The center piece is secretly put into the box with the coloredpencils. The pencil box is then given to the medium, who has beenblindfolded and had his back turned to the audience the entire time.

The medium then takes the same color pencil which was used towrite the message and reads the message on the paper. He guesses thecolor of the pencil, concentrates and writes something with the

pencil, usually something connected to that specific city (i.e., Paris—Eiffel Tower; New York—Statue of Liberty; Budapest—a HungarianGypsy, etc.) If the medium finds it difficult to come up withsomething, a rough map can be drawn with the approximate locationof the city, or a word can be written, similar to the name of city. Tryit at least once. H

Exactly the Same with a DifferenceCreated by Juan Tamariz, Described by Stephen MinchAn extract from Juan's forthcoming book, Flamenco, to be published by Hermetic Press in 2003

ere is a perfect example of how Juan can take an oldstandard and build it into a full piece of theater, withtrappings that fool everyone, including those who knowthe original method. The trick he has built on is the stunt

of having someone hold the deck, then slapping it out of his hand,leaving him holding only one card, a chosen one. It was ArthurBuckley who realized that, if you put the deck into its case for thisfeat, it avoided the mess of scattered cards and created a penetrationeffect (see Berland's Blue Ribbon Card Tricks, 1942, p.7). Now for theTamariz treatment.

Effect: Someone is handed the case from a deck of cards toexamine. Meanwhile the deck is spread face up on the table, thengathered and shuffled. Finding the case perfectly ordinary, thespectator is urged to make a free selection from the fanned deck.

The deck is slipped into its case. The spectator then inserts herchosen card into the center of the pack and closes the case, locking allthe cards inside.

She is handed the case and asked to name her card. Suddenly theperformer slaps the cased deck from her hand and the spectator findsherself holding her card, which has apparently passed out of the deckand through the case.

The performer asks if the group would like to see the trick again.They would and he promises to do it exactly as before. He provesgood to his word, going through every word and deed, in anaccelerated comic fashion, and when the spectator makes her freechoice from the fanned deck—it is the same card! Everything hashappened exactly as before!

After the applause and laughter subsides, the performer asks ifeveryone would like to see the trick a third time? Yes, of course! So heruns through the procedure with the spectator at breakneck speed, tothe point where she chooses a card, at which point she is again urgedto choose carefully, changing her mind several times if she wishes. Shedoes so and finds herself holding a fresh card.

The performer, making comic precautions to assure thateverything is done exactly as before, inserts the deck into the case, thenhas the spectator slide her card into the middle of the pack and close thecase. The performer is so certain he can do the feat again, he suddenlydecides to toss his wallet onto the table, promising all his cash if he fails.

The spectator holds the cased deck exactly as before and theperformer knocks it out of her grasp. But something isn't right. Nocard has appeared. He puts the cased deck back into the spectator'sfingers and tries again. Still no card. A third try. Nothing.

The performer is dumfounded. Then it slowly dawns on him.The trick has worked, and the card has penetrated the deck and case.

But when the deck was knocked from the spectator's fingers, it hit thewallet on the table. The performer asks the spectator to open thewallet, and deep inside one of the pockets she finds her selected card!

Set-Up:~T\\e physical secret of this extremely entertaining routineis the ingenious forcing deck conceived by Edward Bagshawe (see his1924 book, Exclusive Problems in Magic, p.43), reconceived years laterby Audley Walsh and often misperceived as an idea of Al Koran's.Juan has used this type of force deck in the past (see "MiraculousAdivination [Al Koran Style]" in The Magic Way, p. 61), and heapplies it to excellent effect again here.

The deck is constructed of five cards repeated ten times to makea fifty-card pack. The five cards should be carefully chosen torepresent as great a diversity of suits and values as possible, and of thefive, one should be a court card. Here is a sample selection: Ten ofClubs, Two of Diamonds, Five of Spades, Ace of Hearts, King ofClubs. Arrange the five cards you choose to use in a sequence thatgives a good visual mix of colors and suits, then repeat this sequencewith nine duplicate sets of these cards. With the cards set in thiscyclical order, slip the deck into its case.

You will need an eleventh set of these five cards, which you placeinto your wallet, each in a different compartment that can be accessedwithout exposing any of the other cards. One card can go into thesection with the bills; another into a pocket on the right side, behindsome credit cards; a third into a pocket on the left side, behind adriver's license; etc. The design of your wallet will dictate where thefive cards are stored. There is one thing, however, that is importantabout the wallet: It should be your everyday wallet containing all thethings you normally earn' in a wallet. For most men, that will mean ahip-pocket wallet, not a pocket secretary, and certainly not a walletobviously manufactured for tricks. Aside from the aspect ofverisimilitude, using your normal wallet lends an importantpsychological factor that we will discuss shortly.

One last item needed—only if you wish to follow this routine withanother card effect—is a normal deck in its case, which matches thebrand and color of your Bagshawe forcing deck. Carry this second deckin a right trousers or jacket pocket. The normal deck plays no part inthe routine, but will be switched in at the end, as shall be explained.

Performance: Say, "I'm going to do a trick with the cards arid thecase. "With this introduction, remove the deck from its case, set thecase on the table and give the cards a quick overhand shuffle thatpreserves the cyclic order, or a few quick cuts made to appear like anoverhand shuffle. As you complete this mixing, glimpse the bottomcard and make sure it is a nondescript one; that is, not an Ace or acourt card.

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