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GoldFish wrote:It will be a interesting challenge to see how well this comes accross. I'll let you know how it goes.

If you want my absolutely honest opinion, you would be better investing in a full on T&R routine. I have to agree with Tenko in that it seems to be incomplete. Lay's are conditioned to seeing a full restorn card. If you want to go further, I would heartily recommend Daniel Garcia's "Torn" DVD. It works in a *similar* way to the method you're using here (without going into too much detail). I think it would be an easy move forward for yourself.

~Sym~

Lay's are conditioned to seeing a full restorn card

Sorry, but I have to disaggree with this. How many lay people are used (ie conditioned) to seeing a card ripped up and then fully restored!? If they were then magician's wouldn't be doing any form of Torn and Restored routine; a full restoration would be the norm and a partial resoration wouldn't be satisfactory.

I think I know what you're trying to say though. In the spectator's eyes it isn't logical to rip a card into quarters and then only restore three of the four sections. That's why I want to make the final restoration into a gag. In an ideal situation this would be the funniest part of the whole routine. At the moment, I think the tape gag will get a good laugh but we'll see.

As for the challenge of this routine, that is a purely personal thing. I think, because this routine has in built problems, it will be quite trying to make it a really strong piece of magic. However, I don't think that just because something is difficult you should just dismiss it and look for something else. If we were to do that all the time we would just be dismissing everything all the time and going for simple methods and weak magic. This is why I do not aggree with the school of thought which says "by any means neccessary". In other words, as a magician, why make life hard for yourself by performing difficult slight of hand when there are easier ways of getting there. An example of this which is foremost in my mind at the moment is Card Control. I've heard many magicians say that they do not use the pass to control a selected card from the centre to the top because they can do it just as easily with a double undercut and the spectators don't know the difference. I completely, whole heartedly disaggree. If you were performing the Ambitious Card and the spectator sees you cut the cards a few times before revealing your card has mysteriously travelled to the top. It doesn't take a genius to figure out what you did (I must admit, I do use a double undercut in my ambitious card routine, and this is why I am trying desperately to perfect my pass). If you were to use a pass on the other hand then the spectator sees no foul play and the magic is so much stronger. In their eyes their card was in the centre and now its on top. That is real magic.

I've gone miles off topic but I hope it serves a purpose

cooool!!!!! where can i learn that? ive watched the clip a thousand times but I just cant figure out the bit in the middle. can sum1 pm me with tips???



Sorry, couldnt resist it. But it really is fantastic! Great work!

The only pass I use (purely because it's the only one I can get away with, at the moment) is a sort of Turnover pass. The bottom packet moves, rather than the top (a la Classic Pass). I'll can PM the exact workings, to avoid exposure. It's real easy to get the hang of, too...

~Sym~

You can modify that just slightly and you`ll end up with the hermann pass

Worthwhile learning, cause you can use it to make a face up card in the middle appear on top!

Overall, the turn over pass is useful and quite invisible if performed right, but you need to have a taciturn reason for turning the deck over. Usually I cover by doing a little in hands spread to show no prearrangment or that their card is *still in the middle*.