Alan White Getting Out

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(5) I am sure all magicians at one time or another have used an ‘out’ or ‘outs’ in an effect. This booklet is not intended to give advice on a single isolated ‘out’, for instance when an effect goes wrong in some way. I feel that these situations are dealt with by the experience of the performer using the same effect over and over to iron out all the possible pitfalls. It is intended however for ‘multiple out’ situations where the routining and subtleties can enhance the spectators view of the effect. I sincerely hope that you will get something from this booklet. Kindest Regards. Alan White. 1.

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(7) Contents Introduction. 5. Destiny. 6. Tips for Getting Out 7 Final Destiny. 9. Destiny Graphics. 10. Match Point. 11. Graphics & Photo 14. 3.

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(9) Introduction In order to explain some of the basics I will use a simple three way out effect that I ‘invented’ when I was twelve years old. In those days access to a decent magic book was rare where I lived and with the first flush of youth I thought I was the first to use this principle, how foolish in hindsight but the effect will illustrate the principles nicely. This effect was published in my book under the title. Three playing cards are shown and one is freely chosen by a spectator. The performer ‘proves’ he knew which card would be chosen as if it was Destiny. This is a very brief description but I will go through the whole effect describing each action and their importance for the spectators to believe that they only had one choice.. 5.

(10) Three cards are placed on the table in a row. Performer takes a coin and places it on the card chosen by the spectator. The other cards are then removed isolating the chosen card. The coin is turned over to reveal a miniature replica of the chosen card.. A low red spot card (e.g. 2 Hearts) with a Blue back A high black court card (e.g. King of Clubs) with a Red back A blank faced card with a Blue back. Make a label or write neatly on the blank side ‘This card is your Destiny’, see page 10 for label to glue to a blank faced card. A 2p coin with a miniature duplicate of the low red spot card glued to the head side of the coin, see page 10 for mini cards.. Place cards on table in following order: Red Spot card - Face UP Destiny Card – Face DOWN Black Court card – Face UP Put the prepared coin into your right trouser pocket with about six or seven 1p pieces.. 6.

(11) Tips for Getting Out The cards for Destiny are kept in a shirt or jacket pocket and are brought out as just three cards. If you take them from an envelope, wallet or other container then that container becomes a suspicious object in the eyes of a spectator.. . In the ‘Destiny’ effect the cards are removed from the pocket with the back of the low spot card facing the audience, then the cards are turned so the high spot card face shows before dealing in a row on the table. This will reinforce the fact you are using Blue backed cards with the spectators seeing the backs of the low spot and the ‘Destiny’ card.. Anything you can do to disguise your ‘outs’ should be considered carefully and used. In the ‘Destiny’ effect the coin is taken from your trouser pocket where it resides with the 1p pieces. Because of the difference in size of the coins it is easy to locate the 2p coin and the jangling of the coins makes it appear that any coin is used rather than the special one you may need after a choice is made. In this case it seems to the spectators that the coin has no significance other than as a marker for the chosen card. If the coin is not needed then it can be returned to your pocket in a natural manner, after all it is only a coin.. 7.

(12) Be careful with your routine so that you can isolate the chosen item by removing the other possible choices using ‘convincers’ if possible or at least smoothly and cleanly if not. In ‘Destiny’, for instance, the two non chosen cards are always removed with a Blue back showing as they are pocketed.. This is the hardest part of any performance but take the props in your hands, work through the routine and record your patter as you go. By combining improvements in your presentation and adjustments to your patter you will be surprised at how quickly the whole thing comes together. You must know how to smoothly proceed after the choice is made, hesitation at this stage will transfer your nervous uncertainty to your audience.. Once perfected, never forgotten.. 8.

(13) Final Destiny As you may be aware the final reveal in Effect is one of three possible choices. Just for completeness I have listed below the final actions required to reveal each of the choices in ‘Destiny’.. Pick up the other two cards by placing the face down card on top of the court card and dropping them in your pocket keeping the blue back towards your audience. Turn over the coin for a successful prediction.. Pick up the other two cards dropping the court card onto the spot card, turn them face down showing the blue back and place in your pocket. Pick up the coin and nonchalantly drop it into your pocket. Turn over the card and allow the spectator to read out aloud what the card says. Successful prediction number two.. Pick up the other two cards by turning over the spot card and dropping the Destiny card on top. Allow a momentary glimpse of the front of these cards and then turn them backs up and spread the two cards. ‘Two blue backed cards. Don’t you find it strange that you chose the only RED backed card’ At this point you pocket the coin and the two blue backed cards and then turn over the court card to show the red back.. 9.

(14) Destiny Label. Low Red Spot Cards. 10.

(15) Here is another effect that relies on ‘outs’ but this time there are four objects to choose from. Follow the points from the previous chapter and see how they apply here.. Four different matchbooks are shown in a collectors box and one is freely chosen by a spectator. The magician now proves that the chosen book is his favourite in a unique way.. Four similar sized matchbooks with different fronts. Prepare two of the books as below: Book 1 - Put as large a label as possible on the back of this book and write or print on it ‘This is my favourite’. Book 2 - Get a book of matches with different coloured heads from the other three which should all be the same colour. As an alternative you can colour all the heads with permanent markers. Write on the inner top blank cover ‘My favourite coloured matches’. The other two books 3 and 4 are unprepared. A box to hold the four matchbooks, see page 14. This should be made from black card. The tray insert should hold the books firmly under the elastic which should only cover the striking strip on the matchbooks. The sliding cover for the tray should be a good fit but the tray should be easy to remove. On the underside of the tray print in bold letters ‘[Book3] everyones favourite match’. On the underside of the outer cover the same message but with Box 4 shown as the favourite. The top of this outer cover should bear the words ‘The Matchbook Collection’ in white lettering.. 11.

(16) Place the matchbooks, in order from left to right - Book 1/Book 2/Book 3/Book 4, under the elastic strip so the elastic holds the striking edge firmly. The match books should not fall from the tray if turned upside down. Slide the cover over the tray so the ‘The matchbook Collection’ logo is uppermost. You are now ready to start the effect.. Show the closed box and patter about your collection of matchbooks of which you have brought along four to demonstrate a unique coincidence. Tell the spectator that no matter which book is chosen by your spectator they will always pick your favourite. Slide the cover from the tray to show the four books in the tray and putting the tray cover well away to one side. Ask the spectator to consider carefully which one he thinks is your favourite. After he has chosen congratulate him on his perception and proceed as follow dependant on which matchbook he chooses.. Remove the other three matchbooks from under the elastic and turn them all face down making some remark about the backs then return them to the tray face down. Turn over the chosen matchbook to show the message on the back. As you replace the cover over the tray remark ‘As that’s my favourite, you may keep it as a souvenir’.. Basically the same as Book 1 but this time leave the other matchbooks in the tray and just open them to show the matches and the blank underside of the lid. Open the chosen matchbook to reveal the different coloured matches and the message under the lid. Repeat the same actions and remarks as for Book 1.. 12.

(17) Take Book 3 from under the elastic and hand to your helper. Make some casual remarks about his choice then turn the tray over showing the prediction. Allow the spectator to keep and inspect the matchbook as you replace the cover over the tray and make your closing remarks as for Book 1.. Again this follows a similar path as Book 3. Once the book is chosen, remove from the tray and hand it to your spectator. Keeping the tray upright slide the cover back on as you remark on an excellent choice. Turn over the cover encased tray to show the prediction. Allow the spectator to keep the matchbook and make the same remarks as for Book 1. And that is that. If you want to keep all your match heads the same colour then the bold message on the underside of the front cover on Book 2 should suffice as a final ‘proof’. Use labels for all your predictions as writing on the props may bleed through or show as an impression through the card tray, cover or matchbook covers. If you think you may perform this a few times get plenty of each matchbook when you can. Due to the smoking ban in bars and restaurants the availability of matchbooks is diminishing but they are still available as, for smokers, they are easy to slip in your pocket. You can adapt the tray and cover to accommodate boxes of matches, use a clear acetate strip or tight fit cutouts in the raised tray to retain and display the boxes and prevent them from falling out of the tray when it may be turned upside down Three and four way predictions are fairly common and you could stretch to five but more than that and the memory, hesitation and smoothness will be compromised for the sake of limited appeal. Above all HAVE FUN... 13.

(18) Book 3. (Note raised tray to support books and hide ends of elastic). 14.

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