FOREWORD AND BACKWORD BY RICHARD BUSCH

“A wonderfully clear-cut plot. This is very powerful and appears utterly impossible!” — Marc Paul

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FOREWORD AND BACKWORD BY RICHARD BUSCH

“A wonderfully clear-cut plot. This is very powerful and appears utterly impossible!” — Marc Paul

Copyright © 2010 by Steve Shufton & Ben Harris

The Authors assert the moral right to be identified as the creatorsof this work.

All rights reserved.No part of this publication may be reproduced,

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by Richard Busch

've never actually met Steve Shufton in person, but know him via Skype, the phone, e-mail, and of course his magical creations. But I know we have a lot of M's in common: magic, mentalism, mystery, Mel Brooks, the Marx Brothers, music, madels, chocolate covered I

matzah, and halvah. OK, that last one doesn't have an M, but when you eat it, you go "MMMM". Another M word is "mensch", a really fine person of noble character. Steve Shufton is a real mensch. Also a real character? Yes, ... but one with noble character.

When a fellow creator calls you up and asks if you would kindly preview his latest greatest, I take it as a compliment. Steve further pushes his luck and asks if I am so inclined, would I consider writing a foreword, again if, I felt it was appropriate. Friendships have been lost over less, believe me. But in those cases, they were never real friendships in the first place, especially with a few of our pin-heads in magic and mentalism. Fortunately they are far outnumbered by the likes of genuine mensches like Larry Becker, Barrie Richardson, and so many others I could name who make it all worthwhile.

I've just had the pleasure of previewing an early draft of Steve's handling for Ben Harris’ X-Ray Deck. I personally love Think-A-Cards, ACAAN's, and clean, direct card effects *if* the effect is overwhelmingly mental, packs a mighty wallop, and only adds to the character of the mentalist. By that I also mean that nothing is done to take anything away from the character of the mentalist. Point being, Shufton's solution for X-Ray admirably fits the bill by taking known components and sculpting an irresistibly appealing routine that even some mentalists who rarely use cards should enjoy performing!

Steve has carefully choreographed every non-action that he never needs to take. The few words he does say all promote the necessary working as well as the drama. The result is a mighty wallop I believe many mystery artists will soon be using all over the world. The hardest thing for the newer performer may be to not think that because it's a hands-off effect, it is somehow easy, automatic, or that greatest myth of magic called "self-working". Like unicorns and Chanukah Harry at

Christmas time, there is no such thing. The drama and beauty of this piece still has to be sold, timed, and meticulously carried out. That is "the real work".

I'm so impressed with X-Ray that I shared a few of my personal thoughts about it with Steve. If he wasn't such a mensch, I never would have risked the act of intended kindness, as such acts can be misunderstood. It can happen. So if my little suggestions appear, I'll know he liked them. If they don't, I take back every nice thing I said about the bum!

Seriously now, sit back, read slowly, and enjoy studying and perfecting The X-Ray Deck. It may just become a pet effect of yours not unlike and reminiscent of Al Koran's famous Lazy Man's Card Trick based on a principle from Prof. Jack Miller. Be sure to give birth to the miraculous each and every time you perform it. If you do, I predict you too will pack that mighty wallop. Guard its real secrets well. I wish you every good luck with it.

Very sincerely,

Richard Busch, DCHwww.TheMindFocuser.comwww.RichardBusch.com6 August, 2010

by Ben Harris

hen I was young, my uncle Peter fooled me badly with a simple X-Ray Vision stunt. It played serious havoc with my developing mind. Pete had been using his X-Ray WVision to “see through” the table top in order to identify how many fingers I was

holding aloft. He hit it time and time again. I was later crushed, when dad explained that he’d simply been coding the information, to my uncle, via surreptitious foot tapping. In due course it was I who was performing the demonstration, and I’ve been fascinated with the X-Ray Vision plot ever since.

My one man show, HELLucinations, is my core act— the one I fall back upon for all of my highly paid professional work. Purporting to replicate the demonstrations of the legendary Dr. Elmer William Bishop, the show commences with some direct and perplexing “card reading” and then quickly moves through a series of unbelievable-looking demonstrations of supposed X-Ray Vision. These, among other demonstrations, include “seeing through” a heavy iron box to reveal which card a spectator has reversed in the deck, AND IT’S EXACT POSITION in said deck. It is a demonstration repeated over and over, the conditions becoming more stringent every time. The show, presented in all seriousness, can play for thirty minutes or an hour and a half. It leaves the audience completely convinced that I have the powers of X-Ray Vision—even with a full disclaimer. This, my friends, is real bread and butter stuff.

Secretly, I have always wanted a “casual” demonstration of these supposed powers—something that could be performed with any deck of cards, at any time! Here’s how I explained these parameters to my wonderful friend, Steve Shufton, in 2008:

“The performer removes a deck from the case and gives it a complete shuffle. He thumbs through the deck to demonstrate that all the cards are different, and that the deck is complete. Placing the deck on the table, he informs the spectator that he will leave the room. While the performer is gone, the spectator is asked to reverse any card, at any position, in the deck. The spectator is then to take the deck, put it in the case, seal it, and

to then signal the performer to return.

“The mentalist now explains that he has developed an uncanny ability—almost a type of X-Ray vision. Without ever touching the case, he focuses an intense gaze upon the boxed deck. Much to the astonishment of the onlookers, he now reveals the name of the inverted card!

“But now things get even more mysterious. He again focuses his gaze upon the box, and finally calls out a number. Again, he never touches the box. The spectator is instructed to take the cards out of the box and to deal the cards, one at a time, onto the table. He does so, counting the cards out loud, as he progresses through the deck. Tension builds as the spectator nears the called number. When the number is reached, the reversed card is found!”

Not only has the performer accurately named the secretly reversed card, but he has also declared the EXACT position of the card in the deck!

In addition, I related my ideal performance/method parameters.

“All can be examined—the deck is found to be normal in every wayOnce in the spectator's possession, the performer never touches the deck againThe deck is complete with 52 different cards—no duplicatesAny deck can be used, the effect can even be performed with a borrowed deckNo stooges, confederates, peeks, electronics or mirrorsNo gaffs or gimmicksNo prepared box—the deck and box are REALCan be done one on one, or for a group of any size.”

Steve has done a wonderful job here, completely solving the problem—creating a practical, perform anywhere solution for the effect. He’s then gone on to clearly and concisely detail every nuance of his clever and direct method. Once you fully understand Steve’s approach, you’ll be able to perform The X-Ray Deck anywhere. I’ve even prepped a borrowed deck on the spur of the moment with spot on results.

So, over to Steve...

he performer removes a deck from the case and gives it a complete shuffle. He thumbs through the deck to demonstrate that all the cards are different, and the deck is complete. Placing the deck on the table, he instructs the spectator that he will leave the T

room. While the performer is gone, the spectator is to cut the deck anywhere with a simple cut, turn the card cut to face up, memorize the card, and put the cut off portion back on the deck, leaving the selection face up. The spectator is then to take the deck, put it in the case and seal the case, leave the cased deck on the table, and signal the magician to return to the room. The performer leaves the room, the spectator does as instructed and the performer returns.

The performer explains that he has developed an uncanny ability to see the hidden—almost a type of X-Ray vision. Without ever touching the case, the performer focuses an intense gaze on the boxed deck. Much to the astonishment of onlookers, he reveals the name of the card that has been inverted!

But now things get even crazier. He again focuses his gaze on the box, and finally calls out a number. Again, he never touches the box. He instructs the spectator to take the cards out of the box, and deal the cards one at a time onto the table face up, counting for each card dealt. Tension builds as the spectator nears the number called. When the number is reached, there is the spectator's face up card! Not only has the performer accurately perceived the chosen card in a deck sealed in a box, but he named the actual position of the card as well!

Features

All can be examined—the deck is found to be normal in every way.Once in the spectator's possession, the performer never touches the deck again.The deck is complete with 52 different cards—no duplicates.Any deck can be used, the effect can even be performed impromptu with a borrowed deck.

No stooges, confederates, peeks, electronics or mirrors.No gaffs or gimmicks.No prepared box, the deck and box are REAL.Can be done one on one, or for a group of any size.Astonishing, strong impact, mentalism at its finest!

Background

Coming up with an idea for a new effect is no simple matter—never mind the solution. I was chatting with Ben Harris on the phone, having an animated discussion about the plethora of solutions having been developed for effects like "Any Card at Any Number," the "Rising Card" and "Impossible Locations." He mentioned that he had long dreamed of an ultimate type of card divination effect, in which a spectator could take the deck out of the room (or the performer could leave the room), the spectator would reverse any card in the deck and seal it back in the box, and using nothing but X-Ray vision, the performer could not only name the card, but also the position in the deck! A sweet dream, no?

Well, Ben told me of steps he had taken to pursue the dream. He had started a contest on a popular magic site, offering prizes to the folks who could come up with the best solution to this agonizing puzzle. There were solutions galore. One method suggested the use of an unwary stooge: put a message in the box that would instruct the spectator to reverse a certain card at a certain position of the deck, and play along for the amusement of the others. Not a bad idea, but now a spectator is aware that you use trickery, which deflates your reputation as a miracle worker!

Other solutions were offered fast and furious. Use a trick deck! Maybe a one-way forcing deck. Maybe a modified Svengali deck, etc. Many solutions were offered, but all required a sacrifice of one type or another that would eliminate one of the standards that would produce the "perfect" effect.

Prizes were awarded, but no "best" solution had yet been found.

I decided to let the idea plague me. I came up with several solutions—each one more complicated and unnatural, and unworkable, than the last. I came up with different ways of gimmicking a box so you could sneak a peek at the edge of the deck, which would be stacked and marked in some

way. I had magnetic solutions using shims and iron filings. I had UV light solutions! I had special bags and boxes. I had stacks, systems and methods, each more convoluted than the last. But then, a bit of Ben Harris was ignited in my soul.

Ben has an uncanny ability to come up with solutions offering sweet simplicity for the production of astounding effects. He has a way of cutting through the fog and seeing the underlying heart of the matter. He is not afraid of any solution that will get the job done, as long as it is entertaining and leaves the spectator completely mystified. He is also known for his ability to "think outside the box." (Of course, this effect required a bit of thinking inside the box, if you will excuse the pun).

So, I threw away all my elaborate methods and schemes, and honed it down to the basics. The minute I let simplicity take over, the final idea came at once! I did some dirty work (it literally took two minutes to prepare—after all—I had never done it before)!

There is no one more skeptical than my wife, Loren. She sees through it all. She has been around me and my madcap schemes for a very long time. That is why, whenever I invent a new effect, it must initially pass the "Loren test." She walked through the door just as I had completed my minor preparations, and I immediately sprung it on her. At the end, her speechlessness combined with her glossed-over look and slightly whitening complexion, was all I needed to know that I was on to something. Five minutes later I was on the phone to Ben, discussing our joint effort to compile and present to you, the wonder-worker, the treatise you are now reading, which will hopefully help you propel your status as a seer of seers.

It turned out that absolutely nothing needed to be built, slit, or gaffed in any way. I didn't need special cards. I didn't need a special box. I didn't need to memorize any stacks. No aspect of the effect needed to be compromised. It could even be accomplished with a borrowed deck!

OK. Enough chatter. How about some discussion of the solution? First, I will give you the basic solution, and later we will discuss how you can replicate this effect in an impromptu situation with a borrowed deck of cards. Sound good?

Basic Solution

This effect utilizes the combined genius of great thinkers like Will De Seive, Al Koran, Dai Vernon, and Martin Nash who came up with some of the ingredients for this effect, and will be credited where appropriate. The idea for the effect came from the brilliant Ben Harris. As far as we know, no one has introduced this effect and subsequent solution before.

What you will need A deck of cards! That's it! I suggest that you start with a new, or fairly new deck. I dedicate a deck to this trick, but you certainly do not have to. After the presentation of this effect, you can go on to any other effect you desire, using the same deck.

Preparation

Remove the jokers. We won't be using them.

Remove the following cards:

5 of hearts5 of spades2 of clubs9 of clubsJack of clubs

Prepare the 5 cards to be either "coin impression key cards" or, toward the same ends, "breathers." There are many ways to accomplish this—especially in an impromptu situation. For now, let's use the "coin impression key card" method, which was introduced by Will De Seive.

A "breather," by the way, is a card that is specially altered so that when it is introduced into a deck, it will be easy to cut to that card. It is used as a type of crimp, and is not detectable by a spectator. It is called a "breather,” because when the deck is squared, and a little pressure is put on it to flatten it in the squaring process, a breather card will "breath,” that is to say, it will put a bit of air between it and the rest of the deck, making it easy to cut to. We will cover other methods for accomplishing

that later, including a brief mention of the "Infinity" method developed by Martin Nash.

The method explained here, I only recently learned, does not really qualify as a "breather" in the strictest sense, or perhaps any sense, as was pointed out to me by Max Maven. It is actually a "Coin Impression Key Card." Let's go ahead and use this method at the onset, but I certainly encourage you to experiment with the breather technique, as outlined later in this document. My experience thus far is that they both work equally well. There is more comparison information later on.

Go get a deck of cards and a quarter or a similarly sized coin. I like using the modern American dollar coins, which are just a bit bigger than a quarter. A half-dollar coin will work too, but the smaller one is preferred. You might as well start by using cards you don't care about, until you have become satisfied with the use of your technique.

Put the coin on a hard flat surface. A table is the perfect tool! Take the five of hearts, and lay it face down, directly on top of the coin, so that the coin is centered under the card. Put your left thumb down on the card, directly over the coin, with some pressure. Use your right thumb to press the card down over the edge of the coin, all the way around, so that a slight circular indentation, or actually, an embossment is created in the card. This does not have to be extravagant. It should not be very noticeable with a quick, casual inspection. The reason the card must be face down is so that when it is introduced into a deck of cards, the cut will leave that card on the lower half of the cut deck. This is very important. Later, we will discuss alternatives, but stay with me for a while.

Prepare the other four cards you have removed in the same way—create breathers (or, in this case, coin impression key cards) out of all of them.

Make sure the deck is well shuffled and looks completely random, as it surely must be.

Return the five prepared cards in the following way:

Starting with a face down deck, the 5 of hearts should be the eleventh card. The 5 of spades comes seven cards later, that is to say it should be the eighteenth card. Seven cards later comes the 2 of clubs—that will be number twenty-five. Seven cards after, at number thirty-two, comes the 9 of clubs. Finally, the Jack of clubs is positioned another seven cards later, at position number thirty-nine. That leaves thirteen more cards to complete your deck.

If you can remember the number eleven, the other numbers are easily arrived at, because for each subsequent card you will be adding seven.

The five cards are now positioned throughout the deck so that anywhere a spectator is likely to cut, they will arrive at one of these five cards. Test it! By cutting the deck many times, you will discover whether you have put enough work into the cards. I have discovered that sometimes I need to trade the card directly above the breather with another one to have all working smoothly. Test it until you feel a high level of confidence that no matter who cuts the deck, assuming it is squared on a table top, they will cut to one of those five cards. You will be introducing a bit of patter that will be conducive to cutting the cards correctly—we will be covering that momentarily.

With your deck thus prepared, you can box the deck and you are ready to perform. The spectator will be cutting to one of those five cards, and their positions are already known! But, let's not get ahead of ourselves…

Skills

Although it is not necessary, it will add a bit to the mystery if you are able to do a false over-hand shuffle, with a full deck control. This is easier than it sounds. Start your overhand shuffle by pulling off about half the deck from the rear. Shuffle off at least six or seven single cards, in-jogging the last of them, and throw the remainder on top. Shuffle again by cutting to the in-jogged card. Shuffle off the same number of singles again and throw the rest on top. You are back to your original order. If sometime in the middle of the second shuffle you tap one half on the other as if straightening them, it will increase the deception by breaking the rhythm. This additional "tapping" maneuver should be credited, as it really adds strength to the deceptiveness of the shuffle. Unfortunately, I have come across this technique from more than one source, and trying to determine who was the first person to "tap" in this way is doubtfully possible. Practice this shuffle until you can do it while talking. I strongly recommend learning this, or another false shuffle that controls the whole deck, but it is not totally necessary.

That's it!

Presentation

Part A

"I have been trying to improve the depth of my vision, and I think I have done it. Would you like to see?"

Remove the cards from the case and give them a false over-hand shuffle as you continue to speak, retaining the order of the deck.

"We'll use a deck of cards and see if I can do it."

Casually spread the cards face up from hand to hand. As an alternative, you can ribbon spread the cards, and pick them back up.

"As you can see, all the cards are different, and they are all here. I am going to leave them on the table like this."

Square the deck on the table, and orient them horizontally so as to increase the likelihood that when the spectator cuts the deck, they will grip the deck from the sides instead of the ends. You might want to use a technique first brought to my attention from the works of Max Maven: You can position the deck on the table with the end of the deck, that is the short end, butted up against the box, thereby forcing the spectator to grip the deck by the sides when cutting. This, in my opinion, is a brilliant piece of subtlety. Max demonstrated this in his effect, The Mind's Eye Deck.

"I am going to leave the room," (or "turn my back," if you prefer). "While I am gone, I would like you to cut the deck like this."

Demonstrate how you would like them to cut the deck without actually doing it. Press down momentarily on the deck to squeeze the air out of it.

"Cut the deck anywhere you would like, somewhere near the middle. No need to be calculating about it—just do what comes naturally. That sounds like fun! Once you cut the cards, turn the card you cut to face up and make sure you remember it—otherwise this is all for naught! Leave it face up. Then put the cards you cut off back on top. Got it? Once you have done that, put the cards in the box, and seal it so I can't even see the deck. Then tell me to come back in the room

(or turn around as the case may be). Does that sound OK?"

Make sure your spectator understands the instructions. Be clear about it and use subtle inflection in your voice to emphasize the main parts. When called, return to the room, or turn around— whichever.

"Now, I don't even want to touch the deck. There is no way I could possibly know where you cut, or which card you cut to, agreed?" They will say "yes." Continue, "I have no idea which card you are thinking of, or where it is in the deck. That would be impossible! I would need X-Ray vision to accomplish that, wouldn't I?" They will agree.

"Well, I suppose you could say that what I have developed is almost like X-Ray vision—let me show you!" Stare at the deck for a few seconds. Adjust your stance and stare at it some more. Bend a little closer, and squint a bit—act as if you are really trying very hard to see through the deck. Finally declare, "I can see something—it is a black card, isn't it?"

If they say "no," ask them to turn the deck over: "Would you please turn the deck over? I don't want to touch it. With all the cards, and all the ink, it is really difficult to see it clearly." Let them turn the deck over.

Gaze at the deck a bit more with a bit of a strain, and declare "Oh! I think I can see it now! Was it the, um, 5 of hearts?" They will be stunned. Continue at Part B.

Assuming they said "yes" when you claimed it is a black card, continue. Focus on the deck a bit more, and finally claim, "It looks like a club—am I right?"

Again, if they say "no," ask them to turn the deck over: "Would you please turn the deck over? I don't want to touch it. With all the cards, and all the ink, it is really difficult to see it clearly." Let them turn the deck over.

Gaze at the deck a bit more with a bit of a strain, and declare "Oh! I think I can see it now! Was it the, um, 5 of spades?" They will be stunned. Continue at Part B.

Assuming they said "yes" when you claimed it is a club, continue. Focus on the deck a bit more, and finally claim, "It's a little fuzzy. It's a higher card, isn't it?"

Again, if they say "no," ask them to turn the deck over: "Would you please turn the deck over? I don't want to touch it. With all the cards, and all the ink, it is really difficult to see it clearly." Let them turn the deck over.

Gaze at the deck a bit more with a bit of a strain, and declare "Oh! I think I can see it now! Was it the, um, 2 of clubs?" They will be stunned. Continue at Part B.

Assuming they said "yes" when you claimed it is a higher card, continue. Focus on the deck a bit more, and finally claim, "It's a little fuzzy. Is it a picture card?"

If they say "no," ask them to turn the deck over: "Would you please turn the deck over? I don't want to touch it. With all the cards, and all the ink, it is really difficult to see it clearly." Let them turn the deck over.

Gaze at the deck a bit more with a bit of a strain, and declare "Oh! I think I can see it now! Was it the, um, 9 of clubs?" They will be stunned. Continue at Part B.

If they say "yes", say, "Yes! It is as clear as day! Is it the, um, Jack of clubs?" They will be stunned!

Part B

Congratulations, you have correctly identified their card in a sealed box! They will have answered "no" to your questions a maximum of one time, and if they do, you will always insist that they turn the box over, to aid your vision. By then you will already know their card, and they will not suspect fishing in the least!

Say, "Wait a minute! I want to try something else—hang on! I think I can tell you one more thing…" Stare at the deck intently. Look as if you are making calculations in your mind. Stare again. Finally exclaim, "I think I've got it!" Tell them the number of cards down in the deck, which is the position of their card!

For example, if they selected the 5 of hearts, say, "It looks to me like your card is eleven cards from the top of the deck!"

If you remember, the first card is at position eleven. The other four cards are spaced 7 apart through the rest of the deck: 18 for the 5 of spades, 25 for the 2 of clubs, 32 for the 9 of clubs and 39 for the Jack of clubs.

"You don't believe me? I still don't want to touch the deck. Why don't you go ahead and remove the cards from the case. Be careful when you remove them, because if they fall, we could be in trouble…" Let them remove the deck, and have them hold it face down in their hand. "Deal the cards, face up, one at a time onto the table as we count together."

As you get closer to the number in question, the tension will rise. When you are a few away, start to raise your voice a bit and slow down—more tension. Finally, when his or her card is reached, you can count on everyone being absolutely flabbergasted!

Release the tension by saying, "I wasn't sure I could do it! Thanks for letting me try!"

Take your applause.

I believe it was Al Koran who came up with this method of "fishing," in the creation of a special deck he had designed, the bulk of which was composed of 6 repeating cards. Others have used similar methods as well, including John Kennedy, who devised a special deck with an 8 card repeating cycle.

Impromptu X-Ray Opportunities

Skills:

Martin Nash invented a principle he dubbed "Infinity." It is a method of creating a breather on the sly while performing. This skill will be described briefly here, but I highly recommend you procure his wonderful "Infinity and Beyond" video—filled with excellent effects utilizing this principle.

In addition, you will need to know how to cull the cards to the top of the deck. Just as simply, you can move the required cards to the top of the deck whilst chatting and fiddling.

The most important skill will be the ability to chat and fiddle with the cards surreptitiously as you do so. You will need to prepare the borrowed deck on the fly, and introduce a bit of time

misdirection between the instant your preparations are complete, and the moment you begin the presentation.

Cull the five cards you need to the top of the deck. You will be applying the "Infinity" principle to the five cards.

Briefly, the "Infinity" breather technique is applied to the bottom card of the deck, that is, the card closest to the palm. For our purposes, you will need the deck to be face up, because our breather impression, in this case, always needs to be applied to the face of the card(s).

With the cards in dealing position in the left hand, the right hand comes over the deck with the fingers in front and the thumb in back, as if to square the deck. Use your left hand to get a pinky-break under the bottom card. The right hand slides the entire deck forward in the hand, leaving the bottom card behind. As the ball of the right thumb becomes positioned over the center of the bottom card, downward pressure is applied with the thumb onto the card, thereby creating the breather. You will have to give it a reasonable push to be effective. Immediately slide the deck back into place over the breather. The action should look as if you are simply squaring up the cards.

The card thus altered will work well as a breather. Experimentation will give you an idea of how much pressure to apply. Once the work is put in the card, you can position the card in the deck as you see fit. You may want to transfer the cards to the face one-by-one as you put the work in, and then distribute them in the deck.

All of this work can be done with your hands below table level as you chat.

Tips

After I perform this effect, I like to re-test the deck and put in more work, if necessary, for the next performance.

For the cutting procedure, try to use a spectator who will follow instructions and who will do nothing to be clever or to screw you up. Emphasize how simple the action should be.

There may come a time that you need an out. Be prepared! You may not reach the preferred

climax, but there is no reason that you can't still provide a spectacular ending. Practice the strategy you will use.

The newer (and obviously flatter) the deck, the better.

If you plan to give the deck away, shuffle the cards first, and it wouldn't hurt to be a bit rough about it.

An Addendum of Ideas

Heavy Breather

Putting the "breather" work into cards is not a new idea, and methods are plenty. Breathers were being used before the concept was ever put into print. There is a relatively wide array of workable methods, some more practical than others. I typically use what will be called the "X" method, or the coin method (as described above). I put some feelers out to see what other magicians use and find to be reliable. I asked such notable cardmen as Ken Krenzel, Richard Kaufman, David Regal, Steve Dusheck, Richard Busch, Peter Duffie, et al. I'll share what I have been told, although there are not many surprises there. The bottom line, of course, is that you must experiment to see what will work best for you. By the way, it was recommended by several aficionados to study the work of Bob King, who released a couple of books related to breather work and applicable effects. I pass that advice onto you. Here are a few methods worth mentioning here:

The Coin Method

Max Maven kindly provides insight into the derivation of this method:

"The coin impression key card (which I have never heard referred to as a 'breather,' as it really isn't one) was devised by Will De Seive. It first appeared in his 1936 booklet, These Card Tricks, under the name 'Contact Card.' "It became well known when it appeared in the popular Hilliard/Hugard tome Greater Magic on page 478 as 'Coin Impression.'

"The idea has precedents, but none as easily and quickly made as the coin version."

Thanks for the facts, Max!

This method is described above, and needs no repetition here. This is the method that Steve Dusheck mentioned he has used to his satisfaction in his professional performances of "Sam the Bellhop." Steve's method is a little bit different. He actually uses 2 coins, initially a penny, and then a quarter. He claims that by using this method, he has been able to get spectators to cut to the "breather" with 98-99% reliability. That's pretty good! In our case, the odds go up because there are at least 4 more prepared cards, and not positioned very far apart in the deck.

The "X" Method

This method has been touted by almost everyone. Ken Krenzel informs me that this was originally Dai Vernon's idea. This is also the method preferred by David Regal, and most often by myself. Richard Busch also mentioned this method, as well as what he called the "Tent" method, which will be described in a moment (although I doubt it is appropriate for this effect).

The breather is created by positioning your thumb on top and in the center of the card, with two fingers beneath the card. By pinching with a good amount of pressure, and pulling out diagonally toward a corner, a subtle "rut" is created. You continue by repeating the same process on each of the remaining three corners. This will create a wonderful breather, which is likely to retain the "work" over a somewhat long period of time. This method has distinct advantages for this particular effect, especially since it will bear very close scrutiny, in all types of light. Your average spectator is not likely to scrutinize the cards to this extent, but it doesn't hurt to be careful, or to add measures to increase your confidence.

The Tent Method

I do not know the derivation of this method, but both Richard Busch and Ken Krenzel touted this method, especially in an impromptu setting. Simply by lightly folding, or bending the card down the middle lengthwise, you can create a fairly reliable breather. For this particular effect, I don't think it will bear the scrutiny I would desire, but I mention it here for completeness.

Infinity

This was a favorite method of the inventor, Martin Nash, and is explained fully by him in several of his videos. This is a wonderful method for creating a breather on the fly, when needing it in impromptu situations. The work is not reliable over longer periods of time, so use it with discretion. This might be a good solution for an impromptu presentation with a borrowed deck. I would recommend that the deck be in very good shape, as often, borrowed decks are clearly not.

Mechanical Means

Richard Kaufman, Ken Krenzel and Steve Dusheck all reminded me of several "mechanical" methods that have been devised. There have been special court cards treated with beads of epoxy or the like, by folks like Bob Solari and Ken Brooke, both having had commercial versions available. There are methods that involve tiny pinpricks, or bumps, as have been used by professional cheaters and the like. There have been cards with an extra cutout pip glued over an already existing pip. There have been court-card pictures cut out and glued atop a matching card, etc. All of these methods are certainly worth your exploration, but are not likely to pass muster with a spectator who is handling the cards quite a bit.

The Commonality

One thing all breathers have in common is that they are designed to cut on the "protruding" side. In other words, if you want to cut above the card, the breather goes on top. If you want to cut to the card under the breather, the "bump" goes on the bottom. This might be obvious, but I thought it wouldn't hurt to provide a reminder.

The Selection, or the One Above?

You do not have to put the work into the selection! You can, instead, put the work into the card above the selection, which might add an additional element of invisibility, especially if you use the coin method. Be aware, especially when using the coin method, that the reflected light could cause the work to be noticed. I have yet to have a layperson call me on it, but I have noticed this myself, so I assume others would too.

The Controversy

Question: How do you know if it's a breather?Answer: Hold a mirror under its nose!

Max Maven, of course, is right. The term "breather" has become muddied by the wiseachring of folks like me, and that is unfortunate. Using incorrect nomenclature eventually destroys our ability to clearly and easily articulate our magical ideas and causes originations to become confused, or even worse—forgotten. In this sense, I am both a victim and perpetrator! In researching the term "breather," I have come across devices and methods bearing that name that do not conform to the true definition.

Bob Solari, for example, offers his version of a special locator card and calls it "My Breather." I have also come across slightly confusing definitions, for example, "This acts as a breather," or "This (device) is like a super breather," etc.

A breather is often referred to as a "breather crimp." A "crimp" has been defined as a "bend" or slight "crease" in a playing card. Loosely, a coin impression might be considered a crimp of sorts, and so is a breather. That is where they part company. I think the only term that will cover all of these techniques and devices with certainty is the term "locator." A crimp and a breather are both locator cards, but then so is a short card, long card, corner short, etc.

A Six Card Arrangement

I always perform this effect as described above, with five target cards in play. It is possible, however, to easily employ a sixth card. Al Koran used six cards, which already proves the efficacy of this method. There may be an advantage to this, as it would increase the probability of a hit— although I must reiterate that I have not had a problem with the above method. Personally, I prefer five because there is one less question needed to get to the bottom line. If you would like to experiment with this idea, consider altering the card set as follows:

5 of hearts5 of spades2 of clubs3 of clubs

10 of clubsJack of clubs

The respective fishing matrix would be, then, like this:

Black? No = 5 of hearts.Club? No = 5 of spades.Number card? No = Jack of clubs.Low? No = 10 of clubs.Even? No = 3 of clubs.2 of clubs.

Also, consider this: you might want to be a bit more strategic in the placing of the cards in the deck. For example, if most people are inclined to cut the deck near the center, it would be nice to have, in this case, the 5 of hearts closest to the center. Why? Only one question, and you're done! If you always instruct the spectator to cut near the center, you will hit this quite often. You would say, "Please cut the deck, anywhere you want, near the center of the deck." Fairly simple!

Outs

Let's face it. There are times when something will go wrong. You might have a spectator who was not the best choice, either because they lack the competence, or they secretly wish to screw you up. You need a spectator that is familiar with cards, and one that will follow your instructions, with little or no hesitation. You want a simple cut, without a lot of forethought. You also want them to keep the original cut, not then deciding to let a card or two drop, or pick up another card or two. Tell them to make a simple cut, with no hesitation, letting fate guide them, and not then to change their mind, but to go with the original and first cut—or some other similar hokum.

Meanwhile, whatever should we do when worse comes to worse?

One out could be the use of an "Invisible Deck"—a deck in which you also turned a card face up in this morning (or while you were out of the room!) on a hunch.

You could use Kenton Knepper's " olossal Killer" as an out. K

You could use a variety of either card or prediction indexes to your advantage.

You could accept failure, as an indication that all of your experiments are legitimate!

Finally

This is an extremely powerful effect! It will have an impact, not soon to be forgotten. That is what makes it worth the risk, albeit a small one.

Special thanks to Max Maven, Richard Busch, Steve Dusheck, David Regal, Ken Krenzel, Peter Duffie and Richard Kaufman for helping me get some of the "locator" facts straight.

Many thanks to YOU and best wishes. Go melt some minds!

Yes, the old adage is true—everyone has an opinion. But, when Richard Busch has one, it is worth paying attention. Richard is as honest as they come—but perfectly? Between you and me, I never eat chocolate matzah. I never eat it, I don't look at it and I never touch it. Other than that, Richard can keep his halo on.

Take a look at these inspiring ideas, untouched, as they were delivered to me by email. They take things in new directions, and that can only be good!

Hey Steve...

Everything looks great, exactly as is. In addition to what you have written, here are a few alternative suggestions some of your readers may wish to consider. The first is presentational. The second is language. The third is methodological. Feel free to include them for your readers, with my compliments!

... Richard Busch

(1) When the Participant cuts to and turns over one of the freely forced target cards, ask that they "get a really good look at it, to deeply commit the picture of that card in your mind, in brilliant color." The card is then turned back face down and buried. The entire deck is now face-down. Upon your return, the presentation is the same, except that you will be "sensing the one card, the only 'special' card that is now uniquely etched in your colorful imagination. The only card that, even from the back, almost glows with the warm, mental or psychic energy of your mind's natural imagery.”

(2) At most, there will never be more than one "no", which is very strong. That is when the deck is turned over. Why? ... To present all the faces upward, even inside the closed card case. And that is when the name of the card is called aloud. Before the deck is turned over but after the "no", you know all, so use it! Refer to the card's correct color at its depth as about a quarter of the way down, "a red card about half way down", "a black card about three quarters of the way down", etc.Only then, invite them to turn the deck over: "Would you please turn the boxed deck over for me?

I don't want to touch anything. ... The truth is, amidst that enclosed, deep dark sea of identical backs, it's really hard to sense much of anything in there. Beyond color and approximate depth, it's all sort of murky. ... Thanks!!!!! ... But now with the faces ... AHHHH yes, ... N-O-W I have it. You are thinking of the ___ and I believe it is exactly ___ cards down!"

My idea is that the first look is to identify the card through the backs, to find the lone target card because of its glowing ember like energy. Even the "no" is met with interest, involvement, and most important, process. The "no" will feel like an approximate or partial hit. Some may well think even at that point, "oh my G-d, he knows!!!" Others may think that you not only know, but the whole thing is just a theatrical ruse to draw it out for suspense. Turning the box over brings the faces into view. Now for sure, it is somehow easier to sense, even through the closed box. In other words, the "no" itself, the miss, may well be experienced and remembered as a hit because you immediately said something true!

In my variation, the strongest possible suspense while dealing to the target position is maintained. Throughout the count to one less than the target number, all the cards are dealt face-up as people are interested to look and see if the target card is dealt prematurely. When the card at the target number is finally dealt face-down, the suspense is greatest and only satisfied when that face-down card is turned over and seen to be absolutely correct! There is no chance that the final point of the exercise can possibly flash prematurely.

Quite a memorable combination of X-Ray Think-A-Card and ACAAN ... untouched by the performer, because the miracle happens in their own hands!

(3) Lastly, "SIR Richard Busch's Think-A-Card" in Ben's just released RUN SILENT RUN DEEP naturally lends itself to the identical X-Ray presentation. All of the above stated options and advantages are left intact without the possibility of a "no" for a very good reason. There are no questions, just three true statements, a sort of "Triple Play". The certain force with all the illusions of choice is all verbal, so the cards are never touched by anyone until after you sense the color and depth, name their (freely forced) card, and name the exact numerical position (where you positioned the target card at). Clear, direct, and bulletproof. So it's 100% presentation, as is your lovely approach. And if that brief "handiwork" can't be put in due to time constraints or unfavorable working conditions, it's easy enough to sight or position a single force card.

Check out these other fine effects at

Check out these other fine effects at

www.shufton.com

The PortalInner Change

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www.wowbound.com

The CrossRoads DeckSilent Running

Run Silent, Run Deep

Steve Shufton

Ben Harris

Imagine if you could demonstratethe ability of

SEE THROUGH

EXACT POSITION

“XRAY Vision!”

Imagine, if you could the card case, correctly identifying a card secretly reversed by a spectator—while your back

was turned, or you were out of the room.

Imagine, if you could also announce the of the reversed card, in the cased deck.

Dream no more...“XRAY is one of the most fantastic effects I have come across. I like simple, easy-to-perform effects that require subtlety and sleight of mind rather

than sleight of hand. This is an effect that Al Koran would have been proud to have invented. I can not wait to perform it and I know it is going to

become a magical classic.” —

“Not only did I immediately absorb every last detail and nuance employed in the development of the XRAY routine, I was blown away by the number of well known and respected names I encountered that had a collaborative role in its construction. XRAY is an extremely powerful and

entertaining effect. Watching Steve Shufton and Ben Harris concoct a recipe for a satisfying and delicious mental effect is as sweet as the frosting

on my cake. Do I like it? You bet I do. Highly recommended.”

“A wonderfully clear-cut plot. This is very powerful and appears utterly impossible!” —

“Great idea, great routine and great thinking! Another winner!” —

“Waaa?!?! That is fu@#*ng AWESOME!” —

“XRAY is an amazing effect that also ENTERTAINS the audience. I know the professional performers, with dynamic personalities, will love XRAY.

However, I know XRAY will be a miracle, even when performed by average magicians, just for their friends.”

Martin Breese

— Larry Becker

Marc Paul

Greg Arce

Jeremy Weiss

Steve Dusheck —