Written and Illustrated by Richard Kaufman Edited by MatthewField, MarkPhillips,RichardKaufman, andMaxMaven Published by Richard Kaufmanand Alan Greenberg Foreword (Roger Klause) 7 Preface (GaryKurtz) 9 HypotheticalPossibilities 11 Inside/Outside 16 ConstantReturn 20 Attraction 23 Wishful Thinking 25 Split Disclosure 30 Body Heat 32 Four-Fisted 35 Special Delivery 39 Orange 43 NameIt! 46 Book andCoverDesignbyRichardKaufman Printedand Boundin TheUnitedStates ofAmerica 6543 © Copyright 1990 byRichardKaufman. All Rights Reserved. No part ofthis publication maybe reproducedor transmittedin anyform or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrievalsystem, now known orto beinvented, without permission inwriting. i i i I l 3 Over theyears I havebeenblessed withthe warm relationships whichhave developed as a directresultof myobsessive passion with the art ofmagic and itspractitioners. I will admitthat, otherthanrelatives, I havevery few"closefriends" outside ofthemagic fraternity. Inretrospect,I suppose themain reasonisthat there seems to beagenuineattributeofsincerity within those individuals dedicated to perfectionand theadvancementofourart. I have yet togravitate tothe point ofa strong relationship within mycircle ofbusiness associates. That is not to saythat I do not have great respectandadmiration for these hard-working, successful people. I simply question theiropenandhonestsincerity in matterspertaining to"thebottOmline.“ Aswith most ofus, friendships areveryprecious and should benurturedwith passing time. Therefore,I am alwayswillingtoreciprocatean act ofkindness when giventheopportunity. I am alwaysdeeply honoredwhen asked toendorseaneffect and evenmore-so when requestedto write an introductionto abookby an artistI hold ingreat esteem. I can recall the exuberance I felt as I pennedtheintroductions to the, as yet unpublishedworks of Chuck (CardstoPocket)Smith and Michael Skinner’s TenFor Ten. These, along with the soontobe classic Darwin Ortiz at the Card Table, gave me a tremendous sense of camaraderie and a vote of their respective confidences. Atthis momentIfeel no lesshonoredasIset forth afewpersonalcomments anenttheartistwhose work you now contemplate,GaryKurtz. I will never forget myfirst encounterwith this tall, gracious young manwith the infectious smile. A smile so captivating as to quicklybring to mind Dai Vernonand Michael Skinner. The NYCANConvention in Torontowas coming to a closeand the registrants were bidding each otherfarewell when I felt agentlehand uponmy shoulder. I turnedtoface this tall figure with the infectious smile, who spoke in the same genteelmannerashisprevious tactile gesture. "Mr. Klause, my name is GaryKurtzandIhave alwayswanted to meet you." Of course I had heard of Garyand his beautiful work; and, knowing that time was of the essence, I quicklyrequested a demonstrationof his legendary coinmanship. Although I had certainly puthim on the spot with my enthusiasm, his smile widened and I was quickly swept away into his mystical world of fantasy. A world in which glittering silver dollars are anointedwith thepowers todefythelawsofnature. As Iwasgentlywakened byhiswords, "Itwasagreatpleasure meetingyou, Mr. IQause,"I felt somewhat euphoric yet disturbedthatI was once again in the real world, and the miracle I hadbeenwitness towasnotbut, in Gary’sownwords, "...amemory,mistylikeadream." Over theyears, Gary and I have sharedall the available time we could searchingfor answers and trying to decide on the important questions. Gary is a dancer/choreographer, poet, and consummate artist. He 8 UNEXPIAINABLEACTS approachesmagic with the intent to create an artistic mood, to give his audience his brand of magical theater, however ineffable it may be. He does this byinjecting unique patter and movement into his routines,sometimes stopping completely to reciteverse. All ofhis routines share a common quality. Theyare visually aestheticand leave an other-worldly sense of wonder with the audience. He certainly aspires to The Professor’s axiom, 'Nothing disarm:anddeceivesaspectator more than an unhum’edanddeliberatepresentation, executedin a relaxed mannerwith neamess andprecision." The materialyou have beforeyou offers a rare opportunity to expand your horizons and appreciatethe total understanding, dedication, and application of theatrical drama within each piece. I simply cannot recommendone effect over another,butmany ofyoumay suspect that“Cigar" willoccupy a very special place in my heart and performance. Again, Gary, I must thank you for the privileged Opportunity to be a part of this offering and most ofallforthe "memories, memoriesmistylikea dream." RogerKlause Texas, 1990 Over the years I have developed a slightly offbeat and eccentric performancestyle (these are the 905, aren’t they?). Capturingtheessence ofanyone’sperformance stylein print is notan easy thing to do, especially if themainfocus ofthebookis toteachthatperson’s material, which in itself is an arduoustask. However, within theeffects, and pattergivenintheir context, liesan indication ofmystyle. Inreadingthepatter, bearinmindthat isn’t meanttobetaken seriouslyoratfacevalue. Thepresentations for some of the effects are meant to be delivered quite tongue-in-cheek; others in a somewhat forced, hyper pseudo-seriousmanner,pushing them to the extreme so they become absurdand funny. I’m not interestedin patter that simply states the obvious, or describes the proceedings. The script, for me, is what establishes an ambience (sometimes a sense of the weird and eccentric), hopefully inspiring the audienceto see the magical occurrencesin a new light. I don’t expect (or really want) many people to use much of my patter. Varying personality types more or less guaranteethis. Dowith it what you will. EvenI alter my presentationsto suit a moreconservative crowd. In any performance art (music, theater, dance) it is the performers who create the magic through whatever medium they have chosen to work in. Just because magicians perform "magic" doesn’t mean their performancesare going to be magical. Sadly, this seems to be an assumption made by many magicians. How satisfyingis it towatch a technically competent guitarist who has no musicality or feeling, simply showing offhis skill? Our magic should be strong andmemorable —butwe, as performers,need to be even strongerand more memorable. I think thata lot ofmagicians, upon learning how allthetricks are done, loose theirability to see magic throughthe eyes of laymen. As magicians, we have to begin by seeing for ourselves the magic inherent in the tricks. Only when we see the magic for ourselves can we enhance and, ultimately, conimunicate a magical experience. Onceyou have an idea ofwhat it is you want to communicate, you need to rehearse in front of an - imaginary audience, feeling yourself performing for them, and interacting with them at the sametime feeling and seeing what they feel. The tricks are simplyavehicle to the creation of a realmagic betweenthe performer and hisorheraudience. I’ve made thesestatementsto introduce what is essentially a book of tricks with the hope that it might alterthey wayin whichyou readit, suggesting that youlook beyond thetricks andtechniquesherein and see the -«Na—:1. 10 UNEXPLAINABLE ACTS magic inherent in the material. The following effects were createdwith an audience in mind. As you read, try and seethe magic as a layman might. Ifyou decide to use anyofthematerial,the responsibility is thenyours to bringthatmagic to life. GaryKurtz Montreal,Canada1990 11 This routineis a shOWcase for thetype ofoverwritten patter stylethatmakes Gary’s magic so humorous. There have been other time travel card tricks by Roy Walton and Larry Jennings, but Gary has made the spectator,his chosen card, hissignature (andhis past, present, and futureactions) the center ofattention. When combinedwith the influenceofthe superbroutine"The Dream Card," (Darwin Ortiz at the Card Table, Ortiz, 1988), which in turn is a greatly disguised version of Elmsley’s "Between Your Palms," you have an extremely strongpieceofcardmagic. Arealhumdinger. You need a Balducci Wallet (this is the predecessorof most modern wallets, originally described in Hugard’s Magic Monthly, April 1958), which has been marketed by many' dealers as "Wonder Wallet“ — its currentincarnationis the Fred Kaps Wallet. This pocket secretary-style wallet has a notepad (or checkbook) in one side, whose cardboardback enters the zippered compartmentthrougha slit. It is throughhere, when the notepadhas been secretly raisedinside thepocket to act as a failsafe guide, that thepalmedcardisinserted,and later removedthroughthe open zipper. You also need an indelible marker and a duplicateof the card to be forced. Let’s assumethiswillbetheTwo ofHearts (chosen because ofthelarge white area in the center,making thespectator’s signaturehighlyvisible). Finally,youmust be wearing asportjacket. Set up by inserting the wallet into the inner left breast pocket of your jacket, along with the marker. Whenyou wish to performthis routine,the Two of Hearts in the deck you are using is controlledto third from thetop and the duplicate Two ofHearts is secretly added tothe topofthe deck. This positions the Deucesfirst and fourth. Begin by saying, "This is an efi‘ectdealing with time -—past, present, andfuture," as you false shuffle the deck so the uppermostfour cards remainundisturbed. Do a wide face—down ribbon spread and continue, "To begin, I’m goingto askyou toselecta cardto representthe UnknownFuture." Indicatethat the firstspectatoris to touchone ofthecards in thespread. During this,your palm-up handsareheldover both ends ofthespread,your right hand preventing the spectatorfrom touching oneofthe set up cards on top. Cleanly pull the chosencard outofthe spreadif the spectatorhas notdone this on hisown (andifhas has done it on his own, your left hand hovers nearhishandto prevent him from possiblyturning thecardface up). Say, "So thatitremains unknown, I’mgoingtoplaceitinto thezippered compartment ofmy wallet. " Your left hand grabsyour left lapel and pulls your jacketopenjust a bit as your right hand enters and brings out the , wallet. Flip it Openand unzip the compartment. Take the chosen card (whose face is never seen) and place it into the compartment,slipping it above the cardboardback ofthe notepad (commonly called "the slide"). This