So, here's my attempt at three phase routine with a double only at the end (and, get this- ONLY at the end!).

Effect:
“People always ask me what the greatest trick I’ve ever seen is. Let me tell you: I was 14 and I picked a card, the ace of spades, this guy put it in the middle and it came to the top with no moves, nothing. Not only that, he did it three times! I’ve spent the last 10 years working on it, and I’d like to show it to you- damn you’re lucky.”

Card is picked. “is it the ace of spades? No, damn. That would have been cool.”

The selection is placed in the center. The magician dips the deck, then gives it a riffle- but not before flashing the break- and shows the card is back on top. He places the card back in the middle, it comes to the top.

“I’ll do it face-up so you can see it- that’s what the other guy did 14 years ago with my ace of spades”.

Card is placed it the center, face-up. The cards are riffled and one comes to the top, face-up… but it’s the ace of spades! The magician apologizes, gives the card a little shake, and it changes back into the selection. The spectator is so amazed they form a cult around Mr. Magic. Damn we’re lucky.

Method:
1. Have the ace of spades reversed on the bottom.

2. Have a card selected. Swing cut the pack, have it placed on the original top, and complete the top

3. Shift, show back on top.

4. Second deal, place x card in center, show back on top, and leave it face-up.

5. Get a break above bottom card. Swing cut the pack and complete. Shift. Show ace of spades on top.

6. Turn double over, shake the card, it’s back to the selection.

There we go. The double is only used in the last phase- and only half a double. Obviously it needs work, and the presentation stinks, but I just came up with it.

Ben

So you bring up a good point about magic being subjective. I personally don't think magic is subjective. You are trying to create an effect/illusion for the audience. If you had real magic and for some reason you are doing card tricks, how would it look like?

That is our goal.

Can we ever achieve it? Maybe not, but we can well damn try. Now many will come out with variations but in the end the only ones that survive are the ones that is closest to the real thing. I feel these challenges make the magician think in a different way. Like I told Mr. Kamm, There is something very beautiful about writing a story in 100 words instead of 100 pages. You really have to think about it. Make everything count.

I think Roth put it most succinctly: in literature there is always SOMETHING that happens to cause the magic- the casting of a spell, the brewing of a potion or the sacrificing of a virgin. We need that now as well. It’s a shame though that we don’t have anything as inherently dramatic as those though (fairy dust from dusty fairies?…)

I also think, but this is something I’m still playing with, that the magic ‘move’ (for lack of better term) should be LOGICAL in the context of the routine, and help create the appearance that magic is occurring. Let me give an example.

Snapping for ambitious doesn’t do anything (except punctuate- great word). Riffling the cards upwards DOES- it tells them, visually, what is happening- try it, it looks great (there’s even a move based of this, the TV card rise. Can’t remember creator but it’s in Marc Desouza’s book…).

Just some rambling.
Ben

I totally agree with your final comment. One of the biggest challenges I have for my magic is how to punctuate the routine and create real magical 'moments,' rather than diffuse magical happenings.

Vernon said punctuation is an important part of magic — unfortunately it is still one piece I am working to integrate into my own effects.

Thanks for the thoughts. I will try to frame the moments better and create a sense of causation.

So, couple of thoughts about your routine. First, the use of the cull is brilliant… because I was going to suggest the same thing. But, I LOVE the tabled lay down- it looked so damn fair! With your permission I would love to steal that, and court your sister.

Second, great progression. It actually FELT like a routine- your hands, their hands, let them see it happen. With a little script tightening that thing could be a BEAST.

Finally, and this is something you may disagree with, I think you need a magic moment- which you don’t have until the end. Card goes in the middle and you show the top one it’s theirs… what? I think you need something that shows causation- it allows you to clarify the effect (it rises when I snap, appears on top when I wiggle, gets herpes when I kiss it, etc) and gives them a sort of cathartic release- THAT’S the moment they can relax, and THAT’S the moment they can respond… or, on the flip side, that’s the moment they TENSE with anticipation, and the moment that sets them up to respond! It all depends on who you’re working for. What it DOES do though is create a moment.

All in all, sick.
Ben
p.s.
I tried typing in “borrowing” for the password, but it doesn’t work. Help?

Here is the video. The password: What coin technique is Kainoa Harbottle known for?
http://www.vimeo.com/2481150