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'The Images jump out ofthe creative space into the created space,
The figures are shaken outofthc magician's sleeve and appearout of .
thin air bursting with life. The fantasies are beautiful in appearance,
but all except one have lost their minds, Only a lonesome Joker sees
through the delusion." - Jostein Gaarder
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Kostya
Kimlat
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of a limited printing.
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Copyright 2000 by Kostya Kimlat. All rights reserved. No part of this document may be
reproduced or transmitted in any form, by any means (electronic, photocopying, recording, or
otherwise), nor may any effect included in these notes be marketed, without the permission of
the author.
Writing these notes has been a pleasure. It feels great to take all the knowledge that you
have accumulated in life and put it into a card trick, it really does. And it's much more
productive than let's say getting a real job or doing anything important in life. And so I
present to you my life's work and meaning and all my hopes and aspirations, all in the
following pages, and I hope that you find something interesting in all of it. Maybe you'll
discover something that will entertain your audiences, maybe something that will
intrigue and inspire them. And ifyou find something that will make them throw
hundred dollar bills at your feet, send me an e-mail at MagiKos52@yahoo.com and let
me know, because a teenager needs all the cash he can get.
Whatever it is you find in these lecture notes, I sincerely hope it brings you much joy
thinking about it and even performing it. I have performed every single one of these
routines myself and I can swear by their astonishment and entertainment factors. They
. are definitely worth trying outfor a real audience.
Before I let you turn the page, I want to tell you about a few wonderful individuals who
have been an astounding help to me in the last few years. First is my across-thecontinent mentor, Walt Anthony, who has taught me, over phone and computer, that it
takes a lot more to be a good magician than learning sleights. He has explained to me
the principles of psychology, theater, technique, presentation, marketing, everything,
and how they are all a part of magic. He has always helped me and answered my
countless questions, and I am much in his debt..
I also want to thank Rex Todd Alexander, Joseph Constantine, Neils Sayers, and Paul
Tejera - all Florida magicians whom I have had the pleasure of knowing and performing
with for over four years now. Not only have they helped me learn and grow as a
magician, but they have also been great friends to hang out with. Thank You, guys.
And now all that is left to say is that I hope you will like what you read and will find
inside an effect or two that you will wish to add to your repertoire. Enjoy!
Sincerely,
~ /(imLdKostya Kirnlat
QD Joker Aces
October, 1999
History: This quick and direct version of
Joker Aces (Linking Ring, September,
1998), like the original, can be done with
either two jokers or two selections. The
handling was created after a getting a
suggestion from Kevin Kelly to create a
version that does not use the Braue ReversaL
What follows is my creation.
Effect: The Four Aces are taken out of the
deck and shown one at a time to the
spectator. The Two Black Aces are shown
and placed under the spectator's hands, but
suddenly they jump back into the magician's
hands. When the spectator turns over his
cards, he finds instead of two Red Aces, two
Jokers! The deck is spread, and in the
middle, face-up are the two red aces!
Method: Have. the deck shuffled up by a
Renegade Joker
, December 1, 1998
This effect came about after reading Paul
Cummin's Commercial Universal from
FASDIU and Universal Joker by Christian
Ehret. This routine is great to do for lay
people and I have worked out the handling
so it can be done with 'a shuffled deck in
use'! Enjoy!
Effect: The Joker, acting as a bounty
hunter, tracks down two selections in a very
magical way. No use running away, and
leaving the Joker empty handed, because at
the end he has them by their necks!
Preparation: To do the kicker ending, you
will need to make the special Joker Card..
Take out a Joker from another deck, and
also any two old cards which you do not
need anymore. (We will use the Four of
Diamonds and the Jack of Spades.) Cut out
one of the two indexes from the cards, and
be neat about it, cutting right above the
value, and right below the little suit design.
The cut out that you will make should be the
a
rectangle
measuring
shape of
approximately % in. by Y4 in.
Then, using a glue stick or double
sided tape, stick the two cut outs onto the
joker. Place them right above the' hands of
the Joker, which are holding onto the wheel,
making it look as if his hands are holding
the two indexes. This does not take long,
and one card will last you for a very long
time.
The Performance: You start out with the
special Joker on the bottom of the deck. If
you are doing this walk around, place the
Joker Card into your left pocket with the
face out, and the back touching your leg.
me!" .
3. While talking, swing cut the top half the
deck into the left hand, and replace the
remaining half on top, but keep a R. Thumb
break between the two sections.. Then, .ask
the spectator to say stop while you dribble
the cards. Here you must force the two
cards. (I prefer the dribble force, but the
Riffle or any other onewill do.) 'Once they
call stop, the right hand drops all the cards
below its break. The left hand then thumbs
off the top two cards of it's packet (JS, 4D),
and then places it's section on top of the
right hand section.
4. Once the spectators have remembered
their selections, have the two cards replaced
into two different parts of the deck
(important), and control them to the top of
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February, 1999
The Following was created while reading
Marlo's "The Cardician." This is a one-deck
version of "Double Thought" (reprinted
from 52 Amazing Card Tricks by Rufus
Steele -- also found on pg.3l of Cardician).
Effect: Two Spectators each think of a
card. They remove their cards from the
deck and place them face up on the table.
However, before each card is removed, the
performer takes out 2 cards' and lays them
facedown on the table. When the face down
cards are turned over, they are the mates of
the thought of cards.
Method: All you need to know for this is
the top card of the deck, as it will be your
key. We'll use the 10 of Diamonds. Set the
deck on the table, and instruct the spectator
to pull out a portion of the deck from the
center (like Hi.D.du shuffle}
Have. him
remember the bottom card of the pulled out
packet, and place that. packet on top of the
deck. The selection is now on top of your
key card, the 10 of diamonds.
"Say: "Keep thinking of your card, but don't
let.me know what it is yet. I want someone
else to think of a card, also." Take the deck
from the spectator and deliberately spread it
.2 D
Face-up
Face-do-wn 5 C
"Turn to the first spectator and ask him to
remove his card, but .immediately add;
"Before you take out the card you are
thinking of: I shall also remove a card from
the deck." You now remove the 2 of Hearts
(mate of second selection), and being careful
not to show its face, place it on top of your
first face-down card so that it is right-jogged.
half way. The first spectator then removes
his card, and lays it face-up on, the other
spectator's card, also overlapping it to the
.right. The two pairs of cards now lie
overlapped on the table in this fashion:"
2D 5S
Face-up
Face-down 5C 2H
"Recapitulate what has happened, asserting
that you placed a card face down on the
.2D 58
.2H 5C
2D
2H
5S
5C
-------------+ 4
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Hmm...
Here is a thought: Be the best at what you do.
Don't just be the best card worker at your magic club or the best children's performer in your
area, but be the best magician that you can possibly be.
A kid, an adult, whoever, walks up to me after a show and asks if they can show me a
trick? "Sure!" I say cheerfully, with a glee on my face that almost resembles enthusiasm. "I'd
love to see a trick!" And so another rendition ofthe 21-card trick or the "cops and robbers"
ensues and I am left to ponder whether this horrid performance comes from lack of skill, lack of
practice, or simply lack of care? Man, I'm a mean spectator.
.
"Wow! I've never seen that one before!"
I feel bad for lying and for faking vivacity during that tainted performance but what else
was I supposed to do? I wonder why that person chose to waste both of our times? Does he not
realize how awful he is? ... And then the same question slowly changes to fit another situation,
wherein I ask myself: Why did that magician choose to waste that audience's time? Does he not
realize how awful he is?
Why is it that we, magicians, choose to waste our audiences time so much? I firmly
believe in learning new things and any new skill only comes through practice; but this is where
magicians come in, not lay people. The half-practiced routines and the poorly performed sleights
need to stay behind the closed doors of magic jams, get-togethers, and practice sessions. Only
the well-rehearsed and fully practiced routines need to be shown in paid performances.
Yes there are places where you can try out new effects: restaurants, bars, family reunions
- where a person attending anyone ofthese is too drunk to tell you that your pass resembles a
bad version of an overhand shuffle or not sober enough to realize that your French drop is
actually a defective Classic palm. But even there, take discretion at what 'you perform!
Magicians! I call on all of you! Repent for your sins! Stop washing those dishes or
mowing that lawn! Turn offthat TV or computer; put down that book or that phone; stop doing
important things; cease trying to make an honest living; do what is right and pick up a deck of
cards! Before you forget the beauty of the Diagonal Palm Shift, the distinct perfection of the
Longitudinal Palm, the pure genius of the Green Angle Separation, or the simple simplicity of
the S.W.E. Shift, pick up that deck of cards! Bee, Bicycle, Tally-Ho, it doesn't matter; just
shuffle! Shuffle till your fingers hurt, then cull and side-steal for a bit until your fingers can't go
on, then riffle-stack for a breather, and then, and only then, practice your back palming!
Or maybe not.
But at least practice. Time is too valuable to waste; yours or your audience's.
Four of a Kind
November, 1998
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fingers,
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will
Gigabyte Switch
- a trick for neo-luddites -
June, 2000
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Honest Cheating
May, 2000
One of the neat things about tbiseffect is
that it does not use the "Out-to-Lunch"
principle, yet the effect that it acbieves is
quite similar, that of the back of a signed
card changing. This can be performed for
anyone, regardless of age, and is pretty
stunning. The ending is a kicker that can or
cannot be included, depending on how you
are feeling that day. Another great thing
about this effect is that the subject chosen is
not forced and can ," be anything from
Biology to Basket Weaving 101 - the fact
that the subject is a free choice completely
fries laymen and magicians alike.
Effect: A spectator signs his name on the
face of a card. He is then asked for his least
favorite subject from his school days. If he
says Biology, the words "Biology Test" are,
written on the back of the card, along with
the test grade of "F-." Telling the spectator
not to worry the magicianbegins to'fix' the
grade. First he makes the test grade vanish
completely off of the 'selection and then he
reprints it to say "Biology Test A+."
However, a teacher 'always remembers
givingout one bad grade, so someone has to
get it So, when the magician spreads the
deck he 'finds one card reversed. On the
back it has the biology test grade "F-" and
on the face of it in big black letters is, much
to hisdismay, the magician's own name!
Method: There is a small setup for this
effect. Take out two cards. Low spot cards
work best because you- are going to have the
spectator sign his name on it. You must also
use a red deck, as trying to get a black
marker to show up on a blue backed deck is
For explanation
not that much fun.
purposes, the two cards will be a 5 of
Diamonds and a 2 of Spades.
.0- __. .
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Pandora's Card-Box
February, 2000
I love performing close-up magic while
standing in front of an audience of 5' to 20
people: This type of situation is what I
enjoy the most, along with sitting on a
carpet with a group of 5 people or fewer. I
really get to know my spectators and they, in
turn, get to know me and my magic. This is
why I love close-up magic so much. Often,
however, it is very hard to end such an
intimate show. When working with just a
deck of cards; you can go on for hours, but
you must learn how to stop, and I mean
stop! This is one of my favorite 'closer'
effects, which definitely gets a great
reaction.
00
Afterthoughts:
/
i
Look at the study of etymology and of semiotics. Each one delves into life and searches
for meaning behind every day words and objects that peopletake for granted. These studies ask
humanity: How can you live ina world without full knowledge of where the words you speak
come from and what the objects around you mean? They urge people to learn both the denotative
and connotative meanings ofthe things around them.
Yet here is the paradox: You delve into life and into learning the details, the history, and .
the meanings behind every word and object, and you are pushed deep into the world. Yes, you
become more aware of all these things, but, and the problem lies herein, too often you cannot
escape thisvinformation world" and enter into the "real world" where you canuse all of your
knowledge.
So there must be a compromise between knowledge and the use of knowledge. The
person who succeeds is the one who takes the best ofboth worlds. And the same applies in
magIC...
Change etymology into the study of moves and sleights and of the history of magic and
of where magic concepts come from. Change semiotics into the study of signs hidden within
your magic, the psychological reasoning behind your magic, and the connotative implications of
magic on your audiences. Now you begin to understand that there is more to magic than learning
effects and performingthem.
So what shoul.d a good magician study and know and more importantlyunderstand? The
first step is to learn methods. (Remember that sleights, gimmicks, subtleties, and stooges are all
forms of methods.) Just as musical notes are put together to form a piece of music or special
moves used in a game of chess, methods are put together to form the effect. So in order to be a
knowledgeable magician, one must study the history of methods. One must read not only the
recent issue of Magic Magazine or the Linking Ring, but one must study his Mark Wilson and
Tarbell, read his Fitzkee, Vernon, and Marlo, and learn how methods were originated and how
they have evolved; how Erdnase's techniques led to those ofMarIo to those of Ortiz and Ricky
Jay and to those of Hollingworth.
A knowledge of etymology allows a person to interpreta word he does not know by
dissecting it into prefix, root, and suffix and knowing which language each comes from. A
knowledge of methods and their history allows you, upon creating or learning a new effect, to
dissect it into ideas and methods and concepts, and by knowing where each has originated from,
you become able to have a much firmer grasp on the effect as a whole. A solid knowledge of
magic principles also allows you to see, in the case oflearning another magician's effect, what
influenced that magician's train of thought. It allows for a broader understanding of the effect
and is therefore the first step in helping you change the methodes) to a certain effect to make it fit
into your own ability and performing style.
Yet here is the paradox: You learn every sleight and every subtlety or buy every
gimmick, and you are filled with knowledge and facts and history. This knowledge, however,
unless used everyday in your own performances, is as useless to you as a locked toolbox is to a
handyman.
The knowledge gained from learning sleights from Richard Kaufman or History from
Melbourne Christophermust be used and incorporated into all of your magic. There must be a
compromise. You should not become a sleight-obsessed freak nor should you become an
ignorant puppet-magician, moving step-by-step just as the instructions tell you to move. A
reliable foundation of magic knowledge put together with the right style of performance is what
makes the most effective magician,
Would you ever hire a handyman who does not know how to use his tools? Or, Would
you ever hire a handyman who knows his tools better than anyone else but has never tried to use
them? In both cases, probably not. And so your audiences must' ask: Why would we want to see
a magician who does not know what he is doing? Or, Why would we want to see a magician,
albeit a knowledgeable one, who has never performed before?
In searching for the perfect combination ofknowledge and performance, you begin to
develop a true respect for our brilliant art. You start to see, not only the complexity that goes into
(or at least should go into) every effect, but also the flowing simplicity that appears before the
audience's eyes. You cannot fool an audience; they can always tell when you have no
understanding of what you are talking about or what you are showing them. However, if what
they see is a perfect performance that flows both visually and psychologically, they will begin to
trust you. Once they realize that you are an expert at what you do and that you have put your
time and effort into bringing them this performance, they will then give you their time, and
maybe, just maybe, even take the effort to give you a round of applause at the end.
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