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Gooddd morning:D i made my own DUTCH version of sam the bellhop with a different story etc... i also let them cut the deck and do a few charliers until i reach the break i (use a breather crimp) but i most of the time get the crimp card to the top instead of the middle now here is my question

WHATS the best crimp for this:) so that i cut under the crimp not on the crimp card

Or is a short card better? and if so do spectators pick up at short cards too ?[/u]

Downward corner crimp. Lift near the center (rather than the corners) of the pack an you'll cut beneath the crimped card.

works Absolutely Marvelouss THANX

crimp is a good way to go. I do however use a different method. Works for some and not for others. Note: I too use a different set up with a different story. I also allow the spectator to cut the cards at least four different times during the routine.

As for getting around a breather or crimp, my key is the 6 of spades During the routine my character the 6s is walking through the 'town' ie deck of cards. Let us say the spectator has cut the cards, the cards are face down. I also know the 6 or so cards before the 6S. (no I don't have the deck memorized, I know the story from the revelation of the cards. But this little batch is easy to remember). So I pick up the face down deck, thumb off about 6 or so cards and turn them face up on the table. "...he walked one block" take another few cards, turn them face up and place them on the already tabled pack "...he walked two blocks." I keep going until I see the run just before my key. When I see a card in the run I know how far I am from the key and my next block will stop at the key. Then I pick up the tabled cards put them under the cards in my hand and I am back where I need to be.

It sounds complicated, but it is actually easier then a breather card at least for me. (and I do like breather cards).

The advantage is the spectator gets to catch glimpses of the faces as 6 walks around the town, nobody ever picks up on anything. Once or twice I have flown by the card and the run and I just pick up the deck again and keep on walking because its a big town. But that is very rare and only happens if I am rushing the routine.

Mayhaps this will be deleted by the mods. But really if read closely nothing is given away. You pretty much have to be aware of the method to understand what I've said. And of course you have to rumage through my verbal onslaught.

Most specs only have one "pack of cards" in their house and that will probably be years (or decades!) old. Battered and bent cards are the norm and don't arouse any curiosity. It's a brand new pristine deck that gets their close attention! No-one ever notices a crimp...

@bmat

hmm nice one but if your story contains some 4 of a kinds next to eachother they will notice ..... its a good method though i will remember it when someone uncrimps the card..



(how do you guys present the trick part ,..)

for instance I do it with my magician friend and made it a duo trick... he does the story and I am left with the shuffles cuts and the rest of the trick

so if they ask how it works...

me and my friend tell we make the story up as we go and when he names a card i get it out of the deck... and other way around

1-do the cards form a order magically ?
2-the story adjusts at the cards
3-the cards adjust to the story

Speaking as a non-performer, I've had people perform the trick to me before, and the magic seems to lie primarily in the idea of being able to find the cards. The story is the part that already exists, and a spectator should be amazed by the fact that the cards 'line up' as you tell it, after seeing you shuffle the deck into a seemingly random order. I'm not sure you need the buddy system, or to put emphasis on one or the other: the magic should be in the telling of a linear story with a non-linear deck, if that makes sense.

@madelon ! i get it thanksss:D ehmm yesh the duo thing is a bit useless... but i always perform with my mate because whe can do so much more together... we made some dual tricks and thought this one is like biggg.... we can make it together then the other one doesnt stand around waiting 6 minutes ... and we have more energy to put in it because whe dont do 2 things at the same time... oh and in our story telling trick there are a few hard things that have to be done....

Maybe for certain important revelations, he can reach down and cut to particular cards between your shuffles. He can do so to make the revelations a bit more emphatic and maybe give it a rhythm.

Miniolo wrote:Gooddd morning:D i made my own DUTCH version of sam the bellhop with a different story etc... i also let them cut the deck and do a few charliers until i reach the break i (use a breather crimp) but i most of the time get the crimp card to the top instead of the middle now here is my question

WHATS the best crimp for this:) so that i cut under the crimp not on the crimp card

Or is a short card better? and if so do spectators pick up at short cards too ?[/u]

Hi Miniola,
May I suggest that you apply the breather crimp to the bottom card of the deck but the crimp is put onto the back of the card and not the face. this way you cut to the card below the crimp and not to the crimped card itself Damn this is harder to explain than I thought. Does this make any sense??

@maxine gordona

yeah got it works fine now:D already got that comment TY

Miniolo wrote:@bmat

hmm nice one but if your story contains some 4 of a kinds next to eachother they will notice ..... its a good method though i will remember it when someone uncrimps the card..



(how do you guys present the trick part ,..)

for instance I do it with my magician friend and made it a duo trick... he does the story and I am left with the shuffles cuts and the rest of the trick

so if they ask how it works...

me and my friend tell we make the story up as we go and when he names a card i get it out of the deck... and other way around

1-do the cards form a order magically ?
2-the story adjusts at the cards
3-the cards adjust to the story

Nobody ever notices the runs and I think there are a few reasons.

First the spectator is engaged in the story not the method.

Second, when I flip the 'blocks' face up they are not really spread out, I just casually put them face up on the table. No big deal, they are watching the cards because we are looking for the six.

Third: they are concentrating on looking for the six with you, everything else is dismissed.

Fourth, at this point I don't think they are thinking about this as a trick, just a cute bit of business.

How you present this is a matter of style and I've seen it presented in many ways. I've seen it where it looks like the performer is making it up as the cards are turned up. Sometimes to the point where they fumble over the story trying to make it look like its made up on the spot. I am not a huge fan of that but I've seen it done well.

I can't actually memorize my story (I sent it too you in private) so the cards are actually hints to me as they turn up and I think because of my style it fits and looks natural.

I've seen others that really make it seem as if they are producing the cards in the correct order to tell a pre-made story. Which can look magical and that you are controlling the cards in the deck. I think that gets a little tiresome keeping that up for 52 cards.

I believe the key is too just step back and watch it unfold and see what happens for you. If that makes any sense.