie is simplicity. Bear in mind that anything you do must be neatly executed and appear important! It is my contention that all tricks should be presented in the most direct and simple manner possible. The average person enjoys being entertained by magie, but if the routines are complicated, the tricks will become problems instead of magie. A routine should never be cluttered with technique. As a matter of fact, if a trick requires fOUTmoves it may be too involved and "sleighty" for it to be practical and effective. If you can take away one of the moves it will be less top heavy. Eliminate another move by some clever subtlety to make it only two moves and you enter the realm of practicability. Add some misdirection and more subtlety and eliminate the last move, and you have a miracle! This book is primarily a book of subtlety and sleight of hand. The moves have been .cut down to a bare minimum. In most of the effects I strived for the "no-move" miracle effect suggested above. Some of the tricks are original. Some are adaptations of old ideas or new applications of old principles. I do not always claim originality for the basic ideas involved, but do for the final dress in whieh the tricks are presented. In buying this book you can be sure to find several ideas, tricks or routines which you will use. Even if you find only one, your investment is justified. These tricks are suttable for stage presentation, some for small audiences, some for the drawing room, and others to be done seated at a table with a few friends. It is my sincere hope that the effects, ideas and routines described here will please the many card buffs throughout the world who, like myself, have a deep love for the paste-boards.

1"

7

I would like to thank per~onally George Schindier, to whom I owe a heavy debt of gratitude for his many fine suggestions, ideas and the editing that makys this a clear and more comprehensive work. I also want to thank Al Cooper, without whom this book would have been sadly incomplete. His expressive and dear illustrations will make YOUflearning a great deal easier. AI's technieal ability with a deck of cards is rapidly becoming recognized. The belief that arduous practiee and exceptional skill is necessary in the performance of dose-up magie is erroneous. In fact, some of the deverest and most bewildering tricks are made possible through the use of subtle principles and unique methods that can easily be learned by anyone with a fair amount of practice. Such are the methods in this book. Frank Garcia February,1972

;1a\c\

~~ 8

' 9

..

-=at8 -=lq:8 .~ ~.

INTRODUCTION

I

am proud to say that Frank Gareia has been my friend for more than twenty years. We originally met and 1ater worked together at Max Ho1den's magie shop in New York around 1950. It was there that I first saw the talent of the man who 1ater beeame the "Man with the Million Dollar Hands." He is probably best known as a Gambling Expert. I prefer to think of hitp as an entertainer. His sparkling sense of humor and eherubie smile enhanee everything he touches. Frank's genius for analyzing moves and ereating subtleties has never eeased to amaze me. From stage manipulator to close-up performer, his versatility seems end1ess. I am grateful far the eneouragement and adviee he gave me when I needed the gent1e "push" in the right direetion as I went into show business. In editing this book I found out what makes hirn so sueeessful. He is eommercial and entertaining at the same time. Every move is an important one. Every trick has a powerful effeet on the audienee. I'm sure you'll agree that this book is a va1uab1eaddition to your library. George Sehindler

---

~--

Gearge Sehind1er

-=-

In all my years in Magie, I h~ve never met anyone who eou1d present all phases of magie with the ability and ingenuity of Frank Garcia.

.~ '8

In writing this book Garda has let us in on his closely guarded pet seerets. I am sure that the lovers of eard magie will find this an inva1uab1eeornueopia of sleights, routines and tricks for his collection. Not on1y do I reeommend the book, but I find it a MUST for all magieians.

lC::18

Mike Tannen February,1972

-=10

11

...--..-

~

.u

Chicago

.~

Opener

lEf.3 ..' fa I

.. 8.

CHOICE

-~

OPENERS

----

~-

~'!I

{I'

...,

_1

VI

r...~ ..

-

This is one of my favorite openers. I learned this many years ago in Chicago. It is a strong effect and one that always leaves the audience bewitched and bewildered. The action is fast and it will establish you as a great card manipulator. All you'll need is a "stranger" card with a contrasting back (red card in a blue deck, etc.). I always prefer to use a court card such as the King of Diam.onds. Place the real King of Diamonds on the bottom of the deck. Now add the "stranger" underneath the real King. (You now have the two Kings on the bottom.) Ask the spectator to take a card from the center of the pack. He does so and you begin to "hindu shuffle" as you talk. The selected card is now placed on top of the left hand group of cards. Add the right hand "stranger" pack. Merely drop it on top and square the deck. This insures that the "stranger" goes on top of the selected card. Both are now in the center of the deck. "Y our card is the most interesting card in the deck. " As you patter, loosely spread the cards so that the "odd" backed card is visible in the center. Cut the deck .at that point so that the "odd" card is on top of the deck. This brings the duplicate King to the bottom and the selected card second from the top. 'Tm not going to ask you to name your card, but if this were your card, would you agree that this is a

8fd 13

1Ii..8 miracle. . .? Double lift and turn the two top cards face up on the deck as one. "Is this your card?" After he agrees, turn both face down and deal off the "stranger," leaving it face down on the table. "Let's see i[ we can accomplish a double miracle!" Begin to hindu shuffle and ask the spectator to say "stop" at any time. When he does this, you turn up the bottom card of the right hand stack. This will be the duplicate King of Diamonds. "We stopped at this card, the King o[ Diamonds. I[ my miracle worked tor the (name the first card selected), it should also work tor the King. " Drop the face up King on the table. Use it to scoop up the tabled card. Neatly square both of them, rub them together and very slowly expose both cards, showing them to be the same. Re-read this effect with a deck in hand and you'll find that once you try it, it will become your favorite too.

Double Lift There are many variations of this sleight. I feel that I should inc1ude this method since it is used in many of the effects in this book. The Double-Lift allows you to turn two cards face up on top of the deck as though they were only a single card. The most important part of the action is in keeping the two cards aligned. )

Hold the pack in the left hand, neatly squared. The right hand lifts the back of the top two cards with the edge of the thumb. The left pinky keeps a small break under both cards. This is a set-up motion. Pause to talk before doing the rest of the move. The right forefinger goes into the break under the two cards, atthe right inner corner of the pack. The right thumb grips the two cards and, exerting a bit of pressure, they bend slightly upward. Slide the two cards together to the right of the deck in a gentle sweeping motion. As you reach the edge of the deck, bring them a bit toward the body and allow both to fall face-up on top of the deck. A fraction of the two cards will protrude from the back of the deck. To turn the cards face-down again merely grip the protruding edge and sweep both cards to the right again as before. Turn them face down. The move is really quite simple and should be done in an offhand or "matter-of-fact" way so as not to create suspidon.

14

15

.1. Double

~

Cut

--~

Dai Vernon introduced the Doub1e-Cut to the magie fraternity in the 1ate forties. The move is so va1uab1ethat it has made the use of the classie "pass" practically outmoded. Since it is used in many of my favorite effects, I have decided to describe my own handling.

1

I

I I

I I

2

A card has been se1ected. The cards are now spread between both hands for rep1acement. When it has been inserted in the deck, the 1eft pinky takes a break on top of the se1ected card. The deck is squared and the break is held. (This has been exaggerated here.) The right hand comes over to the pack with the thumb in the back and fingers in front of the deck. At this point the break is transferred and held by the right thumb. Both packets are now in the right hand. The 1eft hand now cuts off half of the bottom section in the right hand.

3

-=C=tIt

-~ --"~

4

bottom section the break is now into the 1eft hand is thumb gripped cut to the top.

This brings the se1ected card to the top of the pack. The action cuts two sections from the bottom to the top ,and is done naturally as 'though you were just cutting to lose the card.

,-

.~. Mr:~. I. lIIiJ 1f':.

-='-(a

16

The beneath dropped where it again and

,-

.",- W.

The 1eft thumb clips the inner 1eft corner of the packet and adds it to the top of the deck.

17

lt=8

Eye-Mazing This particular routine is an eye-popper and a good introduction to aseries of card tricks. Preparation: Stack the deck as follows, from the top card down. Any Indifferent Card; Four Kings; the Four of Clubs, face up; the Ace of Spades. Place the Four of Spades on the bottom of the deck. Insert the other three Aces in various parts of the deck about ten cards apart. Performance: Explain that you are going to do a trick with the four Aces. Start spreading the cards in your hands and slowly run through the deck face up looking for the Aces. When you come to the first Ace, push it up so that it juts out of the deck about half way. Continue running the cards until you come to the second Ace. Push this one up in the same manner and do the same with the third Ace. Continue slowly until you reach the Ace of Spades. Push up the entire block of seven cards as though it were on~ card and move it up behind the other Aces. At the same time, "buckle" the last card of the block and bring it down behind the Ace. Hold the deck tightly in the left hand. The right hand now comes up and takes the four Aces (along with the rest of the block behind the Spadc Ace). Pinch them together, pull them out of the deck and turn them a!l face down on the face of the pack. (This is all done with one move.) The bottom card (FOUTof Spades) is now covered. Square the pack and deal four cards onto the table. (These are actually Kings--thc bottom card now showing is a Four of Clubs -which hidos four reversed Aces.)

18

5c-8

-=-

.-

Cut the deck, complete the cut and set it on the table away from the four cards. Now move the four cards around on the table. Ask the spectator to guess which card is the Ace of Spades. No matter what he guesses, you turn up the card to expose a King. Turn up the others to show four Kings. Ribbon spread the cards on the table and show the four Aces reversed in the center of the deck. This is a deceptive and startling change setting the mood for tricks to come.

(8:=8 ,I

19

~r

l1li.

I 1'

Perplexing

.ra

I would highly recommend this perplexing effect as an "opener." It is particularly strong and requires a simple set-up.

18~'~

Set up the stack from left to right as follows (top to bottom): Ace of Spades face up, followed by three Aces; one indifferent card face up; four Kings beginning with the King of Spades, face down. The stack is now placed of the deck with the Kings topmost.

(still face down) dir~ct1y behind the single card on the table. Patter: "If aU four cards matched, it would be a terrific trick, wouldn't it?" Slowly turn over one of the three face down cards and 'show it to be a King. Place this face up on the deck you are holding, calling the name as you do so. Repeat the action with the next two cards. The three cards are now face up on the deck as in Illustration 1.'

'8;::8