Ed Marlo - Marlo's Magazine Vol 3
Ed Marlo - Marlo's Magazine Vol 3
3 1979
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EDWARD MARLO
Copyr i ght 1979 by Edwar d Ma rl o
Al l r i gh t s
r~ se r v e d
TAB LE OF CONTENTS
Cover Drawing - "Illu sionist Confr o n t s the I ll u sion"
c re a ted by John Kurtz , a note d Ch icago
~ t i st
1<
Forewo rd
Solomon's Mind
ACE ASSEMB LI ES WI TH ANEW
- F INE SSE
The Knoxv i lle Kn o ckou t
Th e Ma rlo Layout
Almost Bl uf f Acembly
1- 9
3
9- 15
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SECRET MOVES
In F i ng e r t i p Control
39- 4 4
Less Out Convinc ing
45-46
Control
Convincing Control Revers e
46 - 4 9
Sol omon' s Appro a ch
49
Ma r lo 's Su g gestio n
49 - 50
'Ou t o f Control Control
5 0 -51
A Flex i b le Crimping
52-55
Technique
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Th e St ap led Card s
17 9- 181
Marl o on t h e Stapl e d
1 8 1-19 0
Ca r d s
The Pinned Cards - So l omon 1 9 0 -191
Mar l o Pure Method
191- 193
2nd Me t h od -S o l omo n
1 93-194
Gaf fed pip Cover
194 - 1 9 6
Double Bu bble Met h o d
197-198
198-2 00
Clipper Method
2nd Cl i p p er Method Marlo
2 00- 2 01
The Double Double
Bubble
201-203
Ma r l o ' s D . D. Bubble Me t h o d
20 3 - 2 0 6
Direc t Pinne d Card s
2 0 6- 211
Th e Interlace d Vanish
21 2-224
115-118
118-1 2 0
12 0 -122
122 -124
323-326
326-329
329-331
331
331-334
334-340
340-346
347-349
350-355
356-358
BONUS
Faro Fantastiques
The 49 Control
Double Info Control
The Travelling Hours
Flexible Force
359-363
363-365
366-367
367-369
369-370
FOREWORD
As in the pas t this volume of t he maga zine woul d not have been
possib le witho u t a lo t o f help from my f riends . Many thanks t o
my f riend Dave Solomon no t on ly for his co n t r ibutions wf t hin the
page s of th i s magaz i ne bu t a ls o f or the c ov er, t he ind~x, an d t he
co l la t ing and paginat i on of the vario us sec tion s . Th i s , is not
counting his l eg wor k in ge tting the ma te r i a l to the pr anter and
p ick i ng up the co mplete d pro duct . Als o t o my f rien ds Dave Bendix
and Barry Pr ice for their ti me in ma ki ng s ome o f the i ll~?trations
f o r t he text . A very spe c ia l t han ks to a long time f r i end Bob
Nelso n who is r e s pon s i ble for t he ma j or por t io n of the i llu str ation s
t ha t gr a c e t he s e pages . Neither can I for get Richard Marl o and
Dave Solomon for the many photo s they patiently and pa in st akingly
shot . La s t , but not le ast, t o the love of my life Mur i e l Ma r l o for
the layout and t yping of th i s volume from my a t t imes unde ciphera ble
notes.
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rou t ine.
t hem."
I t hink the watc h wor ds are, "use them but don't abuse
llerr ~cK
ll ~ng~e
severa ~
years a go .
Rememb er you read about t his her e first since I can al r ea dy picture
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Solomon's Mind
Dur ing t he last several y ears of intensive study of card magic, I
have wondered why only a minority of magicians i nte res ted in card
trick s buy the Marlo mat eria l. As I conversed with magicians at
convention t ime around t h e country and i n for eign countries this
h as a l wa ys b een my que s t io n , "What d o you think o f th e io\a r l o
mate r i a l ? " Mo s t answers were s imilar, ego t o o c omplic a -!;ed, t o o many
va r i a t io n s , t o o s erious in c ont ent, dif fic u lt t o read , ~nd a b o ve my
a bility.
I liste ne d c are f u l l y, knowing my bias a u t oma tic a l ly
s timul a t e d defe nse mechanisms .
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The o ne t hing you mus t unde rs t a nd , Ma r l o did not think o f all these
i tems i n o ne d ay . He h a s accumu la te d note s f o r y e a r s and added some
current va riations o v er t he pas t f ew mon t h s . I t wi l l b e impossible
t o re a d and d iges t all of the mate r i a l in one night or one week.
Use the ma t e r i a l to e x pa nd your card ma g i c understand ing.
I write
the follo wing to he lp you o vercome all of the above pitfalls:
The Wa y to Read Marlo
1.
2.
Us e the index.
effects are.
3.
4,
5.
6.
7.
8.
9.
10.
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I have found people pass up the best effects in the book because
they get defeated.
If you read as outlined, you are in for a treat.
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an easel or laid upon the table. Still holding the pack face up,
the ~agician removes the four jacks, and places three of them on
the Ace of Diamonds, the Jack of Spades being laid upon the Ace of
that suit (all cards face up).
Likewise three queens are laid on
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In eff ect, the Four Aces are shown and laid fac es do wn '
on t he t a bl e . On ea c h Ace a re laid t hree cards from the to p of th e
pack. A spec tator c hoo ses one heap and holds it. : The other three
,he ap s are turned over and the cards are shown; t he ace s have gone .
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in turn, the performer draws off the bottom card, and pushes it
into the middle of the packet; thus when the packets are turned
over, .t he y may be calmly fanned and dropped f a c e s up on the table,
the Aces having disappeared. The pile of real Aces Ls; of course,
forced on the spec ta tor.
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4. The lef t fingers spread ' out the two remaining cards and the r i ght
hand grasps them by their righ t sides wi t h the ri gh t t humb on top
and the fingers below. The le ft fingers pullout the bottom c ard and
turn i t face up. When you see t he AS place it face up, s ide-jo gged
to the left, under the card held by~he right fingers. Your patter
at this point is, "Tell you what. Let's move this Ace over here."
The right fin gert ips are placed onto the supposed Red Ace, that is
above the leader card, to move it to your le ft. Now you say, " Let's
put the Ace of Cl u b s over here", as the right f i nger t i p s shove the
leader card, anot her suppos ed Ac e , i nto the po s it i on formerl y occupied by the supposed Red Ace or to the right o f the f irst supposed
Ace. Continu e with, "T he Ace of Spades will be the Leader Ace,"
then the right hand takes the single f a c e down Red Ace while the
le~t hand d eals the AS f ace up into the Leader position.
'5 . The right hand, wh i c h is holding the last Ace by its lower
right corner, thumb on to p wi th 1st a nd 2nd f i n g er s belo w, no w tip
or tilt this card upward to c asually f l a~t h e Red Ace as you conclude with, "And th is l ast Ace wi l l g o her e", plac ing this Ace to
the right of the other two supposed Aces.
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6.
For the "Knoxv ille Knockout" the layout. of th e top three cards
will be a 2D-2C-AH f r om your left to right. The AS is face up in
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Ace.
4. The lef t fingers spr ead ' out the t wo remainin g c ards and the r i ght
hand g r a~ps them by the i r righ t sides wi t h the r ig ht t humb on top
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1 . With t h e f aces of the d e c k to wa rds y ou r s elf , spr e a d i n g it bet ween both hands , up- j o g any nine pictur e c a r d s.
S t r i p t h~se ou t
of t he d e c k and p la ce them f a c e up to y o u r left. Next , u P ~Jog the
thr e e De uc e s o f t he su i t s Diamond s, Club s, and Hear t s. Ar r a n g e the
De u c e s in Hear t s , Cl u b s, Diamonds order f r om f ac e to to p. Pla c e
the s e face u p to t he le ft o f the pic tu re c a r d p a cket . Finally upjog and remove the four Ac es ar rang i ng them in AD -AC- AH-AS o rder
f r om t he fac e to the top.
Th e f ou r Aces are plac ed f a c e u p to the
left of t he ot her t wo pac ke ts . ' Fr om y ou r left to r i g ht y ou ha ve a
packe t . o f 4 Ace s - 3 Deuc e s- 9 pictur e cards . Place the res t of the
deck a side str essing the fact that the t~bled cards ~~ l be the
only one s used for the e ff ect.
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2.
Pick up the 9 pictur e cards and count them by t a k i ng them into
the ri ght hand, one und er the other, in a sort of spread count.
In
other words after the count these cards will be more or less in a
sp r e ad o r fan as in the F ig . 1 . Your patter for th e se counting
actions is simply, "For this I use one, two, three, four, fiv e, six,
seven, eight, nine picture c a r0s.
No more, no less", aft er which
the r igh t hand alone suppor t s t he 's p r e a d as in the Fi g . 1.
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Fig. 2
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4.
Onc~ the left thumb and 1st and 2nd fingertips reach th~ position shown in the Fig. 2, at once the-Ieft 1st and 2nd fingertips
press against the left side edge of the Deuc es, then pu~~ to the
right while at the same time the left thumb pulls the face Deuce
to the left. This action is very slight, quick, un-notiteable and
results in forming a step or ledge, under the face Deuc~~ at the
left side. The Fig. 3 shows the exposed bottom view of ~~e step at
this stage.
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Fig . . 4
5.
The right hand alone again supports the spread of cards as the
left hand scoops up the face up Aces.
The left thumb and fin g ers
keep the 4 Aces widely fanned or spread to the right.
Th e fan of
Aces are brought towards the spread with the lower right corner of
the face AD goingto under the lower left corner of the visible 2H.
This results in this AD moving in above the step or 2 Deuces. I f
you wish you can placethe 4 Aces so that the face AD first goes
on top and past the step, tIien just move . the fan ofAces back to
the left until you hear or feel that the rower right corner of the
' f a c e AD has clicked off of ,t h e step thus cl earing it.
Now your left
hand can move the 4 Aces back to the right when the AD will automatically go above the step. The Fig. 4 shows the sta~t of this feeding action in either case.
6.
The left hand feeds in only the AD and AC 'a b ov e the two Deuces
as shown in the Fig. 5 which is an exposed oottom view showing how
these two Aces, still fanned or spread, are now also support ed by
the right hand.
Meantime the left hand drops down and away from the
spread with its two Aces, AH and AS, resting on the relaxed palm of
the left hand.
Th~ Fig. 6shows the top view of this situation at
this stage.
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7. When the cards reach the stage as shown in the Fig. 6 the right
hand casually tosses its spread of the cards directly onto the two
Ac~s in the left hand.
The spread conver-ges, then both hands square
up the cards and turn them face down into the left hand.
Deal off
the top four cards, one at a time, face down to the table thus reversing their order.
Your patter is simply; "Let's start with the
Aces."
Aces are brough t towards the spread with the lowerVright corner of
the face AD goingto under the lower left corner of the visible 2H.
This results in this AD moving in above the step or 2 Deuces. I f
Fig. 5
Fig. 6
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9.
P ick u p t he pack e t in to the l e ft hand and thumb ov e r th e top
thr e e cards , one und er t h e oth e r, in a spre ad or fan as y ou say ,
"The t h r e e Deuc es g o on to t h e l e ad e r Ac e." The thumb ed ov e r to p
th r e e cards are held in place by the left t humb and fingers whi le
the right hand g ra sps t h e upper right cor ners of the t h r e e s prea d
c a r d s, with the fingers o n the fa ce c ove r i ng the indexes and thumb
on to p. Turn the c a r d s inward to sh ow the f a c es o f the three
s u p p o s e d Deuc es.
S i n c e they see the f a c e Deu c e and no picture
c a r d s th ey assume the seeming ly Bla nk card s be h i n d the f a c e Deuce
h a v e t o be the o the r Deuces as sho wn i n the F i g . 7 . The fa ces o f
. t h e s e c a r d s a re flashed for only a f ew s eco n d s, t he n turned d own .
, ag a i n and squar ed up , by t h e ir sides , wi t h the le f t f i ngers and
t hu mb wh i ch h ol d t hese cards we l l a b ov e tho s e i n the l e ft hand
deal ing positi on .
Thi s leave s the right h and fr e e t o t urn the
lead er AS f a c e down . The r ight hand t a ke s t h e 3 c a r d s from the
l e f t hana to place the m fa ce d own onto t h e Leader Ace .
10. Yo u no w have nine
picture c ar ds remaining
a nd t hes e y ou . show , three
at a time, th en p l a c e each
3 pict u re c a r ds o n to e ac h
of the cards in t he row
above the le ader Ace .
11.
Pick up the Le ader
Packet, with the r ig h t
hand, placing it f a c e up into the le ft hand.
Thumb
over the AS and tak e it
with the TIght hand by its
Fig. 7
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lower right corne r, thumb on the face and 1st and 2nd fingertips '
bene ath. Use it to tap each of the 3 tab lea-pac kets, f r om left to
rig h t ,: . as y.ousa y, " The 0 b j e c t i s to- c au sethis Ace, t his Ace, and
this Ace to chang e places, one at a time, with these Deuces,"
When you rea ch t h e word "D euc es" the AS is us e d to tap " ~ h e f a c e' 2H
of thos e cards in t h e left h a nd.
Repl ace t h e AS onto tbe fac e o~
the Leader p a cket, then replac e it face .d own into the Lea d e r po s L>
tion.
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12.
Rub the hands togeth er as you sa y, "Now for the ma g :tb." Place
the l ef t hand pa lm d own o n the 1st p acke t t o y o u r left while t h e
righ t pa lm i s pl a ced on t o t h e Leane r pa c ket . Flex each palm sl ightly as if to aid the magic.
Lift off both palm s fro m th e p ack et s.
With the right hand pick up the first packet and place i t face down
, into .the le f t hand . Deal the top 3 cards, one a t a time, f ace up
t o t h e t able so t hey wi l l overl a p Tn a d ownwa rd ro w.
The l a st or
4th c ard i s n ow take n fa ce do wn by the rig h t h and, a t the lower
right right corne r , with thumb on top and f i n ge r s b ~ow.
The left
' t humb mov es' to the outer l eft cor ner of this c ard anq l ets this
corn e r snap o f f o f th e le f t t humb a s t he l e ft 1st fi~ger pu s h e s
this c o r ner upward , from ben ea t h , f o r cing it pas t t h e - ba ll o f the
righ t thu mb t o c r eat e a s n a.pping sound. Your pa tter is, "The Ac e
is gone", b ~t the ri ght hand places this card s t i l l face down onto
the downward ro w of the 3 f a c e up cards bu t so tha t all 3 fa ce u p
cards ar e st i l l i n vi e w for a t lea st a thi rd o f their l engt h.
13.
Pick u p bhe -Lea d er Packe t as you say, "Over h ere we h a d on e
Ace , now we find two." By now the packet has b een tu rn ed f ace up,
the AS at the face o f the packet is dealt over by the left t h umb
and t ake n by the right ha nd follo wed by d e al in g ov er the 2H wh ich
is ta k en und er the AS but s o i t re main s fa nned or s pre a d to the l e f t.
With these two c ar dS-g estu r e to ward s t h e fa ce Re d Ace showing o n
the squar ed c ards held in . the left hand. This is only a so rt o f
momentar y fla shin g of two Aces afte r wh ich the right hand r eplaces
its 2H and AS on to t h e c ards in th e lef t ha nd.
Square the packet
- a n d replace it face do wn into t he Le a de r po sitio n.
14.
Repeat the s u p p os e d vanish actions o f the Step 12 on the n ext
packet except here you can sa y, " Now for the Ace o f Clubs ." Briefly,
rub h a nd s, p l ace pa lm s on p a cke t s , deal ce nter pa cke t face u p for
3 top cards le a v ing last c a rd fa c e do wn as befo re.
For mor e details re- read t he Ste p 1 2.
15.
Pick up the Leader packet as you say, " We had two Aces, now
there should b e t hree." Here the Leader p acket is by now fa c e up
in th e left ha n d . Deal ov er the AS and 2H, on e under t he ot her, as
you take t he s e with th e ri ght h a na-s o they r e ma i n f a n n e d or spr ead.
The nex t card, a Red Ace, is als o taken und er and alongside the cards
h e l d by right hand. The l eft fing ers and thumb snap the la st card,
the AC, clear ly showing a singl e card . Take the Red Ace from the
righ~hand on to the AC hel d b y t he left fi n gers a nd thumb a t its
left si de.
Th e Red Ace r e mai n s f anned to t he right.
The result
is you are displaying two cards in each hand as i n the Fig. 8 .
16.
I n putting the ca rds together th e t wo Ac e s held in th e l ef t
hand must go betwe en t he t wo cards held in t he rig ht han d.
Th i s
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left to f o r m a r ow of 4 c ards.
Three o f th e s e ar e d ir ectl y b elo w
ea c h packet with t he AS o f f to the l e f t.
Th e mec hanics o f the
tlSwi n d l e Ac es tl is to hOld the packet f ace do wn i n , t h e left hand.
,Do i n g ei ther a Bu ckle , Pulldown , or a Puspoff d o a Trip l e Tu rnover
t o s how a Re d Ac e . Turn i t do wn . th en d e al ton carel fac e elown to
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hand follows thru by turning the 2D face up into the left hand.
The left hand at once replaces the-face up 2D into its original position. in the row.
2.0. Note that at the Step 19 the ~ction of the ha nds ~ alternated,
right, left, right, etc ., in-order to give a sort o f rhythm to the
actions .a l ong with the patter. Still speaking you saY, l"The Ace of
Clubs has ch anged places wi t h th e Two of Clubs." Here :f ol l ow the
same alt ernating hand actions as in the St e p 19 that is ~ight turns
over the AC, left hand picks up 2C, right hana-turns ove~ '2C replacing it face up into its original-position.
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At this point the last face down card ~f the row is the 2H while
the AH is face do wn in the last or third ro w. The right ha nd-reache s
' f or the supposed AH, really the 2H, as if to turn over this last Ace;
however, you stopand say, "Tellyou what. Let's place th is Ace of
Hearts back." Here the left hand has reached to pick up the supposed
2H from-rtS cards ~hile the right hand places its q~rd, the supposed
AH but r ea ll y the 2H, f a c e down i n t o the last or tli ~rd row. The
rIght hand no w ta kes the face do wn card from the le f t hand as y ou
say, " Watch the Two of Hearts." Snap the c ards outer lef t , corner
, wi t h the thumb, the right hand turns this card face up to show the
AH as you say, "The Ace has come back" , then drop the AH face up
into it s position with the other Aces. ' The left hand picks up the
face down 2H, the right hand takes it and turns it fac~ up as you
conclude wITh , " And he r e is the l a s t Deuce."
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, 22 . There isn't anything difficult , in the rout ine except one must
learn what steps follow each other so as not to confuse your audience or yourself. If you have the procedures of the routine clearly in your mind you can't help but de liver the same clari ty 'to your
audienc e.
ALMOST BLUFF ACEMBLY
This next Ace routine uses basic ideas,in plac es,
f r om my "'Blu ff Ace Assembl y"; ho wever, I wan t ed to use the Ma r l o
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rel ax and . give his all to the presen t ation and save h is reputation.
The routin e that follows is i n ef f e c t a slow motion Ace routine
us i ng ron Ly f o ur Aces and tw elve cards.
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.raxe t h e top card s ay i ng , "ThlS Ace goes ov e r ner'e ," as you p i ac e t rie
c a r d just above the leader card. The next top card is taken face
down , by the right side, with the right hand. The left hand turns
t h e AS face up . When you see this Ace you n ow say , "Tell you what ,"
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the face of the indifferent card, then place the se .cards onto t"he AS
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s o aS ,to leave the AS side-jogged to the right for about. , three quarter
o f an" 'inch :' Repea t this process f or the remaining three,': "tabled cards
~xcept you can freely show the faces of all l cards j us tvbe f or e ~quar- "
lng th em up to place them onto the tabled card . The en d '7 e s u l t 1S as A
pi ctured in the Fig. 4 wi th each tabled Ace (?) s i d e - j o g g~ d to the
right.
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9. Turn the leader packet face do wn, as the left band actually
squ a r es up the sides, then right hand replaces the leader packet t o
i t s posi ti on . both hands now square up t h e sides of the remaining
two packets wh i l e they still rem ain t abled . You are n ow ready to
sta r t the on e at a time assembly of Aces .
10. Pick up the packet on your right as you say, "First , the Ace
of Diamonds." De al the to p 3 cards face up i nt o it s desi gn a t ed s p o t .
1st finger is cur led on top and the 3 uppermost cards are pla inl y
!~
vi sibl e . The ri ght ha nd holds t he pa c ket in order t hat the l eft hand ~~
can gra sp the left s i de of th e 3 upp e r mo s t cards . Rem ember bo t h
hands are directly above the leade r packet. As th e le ft hand is abo ut ~..
t o remove the l ca rds the right hand, with its Ace, moves straight
~
down onto t he le~de~ .~acke~ a s shown in the Fig. 5 . Do not h esita te
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. Fig . 5
12.
"Let's deal wi th the Ace o f Clubs", you say a s ~~ he c entral
p ack et i s p i cked up into th e l e ft hand.
Deal th e t6~r 3 c ar ds fa c e
up to the same po sition on the t abl e. The l ast fa ce 'do wn ca rd ,
sup posedl i the AC, is then s h own a s no long er th e Ac e a f t er wh a te v e r
magical flourisn-or incantat ion you decided to us e.
Tfii s card i s
dealt fa ce up onto its p acket of face up cards.
Pick up th e le ader
pack et as you again r ep e at, "Ove r h ere we had t wo Ace s now we find
the r e a re thre e Ac es." The l e ft thumb has de altov e r t he two face
cards, the AS and X c ard, one un d er the other in a f anne d co nd ition
into the rignt hand.
The right h and holds these t wo c ard s p l u s the
card s that a r e st ill s qua r e d u p i n the left h an d.
The l e f t t humb
dea l s ov e r t he fac e car d o f its pa ck e t holding th e las t t wo c a r d s
as one. Th e l e f t ha n d i s n ow fre e to grasp thes e tw o ( ?) c ard s by
the le f t si de s ho ldi n g them fa nne d or spr ead . Thus two ca rd s in ea ch
hand a re d isplaye d in a manner ident i ca l to t h at s ho wn in t h e Fig . 8
o f "The Knoxvi lle Kno ck ou t" ex cep t the X c a r d wi ll be a l mos t a ny
c ar d.
if
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do wn
ove r
t hi s
face
14.
De a l ov er t h e t op card , with the lef t t h u mb, as the right hand
t ak es t his c ard f r om a bov e by the end s. Turn t h e right hand p a lm
up as you say , "Ove r here we now have one Ace" , d i s p l a y i n g the f ac e
of the AH. The le ft t h umb deals ov e r t h e n ext c ar d. The r i gh t hand,
still hardi n g t he fi rst Ace , t u r n s palm down t o t a k e t h e se cond Ac e ,
, the AC, to under th e Ace h el d in t he right hand but i n a side-jog ged
condition, to the l e f t , f o r a bout a half inch or mor e. Turn the
right hand p alm up a gai n to di spla y the AC -AH as you con t inue with
"Two Ac es." Repeat t aking the th ird Acetoun der the 2 Aces in the
right hand again in a sid e-jo g ged condition to the l e ft.
Turn the
right hand p alm up ag ain, to show 3 Aces as you cont inu e wi t h "Three
Aces." The last 2 cards, an X card, and the AS, are held a s one in
the left hand.
Tne right hana turns palm down-to pick up this last
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Fig. 6
' .
16. Place the supposed AS to under the packet on the left. Both
hands now square up the sides of the visible 3 card spread. All that
remains is to pick up the l a s t packet, deal 3-cards face up, vanish
. the supposed AS to show an X card which is dealt face up onto its
packet. Spreia out 'Lh e leader packet to show 4 cards there. Turn
each Ace face up, in H-C-D -S order, emphasizing which packet each Ace
c ame fr om. As y ou turn-tne-Ace of Spades face u p y ou c onclude with,
" An d the Ace of Spades tha t also traveled over.. "
17.
I usually place the palm of the left hand over the tabled packet
and the right palm over the leader packet explaining that this causes
the Ace and the indifferent card, from the leader packet, to use the
sleeves of each arm to secretly travel across without bumping into
.;
Fig. 8
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15
' e a c h other. This is done for only two of the packets or Aces. The
last packet is then handled as already explained, without placing
your paJm oyer it thus giving a logical reason for the final change
in handling plus the repeat that now also unloads the X:card from the
Ace packet. This subtlety is in my original "Bluff Ace",,..ssembly"
publ ished in the 1955 Ireland Year Book. The Side -Jog~.xchange or
Switc~ is from the "Spade" book, 1947.
The layout of th;e Aces (?)
is convincing enough so do not make the mistake of over-proving by
showing the 12 card packet as 12 indifferent cards. In other words,
do not use tEe procedure I devISed especially for the e f f'.~ct, "Almost
Like-Trick Cards" which was published in the "Hierophant" >
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EFFECT:
REVERSED ASSEMBLY
.r
(Marlo)
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3.
Begin by spre a d i ng the d eck between bot h hand s '\ 'v.-;i th the fa c e s of
the cards t owa r d s yours e lf . Up-jog sixteen cards as 'you come to them
being sur e that all f ou r Aces are included in these 16 cards. Strip
them out and toss them faces down to the table. The-reft hand places
the deck into the left coat pocket, with the faces towards the body,
onto the stranger AC.
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5. Continue to spread the rest of the cards as you seem to look for
the AC. Actually as you come to the left end of the spread the X
card-,-to the right o f the AC, is pushed under the spr ead o f cards
followed by also pushing t ne AC to under the spread along with the
X card. Thus these two cards-nave formed a step under the left end
of the spread as i n the Fig. 1. Remember that these under the spread
actions a r e mad e whi l e the c ards st ill face y ou . Now t he right ha nd
holds onto t he spr e ad and i s no w lowered as i n the Fi g . _ ~ whe r e no te
ho w the X c ard on the le ft i s project i ng to the left, over t he AC a nd
X card, t hus concealing thes e t wo cards. The AC index is. expo sed in
Fig.. 1 for clari ty to show the situation.
--
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Fig. 1
Fig. 2
--- ---l
5. Continue to spread the rest o f the cards as you seem to look for
the AC. Actually as you come to the left end of the spread the X
~~~~:-,.::~ ~~e ~~~~h~,.~[~~~e +~ , A~S +~u.~~~~_u~~:r _ : ~: _ ~p:~~~ _o.~ ~ ~~r~~_
~1 8
6. The left hand is free to go into the left co a t pocket ~nd remove
the balance of the deck plus the stranger AC which is now the face
card. -: , The "l e f t thumb deals off the stranger AC face up o n to the other
three Aces, then retu rns balance o f the deck t o the pack~t. Your
~
pa~ t e r ~ in ~ s f or a l l ~h i ~ is . qu ite bri e f a s y ou c omme n t ~~ o u t o ~e Ace j
b e l n g mlsslng, then flndlng lt to add t o the tabled Aces~~
.
. f".
7. The right hand is -s t i l l holding its spread of cards and has maintained the st ep formed by the AC and X card . The left han~ now picks
up the spread of tabled Aces. -You n ow will loa d the stran~er AC and
o n e Re d Ace above the two s teppe d ,cards t ha t are un d e r the spread .
11
This is fully explained in "The Knoxville Knockout" but brief ly here .I
is the action.
Using the right side of the stranger AC you press
' u p wa r d s , very slightly, under the left side of the last card, on the
left 1 of the spread . This enabLes you to cleanly slide the stranger
AC and one Red Ace above the regular AC and X card under the spread .
]:
,'-The r-ig ht hand ho lds on to al l the cards except t he ot1;\e r Re d Ac e and "'
AS which are retained in a relaxed pa lm up position ~: the left hand. ~
The left hand iS ,just slightly below the spread of car4s held by the
right hand and for the moment all four Aces are plainly visible.
Th e
right hand casually tosses its cards onto the two Aces in the left
hand and the face up cards are squared and then turned fa ce down into ]
' I t he l e ft hand dea ling po s i tio n.
For mor e d e t a il s pl us ill ustrati ons
of this type o f add on see " Th e Knoxville Knock out" else where in this
v olume.
8. The order of the c ard s , after the above add -on move, fro m top
do wn is the AS, a Red Ace, reg ular AC, X card , o t h e r Red Ace,
s tr a n g e r AC,-rhe n the rest o f t he car ds~ The AS is tu r n ed fa ce u p
and dea l tlnto Leader Positi on.
The next threeca'rds are dealt f a c e
down, from left to right, above the AS into the classic T formation.
Again the patter for all these actions is fa irly standard for Ace
effects such as "The Ace of Spades will be the leader Ace for thes e
three."
; . "
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'
down, from left to right, above the AS into the classic T formation.
Agai n the patter for all these actions is f a irly standard for Ace
effects such as "The Ace of Spades wi l l be the leader Ace for thes e
three."
l]1 ;,----
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19
onto the sup,posed Ace on the righ t . This packe t will have on l y 3X
cards. ''This time actually thumb over three of the face :cards anawithout re-squaring them the right hand simply flips the~ over onto
the left thumb where the cards will converge and end up ~~s already
sh own in the Fig . 3 . The right hand take s these cards , 'f r om above
by t h e ends, t o pla c e t h em on to t he c e n t e r AC.
Re p e at wit h t h e next
3 fa c e cards t o p lace t h em on to t h e Red Ace-on t h e le f t . Th umb o v e r
o n ly two cards now , h old the last t h r e e cards as on e, to ~h ow 3X cards.
Re- square these cards and place them face down onto the face down AS.
The leader packet, from top down , has a Red Ace , Stranger AC , 3X cards
and the AS.
-- -"I I.
S t a rt i n g wi th the firs t packe t on the lef t , the ri g h t hand uses
t h e t6 p c ar d to scoop up the packe t . Squ a r e u p t he p a cket in to t he
lef t hand . Snap your r i gh t fingers ov e r t h e packet as y ou say , "T his
will cause the Ace to vanish ." Turn the packet face ~up into your l e f t
hand . Since the Ace is the 2nd card from the face Y0~ can't go into
an Elmsley Count ; however, I-aivised a sort of Out Ofl~osition Elmsley
Count that wo r k s . This consists in the left fingertips doing a Buckle
of t h e bottom card as the right fingers a nd thumb grasp the right side
o f tho s e c a r d s above the Buckled ca r d .
I mm e d i a t el y t he lef t h a n d mo v e s
downwa r d a nd for ward, in a s im ulate d c ou nting a c tion , as yo u say,
" On e. " Now simply do t h e res t o f t h e count using the Elms ley Coun t
o f right thumb pushing over two cards and left hand taking these as
at the same time t he single c a r d from the left hand is re-loaded t o
under the card in the right fingers.
This Block take and re loading
action is made on the count of "Two" , then the remaining two c a r d s
are taken, o n e a t a t i me int o t h e left han d dea ling positi on on the
count s o f "T hr e e and Fou r ". Yo u have shown appa re nt ly a l l f o ur ca r ds .
Rep la ce the packet face down to the t a ble in i t s original p os ition .
The Ace is now the top card o f this packet .
12. Pick up the leader packet and place it face up into the left
hand . You now sho w it as containing an AS~2X cards and a Red Ace as
f ollows: Deal over the AS as right hand~aKes it by its right s ide.
The n e x t X card i s deal t -over to under the AS bu t in a side - j ogged or
f ann e d c ondi ti o n . The n ex t i s e i t he r a Bl oCK Pusho f f or Sing l e Bu ckle .
Th e b l o c k is taken under and alongside the other t wo fanned c a r d s.
The single Red Ace is now placed under and alongside the o t h e r three
shown cards to result in a spread of four cards of AS-2X cards and
Red Ace from face to back . Resquare the cards and replace them face
d own into the leader position .
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t r a v e l bac k t o t he l e ader packet . P
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t he AS is f ace up at the bot tom.
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Fig. 5
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Du r i n g t h i s time the lef t hand, s til l palm d own and ho ldi ng t h e pa cket
in a s a~ t of' Gl id e Posi ti o n , g li des bac k th e bottom s t ra nger AC f o r
a bo ut an inch. By th is time the l e f t hand has moved a lsb inward, towards the body, until the packet's upper left c o r n e r onlf rests on
t h e table's edge as shown in the Fig. 4 , a top view . Fr&m the bottom
n o t e that the pUlled back stranger AC 1s free o f t h e tab ~e edg e. This
i s im p orta n t and is s hown in the F i~ ~ .
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~ne
s~ranger AL.
tne ~ eI~ nana gues ~u ~ne leI~ Sloe coa~ pocKe~ ana
leaves the stranger AC while the balance of the borrowed deck is r e mov ed t o b e hande d back to the spec ta to r.
In th e even t t ha t y ou do
th e effect standing at the ta ble , t hen the f ollowing hand movement s
are made.
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block of three cards or even flashin g its thickness by the flaring out '
of th ese three cards.
To avoid all this when it comes time to sho w
.
the l~~der ~acket as havin g three Ac es and a n X card simply do the
followin g:
Push over the AS, then Doubl e Buckle . ~oll?w ' ~Y the left ,
thumb pulling over the face X card to th e l eft. Th1S w1l1 present a
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25
Along comes dandy Don Alan with his sure-fire double-fac ed Ace routine,
publ1:shed fn Pretty Sn eaky (1956) as lilt Can't Be .. " This r-outine, by the way,
inspired Ke n K re nze l ' s enrich ed ve r s i on . His v ersion, in turn, fo".med t he basis
for Frank Garcia's handling of t he M c Donald A c e s . St udents should consult M - U-M
(August- 1961 ) fo r Krenze l' s column. "Those Extr a T ou ches" . 'I'he Ii nnova ti on h ere
was an imp ortant one . In Krenzel' s wo rd s : "In orde r t o ext ract the fullest in s u b tlety fr o m this h oary pri n ci ple, I v ani sh the 3 b ogus Ace s in 3 diffe r ent ways.
(My unde r li ni ng)
.\~.
Thi s brings u s to Dai Vernon's More Inner Secrets of Card Magic and
"McDonald' s $ 10 0 Routine" . Therein L ewis Ganson wrot e: " . . this vers ion is so .
clean in op e ration that there a p pea rs no possibility of trickery. II Too-perfect
Theorists would say, "That's th e trouble .. " Purists say. "The r outine is v e ry
good. but there are many quibbles , T h e init i a l s wit ch is a bi t c ontri v ed . " Then
one rem em be r s some line s .fr om the Dal ey - Horow it z m anu s c _r-i
.. . p t :
~.y .
" In m e t hods
where dou bl e - face d cards a r e us ed , y ou a r e told to lay t he ca t~ s out in a crazy
order o f patterns . some fa ce - up a n d som e fa ce - down . T h ey a r e gathe red up .
laid out in rows, th e process be ing r epeated s e v e ral t imes until the doubl e -faced
cards are in the right position to proceed. II
Don 't g et me wrong. t he McDonald
Aces plays ext remely well. For me it was a n inspi rational star ting point . The
Olram Ace s i s m y atte m pt to g o beyond M c Dona l d' s A ce r ou t ine .
The Olram A ce s is a tribute to the geniu s of E dw a r d Marlo and s hows
how Marlo's lifetime wo r k h a s s t eadily i nflu e nce d m e . My c om bi nation wou ldn 't
e xist without m y fam i liarity with t he following Marl o effe ct s a nd t echniqu es :
The Rea l Gone Aces (all m ethod s ), Unlimit ed Count. Olram Subtlety. Bluff Ace
Assembly. KB V Aces, and Marlo's Aces. My combination also attempts to
emulate Marlo I S mast e ry of d etail, a nd its procedure tries to a rrange its parts
properly; to make max imum us e of the gaff's Like K r-enz e l, I v a ni s h each Ace
in a diffe r ent wa y ; howev e r , I aiso wanted e a ch v-anish -transition-transpos ition
to be succe ssiv ely s t r ong er . In fa ct , t h e last Ace i s only a t r ansition since a n
X card i s di sc a rded. This offe rs cardmen a nothe r 'avenue t o pursu e .
The Olram A ces h a s been a u di ence -t est e d on laymen and m agicians .
I' m not fo olhardy enough to say it's t h e "great e st " or " u lti m a t e ' I ve r s i on . If
anything. I hope t o inspires som eone to find anoth er. b etter way. U nt il then
I'll pit the Olram Aces against any four-Ace routine making such fl eeting claims .
- J on Rache rbaumer
March - 1976
The Rea l Gone Aces (all m et h ods ), Unli mit ed Count. Olram Subtlety, B lu ff Ace
Assembly. KB V Aces, and Marlo 's Aces . My combination also att empts to
emulate Marlo I S mast e ry of d etail, a nd its procedur e tries to a rrange its parts
,__
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REQUIS IT E S
(l) T hre e dou ble - fa ced cards consist ing Ace a n d X card combinati~,~s. T h e s e
double- fac ers can b e any combination a s long as they includ e the ACi - AH AD. F or purpos e s of this expl a n a ti on I' v e cited specific ca r ds to av~id confusion.
Make ne c ess ary sub stitutions when n ec es s ary. (2) Four r e gular Aces. (3) Nine
r e gula r X cards wh i ch includ e at least five Court card s .
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SET- UP
Set the cards fr om the face in the following order: AD - AH - A C - AS - A C ! 2C A H / 7H - A D / 9 D - J H - 4H - K C - 6H - KH - 8 D - J C - 3H - Q H.
T h e underlined
car d s of each double -facer shou ld be uppermost. In ot h e r words . t hi s underlined
si de should be fac ed w ith t he fac es of th e r e gu l a r cards in the :~t - up . The ph ot o graph be i ow shows the s et-up i n a r i b bon- s p r e ad cond iti on . Th~i dotted card s
a r e dou b l e - fa c ers.
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WORKING
1) Introduce the 16 -card packet a n d explain : 111' 11 s how you the oldest card
myst e r y in the h i s t o.ry of magi c ... th e mystery of th e four Ace s . " Hold the
card s fa c e - u p i n your left hand . Sec r etly obtain a break under th e upp ermos t
seven ca rd s. Thi s c an be done s e v eral ways . but it 's e a si est t o spread t he
cards qui ckly and g e t y our b re ak as they' re r e-squar ed .
2) Thumb ov er th e upp ermost four Aces (regular) and remove them wit h your
right hand in a fann ed c ondition. Your left h and s i m u lta ne ous ly turns palm down
(wrist t u rn a ct io n ) t o "ki ll " t he AC on th e fac e of th e talon. P a t te r : "I'v e oft en
wond er ed why magici ans fav or th e Aces . T he pictur e card s a r e far more color ful . alm o s t li ke a stained glas s window . but t he A c e s rema i n th e fa vo r ed
cards . . at l east they' make a good po ke r ha nd . no ? " Ext e nd th e fanned Ace s
towards the spe ctator and s h ow t h e c a r d s 'on both s id e s.
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27
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PHOTOG RA PH 1
4) Square the fanned Aces against your left thumb and above the talon as shown
in PHOTOG RA PH 2. Once again time the action so the A C on the face of th e
talon isn't flash ed. When you're at th e position shown in PHOTOGRAPH 2.
your right hand immediately lifts all the cards above your break (7) and brings
them up to your extended left fingertips as shown in PHOTOGRAPH 3. Note
that the cards are held in your right hand by the ends and the fingers hide the
packet's thi c kness f rom the front end. Your left fingers e x ecute the standard
side- squaring actions.
t
I
PHOTOGRAPH 2
PHOTOGRAPH 3
4) Square the fanned Aces . against your left thumb and above the talon as shown
in PHOTOGRAPH 2. Once again ti me th e action so the A C on the fac e of th e
talon is n' t fl ashe d . Wh e n vou' re a t th e nosition s h ow n in PHOTOnRA PH 2 .
... .. .
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28
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8) You r ri ght hand com es back a gain and y ou r l eft thumb cleanly p e els th e
n e xt ~A.ce i n t he s ame manner . Th e AH goes o nto a nd n e atly c over s the AD
ju s t p eele d. T h i s is repeate d with the A C. You r r ight h and n ow h olds fi ve
c a rds a s a single AS . The thumb break i s still maintained between th e up p e rmost Aces and th e stolen JR.
~.
9) Fin ally y ou r right hand mov e s ba ck toth e s t arting positi on show n in P HOTO G RAPH 2 wh e reu pon th e JH i s unl oa d ed a nd l e ft on th e l eft-hand t alon. T h e
. ri.ght-h and car d s ar e imm e di a te ly brought back to th e squaring position s h ow n
in PHOTOG RA PH 3.
,
10) Y ou r right han d tables its fou r cards and spreads t he m on t h e table a s
show n i n PHOTOGRAPH 4 . T h e patter li ne for Step s 6 through 9 is : "We h a v e
t h e A ce of Diam o nds , A c e of He a r ts, A ce of Clubs, a nd the leader A c e of
Sp a des .. " T he p eeling -di s play actio n s hould be fluid a nd delibera te . You
have good reason t o na m e and fu r t h e r dis play th e A c e s . The action, of cour-s e ,
switches th r e e regular Aces for thre e double-faced A c es. T he fa ce card of
the talon (JH) rema i n s on t he fac e and ev e rything loo ks copac eti c. (Note:
Compar e this switching technique with th e topsy-turvy switch used in McDonald I s
Aces and you'll readily s e e th e differ ence in t erms of open dir ectness. ) Sinc e
you sublimina lly dir ect ed att ent i on t o the JH at Step 5, since it r e mains on t h e
face of t h e talon a fte r the secr e t switch, n~ s uspicion wi ll be a rous ed.
11) Your right hand flips t h e l eft-h and talon fa c e - dow n . Now d e a l the cards
face-down onto t he t a ble as y ou audi bly c ount t h em , This c ounti ng r use is
two-fold: (1) It s uhl i mi na Ily show s all bac ks ; (2) It b rings th e thre e regular
Aces to th e top of th e face-down talon. Deal 11 cards onto the table, snap
the 12th anduse it to scoop up the tabl ed cards. Place these 12 "other" cards
aside.
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29
12) Your right hand arranges the tabled Aces into the configuration shown in
PHQTOGij,APH 5. The uppermost Aces, of course, are doubl e-facers. The
AS at the ap ex is a regular A ce. .
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PHOTOG RA PH 5
13) Patt er: "The Ac es are arrang ed into t h e garnb le r Is T-formation or what's
sometimes call ed the 'mystic tria ngle r " Pick up the tabled talon and place
it into a fac e -down d e aling p o s ition i n y ou r l eft hand. Thumb ov er th e top 3
cards (A c e s ) and tak e th em as a fa n - o f - t h ree in y ou r right hand. Use them as
a "pointer" as you t ouch e a ch t a b le d Ace and say, "I'm g o i ng toplac e thre e
cards on t op of each A c e .. " Replac e th es e three cards, but retain a left 4th
fingertip break below th em.
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30
14) Your right thumb and 2nd fi n g e r grip the left upper and lower c o r n e r s of
, thetalorr as shown in PHOTOGRAPH 6. Th e talon is now rotated face-sup in
a clockwi se di rection (l i k e t urning the pag e of a book ). You r l eft 4th}"fingertip
mai nt a ins its break. The tip of this finger is mo re or le s s a g ainst th e op enin g
form ed by the break. T h i s fing e r m u st remain in place a nd acts as ~ p ivot
point in the turnover action.
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1 5} O nce t h e t alon i s face-up as s h own i n PHOTOGRAPH 7, t h e r egula r Ace s
will be angl e- jogged automatically. Note , too , t hat t h e JH i s once m o re on
the face of th e ta l on . You r ri ght hand covers t h e jogged Aces at the lower
right corn e r.
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16) A s your r i gh t ha nd m ove s i nt o a s nug K . B. M ove pos ition, once again
,h o l di ng th e e nt ire p a c k et fr om abov e and by th e ends, your l eft 4 t h fingertip
pulls down on the angle-jogged A ces and gets a break ,a b ov e them.
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17) You're now set to apparently show all (?) the X cards by using Marlo's
display technique from his "K. B. V. Aces", Please don't assume you're doing
too much "proving", This display is logical and the proving is subliminal as
.y ou set the stage for the actual "transposition phases ", In other";words, you're
pointing up the "fairness" of the situation by clarifying what carers are used
and their emphatic disposition. You're not "r-unning without bein~{ chased" as
Al Baker would say. Instead you're nullifying possibilities before they're suspected.
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18) With your right hand still holding the cards in the Kardyro- Biddle position,
your left thumb peels off the 1st card on the face (JH); however, the three Aces
below the break are secretly stolen in perfectly alignment below the peeled
card. The cards should go in a Deep Mechanic's position in your left hand.
Also a very fine left 4th fingertip break must be maintained between the Aces
and the first peeled card.
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19} The next card is peeled fairly. Wh en the 3rd card is pei:l'~d, re-steal the
two X cards above your break beneath the right-hand talon. After these actions
the audience will as sume you've peeled three X cards into your left hand. Your
left hand actually holds four cards--three Aces and an X card. Their order
from the top (face) is: 3H - AD - AH - AC.
20) Your right hand tables the talon face-up and to the right, then picks up
the AS and places it face-up onto the cards in your left hand. Your patter for
Steps 18 through 20 should be: " I'm going to place three different cards with
each Ace; however, I'm going to show you the faces of thes e cards (pause) ..
I don't want you to think I'm using more than four Aces .. I'll place these
three cards below the Leader Ace .. "
21) Table the Leader packet at its apex position in the layout. Pick up the talon
and get the cards into the K. B. Move position, Peel the 1st card fairly. Peel
the 2nd card fairly but hold a left 4th fingertip break below it. As' you peel the
3rd card, re-steal the card above your break. Your left hand, supposedly holding three cards, only holds two.
22) Your left hand turns palm down and deposits this "pair" face-down onto '
the face-up AC. Sidejog them to the right as shown in PHOTOGRAPH 8.
PHOTOGRAPH 8
21) Table the Leader packet at its apex position in the layout. Pick up the talon
.. ".
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._
23) Yo u r left h a nd repeats a fair th ree - card p e el and places them fa c e - down
onto the fa c e - u p AH. Onc e a ga i n the X c ards a r e side- jogged a s i n St ep 22 ,
PHOTOGRAPH 8.
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2 5 ) Pick up th e Leader packet and place them fa c e - u p into y our l eft hand
(d e aling position) . Your right hand removes the AS a nd uses it as a p oint e r to
tap each of the other A ces a s you say. " T hese A ce s . be lieve it or not . a re
going t o join the Leader A ce one- a t - a - tim e . . inv isib ly ... a nd i n slow m otion! "
R e plac e t he AS on top and t able the Leader packet i n its rightful' place in t he
tableau.
-.
26) Pick up the AD-pac ke t and spr ead the cards b etw e en y ou r h and s . Square
th e cards and as k, " Wh ich Ace is h ere ? " Wh e n th e AD is named y ou r left
fingertips slide the AD to the left and into a side-j ogged p ositi on. Prior to
t h i s a cti on , however, y ou r left 4th fingertip bu ckle s the A D a nd angle -jogs
the c ard 2nd f rom th e bott om . N ow when th e A D is s li d to t he l eft y ou ' ll fe el
a "click" when it cle a r s t h e l eft e dg e of the jogg ed card. On ce t he A D i s cle ar,
pu sh it ba ck to the ri gh t and fl ush with the other c a r d s. (Not e: This dis pla c e.- ment technique is M ar lo 'S a n d h a s been applied in oth er ways, most n otab ly i n his
"Real G one A ces " .)
2 7 ) The f ac e- up AD i s n ow secretly 2nd from the bottom and in position fo r an
Elmsley C ou nt. Say, " Wa t ch the Ace of Diamonds disappear II G iv e the c a r d s
an E l msley Count a nd place th e l ast card on the b ottom . The audience w i ll see
" a ll backs ". The fa c e - u p AD h as a pp a r e ntly tur ne d face- down or h as chan g e d
places w it h a n X car d in th e L e ad e r pack et. T he e ffect a t this point i sn't compl et ely cle a r. hence you a dd: "Some people thi nk I' v e m e re ly t u rn ed th e Ac e of
Di amonds fac e-d own o r th at I'm somehow hiding the car d i n s ome c lever
m anner .. " He re you fli p th e c a r ds face -up into your left hand in preparation
fo r Marlo 'S " Ol r am Su btlety ". To wit :
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28) Your right hand takes the top (face) card and holds it fa ce-up as shown in
PHOTOGRA PH 10. Now both hand t u rn palm down as shown in PHOTOGRAPH
11. 't h u s sh ow ing "back s 1 r . Bot h han ds s i m ult aneously t u rn palm up, wh e reu pon
the right h and d rop s i t s c a rd s fac e -up onto the table and th e l e ft t bymb push e s
off its top (f a c e) card--a dou ble- fa c er-- so that it falls fa ce- u p ont o the table. ,
Your ri ght hand i m me diately t akes the top card of the r e maining p ai r and both
hands r epeat th e palm -down ba c k- s h owing m a neuve r . T he cards a rle r eturned
to a face-up pos it i on, th en e a ch hand d rops its r espe cti v e card fac e-up onto t h e
table. You 've a pparently shown t h e fa c es and backs of e a c h card. NQ.Ace!
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PHOTOGRAPH 11
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29) Say. " .. You see . the Ace of Diamonds has truly vanish ed! II Scoop up
the four X c a r d s (?), square th e m, turn th e cards fa c e - d ow n , and table th em
to the right as shown in P HO T OG RAP H 12. This w i ll b e the discard pile.
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30) Pic k up t h e L eader Ac e packet and spread the uppermost t~!-'i:,cards to rev e al the AS - X card - AD. P a tt e r : "Look! T h e Ace of Diamond sd s ov e r her-e l "
Squ a r e t h e cards and replace in the tableau. ( This subtlety i s fr~m Marl;s I
Bl uf f Ace Ass emb ly.)
3 1) Pick up the AH-packet, using the three s ide - jogg e d a s a scoop after t hey're
t u r n e d face-up . Spread t he c a r d s m omentarily, then square them as y ou get a
left 4th fin g e rt ip bre ak b e l ow t he uppe r most two cards . You r r ight hand g r i ps
these two cards at their lower right corner as shown i n PHOTOGRAPH 13 .
Not e that y our th umb i s below, you r 1st and 2nd fingers are on t op .
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32 ) Turn this " dou b l e " 'face -down as y ou r right hand turns palm upwards, r ot ating the cards away from your body in a clockwise, end -over-end m ovement.
While this h a p p en s y our left thumb simultane ou s ly push es ov e r the top card of
the remaining pair .
ow i n s e r t the "doubl e" into the "V " as shown in PHOTO G RA P H 14 . Push th e " dou b l e" downwards and flush as you square the cards .
(Note : This m ove i s used by Alex E lmsley in his "Pour Ca r d Tric k" . In t h i s
caseit not only sets the cards f o r Step 33, it a l s o s ubli mi nally s hows t he AH
to a pparently have a normal " ba c k" . )
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33) F li p the cards f a c e- down i nto your l e ft h and. Execu te an\ $;lm s l ey Count to
seemingly show a s i ngle face - u p A H am o ngst th r e e f ac e -dmvn ;\X c ar ds . P l ace
th e last card of the " c ount" on top. Ask t h e s pectator to name the face -up
c a r d . When he says "A ce of Hearts" you c ounter with : "That ls right ... the
E i gh ts of He a rt. . " He re y ou execute a n ot her Elm sley C ount to. s h ow a fa c e -up
8H. The A H appears to vis ibly ch a ng e int o t h e 8H. When you d o thi s secon d
Elmsley C oun t , outjog the face -up 8H and put the last c a rd of the " count" on
top. (Not e: The AH-8H gag is a Marlo i de a used in s e v e ral of h i s publish ed
and unpu blish ed r outin es. )
34 ) Remove th e BH and place it face -u p onto the table without s howing i t s back.
Turn th e oth e r th re e card s f ac e - up and de al them fa c e-up ont o th e table, thus
disclosin g fo ur X car ds. No Ace! F i nally p i ck up the 8H , turn it ov e r to show
' it s b ack as you say, "There's no Ace here . 'I Use the 8H a s a s c o op t o g ather
the othe r X c ards. T u rn t hem fa c e -down and drop th e m on th e " di s c a r d " pile.
Make su r e all t he cards remain squar ed. .
35) Pick u p the Leader Ace packet . Sp r e ad the u p p e r m ost t h r ee car ds and h ol d
th e last t wo as one . T h e c ards f rom th e fa c e (top) should r e ad: AS - X c ard AD - AH. Patt e r : " L oo k l Th e Ace of Hea rts has joined t he leader A c e T h i s
is unb e liev a bl e ... I' With the cards s ti ll squ ared, y our r i gh t hand openly removes
the X car d , tu r ns it fa ce -down, a nd d r ops it on the " dis car d" pi l e. Say , If Th e
last Ace - -the Ace of Clubs --i s going to r eally disapp ear and join th e leader
Ace. It ' s g oing t o travel from one packet t o the oth er, the refor e l ' fn g oing t o
disca r d thi s odd -c ard . Watch . " C l ose t he Leader- packet a nd h o i d the A c e s
face-up in your l eft h and.
I.
36) You 're now goi ng t o fli p the A ce s fa ce - d own onto the table a s per Marlo's
"Double Flip Dow n" . T his isn 't a s di fficult as it sound s. E a ch A ce is t aken in
the right hand. Th e l e ft longitudinal e dge of e a c h Ac e i s brush ed against th e
close -up pa d a nd once in the position show n in P HOTOG RAPH 15 is fli pped
fac e-down to the left . The l ast two ca r d s , of c ourse , are h and led a s o ne . T h e
whol e act ion l ook s v e ry casual a nd f a i r. It also r e verses t he ord er of th e Ac e s
and puts th e AC on top. Sq uare th e Ac es a nd cove r with a c ard c as e . o r, if
you' r e bold, as k a spe c tato r to place a h and ove r th e Leader packet .
disclo sin g fo ur X cards. No Ace! F i nally pick up the 8H , turn it over to show
' it s b ack as you say, "There's no Ace here . 'I Use the 8H a s a s c o op t o gather
the othe r X c a rds. T u rn t hem fa c e -down and drop th em on the " di s c a r d" pile.
Make sure all t he cards remain squar ed. .
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37) Direct attention to the last Ace-packet (AC). Pick it up and transfer the
face-up AC to the top of the two (assumed to be three) face-down cards in preparation for Marlo's Unlimited Count technique. To wit:
Flip the packet over
and hold it in your right hand from above and by the ends. Now turn your right
hand palm upwards as shown in PHOTOGRAPH 16 to flash the face of the Ace
of Clubs. Turn your right hand palm down and peel off the top card with your
left hand so that it goes face -up into a dealing position. Turn your right hand
back palm up as shown in PHOTOGRAPH 16 and have your left hand place its
card face-up onto the face of the AC. PHOTOGRAPH 17 shows the left hand
(stop-action)placing its "peeled 11 card onto the AC.
Repeat the peeling-andreplacing actions just described. thus transferring another X card. On the
3rd peel-and-replacement. you'Ll be taking the double-faced card again. This
time the audience sees the other side and a ssume s it's an additionarcard .
Patter: We have here. of course, the Ace of Clubs and one ... two... three
indifferent cards . .. 11 The entire Unlimited Count should take no longer than
the speaking of this patter line.
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PHOTOG RAPH 16
(stop-actionJplacing its "p e e l e d " card onto the AC.
Repeat the peeling-andreplacing actions just described. thus transferring another X card. On the
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38) After the 3rd peel -and-replac em ent, turn your ri ght
down and
deposit th e cards fac e -down into your l eft hand. Say, "Reme~ber.. the Ace of
Clubs i s on top ... 11 Here plac e th e top card int o th e Finley- Vernon Tent Vanish
position as shown in PHOTOG RAPH 18.
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PHOTOG RAPH 18
3 9) As your r Ighthand com es over to apparently grip th e tilted top card, ho lding
it i n a flat palmed p osition . allow the top card to secr etly fall back onto the cards
i n y our l eft hand. A s soon as the card is flush, move your right hand away as though
gripping the card .
4 0 ) To giv e cred ence to Step 39, y ou r l eft thumb moves und er it s cards and levers
them fa c e-up and spreads t h e m at the same time. The audi ence wil l see .t h r e e
i n d iffe r e nt cards, thus implying that y ou r ri ght palm, indeed, has th e so-called
AC. Use the l e ft- h a n d spread of cards as a " m a g i c fan" to wave a t the AC in
y our right hand.
. ,
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38
41) Crumple y ou r right hand into a fist, then slowly show y ou r hand completely
empty. The AC has vanished ! Toss e a c h of the remaining t h r e e -i n di ffe re nt card ~,
casually onto the table, showing that you unmistakeably have only!three cards. ...1
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42) To conclude, pick up the Lead cr packet and disclose the four _~ c e s !
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1..,-'
- J on Rach~'~baumer
March - 1976
ADD ED NOTES
1) The Atfu s te chnique can be handled i n a manner sim ili a r t~ Mar- Io ta Ac e s fro n l
The New T ops . Som e w o rker s w i ll p r efer the striking c ont~,t b etw e en fac e - u p J
Aces and fac e - d own indiff erent cards. Here's how the alte rnale handling w ou ld
go:
Consult and follow the original routine through St ep 4. Your right hand
]
will be holding seven cards from above and by the ends. Instead of directing
attention to the face card of the talon, move your left t h u m b under the talon and ")
flip it fac e -down.
JJ
With t h e cards fa ce- down , execute the Atfus t e chniqu e Steps 5 t h r ough 10 .
After t h e swit chi ng fo r d ou bl e -faced Aces, the t a l on wi ll consist of a fa ce - down -l J
top c a rd, three fac e-u p A ces , follow e d by eight fa ce - down cards. T u r n t h i s
pack et face -up and cas u a lly tra n sfer the bott om car d t o the top. Explai n that
you "have some i n different cards .. II Here star t s p r e a ding a fe w cards, then
t u rn t h e m fa ce -down a n d replac e them on the bott om of the talon. Rep eat th is
turni ng-and-ducking p roc e s s until y ou come to all face -dow n cards. When y ou
finally s qu a r e - u p , the t hre e r egu l a r Aces wi ll be on top. Now pick-up the action
at Step 13 a nd p roceed with the routine.
.
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11
,-
you "have s o~e i n diffe rent cards .. I I Here star t spr e a ding a fe w c~rds, then
turn t h e m fa ce-down and repla c e th em on the b ot t om of the talon. Rep eat th i s
turning-and- ducking p roc e s s until y ou come t o all face -down cards. When y ou
1)
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39
IN FINGERTIP CONTROL
Th i s make s us e of t he ori g i nal in - j ogged c ar d i de a as
per the " Fi ng er t i p Con t r ol" Chapter Two o f Revo luti ona.;y Car d
Techn i que; however , t he te c hn ique a nd h and l i n g i s f a r .s up e r i or .
While it c an be u s ed fo r Mu ltipl e Fi ng e r tip Pe e k Contr ~ls it will
be describ ed here a s for one c a rd which can be an a lre~dy known
card or one compl et ely unknown un til after its eventual , c ontrol.
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we I L 'ab ove - the left palm at this s t a g e .
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b e brought do wn t o a very fine point; -ho wever, for clarity the
Fig . . 5 shows ' the bevelled d eck in left hand deali ng p osi ti on wi th
r i g ht: hana in t he 'c o r r e c t stage.
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8 . The ri ght
deck in order .
thumb and 1 st
co r n e r . .This
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9 . The le f t t humb and f inge r s now ho l d the d ec k a s f o r the Fing e r tip Pe ek . The tip o f , th e ri ght 1st finger riffl es back the up per
right corn er of t he deck.
The Fig. 7 s h o ws the face o r front of
th e dec k as it fa c es the spectato r.
You will no t e that du e t o t h e
b e v el ing of t h e d e ck t h e in= jo g g e d ca rd i s n o t vi s i b le . Th e bev el led de ck a lso make s f or a v e r y soft r iffle sound wh e n your r i ght
1st fin gertip contacts the short o r in-jogged c a r d to create that
i mp e r c e p ti b l e stopping po int.
10. When you d o you r o p e n i n g r i f f le act lon d o it by r i f flin g tho s e
cards ab ov e the .i.mp r-ov i s e d s hort card as you say, " When I ri f fle the
c a r d s like this say , ' Stop'." Now again rif fle above the shorted
c a r d very quickly thus riffling o f f a ll cards b e fore th~ spectator
has a chanc e to call 'Stop' . This is only to condition him to sa y
'S top' a l i t t l e more quick ly tha n h e norma ll y wou ld . Th is t i me
start at th e very fr on t or b el ow the sho rte d card. As th e rig ht
1 s t fingert ip riffl es off the cards at the upper right c orner y ou
time i t s o that y our 1st fingertip wil l e n c ou n t e r the a ut omatic
s t op point of th e sho~or i n - j og g e d card.
Ke e p the deck open at
this po int f o r the spectator to n o t e the card, then g entl y ri ffle
o f f the rest of t he cards thus obviously losing the noted selection.
1 1 . A v e r y g ood pro ce dur e , to ge t t he feel o f ju s t whe re the s horte d card is and how it can b e mo r e adequ ately timed is f or the right
1 s t fi n g ertip t o g e ntl y ri f f le off the u pper ri ght corner fro m t h e
very front a couple of t imes . Durin g this y o u will feel just how,
where, a nd when y o u com e to the shorted card . Ass uming the card
h a s b e e n noted b y the Fing ert ip Peek, t h e r i g ht hand grasps t he
l ower right .comer of the deck while the left hand moves to grasp
and s qu are the sid e s of th e dec k . Th i s action is sho wn i n the
Fig . 8, t h e p er for mer' s v i ew where t he card r e mai n s in-jo gged but
r i ffl ~
ar rion n o
i ~
h v riffl i no t h o s e
_._ - - _ ....-.". ..
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42
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44
in-j ogge d card obtaining a left 4 t h f i n g e r t i p b r e ak ab o ve i t . The
1 st s e l e c te d card is no w rele as e d onto the l owe r po rtio~ or the 4 t h
f i n ge r kick and Pull Down c an b e used . Th i s gets the s~cond face up
Ace into po s i t io n to be in -j o g g ed f or the In -Fingertip J e e k of the
2nd face down c ar d . The above p r o ce du re i s repe at ed for the third
IiCe d own car d af t er whi ch th e deck i s open ly s qu ar ed . Rif f le th e
d e ck fo r e f fe ct , t h e n r i b b on sp r ead i t at rev e al fo ur fa~e u p Aces
with
fa ce down c a r ds b e twee n them . Conclud e by showin~ t h em as
t he s ele cti ons .
20 . To o b ta i n th e r equi red t i me el ement for s ettin g u p f o r e a c h
f in g er tip p eek depends on whethe r y o u are do ing th e ef fe c t fo r one
pe rs o n or for a g ro u p . If fo r a g r ou p i t is sim ple as you have
plent y o f t i me to set- up while goin g f rom one spectator t o another .
If wor king for on e p er s on th en the needed time i s qb t a i n e d by l o o k i ng a t the spectator a nd ask i ng him , " Can you remen\~~r anoth er ca rd?
Are you s u r e ? Fine . " On t he 3rd time you ask , " Ca rr', y ou r eme mber
three c a r d s ? You want to write-them do wn ? Why don't y ou j u s t r e memb er the va lue s an d pe r haps the su i ts yo u will r eco l l ect by a s s oc i a t i o n ." As y ou can see th e patter y ou de l i v e r gives you mo re tha n
enoug h time -to -s ~ 1.-- up for e a c h additio n a l I n - Fin
... -: g e r t i p Peek.
~ .~
. _ --~ . -. ~.-
NOTE : Don ' t worry if the s p e c t a t o r sees the back of a card during
the 2n d a nd 3rd fin gertip p e e k . After a l l you d id place the Aces
fa c e up in tne-dec k .
- --
--'
45
'..',
,-,
Fig . 1
Fig . 2
46
~...
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47
the s elected card under th is s ect ion, while the left hand up-jogs
the supp o s ed se le c ti o n , re a lly the 3rd c ard to the left of the 3
ca r d - spread as s ho wn i n the Fig . 4. - -
Fig . 4
Fi g . ;'S';~l
Fig . 6
Fi g . 7
Fig . 6
Fig. 7
of th~ car~ and push it to the right which will cause the card to revolve ' f a c e up a n d up aga Inst the back of the right fingers which keep
the ca rd st ill separated from t h e spread o f c a r d s . The I ~t 2nd a n d
3rd f i n ger ti p s n ext pull t h e se l ected ca r d to ,t h e left un{ il i t is
almost cle ar o f the right finger s as in the Fi g . 8.
't
..
Fig. 8
5. Th e r igh t fi n g er s no w move to t he ri g ht un t i l t he y a r e cle ar o f
~
th e ca r d hel d un de r the sp r ea d by t he le f t fi n g e r s. Once the s el e c t e d ,'
card is flu s h up a g a inst t h e sp r e ad t he r i g h t fi n g ers mov e ba c k on to
the selected card to keep it in plac e as at onc e the left thumb and
fingers spr ead out th e rest of the cards as in the Fi g. 9.
This i s
done not on l y to show the r est o f t he s p r ead but t o subtTy le ad t hose
famili a r with t h e or iginal "Conv i ncin g Control" to assume that you
will lo ad the s elect ed c ard to the bottom of the d e c k .
')
']
6.
Close up the spread leaving the supposed selection card out-jo gged
wh ile the now face up card is automatically load ed to below the out 1
jo gg ed card or a s n e ar it as pos sible. pf a ce t h e sti ll uns q u a re d
c ard ~~
8.
It is possible to have the selected card be found reversed at a
named position of the deck.
Briefly, have a spectator name any
number fr om ten to t wenty-fiv e. Assum e th e number called is 15.
Spread the cards between both hands count ing them a s you do t his.
When you are about to re ach the number 1 5 the 4 cards preceding this
.:
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49
number, that is the 12th to 15th c ards ' are arrived at they remain
sp re ad a nd the si t u a t ion i s as1"n th e Fi g . 1 o f the " Less Out Convinc i n g Cdn tr o l" . From th is poin t o n exe cut e a l l the a ct i ons r e q u i red as y ou ap par en tly o u t- jo g t he s e lect ed ca r d but a ctu~ll y the 1 4 t h
card is out-jo gg e d whi l e th e s e l e c te d c ard is th en r ev ~rsed dire ctl y
below the out- j ogge d car d as per Figs. 4 to 8 .i nc Lu s i v ejo f the " Convinci n g Co n t ro l Rever s e" . Al l tha t r emains is to t ab l e .ct.h e d ec k,
square it up , push t h e ou t- jo gg ed card f l ush , a mag ic pa ?~ , t h e n the
specta to r c ount s dow n to hi s number to arr ive a t his no w \~ace up
selec t ion.
-, , .
SOLOMON'S APPROACH
(Dave Solomon)
During th i s th e l e ft 1st f i n ge r
pus hes up ward on t h e s e le cted card
wh i ch e n a b l es the l eft 4 th finger tip t o o bta in a br e a k n ear the
lowerr ight corner. The po~ ition
f
~_ .
~ ------.
50
gesture as "y o u say, "Someplace in the deck is your card. ,'~ ' In re' s qu a r i n g the c ards get a break b elow the 5th card from th top o f
1~
the deck.
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, 3 . Do the Future Reverse to reverse the selected carrJP, then with the ]
suppos ed selection s t i l l angled, spr ead the deck two 't~ r d s beyond th e
angled c ard a s y o u apparen tly sta r t to count do wn t o t he se lec ti on .
I f the spec ta to r has n o t i n for me d y o u t h a t t he ang le d card is his,
]
you ask what his ca r d is. Act s u rp r i s e d when h e a p p a r e n t l y n ames
the angled card. Table the deck, then push the angled card flush.
Ribbon s p r ea d o n table to reveal his sel ection is now f a ce up in
the dec k.
"
\,
NOTE: For the tlLessout Conv inc i n g Control" in the re-spr e adi n g of
't11ecards do it by outjogging and in-jogging, sli ghtly, the spre a.d
' o f cards that will precede the returned selected card. Later this
spread o f jog g e d ca rds wi l l g i ve gr ea t e r cov er f or th e ca r d t h at is
pulled to un de r t h i s e n d of the s p r ea d.
I h ad t his i de a publi s h ed
in the HI EROPHANT and to g et a c l earer pictur e o f th is jo g ging
spread refer to the F i g s . 4 and 5 of "The Convincing Control Reverse"
as well as F i g s . 1 and 2 of "Devilish Mira.cle Swi tchouts".
OUT OF CONTROL CONTROL
"HOW IT APPEARS"
PU.l..l.CU
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left 1st finger, which is either at the" right side of deck or around
the front end, must keep the front end of deck in a firm grip to
prevent any slipping or separation at this end.
3. The left 4th finger now does a Pull Down of t.ho s erz a r d s below
the break. A~he same time the extreme tip of the l~t 4th finger
engages the lower right corner of the actual peeked card. The peeked
card is now pUlled down s l i g h t l y , then the tip of the left 4th finger
press es on this corner, to the le ft, thus crimping its ,l owe r right
corner. Hand deck to spectator to shuffle.
'~~".
4. The actual crimp can
much pressure is applied
sort of wave. This wave
relocate visually either
a Riffle Shuffle.
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52
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Fig. 2
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53
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Fig . 3
Fig. 4
Fig. 5
Fi g. 6
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Fig. 7
.
6. The glimp se i n t he -Fi g . 7 can .
be carried a step fur V~er by-force- ._
fully bend ing or crim~ing all tho s ~
~ a r d s be l ow the g limps~d car d.
The
dec k c an now be lowered to t he tabl)
f or the c l a ss i c table Ri ffle Shuffl .
On yo ur side , at t he in~~r ri ght
corner, y ou c an e a s ily sp o t and
J
.~
cut off all tho s e c a rd s ab ove t he .
c r i mpe d c a r d t o the right. In the
Riffle Shuffle that f ollows the
,
glimpsed card is brought under con- J
trol t o the b ot t om. Both thumbs
no w r i ffl e th e i nner l e f t a n d
ri ght co r ne r s upwaJp wi t h th e
r ight thumb t a k i n g~1t h e s light
c r i mp work out of t hose cards at
fI
J1
Fi g . 8
Fi g. 9. .
8. Th e Fig . 9 shows a c r i mp b ein g pu t in a l ong t he whole l ength of
t he c a r d or c a r d s . Because of the beveled deck this c r i mp i ng a ction
i s not t i pp ed o ff at the ~ r o n t end as it wou l d if the ends 'of the
de c k were squared. The usual method of putting in this t yp e o f
crimp was f or th e lef t f ingers to pul l down the righ t side of t he
card or c ards whi le the d eck was in a l e ft ha nd dealing po s it ion
and be i ng squared, by t he r ight hand, f r om above by the ends. This
re sulte d in movement of the left hand finge rs . With t he c r i mp be i n g
]
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55
9. Still another type of crimp you can put in is the ectig'e crimp into
the side of the card or cards. I n this case the ri ght hand is a gain
more at the front end of the deck with the left thumb and 1st finger
at the center o f top s ide. The left 1st finger is curled up against
the bottom of the deck near the top side of the deck. The tip of
left thumb enga ges only-rKe top side edg e of the bottom card or c ards,
then bends the side do wnwards. The tip of the left 1st finger is
near" the top s i de edge to prevent any more than' the . e<:Ige of the
card or cards to be crimped. The crimp ing action ~~d the position
of both hands around the deck is shown in the Fig .:"\1; 0 . The resul ting crimp is a sort of a small wave on the edge of the card or card s.
Remember that the spectator can on ly see the view as shown in th e
Fig. 4 . Note that during this crimping action the right hand is
more towards the front end of the deck.
"
.
10. While the Fig. 10 above
shows the wave or edge crimp put
into the center of the left side
of the card it can be put in anywhere along its left side. By
simply reversing the position of
both hands, so that the backs of
the cards will be toward s the
left, the tip of the right thumb
can crimp the lower non-index
corner of the card or cards.
The actions are identical to those
depicted by the Figs. 1 to 6 inclusive except that It-will-be
Fig. 10
the right thumb doing the work
under cover of the left hand.
There may be times when you may wish to put the crimp in the opposite
corner and this will do just that.
The time that it .t a ke s to put in the desired crimp is only
seconds and appears only as if you squared the sides, then at once
returned the deck into the left hand as for dealing. Even after
the actions are known there isn't any way that the on-looker can be
certain as to whether you did or didn't put in the crimp or crimps.
11.
"
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- OBJ ECT : To display a spr e ad of cards so that ' each 'c a r d pJe ~ents . a
single edge yet a large block o f cards is conc e aled benea~p them.
f~ur
y~-t conce~l
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3. The l eft ha nd move s do wnward' an d the ' left thumb deals over t h e
next Ace to along side th e lo wer Ace a s i n the F i g.~ . The left hand
moves upwards but on l y f a r enough to expose th e index of its Ace as
.i n th e , Fig . 3 which is really the bl o ck of cards held as apparently '
, :~1' ::e~nce
thum~
: h e left
a nd ;; s't
)
as in the Fi g . 4 , wi t h the t humb coveri n g the i nde x o f t h e Ac e . Th e
left 2nd fin g e r t i p is across the top edge of the block of cards, a t
)
the upp er left corne r, with the l e ft 2nd and 3rd fingert ip s contacting
the ba c k card o f the bl o ck at this s tage.
- 5.
The left t humb and the 1st finger peels the Ace upward a n d to the )
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57
Fig. 1
Fig. 2
Fig.
Fig. 4
.
;8
Fig. 7
Fig. 6
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Fig. 8
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Fig. 9
Fig, 11
.
6. With the spread of Aces held in ~he right hand the left hand picks
up the deck to hold it in a dealing position. The right hand displays
the Aces near the deck, as in the Fig. 9, just before flipping them
over and face down onto the deck. As tne right hand flips the spread
of Aces face down the left hand tips upwards slightly so that while
the performer's view is that shown in the Fig, ~, where right hand is
Fig. 8
.,
....
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)
Fig. 9
!
!
] .
59
already above the c ards to push or square t hem flush with th e deck,
the sp ectato r's v i ew i s a s seen in the Fi g . !l.
- :
,f
7 . You have two c ho i ce s of p r e c e dur e from this point . ': One is simply
squa r e the cards, then deal of f the top four cards t o t~e t able . The
s e co nd is to press downwa r ds on t o the in -jogged Aces wi-.th the right
fi n ge rs a nd thumb whi ch wi l l a utoma tical ly rai se the b 1 ~c k o f 4 X
c ards up to the r i ght f ing er s and thumb, as i n Fi g . g, .':\vhi 1e t he
Aces rema i n fl us h on t op of t he dec k.
II
I
I
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i
Fig .
8 . Onc e the bl ock of X cards is raised up to the right fingers the
left thumb presses agalnst the left side of the block , near the outer
lef t corner, in order to keep the block r a i s e d of f the deck . This
' a l s o enab les the r i gh t hand 1 s t fi nger t o at once cur l onto t he top
of the block . The bloc k i s no w s quared and he l d wel l a bove t he de ck ,
be t we en the fingers and thumb of each ha nd, as i n t he Fig . 1 3 . The
right hand can now place its cards t o the table . How you use the
situation is up t o you .
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INNER CORNER TAKE
1. The deck or packet of cards ' i s held in either the Master Grip
or the .S'ta nda r d Mechanic's Grip. The left thumb arcs over. the top
card and the right hand takes it by the inner rig ht corne~~ rith the
thumb on top, with 1st and 2nd fingers beneath. Both hands move
away from each other to form a slight ~ between the outer e~d of the
deck and the card. The Fig. I shows a card taken and the ~~p card
o f the deck arced over in readiness.
1
J
Fig. 2
Fig. I
Fig. 3
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. t a i n contact with the bottom card, now extend very sli ghtly to the
right causing the bottom card to move out to the right. The left
1st or 2nd finger makes contact with this bottom card, at its lower
rIght co!ner, to pull it to under the cards. in the right hand. The
61
hand alone moves or the left hand alone moves during the counting of
the cards; however, the action must simulate any regular count you
may be doing .
.. :
.r
5. The bottom card can also be up-jogged, using the take at the
lower right corner, as for the effect "Spectator Cuts U;,Count"
described elsewhere in this volume.
,,
. ~,
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3. ,Wh i l e the right 1st or 2nd finger were mentioned as pulling the
bottom card to under the cards in the right hand still another procedure is for the left hand, which eases out the bottom card, to
simply jam the card's lower right corner to between the cards, and '
the rightIst and 2nd fingers which will automatically rock downwards,
still touc1lil1g therTght side of its cards, thus acting like a pincers
to retain the bottom dealt card. Actually when even using the 1st
or 2nd finger take the finger being used remains touching the rIght
side-Df its packet but more on the second joint of the finger which
gives that particular finger more freedom for the required greater
freedom of movement.
II
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4. One will have to decide on using a take technique that makes one
feel most comfortable and confident. One thing for certain is tha t
while a strictly frontal c6unt is to be ' strived for you will have a
greater and sure chance of deception if you do the Bottom Deal Count '
with your right side towards the spectators. In this way the cards
in the right hand will give perfect cover for the Bottom Deal Count
both from the top and the bottom thus insuring the illusion of the
dealt over cards being taken plus concealing any undue finger movements of the left fingers.
!i
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side-Df its packet but more on the second j oint of the finger which
finger more freedom for the required greater
_~
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Fig. 2
Fig.
Fig. 3
Fig. 4
3. As the bottom card is whipped out to under .the cards in the rigrt.
hand the left thumb at once pulls back its top card . The start of
this pUlling back action is shown also in the Fig. 3 and completed in
t he Fig. 4 where the bottom card is about t o c l e a r - t he pa cke t hel d in
t he l eft n and. Ag ai n the r e i s n't a ny ob v ious separa ti on b e t we en the
packet s a s you w~ll note by studying the Fig . ! .
4. - Once the bottom card is taken to under the cards in the left hand
the fair co un t is c ontinued , without any hesitati on, unti l another
bottom c a rd i s n e eded . While vi e wing t his Bott om Dea l Count fr om
the t op you should not see t h e bottom card , c omi ng out as t he 't op
Fig. 3
2.
Fi g . 4
When it comes to take the bottom card the left 2nd, 3rd, and 4th
hnrl<-lp
vprv
+ino-pr~
~lio-hrlv
t-h p
63
section of cards remains covering the cards held in the left hand;
however, to insure this the right hand raises upwards slightly to aid
in th~ bottom card clearing the left hand packet.
This upward raising
keeps " the cards in the right hand above and covering t he cards in the
left hand. When you yourself can't see the bottom card~ ,moving out,
then you are doing the actions correctly.
The 1st finger take brings
and maintains the closeness of the cards as compared to ~the 2nd
finger take. The Bottom Deal Count is useful in many e $fects-ind
one such effect, "The Poker Prediction", is described .iri another part
of this volume.
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While the basic mechanics of this deal where desc r i be di i.n "SECONDS-CENTERS-BOTTOMS" over the years several. approaches
~ave been developed which make this Second Deal visually d~ceptive
even if someone may be looking at the top of the deck; thexefore,.
across the table, due to the natural actions, you are assu~ed of not
only visual deception but psychological as well.
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1. The following actions all will occur as the right ' h a n d ~,ves to
take the top card; however, the right hand, in the following~Figures,
remains o ff the deck for clarity. The deck is held in the left hand
in a Mechanic's Grip but with the left hand relaxed so that the left
2nd, 3rd, and 4th fingers extend normally and not pressed, as a gauge,
again~the right side of the deck.
The right-r5t finger is around
the top end of the deck and the deck itself is normally beveled.
The
left thumb pushes over the top two cards as closely together as
possible. During this action other cardsmay move along~with them.
At this moment the right hand will be approaching the ~ c k but in t h e
Fig. I the right hand is kept out of play for clarity. " ~
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Fig. 4
2. The left 2nd and 3rd fingertips at the same time pull back the
excess cards,-a5 in t~Fig. ~, leaving only the two cards over the
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65
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3. The right hand comes ov e r the deck with its thumb al ongside the
left l~t fi~ger s o that now the right thumb is extend~d. al ongside
the rIglit side of the cards. The left thumb at once pU~ls back the
top card so it aligns with the deck, as in .the Fig. 4, Jhile the
2nd card now is side-jogged to the right, as in the Fig~ 5 with the
right hand moved out of the way to clearly show this co~~ltion.
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Fig. 5
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Remember that all the actions depicted in Figs. I to 5 inclusive
are all done as the right hand seems to take the top-card~ The right
thumb presses onto the top, of the side-jogged card, at the upper
right corner, while the right 2nd fingert~p's upper side press up
against the face of this card at the same upper right corner.
The
right 1st finger is over the front end of the card at the same
corner-.--The right hand now pulls the second card downward and clear
of the deck as in the Fig. 6 which is a stop action of the card about
to clear the deck.
S. Once more a reminder that all the act~ons of Figs. 1 to 6 are
all done with the right hand already on the deck. Also the right
thumb only glides across the top card and actually contacts only
the side-jogged 2nd card. All these actions are r~peated, conforming to your own rhythmic speed, for each successive Second Deal.
Once the card clears the deck it can be dealt straight down to the
table or sailed to any position to the table by kicking the bottom
side of the right 3rd finger, against the right side of the card, as
an aid to propel tne-card.
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corner-.--The right hand now pulls the second card downward and clear
of the deck as in the Fig. 6 which is a stop action of the card about
to clear the deck.
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Fig. 9
Fig. 10
The right 2nd finger and thumb now pull the second card to the
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67
right as the 'left thumb pulls back the top card flush with the deck
as ln the Fig. 11. At the same time both hands do a slight downward
wrist .t ur n as in-the Fig. 12 to clear and deal the second card. Note
that l'wrote that the right2nd finger and thumb pull the top card
to the right. This Ls actually so because the right 2n~, 1st and
thumb can ~uk~ the 2nd card to the right until the ri~~f s~de of. the
second car
1 ts the palm of the hand thus the card, In :. ~thls case,
will end up held in a position similar to that shown in . ~he Fig. 8.
Continue the required push-off actions for each successive SecondDeal.
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Fig. 12
Fig. 13
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Fig. 14
10. The right 1st finger along the top edge of the two cards aids
in the removal of the second card in the previous method but wi l l
be more evidenced in the following. The push-off technique is executed and wi t h the t wo cards forward and the right fingers and thumb
in the position already shown in the Fig. 9 and 10, the right 1st
finger, right 2nd finger and thumb pull the second card inward-a5
the left thumb pulls back the top card flush with the deck. This
inward action is continued until the card clears the inner end of
the deck. These actions are shown in the Figs. 13 and 14. This
take is very deceptive from the spectator's view~he illusion being
aided by the fact that the right 1st finger is seen to contact the
front edge of what is apparently a-5ingle card that now seems to be
taken straight back.
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11. The pressure of the rlght fingers and 'th~mb sh~u1dbe ilght
when they contact both cards and then increased as the second card
is pUlled inward. Once the card arrives in the position ,~hown in
the Fig. 14 the card can be dealt down in front of the pe~former or
the right hand can move fo rward and sail the card to any ~ o s i t i o n , on
.t he table.
The Second .De a I can be done slowly or r ap LdLyr;
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1ST TECHNIQUE: This is very basic in that you must acq~i}e the
ability to push over two cards in as close alignment as possible
whenever it is required to do so. Those who have mastered a Second
Deal such as the "Natural Second Deal", described elsewhere in this
volume, will have no problem; however, even with the cards separated
I , h ~v e added a final touch that r esults in further alignment.
The deck is held in the left hand Mechanics Gri~but rather loosely with the left 2nd, 3rd, and 4th fingers naturall:Y\ ;extended. The
left 1st finger iscurIed around the upper end of the deck. The le ft
thumb-aDes the pushing off of the cards but the ball of the thumb
always comes back to touch, more or less, th e left side ~f the deck
at about center. The left thumb deals each card over the right
side of the deck with the right hand taking each card by its upper
right corner with the thumb on top, the second finger below, the
1st finger extended along the top end edge at this corner and mo st
rmportant the back knuckle of the right 3rd finger, just above its
nail, always- contacts the right side edge-Df the card. Each card
taken is dealt face down to the table. When it comes time to deal
two cards as one the left thumb presses down harder than usual which
enables the ball of the left thumb to engage and push over two cards
in close alignment as in the Fig. 1 where the right hand is about to
deal the card(s) to the table.
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Fig. 2
2. As soon as the right hand touches the card(s) the right 2nd
fingertip pulls the under card to the right where it aligns itself
against the knuckle of the right 3rd f i nger which is already against
the right side edge of the top ca~ The two cards are thus further
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enables the ball of the left thumb to engage and push over two cards
in close al ignment as in the Fig. 1 where the right hand is about to
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4TH TECHNIQUE: 1 . He r e t h e 3rd knu ckle of the right hand does not
playa p a r t. The right hand takes the cards between the right thumb ,
2n d finger, and t h e "1 s t finger s till ex tended along the to p edge.
The Fig . 9 s ho ws t wo-sepa r a t e d c ar d s ab out t o be t a k e n by the right
h a nd. As - t h e s e t wo c a rd s are a bout t o b e taken the left thumb can
at once pull only the top c a rd to t h e l e f t an d i n l i n e with t h e se~o nd
card with the ri ght h and at onc e d e a l in g th e c ard( s) on to th e t abl e d
card s . On t he othe r hand th e ri gh t h and ~ an a c t u a l ly ta k e th e t wo
cards a n d t h e alignme nt i s made , by the right 2nd f i n ge r pul l i n g t he
un d e r c a r d to the right until bo th cards are aligned in a sort of
p i nch grip between the right thumb , 2nd f inger and 1st fi n ger a long
the to p e d g e, du ring th e time t he c a raTs) move fr0m~e d e ck, as in
t h e Fig . lQ , t o the tab led cards .
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Fig. 10
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. . 2. At times, in pulling the under card to the right, you may pull
the card past the right side of the top card as in the Fig. 11 which
is exaggerated for clarity. There is no problem here if the-right
hand simply continues its motion to deal the card(s) onto! th~ tabled
cards where the slight discrepancy blends in with the res t of the
cards as in the Fig. 12.
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3. There isn't any specific point at which you deal two cards as
one.
It depends strictly on wh e n you feel it is right.
For example,
in a deal of five cards . you can do a two card deal anyt ime on the
3rd, 4th or 5th take of a ~ard. Also several such two card deals can r~
oe-maae-for larger numbers. As an example you will apparently deal
~
ten cards face down to the table but in reality end up with th irteen
~
cards.
In this case the first 3 cards can be dealt fairly, then anywhere between the dealing of the numbers 4 to 10 inclusive you do a
two card deal three times. This is not a-consecutive two card deal
.1
but rather interspersed between single card deals. The se two card
deals can be used in many card effects that use coun tin g and wh i l e
I have several on file there isn't room to. include t hem in this
present volume.
Finally, the technique to strive for is the 1ST
TECHNIQUE but even with the best of cards you may get to a situation
.wh e r e the requir ed t wo cards are not aligned and in these instances
~ou can resort to any o f the other described techniques~
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73
.
. Those who may have at times have some tF~uble doing
. t he D' Amico Spread will fin d the Pinch Spread wi l l keep .t he extra
' c a r d s , even it i t consists of a large bl ock, in perfe ct a;l i gnme n t .
, It i s especially goo d with t hose very sli ck c a r d s tha t h~ye a tende nc y t o spread inadvertent l y , especia l ly a t the left si de , hear
. the upp er or lower left c orners .
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1. Assuming you are f ami l i a r with the preceding acti ons to bring the
de sired cards up t o the left fingertips, well above the deck, to hold
them by the ir sides the right 1st and 2nd fingertips posit ion themselves at the extreme lower ' le~corner:- The right 1st fingertip is
on the l ef t s i d e of t his corner and the right 2nd fingertip i s a t t he
inner ,end a t this corner. The fingertips thus-rDrrn a shallow V at
thi s corner wi t h the r i ght thumb beneath pressing up~gai nst the index
o f the card. The Fig. 1 shows this starting positi~~. No te the le ft
1st fingertip on upper r ight co r n er.
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Over" the years I have always used the Ve e s er Concept counting the cards from a dealing position in one hfind to a
" d ea l i n g po s i t i on in the other. These methods were firs t recorded in
1959 in the M.D.M. magazine, then later in publications J i k e the
Hierophant, Al Sharpe's "Expert Card Conjuring" and in my own magazines. Experience with these methods made me realize that the 1st
finger of the holding hand at times got in the way of a 2tea n alignment of the cards at the moment of e xc ha ng e . The followin-g new grip
of the holding hand insures not only ane at alignment, insures a no
pause exchange but gives perfect control over th e cards being pushed
over thus making a count like the Flexible Count trouble free.
i . As s ume you have a sixteen ,card packet with the four Aces a t th e
face. _ You also have a break, at the lower right corner, with the tip
of the left 4th fing er, below 2 cards; however, all ; jour l eft fing ers
are a t the rIght side of the packet. This means tha~ the outer end
of "the packet protrudes well past the left 1st fing &i tas in the
Fig. 1.
Fig.
_Fig. 2
2.
The left thumb pushes over the face Ace and the right hand takes
it into a dealing position or Mechanic's Grip with the right 1st
finger around the top end. As each Ace is taken, one onto theother,
it is import ant that the right hand moves downward which is the
natural action of t aking the cards and not in a back and forth sliding
action that gives the appearance of mixIng the cards rather than
counting them. This downward action of the taking hand was explained
to Jon Racherbaumer at Crandall's Bar in Chicago and can also be found,
in connection With , the Elmsl ey Count, in Racherbaumer's censored
Kabbala, Volume III.
3. Having taken 3 Aces into the right hand the left thumb now pushes
over a block of cards, those above the left 4th finger break at a
slight angle so that its upper right corner protrudes to the right
past the balance of the packet. During this block push-off the right
hand at the same time moves up to the left hand as if to take the
last Ace. This time, as the hands come together, the 3 Aces from the
'J
right hand aut omatically go under the packet ab ove the 4 left
fingers and in line with the balance of the pa cke t. The protruding
corne ~ :p f tne angled block of cards will co me directly between the
base of t he rig ht t humb a n d 1st finger as s ho wn in the Fi g. 2. Note
also that at this point the four right finge rs cover the l~ft f our
fingers .
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Fr.om he re you c an go in to the "Almost Like Trick Car ds" 'Ac e
rou tine t hat I subm itted to th e Hierophant; however, ~~ t routine
u sed ~n extra or 17th car d. The foll owing sub t lety eli Winates that
extra card. Thumo-oYer 6 'cards, one under the other ; then transfer
these to under t he pack e t but obta in a le ft 4 t h fin ge r t ip br ea k above
them. You ha ve a break no w below 3X card s ana-the 3 Aces. Your
pa t tel' excus e for the initial six card spread is, "We wi Ll place three
. o f these cards on each Ace."
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6 . Using the New Grip the l e f t thumb deals over the cards wi t h t he
right hand t aking them, one onto the other , until tw o X cards have
~
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be e n taken. On the third take the left thumb pushes over the block
,~
o f cards, tho se a bove t he break, wi th the exchange actio ns being
make as alrea dy expla in ed wi t h the Fi g . 2. The ri gh t thumb go es unde r
the right side of these cards a nd f l i ps them over and face down . The ']_;.:
" r i ght thumb and f i n ge r s spread out the card s as you say, " Thr e e cards on the fi r st Ace."
But lVa i t , you have four c ards spread out. Pa u se
a mome nt, th en s a y, "Took one too ma ny . n---nere t he lo we r most ca rd of , ]
the four is f l i pp ed f a ce up ont o t he fa c e 9f t h e cards in the left
'
hand. It will be an X card subtly addi ng to the fact tha t the remaining ~ cards are also indiff er ent cards when they really are the
3 Aces. These a re p l a ce d fa c e do wn on to the a c t ua l Ac e . , Fr om her e
c onc l u de the ef f ect trouble fr e e a s there isn't a ny ex tra card to
worry about when it c omes time to show the f our Aces .
''1
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7. A fe w suggestions. Some may f ind a l e ft 3rd f i ng e rti p bre ak to
their liking. Also t he cur ling inward of the-reft 1st fi nge r , a t the
time of exchange, wi l l be found helpful. Instead of aBIQck Pushoff
the l e f t ' 4th or 3rd fingertip c an pull i nlVard, on those cards above
the break~t the-Iower right corner, to angle t he block f or th e
exc ha n ge . I n other wor d s t he bloc k i s an gled, then the left thumb
quickly positions i tsel f on this block at the upper left c orner f or
t h e actual e x c ha nge . The u s e of the l e ft 4th or 3rd f i ngerti p t o
angle the bl ock insures practically no s pr ead of these cards. The
"Pausing Element" as explained i n Al Sharpe's "Expert Ca rd Conjuring"
c a n also be used if so desired. Note, some may wi s h to use the thi rd
left fing ertip break in o r de r t o bring t he upp e r end of the packet
eve n more past t he l e ft 1st f inger.
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," r i ght thumb and f i n ge r s spre ad out the card s as you say, " Thr e e ca rds
on the fi r st Ace ." But lVa i t , you hav e four c ards spr ead out. Pa u se
a mome nt, th en say , "Took one too ma ny . n---nere the lo wermost ca rd of ,
the four is f l i pp ed f a ce up ont o the fa c e 9f the cards in the left
han d . I t will hp. 1:1n X r.ar-d s n h r f v ::lc1r1ina rn rh p. -f~rr 1' h ~ r t'hp rp-
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77
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1. Assume you have a ! card packet held in the left han~ dealing
position. The right hand comes over to grasp the left side of the
packet as in the Fig. 1 with the four right fingers below.f?nd thumb
on top at about center-of the right side. The right 4th ~ i ng e r t i p
is near the lower right corner. The left thumb now peels off the
top card as it moves to the left, as in Fig. 2, then downward, as it
clears the cards in the rig~ hand, as in the-Fig. 3.
.
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Fig. 2
Fig. 3
Fig. 4
2. Continue the count until 3 cards have been taken into the left
hand. As your left hand comes back to take the card from the right
hand the right 4th fingertip is inserted above the 3 cards held in
the left hand ana-below the single card held i n the-right. Thus the
4th fingertip is between the cards as in the Fig. 4. Without any
creak in the counting rhythm the 3 cards from the left hand are
clipped between the right 4th finger on top and the 1st, 2nd, 3rd
fingers below, as in the F~ ~, while the left hand moves-iway with
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4. This technique f or the Flexible Count was used to s how all cards
as fa ce down; however, it can -also be used in c onne c t io n with the
" I nte rl a c ed Vanish " ( exp l a i ne d elsewhere in t h i s volume ) whic h has ,
fr om fa ce t o bottom , a face up King , a face do wn King , a - fac e up
King, and a face down King. You apparently show these f our cards as
four Kings with supp osedly three face down selections between them .
All you do is take off the first 3 cards, one at a time, into either
the left or right hand. On the 4th count do the exchange as already
described, then conclude the count up to "Seven". The cards will
still alternate and to make the "vanish" fronr this condition refer
t o the text on the "Interlaced Vanish".
.
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Ag ain t he coun t will be de s cri bed as fr om right han d int o the left
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79
hand. This 1ST METHOD should be done with the taking hand turned
slightly inward so that the inner corner exchange actions will be
more o~ less hidden. Begin as in the Fig. 8 with the left hand
about to peel off the KC. The right hand holds the lower right corner
of the packet between tne thumb on top and 1st and 2nd f !TIgers beneath.
"....
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Fig. 8
. Fig. 9
Fig. 10
Fig . 11
7. The left hand takes the KC while at the same time the right
thumb and fingers advance two cards as one as in the Fi g . 9 where
the left hand is already appro aching the cards in the right hand.
The two forward cards, which are f a c e to fa ce, are taken into the
left hand but a left 4th fing ertip break i s held below them as in
the Fig . 10, the operator's view.
8 . The remaining card in the right hand is the KD. The left hand
approa ches t o t a ke it but as the hands meet the Tight 1st and 2nd
fingers clip t ho s e c ar d s above the break as shown in tne-Fig . 11.
Without hesita ti on t he KD is taken' in t o t he left hand while the-two
faced car ds a r e mov e d ou t as in the Fig. 1 2 . Co nt i nue the a cti on
until the cards c l ea r each other at the s ame t i me getting a left
4th fi nger tip br e ak bel ow the KD wi t h the rig ht 1s t finger mov ing
back t o und e r t he c a r d s i t no w-nol d s as shown i n~e Fig . 13 . No t e
t ha t the ri gh t thumb is on the right 1st fi nger at time of-exc hange
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Fig. 13
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Fig. 1 5
9 . The left thumb now peels off the face ~own card into the left
hand. With the left 4th fingertip maintai ning i t s or i g i n a l b reak
you n ow have two cards-faced ' as before but with the KS now ,remaining
in the right hand as in the Fig. 14 and your count a~this stage is
up t o "Four".
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Fi g. 14
Fig. 1 5
9. The left thumb no w peels off the f a c e ~o wn card into the left
hand . With the left 4 t~ fi~gert~p ~m a i n ~ a i n i ~ g . i t ~ or i g i n a l b reak
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outer s ide of the 3rd finger press es against the inner side of the
cards nea r the inner-right corner. The Fig. 16 shows the face KC
taken ~n to the left hand and the right thumb already pushing over 2
cards as on e. Note the position of the right 3rd finger at inner
right corner. The left hand takes the 2 faced cards bui,ho1ds a
break beneath them, similar to Fig. 10. The left hand ~pmes back to
take the single KD and it is during tEis time that the e~change for
the 2 faced cardS-is made as in the Fig. 17 and 18 but n~te that only
the side of the right 3rd finger, at aboutits tIP or third joint,
maintains a separation-allring the exchange. Also a breakV~s held
below the KD by the left 4th fingertip similar to that shown in the
Fig. 13.
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Fig. 16
Fig. 17
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Fig. 18
Fig. 19
12. Peel off the face down card onto the KD but hold the break which
will now be below the t wo faced cards as in-the Fig. 19 and is the
situation on the count of "Four". On the count of "FIVe" take the
KS from the right hand a nd also do the exchange moves for the two
!aced cards. This action is identical to that already shown in
Figs. 11 and 12 and leaves you with a KS and KC in the left hand
while tEe two-raced cards are in the right hana as in the Fig. 20.
All that remains is to peel off the face down card from the right
hand into the left hand, as in Fig. 21, then conclude the count of
"Seven" by taking the KD into the left hand.
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Fig. 21
20
NOTE:
Obv i o u s l y all the c ount mechanics can 'be d one using the
Kardyro-Biddle Move but the object here is to avoid, as much as
possible, the amateurish hand above the packet or deck handlings and
e specially in the matter o f false c ounts.
....
'
1 . You have just s h own four cards as apparently seven cards with'
f our Ki ngs f a c e up and supposedl y t hree face d own sele cti ons be tween
them. Sp read out t wo cards, to display three cards as in the Fig. !'
a s y ou say, "Your cards are between the Kings."
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Fig. 1
1 . You have just s h own four cards as apparently seven cards with'
f our Ki ngs face UD and SUDDosed] v three fa~e d own se le ~t i ons hetween
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2. Square up the cards and hold them i n the left hand. Buckle the
bo t t om. c a r di a s the right fingers grasp the remaining three c ards,
at the lower right corner, as in the Fig. ~.
."
3. The . left hand mov..es out with
the single bottom card, as in the
Fig. 3, as you count .'\One "
At
the same t i me the right thumb
" pu s he s o~er two c~rds . ~ ,See Fig. 3.
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VISUAL CHANGE
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2. From the Red deck have a card freely selected and ~~:h tr o l l ed to
the bottom of the deck. Assume that the selection is the lOS.
~.
Hold the Red Deck faces t~ward your~elf ietting le~i 4th fi~ger
tip break under the face card in this example the lOS.
Now the
right -h a nd can either pick up the 3 Blue Backed caTdS and in squaring them face up against ~he face of the deck can add the lOS to
'b e l ow them or the left hand can turn palm down in order to---SCoop up
the 3 tabled Blue Back cards and as the left hand turns palm up the
right hand at once take all those cards above the break from above
by the ends, away from the deck which is placed face up to one side.
Some may prefer to palm out or lap the selection and then add it, as
required, to the 3 Blue Backed cards.
In any case the order of the
packet, from the face to top, is Black Deuce, JH, Black Deuce, selection or lOS in this case.
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4. Holding the packet face up in the left "hand, thumb over the face
card to take it with the right, hand by its upper right corner with
thumb on the face and fingers below. The next card is thumbed over
an~ jammed under the right thumb as it is taken onto the first card
into a sort of fan.
The last two cards as one are taken onto the
first two, these also being jammed under the right thumb to result
in a reverse fan held at the upper right corners with the right
thumb , a n d fingers.
'
S.
Square up the fan faces down into a left hand dealing position.
The right hand takes the packet from above by the ends as the left
fingers peel out, for a short distance, the bottom card while the
left thumb peels back 'the top card. This results in a sort of
quick 3 card Ascanio Spread as seen in the Fig. 1 where the right
hand holds onto the double card. This displays l Blue Back cards.
6.
Resquare the packet and turn it face up into the left hand dealing position.
The JH and lOS remain the central cards. With the
left 4th fingeTtip pull down two cards at the lower right corner as
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Some may prefer to p a l m out or lap the selection and then add it, as
required, to the 3 Blue Backed cards.
In any case the order of the
packet, from the face to top, is Black Deuce, JH, Black Deuce, se-
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Fig. 1
' t he right thumb and fingers, at the lower end, push forward two
cards as one Black Deuc e behind which is the se1ect~~~. The right
fingers, again at the lower end, pull back the 10we r mRst card to
result in an e l o ng a t e d sandwich with all indexes well :'exposed as ln
the Fig. 2 .
'
7 . The right h and g r a s p s the right side of th e e l o ng a te d spread in
order to st eady i t a s it is rai s ed up to the le ft finge r t i p s a n d
thumb to b e h e l d we l l a wa y from the le ft p alm.
Th e left 1st fin ger
is curled a gai n s t the back of th e p ack et. The cards are now dis pla y ed in a so r t of back and fo rth, clockwise and counter clockwise,
action as d epi ct ed b y the F ig s. 3 and 4 whi c h is the spect ator's
vie w.
This action is import ant to the-illusion to" be created.
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Fig. 8
10. Once the change has registed you lower the elongated spread to~
wards the left palm. The right hand positions itself above the
packet with all four fingers at the front end and the thumb pressing down on the center of the spread as shown in the Fig. 7~ At
the stage of Fig. 7 you have two choices. 'The right fingertips can
reach down to contact the back of the central card" the actual "JH,
to pull it forward until it lines up with the outer end of the -Deuce o~ the left 1st finger can push the central card until it
contacts the right-rIngertips and aligns itself "with the outer end
of the Deuce~ The Fig. 8 shows the left 1st finger pushing the
central JH towards the right fingertips.
11. Once the outer two cards are aligned the right 1st and 2nd
fingertips sort" of engage the outer left corner of tnese twocards
thus trapping them between the tips of these two fingers while the
outer right corners press against the right palm at the base of the
right 3rd and 4th fingers.
Soon as you feel this grip is taken the
right hand moves-oft' to the right as at the same time the tip of
the left 4th finger keeps the single selection, the lOS in this
case, in place as seen in the Fig. ~.
--12. Continue the action of Fig. 9 until the right hand cards are
clear of those in the left hand. -The left hand moves forward to
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wards the left palm. The right hand positions itself above the
packet with all four fingers at the front end and the thumb pressing down on the center of the spread as shown in the Fig. 7~ At
the stage of Fig. 7 you have two choices. 'The right fingertips can
reach down to contact the back o f the central card" the actual 'JH,
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Fig. 9
Fig. 10
14.
For those who may not wish to palm out the JH, then the follow ing is easy. When the two outer cards are in lin~ your right fingers
simply remove the center lOS card to toss it face down to the table.
The two ' still elongated Deuces are held by the left hand which
simply turns palm down to display the backs.
You can conclude by
the spectator turning over the tabled card; however, note that the
cards in the left hand are in a good position for a Gambler's Cop
of the JH thus leaving all 3 cards for inspection.
2ND METHOD:
~.
1. The basic principle is still the same except in this case the
cards will end up being spread out in the conventional manner. The
beginning is as already outlined until you get to the point where
the lOS and JH are the central cards with lOS in front of the JH.
Here~e right hand holds the packet from above by the ends while
the left fingers move out the bottom two cards to form a spread as
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Fig. 11
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t o that already
before the
cards . Again
except here
sho wn in t he Fi g. 11.
2.
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ha nd ho l d s the s pread, the n turns inwards
to br ing the
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The left thumb is placed onto the
the upper index corner. The left
top edge of the card at the upper
fingertip s cont act t h e uppe r le ft
the pa c ke t. The po s i t ion of both
Not e t ha t l e ft 1st fing e r touc h es
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Fig. 17
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le ft thumb ana-f i nger s , at the upp e r l eft co r ner, f i r mly hold the
t wo cards a s one. Meantime, tOh e r ig ht hand mov e s away, to th e
right, with its Deuc e and t he selection, lOS i n thi s ex a mp l e , until
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as the left hand ~picks u p the tabled card t o turn it ov e r and show
its odd color back. The completed picture is as seen in the climax
Fig. 17 .
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9.
I have experimented with many different ' hand lings o f 't j l i s final
bit and decided o n t h e a b ove a s a go o d disp lay me tho d ; h o w ~v e r, if
yo u wish t o get rid of t h~ a ctual JH in order to leave jus~ 3 c a r d s ,
then any of the previous suggestions can be adapted at thi ~ tinal
stage. My next item, also having two methods, is a good efTect
either sitting close-up at the table or standing. , With gia~! cards
it c a n be a very e ntertain ing platform effec t.
I call i t - '-=~"
MULTIPLE VISUAL CHANGE
EFFECT:
The performer displays four cards of varying values.
One
at a time and visually they change to the four Aces . No counts, just
mag ic .' .
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1. Required are the four Aces, two Black Spot cards an~ one Red
. . picture card. Assume the Black cards are the 10C, 8S, and tne Red
card a KH . From the face to the top arrange tne-seven ' cards into .
AD-AS-lOC-AC-8S-AH-KH order. This seven card p ac ke.t can be arranged
o n to-t~f a c e -of~he-d e c k, a s y ou patter ab ou t ne e d i n g som e car ds,
o r they can already be arranged and on t op o f the deck where they
can be retained during some false shuffl~s and cu~s. Regardless do
not carry these 7 cards in a little plastic container in your pocket.
The idea that you must convey is that you simply removed four card s
at random while actually taking off all seven from the top of the
deck.
' .
' 2 . Turn the packet face up into the left hand dealing position.
The right hand holds the packet from above by the ends. Also the
face of the packet is raised towards yourself.
The left fingers
now peel ou t the rearmost three cards as if c h e c k i n g on what they
are.
~n re-s quaring the packet t he le ft 4 ~ h fingerti p obtains a
b r e a k above the l owermo st 3 cards. There-are 4 cards above this'
break.
3. At this point you have a choice of spreading out the cards into
either a widthwise posi tion or a lengthwise position. The descripti on tha t f ollows will be t o spre ad the cards lengthwise.
Be g i n
b y the right thumb lifti ng up two cards at t h e back end.
The right
hand, which is still above the packet holding it by the ends, moves
t h e two cards as one inward until the index of the next card is
visible . The right thumb moves in under these two cards in o r d e r
to con t ac t the two cards above the break. The right fingers now
chang e t o press d own on t h e f ac e s o f the car ds and the n the rig ht
han d mov e s inward carrying both s ets o f two c a r d s fur ther inwar d .
Thi s results in three cards being stepped t o show all indexes.
The
left 1st fingertip now pulls down the lowermost card of the 3 upper most cards in order that the right thumb and fingers can grasp the
ou t e r right corner of this single c a r d and pull it f orward u n t i l
i ts ind e x is showi ng . This type o f h and l i n g preve n ts mor e than o n e
c a rd f rom mov i n g out at t his ou t e r end. The r e sul t is an el onga te d
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Z. lUrn the pacKet tace up lnto the lett hand deallng posltl0n.
The right hand holds the packet from above by the ends. Also the
face of the packet is raised towards yourself.
The left fingers
now peel ou t the rearmost three cards as if c h e c k i n g on what they
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Fig. 19
Fig. 18
Fig . 21
Fi g . 20
S.
In the above position the elongated spread is thus displayed to
the audience with all indexes showing on your left or sp ectator's
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6. Once the end-jogging has been completed the left hand al one holds fl
the el ongated spread i n a n upright position. You now will find it
j
very easy f or the left 1st finger t ip to engage the back card o th e
"
3rd pair f r om the top as-5een in t he exposed side vi ew of the Fig. 21.
t he l eft 1st fing ertip engages the back c ard of the 2nd
pair, again e asy due-to t he p r evi ou s end -jog gi n g act ions whi c h-rllsures onl y a single c ard be ing pUl l e d back. Thi s is s imil ar to
Fig. 21 ex c ep t he r e it is the back card of the 2nd p air that wi l l
be pulled back. Again repeat the cl ockw ise and c ounter-clockwise
actions, as already depicted earlier in the Figs. 3 and 4, to cau se
the 8S to change to the AS.
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Fig . 23
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Fig. 24
11. - You will now go into the next actions very quickly as they are
. designed t o let you tos s out the f our Ac e s for insp~~tion. This is
a must since the e ffect is strong and trick cards ar~ suspected.
With the cards facing the audience a s in Fig. ~ the ~right hand at
onc e comes over to the righ t end o f the spread wi t h the thumb at the
bac k and the! fingers on the face .
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13 . Onc e all f our cards are a ligned as one , at the right end , the
r igh t hand does not move away fr om this end. Instead t he right
thumb presses on t o the back of the elongated spread while the right
fingers press onto th e face of the spre ad . The right hand thus takes
t he packet whi c h leaves the left hand free to turn palm up. The
right hand places its still elongated spread face up into t he left
hand so that the block of lined up c ards are towards the per former.
With the left' hand holding the cards the right hand moves up to
the tw o pro jecting ou ter Aces . The two Aces a re taken by t heir right
s i d e s , with the right thumb on the face and 1st and 2nd f i ng e r s beneath . Simply move these tw o Aces away from~e other two which remain held in the left hand as shown i n t he Fi g. 26. The elongated
spr e ad should be origi nally p ositioned s o t hat tne lined up bl ock
o f car d ~ ~ l l l a t e r al!!2.!!l.:..t .i c a lly fal l int o a Rear Cop or Gambl ers
Cop po s r'fi on .
14.
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Fig . 26
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I n the even t that you u s ed t he wi dt hwi s e spread , th en af ter the
chang e to f our Aces t he r i gh t ha nd mu st t ake the c a r ds, from a bove
by the ends , in s uc h a way tha t t he f ul l AD i s t o t he ri ght a nd the
s tepp ed Aces t o the left. All fo u r right-ringers are a t t he fr ont
end a cross the top edge. The left thumb a nd fingers move t o take
the first Ace on the le ft by its left side a t center. The left
thumb gqes onto the face of the Ace but the left finger s go beneath
the sp r ea d . Here the left fingertips push the back card o f the pair
t o under the spread j u s t past the left side of the next Ace after
which the le ft hand removes the Ace t o place it face up to the table
on your left.
'
17.
Repeat the same pushing a c tions when t a k i ng the next Ace except
h~ r e t he left f ingertips wi l l be pushing t wo c a r ds t o the right and
j us t p a s t t he left side of t he 3r d Ace. The Fig . ~ shows th~ ex pos ed bottom v i ew of t hi s a c t i o ~
, 18.
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95
c omes back to remove the 3rd Ace . This time the left fingertips will
be pushing a blo ck of 3 c a r d s t o the right and in line with the remaining AD ." Because Ot the right fingers being ex t end ed , to ' t he left ,
a lo ng the-top end o f the AD the l a s t Ace , for the m omen~ is practi'c a l l y out of the spectatoTTs view. Als o th e right 1st ~~d 2nd f i ng e rtips anchor themse l ves around the upper left corner-ot t~e compl ete
block of c a r ds wh i c h a l s o inc l ude s t he AD. The upper r ~tht co rner
of the bloc k is al so pre s s i ng in fi rml y-agai n st the r igh t palm a t
the base of t he ri gh t 4th and 3rd f ingers. ' The Fi g . ~ s~p w s an exposed bottom view of the blocks ancho r ed cond ition at t hi~ s t a g e .
From the f r on t it is practically concealed.
Fig. 29
Fig. 30
19 . Having dispos e d of t he 3r d
-Ace the le f t hand c omes bac k but
this time the thumb and f i nge rs
peel of f the AD only by it s lowe r
left c orner ana pivot the AD out
t o the left while t he righthand
retains the remaini ng 3 c a rds
firmly ' anchored. The pivo t a l r e moval of the AD is sho wn i n the
Fi g . 30 whic h-rs t he pe r former ' s
view While t he ,Fig. 31 i s what
the spectator se es . --
Fig. 31
2l ~
The basic presentational plot is that the game is Five Card
Stud and the f our cards you have are those tha t are v isible; howev er ,
another pl ayer is sitting there wi t h t hr e e of a kind such as 3 Queens.
When the first Ace appears you comment that i f you have an Ace in t he
hole you could wi n with three Aces but you'r e not sure about that so
you make a third Ace appear. Again your comment is that if the
fell ow ha s f our Que en s, on e in t he hole, he would win; the refore,
yo u make the 4t h Ace appear. The pre s entation is sk etchy but e ach
individual can-Duild on it acc ording to his own tastes.
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By this time you should be familiar with the procedures for setting up for either" a lengthwise spread or a ~~ ~ t hw i s e
spread; there fore, the following will be brief description~ ' for a
couple ~f effects.
1ST EFFECT: A card sandwiched between two ather cards of like value
visibly, reverses itself. For the climax it is , shown to change to a
different color back. '
1. Assume the cards 'you will decide to use will be :a ,5S and the two '):
Red Deuces. The deck is a Blue backed one. On top ~th e deck place "
the regular 5S. From a Red back deck remove the 5S ~np place it some ~
where near the center of the deck. This arrangement 2~n practically
be made during any other effects since getting the regular"~ to the ~
top of the deck and later loading in the duplicate Red back card pre- ~
sents no real problem.
'
2. When ready to begin the routine turn the deck face ' up ' a nd say you .]
will need two Red Deuces. Spread thru the deck and toss out the Red
Deuces as you come to them. Turn the deck face down and start to
spread the cards and then raise both hands as you continue the spread
till you reach the Red back card. Up-jog this and then the left hand
holds the deck as right hand removes the Red backer to toss it face
up to the table. The reason you convey is that it doesn't seem to
ma.tter which card is used and your patter line is, llBesides the Red '
Twos I will need any other card. ll In essence you have forced the
card while seemingly removing one at random.
3. The deck is now face down in the left hand dealing position.
Get a lef~ 4th fingertip break under the top card. The right hand
picks up th~ Red Deuces to place them face 'up against the top of the
deck. Shift them about as if deciding on the suit order but eventu- ,..,..
ally square them up and take them, plus the top Blue back 5S, with
the right hand from above by the ends. The left hand , places the deck -~
aside and the right hand places the Deuces face up into the left hand ~
dealing position.
4~ The left thumb ' dea l s over the face Deuce while the right hand
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picks up the tabled 5S by the upper right corner. Both hands approach"
each other with the"nght hand taking the face Deuce to under and
flush with the Red back 5S. The right hand now turns palm do wn to
sort of casually flash the back of the cards. The two back to back
cards from the left hand are held firmly as the right hand places
its cards to under those in the left hand. The whole series of
actions is pattered with, "The Five of Spades goes between the
Deuces."
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Blue. back 5S, face up Red back 5S, and a Red Deuce. You are now set
to go into-Cither a lengthwi se spre ad or a widthwise spr ead. The
fol19 wing ,des c rip ti on wil l be f o r th e cards i n a lengt hwise spread.
The t wo bac k t o back c a r d s ar c pull ed i nward , as one, .t o expose a 55 .
The r i ght fing e rs reach i n unde r t he SS to pul lout oi , out- jog th e-othe r Red Deuc e .
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as the rlght t l nge rs and thumb gr as p the project ing end ot the face
do wn c ar d t o remov e it f r om be t we en the Deuc es.
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really two cards as one, i s pulled back t o expose the face up 55.
Pull out the other face up Deuce thus you have your lengthwise-Spread.
Ri ght fingers rem ove the 55 and t urn it fa ce down . Replace it back
to und er th e, two ali gned ca r d s leavi ng a Bl ue back showi ng . All tha t
remains is to ex ecute the r e qu i red acti ons to visi bly chang e the Blu~
. bac k card t o Red bac k . Af ter the c ha nge the left hand si~ll holds
the cards in its spread c ondition. Turn j ogged Deuc e s face~d
own.
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11 . The clean-up will enable you to .toss the 3 cards out :~or in' sp e c t i on ; however, you must decide whether you-want these to be all
3 Blue back cards aga in or 2 Blue and 1 Red backer. Persotlally I
prefer t o end with all 3 cards of one color again and the fallowing
is my pr ocedure.
1 2. Squ ar e up th e s pread and hol d th e pa cke t face up in the l ef t
hand dealing posi tion. Spr e ad ou t the thr ee cards by us i ng a single
Buc kl e . The c entral card will be two as one 55. Hold the fan of
c a r d s between the le ft thumb a c r os s the f ac e s-and fingers beneath.
The rig ht hand r emoves t he center two cards, as one, 9t the upper
left corner wi t h le ft thumb on the index and 1st and t''i).d fingers
beneath at t he same corner . The right hand turns pa lm ~ldown to
flash the Red back of t he card(s). Turn s l i gh t l y left as you go
t o replace the 5S c a r d ( s ) back to be t ween the Deu ces; however, the
r ight fingers exe cute the Miracle Car d Change Moves to res u l t in the
bo t to m Red back 5S goi ng int o a Tenkai Palm while t he Blue bac k 5S
i s placed between-the two Deuces leaving the Blue back 5S out-jogged
. f or half its length. Comment that the back of the 58 tu rned Red Hot
due to the fr ictio n cau sed as it kept turning ov er. --Now you w ~ll
let it cool. By no w th e ri ght ha nd can lap its card or s i mply retain to unlo a d into a pocket l ater. Anyway the left hand turns i t s
fan of cards over to now sho w 3 Blue backs. Toss them onto the
tab le for any inspection.
'
13. If you want to leave the Red back 5S f or 't he f i nish simp ly fa n
ou t the ca rds, usi ng a Single Buck le again , t o s how a Red back card
between t wo Blue back cards. Ri ght ha nd r~moves the c ent e r card(s )
as on e and fl ashes the f a c e of the 5S. Conclude using the Miracle
Card Change mov e s to leave a s ingle~ed back 5S a nd two Blue back
Deuces.
2ND EFFECT: A Blank card sandwiched between two J okers changes one
at a time to three sele cted cards. At the c onclusi on the c ent er card
i s Blank and all c a r ds t os sed out fo r insp ecti on.
1. The abov e eff ec t is no t new or the best bu t i s u s ed t o fu r t her
point out the flexibility of the visual change technique. Briefly,
you need t wo look-alike Jokers .and a Bl ank card. All cards should
be identical i n wi d t h a nd le ngth to t he deck used. Fr om the deck you
have three cards fre ely selec ted and controlled to either top or
bottom. Now whe t her you want t o add the 3 selections off of the
f a ce 'of the deck to on top of the 3 car ds-you have on the t a bl e or
pa l m them out and onto the 3 tabled cards is up to you. I have ,my
own s p eci al methods for thi s but the above will suf f i ce f or the prese nt.
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2. With the ' 3 s e l ec t i ons a dded onto your ' 3 c a r d s t u rn the packe t
f a c e up a nd tnumb ove r th e t wo face c a r d s to display a Blank face
car d be t wee n t wo Jokers . Nex t , do a r eve rse count t ak ing the J oker ,
t hen the Brank c a r d onto i t and finally the block o f ~ards as s eeming l y t he last J oke r .
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4 . . Posit ion the packet in your le ft hand for the change . From here
yo u simply pull bac k t he 1st selection , wi t h the le f t 1st f i nge r t i p .
Ask for the 1st sel ection and execute the requir ed change. Pull bac k
the 2nd s el ection and r epea t the c hange to th e 2nd selection . The
same 'a c t i ons are made to finally s ho w t he card has changed to the
3r d s e 1e c t i on.
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7. When doing the 1s t effect, where you remo ve the sandwiched card
a nd then replace i t~e sure that the left 1st f inger is over the top
end of the card on your left . This is s o that i n pushing the card
.ba ck into t he c en t e r i t wi l l no t a c ciden tally pus h out t he hidden
car d.
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1. Assum e you have 3 c ards sp re ad out widt hwise. The Double card
is on your right. Tne spread i s held in the le ft hand .wi t h the tip
of the thumb firmly pr ess ing onto the first t wo cards on your left.
The left fingers are bene a th and the spread appea r s to be he ld more
or less at t he left f i nge rt i p s . The ri ght hand hol d s the Double
c a r d so the right thumb is on the f a c e ne a r th e right edg e whi l e
the right 2nd and 3rd f i ng e r t i ps a r e be neath, near the right edge ,
wi th the tip of the-ri ght 1st f i nger pressing ag a i n s t the edges o f
the Do ubl e card . Both thumbs ar e on the face of their respective
cards a nd th e grip is at cent e r o f ea ch s ide .
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When doing the 1s t effect, whe r e you remo ve the sandwiched card
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at the same time the right 1st finger pushes the lowermost card, of
the two, to the left. This card should be pushed so its left side
goes slightly past the left side of the center card; At once the
right hand moves its now single card back to the right.
Properly
'e x e c u t e d it appears as if the center card suddenly changed while still
visible. A slight movement to the left, with both hands, lhen back
~ t o the right will aid in the illusion.
In any case, you will have
to experiment and practice to get this right and end with ,t h e cards
in alignment.
From here you can use any of the clean up m~thods
previously suggested.
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While the basic change principle can be lik;ned to a
, p l u n g e r type color change or that of the Edward Victor Change you
must admit that I've carried it further than others could have
imagined.
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' a c t i o n s to tile 4 Aces. The back cards will show 3 Blue Back cards
and one Red BaCK card at the lower end. Rest the elongated spread
~ f a c e s un in the left hRnd.
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101
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1ST METHOD:
1. Before going into the actual exchange I will describe the original two card control that was taught to those who took instructi on s
- in the "Control Systems" before its publication in 1952.
2. Hold the deck in the left hand as for the Spectator Peek~ With
the right 1st f inger riffle back the upper right corner of the de ck
as you request a spectator to call 'Stop'. Time this so that the
card to be not ed will be in the lower half of the deck. Have the
spectator note the card, the n let the re st of the caids riffle off
of the right 1st finger but not befor e tfie left 4th fingerti~ moves
in and obtains-i break und er this selection. In-squaring the ends
of the deck the r ight thumb, at the inner end, releases the selection
so -t ha t it becomes the card below the break.
3. Approach 'a second spectator and request him to call "Stop" as
your right 1st finger again ri ffles back the upper right corner of
the deck. TliIs time the cards above the break are riffled back thus
the 2nd spectator's selection will be made in the upper half of the
deck . The 2nd spectator having noted his card the rest of the cards
are riffled-orf but this time the left 3rd fingertip moves in to
hold the break under
the 2nd selection.--."
4. At this point you have two breaks with the 1st selection being
the card below the break and the 2nd selection above the break.
The right hand cuts of f those caras-up to the 3rd finger break and
drops these to the table. Next, the right hana-can cut directly to
the l~ft 4th finger break to drop these onto the tabled cards or the
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HoLd the deck in the left hand as for the Spectator Peek~ With
the right 1st f inger riffle back the upper right corner of the deck
as ~ou request a s~~~t~to~ to call 'Stop'. Time this so that the
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right hand can cut off small packets, dropping each onto the tabled
cards, until the break is reached. The right hand then takes the
rest of the cards and drops these onto the tabled cards. ' The 1st
spectator's, card is now on top of the deck and the 2nd spectator's
card is on the bottom of the deck.
--- :
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5. The above then is the initial controi of the two cards and now
what follows is the procedure to set-up for the exchange. 1 Pick up
the deck and in squaring it do an All Around Square Up t.o.tg l.Lmp s e
the bottom card. Remember this card, then cut the deck t~pring
both cards to the center of the deck. For the sake of cla~ity assume
the bottom card you noted is the AS while the other selectfbn is the
4D which you would not know and dO-not need to know for the actual
exchange.
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6. With both selections in the center of the deck hold ' t he deck
with faces of the cards towards yourself. Spread the deck between
," ' both , hands, ' being sure to very slightly up-jog and down-jog the cards
that are fed towards the right hand. Your patter at :~ i s point is,
"I will use some cards at random from somewhere in t ]i1f , deck. " By
this time you will have reached the ,AS and 4D. The le~t thumb contacts the AS, at center of its left SIde, wlille the left 2nd and 3rd
fingertips-Will contact the back of the 4D at center of rignt sid~
The Fig. I shows the condition of the spread cards as it stilt faces
you. Note the slight up-jogging and down-jogging of the spread cards
a t the right end.
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Fig. 2
Fig. 3
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9. As you cont inue t he tur nover act ions of the Fig . 4 , both the AS
and 4D wil l au t omati c a l ly al i gn themselves. Withou t pause the AS,
r eal l y t wo c ar d s now, is turn ed fa c e do wn onto the face of t he l ef t
hand c ard s; however, the l eft side o f the t wo ali gne d c a rds fal l
into t he Al tma n Tr ap, a t the bas e of the le f t t humb, a s in the Fi g . S.
The le ft 2nd, 3rd, and 4th fingers pr e s s aga i ns t the ri ght side of
its c ards-.-- ---
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Fig. 7
10. , W i t~ the two cards trap ped as one the base of the left thumb
presses against the le ft side o f t he two aligned cards while at the
same time the left 2nd , 3rd, and 4t h fingers r elax. This causes the
two cards, as one, ~move to th e-rlght and become side-jogged as
shown in the Fig. 6 where the right hand has been moved out of the way
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The left 2nd , 3r d, and 4th fingers pre s s again st the righ t side of
i t s c ard s-.--
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12. With the cards st epped as i n the Fig . 1, the right 2nd and 3rd
fingert i ps co n t act the lowermost c ar d, the AS in th is case, then--pull it t o the r ight a nd un de r t he spr e ad. -rhe l e ft thumb, which
is press ing on to t he up p er most f a ce down card, keep s t he 4D i n pl ac e
thus no movement i s discerned . The pUl l i ng o f the AS to ' the r igh t
and und er the spr ea d is shown i n t he Fig . 8, an exposed bot tom vi ew.
Note tha t t he up , and down j ogged c ard s of t he r ig ht hand spre ad p revents a ny a c ci den t al exp o sur e , of t he pulled AS , at e~her t he outer
or lower end s.
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Fig. 9
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Fig. 11
. 13. The right hand, hold ing onto its s p r ea d o f cards plus the supposed face down AS, moves off to the right in order to enable the
left thumb to deal over its face card. This card is then levered
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105
' , ove r 1 as in the Fig. 9 with the aid of the face down card that re: ' ma i n s visible. To all appearanceS you are repeating the same turn, ' ove r actions as you did before. As the card is levered over and face
down, ': onto ,' t he face up cards in the left hand, the left thumb moves
off to the left side in order to permit this card to f~ll flush onto
the face of the left hand cards. The left thumb dea1s ~~ver this face
down card and it is taken to under and alongside the supposed AS as
shown in the Fig. 10. The right hand holds these cards'; while tfle
left hand moves down in order to grasp the lower left corners of
both cards, remove them from the right hand, then the l~t hand
moves forward with the two face down cards, as in the Fi; 11 to
toss them face down to , the table.
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14. The AS is at this stage face down under the face up cards in
the right-nand. The left hand, having disposed of the two cards,
comes to join the right hand and continue the spreading , of the cards
from the left hand to under the cards held in the righ~ hand. During this you say, "Le t ' s use a couple of more cards." When you have
,
spread over another dozen or so cards, to under th~~right hand cards,
~".. ; , ,~ t he s e will now cover the reversed AS.
Here you rep~~f.lt identical
~:-, .', ac tions of turning two cards over, one at a time, td:~: take them under
; the cards in the right hand. These actions are simiLar to that a1" ready shown .i.n the Figs. 2-4-5-6-7-9 and 10 with no secret Double
-T u r nov e r and the two face-down si{fe-=-joggeacards held under the
:r i gh t hand portion as shown in ,t h e Fig. 10. This time it is the
', r i g h t hand which ' turns palm inward to display the two cards, that
. ,' , :, .we r e just turned face down, as in the Fig. 12.
This shows not only
the two cards again but subtly implies nothing wrong below the cards
as the face up AS has been covered by the continued spread of cards
to arrive at the-two cards you are now displaying. The right hand
turns palm upwards, then moves towards the two tabled cards to drop
off its two face down cards onto the tabled cards as shown in the
12.
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Fig. 13
15. State you will need one more card. Spread the cards, as before,
further on in the left hand portion. After thumbing over a half
dozen or so cards repeat the turnover actions which will be similar
to that depicted in the figs. 2-4-5-6-7. At this stage the right
'ha n d will be holding one face {fown-car{f side-jogged, to the left,
, , under its face up car-ds. The right hand again turns palm inward to
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off its two face down cards onto the tabled cards as shown in the
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. now display this last or 5th card as .s e en in the Fig. 14. The right
. " hand turns palm down" then moves towards the four tablea cards in
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' -. " in the right hand. The . deck is squared, turned face d~~vn and tabled
, to your left. You are now all set to go into the Devifish Miracle
, , :.,' s i nc e the 2nd selection supposedly on the table is already face up
' . and centralized in ,the deck while the 1st selection is among the
, ...f i.v e tabled cards. An important point:-Which I avoided mentioning
for the sake of clarity in the technical description, is to make
: ~ . s~re that you call the name of each card that you turnover and later
: . deal to the table.
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1. This method makei use of ~ two 'c a i d pushof~ plus the '~ieight
called "Mechanical Seconds". It is most important that the Double
Pushoff is one in which there is~'t the usual 4th fingertip break
held. The detail's of this type 'of pusho ff are:rll the section on
Double Lifts elsewhere in this volume; however, a brief description
will be given at the point, in the routine, where ~t is used.
2. Begin by controlling two cards, via the specta~or peek, as already explained in the 1ST METHOD, to bring one selection t o the
bottom and the other selection to the top of the deck. Double cut
the top selection to the bottom. In an all around square up you
glimpse the bottom card. Next, in a casual Overhand Shuffle, run
four cards off the top of the deck, then throw the deck onto them.
In another all around square glimpse the bottom card and remember
it as your key card. Cut the deck to bring the bottom cards to
the center of the deck. For the sake of description let's assume
your key card is the IDS and the two selected cards are the 5C and
4D with the 5C being the second selection while the 4D the fIrst
selection.
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'r e a c h the key card, in this example the IDS, then start t o separate
the sp r ea d at this point as ,s hown in the Fig. 16 which i s also what
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1. This method makei use of a two card pushoff plus the sieight
called "Mechanical Seconds". It is most important that the Double
Pushoff
is one
in which
there isn't
the
usual 4th fingertip
break
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107
the spectators see. The right hand flips its :portion of the spread
face do wn, letting t h e spread converge, onto the left thumb which is
pu rp~~ely ,p c r o s s the face o f the left hand portion in o r d e r to keep
the halves separated. At once the right hand comes ov e r the c a r d s t o lift off the now face d own half fr om ab ove by th e e '~ s as in the
Fig . 17.
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Fig. 16
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Fig . 18
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S . The le ft thumb n ow d eals over its' face card a s the right hand .'.
t akes it, rather ~ e ep in t o t his ha nd, bet ween the right 1st f i n g e r
and thumb, near the upper l e f t corner a s shown in the Fig:-19. The
right hand turns pa l m do wn and d epo sits this c ard fa ce do wn~o th e
t ab le as in the Fig . 20. This act ion of taking the cards i n t o the
ri gh t hand, then placing them to the ta ble, onto th e preceding cards ,
is co n t i n u e d. Th e F i g. 21 shows a third c ard b eing dealt ; however,
i n actua l performance t he-cards will be dea lt on to ea ch o th e r t o
form an un s qu ar e d packet ra ther tha n a sprea d of ca r ds . Remembe r
that each c a r d i s t a k en between the righ t thum b o n t op a nd the 1st
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Fig . 21
6. As the right hand takes the 4th card and places it face down
on t o the tabled cards the left thumb moves to the left~side of its
c a r d s , just below the card's index, at the upper left rprner. The
tip o f the left thumb presses down on this left side edge just enough
to engage and push forward two cards as one. The Fig. 22 shows this
t wo card push-off being s tarted . Als o note how t he le f~ thum b has
been coc ked bac k t o insure tha t the f les h a t t he under s id e of i t s
t ip, just a long th e nail, wi l l engag e two ca r d s . The left 2nd , 3r d,
a nd 4th f ingertips are pressing against the right side of i~cards
t o further insure on l y two cards moving off to the r i gh t.
Fi g. 22
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8 . The right hand having taken the t wo cards as one moves t owards
the tabled cards t o place it onto them. Ac tually the actio n s of the
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Mecha n i c a l Seconds a r e made thus holding back the 5C and placing
.
down the 4D i nstea d . Briefly, th e Me chanical Seconas acti on con s ists
in s i.mp Ly Tio Ldi ng ba.ck the face c ard, 5C i n this inst ance, by p r essure
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109
of the right thumb while the right 1st finger simply moves outwards
moving out the second card, the 4D ~this case, as shown in the exposed action of the Fig. 24. This action, which is also a pivotal
one, ':is c dnti nu ed unti l the ri ght 1st fin ger has moved : its card ou t
f~r enough t o clear the deck.
Thi s ~l ear anc e ~ak es pl~e at the outer
r1ght corner of the cards when the r1ght hand 1S palmQ;own. The held
back -5C card remain s flush against the cards held in th~
,j. right hand .
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Fig. 24
Fig. 25
9. Keeping the righ t hand palm down the right thumb pres ses down
onto the left s ide o f its c ard s to turn them f a ce up. The ri ght
, ha nd' e nds ho ld i ng t h e r i ght s ide o f th e now f ac e up cards whi ch ar e
then p laced fa ce up onto the f a ce up c ards i n th e le ft hand a s s hown
in the Fig. 25. The
5C or second selection is now face up in the
, center
of the dec k, after the deck is turned fac e down, wh i l e the
4D, t he 1 st s electio n, i s the t op c ard of th e f ive t a ble d c ards.
From he r e you ar e s et fo r t he "Dev i l i sh Mi r a cl e " .
10. When th e requir ed Double Pushoff is made without any hesitatio n
. even t he magi cians wi l l n ot sus pec t a ny exc hange. Us in g a ny k i nd of
a brea k to ac c ompl i sh t he Double Pushoff i s no t go i ng to get by ;
therefore, in the ca ses ~ he r e one may f i nd some d ifficulty i n doing
the Double Pushof f an idea that I describ ed in Volume I of this
magazine can be used. Thi s i s a s follo ws:
11. Remember t hat ea ch ca rd plac ed to the tab le goe s on e on to the
other to form an unsquared packet. Also as each card is placed to
the table it must be po sitioned so that later, during the Mechanic al
Second s e xc ha nge, t he c a r d pivote d ou t , by the r ig h t 1st fi nge r , wi l l
be in line, mor e or l e s s , wi t h th e res t of the tabled-cards. You
have just d ~alt the 4t h card to the table. At this point the left
hand tilts inward so~at the s pectators can't see the face of this
packet. During thi s the l e ft t hu mb de a ls ov e r the fa c e single card
and keeps pus h i ng to the ri ght unt i l t he next card, th e 4D in th is
example, a l s o moves off s l igh t l y to th e ri ght . This s l i gnt movement
is aided by the 2nd joint o f the le ft thumb contacting the face of
the 2nd card or 4D. Me an t ime t he r i gh t ha nd sp re a d s out t he four
tabl~cards a s you a s k , " How ma ny c a r ds i s t hat?"
These op eni ng
actions are depict ed i n the Fi g . 26 from the performer's side.
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12. The left thumb now pulls back
the face card, the SC, until it
, c ome s in alignment With the 4D that
' ha s remained slight angled. Once .
the two cards are in, line the tip
of the left thumb th~ moves back
far enough to erig a g ej t he aligned
cards as already sho~p in the
Fig. 22.
From this pbint you can
now bring the cards in the left
hand into view, then ~~llow the
exchange actions, uSinl the
Mechanical Second, as already explained and depic~ed in the Figs.
~, .?-!, and 25.
Fig'. 26
3RD METHOD:
2. With the deck faces 't o wa r d s yourself spread the deck between
both hands till you reach the card you noted in this case the ~.
With the left thumb pull back the 5C, so it will become the face
card of the left hand portion of cards, at the same time the left
4th fingertip obtains a break at the lower right corner, below this
card. You can now lower the hands with the spread of cards not as
yet separated. The situation would be similar to that already shown
in the ~ig. 1 except you would not see the 4D since the 5C will be
covering it. ,,
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3. The right hand moves to the left to converge its spread of cards. ~
At the same time say, "l wi l l use the Five of Clubs." Th~ right hand 1
now moves its cards to the right and then flips them over and face
4
down onto the f a c e of the cards in the left hand. At once the right . ~
hand takes these cards, plus the 5C above the break-,-from above by
1
the ends. This would be s imilar to that shown in the Fig. 17 except -~
the left thumb will not be between the halves but off to the left
, side of its cards. rn-a follow through unhesitating a~tion the left
j. ,
hand turns palm downwards. The left thumb pushes out the bottom
face card face down to the table. This card is actually the 4D
while the SC is face up below the face down cards held in the-right . ) ,
hand. The-reft hand having d ealt its card face down at once turns
.
palm up. This displays an entirely different face card adding to
the illusion of having dealt the SC to the table.
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Callout the name of the new face card, then the left hand turns
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, c ara oi' -t:'ne~J:ett- hand ~p o r t l"on' of -c-ard~at the - s ame- r l me tne left
4th fingertip obtains a break at the lower right corner, below this
card. You can no w lower the hands with the spread of cards not as
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The left thumb d e als over the face c ard an d the right hand takes
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it into t he Me chani cal Seco nd p o si ti on . That is i t is t aken dee p
onto t h e ca rds i n t he r i ght ha nd wi th t he 1s t finger below it, at the
upper end, wi t h t he thumb on top. Th i s is-rden t i ca l t o that pictured
in t.he .-Pd g .,19. The right hand moves towards the table top to place
its card f a ce-down as already s hown i n the Fig. ~.
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Fi g. 28
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t~~~ h ~ d
t;bie d -p~~k;t rth;-;igh t ha nd m ;~;; ~ f f-h~i di~g-;~t;~ i t s
card whi ch i s furth er pUll ed back f l u s h , by the r ight thumb, with
the cards in th e ri ght ha nd. The rig ht hand now stays mo re or less
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Fig. 2
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Fig. 4
4. The right hand slides the tabled deck inward until its inner
end goes past the inner end of the deck that is held up against the
ta ble and is not moved. At this stage the. situation, viewed from
the left side, is as shown in the Fig. ~ with the tabled decks ou t e r
end as yet on the table.
. S. The action of Fig. 2 is continued with the result that the tabled
deck, minus the top card held by the right fingers and thumb, tilts
downwards and slides over the inner end of the deck held under the
table and into the lap; however, at this stage the right 2nd, 3rd,
an~ 4th fingertips are still touching the table near its edge.--With
the right hand holding only the top card of the lapped deck the left
hand moves its deck out to directly under the single card as seen in
the left side view of Fi~. 3. The Fi~. 4 shows the snectator's view
at this stage except deck shown added will be covered by s i .ng.Le card.
6. From the position shown in the Fig. ~ the left hand at once moves
its deck upwards to meet the single card held by the right hand.
Both hands raise slightly above the table as the deck is now brought
into a Square Up Po sition between both hands as in the Fig. 5 which
is the spectator's view. The Covered Deck Switch has been completed.
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4. The right hand slides the tabled deck inward until its inner
end goes past the inner end of the deck that is held up against the
table and is not moved. At this sta~e the situation. viewed from
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Fig. 5
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EFFECT:
the only
1. The effect itself is not new only the method and approach in
that th e cardician, no w turning psychic, never a sk s a s i ngl e que stion
or ev en makes a direct statement. (See also "ODDITY" now in "Early
: Marlo", Mag ic Lnc ; , Chic ago) Assume you are going to use a Blue
Back deck as the one in view for any of your other effects. The Red
Deck can be in either of the side coat pockets f r om which it can
easily be removed and secretly pl aced f ace down into your lap .
.2~ When you are ready for the mental effect in question do the
"Covered Deck Switch" . At this time this is easy since there isn't
any special attention called to the deck or yourself. After the
"Covered Deck Switch" you will have a Red Back deck covered by one
Blue Back card. The Blue Back deck has l apded in your lap either
still fairly squared or askew. Forget it for now.
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deck
card
Blue
from
4. After he has though of a card tell him to place your . face down
Blue Back card face down right next to the card he thought of~ Once
he has done this inform him that at this point you haven't any idea
as to whether he thought of th e card to the right of the face down
card or to the left of this card. Tell him to remove the card he
thought of towards himself l eaving it face up. During this time
your left hand has been in the lap and has gathered the deck into a
squared condition,then has left it in the lap face up for an easy
pick up of the deck later on .
4. Both hands are now again in view as the left hand now takes the
face 'down Blue Back card and uses it to scoop up the deck. The deck
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When you are ready for the mental effect in question do the
" Cov e r e d Deck Swi tch" . At this time this is easy since ther e isn't
any special attention c al l ed to the de c k or yourself . After the
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NOTE :
In a disc uss io n on the " Cover e d Though t" wi t h Art Altman he
suggested a proc edur e, f o r the fa c e up thought of card, that would
' g~ v e mor e misdir e ct ion f or what he cons id ered t he cruci al switch of
the d e c k but I c a n't re call wha t i t was. However , fo r those who may
fee l the second s witc h o f t he d eck do es n e ed add e d mi s di r e c ti on I
have worked out the f o l l owi ng . All you n eed is a marking p en in
your right inside c o at pock et. . After the thou gh i of card ha s be en
remov e d and i s l y i ng f a ce u p on t he tab le s c o op up t h e d e c k . Squa r e
it up, tur n it f a ce d own , g et y o ur r ig ht t h umb br e a k und e r t he top
card, reta in t he d ec k in the right hand holding it from abov e by
the .e n d s . The le ft hand removes the pen from the right inside coat
p o c k e t . Hand th e p en to t h e spectator as k ing him to si gn th e c a rd
across t he f ace. Whi l e h e i s b usy doi ng that y o u hav e more tha n
the requir ed distract ion t o s wi tc h the de c k e ve n before h e fi n i s h e s
signing his name.
Immediately a f t e r the deck switch go into a casual
, . Overhand Shuf fle.
Turn the dec k f ace up and r ibbon spread ~t on the
table. Ha ve t he sp ect ator re tu rn hi s ca rd , st i l l fac e up, back any where i n the spr e ad.
Reque st him t o pus h t he s pre a d tog ether and
with the deck st ill f a ce up t e l l him to cut the deck several tim es
so that no one will know th e exact p osition o f his card. You take
the deck and s ay , "S omewh e r e i n t h i s de ck I hav e o ne Red Bac k ed
card," wi th t h is y ou ribbon spread the deck fa ce do wn revea l i ng the
Red Back card.
Push th is ca rd for ward out of th e spread. Say, "Name
your card," then hav e him turn the Red Back card face up for the
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suggested a procedur e, f o r the f a c e up thought of card, that would
mor e mi s d i rec t i on f or what he considered t he cruc ial swi tch of
t he d e ck but I c a n't reca ll wha t i t wa s. However , fo r those wh o may
f eel the second s witc h o f t he d eck do es n e ed adde d mi s di r e c ti on I
have worked out the f o l l owing . All you n eed is a markin g p en in
' g~ v e
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as a bottom replacement ' of cards to the deck, in the TOPS. This consists in the left hand holding the deck in a Mechanic's Grip with
the left thumb normally across the top of the deck. This deck is held
at a downward angle~ its lower end toward the lap. The right hand,
with a thumb hreak under the top card, moves the tabled deck so that
its inner end is ju st past the table's edge . The left hand, moving
at the wrist only, raises its deck until the upper end of ~~ i s deck
touches the bottom inner end of the tabled deck. The Le f tr.t humb has
also moved to the left side of its deck and may start to c q~e into
view past the table's edge and contacting the left side of :the tabled
deck as i f the left hand is about ready to accept it. The Fig. ~
shows the situation with the angled down deck practically o J t " of the
way of the tabled deck which by now has moved so that it is almost
free of the table's edge.
The tabied deck is brought
just past the table's edge and is
let f all into th e lap minus the
top card held back by the right
hand . At once the l ~ft hand le ver s
its deck upwards to:'.$t,eet the sing Le
card held by th e rigli~ hand and
both hands now square ~up the deck
as already shown in the Fig. 5.
Using the above idea should glve
you no trouble regardl ess of what
type of t able you en counter.
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119
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palm of the hand. The Fig. 1 shows the left hand, which again moves
only at the wrist, placing the deck into the le ft hand. Not e that
the deck hang s downward , at ang le, past t he table's edg e. The le f t
2nd and,: 3r d i nge r t i p s wi l l als o be s li ghtl y pa st th e table's edge.
From the-nont the left hand looks perfectly relax ed.
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3. Once the deck is in posltlon the righ t hand can move i n t o view
as the spectator is reque sted to cut th e de c k and comple te t he cut.
The rig ht hand picks up t he t a ble d de ck , f rom a bove by t he end s with
the 1s t fin ge r cu rl ed on t op. The next act ions , whi ch a re v ery eas y,
shoura-be don e without a ny he sit at ion. The r i gh t h and bring s its
deck to dir ectly behind t h e l eft hand s o that t h e ou t er e nd of this
deck co me s to a bout the c e nte r of the c l i pp ed dec k. The Fig . ~ shows
the ope rator's v iew at th is stag e whi le t he Fig. 3 sho ws the s p e c t a tor's view which lasts for only a second.
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left hand ready to deal. Try thi s out in front of your mirror and
yo u will qu ic kl y appreciate the a c t ion s pf thi s de ck switch.
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In this deck swi t ch the to p of the de c k is visible,
then the bott om end as it is squared agains t the t ab l e, then t h e deck
,i s r ep lac ed to t he t a b l e. Th e deck is no t l ap" p e d. in the true __ sens e
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action it may have to do. Obviously the concealed deck, at the stag e
shown in the Fig. 12, can be released a~d let fall into the lap if so
desired .
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S. The deck in the ri ght hand i s re leased i n t o the l ap, th en it comes over
to tak e th ~ deck fr om t he l e f t hand to
r eplace i t to t he table . You can u s e
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th is for a color deck swi tch an d you
~ i l l no t ' hav e to use matching fa c e c ard s since the D ou~1e Undercut,
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. wi t h de ck f ac e up , i s supp osed to be a cut to lose a c~~ d or c a r d s
!' ' . , t hu s a ne w f ac e card, at th e c oncl us io n of t he s e cut s, :J;;s pe rfe c tl y
. " . ',.l og i c a l -. - Some may want t o try dr oppi ng l e f t hand wi th t he lo wer de c k
.. . ~ . as' 'r i gh t hand places it s dec k on the table.
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ob viou s a pp r oach to dec k swi t ches and pa c ke t swi t ches is " Pr ope l l ed
Lapping"; ho wever) the manner in which you do t his a s well. as how
you get ready fo r it makes th e d ifferenc e. These hope fully s ha l l be
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l ower deck is swung i n to view as in the .Fi g . 10 and Fig. 11. The
right hand then co ncludes its action of secretly t aking tne clipped
deck, ..from t he l e f t hand, similar to the Fig . 1. Obviously the same
action's can be done for a packet switch or a sTngle car drs wi t c h . It
can als o be done with a face up card marking t he or i g i na l ! pa ck e t .
This face up card is simply pulled down, with the rig ht l~t fing~r,
onto and in line wi t h t he clipp ed pac ket as the vis ible p ~cket is at
the s ame time drawn down into the left hand clip posi t i.on .l' A few
trials with this and you will quckly get the idea. Thus Y9,U can
switch a Blue Deck f or a Re d Deck because the pulled down ~o p Blue
Back c ard goes onto a nd covers the Red Backed deck. To all~appe ar
a nces the Blue Deck , which has just be en shuffled and ha nd l ed by the
spectat ors, is still the same Blue Deck but in reality a Red Back
deck with a covering Blue Back card. To eas ily insure the transfe r
of the top card you can resort t o the end-tapping procedure as it is
during th is time that you c a n down -j og the top card o f the up per-most
Blue ~eck in line with t he in-jogged Red deck. Just refer t o the
.Fi g . 8 and 9 of Vi sible Retent ion t o get the i de a of ~jlen to do the
down -Jogging of the top c ard with the right 1st fing e:=f:.. From here
t he r est f ol l ows as in the Fi g s . 1 0 and 11 or-th e Vi si ~le Retention
Deck Switch and end ing by using tne action of Fig . 1 to' get the
clipped deck out of t he l eft hand and i n t o the lap..
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caras S~ l ~ ~ n e~a ln a ran. ~ne nex~ ~nree caras o r ~ne ran , ne~a In
th e ri ght hand, can be flash ed e a c h time you insert a Black card be t ween t he 3rd and 2nd c ar d s , 2nd a nd 1 st c a rds wi th th e la s t on e go i ng on top-oI t ho s e held wi t h the l e ft hand . The e l onga te d f an is
now very fa i r l y squared up and he ld in the le ft hand dealing position .
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left hand the right hand inserts the face up Black cards, one at a
time into the Red cards, by placing the first Black card to under
the last or ~th Red card of the fan. The next three Black cards go
between 't he 4th and 3rd, 3rd and 2nd, 2nd and 1st Red car~s respectively, thus you are holding an elongated fan which shows '1he Black
and Red cards alternated. Square up the cards and turn th~m face
down into the left hand dealing position . Again go throug~ some magical gesture us ing appropiate patter. Deal the top 3 cards taking
them one at a time under each other by the right hand and a~, before
on the 4th count do the Covered Second Deal. Retain the fo ~ cards
in your right hand while the left hand places its cards face~down to
the table. Do the Olram Subtlety to show the 4 cards you held onto
as four Black cards; however, use the last two Black cards to scoop
up the two tabled cards so that they will be back in the same order
of Bla~k-Red-Black-Black from the top down as when doing the Olram
Subtlety. (See Vol. 1 of the Magazine for Olram Subtlety.) Toss
the Black cards back face down to the table. Pick up the Red cards.
Show them as four Red cards. You show them as four Red ,~ r d s as fol.l ows : The left thumb deals over the top card and rig~: .hand takes
it by the upper right corner with thumb on top and 1st ~n d 2nd fingers below. The right hand turns inward in order to f l ash the face
of the red card. Meantime, the left thumb has dealt over the next
top card. The right hand moves down to pick off the next card to
under the one held in the right fingers and thumb. Again the right
hand turns inward to flash the face of this c ard while the left
thumb deals over the next top card of 'i ts cards. This time the right
hand moves down to apparently t ake this third card to under those in
the right hand. Actually, the left thumb pulls this card back flush
with the card in dealing position; however, the sound and illusion
of taking the card simulates the actual taking of the card as the
right hand again moves upward to flash the face of the Red card.
This time the r i ght hand comes down and takes the last t wo squared
cards as one on the count of "Four" to 'show and flash a Red card.
(The above count was shown to me by Marlo.) You have shown a separation of the Red and Black ~ards and are nQw ready to make use of
the actual existing condition for --THE MIXTURE CLIMAX:
1. Place the Black cards face down to the table.
Onto these place the cards face down, then, spread out the 8 cards
from right to left. Pick up the top card of the spread, a Red one,
using it to scoop up the spread; however, as the 'scoop up card' rides
under the tabled spread get it to slide into a position second from
the bottom of the spread. Turn the gathered 8 cards face up and respread them again to show that the Red and Black cards have intermixed
for the climax.
, ,2 .
Marlo solution rather than a Scoop Up, he does a Double Deal
stating that if you tap the cards with the top card (2 cards as one)
they will mix. For more details see Marlo's "Pure Oil and Water"
routine in this magazine Vol. 3.
3. When doing the above routine for other magICIans, Dave Solomon
makes them think he has extra cards by doing ' an obvious Buckle .
Count action during the showing of those four cards that may be In
his hands at the time. At the conclusion the magicians are surprised
that only eight card s remain thus making the reconstruction of the
routine that much more difficult.
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This time the r ight hand comes down and takes the last two squared
cards as one on the count of "Four" to 'show and flash a Red card.
(The above count was shown to me by Marlo.) You have shown a separation of the Red and Black cards and are nQw ready to make use of
11
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1 27
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(Ed Ma r l o)
,
:. The follow ing routine was inspired by Dave Solomon's
"8 Card Oil And Water". It is not of f er ed he re a s an Lmpr .o v emen t
but r at her becau se it has some i n t e r e sting pro c edures. W h~; knows
but t hat you may u se idea s f rom t hi s r out i ne and Solomo n' s :to come
1
up wi t h a t h i r d ve rsion .
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2. Say., "We have four Red cards and fou r Black cards . Altogether
we ha v e ei ght cards ." Here y ou coun t th e ei ght c a r d s bu t exe cute
the Bottom Deal Count on eve ry othe r c a r d, i . e . , on t he 2nd -4 th -6 th
card s taking the last two fairly on the c ounts of 7 and~ ~Th e --coun t is done ' s t r i c t l y in t he hands taking t he cards oh~-und er t he
othe r. To a l l appearances you have merely coun t e d t h e": ~5 g ht c a r d s .
' ( For de tai l s of the Bo ttom Deal Cou n t , with a n e w t ec hn i~ u e, s ~ e
this Vol. 3 of th e Ma ga z i n e .) Sa y, " The Bl ack c ards ar e on top of ,
the Red cards ." The r i ght hand takes the top card to fl a sh a Blac k
card . Repl ac e t hi s ca rd on to p . Take th e p ac ke t, from above by the
ends, th en tur n th e righ t hand p alm up to f la sh t he bo t tom Red c a rd.
The s e a ct i ons are t i me d wi t h the pa t ter lin e you de l iver . Retu r n
the pac ke t face down into t he l e f t hand. Squ e e ze t he packe t fo r
e ff e c t , then turn it face up . The pa t t e r line of , "Now the c ar d s
a l t e r na t e Red, Black, Red , Black , e tc. " are del iver ed as you up j og each Red card as you c orne to i t . Th i s s p re a di ng a nd up- jo gg i n g
is done be tween bo th hands . The Red ca r ds r ema in up-jo gged f or t he
momen t.
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5. Into the sp a c e cr e at ed t he fi r s t fac e Blac k car d is l oa ded. With out arty hesita t ion, the next thr e e Bl ac k cards ar e pushed over, in
a cont inuation of th e s pr e a di ng action, but these go dir ectly to
under the p ac ket. The d i splac eme nt ac ti on ha s a rra nge d t he pac ket,
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from the face to the top, in 3 Red cards-l Black-l Red-3 Blacks
order. Square up the packet.
, 6 . " ~urn the packet face down into the lef t hand dealing pos iti on.
The left thumb deals over the top ~ard which is taken by the right
hand, at the lower right corner with thumb on top and 1st and 2nd
fingers below. The 2nd knuckle of the right hand third finger
pre s s e s agains t the lower r i gh t c orner bo t tom ed ge o f the c ar d, then
moves ou t wa r d causing the c a r d t o p i vot fa ce up thu s showing it s
face. By pressing forward, on the back of the card, with the right
thumb, which moved downward when the card was pivoted face up, the
card i s again brought face dow-n. The nex t card is taken under a nd
a l on gs i de the first card. Now bo t h cards a re p i vote d , as a un it,
face up t o show tw o Black c ar ds . The next t wo c a rds are ta ken, on e
at a time, under those in th e r ight hand and then t ossed fac e down ,
t o the table. The patter for these actions is, "We have one, two,
three, four Black cards." Turn the remaining cards face up. Thumb
ov e r on l y two of th e f ace Red car ds , casua ll y showing t hree Red
c a r ds , as you s ay, "These are t he Red c a r ds . " Tur n the s e c ar ds
face down into the left hand. Spr ead or fan out these four cards
holding them in the left hand . With right hand pick up the tabled
c a r d and place it f ace down and up -jogged onto the t op card of the
fan . The next tabled card is i ns er ted be t ween the 1s t and 2nd c ar ds
of th e fan bu t s o that its sides are in line with the sides of t he
1 st c ard as shown in t he Fig. 2.
7. Pick up the n ext tabled card and insert it between the 2nd and
3rd car ds, 'of the fan , f r om the t op. At t hi s s tage 3 Bl a ck c ards
a r e up- jogge d . As the right hand re a c he s f or the last tab l ed c ard,
a ctually a Red one, the left hand turns inwards to f lash 3 Black
up -jogged cards seemingl y interlaced amo ng the four Red cards. The
lined up Black card hid e s the face of an actual Black card while
t he l e ft fingers co v e r the lower portions of this same Black car d.
Tu r n t he c a r d s face down. Insert the last card , in an up-j ogge d
c ondition between t he 3rd and 4th c a r ds of the fan. Squa r e up the
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card is again brought face dow-n . The nex t card is take n under and
a l ongs i de the first card. Now bo th cards a r e p i vote d , a s a unit,
f a c e up t o show tw o Black c ar ds . The next two c a r ds ar e ta ken, on e
at a time, under those in th e r ight hand and then t ossed fac e down ,
-"
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129
e~ongated
spread and hold it face down in ~he left hand dealing posi~
tion.The packet is squeezed for effect. The top four cards are
- de a Lt von e und e r the other, as they are taken by the right hand, at
the upper righ t corner with the -t humb on top and 2nd f i ng e-r t i p below
with the 1st f i nger a long the top edge at the upper-r i gh t ~o r n e r .
On the 4tn-card you do a covered 'S econd Deal whi c h result~ ~ in these
four cards being all Black. (See Vol. 2 of the Magazine f qr the
Covered Second Deal.) The four Black cards are turned fac ~ up onto
. the table and spread out. Turn the four Red cards face up .i p t o the
,l e f t hand and both hands , fan them out. The fan of four fac~~p Red
cards are now he ld in the left hand.
~
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8. You are now ready to go into Dave Solomon's Phase whe re i n the
c a r ds are alternated wh i l e face up. My handling of this is varied
slightly as follows:
Insert the tabled Black cards, in an up-jogged
condition, so that they become th e 2nd -4th-6th and 8th cards from
the face of th e elongated fan. Square up the cards and turn them
- face down into t he left hand dealing position. Sque e z ~~ the packet
for effect. Take the top four cards, one und er the otli~ r and as
before do a Co vered Second De a l on the 4t h car d. The l ~f t hand
places i ts car ds face do wn to the table-.--The cards in tpe right
hand are shown as fou r Black cards using the Olram Subtlety. The
last two Black carus are used to scoop up the two tabled cards
and packet is l ightly tossed forward to the table. The order of
this packet should be in B-B -R-B order from the top down. The
Red (?) packet i s picked up a n d shown as four Red cards as follo ws:
The top card is taken by the right hand and its face flash ed,the
next card i s dealt ov er and taken under and alongside the f i r s t
card in a sort of fann ed condition. Both cards are now flashed.
The third card i s not shown but simply taken under and alongside
the first two. At once the left fingers revolve the last card by
placing the left 1st finger under the card to bring it face up
nipped by the side between the left 1st and 2nd finger. The left
thumb go es under the card to revolve it outward and fa c e do wn to
end up being he ld, wi th the l e f t thumb on top and 1st f i n ge r below,
by its left side, this card is placed to under the other thr ee
cards but in line and covering the one Black c a rd. The right hand
follows-thru by once more flashing the faces of the Red cards and
, then drops them face down onto the tabled Black pack et. The complete patter line for these actions is simply, "And here are the
one, two, three, four 'Red cards. These Red cards go on top the
Black cards."
9. At this stage the tabled cards are in order of 2 Reds-l Black1 Red-l Black-l Red-2 Blacks from the top down. Pick up the 8 cards
place them face down i n t o the left hand into a Mechanics Grip-or
Master Grip. While the right hand is above the packet and squaring
the ends the left thumb angles over the top card so that its outer
right corner projects past the right side of the packet for about a
quarter of an inch. At the same time the left 2nd , 3rd, and 4th
fingers acting as a unit slightly Bu c k l e the bottom card, at tEe
same outer right corner, then still movin g as a unit e ase out the
bottom card to line up with the angled top card in readiness for a
Double Deal. (See SECONDS-CENTER-BOTTOMS (1960) for more complete
details.) The right 1st fingertip and thumb f irmly pinch the upper
right corner of the two lined up cards and start to move them, as
one, to the right. During this movement to the right, the upper edge
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placing the left 1st finger under the card to bring it face up
nipped by the side between the left 1st and 2nd finger. The left
thumb goes under the card to revolve it outward and fa c e do wn to
end un b e i n o hp l il _ w i r h
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of these two cards are pressed against the tip of the left 1st finger to insure further alignment. Once these cards clear the-packet
the supposedly single card is used to tap the ~ of the packet as
you say , "All' I have to do is tap the cards li~this and.,look what
happens." The two cards, as one, are replaced on top andrphe packet
is turned face up. You are now ready to show the colors g~ternated;
however, during the process you subtly set-up for the clim~x of the
routine ,wi t h what I call a ." Down - J og Displacement".
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.
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With the packet face up you up-jog the face Black car~<~with the
right hand. The left thumb deals over a Red card, then the~eft hand
. moves upward to up-jog the second Black card. The left hand moves
downward dealing over a Red card and as it does the lower right cor: ne r of this card is just under the lower left corner of 'the 1st Red
card. This is shown in the Fig. 3 where note that the cards are in
sort of a V formation. Note that the up-jogged Black card sort of
covers
the-1st
.
.
-- do wn-Jogged Red card .
10.
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Fig. 7
IS. Without hesitation the left hand feeds its 4th Red card to under
and with the other 3 Red cards. Both hands move~wards each other
during this 1st movement to converge the elongated packet as shown
in the Fig. 8. To all appearances the elongated cards still alternate .
16. Believe it or not the patter
line for all the above described actions is simply, "The cards
now are mixed into Black-RedBlack-Red-Black-Red-Black-Red."
This will give you an idea of
the natural tempo and action of
the Down-Jog Displacement. Done
smoothly with no hesitation it
appears you have done nothing
but show that the cards alternate.
17.
Fig. 9
Fig. 8
IS. Without hesitation the left hand feeds its 4th Red card to under
and with the other 3 Red cards. Both hands move~wards each other
]
place them face up on the table. While they are on the table both
hands now square up the cards as shown in the Fig. 9 . .
..:
18. As you square the packet point out that the cards wilL be tabled
and that they are in Black- Red order . During this you t a keso f f the
face Black card, which exposes a Red card, to emphasize t ha]; the
colors alternate.
Use the Black card to scoop up the packe #, which
logically would still leave the card's colors alternated, tHen turn
the packet face down onto the table.
Snap your fingers over the
tabled packet.
Spread the top four cards to the right.
Tur~~ ,these
over to show four Black cards followed by turning over the remaining
four cards to show these are Red . This climaxes the routine.
I ST NOTE: Originally I handled the final phase in the hands.
It
was Dav~ Solomon's suggestion to table the packet for the . climax.
2ND NOTE: At the stage of Step 7 of this routine, I had a variant
handling of the Red packet, conslsting really of 2 Red-A~ Black-l Red
card from top do wn as follows:
The first Red cara is ~~lt over and
taken by the right hand which flashed its face;
The nex~ Red card
is taken to under the first Red card in a fanned conditi6p and the
Tight hand flashed both cards on the count of "Two". This time the
left thumb dealt over the 3rd card but it was taken onto the two
' - f a n n e d cards in the ri ght hand.
The right hand flashed the faces
of the packet on t he count of three but the Black card remained hidden by the two fanned Red cards. At once the left hand revolved its
single Red card face up and face down ending by taking this card onto
the cards in the right hand on the count of "Four" . Because the
order of the cards was changed they were then dealt one at a time on. to the tabled Black packet.
From here the routine continued. This
handling of the count is mentioned as it could fit into other routines requiring such a count.
TECHNICOLOR OIL AND
WA~ER
(MARLO)
"
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handling of the count is mentioned as it could fit into other routines requiring such a count.
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133
1. From the Blue deck remove the Black 10-7-6-8 of mixed Clubs and
Spades.
From the Red deck remove the Red 6-7-8-10.
Place the Red
7H-8D onto the face of the Black cards.
On top of the Black cards
place the 8H
in that order from top down.
The .r e ma i n i n g
6D-10H are left in the lap faces down.
As one may surmi~k these arrangements are made very quickly below table level or wit~ a little
nerve can be made openly as you place the required cards 'f -a c e down
to the table and later secretly adding the extra 7H and 8~ to the
bottom of the 8 cards you openly placed onto the table.
if you want
the all.Black face card climax, then in your lap place 8 R~~ , Back
cards wlth Black faces.
~.
J7D-10D-6H
.,
' 2 . With the packet face down you say, "For this we use four Red
cards." Here your left thumb deals over the tDp four cards as the
right hand takes them, one under the other, to place these face down
to the table. Now say, "And four Blue cards." Here you thumb over
the top three Blue cards again taking them by the right hand one
under the other.
These three Blue cards are then placed to under
the card(s) held as one in the left hand.
Retain thi~packet in
your left hand while the right hand turns the four tab~~d Red Back
cards face up as you say, "These Red Back cards have Red faces."
Now turn the Blue packet f a c e up into your left hand.
The left
thumb deals over the face two cards taking them on e under the other
by the right hand.
On the third count do either a Block Push off
or Single Buckle to take a Block of cards, as apparently one, to
under the cards in the right hand.
The last card is snapped by
the left fingers and placed onto the fac e of the cards in the right
hand.
The right hand replaces the cards, still face up into the left
hand dealing position.
The patter line for all these actions is,
"And these Blue cards are one, two, three, four Black cards. II
3. Spread out the face up Black cards, holding the last thr e e cards
as one, to hol d them in a f a n in the le ft hand.
Be sure to have the
left 1st fing er extend along the top end of the last card(s) t o conceal its frontal thickness.
Also holding the fan of cards rather
deep in the left hand further conceals the ~ast card(s) thickness
if you worry about this.
You are ready to start intermixing the
colors but first remember to always start with the Red 10 and 6 and
not the Red 7 or 8.
4.
Pick up the first Red card,
either the 6 or 10, to insert
it directly-under-the last
card(s) of the fan.
Leave this
Red card out-jogged -for about
two -thirds its length.
The next
Red card, the 6 or 10, is inserted between the-4th and 3rd Black
cards from the race.
Italso remains out-jogged, but more important is that the left side of this
second Red card comes about a
half-inch to the right of the
Black cards left side as seen in
the Fig. 10.
Fig. 10
~.
~preaa out the
race up ~laCK caras, hOldlng the last three cards
as one, to hol d them in a fan in the left hand.
Be sure to have the
left 1st fing er extend along the top end of the last card(s) to conceal its frontal thickness.
Also holding the fan of cards rather
rtppn
in
rhp
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'5 . The third Red card is inserted between the 3rd and 2nd Black
c a r ds while the last or f ourth Red card is inserte d between t he
2nd and 1st Bla ck card. Al l Red cards are ou t - j ogge d . The right
hand no w co mes to grasp the elongated cards so that it ha~ hold of
s i x o f the cards that make up the el onga ted fan. The thum~s of each
ha nd are on the face s of the c ards with the fingers b e n e a ~h . Bot h
hands move away from e a c h other sort of momentarily splitting the
fan as show n in the Fig. 11 (Eleven) in a sort of indicat ofy gesture
a ccomp an i ed by the patter 1 i ne , "Re d and Black cards are mix ed. 'I
Du r i ng t h is slight s ep ar a t i on of the f a n , the 3rd Red card T\~rom .
the face actuall y clears the 4th Black card(s)~ort o f Icl rcking l
of f as seen in the expose d baC'Kview of . Fig . 12.
Fig . 11
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Fig. 13
Fig . 12
- ~ -- --
7 . Turn t he packet face down i nto the left hand dealing positi on .
Squ e e ze the packet f or e ff ect . You can no w thumb of f t he f irs t f our
cards which will be Red cards. The s e are t ake n by the right hand,
at t he l ower right corner with thumb on top and ' l s t and 2nd fingers
_ beneath~one un de r t he other. Th is r ig ht ha nd ta~i s i mportant to
c on f o r m to the ha nd l ing of t he Blu e-Black cards . Anyway, the right
han d t os ses i ts four Red Back cards fa ce up to the t a bl e spre ad ing
t hem out.
These will be t he 6-10-7 -8 cards of that col or so it i s
imp ortant that the Red card insertions always start with the Red
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The Blue cards in your left hand are really in order of 2 Blue 1 Red-l 'Bl ue - l Red-l Blue for a total of six cards which you will
show as 4 Blue using the following count techniques: Thumb.' over the
top Blue-card taking it with the right hand, by the lower ~ght cor ner, with right thumb on top and 1st and 2nd fingers be l owi-, You now
come over as if to take the next card but actually do a Cov~red
Bottom Deal. The left fingers simply Buckle the bottom card, then
relax as at the same time the right 1st and 2nd fingertips c~ntact
the face card as shown in the Fig. 14 which shows an exposed tpack
end view of the Buckle and Take with the right fingers.
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Fig. 14
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9. The right hand, having taken the bottom card, moves to the right
in a normal take action with the two Blue cards in a sort of fanned
condition. With the two cards held fanned in the right hand, the
right hand comes over as if to take the 3rd Blue card to under the
two held by the right hand. Actually y oU-Oo. a Second from the
Bottom Covered Deal. In other words the left finger again Buckle
, t he bottom card but the right 1st and 2nd fingertips move int o this
space, as shown in the Fig. ls-rG move out the next card from the
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bottom as seen in the Fig. 16. The completion of this unique count
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results in the Fig. 17 with three Blue Back cards held, in a fan,
with t?e ri~ht hand while the left hand retains apparently the single
Blue Back card. Actually, the left hand now has a Blue ~card with a
.Red 7 and 8 hidden under' it.
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10. The three Blue cards from the right ' hand 'ar e placed) to u'~der
the card(s) in the left hand and the packet is turned f~te up. Here
you now show these as four Black cards using either a single Buckle
or B~ock Push Off on the third count. The last card is s~~pped and
placed onto the face of the packet. Return the packet face .up to
the left hand and spread them as four Black cards by holding the last
three cards as one. You have shown the Blue backs and Black faces
of the cards and are ready for the next phase. Before proceeding,
let's title this particular count combination the "Unique Count" so
~ yo u will know what to do.
Also in doing this Unique Count do it more
,or less to your right to conceil the Buckles; however, later I 'will
;". de t a i l another count procedure using Buckles on~y. 1
'# '
-Ag a i n start w'ith the Red 10 and 6, then 'f o l l pw
\'4.1th" the
Red 7
and 8 inserting them under the~th card, between the 4th and 3rd
BlaCK card, between the 3rd and-zlld Black cards, between the
and
1st Black cards; however~his tIme, as you insert each Red card,
push it flush or all ~he way in. This now will give you an excuse
to show that you really did alternate the Red and Black cards by
up-jogging the Red cards and using the Down-Jog Displacement on the
4th Black card from the face.
11.
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13. Without any stall move both hands towards each other as at the
same time the 4th Black card rides under the 3rd Black card and above
the 3rd up- jogged Red card -a s in the Fig. 19.--Still keeping the
rhytnm-of the jogging action, the left hand moves its block of Red
cards to up-jog it as apparently the 4th Red card as in the Fig. 20.
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137
Fig. 19
Fig. 20
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14. Turn the packet face down into the left hand dealing position. "
You are now set to cleanly take off the top four Red Back cards by
the right hand, one card under the other, then turn them face up to
the table to show four Red cards. The Blue cards are shown as four
Blue backed cards using the "Unique Count" as per Steps 8 to 10,
Figs. 14 to 17 inclusive. The three Blue backed cards Tn the-right
hand are placed to under the card(s) in the left hand. If the
"Unique Count" is not for you, then use the optional procedure described at the end of this routine. Anyway, turn the Blue cards face
up and show them as four Black cards via the single Buckle or Block
Push-Off placing the last card onto the face of the packet. Re-spread
the four Black cards face up holding the last three cards as one.
You are set for the third phase of the rou~ine.
15. Again start with the Red 10 or 6 inserting them into the last
or bottom position and between~he 4th and 3rd Black cards. The 7
and 8 go between the 3rd and 2nd Black cards-and 2nd and 1st BlaCK
cards respectively. The Red cards are all in an out-jogged position,
then pushed flush very cleanly. You will now emphasize the Backs
and Faces of each card during which you will do another displacement
as follows:
"
16. The left thumb deals over the face Black card which is taken
by the right hand, at about center of its right side, with thumb on
the face and fingers . on its back. Say, "Black and Blue" as your
right hand turns inwards to show its Blue back. Take the next card,
a Red one, to under and alongside the Black card, then again turn
the right hand inward to display its Red back as you say, "Red and
Red." Keep this up for the next cards until your right hand has
five cards. When you take the 6th card, a Red one, make sure its
left side goes past the right sIde of the 5th card, a Black one, for
about the width of the white border althougnthe Fig. 21 shows an
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up and show them as four Black cards via the single Buckle or Block
Push-Off placing the last card onto the face of the packet. Re-spread
the four Black cards face up holding the last three cards as one.
You are set for the third phase of the rou~ine.
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Fig. 22
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139
20. With both hands still in the same position push the cards
flush but hold the break, with the left 4th fingertip, below the
two face cards. With the right thumb li~up a third card to~ '
join the fac~ two cards and again regain the left 4th fingertip
break. Maintaining the left 4th fingertip break, "fIl:e right hand
pivots the packet s idewise, to-the right, to bring it fa qe down to
the tips of t he left fingers and thumb which grasp the pa~ket now
by its left side. Also a step will be formed, at the low~r right
'. corner, due to having held a left 4th fingertip break dur,1ng the
, sidewise turning action.
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- 21 . The right hand still holds the packet from above by t *e ~nds
which leaves the left hand free to move its fingers to under the
" pa c ke t. The left 4th fingertip pulls down on the step and again
,ge t s ' a break below the top three cards. You will now show four
Blue backs. The right hand grasps those cards above the break, at
about center of the left
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side, with thumb on top, 1st
fingertip again~t the edge-.,:. of the right s i~~, 2nd and
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IaCe, in readiness for the
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Fig. 24
' 22 . Having shown four Blue backed
, cards, those from the right
hand are placed onto those in the left hand and the cards are
squared up. You will no w do a re- mixing s~quence. Place the four
Red back cards onto the Blue back cards. Be sure that the Red 7
and 8 are on top. Your patter now is, "Remember the four Red c ards
are on top of the Blue cards." During this patter you spread the
four top Red cards, using both hands, during which time the 4th Red
card from the top is slid just past the left side of the 3rd Red
back card from the top. This causes a step under the 3rd Red back
card. Move t he Red back cards to the right as the l e.f "tthumb pushes
over the top Blue card on l y. Continue the right hand movement to
the right until you hear the stepped card click off of the Blue
back cards' right side at the lower left corner. When this happens
you move both hands towards each other and the top Blue back card
will automatically be fed above the 4th Red card.
23. In squaring up, get a break, with the left 4th finger, under
the top two Red back cards. Hold this break as your right hand
pivots the cards sidewise to the right in order to make that step,
at the lower right corner when the packet is face up. The left 4th
fingertip pulls down on this step to regain the break. While the
packet is face up execute the "Screening Action" to lap the lower-
Fig. 24
' 22 . Having shown four Blue backed
, cards, those from the right
hand
are
placed
onto
those
in
the
left
hand and the cards are r_ ..__
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most two Red backed 7 and 8 cards. This leaves you with 8 alternated cards. Do a Squeezing action, then turn the packet-face do wn.
Do another magic squeeze action saying, "Twice as much magic is needed f orvt h i sc " Grasp the packet, at the outer ends, s tr a dd l i ng it be. tween the right 1st and 4th fingers. Now do a one han~;fan to show
the backs all al terna ted-.0
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24. You will now show that the faces alternate, but du~ing this you '
set-up for the next phase of the routine. Square up the packet and .
turn it face up into the left hand dealing position. Pa t.ster, "Not
only have the backs mixed but the Red and Black cards al~~. ~s you
'c an see they are i n Black-Red-Black-Red-Black-Red-Black-Red order."
During this patter you start by up-jogging the Black card, then down. jog the Red card, up - j og .t he Black card, down - j og the Red ca.r d , e t c . ;
however, during this you actually do the "Down-Jog Displacement" as
described in "Pure Oil And Water l l at Steps 10 to 18 inclusive and
Figs. 3 to 9 inclusive. Thus you have the apparently still mixed
packet tabled and f a c e down. The right hand now pushes over the top
four Blue Back cards to the right and the Red back ~ r d s to the left.
During this your left hand is busy getting those t~d\1Red back cards
out of the way. I'm assuming you wi l l use the all R~d back with
.. Black fac es c l i max and th i s 8 card packet should coniist of the Blac k
. Eights-Sevens-Tens-Sixes to conform to some sort of logic. The left
' hand gets the 8 R~d back cards face down into a Rear Palm or Deep
Gambler Cop. Meantime, the right hand turns the four Blue backed
cards face up to s how the Black fac es and then turns the Red back
cards face ~p to show the Red faces.
25. Since the effect appears to be over you will find it an easy
matter to turn the Red back cards face down and scoop them off the
table onto the 8 cards in the left hand ; howev e r , get a left 4th
fing ertip break-b e low these ad ded Red cards. Also hold the packet
in a deep Me c han i c s Gr ip to conceal the front end thickness. The
.r i gh t hand turns the Blue back cards face down and adds them to the
top of the cards in the left hand. You now have a break below the
top . 8 cards. A lappin g t ec hn i que ,' brie fly ' touched upon in Vol. 2
of the magazine, wi l l now be described.
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29 . I n the event you decid e to use the all Red back elJmax wi t h
Red faces , t he n t he proc edu re i s s i mpler. During t he {ime that t he
right hand is s howing t he tab l ed cards a s hav ing separated, the le ft
hand gathers the or ig ina l lapped Red 7 and 8, plus the Red 6 and 1 0
that were in the lap at the s tart. These f our c a r d s are herd facedown, in a deep Gambl ers Palm, in the left hand . The r ight hand
sweeps t he four Red back ed tab led c ards face do wn onto those in t he
left hand. The card s are squar ed and taken by t he r i g ht hand, from
above by the ends , with t he r i ght 2nd -3rd-4th f i nge r s extended along
the outer end to conceal its th ickness-.--The r ight 1st finger i s
c urled ont o t he packet and the t humb is extended alo ng the i nn er end
of t he packet . The left hand p i cks up the table d f ou r Blue backed
cards face do wn i n t o a de aling position. The left hand now moves
inwa rd to wards the righ t ha nd as i f to place these Blue bac k cards
to under t hose i n t he rig h t, but actual ly you do the Propelled Lapping action whi c h se nds t he four Blue back cards directly into the
. l a p . Al l t hat remains i s t o c on c l ud e by s hQwing all c a r d s Re d ba ck
wi th Red f a c e s . My personal preference is for t he first c l i max
des cribed. Ins tead of doing the spread actions of Steps 19 to 21
inclusive, whic h may be found cumbersome f o r some, the f ol l owi ngcount,using the El msl ey Me cha n i c s wi t h my add ition on ha nd l ing the
cards on the 3rd and 4t h counts , will be f ound to flow very smoothly.
The c ou nt can-oe done-rTIto t he left hand or the r i gh t hand . I t will
be de s cr i be d into the right hand . The Bl u e (?) p a c ke t is face down
in the le ft hand. This p acket c ons ists of six cards in order of ~
Blue cards-l Red card -lBlue card-l Red card-l Blue card . Th e right
thumb and fingers grasp the right side of the packet and does a
D'Amico Spread as at the same time the l e ft fingers and thumb gr asp
t h e left si de of t he ..pa cket with t humb on t op a nd fingers benea th .
The t op c a r d 'i s t hu s ang le d of f to th e rig ht f or the righ t hand t o
e a sily take this card, on the count of one, into the right hand
de aling position. The le ft thumb pus he s over a bl oc k of cards wh i c h
i s taken into the ri ght hand , appar ently onto the c ard in the ri ght
ha nd ; however, this s ingle is actually rel oaded to under the single
car d at t he left fingertips and thumb. At onc e , a s the bl ock i s
taken i nto the right hand on t he count of " Two", the left finge rs
sprea d its two cards, the top one being moved to the right. Now on
caras race ao wn l n T. O a ae a.11ng POS 1T.lon. rne .1el:T. nana now moves
inward to wards the righ t ha nd as i f to place t hese Blue bac k cards
to under t hose i n t he rig h t, but actual ly you do t he Propelled Lapp ing action whi c h se nds t he f our Blue back cards directly into the
'l an .
All
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the count of -"Three" the top card from the left hand is taken to
under the cards in the right hand. On the count of "Four", the
final card from the left hand is also taken to under the cards in
, the right hand. At this stage the cards in the right hand,are in
a dealing position. To avoid any undue shifting of the P?~ket for
the face up count, the right fingers Buckle the bottom car~ very
- ~lighhtlYbwhil~ the left hand turns palm down to position t~e tip of
Its t urn agaInst the left side edge of the buckled card as in the
Fig. 27, a back view of this action.
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Fig. 27
Fig. 28
30. Press the left thumb . onto the face of this buckled card main-t a i n i n g the buckle while the left 1st and 2nd fingertips press onto
the top of the packet at its left side . Now simply turn the left
hand palm upward when the buckled card will be automatically sidejogged, for about three-eights of an inch, to the right as shown in
the Fig. 28. From here go into the identical count actions already
described of taking the first card into the right, then the block
as your left fingers resteal the 1st card, spread these two with the
left fingers, then take the 3rd ana-4th card counts to under those
in the right hand. The six card pacKet is still in its original
order ready for the re-mixing phase of the routine.
31. While there is no problem using the "Unique Count" to show the
six card packet as all Blue backs thus setting up for the Buckle
Count to show four Black face cards, some may prefer to use the following "Optional Count". The six card packet, from top down, consists of 2 Blue-l Red-l Blue-l Red-l Blue. The packet is .f ac e down
in the left hand. The right hand comes over the packet to sort of
square the ends but actually to give cover to a Triple -Buckle executed by the left fingers. At the same time the right thumb holds a
separation on these three cards until the left 4th fingertip can obtain a break above these three cards. ("Marlo Buckle Break" from
Ireland Card Annual, 1956) The left thumb deals over a single card.
The right thumb and fingers grasp the lower right corner of this
card and at the same time the right 1st and 2nd fingertips enter into the buckled space to firmly grasp-rhe double card also, then the
right hand moves to the right to form what appears as a three card
spread. The right 2nd fingertip contacts the 3rd card(s) of the -
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hand palm upward when the buckled card will be a~tomatically sidejogged, for about three-eights of an inch, to the right as shown in
the Fig. 28. From here go into the identical count actions already
described of taking the first card into the right, then the block
"_~
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(Dav e Solomo n)
1. ' Se t - up from , top down - 1 Blue back card with Red fa c e .. 3 Blue
backed cards with Black faces - I Red backed card wi th Bl a c k face 1 Blue backed c a r d with Black face .. 4 Red backed card s with Red
fa c es. Turn packet face up into the left hand dealing position .
Sp re a d the cards ou ~, between both hands , to display eight cards by
d ealing over 5 cards, Triple Buckle to make 6th card a Double, then
a s ing l e card-and hold last two as one . Take-the face four Red
face c a r ds into the right hand , keeping t hem spread or fanned, then
t u r n bot h hands palm down t o s how the backs of the f our Red ba c ked
cards in the r ig ht hand and f our Blue ba c ked c a r d s i n the l e f t hand .
Place t he c ar d s tog e t her wi t h th e Red fa c e c ard s go i ng back on to the
face of the Bl ack f ac e car d s . Squ ar e up the pa c ke t and turn i t face
:'
nann ~o a rlgnL nana, Lney can oe apPllea xrom Lne r l gnL nana
to the le ft hand. Also whi l e the application of the Down-Jog Displacement , as depicted in the Figs . 3 to 8 of "Pure Oil And Wa t er " ,
was to that of an Oil Amd Wa t e r r outine . the idea is applicable t o
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4. Pick up the Red cards and turn them face down into the left hand.
Do a Triple Buckle and get a left 4th fingertip break. Spread the
cards as follows: Push top to the-rIght, then push over two cards
as one followed by a Single Buckle to form a spread of four Red
backed cards. Square the packet and turn it face up into the left
hand. In a further squaring of the ends, the right thumb, at back
end, lifts up the face two cards in order that the left 4th fingertip can get a break below them. Your right fingers and thumb firmly
grasp the face two cards, at the lower right corner, to move them
over to the right as one. Thumb over the next two cards to form a
spread of four Red face cards. Using both hands openly exchange
the second and third Red face cards in a sort of casual display
action. The object here is to get the Red face Blue back cards together under the face Red face card. To check the order of the cards,
after this displacement, will be, from top down, 3 Red backed cards
with Red faces, a Blue backed card with Red face,-a Blue backed card
with Black face and a Red backed card with a Red face. After this
displacement the four Red face cards will still be held, in the left
hand, ina face up fanned or spread condition.
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Pick
UP
the Red cards and turn them face down into the left hand.
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B-R-B-R-BB-RR.
8. With the packet stil l face up get a break above th e two l ower-mos t c'urds. ,1 Beg i n by down-j ogging the fa ce Black c a r d and up - jog i ng the Red card . Down- j og and up-j og the hext Black an4"Red cards.
As you down-jog the next Black card you actually leave b~hind two
Black cards. At once up~jog the remaining two Red cards~: as one,
then immediately strip out the Red cards pulling the colq~s apart.
Toss each packet to the table where the spectator can now' examine
them. The above is David Solomon's subtlety.
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3. During the counting off of the Red back cards you must always
do it the same way in order to condition your audience for a later
false count. The count off is a natural one wi th left thumb pushing
oy e ~ the top card which ~s taken into a right hand dealing position.
The n ext.' thr ee Red back cards are likewise taken, one at.. a time onto
each other, as you audibly count, "One, two, three, four . ~e d back
cards." Then toss these face down onto the table.
.
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4 . The Blue back cards are counted in a simtlar manner ar{:d in fact
the last two cards are taken as one in the same way as y~u'would
take a single during this type ' of count. This action, if ::i.:~t. can be
called that, is to slmply
clamp the last two cards at
,,,: ' t he i r left side, near the up_ per left corner, between the
' . : left thumb and first finger
.. . -' a s the four left fingers slide
and curl in under the card(s)
and against the . palm as shown
in the Fig. 30 ~ t h the right
'-'., ~.' hand about to t 'if'Ke this card(s)
onto the others. ':: Since the
left fingers .are out of the way
; the card(s) can be taken deep
"" ' . enough into the right hand for
the right thumb to clamp down
on them on the count of "Four
Blueback cards." Executed with
..
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rhythm this moveless' move has
Fig. 30
the illusion of having pushed
over the last card.
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5. The Blue back cards are replaced face down into the left hand
dealing position. The right hand turns the four tabled Red back
cards face up as you say, "These four Red back cards have red faces."
The right hand turns the Blue back cards, end for end, face up back
into the left hand. The cards are shown as four Black face cards
by thumbing over the cards, Qne onto the other to take th em into the
right hand, then doing a two card pushdff on the third card(s) with
the last card going under the packet. The patter line for the above
actions is, "And these Blue back cards have Black faces."
6. Place the Blue back cards face down into the left hand. Buckle
the bottom card, with th e left fingers, to transfer it to the top.
Now spread out the four cards face down by holding the last two
cards, a 'Blue and Red, as one. You now insert the Red back cards
face down between the Blue back cards; however, follow the rule of
making sure that 'the Red 10 value card is always the last card to
be picked and inser fed. The count-offs of the Red back cards have
been arranged so that the 10 value card will always be the last
card when these cards are turned face up. Insert the Red back cards
in the following order. First Red back card to under the fan of
Blue back cards leaving the card out -jogged for about half its
length. The second Red back card is inserted between the 4th
and 3rd Blue back cards from the top. It also remains out-jogged
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dealing position. The right hand turns the four tabled Red back
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The ;eft fingers extend and converge the still elongated packet
the rignt hand comes over the packet and pushes all cards
flush and square into the left hand dealing position. Turn the packet face up, do a magical squeeze, then thumb off the foui!face up
cards, without reversing their order, which are taken, by ~the lower
right corner, by the tips of the right thumb and fingers i~ a fanned
or spread condition. The right hand places these cards faee up to
the table. The Red 10 value will be the last card from th~ \face.
The Black cards are now shown by taking them wi th the right~;f,!land,
, a ga i n by the lower right corner as before, one under the other. Do
'a Single Buckle or Block Push-off on the third card as left fingers
snap the last card and place it onto the face of the other Black
cards. Square up the packet and replace it face up into the left
hand deal ing position.
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9. Thumb over the face three cards of this Black packet, holding
the last two cards as one, to form a fan of four Blac~~cards. The
right hand takes the Red cards and inserts them, practl~ally flush,
one at a time, in the follo wing order. The first Red da r d is inserted to under the last, 4t h card from the face, Black card. The
second Red card is inserted between the 4th and 3rd Black cards
from the face. The third Red card goes between the 3rd and 2nd cards
from the face. The Red 10 value card is placed between the 2nd and
1st Black cards from the-race, then the packet is squared ana-held
face up in the left hand.
10. You will now again show the ,c a r d s as mixed at the same time do
a Down-Jog Displacement as follows: The face Black card is down jogged and the Red card is up-jogged. Down-jog the secondBlackcard
and up-jog the second Red card. As you are about to down-jog the
third Black card you do the Down-Jog Displacement, at the lower
corners, with the third Black card. Without hesitat~on, up-jog
the third Red card. As you down-jog the fourth Black card do a two
card push-off as you again do a Down-jog D~splacement. At once
out-jog the remaining Red card. Converge the elongated packet and
display it in this condition ' f or a few seconds, then with the right
hand, from above by the ends, push the cards flush. Turn the packet
face down into the left hand. Squeeze for effect. Thumb over the
cards, one at a time, taking each one onto the other, into the right
hand dealing position. These four Red back cards are then turned
face up and only slightl y spread out. This is done to conform to a
later action. The Blue back cards are counted in the same manner,
taking one onto the other into the right hand dealing position, except do a two card push-off as you take the third Blue back card.
Sna~ the last Blue back card and place it to the bottom of the packet.
Turn the packet face " up to show them as four Black face cards. This
count is done by taking the cards, with right hand, at the lower
right corner, one under the other in a fanned condition. Do a single
Buckle or Block Push-off on the third card. Snap the last card and
place it onto the face of the cards. Square up the packet and replace it into the left hand dealing position.
11.
Thumb over three of the Black face cards holding the last two
ana uP-Jog ~ne second Ked card. AS you are abou~ La down-Jog Lne
third Black card you do the Down-Jog Displacement, at the lower
corners, with the third Black card. Without hesitat~on, up-jog
the third Red card. As you down-jog the fourth Black card do a two
card nush-off as VOll a c ai n no .q Tlown j o o ni .<::nl.qrpmpnf', At" o n c.e
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149
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' a s one to form a fan of four cards. The right hand now inserts the
Red face cards, one at a time, leaving them in an out-jogged position.
The second Red face card is inserted between the 3rd and 4th Black
face cards remaining out-jogged but with its 1eft-sIde goIng about
.' a half inch past the right side of the Black card that is above it.
When the second Red face card has been inserted the situation will
be as already shown in the Fig. 10 of "Technicolor Oil .A~ Water".
Insert the third and fourth Red face cards being sure th~ Red 10
value card is inserted last between the 2nd and 1st Blac~'cardS-from
the face. Holding the elongated spread WIth botn-liands, :bne hand at
each respective side, you now displace the 3rd Red face ~a!d to the
bottom of the elongated spread as previously explained in \f,Techni. color Oil And Water'l at Steps 5 and 6 and shown in the Fig~. 11, 12,
and 13. After the displacement of tne 3rd Red face card to the
bottom the sides of the still elongated packet are pushed .flush. The
right hand cemes above the cards to square the ends flush. Turn the
packet .face down into the left hand dealing position.
12. Squeeze the packet for effect. Next you seem to count off four
< Re d back cards taking them, one onto the other, into ~the right hand
. dealing po s i t i on , Actually you do a false count on t"te count of
"Two", then follow thru t aking the cards fairly on t h: counts of
"Three" and "Four". The right thumb goes under the'rfght side of
" t h e Red back packet in order to turn it face up. As you do this
the right thumb a nd fin gers do a tight spread of these cards or just
enough to show that these cards have Red faces but not enough to ex pose that onl y thr e e cards are ther e. Besides you at once do a
' c oun t of the Blue back cards to show four cards. Just do the mechanics of the Elmsley Count but preferably from a dealing position
in the left hand and into a dealing position in the right hand. During the mechan ics of the E1msley Count you will take the first card,
then reload this card 'back to under the packet as your right hand
now takes the block of ca,rds on the count of "two". The two cards
remaining in the left hand are taken, one at a time, to under the
cards in the right hand. Transfer the packet from the right hand
into the left hand as you also turn the packet face up.
13. With the packet face up repeat the above E1msley Count mechanics, to show four face up Black cards, being sure the last two cards
of the count are taken to under the packet. Turn the packet face
down into the left hand dealing position. The right hand comes over
the packet as if squaring the ends. The right thumb, at the back
end, counts off the bottom three cards, then the left 4th fingertip
moves in to obtain a break, at the lower right corner, above the
bottom three cards and below the top three cards. You now will
spread out the packet to show f ou r Bluebacked cards thus hiding two
" Red back cards which are the 3rd and 5th cards from the top. This
"'f or mi ng of a four card spreadcan be done in two ways and you can
' t a ke your choice frpm the two handlings that follow.
14. First, with the right hand still above the packet the right
hand moves those cards above the break to the right. At once the
left thumb pushes over the top card. The right hand holds all the
cards, by the ends, while the left fingers move out only the bottom
card to the left to display a spread of four Blue back cards. The
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now takes ' the block of c ar d s on the count of "two". The two cards
remaining in the left hand are taken, one at a time, to under the
cards in the right hand. Transfer the packet from the right hand
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16. Turn the packe t face up i nto the l eft hand dea ling po s iti on .
You will now do a Sc reening Ac t ion lapp ing move to ge t r i d of t he
one extr a Red back 10 value card. Brief ly , execute t he ac t i on s,
with the l e ft fi ngers , t o hol d back the l owerm ost Red bac k c ar d a s
the ri ght hand , which is a bo ve t he pac ket hol ding it by t he end s,
moves t he res t of t he packe t fo r war d and past th e l eft 1st fing e r
for about hal f its l en gt h. The ri ght hand no w fl exe s tne-outer end
of the packet so tha t i t more or l ess bends ov er t he left 1 st f i ng e r .
Under cover of this f l ex i ng action the left 1st finger can-eisily,
without any tell -tale movement, kick the extra-lO value card into
the lap.
-17.
Turn the packet ov er and face down into the left hand.
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Your le ft hand mean tim e drops in t o lap to get the 8 Red backed
At t h i s stag e y ou exe c u t e- th e requir e d
. ~appi n g actions a s dep icted by t he Figs . 2 S and 26 a t Steps 26 to
. : 28 of t h e "Te chnic olor Oi l And Water" r ou t i n e to cl i max t he r outine
- t o show 8 Red ba ck cards with Black fac e s.
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j ogg i ng the-fir st or f a c e c a r d, t hen up- jog the~ second or n ex t c a rd.
From t h is point as you down-j og e ach of the requ i r ed c ar d s yo u do
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3. When the spectator has dealt a card face down you stop him. The
right hand reaches for the face down card taking it by its lower
left corner with 1st and 2nd fingers on top and thumb beneath. Swivel
the card so it end s up being held lengthwise with the right fingers
and thumb now hold ing what has become the upper right corner. The
back of the card faces the spectator. Point out that this is the
card he dealt face down; ho wever, if he wishes to change his mind
this card wi l l be turned f a c e up and he can decide on any other
card as he continues the deal.
4.
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you will event.ua Ll y end up holding a card lengthwise with its back
to the spectator. Now read carefully as to how you handle the card
tha t <ha s be en decided upon. The right hand, wi t h its card, moves
towards the table's edge as the left hand moves forward towards the
face up dealt cards. The palm down left hand fingers ipread t hese
face up cards to the right. At this precise moment the ~left forearm
will momentarily screen the card in the right hand. T~~ right hand
carries this card downward behind the table's edge. As 'soon as
the right fingers touch the table top this card is rele~~~d, to fall
into the lap, as at once the right thumb contacts the hu~g card and
pulls it up to meet the right 1st and 2nd fingers. This very quick
and easy switch is completed by the time the left hand moves back
to the left. To all appearances ~othing has happened since the
right fingers and thumb are still holding a card in an identical
position. The card, if the timing is right, never seems to have
left sight. The patter line, to cover these actions, is simply,
"Remember,
you could , have dealt anyone of these cards," as the
.
left hand spreads the face up dealt cards.
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5. The card from the right hand is .now replaced fac~ down onto
the face up dealt cards. The spectator deals thru the rest of the
deck with the predicted card not making its appearance. At this
stage, if you have executed the effect correctly, you should hear
,r emar ks like, "It can't be", "Idon't, I won't believe it", "Don't
't e l l me" and so 'forth. For the climax let the spectator turn over
the face down card.
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6. Note that after the spectator has decided on a face down card
he continues to deal the rest of the cards. This is an added time
factor that on occasion will make them forget you ever handled the
face down card. Thus this approach is recommended over my original
method using the Hung Card.
2ND METHOD:
There are times when a face up card is used as the open
preqJ.ction instead of writing it out. In this case the following
methC1a, -which can be done with a bo rr owed deck, is direct in its
approach.
:
1. For this you will need a deck of your own; however, the other
'd e c k , which can even be Bridge size, can be borrowed. For this
description assume that both decks are regular Poker ~ize and a r e
contrasting i n color. Your own deck, which let us say is Blue
Backed, decide on a card you will use. Suppose you decide on the
5S. Onto the back of this card, along the right side border and
top and bottom borders, apply a slight smear of white wax. The
left side border of the card is untouched. To check au just how
tacky this card will be place another card onto its back and press
it along the right side borders and top and bottom borders. There
will be no flare out of the cards. Next hold the waxed cards by
their left side, at center, with left thumb on top and fingers beneath.~w split or separate the cards by pushing the top card to
the right with the left thumb while the left fingertips pull the
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face down card. Thus this approach is recommended over my original
method using the Hung Card.
2ND METHOD:
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155
bottom card to the right. The cards should form a two card spread
without undue effort. If you have ani trouble in getting the cards '
to splitt then you probably applied too much wax. Remove or scrape
off any excess and try the splitting again. Eventually you should
have a card that has enough wax on the required borde~~ to insure
good adhesion of another card to it and yet not hang u~ when you
need to split them.
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. 3 . Now you are ready to begin the Open Prediction. Have the spectator shuffle the Red Back deck that has been in use. During this
you .r emov e the Blue deck t which has been in your left side coat
packett wit h your left hand. Both hands just natur~lly stay belo~
table level as you remove the deck with your right~~and and toss
the card case, with your left hand t onto the table. } The left hand
at once goes below the table level. The right hand places the
deck into the left hand, then picks up the lapped SS to place it
face up on top of the deck and thus onto the top face down Blue
BaCKea-SS. Quickly cut about 5 or 6 cards from top to the bottom
of the deck, then both hands move into view as they square and
squeeze the deck t not too obviously, to make sure that the back to
back SS cards will be in alignment as they adhere to each other.
All the above is done while the spectator is busy with shuffling
his deck while you say, "I think I have another deck someplace.
Hope all the cards are there. No matter, only one card will be
needed.
4. By this time perhaps the spectator is finished shuffling his
cards; however, it doesn't matter as you continue with, "You
shuffled your deck and I will shuffle mine." Here do an Overhand
shuffle, shuffling off about half the d eck , then throw the rest
on top. This brings the waxed back to back 5S towards the center
of the. deck. Again you square up the deck, squeezing lightly, to
insure good adhesion of the 5S cards. Here you say, "I will use
one of the se cards. It doesn't make any difference which one.
This one here is alright. What is it? Oh, the Five of Spades. As
good as any." During the above patter line 'you have spread the
deck between both hands with the faces towards the audience but
the backs of the cards towards yourself. This indirectly conveys
that you could not see what card you up-jogged until your right
hand removed it and-pIaced it face up onto the table. Needless
to say .that the cqrd(s) you up-jog is the SS that is facing you
while the spectators are looking at the face of your original SS
belonging to your deck. In placing the card(s) face up to the
table do not toss the card(s) because of the added weight. Just
casually lay the card(s) to your left with the end of the card(s)
toward you. The visible face up SS is your Blue Backed card while
under it, face down, is the 5S from the spectator's deck. The left
side of this card(s) are unwaxed.
5.
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stop when he comes across the 5S in his deck. After he has dealt
a few cards face up again stop~im and tell him that at any tim he
wishes he an deal a card face down.
He continues the deal and
somewhere along the line he deals a card face down. At: this point
you stop him and let him know that he can change his mi~ and deal
some other card, further in the deck, face down.
: .-
6.
Each time you ask and give him a chance about chang ing his mind
as to the face down card dealt your right hand also pickS up the
card by the upper end at the upper left corner with the ~.ght thumb
on top and 1st and 2nd fingers below. When he has decidea on the
face down card you say, "Let's place it with this one." Here the
right thumb keeps pressing onto the upper left corner but the right
lstfingertips moves to curl around the side edge of the card at
this corner. The opposite or upper right hand corner moves between the right 4th and 3rd fingers at the base of the palm. ' Th e
right 2nd, 3rd, and 4th fingers are curled naturally under the card.
The major holding points on the card, at this stage",,1" are between the
thumb on top, the 2nd, 3rd fingers below, the 1st f~:nger curled around theleft sideat the upper left corner ' andthe " 4 p p e r right
corner pressing against the base of the palm near th~ 4th and 3rd
fingers.
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The above grip on the card is practically automatic and is accomplished as the right hand moves, sliding close to the table, towards the face up SS.
The left fingers keep the 5S in place as the
right hand with itS-Card moves to under the SS as-Shown in the
Fig. 1. Note the position of the card in the-right hand.
The front ) .
end of the card is screened by the right fingers while the right side- ;
of the card is hidden by the right palm which is sliding across the
table towards the tabled SS.
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8.
The right hand moves its card downward a~d to the left until the ~
face up 5S upper left corner touches the tip of the right 1st finger
with the-right thumb on top near this same corner.
The right 1st
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finger remai~s pressing against the side of its.card keeping it trap - "J
ped between It and the base of the palm.
The FIg. 2 shows that ap'
parently both the SS and the face down card, in the right hand, are
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in line; however, tne Fig. 3 shows how the top end of the face down
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d i d what you s uppos ed l y did th ere isn ' t any rea s on f or ex t endi n g
the right fingers . In fa ct , they would simply remain curled thu s
extending the righ t fi nge r s i s a consc iou s effor t t o pr ove s omething .
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3RD METHOD:
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1 . Assume the Double Face card is a lO S-S D. From the dec k pr eviou s, ly rem ove t h ~ ~e card. One of the s e car ds you decide t o u s e f or the ]'"
Op en Predict ion and for the description let 's say it is th e IDS .
The 'r e gu l a r I DS can be face down in your lap or in the Hung Card
gimmick with the face of the card t owards you and positioned lengthwise. The Double Face card can be on the bottom o~ t he deck or ou t ,
of the dec k al so i n your l a p . Si nc e you wan t th e ;We c k shu f fl e d by
the spectator the Double Face card can a l so be in 'ytiu r l a p with the
I OS face uppermost. Besides this you will need some white wax in
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your le ft side coat pocket. I n this same poc ket you have some paper J
or small note -book for writing t he Op en Predicti on .
.2. Have the deck shuffled by the spectator. Meantime ~et the DOUble)
Fa c e c a r d into you r left hand, the IDS side outward, into either a
full pal m or a Gambler's Rear Palm.--rake the shu ffled deck with
your right ha nd , fr om above by the ends, placing it int o the left
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ha nd and adding t he Double Face car d to t he bo ttom of the deck . Th i s ~ :
is done f or the pu rpose of s howi ng ho~ the s p e c t a t or is t o deal the
cards face up. Return the dealt cards into the center of the deck
and table it as you say, "Before we start I will write the name of
,a card." The le ft hand rem oves the pad fr om lef t c oa t po c ket and
a ma r ki ng pen fr om the insi de l ef t co a t poc ket . Wr it e do wn or
prin t " The Ten of Spades". Return the pen t o your pocket.
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....: 3 . Hand the deck to the spectator t o deal the cards face up, on e
at a t i me, then stop when he re ache s the IDS. Let h im d ea l a few
c a rd s and t hen inform him tha t he i s t o d eal any one of th e card s
f ace down . The left hand picks up t he pad and returns it to the
l eft s i d e coat pocket. While there the l eft 1st fingernail scrapes
a bit of the wax so that a smal l amount will more or les s roll under
t he n a i l.
~
and table it as you say, "Before we start I will write the name of
,a card." The left hand removes the pad fr om lef t c oat po c ke t and
a ma r ki ng pen f rom the insi de l ef t co a t po cke t. Write do wn or
prin t "The Ten of Spades". Return the pen t o your pocket.
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159
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turned face up and he can continue dealing and deal 'any other card
face down.
Regardless of this you should always manage the card to
be held in the left hand as already described .
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S. As soon as the spectator has decided on the face do~ card the
left 1st fingertip curls inward and presses against the ~face of the
card,~en the tip of left 1st finger is moved forward ~ich action
rolls out the bit of wax from under the nail and against~ the face of
the face down card.
The right hand takes the card, frorn "the left
hand, to toss it face down onto the tabled face up cards ~ ~ , Here you
say, "Let's speed up things a little. Turn the deck face\n.lp and
deal them to find the Ten of Spades."
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6.
The face card of the deck is the Double Face card with, in
this example, the SD showing while its opposite side has the IDS.
,Th e spectator just-may note that the SD has been dealt onto tne-face
down card and this will add to the deception; however, do not call
attention to this. Either they notice or they don't and let it go
at that. With all the cards having been dealt face ~~p the spectator
has not come across the Openly Predicted card in thi~tcase the IDS.
Pir:lc lin 't,hp. d ec k to square it, still faces up, between both handS
and also presslngupwards and downwards with the respective 1st
fingers which are curled on the top and bottom of the deck during
the squaring action. This insures that the face down card will
adhere to the face up card below it.
Spread the deck on the table,
from your left to right, in a neat, evenly spaced ribbon spread.
The face down card still shows and the SD, if anyone noticed, is
still right next to it. As an excuse for this ribbon spread you
say, "Let's just make sure you didn"t pass it up."
7. You also look over the spread making a comment, "I don't see
it anywhere, what card are we looking for? Oh, the Ten Of Spades.
Let's see what that card is." As you direct attention to the face
down card the left hand moves to the left end of the spread and
flips the spread face down to reveal a face up IDS. The original
face down card is covered, due to the wa~, by tne-face up card
that was directly below it. The right hand reaches for the IDS to
take it and place it into the left hand which takes it by the-Ieft
side.
The IDS side faces the spectators,on your side is the SD.
Boldly the right 1st finger snaps the right side of the card as
you say, 11 Incredible, the Ten of Spades."
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8~ If you have the nerve just toss the lOS face up to the table
while you gather the rest of the deck.
Cut the deck to bring the
waxed Double Back card to the top of the deck. Hold the deck in
' t h e left hand and with the same hand pick up the face up IDS onto
the deck.
You can easily do a left 4th fingertip release of the
,Dou b l e Backer at its lower right corner. Do a Double Turnover,
using one hand or two hands, to turn the Double Backer and the IDS
as one onto the top of the deck when a back will seemingly be on-the lOS. Remember the effect is over and all the above maneuvers
ease your conscience as regards that Double Face card. There are
other devious ways to convince (1) that the lOS is a regular card.
As an example, if the regUlar lOS is taken from the lap and added
to the face or bottom of the decK, then the Double Face lOS is
it anywhere, what card are we looking for? Oh, the Ten Of Spades.
Let's see what that card is." As you direct attention to the face
down card the left hand moves to the left end of the spread and
~lips _the spread face down to reveal a face up lOS.
The original
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take n onto the r egular IDS, then be doing a Double Turnover onto the l
face: .of t h e d eck the re gular IDS can be de al t o f f the face o f the d ec k
and t oss e d out for any curiouS-Sp ectator.
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9.
These thi ngs are mentioned be cause too man y t imes ~ ~ore wo rk
go e s into the c l e an -up o f an e f fe ct than the actual e f fect.
Just
let it b e or do a dir ec t typ e of ex ch ang e of th e Doubl ~ Face IDS
while th e de c k is still s pread out on th e table.
Recomm end ed--r5'
the Hu n g Card Exc h a nge wh i c h i s ideal if th e right hand\r:hold s the
IDS fac ing spec tators while the left hand fi nge rs.movi ng ov e r t he
sp r ea d f rom l e f t t o r i g h t , wi ll p l a c e t h e lef t f ore a rm a s a sc r een
when the r i g h t hand makes i t s swi tch o f cards . Th e p a t t e r fo r t h e
act i on is simp ly, rl An d ju s t th i n k, you co u l d h ave cho s e n a n yo ne o f
th~s e card s."
The other alt e rnative, if not using the Hung Card,
is to us e the Slydini method of swit chin g in whi ch the left h and
hold s th e l a pp ed c a ~d up -ri ght but belo w t able l ev el.
The ri g ht
hand ge s tures i n a n u p wa rd a n d downwar d ac tion, a c.somp a ni ed b y
app r o p i a t e pat ter .
Du r i n g a dow nward a c tio n t h e jfght hand dip s
its car d slightly below table level, at o n c e dr o p s l t , then the
ri g h t f i ngers and t humb n i p the c ar d f ro m the l e f t hand to b ring
it f ace out into v iew.
Pr o pe rly t im e d t h e IDS n ev er se e ms to h ave
left the si ght of the sud ienc e.
Re gardless of wh ich o f the above
two method s of ex c ha nge y ou d ecid e on the import ant th ing is t o
mer ely t o s s the now r e gu l ar c a r d, i n thi s example the I DS, f a c e u p
to t h e table .
Let t h e s p e cta t o r, if h e wan t s , p ick u p~e tabled
l OS t o l o o k i t over ; however , do n ot suggest this . This s h ou l d b e
no co n c er n o f yours si n c e the effect i s ov er.
Sco op u p the d e c k
and p la ce it in the left h and dealing p o s i t ion.
You hav e a waxe d
Doub l e Ba c k card s t i l l in the d eck wh i c h c an b e used, as you may
wish, i-n other effects that are dep end ent on such a card.
4TH METHOD:
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with the fa~es o f the cards to .~he spec tat or. Br eak the d e c k at
t he - f ~ c e up J oker plus the car~- to t he left of it.
The r ight hand
is r~ised ,so that ~spectator can note this card next t o the , Joker: Meantime the left hand has dropped to the s i d e' and turned
the top card of its portion face up. Also a left fing~tip break
i s ob t a i n e d bel ow it a t the lower right c orner. B oth~ands, with
c a r d s still facing the spectator, are brought together:i The noted
card and Joker are squared up against the top of the l~t hand
portion until all three cards, above the left 4th fingertip break,
are perfectly squared . The right fingers and thumb , re~~" o f d e c k
_
s t i l l held in the r i g h t hand, grasp the right side of these 3 cards
as on e to up-jog them, for only one-third of its length, as 1f you
merely up-jogged the Joker.
Since a back still shows on the spectator's side this is all perfectly logical.
The left hand alone
ho 1 4 s the still upright deck as the r i g h t ha n d s t r a d d l e s the o u t e r
end of the up-jogged card(s) to conceal the thickness. As the
hands are lowered the up-jogged card, which are now in a "Scoop
Up Palm position, similar to that shown of the rig~ hand in Fig. 1
o f the 2ND METHOD o f the " Ope n Pred icti on" , are refu:Qyed fr om the
outer end of the deck. The right hand can then pla2e the Joker
face up into the left hand rather deep to keep concealing its thickness.
If you need to know the name of the card, then place the
card(s) face down into the left hand . While the s pec t at or is busy
re-shuffling the deck the right thumb, at the inner right c o r n e r
lifts up the top card only thus noting the index of the spectator's
- card. At any rate the effect is then concluded as outlined in the
b e g i n n i n g using either a Center Reve rse o r t h e S i d e- Jo g t o get the
actual d e a l t face d own ca rd out o f play . Now what I wante d was
basically the idea that the performer wa s apparently unaware of the
c a r d chosen by the spectator thus i nd i r e c t l y conveying what seems
l i k e an uncontrolable situation but eliminating the sleights and
s t il l make the final handling direct as possible . The fo l low ing
is , t h e result.
1. For this you will need some wax as w~ll as a r egular Joker and
a Doubl e Face J oker with , say, a IDS on the o t h e r si de . From t h e
d e c k remove th e regular IDS . Therequired conditions n ow are some
wax in your left side coat pocket, the deck is in its case with the
two Jokers place face up on the outside of the flap. The regular
J oker should be the face Joker, the regu lar lOS is eit her in y our
l ap or in a Hung Card gimmick wi th i ts back toward you. The r e gular lOS can be the face card of the two Joker s under the flap thus
when you remove the card case, from your left side coat pocket, the
c as e is momentarily below table level where the right thumb can
ea s il y ' e n ga g e the I DS pulling it ou t int o y our lap.
Lat e r y ou can
alway s get it int o the Hung Card gimmick if that is what you decide
t o u s e . Performances will eventually determine the best procedure
f or you.
-2 . When ready to do t h e e f fe ct t a ke the de ck out from the left
s i d e co at pocket . Hold it in the left hand by the sides, with the
flap end uppermost and to the right. The right thumb and 1st
fing er pinch out the f ace Joke r , regu lar Joker , fr om u nd e r -rhe ova l
op en i n g , t o pla ce i t fa c e up to t h e tab le . Re p e a t by removing the
next Joker, the Double Face Joker, to deal it face up onto the
The fo l l owing
1. For this you will need some wax as w~ll as a r egular J oker and
a Doubl e Face J oker with. say. a IDS on the other s i d e . From t h e
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tab led J oke r . The right hand pick s up " t h e t wo Jo k e rs, wi t h the
r ig h t fingers digging i n u nde r th e right si d e o f t h em a nd the ' thumb
o n the f a c e, the n squares t hem up and t ur ns th em fa ce .d own . The
b a c k of the r e g u l a r Joker covers t h e Dou bl e Face c a r d ; ~ Th e who l e
s e r i e s of a ct ions i s simply that yo u r e mov e d the J o k er~ and placed
th em aside . Remove the deck f rom the c ard case pl ac i ng t h e card
c a s e to your l e f t.
Hand the deck to t h e spec ta t or f o~; s huff l i n g .
3. After ge t t ing the deck back hold i t fa ce up i n the We f t hand
dealing posit ion a s you give the spec tat o r the f o l lo w i n ~ ' v e r b a l
i n s t r uc t i on s . " I want you to hold the dec k fa ce u p i n your hand .
With the othe r hand c u t off some c a r d s , t h e n t urn them ove r and
fa c e down on to the remaining face u p c ar d s. ' This is to mark o f f
t he card you cu t to." Here you s p r e a d thru the cards t i l l you
rea~h the fa ce t o face c on d i t i on and po i nt ou t the face card mark ed ~ff in t h is ca s e.
Right the ca r d s a g a i n a s y ou co ntinu e wit h
th e pat te r . " You c a n cu t anywhere and as you can ;,~ e e y ou wi l l g et
a di f f er ent card eac h t ime ; ho we v er, I don' t w an t ~fou to be i nf l uence d by the f ac e o f th e c a rd y ou may cu t to arla~in o rd er to
ma ke this a strictl y r and em choice pl a c e the d e c k u ~ d er the tabl e
and c u t to mark off a card. Al so I will not b e a b le to s e e the
ca rd you cut to.
But fi rst, shuffle the deck aga i n . "
4.
Th e s p ectator h a s shuff le d t he deck a gain and i s a b ou t to compl y wi th y our inst ruc t i ons wh en you sto p h im a nd say , "Scme ti.me s
whe n cut ting th e deck ou t o f si ght for this you ma y i n ad ver te n t l y
t urn t he d eck ov er a n d e nd u p get ti ng the ori gi n a l bo ttom c ard.
To make s u re t hi s d oesn ' t happen let 's p la c e a J oke r on the f ac e
o f t h e d e c k and in t h is way you wi l l kno w t h at the J oke r sho u l d
be facing the c ard y ou c u t to ." Dur ing t h e above patter li n e y ou r
right hand ha s turned t h e Jokers face up . Take the face J oker,
the Double Face card, to place it Joke r side up onto the face o f
t he deck . The s p ec t a t o r now places t h e c ar d s under the table to
c u t and f a c e t h e m as instructed .
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On getting the de ck back hold i t in the l e f t hand dealing pOSl tion and say , "I f I wa~ to run thr u the c a r ds now to where you cu t
I d on 't want to know what ca r d
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I would al so s ee what card you cut .
yo u have marked o f f so I will turn the d ec k ov e r and I want you on l y ,J
t o note and r emember your c a r d. " He r e tu r n the deck ov e r, the n
s pr e a d t h e d ec k between both hands till you r e a c h the Joker . At
this point y ou s ho u l d have a fairly even sp read of cards where they
me e t fa ce to fa ce . Th e next step is to simpl y r aise b oth hand s ,
with the spread maintained , a s y ou ask t h e s p e c t at o r to remember
the c a rd next to t h e Jok e r . Actuall y he will be n oting the IDS
sid e of th e Dou ~ +e Face Jo k e r but to him e ve ry t h i n g a ppea r s f a i r .
Do no t make any mov e s of a ny ki nd , in ord er to prove som e thing.
Onc e the s p ectator h a s no t ed hi s card ju st lower th e h and s when
again t he Joker app e ars t o be ri ght next to hi s f ace down card.
Some may pr efer to rai s e th e hands f i r s t and th en t o s p r e a d the
card s to wher e they meet f ace t o f a c e in or d e r tha t th e spect ator
may not e his card.
Now ke eping th e spread just low er the hands
when i t appears that th e Jok er is ri ght next to the card h e noted.
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meet face ~o face . . The left hand has the face up cards with a Joker
at its face.
The right hand has the face do wn cards. With the left
thumb flick the lower left corner of the face down card that is
supposedly' the spectator's card as you say, "Remember your card.
Let's' just place it back into the deck." Here the Le f t ..!ha n d , with
the aid of the left thumb, turns its cards face down . .:l h e right
hand places its face down cards onto those in the left "band and
the deck is squared . Continue by saying, "We have s omel i d e a at
this time just about where your card is soa couple of ihuffles
should lose its whereabouts." Table the deck and give ~ ~!.. . several
Riffle Shuffles keeping the Double Face card at the bott6m of the
deck.
.
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7. Hand the deck to the spectator telling him to hold the deck
face down and deal cards, from off the top, face up one at a time
and ~o stop when he reaches his noted card.
In this case he would
be look i n g fo r the l OS as he deals. Wh ile the spe~tator is dealing your left hand picks up the card case to place ~t into the
. " , : , left side coat pocket. While there the left 1st f~ernail scrapes
a bit of the wax to under 't h e fingernail, then the 'h~nd is taken
out of the pocket. All this takes seconds and while ',jou are watching the spectator deal.
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Let him deal about ten cards or so when you stop him and inform
him that as h e deals he is to deal one card face down at any time.
The spectator r e s ume s his dea l and som e where along he deals one
card face do wn.
Stop him as your r i g h t hand picks up the card by
its lower right corner. At this stage you ask him if he wants to
change his mind and turn this one face up to deal another card face
down .
If he changes his mind the right hand turns the card face up
and he resumes the dealing.
9.
Let's assume that the point is reached when the spectator does
not want to change his mind as to the now face down card in the
right hand. The right hand transfers the card to the left hand
which takes it at the center with thumb ~n the top and the left
1st finger below. The right hand now spreads some of the face up
tabled cards as you say, "Remember, you could have turned anyone
of these cards face down but you decided on this one.
You are
sure this is the one you want?"
During the above patter the left
hand is gesturing with the card and under cover 9f this slight
action the tip of the left 1st finger is pressed up against the
face of the card, till its naIl also contacts the card, then the
left 1st fingertip is moved forward which will cause the bit of
wax under the nail to rollout and be spread out onto the face of
this card at its center. You need only a very slight amount that
will easily flatten out against the face o f the card.
In other
words you don't want a ball of wax. The right hand takes this
card to toss it face down onto the tabled face up cards.
10. Let the spectator continue the deal for about three more cards,
then stop him as you say, "Tell you what.
Let's speed up the deal.
Just turn the cards face up and deal them out, one at a time, till
you come to your card." The spectator now conclude dealing out
the cards but has not come across his card. With this you pick up
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Let's assume that the point is reached when the spectator does
not want to change his mind as to the now face down card in the
right hand. The right hand transfers the card to the left hand
which takes it at the center with thumb ~n the top and the left
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party, whose. deck you are using, has them handy somwhere. In this
case simply ask for them. These playing by ear tactics will be
left to the individual but for the clarity or description it will
be a s.s.ume d. tha t the borr owed deck has the two Jokers and you are
aware of this before you go into the effect.
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face do wn card below it will move off as one card. T4e right hand
deals this Joker, which is now an impromptu Double Face card, face
up onto the face up tabled Joker. Hand the rest of the deck to
-s p ec t:a tor for shuffling Rub off excess ashes by dropping left
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making sure that the card you waxed will adhere t o the c a r d below
it. Ribbon spread the deck f a c e s up, from left t o right, which
will .expos e only one face down card in the spread. Again your excuse "f or t'his is to make sure the spec tator didn I t pas's up his card.
Finally ask him what card he is looking for, when he na~es it this
' i s the first time that you know wha t it is. Flip the (~ce up spread
over and f a c e down wh i c h will reveal his card face up. '{Now here is
the good part . The right finger and thumb simply pick ~u p the inner
end of the face up card only to lift it up ou t of the sPfead and
toss it out on the table. The spectator can pick up thi ~ 'card and
look at and he will fi nd nothing that will g ive him any 21u e as the
card appears and even smells n ormal as c ompared t o roughing fluid .
You still have an impromptu Dou bl e Backer in the deck which you can
use in continuing effects that may requir e such a card. You can
eventually clean up the Double Back card by doing some effect which
gives you an excuse for putting the deck out of sight for a momen t
such as below the table level or behind your back where both hands
can be used. The Double Backer i s as silently as R~ s i b l e peeled
apart. One of these cards will have more wax, the t.~ J; i g i n a l waxed
card, t han the other. Your thumb 'nai l or the finger~ail can scrape
off enough of the wax leaving it in passable condition. Later on,
as the deck itsel f becomes worn and tacky, no one will notice any,t hi ng t o arouse suspicion . On the sub ject of using t he ashes this
works best with cards that are anywhere from new to used cards that
spread singly wi t hou t having any other cards sticking or cling ing
to them. Ther e are times when I have opened a brand new d ec k of
ca~ds and on spreading them be t we en the hands f ound they clung to
each ot he r as if they had been treated with roughing fluid. These
kind of cards, new or old, should be avoided unless you intend doing
' t he "Marlo Spread Double Lift" which is a refinement of a Double
Lift from a Spread Fan that I had in the IB IDEM l ong before any of
the o t he r card men came up with their "Kooky Doubles" from the
center of the deck.
: At this time I will make a Few additional observat ions
as concerns the "Open Prediction". For example, in the fina l v er s i on
just described while it can be done with a borr owed deck there may
be those who may point ou t that after the apparent free selection of
a c a r d by the spectator the performer shuffles the deck. The other
point that could be picked on would be the method of disclosing the
fa ce down card by flipping the ribbon spread cards face down. Now
these two points can be dealt with. The only question now will be
whether the procedure will be any better. Anyway, it's up to the
reader to decide for himself as to the following:
.
1. The pr ocedure for getting one of the Jokers back to back with
another card, using the cigar or cigarette ash idea, which you
really do not know is as already described in the final method.
Also the f orcing of t he c a r d , usin g t he J oker, real ly an i mpr omptu
Double Fa c e card, is again as describ ed in the final method but now
the procedure changes.
2 . You have j ust l owere d your hands with the spread de ck . The left
hand portion is face up with the face card being the Double Face
the o t he r card men came up with the ir "Kooky Doubles" from the
center of the deck .
: At this time I will make a Few additional observations
168
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under it. What could possibly happen? ' That is what you convey to
your spect ators .
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EFFECT: Four sel ected and sign ed cards vani sh from the d e c k . Four
Aces ar e pl ac ed on top of the dec k. Two Aces plus three ~~ d i t i o n a l
c ards, wi t h each pa ir of Ace s, are de a l t ou t be tween the ' ~ e c t a t o r
and the c a r d i ci an. The dea le r gets t he f our Ace s and the s p ec t a t or
fin d s he has the four s i gn ed c a r ds.
1. The a bove effe c t makes u se of t he as h i de a ; the r e fo r e i t c a n be
don e prac tic al ly impromptu wi th a borro wed deck wh i c h should be in
f a i r ly go od c on d iti on and not t a cky. I f you use your own c ard s, a
n ew d eck, or on e ju s t sl i ghtl y u s ed i s best. The se c r et pre paration
co ns i s t s i n rubb ing c igar or c i ga r et t e a s he s over th~. ba c k s of the
f our Aces whi ch t hen are pla ced on t op of t he de ck un~~ i l ready to do
the ef fect. A quick -drying marking pert , suc h a s t he t~Sharpi e" ,
s hou l d als o be on hand. In the event tha t you do no t wi sh to have
the fa ce s of you r card s ma r ked up, th en during a f a ce up de al o f th e
cards you wi l l hav e to c allout each c a rd as it is dealt. Otherwis e
th e sp ect ato r s will be r equ este d to watch for their signed ca r d s.
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4. Pl a c e the deck fa ce down t o th e tabl e and let the SRecta tors each
give the deck one straight cut. This is so that they wj Ll. lose track
of the approximate pos ition of their cards in case anyone of them
should be that observant. Pick up the deck and wi t h th ~ifaces towards
you slightly spread out s ome of the face card s and some & the cards
nea r the t op. In case an Ace i s t oo near t he top or bo tt om casually
cu t the cards t o bring that Ace either further from the t op or further from the face of the -deck.
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S. -Hold the deck face up in your left hand as for dealing with the
left 2nd, 3rd and 4th f i nge r t i p s against the right side of the deck.
Dea l -tEe cards face up t o the table and as you rea ch each Ace ma ke
sur e you apply more pressure, with your left thumb,~~ o insure two '
cards coming off as one. Having dealt thru the deck~inone of the
cards that were signed show up. Your initial excuse; for dealing
the cards face up, is for each spectator to note at what numbers
their cards will fall. Your count will end on forty -eight as you
conc l ude with, "Seems your car ds have vanished."
6. At this stage you delay going into the follo w up while you let
the spectators th ink about the vanish of their .c ar ds perhaps even
adding your own verbal comment such as, "It's all done with the invisible ink you used to sign the cards." After a while say , "Let me
s how you an interesting Poker dea l. " Here you turn the deck face up
in your hands. Spread the cards taking each c a r d under the o t her
as they are fed into the right hand. When you reach an Ace push
over t wo cards as o~e Ace, then take it, by the right side, between
the right 1st finger below and the thumb on the face, then very openly p lace i~o under the c ar d s in the left hand. To al l appearances
you have simply p l ac ed t he Ac e to the t op of the deck but rea lly t wo
c a rd s as one Ace. Repeat thi s procedure f or the r emaining 3 Aces.
With all four Aces on top of the deck hold the deck face down in
the left hand dealing position.
-
7 . This time press very lightly on the top card of the deck in or der
t ha t onl y a sing le c a r d moves of f . Dea l this card face down in front
of the spectato r as you say, "An Ace for you." Deal over the next
ca r d , take it with the right- hand, s how its face a s you say, "An Ace
for me" and place it face down in front of yourself. Deal the next
ca r d face down to the table for the spectator as you say, "Two Aces
f or you ." Flash your Ace and deal it face down for yourself saying,
_"Two Aces ap i ece. Now I will g i v e us each t hre e additi onal ca r ds t o
see which one of us c a n better his Aces." Here deal three cards, one
a t a t i me , between yourself and the spectator. Use your 5th card to
-s c oop up your hand. Square it up and turn it face up t o tne table
s ay i ng you will see if you bettered your hand . Spread out your cards
t o show 4 Aces saying, "Seems I got two pair, two pair of Aces ."
Look at the spectat or and s a y, "Do no t feel t oo ba d--you have their
s igned cards. " Wit h t hi s your -righ t hand flips his card s face up,
"
as they are t e d into the right hand. When you reach an Ace push
over t wo cards as o~e Ace, then take it, by the right side, between
the right 1st finger below and the thumb on the face, then very openly place i~o under the c ar ds in the left hand. To all appearances
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172
s pread i ng them out to s how the fo u r s ign ed car d s .
"
NE W AP PROACH TO A REVI SIT
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maining. Place this card face down into the oval opening of the deck
that has the Heart and Diamond cards. Thus the 2C is later easily
removed by i t s e l f . Place both decks into your left side coat pocket
wi th ,. ;the Spade and Club deck nearest the body, then t he Heart and
Diamond case. You are all set to do the effect anytim~f any place.
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6. Very openly push the card flush with the deck, ' indirectly showing no control ov er the card, then give it some Charlier Shuffle
cuts and a gai n bring t he J oker back to the bottom of t he d e c k .
During all this hopefully you have remembered the name of the thought
of card which was only mentioned once and which by now, ' has been
forgotten by the spectators .
7. With the deck -ba c k in sequential order your patter is, "You
have fairly chosen a card and it has been fairly lost in the deck.
Through a mental p r oc e s s I will try to feel the v ibrations of the
card you now have on your mind." During this you quickly spread to
where you know lies the 6C paired with a 2D. This is made quite
easy due to the ed ge marKed AC. This pair-is out-jogged and the
rest of deck squared into the-left hand.
8.
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tator to touch any card he wishes. Make sure that you drive home
the point of an absolutely free choice at this stage. When he
touches the back of the c ard very openl y out-jog it, for half i t s
leng th, then re-square t he deck, into the left hand, leav ing the
174
i.
9. When the hands mee t t h e two car d s a r e now s imp ly s h~~t ed , betwe elJ
t he fin gers a nd thumbs of eac h hand, pa s t e a c h other . Dut ,ing this
shuf ting pr ocess kee p an eye on the r egu l a r 2C a lthou gh y6u c an fe e1 1
t he dif fer enc e betwe en t he smooth r egu l ar 2Cand t he r oug hed c ard.
J
Your p att er, t o cover t he a c t i ons from Step-~ t o t h i s po jnt , i s,
" I have be e succ e ssful in f at homing one thought ", h ere the l e ft
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hand tur n s th e 2C f ace up a s you add , " in yo ur cas e t he Two o f
j
Club s ." Drop t ne 2C fa ce up to th e ta bl e a s yo u c ont in u e with,
"Bu t wha t a bou t t hi s c a rd whic h has be en her e a ll the time b e f or e
you ' t ho ug ht of a c ard. Tell me , what c ard d id you jna lly t h i nk
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of? " On the s p ec t a t or naming his card, t he 6C i n t m:,s c a s e , s l owl y
t ur n th e face down c ard ov er to s how i t i s hi s t hougJi't of card .
1 0 . Put th e r egul ar 2C and the 6C f ac e do wn onto the t op of th e ded]
Place t he cards in the-case and pocket it . Later you can easi ly r e s et thi s deck and pl ac e t he r egu l a r 2C with t he Hea rt an d Di amond
'Cj
deck un l e s s yo u hap p ene d to u s e th i sde ck i n the e f fe c t. The fact
.1
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that you n ev er ha ve to look a t t he fa c e s of th e deck is a very
s t r ong fea tur e and th e u s e of a n app are n tl y fre e s e le c ti on l e av e s
l it tl e or no cl ue t o t h e solut ion of th e menta l myste ry .
11 . In t he ev ent that the first s pectator s hou l d actua lly t h i n k of
t he 2C do not conclude the effect r i gh t ther e i nst ead yo u wi l l have
a n even stronge r e f f ect by u s ing t hi s a pp r oa c h . Say , "I don ' t want
an yone t o th i nk th a t I was jus t lucky . I hav e to l e av e no doubt in
you r mind ; th e refor~, I wil l do i t wi th t wo cards . tl Her e have a
_~
se cond s p e c t a to r t h l n k of another c a r d. Assume h e thlnks of the 10 D. 1
Remove the Hea r t -Di amond deck from your 'poc k e t , t hen r emov e it f r om .its ca se . Gi ve it some Charli er Shu ffl es or no t. In e i t h er c ase
hav e a t hird s p e c t a to r . f reely t ouc h any car d . Out -j og t hi s c ar d ,
sq uare restof de ck, l i ft up deck and l et him or he r al on e n ot e the
c ar d whi ch wi l l be the 2C . At thi s s tage you say nothing and the
spect ator, if he r em embers the 1s t spectato r 's n ami n g this card ,
will either smi l e or a t mos t wi Tlt hi nk p erh ap s yo u ' ha ve someho w
go t mixed up .
1 2 . Push the card flush showing obvious l y no contr ol 6ve r t he car d . ','
St at e you will f ind t he ca rd by me n ta l vibrati on s . Th i s t ime you
J
ou t- j og t he p ai r e d 2C and 1 0D. Impre s s th e f a ct that th e t h ird
1
s p e cta t or had a n aosolute ly-Fr ee choic e of se l ecting any card, t hen
ask the f i rs t s p e c t a t or what card he is thin ki ng of . Whe n he names
t he 2C you say, " An d th e c ar d (he or s he) fre e ly s e le c te d i s t he
c ardy ou th ou ght of " as you r emov e t he ca r d t o pl a c e it fa c e up onto
t he dec k .
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175
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you that the original tabled card was to be his card. Look at him
and say, "I always keep my commitments." He turns over the tabled
card ~,nd ~% is the 2C.
The attention now turns to your tabled card
and when that happens you say, "That s the card he thol:l~ght of
as
you point to the second spectator who thought of~he lO~. During
.t he s e shocking surprises you have casually gathered the; ~cards and by
'
.
11-.
now cased and pocketed the deck.
I
II ,
14. In the event no one can remember the sequence of evepts, then
simply go through the original procedure of shifting the \~abled 2C
with the lODe Turn over the 2C, then later reveal the lOD conclucing
wi th, "Your two thought of caras. 11
UN-GAFFED APPROACH
For those who do not mind a little extra work the
next un-gaffed methods will closely duplicate the e~ect.
1. The deck itself is set-up in Ace to King from t~~ down with the
13 cards of each suit in C-H-S-D or der f r om the top down. A du pl icate AC is used in this case ana it is the card that is tabled. The
.. deck can be visible from the start. The Aces of Hearts-Spades-Diamonds
can be edge marked. The deck itself is given 4 Backward Out-Faros
which leaves the AC still on top and t he KD on-the bottom. Or you
can give it four Out- Faro Shuffles beforecasing the deck. Also
crimp, very slightly, the lower left corner of the KD. In this corr dition the deck is cased .un t i l ready for performance: The duplicate
AC is just under the cut-out as be fore.
2:
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4. Assume that the 1st spectator had named the 9H after you tabled '
the duplicate AC. You now quickly thumb thru the-face down deck to
where the edge:marked AH is then thumb over 8' cards, including the
AH, then out-jog the 9th card or 9H. Ask the second spectator what
card he no w has on his mi nd . On getting the ans wer the right hand
removes the out-jogged card to place it face down on top of the deck.
At once do a Double Turnover to show the AC face up on top of the
deck. Turn the card(s) face down immediately thumbing off the top
.
]
176
card, the 9H, face do wn to th e right hand as the left hand places th E)
deck face ClOwn to th e table.
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2ND ME THOD :
Here the dec k i s not s ta c ke d bu t you still use a du plicat e card. Als o yo u do have t o l oo k at the faces o f t het c a r ds , as
if t o l oc a t e th e c ho sen ca r d ; however, you do r emove only on e card
.,
fr om t he d ec k, while it i s f ac i ng you, but ther e isn't anyS1li ftin g j
of other car ds dur i ng i ts r emoval .
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3RD METHOD: If you hav e cle a rly under stood th e rea son f or th e pro cedur e of seem i ng ly f inding th e se c ond spe cta to r ' s c a r d , then th i s
method c an be bri e fl y d e sc ri bed . I t c an be done wi th a borrowed
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177
deck as all you require is a card to match only the size of the deck.
In other words a stranger card.
_
.
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1. Suppose your stranger card is the SC. From the bo~owed deck
manage to secretly remove any X card. In your lap the .~ards can be
arranged with the! card coverTng your 5C card. Both c~rds are face
down with the .! card on top of your stranger SC.
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,
2. Have the deck shuffled and cut. Palm the two card; .~om your
lap and secretly add them to the top of the deck as you scoop it up.
Thumb through the deck, with faces towards you, find the SC, belonging to the deck, then toss it face down to the table. It-rs assumed
you will do this as you go through the presentational patter previously outlined with 1st spectator thinking of a card.
3. Get a card break under the top 3 cards of the deck. Maintain
this ' br ea k while the left hand undercuts the bottom .palf of the deck
to the top with the left 4th finger, then taking ov~~ the break between the halves. Set up-ror the "In-Fingertip Cont~pl", explained
elsewhere in this volume, then Fingertip Peek Force your stranger
SC card.
4. After the spectator has noted the card very openly square up the
cards and give it several straight cuts making sure you do not cut to
the stranger card.
.'
S. With the faces of the cards towards the spectator and backs towards yourself, spread the cards between both hands as you say,
"Somewhere in the deck is your card." During this you watch for
your stranger card which is easily recognizable from the back among
all the others. Do not thumb over any further than where a regular
card is to the right of the stranger card. Re-square the deck and
get a break one card above the stranger card. Cut to the break to
again bring the stranger SC to second fro~ the top.
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card is to the right of the stranger card. Re-square the deck and
get a break one card above the stranger card. Cut to the break to
again bring the stranger SC to second fro~ the top.
6.
..
1. 78
II
NOTE:
In Edg e Ma r ki ng t he cards do not mark th em at the ' u t e r
left side or n ear the corne r . Instead ed ge mark them at the left
s i de near t he lo wer l e f t c o r ne r. Als o mark th em on on e si de only,
near the le f t corner, not on both sides . Your thumbs, during the
sp re ading of t he c ard s, wi l l a lso aid in cover ing this edge mark
and ~he e agle eyed ones will see nothing at the upper ends where
they wil l normally focu s th eir gaze.
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it is easy to rememb er and follo w.) False shu f fle and false cut
dealing Jokerf .u. to table, then make a separate cut and d eal a
second card f.u. to table, suppose for example it is the lODe As
vou do t:hic;
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181
important since you can't s how the one --- to "how many cards"
in ot he r words , c onvince them you have only two cards here -- they'.ll be trying to find an extra card, not-"5ee what cards you
have ~' Then, once they're convinced you hold only two cards you
s t ap l e the se1 card to get between these somehow, since 'Kou've led
the m t o bel ieve you 're gonna "repeat it t he hard way". ,'. Again you
can 't show the bottom card , but again before they c an tb ink ab out
th is t hey're t oo busy trying t o figure out how in t he h~ll yo u're
gonna ge t a c a r d betwe en the r e. And even a magi s hou l d be f oole d
he r e --- even if he figures you've s omehow managed t o hOiq a
doubl e card, h i s attention is gone and he's not worrying~about the
ca r d you don't s how, or lo oking for a switch that t ook place.
What follows are the methods that I worked ou t under
the'title of:
MARLO ON THE STAPLED CARDS
EFFECT: This basically remains the same in that on~ of the stapled
value cards seemingly changes places with a signed selection .
1ST METHOD:
1 . For this yo u will need a Do uble Back card made by rubber ce menting two cards face to face. Another requirement is to staple
a 6C, from the back to the face, then rubber cement another card,
face down, onto the back of this stapled 6C. From the face a
staple will show thru the 6C but nothing Will be seen on the back
of the card. If you intena-making this item a regular program
item you also can use a deck of all 6S cards plus another regular
deck. All cards natual1y will be of~he same size, color back and
design . Only one deck will be in actual use while the other two
are used to replace cards as the ones fr om the performing deck
are used up. Also, a quick dr y i ng marking pen should be handy .
2. The deck to be used has a set-up on t op consisting of the
stap l ed ~, regular 6S and t he Double Back c ar d fr om t he t op down .
Deck is l n case.
3. To perform , remove the deck fr om the c a s e. Remove the " top
two c a r d s , without reversing their order, t o toss these face up
t o the table in an over-lapping conditi on so that the face 6S
will cover the staple but still show two Black sixes. Your-remark
f or this is , "I want to use these cards later but the rest of the
de ck I will shuffle." Here you can ~very freely shuffle the deck,
either Overhand or Riffle Shu f f l e s even actually losing the Double
. Fa c e thick card, then later, in a cut or another Shuffle, control
it back to the top.
4. With the Double Back card back on t op of the deck have a card
fr e e l y selected. Take the selected card and turn it f a c e up on
t op of the de c k r ema r k ing t ha t you wan t eve ryone t o kno w what card
wa s s e l ec t ed. Hand the marking pen to t he spectat or as we l l as t he
deck requesting h i m t o ma rk the c a r d with his initia l s or wri te his
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anUl::ner regul.ar
deck. All cards natually will be o f~he same size, color back and
design . Only one deck will be in actual use while the other two
are used to replace cards as the ones from the performing deck
18 2
6 . ' The r ight hand picks up the sixes with the fingers on the fa c e
and the thumb be ne ath . Turn the right hand p alm up ~rin g i n g the
sixes f a ce do wn. Flip the lo wermost 6S face up on ~.~ of the deck
and p lace the rem aining secretly stapled 6C f a c e d ow~\ o nto t he 6S
as you say, "The sixes we ' l l place fac e to face, 11 as you c asual l y
s pr ea d the top fe w c ards to show the co ndi tion . Re-squ are t he
cards ge tting a break belo w the top 3 c ards, i .e ., faced sixes plus
n ex t c a r d , t he s i gn ed c a r d, of the deck. Hold t he s e from above by
t he ends with t he ri ght ha nd. as the l e f t hand thumb pee ls off t he
t op fa ce . down car d, of t hose in the rig ht hand , fa ce do wn onto the
t op of the deck. At on c e drop t h e supposedly sing le face up 6S
f a c e up ont o t he t op of the deck . You r patter f or t he s e ac ti ons
is, "Te ll you wha t , let's plac e t he six es bac k to back so you c an
s e e them."
7. To al l appearanc e this is what you seem t o have done except
the true s itua tio n , f r om t he top down, is a r e gular fa c e up 6S,
face do wn sign ed selection, t hen the secr et stapled 6C. Ta ke-of f
t he top two back to ba c k cards, s up posedly th e six es-Sinc e on e
st i l l shows face up , the n us ing your pOCket st aple r you stapl e th em
tog e the r so t hat t he po s ition of t he s t a pl e will coincide a s clos cly as possible t o the posit ion of the staple o~ t~e s:cretly stap led
6C. Drop these back on t o t he top of t he d eck, whi c h 1S now on 't he
table off to your le ft .
8. Pick up the de ck into your left hand and hold it in a dealing
p osi t i on . As t he ri gh t hand reache s f or t he ta bled card , suppos ed l y th e s i gn ed select ion but really the Double Back c a r d , the lef t
4th f i nge r tip can e a s i ly get a break below the secretly sta pl ed 6C.
Thi s s tapled card is easi ly r a i s ed of f the deck, at t he 101-J e r rignt
co rn e r, by simp ly pr e s sing t he l e f t t humb on the t op of the upp e r
l e f t cor ner. Thus the break is no w und er the secretly stapl e d 6C
plus the suppose d st apled sixes . The ri ght hand has mea n time pic ked
up the Doubl e Back c a r d by the l ower right corner, thumb on top
wi th 1st and 2nd f i ng e r s belo w. Pla~e the Double Bac k card along side t he s t a pIea c ards, a s i n th e Fig . 1, t hen at the same t ime the
right f i ng e r s a nd thumb a l s o gra s p t hose c ard s above the break, the
s ec r e tl y s t ap J. ed 6C p I u s t he supp osed stapled s ixe s, to mo v e these
cards of f to the r ig ht as in t he Fig . 2 . Wi t h t he card s s till
spread , a s i n Fig . 2, the right hand turns th em over and back onto
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the true s i tuatio n , f r om t he top do wn, is a r e gu l ar fa ce up 6S ,
face do wn sign ed s elect ion, t hen the secr e t stapled 6C. Ta ke-of f
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the top two back to ba c k c a rd s , s upposedly th e six e s-Sinc e on e
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st i l l shows face up , then using your pOCket stapler you st aple th em
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..183
the top of the deck. Your patter line for these actions is, "We
have two stapled sixes and your signed card." By the time you
reach the words, "signed card", you will have turned the cards over
and at once re-spread the top two, the secretly stapled face up 6C
and the face up selection which is ac tua l l y already s t -apl.e d to tne
68, as seen in the Fig. 3 where note that the staple on the selectIon is covered by the stapled 6C. Also in Fig . 3, th ~ right hand
has changed position to grasp tne still spread face up cards by
the lower left corners with thumb below and 1st
2nd
- and -, fingers on
the faces. The next move is not a move but strictly an ~illusion.
You will do a Monte Move but do not move the fingers and~thumb as
for the usual Monte Move. Instead simply turn the right hand over
palm up, to the right, which brings the still spread cards into the
position shown in the Fig. 4 which brings the supposed stapled sixes
into view and the supposed selection face down.
. Fig. 1
Fig. 2
Fig. 3
Fig. 4
" .
9. Without any stall the left thumb keeps the face down supposed
selection in place while the right hand takes the supposed stapled
sixes as shown in the Fig. 5. Address the spectator saying, "Place
the stapled sixes between your hands." Make sure he has the stapled
cards covered between his palms before you proceed into the next
step.
10.
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The right hand takes the supposed face down selection, by the
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Fig . 5
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2ND METHOD:
1.
due t o
the ~fa ct Jthat you use an imp~omptu 'Double Back card and no secretly
stapled card . Can be done wlth a borrowed deck and the only requ ire ment is to secretly staple one of the Black Sixes and then r emove
t he staple to leave puncture holes that will not be notice d during
the handling until you, later in the r outine , point them out.
2. Assume you have managed to stapl e a 6C, then removed the s t a p le.
On t op of the deck you should have the 6C-6S. then two X cards face
to face to form an impromptu Double Bac~card.
3. Begin by removing the top two six es , without reversing their
or d e r , to place these face up to the t a bl e with the sixes spread
ou t but so that the face 6S will cover the staple marks on the 6C.
Si nc e the pa tte r and presentation is similar to that of the lST-METHOD only the mechanical actions, t o ge t the desire d r esu lt s,
will be des cribed.
4 . Spread t he de c k between both hand s, be ing c a r e fu l n o t t o s p l it
th e t op i mpr omp t u Do ub l e Back c ar d , a s you le t t he sp ectat or fre ely selec t any card. Hav e t his c a r d plac ed f ace up on to th e to p
of the d eck , th en hav e the sp ec t ator sign his card .
S. Do a t r ip l e turnov er, then take the i mp r omp tu Do uble Backer ,
fr om ab ove by the ends , wi th the r i ght hand . The left fingers
and thumb be nd t he sides of this Doubl e Backe r downwards slightly
t o insure that it will stay as supposedly a single face down se lec ti on when i t is t a bl ed t o your left .
6 . At once call attention to the tabled sixes. Right hand picks
them up, with fingers on the faces and thumb below. The lower most 6S is flipp ed face up on top of the deck and the 6C is dropped face down onto the 6S. Spread out the top few caras and in
resquaring get a break under the top three cards, the faced sixes
and the selected card, then move the three squared cards off to
the right. The left thumb peels off the top card, the 6C face
down onto top of the deck, then the right hand drops itS-card(s)
onto it. You have apparently changed you r mind and placed the
sixes back to back . Actually the signed selection is just under
the face up 6S .
7. Take off the back to back cards and staple them together.
Drop these onto the deck. Pick up the deck into a left hand deal- .
ing positi on . . Get a break , with the le f t 4th fingertip, under the
stapled c a r d s and the s i n gl e c a r d , the 6C, oelow them.
8 . The right hand picks up the impr omp tu Double Backer, by t he
ends fr om above, to place it in a side-j og g.ed position to the
r i gh t , b~t sq uare up de ck , keeping a left 4t h fingertip break .
The rig ht thumb en ters into the break , at tne-Io wer r i gh t co rn e r ,
wit h the 1 s t and 2nd fingers on top. Turn t he c a r d s ov e r ou t wa r d
t ipp i ng tne-de c k towa rd s y ou r se lf a t the s ame t ime.
9.
....
-- -
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186
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Fig. 7
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11. Hand the stapled cards to the spectator to hold between his
~
hand s. Take t he f ace do wn c ard and inser t it in to th e ou t er e nd
-, "
~
of t he d ec k whi ch i s t urne d face up.The fa c e down c a rd r ema i ns
d~ t
out-jog g ed . Do your magical riffle. Turn dec k face d01vn to re1
veal the f ace up 6C. At this stage remo v e the 6C and no w po i nt
out t he p erf ora tedhol e s in t he 6C. For t he cl imax hav e t h e s p ec tator loo k a t hi s stapled cards WEere he f i nd s h is si gn ed sel ection. ~
l~
3RD ME THOD : Thi s met hod is similar to the 2ND METHOD e xce pt you
do not requ i re a n impromptu Double Bac ker. You ma ke us e of the
perfora t ed 6C or not . If y ou dec ide not to bother with the p erfo r a t ed 6 C , ~he n you need no prep ara ti on e x cep t to have y our p oc k et sta pl er handy and a marking pen.
1. On getting the deck bring the t wo Black sixes to the ~op wi th
the 6C a s t he to p c ard. Holding the deck i n the l eft ha nd d e a l ing
posit i on t he rig ht 1st fing er does a Hit t e c hn ique , a t the lo wer
right corner to turn over the top 6C ,face up onto th e deck. Still
using t he Hit t echn ique lif t off the 6C pl a c i ng it f ace up to th e
tabl e. Turn the 6S f ace up, i n the same manne r, onto t he t op of
the deck, This tIme do a Hit Double Li ft carrying the 6S and the
face down card below it t o the ri gh t but do a K. M. Move-t o r e verse the fac e down card , a s t he le ft ha nd does a wris t tur n,
leaving it on th e deck wh i le the rig ht hand carries t he face up
6S to the table ont~ the face up 6C.
2 . Ke ep the left hand palm do wn to conc e al the reverse d X card.
With the right hand gra s p th e outer end of t he deck l e avi~g the
le ft ha nd free t o tu rn palm up.Plac e t he f a c e up deck into the
left hand de a ling posit i on .
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3RD ME THOD: Thi s me t hod is simil ar ' to the 2ND METHOD e xce p t you
do not requ i re an impromptu Double Bac ker. You ma ke us e of t he
pe rfora t ed 6C or not. If YOU dec ide not to bother with the p er-
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187
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3. Spread the face up deck between both hands for a free selection of any card. Take the selected card and turn it face down
to ?lace it under the face up deck. Turn the left hand palm up,
square the deck, then hand the deck to the spectator so that he
can sign the face of h~s selection. There are two cards face up
but do not worry about the spectator discovering this as he is busy
signing his card. Take the deck back into your left hand. Do a
Double Turnover apparently dealing his card face down to the table.
Thus the X card is on the table and his selection is secretly on
top of the deck.
4. Pick up the two tabled sixes with the right hand, fingers on
the face, thumb beneath, then turn the right hand palm up bringing
the sixes face down . Flip the lowermost 65 face up onto the deck,
then drop the 6C face down onto it. Spread out the cards, then
resquare getting a break below the top three cards which are held,
, ~ f r o m above by the ends, with the right hand. The left thumb peels
off the face down 6C, then drops its apparent single 6S really two
cards as one, onto~he face down 6C. In accordance with the presentation you have decided to place the two sixes back to back.
The actual situation is no~ the face up 6S, selected card face
down and the face down 6C.
-5 . Take off the top two back to back cards while the left hand
puts the deck to the table. Staple the supposed two sixes back
to back, then drop them back on top of the deck with the 6S uppermost.
,
,,
6. Pick up the deck with the left hand getting it into a dealing
position. The right hand squares the ends of the deck during
which the stapled cards plus the next card, the actual 6C, is
picked off the deck. The right hand holds these cards from above .
by the ends and moves to pick up the tabled card to under the
cards in right hand. Pick up the tabled card so it is side-jogged to the left for about half its widt~. Square the packet
against the deck, towards the left thumb, at the same time leaving the side-jogged X card on top of the deck. A left 4th fingertip break is held below the remaining cards to enable tne-right
hand to change position and grasp the cards at the inner end,
thumb entering the break and 1st and 2nd fingers on top. The right
hand turns the cards outwards-a5 left~nd raises upwards slightly
so that the 6C now faces you. The packet is back on the deck
with the lef~4th fingertip again holding the break.
7. The right hand regrasps the cards, above the break, with the
- right hand from above by the ends. The left thumb moves over to
cover the spot wh~re a staple would normally be. The right hand
moves the packet off to the right side of the deck, then the left
thumb peels the face 6C to the left resulting in the cards now
being shown as in the-Pig. 7 of the 2ND METHOD. The left hand
alone now holds the cards and the hand is lowered to display the
cards to the spectator. There is a discrepancy here but not even
magicians can discern this.
8.
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picked off the deck. The right hand holds these cards from above .
by the ends and moves to pick up the tabled card to under the
cards in right hand. Pick up the tabled card so it is side-jogged to the left for about half its width. Sauare the packet
- ~-~ - .
188
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8 . You now have two op t io n s of getting the signed card int o play .
First, you can do the Curry Cha nge , preferably using the No-Break
Technique f r om Vol. I of the Marlo Maga z i ne . To all appearances
you have mer e l y t urned over the stapled sixes in order to show its
other side, t he 6S side .
9. The second option is t hat you can simply p ick up the tabled
stapled 6C to place it on top of deck, onto the signed stapled
card , without expos ing the signed card. Do a Double Turnover ap pa re nt ly showing the ot he r si de , the 6S s i de , t o infer that the
sixe s are stapled . The 6S, with its s tapled signed card, is now
deal t face up to the table whi le the left hand does a wrist t~rn
to c onceal the stapled 6C left behind.
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10. Cut the deck whi l e it i s face up. Spread the deck between
both hands t ill you come to ~ h e face down card, then up - jog it
only far enough so as not to go past the secret staples. This
card is assumed to be the s igned card but actually the 6C. _ Do
a magic riffle. Turn the deck face down to reveal th e !ace up
6C. Have the s p e c t a tor turn ove r t he tab led car ds wher e he
IInds h i s signed card sta p l ed t o t he 6S .
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5TH METHOD: Here the two Black sixes are actually stapled back
to back and left on the table before any c ard is selected.
1. For t his you wil l need t wo pocket size staplers. One stapler
is in vie w on the table while the other one is in your lap. Plus ,
a duplicate 6S is als o in the lap with its face uppermost.
2 . From a shu f f l ed deck remov e t he two Bl a c k s i x e s and s taple
t hem ba c k t o bac k . Place them t o the table with the 6S uppermost.
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190
3. Ha v e a c ard sele c t e d a n d si gned b y th e s pe c t a t o r . During this, ]:
tak e t he d e c k, with t h e rig h t h a nd, f rom abo v e by th e e n d s.
Ex .
tend the'left hand for the spectator to p l a c e hi s c ard fa ce d own
onto your l e f t palm . The l e f t hand move s back toward s t h e de c k
a s if to place the card to u n d e r t he de ck . Actually this card i s
prop e l l ed into y our l ap a s t h e lef t hand tou ches the bo t tom of
the d e c k.
At onc e bo t h h and s cut the d eck to a p p a r e n t l y bury the
~
sel ec te d card .
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4 . 'Ha nd the d e c k t o t he spe c ta to r t o shuffl e. . Whi l e h e is thu s
oc c u p i e d both hands casually drop into y o ur l a p . Place the sel ec t i o n and the dupli cate 6S back to back a nd s t a p l e them as
qu ietly as you c a n. Any humor ou s r e mar ks, to cr eate lau g hte r,
wi l l h e l p a t this point .
5 . Palm the ca rds in the ri g h t hand with the 6S ag a i n s t the palm.
The l e f t hand come s up and t a k e s t he t abled s ixes i n t o t he left
pa lm with the 6S uppermost . Tel l t he spectato r t h a t y o u wan t him
to hold the stapled s ixes between his hands "L ike th i s . " When
yo u say t h e wo r d s , "Like this ", t h e left hand moves to wa r ds the
ri g h t hand which has come up t o ta ble l e v e l a n d n ear the e dg e
by this time . As b o th pa l ms meet, the c ard s f r om t he l eft hand
a r e propel l e d i n t o the lap a n d a t the same tim e th e ri ght hand rel e a s e s i t s stap led c ard s onto the l e ft p a l~ .
Wh en the c uppe d
ha n d s separate al l seems the same since t h e 6 S i s still showing .
6 . Hand t h e stapled c a r d s to the s p e c t a t o r to h old betwee n his
h a nd s . At once drop both hands into your lap and qui ckly and
s ile n t l y p r y the 6C c a r d away from the 6 S . P l a ce t he 6 C f a c e u p
into a le ft hand Gambl e r's Cop p o s i t i on-or Re ar Palm. -nuring this
also turn your att ention t o the s pe ctat o r with the deck. With the
righ t hand take the de ck, f rom abo ve by the ends , t hen drop t h e
d e c k into the l e f t hand whi ch has moved u p but st i l l r e ma.ins b e lo w
t he table's level . Th is procedure insures no f lash o f the palmed
c ar d in the lef t " hand during its addition t o the bo t t om of t h e
d ec k . Once the c a r d is added the l e f t h and a t o nce moves u p ward s
to b r ing the de c k i n t o v i ew.
Prop erl y tim ed it ap pears th at th e
deck wa s in view at all t imes . Cut t he d ~ck to centrali ze the
6S. Say you will command the sp ec f a tor's selec ted card to turn
over.
7.
Turn the de c k fac e up and spread it be t we e n both hands t i ll
you reach the f a c e d own c a r d and up -jog it f or ha l f its l ength.
Do y ou r magica l riff l e , the n t u rn t h e d eck over to reve al the 6C.
Point out it s stapl e mar k s.
For the climax ha.ve the sp ectatorlook at the cards betwe en his h ands where he finds his signed selection.
THE P INNED CARDS
( David Solomon )
also turn y ou r att ention t o the s pe ctat o r with the deck. With the
r i g ht hand take the de ck, f rom abo ve b y the e nd s , t hen drop t h e
d e c k into the l e f t hand which ha s moved u p but st i l l r e ma.i ns b e lo w
t he table's level . Th is procedure insures no f lash o f the palmed
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191
Cards"; however, all you need is a deck of cards with a 1/8" hole
drilled thru it and a few brass type cotter pins, such as used in
binders, just in case you may lose or misplace one or two. Since
most magic dealers have a workshop anyone of them can easily drill
a hole thru your favorite deck of cards for an inexorbitant price.
Assuming you have such a deck and cotter pin the instructions now
are as follows:
(Note - The term cotter pin seems to be more
descriptive- of its shape as compared to the more general term of
Paper Fastener.)
1ST METHOD:
1.
can
ing
the
use
two
The top card of the deck is secretly turned face up. This you
have set well in advance or reverse the card during some toyof the deck. Assume you have done just that and are holding
deck face up in the left hand dealing position. State you will
two holy men making a humorous reference to the fact that the
Black Kings, with a hole in them, will be used.
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,
the two
the
Kings
to the
expose
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Let's assume
Turn the deck over and face down into the left hand.
This
" J
.1
192 ,
7.
Th e ri ght h a n d hol ds onto the two face to face c a r ds while the
l e f t h a n d p lac e s the dec k face dow n t o the table . Tr a n s f e r the
fa c ~ to f a c e car ds to y ou r l e ft hand whic h hol d s them, b y th e i r
Th e right hand
l e f t side, with thumb on top and f ing er s b elo w.
pic ks u p th e cotter pin a n d pins t h e t wo c ards from below, then
spr ead s th e t wo prongs on t op. Swivel the t op face down c a r d s o
tha t the u pp er and l ower e nds o f th e f a ce u p Ki ng a re visibl e.
To s s the pinned cards t o the t a bl e .
8 . Pick u p the d eck holding it fa ce dovm in the lef t hand . Get a
l ef t 4th fi ng er b r e a k u n d er the t op card o f th e d e c k using e i the r
a slignt spread o f t h e "t op c ar d o r a 4 th fingertip c oun t a t the
l owe r r ig h t corner.
To cove r this ~ction, the rig ht hand is pick ing up t he sup pose d tabl ed s election.
The r i g h t hand p lace s this
c ard o n to the t op of t he deck , the n a t on c e l i f ts up two car d s, as
one, f r om a b ove b y th e e n d s . Us ing a r i ght 1st an d 4th f in g e r
straddl e g r i p at the outer end of t he c a r d ( s ~t o keep-them in
a li Knment, the ri ght thumb moves to the out er left c o r n e r and the
c a r n ( s ) will sl ip into a so rt o f a Scoop Up Palm Pos iti on .
(S e e
"The Op en Pr edi ctio n " , el sewhe re in t h is volum e , f o r t h i s g rip. )
Th e card(s) are no w inse rted , f o r ab out half their l e n g t h , i n t o
the out er end of the dec k . Be sure to lower t he deck to prevent
anyone spotting any possible f lare ou t a~ the outer end o f t h es e
ca rd s t hat are sup po s edl y a single s el ec ti on but in reality a
Ki ng and ! car d.
9. The right hand grasps the lower right end o f the deck , with
thumb on top and the 1s t and 2nd f i ng e rs b e l ow. As you s a y,
"Wa tch y our c a rd. I I T~l e ft t humb do wn- r i ff les the outer l e f t
co r n e r of t he de ck , sta rting this act ion anywhere below the out jo g g e d cards . The r i g h t hand now turns the deck sidewi se, to the
le f t, whi ch bring a Black King in t o v iew . Behind i t is the X ca r d.
10. The ri gh t ha n d re ac hes f or t h is Ki n g wi t h t h e thu mb g o i ng on
the face of this Ki ng , at t h e u p p e r l ef t c o r n e r, with the 1st a nd
2n d fingers be neath at t h is same c orner. The right t hu mb p resse s
onto th e fa. ce of th e Ki ng , movin g it to the l e ft, wh i le th e righ t
2nd fi n g e r ti p p u s he s t he low e r X c a rd d ownward f o r a b ou t a qu ar t er
InCh o r more . At on c e the left- 1st f i n g e r eng a ges the ou t e r e n d
o f this X card and p u s hes it flu~wit h the d e c k . Without any
h es i t a t i on t he ri g h t finge r s and t humb sw iv el th e Ki ng to th e ri ght
and ou t o f th e d e c k t o to ss i t fa ce u p to t he t abl e.
11.
"1
193
Da v e So lomon
.1
I
I
2. With the deck face down in the left hand d e aling posit ion get
the deck i n t o posit ion, by grasp ing the sid es of the deck by the
inner s i d e s , so it e n d s u p be ing h e ld by t he s i d e s, wi t h l ef t
fing er s and t h umb, ab ov e t he le ft pa lm . Th e r ight thumb r if f l es
the l eft s id e o f t h e deck , n ear the lowe r left co rner, in o r d er to
e nab l e you t o sp ot the i n d e x e s a t this c o rner.
Stop t he riffle
wh e n the right thumb reache s t h e 6H. The r i g h t hand l ift s o f f the
squar e d three cards , then i mmediately d o e s a D' Am ico Sp r ead. When
the fa ces of t he c ards c orne in t o view y ou a r e showing a 6H and 6D.
Use Marlo 's Buffall oed i dea fr om "Classic al Foursome" byca l l i ng
the c a r d s, f r om fa ce t o top , as t he , "Six o f Hear ts and S i x o f Di amonds. " Flip t he spread f a c e down onto t h e t op o f the deck l e tting them co a lesce int o a squar ed cond ition wi t h the deck.
Deal
. off the t op c ar d f a ce do wn calling i t , "The Six o f Hearts".
Fl ash
the next ca r d fac e up s ay i n g , "The Six of Diamonds." Place this
actual 6D f a ce down und e r the tab l ed card wh ich is actually the 7H.
3. Hav e a card se l ec t ed. Take i t f r om the sp e ct ator plac ing it
face u p on t op of the d ec k. Hand him the d ec k and a mar king pen so
he can si gn th e f a c e o f hi s card. Take the de ck from him, wi th your
palm u p lef t hand , s o it wi l l be in a dea l ing po s i t i on . Th e rig h t
hand does a Hi t Double Lift moving o f f t wo c a r d s back to back a nd
do t he K.M.Move , to exchang e the signed card for t h e ac t u a l 6H,
using either the r ev e rs e d fingering ac t i on s or the de al o f f me thod
expla i n e d in Volume I o f thi s Magazine on page s 41 to 4 3 inclusive .
The supp o s e d selecti on i s a ppa ren t ly f a ce do wn on-the table. The
actua l se le ctio n is on to p of t h e d ec k.
4 . Top pa lm the sel ect ion into the right hand. The le ft hand
places the deck face down to your le ft while the .r i g h t hand a t the
same time adds palmed card to the tabled two cards, using a Spider
Addition.
By this t ime the left hand is also f ree and i s held
palm up t o r e c e i ve t he cards now b e ing slid off the tab l e i n t o the
waiting left hand.
S. Squa re the car ds r alsln g t hem u p to t he f ing e rtips a n d thumb
of the left hand which ho ld s the packe t , by its s i des, wel l abov e
the le f t palm. Do t h e D' Am ico Sp r e ad wi th Ma rl o Pip Cov e r whi ch
~ s w i th left thumb moving over o nto the u p per left ind ex o f the
7H to cov e r i t s p ip value . Thu s when t he t wo c ar ds corne in t o v iew
you are sup p o s e dl y s h owi ng a 6D and 6H for the sec o n d t i me .
6. The r ight fingers f li p the doubl e card, a c t u a l 7H and se l ection,
as one fac e down into the left hand.
Fo l l ow b y f l i p p i n g the 6D f ace
down onto the card(s) i n the left hand. The ri g h t hand moves~o
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194
3RD METHOD :
Gaffed Pi p Method
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(Solomo n)
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4. Main t a i n t he break as yo u sp r ea d t he de ck fac e up for a s p ec t ato r t o rem ove and sig n a ny c ard . This c ard i s r eturned fa c e down
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195
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6 . Squ are the Deuces, st ill fac es up, a ga i n s t the top of the dec k
secret l y addi ng t he top card of the dec k . The right hand aga in moves
to a bov e t he c ar ds~ to t a ke them by t he ends, a t the same t i me t he
right thumb hol ds a brea k, at 'the back end , on the secretly added
face down card . Now do the fa ce up switch . In this case t he left
thumb peels of f the fa ce up 2C; however, the r ig ht 1st f inger, which
i s cu rle d onto the fac e of the packet~ is moved inward so that its
nail covers the Club pip only , not the 2 value, as the left thumb
p e e l s of f the 2C s o that i t r ema i ns s ide -jo gged, f or half its width,
t o the right sIde of the deck. Note that the 2S is no w visible but
the ri g ht 1s t f i ng er covers the fake Club pip. --The visible Blac k
, 2 value ad OS-t o t he decep tion . This is a Mar l o suggestion and at this
' .:s t ag e things do not have t o be rus hed.
7 . The ri ght hand now moves to apparent ly pick up the side -jogg ed
2C to unde r th e 2S. Actually as the ri g ht hand moves to the le ft
an d flush agains~the left side of the deck, the right thumb releases
its fa ce down card t o cover the fa ce up 2C. At onc e t he right ha nd
mov es the pack et up a nd above the deck. -gomentarily the left thumb
by -th~ - -~id ~s .
.
196
and 2nd fin ger grasp the sides 'of these c~rds. This leaves the righ t 1
handtre e to s i mp l y move i ts r ig h t f i n g e rs a c ro ss t he fac e of the
.J
g a ff e d 2Sdown t o the lower ri ght corn e r whe re t he y no w co ncea l the
fake 2C-rnd ex a s the right t humb slides to under these c ards at the
s a me cor n er.
Tur n the c a rds t o t he r i gh t b ri n g ing them fa c e do wn.
j
Sp r ead them slightly a s you place them fa ce d own t o the t a b l e.
Cu t
the de ck , to central ize the face up 2C, then t ab l e t h e de ck f ace
do wn t o y ou r l e ft.
--
8.
I n t r od u c e th e cotter pin and hand i t ou t for inspe ction i f you
wi sh. Next , pick up the two t a bl e d ca r ds and ho ld t hem face do wn
in the l e ft hand.
Th e ri ght thumb go e s und er the se c ards, at the
lo we r l e f t co rner, with the 1st a n d 2nd fingers on top . The right
f i ng e r s remove the bo t t om c a r d and t ur n it face u p . The r i g h t
thumb h ide s the fake 2C ind e x as the fa ce u p c ard is r ep l a c e d t o
und er a nd fl us h wit h the f ac e d own c ar d.
'1
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F i g. I
Fig . 2
10. Some may pr ef er the Marlo mov e s for app ar ently showing bo th
Deuce s. Th i s i s d on e a s f oll ows : Th e I .ef t t humb move s to u nde r
the face to fa ce cards to lever t hem ove r at t h e s a me time the le ft
hand a lso move s s o it s p a l m i s to the ri g ht. At once the rig h t
hand gras ps the out er right corner of these cards a n d turn them
ov e r and inward . Meant ime , the l eft hand has turned pa lm u p and
the right hand fo llows by replacing i t s cards in t o t h e l e ft hand .
The ac t ions t i med prop erl y ap pea r s as if you r e all y did turn the
cards ov e r but a c t ua l ly only turned t hem e n d fo r end thus you can
no w s ho w the fake 2C i n d e x a s already shown in t he Fig . 2 . Repe at
the moves to againshow the 2S.
11.
Ins e rt th e co tt e r p in from the to p do wn, th e n s p r e ad t h e pr o ng s
u n d e r the ca rds . Swive l the c a r d s on l y far enough t o exp o se t h e
28 index but not the lower fake 2C ind e x.
~Jl '
197
12. Re-s tat e the a ppar e nt si t uation - viz - th e two Deuces pinned
and the selected card in the deck.
Sn ap your fingers ov er the deck,
then s~r e ad~ it, f aces down, to rev eal the 2C.
Pick up the pinn ed
cards and turn them ov er. Swiv el the lowe r mos t card, so its lower
and u p p e r e n d s will show , t o rev eal t h e se l ec t e d ca rd.
Remov e th e
cot t er pin a nd hand t h e signed sel e c t ion to the spectat o r.
Right
hand gra s ps th e lo wer left cor n er of th e fac e down card, with thumb
on th e b o ttom or f a ce and f i nger s on top, to turn it face up.
Use
the 2S to scoop up th e 2C a n d tur n t hem both f a ce do wn onto the t op
end Of t he s p r e a d.
Pic~up t h e s pr e a d a nd hold deck in the left
hand . Place th e t op card fa ce d own i n t o t h e u ppe r hal f of the dec k.
This is the ga ffed 2S card an d i t s 2C inde x will be at the inner end
of the d e c k.
Pl ace~hc ne xt top c am, the 2C, into the lower half
of the de c k. You a re now s e t to r e p eat the-ef f ect a t anothe r t abl e.
~
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Dav e Solomon
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1.
For t h is y ou wi ll requir e a c a r d t h at is ' u sua l ly associ a ted wi th
Taylors Peek Deck .
I n t h i s c a s e tak e a 6S a n d 6C , then trim on e end
of the 6S a b ou t one s i xty - fourth o f an i n c h . Apply abou t a quarte r
of an inch strip of either double s i d e d Scotch tape or rubber cement
onto t he ba ck o f t he 6S d o i n g th i s on t h e u n trimmed e n d of this card .
Re pe a t t h i s p r oc e s s applying t h e adhe sive o n the f ace o f t he 6C at
. o n e end. Place t h e 6S face up ont o t he face u p 6C s o that the-pr e p ar ed e nds mee t a n d the c a rd s b ecome c ement ed at~his one end. Aft er
the c ards hav e dri ed to 'a d h e r e p e rma ne nt l y h o l d the cement ed end and
with the f i n ger s of the other ha nd pull back on the upp er ends o f
thes e c ar ds.
Due t o t he f ac t t ha t the f a ce 6S wa s trimme d s hor t er
t he back ca rd , 6C, will be pUll e d ba ck onl y to e x p os e . i ts face.
You
ar e no w ready to-u s e this ga ffed card .
2.
On to p o f the deck you should ha ve t h e ga f f e d card with its open
' e nd nearest t o y ou . Under t h is is t he regul a r 6C. , The deck is fa ce
do wn in t he lef t hand . Wi t h r i gh t hand p i ck o f f th e to p t wo car ds
and d o a simula ted D'Ami c o Spread t o s h ow the t wo Sixes. Turn th em
face down onto the top of the d e c k . Next, turn to the right to
bring the left sid e of the dec k in to the sp ectator's vi ew. The
righ t hand is a b ove t h e dec k wi t h fi ng er s a t th e front e nd a nd
thumb a t the back end . With t he r ig ht thumb o p enl y p u ll u pwa rds o n
t he b a c k end o f t h e g a f fe d card , t h e n open l y a ls o s imula t e t h e ri g h t
thumb lifting up a second card . Actually the right , hand moves upward slightly wh i c h br ing along the cemented ca rd but the ri ght
thumb pre s ses i n ag a ins t it t hu s it ap pears tha t you have lifted
o ff t wo c ards wh ich a r e s e p ar a t ed at the b ack e nd; howev e r, onl y
the ga ffed card will b e placed t o t he t able.
The regula r 6C remains on top of the deck.
-3. Have a card fr e ely selected. This card is placed fa ce u p onto
the d eck whi ch is handed to t he sp ectator i n or d er that h e may
sign his c a rd, o n i t s f a c e , wi t h t he mark i ng p en y ou a lso have
handed him. After the card has been signed take the deck from
him with your pal m up left h and.
Now do the K. M. Move to exchange th e si gn ed c ard f o r the r e gul ar 6C whi c h i s dealt face
down to t h e t ab le.
( For t h e K . M. MoveS-see Vol ume I , pag e s 39
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DacK ca rd , OC, Wlii De pUii e a DacK oni Y to e x p os e . l t s iace.
ar e n ow ready to-u s e t his gaffed card .
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to 43" .
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4.
Top palm ' t h e to p card, the selec tion, . i n t o the right h and . The
le f t hand places t he deck t o y our l e f t as the r i ght h and a d d s the
p al me d c a r d to the tabled Sixes on y our r i g h t and a t th e s a me time
s p r e a d s these 'c a r d s which will show as on ly two cards . Place these
c a r d s face down i n t o 'your left hand .
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Dave So lomo n
1. For this you will r equire a duplic at e Jok er which
is sp ecially ,p r e p a r e d . Put a l
cotter pin fr om the b ac k o f
.2
the c a rd so i ts pr ongs wi ll
proj e ct from th e fa ce side .
Be nd the on e longer point
down wa r d s aga inst the face
of the Joke r , then put a
_
s trip of Sc otc h tap e across
1
this prong to k e e p th e cot t e r J
pin in p la ce . Th e Fig . 3
shows th e .f a c e o f th is p re - "J:
p ar ed c a rd.
F i g. 3
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you say, " Hol d t h e de c k b e twe en you r h and s - l ik e this." As you
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r e ac h t h e last t wo words , "like this", the left hand moves to wa r d s
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the table's edge as the right hand comes up to meet it.
During this
y ou do "Prope lled Lapping " lett ing t he card s f r om y ou r le f t h and g o ]:,
into your lap a s th e ri ght h and simply r e leases its ca rd s into th e
l e ft hand .
Keep th e hands cupped f or a second or t wo, then simp ly
move the right hand away .
7.
Rai s e t he cl i pp e d c a rd s h id i ng t h e p r ong s wi t h l eft thumb. SWiv e l
t h e cards to show t h e Joker so both ends a r e visible . Ask th e spec- ~
tator to name his card . Lower the cards slowly to s how his c ard
~
k eepin g y our l eft thumb ov er the spot that ha s one pron g mis sing.
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Ra i s e t he cards aga in so Joker f ac e s the spe cta to r . Un pi n the se le ction fro m the Joke r and hand him the sele ction .
NOTE: To c omp l ete th e e ffe c t y ou prob abl y should alr e ady have
ano the r Jok er face up in the de ck whic h t h e s p e c t at or d i sc ov e rs b e f or~ you disclose his pinned selec tion .
2ND CLIPPER METHOD :
Mar lo
1.
Thi s use s the Solomon Joker Gaf f p lus t h ree d u pl i c at e Jok er s.
The Jo k e r ga ff i s i n t h e l ap.
Two reg ular Jo k er s are a t the f ace
o f the deck wh i l e the third Joker i s secretly face up on top o f the
d e c k ; ho wever , begin by having only one Joker at the face and th e
oth e r J o k e r face down o n top o f the d e c k coverin g th e r ev e rsed or
fa ce u p J oke r . Th e de ck is p la ce d i nt o t he c a rd c ase unti l y ou a re
r e a d y to us e it . The cott er pins o r p a p e r fas tene rs s ho u l d b e i n
y our left side c o a t pocke t.
2. Wh e n y o u start the e f f e c t remove the deck from the c a s e s o i t
c ome s ou t wi t h backs uppe rmos t. Turn the deck face u p. When y ou
s e e the Joker say , " Le t' s ge t t he J oke rs ou t of th e way f i rst. 1I
Thumb t he f ir s t J o ke r o f f the f a c e o f th e d ec k to the ta bl e so it
i s f a c e up.
Sp r e a d thru the deck l o o k i n g f or t h e s econ d Joker .
As you near the l e f t end of the spread do a Bl o ck Pushoff of t he
last t wo or thr e e c a r d s . whic h p r e ce d e the t op Jo k er.
The Bl o c k
Pushoff wil l conc e al the r ev e rsed Jo k er bringing into view the t op
Jo k e r which is t a k e n by the lef t hand and to ssed ont o the tab l e ,
f ace up, with t h e othe r J oker . Re -s qu a r e the deck int o the lef t
h and.
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2. Wh e n y o u start the ef fe c t r e mov e the deck from the ca s e s o i t
c ome s ou t wi t h backs uppermos t. Turn the deck face u p. When you
s e e the Joker say , " Le t' s ge t the J oke rs ou t of th e way f i rst . 11
Thumb t he f i rst J o ker o ff the f a c e o f th e d ec k to t h e t a bl e so it
is f a c e up . ?pread thru the deck l o o k i n g for t he s econd Joker .
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. 201
8. Once the spectator has fastened the Jokers extend your left hand
f aT them .no the Propelled Lapping actions under the excuse of show~
ing him how he is to hold the deck between his hands. After some
magical Mumbo-Jumbo ask him to spread the face down deck between his
hands when he find$ a face up Joker. Your cards , wh ich previously
hav e been s wi v ell ed at rig ht ang le s t o expo s e bo t h end s of th e fa ce
up Jo ker fr om und er the s upp o sed fa ce down Jo ker, are no w tur n ed
ov e r to show his selec tion.
(Be sure your left or r i ght thumb covers
the missing prong spot when you initially show a Joker .) Since the
he a d of the pin is showing all you need to do i s apparently close
the prongs, from the bottom, in order to - let his selection fall free
to the table f or his inspection.
9. Ta ke t he J oker from the dec k and pl ac e it f a ~e down onto the on e
you hol d. The se, al ong wi t h the othe r paper f as t en e r s are p l aced
ou t of the way in to your lef t coat pocket . The pinned card s in your
lap are also pocketed since the left hand will drop be l ow the table
level, pick up the pinned cards onto those in your left hand, then
t ravel to the left side coat pocket . Keep in mind t he effect is
ov e r s o all these act ions shOUld be d one with a clear co n s c i e nc e .
THE DOUBLE DOUBLE BUBBLE:
1. This uses the Bauble Gaff whi ch is the two Sixes of Clubs and
Sp a de s pasted at the lower end with the face card, the 6S, c u t a
six t y - f ou r t h of an inch at its upper end. The set-up on-top of the
dec k is t he Gaffed card , 6C a nd 6S fr om the t op down . The p a s t ed
end of the gaff i s a t th eu ppe r end of the deck.
2.
-I
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up "J o ker fr om und er th e s upp o sed f a ce down Jo ker, are no w tur n ed
ov e r to show his selec tion.
(Be s ur e your left or r ight thumb covers
the missing prong spot when you initially show a Joker .) Since the
he a d of the pin is showing all you need to do is apparently close
202
1.:
and 6C.
Flip the spread cards face down letting them converge
squarely on top of the deck.
Turn to your right and let the spectator.seeyou .obviously lift up one card, then another, really
separating the gaffed card at the inner end only, then holding the
separation place this face down to the table apparently squared up.
"'!
4. The right hand takes the outer end of the face up deck, thumb
on the face with the fingers below, which leaves the left hand free
to turn palm up.
The right hand places the deck face up back into
the left h~nd. Spread the deck faces up for a second selection to
be made . Take the card, with the right hand, turn the card face
down and place it under the deck.
Turn the deck over and hand it
to the spectator, along with the marking ~en, for him to sign his
card across its face.
Take the deck back , do a Double Turnover
bringing the card(s) face down on top of the deck , then thumb off
the top card onto the supposed first selection . The true situation
now is both selections are on top of the deck while the two regular
sixes are face down on the table.
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5. Palm off the top two cards into your right hand.
The left hand . 1
places the deck onto the table, to your left, while the right hand
adds the palmed cards to the gaffed card which is slid off the table -'i
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into your left hand wh ich by now is free to receive the cards into
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its palm up hand .
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7 . Pin these two cards, then place them, still squared, to the
table. Turn the deck face up and place the two tabled cards, the
supposed selections ' but really the sixes, face down into different
parts of the deck . Turn the deck face down and table same. All
that remains is to do the magic.
Spread the deck to reveal two
face up sixes.
Reach over to the pinned cards and swivel the top
one to expose upper and lower ends of one selection. Turn the
cards over to reveal the other selection. Have the spectator unpin
the selections.
.
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203
6. Spread the deck fac e up and have a card selected. Take it with
the right ha nd, turn it face do wn and place it under t he dec k. Turn
the deck over, with the right hand either end for end or sidew ise,
back into the left hand showing the f ace up s election. Hand the
deck to the spectator, along with a marking pen, for him to sign
his card across its f a c e . Take the deck back in your palm up left
hand. Do a Tri p l e Tur n over to turn the sel ection f a c e down a nd
upward , the n the right 2nd fin ger en gages the face u p card sho wing,
the 6S, the n this s epar ation is kept as th e right hand lifts t he
gaffed card off the deck, you have apparently lifted off the origin:11
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bring the f a c ed sixes to the top. Lift off the top card , u s i ng a
Hit Method , wi t h the right 1st finger , a t the l ower ri ght c orne r.
As the r i ght hand st a rts t o lift off the top c a r d the l e f t hand
does a Wri st Turn to conce al t he f ace up six that remains on top of
the de ck . Keep t he l e ft hand pa lm do wn wh i le t he right ha nd p l a c e s
\ he s upp o s ~d s-e Lec t i on , rea l l y a six, f ace do wn to the t able a nd
away f r om th e tabled ga f f ed card.
7 . The ri ght hand gra s ps t he outer end of the f ace up deck. This
l eav es the le ft ha nd fr ee t o t ur n pa lm up , t hen the right hand repl ac es the deck fa c es up in to the l e ft hand d eal ing position .
Spr ea d t he dec k fac e up, betwe en both hands, for a sec ond s election
t o be made. Take thi s card, turn it fac e dbwn , pl ace it unde r t he
deck, the n turn the d e ~ k fac e up into t he l e ft hand . Hand t he dec k
to t he se c ond specta t or , alo ng wi t h t he marking pe n, f or him t o
si gn hi s card ac r oss i ts fac e. Tak e t h e deck i n to the palm up l e ft
ha na, wi t h t he aid of righ t hand do a Double Turnove r to turn the
si gned card fac e do wn and bring t he second six face down on top of
the de ck. Deal the t op card f ac e do wn on t o the fir st suppo s ed sel ecti on. You now hav e two r egul ar six e s fac e do wn on t he t a ble and
t he t wo se l ec t ion s a re on top of th e de c k. The AS is at th i rd position fr om the top .
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9. The ri ght hand uses the fac e up Ace of Spades to tap the two
suppo s ed s e lections and ' the t wo ta bled sixes saying, " Th i s will
help t he magic - two selections - t wo Six es." Repl ace t he AS face
up on top of the d e ck, t hen do a Tripl e Tur nov e r , u sing the-natural
back to back s epar a t i on, bring i ng the AS fac e do wn a nd the fac ed
s elections to the top . With the left 4th finger tip release the
tw o faced c ards, the n the left 4th fingertip presses again st t he
c a r d s to hold a break, at the lower right corner, below' the two
faced cards . These actions are made as the right picks up the
gaffed cards, by the end from a bov e .
10. Bri ng the gaff towar ds th e t op of the de ck . Pi c k up t ho s e
c a r d s above the break, secre tly, and at once the cards are r a i s ed
up to the left fin gertips a s if to squ a r e th e sides. The ri g ht
ha nd hold s t hi s p a c ket, fro m abo ve by t he ends , a s at onc e the l eft
thumb pus he s t he to p c ard of t he deck off to the right and th e
l e f t fing er s , from belo w, press upwards t o le ver the AS face up on
t op of th e deck as you s ay, "We' ll use the Ace of Sp aaes lat er. "
The le ft ha nd p la ces th e dec k t o th e t a b l e .
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205
11 .
of~e
o t he r six.
_ .
206 -
18.
1 9. Fr om here s i mp l y con t i n u e wi th the re st o f the a cti on s a s expl a i n e d i n S t e ps I I to 17 inc l usive. You wi ll fi n d t he g aff e d c ar d
do es not i n t e r f er e wit h t he end r esul t a nd in fa c t may a l s o b e u s e d
as a Doubl e Ba c k ca rd for any effect that may require such a card
as i t has b e en h e re.
DI RECT P INNED CARDS:
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Mar l o
1.
In th is method t wo Black King s are actually pinn e d together yet
late r one of the s e car d s t urn out to be a s i gn e d s e l e c ti o n wi t h the
othe r King appe ar ing i n t he deck . Th e r e are no d u p l ic a t e s.
The
s e c r e t is probably the simpl est of all gi ving the effect a mo s t
d i r e ct ap pr o ach . One o f t he Ki ng s s imp l y h a s i ts hole, thru wh ic h
the pa per fas te n e r or cott e r p in is ins ert ed, e n l a rge d just enou gh
so that l a t e r, by simply pu lli ng ba c kon t h i s King , it wi l l slip p a st
the h e ad of th e p a p e r f ast e n e r.
Fo r t hi s d e s c r i ption a s s ume th a t
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si d~ w i ~ e and~~ tu~; - it - t ~ i t s p o s iti;~ - of- b~i~g h e l d a b o; ~-th~ d eck .
This t ime t h e l ef t 1 st f i nger pull s down the out er e n d of the l ower most c ard to show a n ot he r six. Clos e t h e out er ends a t the s ame
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Call at-
ten t i on t o t he h o l e s i n th e d e c k a nd t he t wo p i n n e d c ard s. Th e t wo
p i n n ed c a r d s a r e s wi v elled a t r ig ht a ng l e s a nd t he rig h t ha nd hol d s
onto t he o ne e nd of t h e t op card .
I n t his c o ndit i on bo th s i de s o f
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Fig. 7
9.
Ins ert the face up KS so it will remain side -jogged, to th e
right, for two thirds its width.
The hole shows in thi s KS but the
left thumb keeps covering the hole of the to p card. At thIs st a g e,
the left hand 'i s lo wered, the lef t 4th fing e r break is also rel e a.s ed ,
With t h e ri ght
t o cle arly show the Kings a ppa rently face to face.
hand ~oming over the deck, from above by th e end s , square up the
Kings at the same time a u t oma t i c a l l y lifting up three cards to the
fingert ips of e ach respective hand.
The right hand alone now hol ds
these cards, by the ends , while the left h and places the re st of the
deck asid e .
1 0.
The l a r g e r hole in the to~ KC wi ll be c a mou f l a g e d by t he smaller
hole i n the sele ction th at is juSt b elow the KC; howev er , if you
want to play saf e keep t h e pa cket upright withthe back of t he KS
towards the spectato rs.
Transfer the cards into the left hand wh ich tak es the cards by their sides still ke eping the packet upright.
II . With the right hand pick up the paper fastener and insert i nt o the c ards from the back side . Hol d th e en ds of t h e card s with the
right hand, the right 1 s t finger curled a gain st t he head of the paper
fasten er to k eep it in-pIa ce, wh ile the left fingers sprea d out the
prongs on the oth er side of the cards.
The left thumb can move onto the h e ad of th e paper f as t ener to aid in this operation but the
right hand remain s holdin g the ends to k eep th e cards as square as
p ossible.
Th e cards ar e no w turn ed ove r sid ewi s e and back into the
left hand.
The ri ght 1 st fin ger now pull s b a~k t h e top card to
show th e f a c e of t h e K"8 to th e spect ator as in the Fi g . 8 . On your
-- -
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. Fig. 8
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12. Turn the cards over again sidewise. The right 1st finger
again pulls back the top card, this t i me to show the KC, but at the
same time it is pull ed back far enough so that the heau of the paper
fasten er slips thru and out of the large hole. The hand positions
and the action at this stage are seen in the Fig. 10, the performer's
view.
13. Once the KC is free of the paper fastene r they are again turned
over sidewise lito the left hand as for dealing but in a sort 'o f
deep position . The free KC will fall into the left palm and the
hands can now execut e theJMarlo Screening Actions to lap the KC as
shown in the Fig. 11.
14. The pinned cards are now rested in a left hand dealing position.
The ri ght hand gras ps the inner le ft cQrner of the cards as i n the
Fig. 1 2. The ri ght ha nd tak es the cards turning them over, then
swivelling th e cards at right angles, places them to the table as in
the Fig. 13, to again show the KS.
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F.ig. 11
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:Fig . 13
Fig. 12
If you do not
w~sh
.~ ..
to
the ac~
tions of Fig. 12 and 13 a~e
done with the loose KC ending up in a Gambler'S-Cop
as in th~ Fig. 14. The choice
, i s yours or depends on whether '
you are standing or seated.
.~
If copped the palmed KC is
~
disposed of in the left side
coat pocket in the act of
removing the, deck which
you have replaced there
while pinning the'cards.
F~g. 14
The KC is also added to the
deck-rn a face up condition
or inserted directly into the center of the deck. This is done to
set-up for the climax of the effect.
15.
lap the
c~rd,then
16. Assuming you have lapped the KC the procedure is now as follows:
Pick up the deck and square it between both hands . The right hand
holds the deck, from above by the ends , then dribbles the cards face
down to the table as you say, "When I do this I want you to call
'Stop' ." By this time the cards have all been dribbled to the table.
Pick up t~e deck and again square it between both hands. ' The right
hand again holds the deck, from above by the ends, but the left hand '
casually drops into the lap. While there the KC is taken into the
left hand so the KC is ' face up . The right hana-dribbles the cards
and times this so-about half the deck will have been dibbled off to
the table whe n the spectator calls, " Stop" . The left hand moves
upwards, but not past the edge of the table, remaining below the
table level. The right hand merely drops its half of the deck into
the waiting left hand, onto the face up KC, then moves to pick up
the supposed tabled selection . This is placed face down onto the
top of the dribbled cards. In the meantime, the left hand has also
moved into view with its cards. The right hand now picks up the
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211
;:
Al l that remains is t o
c u t the d eck c entra l i z i n g
the fa c e up KC. The right
hand pi ck s up the s uppo s ed t abled selection to i n s e r~i t fa ce down
i nt o the center of t he de ck . Co nc lude t he ef f e ct in your be st
sho~~ a n l i k e manner .
~9.
Fig. 15
"-
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up
un e
i nt o the center of t he de ck .
sho~~ a n l i k e manner .
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EFFECT: Three selected cards are interlaced fac e down b etween four " ~
face up Kings. The Ace of Sp ades is placed in a card case. The
~
thr~e select ions v ani sh from b etween the Kings.
Two of the sele ct ed a
cards are re vealed in the d eck but the third card turns out to be
the 'card o riginally placed i n t o the card case, the Ace of Spades,
the third sel ected card, which was previously signed, is found in
the card case.
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3. Place the deck face down to your left and within reach. Collect
the selection s face down, into your left hand, in order of 1-2.3.
'
When the 3 selections are turn ed face up they will be in 1-2-3 order
from the face to the top. For the sake of clarifying the-descriPtiOp. j'
assume the 3 selected cards are the SC-6C-7C from face to top.
.,
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4. With the ~ sel ected cards face up in the left hand the right han~c
picks up the face up Kings to place them onto the cards in the left 1
hand. Now you say, "For this effect we use the four Kings and your J ,
thre~ chosen cards."
During this patter line you spread out the
Kings, between bofh hands, at the same time the left fingertips preSSj".'
up against the back of the last King, the KH, to keep it in place as
the Le ft thumb p I ace s its elf on to the KD, tKe 3rd c a r d from the face.
Now the right hand moves the 3 Kings towards tnc-left. The left
~b
thumb also pu l l s th e KD to the left. This results in the last King, t
the KH, which is basically kept in place by the left fing ers, to move ,.}
to under the spread of 3 Kings and past the left side of the KD to
create a s t ep at thi s sIde. Without any hesitation the 3 selection s '/
a r .e spread out. The face card of the s e 3 cards, the SC in this case) J
;- "
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-- . . .----
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--_
- - - --
213
will click off of the step, at the left side of the KD, at the inner
left co rner as seen in the Fig. 1 where by pressing the Kings downward~ 'ver~ s lightly, a separatio~ will f orm at the inner end, as in
Fig . 1.
It
Fig . 1
Fig. 2
Fig . 3
Fig . 4
s. As both hands move to close the spread the 3 select ed cards mov e
int o the separation f ormed and go ing a bove the KH which was stepped
and under the 3 face Kings.
When t h e packet of-cards is turned face
d own the order-o f the cards, because of the displacem ent move s, will
be KH, 3 selections in 3 -2 -1 order, KD-KS- KC from the top down . Deal
the~op-3 cards face d own-to the tabIe . --Tnese 3 cards n ow c ontain t he
2 selectIons and a KH. The 3rd selection is on-top of -t he packet
remaining in the l 'ett hand. You are now ready to interlace the cards.
6. ' Tu r n the King packet fac e up. The right hand fans out t his packet
with the faces towards yourself. The left hand picks up the top c ard,
the 3rd selection, in o r d e r to place it b e t we e n the Kings as in the
Fig. 2. Th i s selecti on faces the spectators and is in direct ly conveyi~g th e idea t hat the tabled cards ar e the select ion s wi t h ou t
having to use any o f the so called "f I a sh " methods . This selection
i s placed be tween t h e 4th and 3rd cards o f the fanne d Kings , as i n
t he Fig. ~, thus coverIng the 1st selection or SC in thi s c as e.
7.
t
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Fig . 3
Fig . 4
'. '
fan the King packet face down and Ln s e r t the selection face up under
the top c ard of the fanned cards as in the Fig. 4 . Now turn the f a n
face ~p to 'get into the position shown in the Fig. l with the fan o f
cards facing you.
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Fig. 7
Fig. 8
8.
Pick up the ne xt tabled card and insert it between the 2nd and
3rd cards of the fan, between the KD and KS . Now lower the-rlght
hand so t ha t the spectator sees the-faces-of the fan.
At th e same
t ime the left hand picks up the final tabled card, suppos edly the
last sel ec t io n but reall y the KH, to start placing it between the
1st and 2nd card s of the fan, as in the Fig . S, then c omp l e t e the
InSertion a s in the Fig . 6. Bringing the faces o f the Kings into
view gives you good misdirection and logic for not showing the supposed final selection.
It also presents a fairly convincing picture
o f everything being fair.
9 . Push t h e cards flush and place the packet into the l e f t hand
dea ling position with the Kings being face up . You will now repe at
showing the cards under the excuse of impressing the sit uation of th e
interlaced cards . Thumb over the KC grasping it wi t h the r ight hand,
thumb on th e face, fingers below, DY its right side . Thumb over the
face down card and out-jog it b y moving the card out with the left
hand . Thumb over the KS, then out-j og the next face down card and
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Fig. 7
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Fig . 8
8.
Pick up the n ex t tabled c a r d and insert it between the 2nd and
3rd cards of the fan, between the KD and KS . Now lower the-rlght
215
'
Fi g.
Fig. 10
13. The right ha nd hold s onto its cards while the left hand t urns
palm .down . Th e right hand moves to place its cards to the table as
the l e ft hand mov e s to d ir ectl y ov e r the t abl ed dec k, on y our le ft,
to a dd t he pa l med card s to t h e t op a s i n the Fig . 10 . The lef t hand
at on c e mo v e s i t s f inge r s an d t humb to a r oun d th e sides of th e dec k,
as in Fig . II, in order to pick it up and turn it face up by simply
turning the-reft hand palm up.
14.
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Fig . 1 2
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and S t ep 5 of thes e instr u c tions . Having s h own the pac k et a s appa r entl y still co n ta i n ing 7 card s th e re a l situation is that you hav e
fo u r King s wi th t he KH face d own in th e s ec o n d po si ti on f r om t h e
f a c e. Thumb over on ly t wo c a r d s t o s h ow 2 fa c e up Kin g s wi th a f a c e
down card b e t we en th em as y ou say , "R emember, y o ur cards a r e betwe en
..-~
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21 1
while th e r ight thumb and fingers spread the 3 card packet into a
display o f no w a 4 c a rd spread a s in the Fi g .-l S wh i c h shows the
p e r Eo r me r .' s v iew with th e fac es o f the four Ki ngs facing th e spect ator. Ta ke t wo c a rd s in e a c h hand and toss them f a c e up to the table.
Fi g. 14
F ig . 13
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3RD METHOD :
Those who may balk a t palming may still resort to
t he f l ip ov er addi ti on of t he 3 se lect ions to the deck; howev er, the
follo wing method gives th e desIred 'result in a much cleaner way.
For this f he AS must 'be on top of the deck.
1. Again the procedure is identical to th~ 1ST METHOD up to the
point whe r e you have a bre ak above t he 3 select ions while they are
still in th e 7 card pack e t. The ri ght nand holds the packet from
above, by t he - ends , with ri ght thumb maintaining the break, abo ve
th e l selec t io ns, at the bac k end.
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219
arranged in order of Red - 2 Black-Red and displayed in a s pr ead between both hands. The deck is ribb on spread for three s e l e c tio n s to
be ma~e. The th i r d sele c te d c ard i s als o s ig n e d. Durin g a l l this
you nave ample t i me a nd mi sd i r ect i on t o reyerse th e bo ttom Red Ki ng .
The selecti ons are pl aced face down to the tab le in l- ~-l ord er s o
the 3rd sele~tion i s the top card .
3. With t he rig ht ha nd pi c k up the to p card of th e thr ee ta b l ed
car ds and p l a c e i t und e r n eath a nd a l ongs ide the Red King . Tilt th e
ri gh t hand to s how the face of the selec tion , as in the Fig . 16,
th en place these cards to under the packet in the left hand as-in
the Fi g . 17. I n squaring up the packet almost a c cidentally t i lt the
hand s upwa rd s o a s to again f las h t he f a c e of t he s el e c t ed ca r d a s
in the Fi g. 1 8.
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Fig . 1 7
Fi g . 1 8
Fi g . 1 9
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Fig . 20
Fig . 21
6.
Push the card until it is
flu s h with t he f ac e King a s in the
Fig . 21 , t h e n a t o n c e the r ig ht
thumb-pulls the face King to the
ri gh t expo sing wha t a p p e ar s to be
t h e c aT d you j u s t ins e rt ed as
shown in th e Fig. 22.
Fo r more
deta ils o f thi s s ee-MarIo's
Add i tio n t o Switc hout.
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221
use "The Flexible Count" to show them as 7 cards with apparently 4
Ki ng s .fac e, up and l face down selections. - The reader should refer to
this in the section on "The Flexible Count". With the packet in the '
left hand, thumb over two cards, showing 2 Kings and a face down card,
as you say, "Your cards between the Kings-:-" Now you seemingly vanish
the selected cards by using Marlo's Opec Count, which one should have
read before coming this far, then showing only the four Kings remaining, using the Buckle procedure as in the Figs. l3-l4-~.
9. The deck is now picked up and the 3 selected cards are no,v dis closed. This is identical to that already described in Step 19 of
the 1ST METHOD except you will have to turn the SC or 1st selection
face up since it will be face down in this methoCf: From here the
rest is identical up to and including the discovery of the signed
selection in the card case.
STH METHOD:
This method uses the basic interlacing procedure of
Harris but the method of getting the required displacement of
2 Kings above the selection is far superior and very direct . . I have
purposely avoided any illustrations for this displacement to see if
, t h e written word alone will convey its direct simplicity.
P~ul
11 .
The AS should be a few cards from the face of the deck which can
be either face up or face down on the table depending on whether you
want to add the eventually palmed selections to the top of the deck
or to the bottom.
If you decide to use the ovt-jogging addition,
then the AS would be the top card.
2. The 4 Kings are in C-H-S-D order from the face to the back.
These
are held-face up in the-left hand.
The 3 selected cards are collected,
face up, into the right hand, in order of 1-2-3 so that the face selection is the last or 3rd selection which-now-logically can be signed
while the cards remain in your right hand.
It I S almost as a marker
card for the o.t.h e r two selections and your patter line can be, "S'i gn
the packet."
3. The left hand spreads out its cards to the right using onlyon~
hand, the right hand spreads the l selections to the right also using
one hand.
If you find this awkward for you, then place the packets
together, selections onto the Kings.
Respread the cards, still face
up, taking l fanned selections into t h e right and holding onto the
spread of i Kings in the left hand:
4. You will now apparently replace the 3 selections to under the
4 Kings. Actually as the cards from the-right hand go under the
Kings the lower left corner of the lowermost selection makes contact
with the lower right corner of the second King from the face of its
packet or in this case the KH. A very slight upward lift with the
cards held in the right handwill create a space between the 2nd and
3rd Kings from the face.
Without any hesitation the right hana-moves
to the left to converge the cards into the left hand.
To all appearances you have simply placed the 3 selections to under the 4 Kings
but they are now really between the 2nd and 3rd Kings from the top
or bottom.
The packet is turned over face down, into the left hand,
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Fig. 24
23
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7. The right hand c ome s over the el ong ate d spread to push the c a r d s
flu sh. Duri ng t h i s th e r ight thumb l i f t s up on t h e i n -jogge d ca r d
and as the packet is squar ed the l eft 4th f ingertip ge ts a br eak below
it. The 3 sel e ct i ons belo w t h e bre a k a re either class ic Bottom PalmedJ
o r .into a- GambIer 's Cop . In e i t he r c a s e t he left thumb can t hen
sl i ght l y spre ad th e 3 face c ard s t o almo s t inadve r te n t ly exp ose 2
fa ce down car ds be t we en th e King s . Th e right .h a nd pl ace s i ts Kin g
packet t o th e tab le while the l ef t hand moves away to s ecre tl y add
t he palm ed c ards to t he top of th e dec k as in th e Figs. 10 and 11
o f the 1ST METHOD or t o under a fa ce up de ck if using the-GambIer 's
Cop. In e i t h e r case the added sele c tions wi l l b e i n ord e r o f 2n d
s elect io n , 1 st s e lecti on f a c e up, 3rd se le c t i on or 6C, SC fa ce up,
7C i f us i n g ~e s e examp l e c a r ds. Th e l e f t hand now-na s~he de ck .
.]
8.
/.
223
Do a 4 card Turnover onto the deck but remember the 7C or 3rd selection
will show f ace up; ther e fore, as th e turnover is being compl eted the
left .h and ,p-o e s a Wr i s t Tur n . With the left hand palm do wn the left
thumb de a l s of f the top card face down to the table. (Thi s is the
K.M. Move as detailed i n Volume II of the Maga zine.) The left hand
at once turn s palm up a nd places the deck to the table. The supposed
AS is now placed into the card case which is now placed off to one
Side. Now turn your attention to the King packet.
'
9. Pick up the King packet. You will now show these four cards as
seven or app arently as 4 Kings wi th 3 face down sel ections. For this
,' us e the " Fle xible Count'iT as explainea in this volume; however, briefly,
the fir st 3 c ards a re pe e l e d off, on e at a ti me i n t o either the left
or righ t ha nd. On th e count of " Four" you exchang e the single card
for ~he 3 c ards you j ust peeled of f. Now conclude the count as you
take the-3 car d s , on e a t a time, onto the singl e card.
Fig. 25
Fig. 26
.
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Fig. 27
Fig. 28
10. Spread the face 3 cards, as in the Fig. '24 , to show face down
cards between the Kings as you say, "You cardS-between the Kings."
In closing up the spr ead you actually line up the two face down cards
and the two face up Kings as in the Fig . 25. This is a simple maneuver
of the left thumb pulling the uppermost face down car d t o the left
while the right thumb pulls its face King to the right.
Fig. 25
Fig. 26
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11. Both ha nd s move int o a cupp ed or Pr ayer position wi t h the thumbs '
and 1st fi n ge rs c l i ppi ng ea c h pair of c a r d s a s i n t he Fig. 26 . Wi th j
e ach pai r of ca rds firml y p inc hed both hand s do a Wri s t Turn; a s in
the Fi g. JJ.., durin g which th e le ft hand will have th e face down Kin gs '1
whi le t h e righ t hand wi l l have the face up Kings . The l eft t humb
~
go es unde r the f a c e down Kings a nd t urns them fa ce up as at t he s ame
time both hands ' turn palm upward and spr ead out the 4 Kings as in
~
the Fi g . ~ .
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12. Drop the Kings face up to th e tabl e and turn your attenti on to
..
the d ec k in ord er t o r eve al the 2 s el ec ti ons, th en the AS a s a lready ~
de t a i l e d i n the 1ST METHOD a t Step 19. Climax t he e f fe ct by having
the 3rd sp ectator rem ove his s lgnea-card f r om the c a rd ca s e.
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Now move l e f t t h umb fo r ward t o pus h off bloc k whi le l eft for ef i ng e r i
s ort of moves back t o pull bottom ca rd to the l eft . The t wo o pp o s i t e
a ctions pl'Us t he r i g h t fingers pinch ing the lower corne r o f the packet
wi ll g ive a n e at pu sh o f f illu s ion of only one ca r d . The ri ght h a nd I
can th e n immediate ly tur n t hem face up. A r ep e a t o f the ab ov e a ction J
.
t urn s them face down .
ADDED NOTES : Some may fi nd it bet t er, sinc e it will give more cover J
to the block , for right finge r s and thumb to grasp the upper right
co r n e r of the car ds . The right 1st f i n g e r should press fi rmly do wn
a~ross t h e t o p end o f the b lo ck ,-at t h i s upper r i g ht corne r .
Tne-r i gh t 2n d f inger unde r t he bloc k a t this c or ner a n d thumb on top.
The le~thumb must now not o n l y push the block to the right but
must follow alon
on the left side of the cards, as righ t fingers
a n d t h umb p u l l t e bl ock to the r ight as i n Fig . 2.
This a ction
co v e r s any possible f lare ou t on t h e lef t s id e of-the block du r ing
the pushing and t urnover .
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Fig . 3
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227
1ST METHOD:
1. Hol d the deck in l eft hand in t he familiar Mechanic ' s
Grip with the s i d e s of the d eck bevel ed to t h e r ig h t . The le ft t humb
pr e s s e s fi'rmly on top of de ck cur v i ng the pack downward s slightly .
The le ft 2nd, 3rd and 4th f i ng er s press in aga i n st the r igh t s id e of
deck; how ev e r,~e s e fIngers a re pos i t i oned so a s to l eav e the lo we r
righ t corner of the de c k un covered .
.2. The rig ht 1st fi nge r .now doe s t he Hit Me t hod of Dou ble Lifting
t he c a r ds at t ne-l ower righ t c orner . Du r i n g this l i f t ing proce ss it
is "i mpor t an t that t he lef t 4th fi nge r kee p pr e s sing again st s id e o f
d eck altho ugh s ome may pre f er-to us e pres sur e o f t he l eft 3rd fi nge r .
In e i the r c a se t hi s prevents a n a ccidental flare out o f th e cards
durin g th e li ft ing p r oc e s s. I n fa ct th e li fti n g a c t i on , which c an
actual l y be done a c ar d a t a t ime for a s many as des i r ed, is com"p l e t e l y cov er e d from the vulnerable r i ght side as seen i n the Fig. 5 .
The ~ i g . 6 shows t he co mmo n fa u l t of t h i s li ft.
Fig. 5
Fi g. 6
3. Once the desir ed ca rd s are
lift ed the r ight 1st a nd 2nd
f i nger s enter un der-these c a r ds
as r ight t hum b go es on top. Thu s
the c ards are gras p e d , at this
moment , at t h e l ower r i gh t c or n er
between r igh t thumb and 1st and
2nd fin gers.
4.
Immedi at ely the left thumb
moves b ack to the position sho wn
i n Fi g. 7 apparently in r eadin e s s
to push over a card.
Fig. 7
5 . Now th e le f t t humb a c t ua ll y
pushes th e c ard s f orw a r d as at
s ame time the right hand, which has a firm gra sp on the cards, moves
to th e r ight . To all appearances the l e ft thumb has pushed over a
single ca rd a s in Fig . ~ whe re not e the curved appe ar ance of th e c ard.
.
Fig. 5
Fig. 6
3 . Once the desir ed ca rd s are
lift ed the r ight 1st and 2nd
fi nger s ent er un der-these c a r ds
22 8
1J
2ND METHOD : 1 . Here again the deck is held i n the Mechanic 's Grip
in left hand . Th e right hand c omes over deck to pos it ion i t s t humb
at l ower ri ght co rn er of deck while the right 2nd fin ger comes onto
the upp er right co rner and is near the tip of left 1st finger. The
r i ght 1st fin ger is cur led on t op of deck near th e right edge o f
deck . The rig ht 3rd a.nd 4th fingers have the ir normal position and
t he wh o I.e pict urel"S as shown in Fig. 9 .
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Fig . 9
Fig. 10
Fig . 11
Fig . 8
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pr es s ag a i ns t t he edge of th e c a r ds .
8. The l eft thumb now pu she s th e co rd (s ) to th e right a s in the
Fig. 8; howev er, a ga in r em emb er the c ard(s) rid es lightly ov er th e
tip aT the l eft s ec ond fing er which at the same time pr es s e s a gainst
the ri ght s i de of th e d e ck to ke ep a l l ot her card s in plac e unl e s s
y ou may wis h t o g ive the illu sion o f havin g f ann ed over say, thr ee
card s i n whi ch ca se th e pre ssing o f the re st of th e thumb ag ainst
the top card s of the dec k a nd the ea sing a nd l owering o f the l e ft
2nd and 3rd fi nger tips wi l l pr emi t th e ext ra ca r ds t o rid e p a st the
Tight sicre-of the de ck . This is a Bob Stenc el subtlety.
9 . The r e st of the a c t io n , fo r tur nin g th e c ard s fac e do wn, is
id entic al to Fi g. 5 where right hand gr as ps the ri ght side of th e
card{ s). Thi s timi th e ca r d (s ) a re turned f l us h on to d ec k where
th e r i ght thumb f ol lows by r un n i ng a lo ng th e bot tom end o f d eck ,
as in Fig. !, to in sure the card s be ing in line with re st of deck .
]
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10. It i s imp ort an t tha t th e tip s of ri ght 2nd , 3rd, and 4th f i nger s
act a s a gau ge e as i ng ou t of the way just enou gh ~l et thetl"o c ards C;)
as on e, pa ss ove r them ye t k e ep back the r e st of the ca r ds .
~
11. You can now turn the c ard(s) fac e down onto the top of the
de ck, then at onc e deal over the to p car d whic h is then de alt wi t h
as de sir ed; howev er, th e foll owing i dea , whi c h basicall y app ear ed
in Hugard' s "Card Mani pul ation s #2" , gives th e impre s sion that you
never l et go of th e c a r d . The Hugard de s cripti on t ell s yo u t o,
"Pl a c e th e car d(s) so that i t ( they) c o i n c ide exact ly wit h th e to p
end o f th e d eck but do not r el ea s e the grip of the right thumb a nd
finger .--Wi~ slight upwa r d push of th e thu mb ti p on th e f ac e of
t he lowe r card , rel e a s e i t a nd draw th e top c ard away to th e ri ght."
The und erlining i s mi ne to emp hasi ze the di ff erenc e betwe en th e
abov e and th e s mooth flo wing a ction of the f o l l ow i ng :
]
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12 . . The f ac e up card( s) are grasped, with' the right hand, with the
thumb on the fa ce lower index and 1 st and 2nd fing er s b elow. The
ri ght hand moves it s c ard ( s ) to the-Ti ght unt il th e left: s i d e of
the c ard(s) are in lin e with the ri gh t sid e of the deck as well as
the to p and b ottom c orner s o f th e de ck. Start t o turn th e c ard (s)
face down un til t h e c a rd ( s ) i s al most f l u s h wi t h t op of d eck but
prevent e d by th e r ight thu mb being betwe en th e c ard(s ) and the de ck.
J
At th is pr eci s e moment the ri ght thumb pu sh e s th e face c ard t o th e
ri ght, its ri ght s i de being presse d aga i ns t th e l e ft fin ger s, wh i le
I
th e right 1st and 2n d f i ng e r s pull the t op card to th e -Le f t : . The
top card i s thus fre e to be carried awa y to th e left and inward
pa st t he l eft s id e o f th e deck. To in sur e that ~unlo ad ed card
or cards, dep endin g Dn how many cards compr is ed the turnov er, re r~
main on th e top of th e de ck i n perf e ct ali gnm ent wi t h th e de ck, the
,.&1 .
left 2nd , 3rd, a nd 4t h f i nge r t i ps press down s l ig h t ly onto t h e ri gh t
side 0 rt hecIe c k wiTI1the left 1st fin ger, a t th e out er end, pr es sin g
onto th e upp er ri ght corn er . Tne-l e ft thumb ha s mov ed o ff t o th e
le f t s i de of t he de ck during this:. Pro pe r l y pe rf orme d th e illusi on
r
is that you never let go of th e c ard . For a n ambitious card bit you
simpl y f ollow thr ough by t a kin g th e tr av ellin g c a r d t6 t he l eft and
ins ert in g it int o th e l eft si de o f th e d e ck. If you wi sh to tabl e
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' t he card it is as before carried off to the left but then the right
2nd finger goes und er the card at this corner which causes it to turn
and end up being held in a lengthwise position,back to the audience,
by what now becomes th e inner right co rn er. Use as desired.
,
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2. The ot her solu t ion to cove r up any spre a d of th~ c a rds -i~ t o pu sh
the cards ov e r very, v e ry sl i ghtl y as you are lo oking at the lef t
sid e, ne ar upp e r l e f t ~ o rner , of t he de ck . During t h i s y ou will be
able to cle a r l y s e e t ha t t wo c a rd s, as one bu t v ery sl i ght l y out of
line, are abo ut to move for ward. The specta tor will no t disc ern
this and in f act th e situa tion to any onlooke rs would appear only
as i n Fig. 9 because the Pus ho ff act ion is so slight.
At this stage of Fig. 9 the
two cards have been advanced far
enough over the r i gh t sid e of dec k,
at the upper right corner, t o e n abl e t he r i ght fi ng er s and t humb
to gra s p t h e c ards by~t he upp er
right corne r; howeve r, the r eader
is referred to Fig. 14 ., shown
furth er on in text, In'ord e r to
clearly show the card(s) over the
right sid e of deck at the upper
right corner.
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OVERCOMI NG PROBLEMS:
1. THE FLARE - OUT . Th is i s where you hav e st art ed of f two card s bu t
th ey a re no t perfectly square but rather min ute ly f a nn ed as i n th e
Fi g. ~ whi ch is an e xa gge r a t i on showing the back de s i gn o f the c a r d s.
Act u a l l y the card s may be fanned t o on l y show th e ir white bor ~e r s .
Fi g . 10
Fig. 11
2.
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235
thumb t.o move to the extreme left side of the lined up cards and
pressing do~nwards on this edge easily moves off the two lined up
cards as one.
2. TACKINESS. Here you may be getting three or four cards when you
really onl y want t wo. To aid in overcoming this merely down rlffle,
with left thumb , the left corner of deck and try again.
3. ONLY ONE CARD. You thou ght you pushed over two cards but find
it is only on e. At this stage you have the situation as pictured
in Fig. 4 but it is a single card. To overcome this obstacle merely
keep pressing down and forward with left thumb until the second card
moves off very slightly as in Fig. 12. The Fig . 12 is again an exaggeration as actually the second card is moved over for only half
the width of the white border of the deck.
Fig. 12
Fig. 13
The left 1st fing er, at top end of deck, and tip of left
2nd finger underneath will keep the under or 2nd card in place as
Ieft thumb pulls back the top card in line -wi~the under card. To
keep these cards in line the tip of left 3rd finger presses again st
right side of the two cards which in turn become trapped between tip
of left 3rd fin ger at right side and base of left thumb at lower left
corner. The trapping posi t i.on , is shown in Fig. 13 which again is
exaggerated as in actuality the two cards will be-in line and angled
off deck for only half the width of the deck's white border.
With the two Cards in line and momentarily trapped the left
thumb is now free to move and press its tip down on the extreme left
edge of the two cards as in Fig. 11 which is still the exaggeration
as actually the situation would appear more like Fig. 2 because of
the white borders of deck blending with the two slightly angled off
cards.
From here you continue into the Pushoff actions previously
described.
4. FLEXIBILITY OF CHOICE. Assuming you have pushed over one card
and then went into the situation shown in Fig. 12 from which you
bring the top card in line with the under card as in Fig. 13.
/
Fig. 12
Fig. 13
]
Whe n 'you r eac h ih e situation shown in Fig . 1 3 y ou have s eve r a l
],
alt erna ti v e u s es . For examp le , bec aus e th e t wo TIned up c ard s a c t ual ly project~ ov e r de c k, at upper right c orner, yo u c a n grasp them '
between t i ps o f right thumb a nd 1st and 2nd fingers as i n Fig. 14 .
the le f t thumb fo ilowi ng, as ri gh t hand moves t he ca rd ( s ) " to the r i ght,
then turn t h e c a r .d I s ) f ac e up onto top of the deck as in Fi g'. l:i. You
can a l so go i n t o any othe r Doubl e Li ft procedure .
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Fig. 15
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Fig . 1 7
Fig . 1 6
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With th e break held with tip of left 4th finger b eneath two c a r d s
\ )
237
the right hand comes above deck in the manner similar t o the Fig . 7.
Also the left hand moves the deck to the left thus automati cally
angling.the~wo cards at upper left c orner , as in Fig. 7 , a s appar ently
on e card .
3. From here jt will be found an easy matter for left thumb t o push
of f the two cards as in the Fig . 4 to immediately turn the cards fa ce
up and in -jogged as in Figs . 5 anei' 6 '.. . ith the left 4th fingertip
getting its break .
4. From the position of Fig . 6 the in-jogged cards are ' pushed flush
with the deck, then the angling of Fig. 7 i s made and then the actions
of Figs. 8, 5, and 6 are rep eated but thIs time let the cards fall
face dOHn-and flush-with deck. End with the action of squaring up ,
a s in. the fig. !.
S. Remember that whichever type of Double Lift you do the exact
actions must be done when t a k i.ng or turning, o r dealing off on e c ar d.
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~ave pushed over a block of 4 cards in fair alignment.
Grasp the
right side of this block with the right hand, thumb on top and 1st
and 2n~fing~rs below, at about center and near the right edge. Make
suretne right fingers and thumb pinch the block firmly.
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Fig. 2
2. With the right hand holding the block of 4 cards firmly the left
thumb pushes the block further to the right until the left 2nd and
3rd fingertips contact the face of the lowermost card of th~block.
The tips of the left 2nd and 3rd fingers press up against the face
of the lowermost card while atthe same time the left thumb keeps
pushing the block to the right. These actions will result in the
lowermost card being held back by the left fingers while 't he left
thumb now is pushing 3 cards as one. At once the left 3rd finger
extends in order that-its tip can contact the face of the next lowermost card, in this case the 3rd card from the top of the block. The
left thumb keeps pu shing to the right as the left 3rd fingertip
presses upward in order to keep back the 10werffiost-oT 3rd card. The
result will be that two cards as one will now be held ~the right
fingers and thumb as in the Fig. ,~,
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most card, in this case the 3rd card from the top of the block.
left thumb keeps pu shing to the right as the left 3rd fingertip
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. c a rd as in t he Fig . 2 wh ich is the performer 's v iew . At onc e th e
1
right thumb and 1st ~nd 2nd fingers grasp the projecting single ca rd J
by t he' upp er righ tco r n er as in th e Fi g. 3. The deck still fac es t he
sp ecta tor a n d hi s vi e w wil l be that seen Tn the Fig. 4 .
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Fig. 3
Fi~ .
Fig. 4
Fig . 5
2ND TECHNIQUE (F or Another Double Turnover):
1. Bas icall y i n this type Tur no ver the desir ed num be r of c ards should
b e pu sh ed ove r a s close t oge t he r as po s sibl e bu t in o r der to cle ar l y
show th e und e r l ying s qua r i ng up t e chniqu e the des cr iption wi l l be
,.
give n with t h e cards s ep a r a t ed from each other . The chief disarming
feat ure of t h i s particu lar technique is tha t while the deck i s h eld
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in th e Mechan ic 's Gr ip th e hand is perfectly relaxed with the l e ft
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Fig. 7
'Fi g . . 6
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5. The right hand can now flip the card(s) face up into the Altman
Trap to thus display the suppos edly single card.
(For details of
the Altman Trap see "Advanced Fingertip Control".) From this point
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the card(s) c an be eas ily turn ed face down onto the t op of the deck .
It ':ls pos s i bLe to do Mu1 tiple Lift s by first 100se1y s p r e ad i ug
the dec k into an ex agge ra te d bevelled co nditi9n . The le ft thumb can
now p r e s s and very sligh t ly break of f, t o th e rig ht , a ny amoun t of
card s s o that only their white borders can be seen by yourself . The
Fig. 10 shows how f ou r cards, with their white borders fairly close
but the a ctual number v is ible to you , have been pushed ov e r by the
le f t thumb.
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The ri gh t f i ng e r s and thumb
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move onto the upper right c or n e r of
t h e s e c a r ds befo r e raisi ng the de ck .
Th e po s i t i on of the han ds an d the
c a r d s i s shown i n th e Fig . 11
wher e the ba c k of th e ri ght3 rd '
f inger i s pr e s s ing aga inst t ~
r i gh t side of the ca rds n ear th e
up p er rL gh t co r n er . The r ig h t Is t ,:.
fi n ge r is along t h e t op edge of~e
c ar ds a t t h i s cor n e r.
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wher e the ba c k of th e ri ght3 rd '
f i nger i s pr es s ing aga inst
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2. The right hand comes over to contact the upper right corners of
both cards and starts to pivot them to t he right as in the Fig. 12 .
At ,t h e same time the left thumb pulls the top card to the left aM
in line with the 2nd card as in the Fig. 13 . The two cards are in
perfett alignment-yrapped at its l owe r left corners, a t the base of
the palm, and the right 3rd finger at the upper right c orners . The
right 'thumb , also presses-rll against the right side of the cards to
further he lp in aligning them.
Th e right 1st and 2nd fingertips
press on t o the top of the cards. At once tEe cardTS) is Stud dealt
face up, as in the Fig. 14, to f lash the face card.
In a foliow t h ru
the right hand flips thecard(s) back face down, sidewise to the left,
' o n t o the top of the deck.
The action is a 'f l u i d one from start to
finish.
This technique is especially go od for successiye Double or
Multiple Turnovers.
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Fi g . 12
Fi g. 1 3
Fig. 14
Fig. 15
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1 . To get the basic idea assume you are s e t to do a fo u r card push o f f a s apparent ly a single card which is t u r n e d face up , i n Stud Deal
fash i on , t o be rested face up onto top of t h e deck but s i d e- j o g g e d
-1
fo r half its width .
I f yo u wi ll examine t h e right side o f th i s b l oc k J
you will no t i c e a mi nu t e f la r e out a lo ng the ri gh t side o f th e car d(s ) .
Normall y in a f o l l o w th r o u g h ac t i on, in wh ic h t he card ( s) is t urne d
' 'l
fa c e u p and at once tur ned back face down on to top o f de ck, this
f lare - ou t is not noticed beca use the card(s ) keeps mo v i n g; ho we v e r,
.
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8 . Once the block has been squared off the s upposed two ' ca rd sp read
c a n be rested against . the top of the deck as shown in Fig . 4 where
again note how the cards are once more in a sort of locked frame.
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9 . Note that in the Fig. 4 the face single card is angled so its
outer erid projects over the outer end of the block while the l e f t
1st finge~ is lying along the uppe r l e f t corner o f t he bl ock thus
concealing its thickness . Between the cover of the single projecting
card and the cover of the left 1st finger at outer end near the l e f t
corner plus the squared off lef~ide the block is to all ,a p p e a r a n c e s
Study Fig . 4 to get the idea .
a single card of a two card spread.
Fr om here the left hand alone , with deck in h a n d~ ca n display the
s p r e a d cards until such time when the right hand is ready t o turn
t h e m back face do wn and flush onto the top o f deck . From here go
into whatever you i n t e n d e d.
10 . So me may prefer the following technique for the D'Amico Spread.
Be g i n by simply positi on t h e still sq ua red car ds wit h thei r left side
a g a i n s t the top of the deck . The tip of the right 1st finger presses
on the top side edge while the lower side edge is pressing against
th e to p of deck . The situati on at this stage would be similar to
that shown in Fig. 1 previously. With the packet of cards thus
trapped the right thumb pulls the fa ce card up wa r d s o i t s t op side
edge moves past the tip of the right 1st fin ger. ' At the same time
' b o t h the left and right hand start to---revolve palm upw ards but with
the cards from right hand st il l pressing the remai nder o f t he b l ock 's
l e f t side edge a g a i n s t the top of the d eck. This double action will
now b evel the l eft side edge of the block inward , to the right , under
9.
Note that in the Fig. 4 the face s ingl e card is angled so its
outer e rid p r o j e c t s over the outer end of the block while t h e left
1st finge~ is lying along the uppe r l e f t corner o f t he bl ock thus
concealing i ts thickness . Between the cover of the single proj ecting
card and the cover of t h e left 1st finger at o uter e nd near the l e f t
c o r n e r plus the squared off le f~ide the block is to all ,a p p e a r a n c e s
]
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247
the face card of this block thus presenting a clean single edge o n
the left side of this block . The illusion of two single cards only
having ' been 's p r e a d is very good. A few trials and you will get the
idea of how all this blends into seemingly only one acti on , that of
simply doing a two card spread .
Can be applied also t o Multiple
Spreads.
MARLO SPREAD LIfT
This is a refin ement of an idea I pub lished in
IBIDEM years befor e any one thought of remo vi ng two or more c a r d s as
on e fr om within th e deck.
The original idea in IBIDEM u s e d a Fa n
Sp r e a d during which you could spot cards t hat remained in perfect
alignment . These cards were then removed , as apparently one card,
fr om within th e f a n . This method and the one to be described de pend on the cards having a clinging or sticking quality.
Naturally
the older or used decks work best but there are occasions when you
will find som e new d ecks, prob abl y because of being in stock too long,
have this almos t roughing fluid typ e tendency.
Before jumping to
c onclusions th ere wi l l be a suggestion for doing this spread lift
with even the slic kest of decks; howe ver, let's start with the assumpti on that you have a used deck.
1.
Sp r e a d th e deck b etween both hands very lightly touching the cards
with th e left thumb which pushes the cards to the right.
As you do
this somewher e along you wi l l feel a thick card as it glides past
the left fing ertips from b elow . Your eyes at this point can now
furthe r tell y o u if it is a Doubl e or a Triple and if it is in perfect
alignment.
Til ting the spread cards downwa rd, to the right, will
f urther aid in spotting the left sid e edge o f t he card (s) t h u s easily
seeing if i t is more than one, two , or three cards.
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2. Ass umi ng that you h a v e come a cross two cards i n perfect a l ignmen t
t he righ t hand, which stil l h olds o n to its part of t he spread c a r d s ,
o u t - j o g s the Double card, as one, for a bout half i ts leng th . The
l e f t hand alone now holds onto the still slightly spread cards while
t he r ight hand pivots t h e out-jogged card(s) o u t of the spread.
This
i s d one b y the right fingers contact ing the left side of the o u tj ogged card(s), then pivoting them clockwise to result in the card(s)
being held face down , by .the right side, with t h e thumb o n t op and
f ingers below.
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further aid in spotting the left sid e edge of the card(s) thus easily
seeing if it is more than one, t wo , or three cards.
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Fig. 1
Fig. 2
2. Turn t he c a rd ( s )
thumb on the ex treme
c a u s e the right si de
fingers as in Fig . l
3 . ' With tip of left thumb you can now easily push the cards of f the
deck past the tips of left fingers in a manner similar to that explained in the "Pushoff Techn ique". If you wish you can use, because
of the li ft off of cards at the right s i de , any other method to t urn
the cards face down. For example, the Hit method or the method in
the "SPADE" book for the "One Hand Double Turnover" in which the cards
are pushed forward by the left 2nd and 3rd fingers and thumb which
easily can grip the right side '~the lifted c a r d ( s ) .
.
4. All that remains is for right fingers t o t ur n the card fa ce down.
Pr e s s ,down on deck firmly , with left thum b , t o take ou t th e bend as
you deal off the t op c a r d .
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STEVE DRAUN ' S PACKET PUSHO FF LI FTS
In the handling of a small pa c k et of cards several
year s a go St eve Draun develop ed the f ol l owi ng "No-Get Ready l1 t echnique f or a two c ard lift or turnover.
1. Assume you have a f our c ar d packe t i n t he l ef t han d deal i n g pos itio n. The bal l o f t h e l e ft t humb does a Bl ock Pu shof f , o f those c ards
abov e the s i ngl e ca rd , in a small arc to the rigl~t.
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Fig . 1
Fig . 2
4. If you have 5 ca rds an ~ s t i l l wi sh to do a Double Li ft or Tur n over, then the pro cedure is the same a s t h e op ening mechani c s i n t he
case of 4 c ard s except when y ou r e a c h t he co nd ition of the Fig. !. you
will ha ve 3 c ard s a s the top ca r d. At th i s po i nt the t ip of the l eft
3rd fin ger-come s into playas it now pre sses up ward against the block
or-3 cards, a t the outer ri ght corner, c ausing the lowermost card of
these 3 to be hel d bac k as the l eft thumb, co n t inuing its pus hin g
actio n- in an ar c , pushe s ov er t wo c a r ds as on e. It is i mportan t that
t he l e f t thumb doe s no t r e a ll y pus h on to p of the c a rds bu t i n reality
the ba ll o f the l eft thumb presse s against th e left s i d e e dge o f the
cards near the upp er left corner. See the Fig. ~.
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r ig . 6
3. The ri gh t ha nd do es a St ud
Typ e Tur nov er to bri ng the c a r d s
face up and held alongside the
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face do wn cards i n th e le f t hand a s
i n the Fig . 6 whe r e t h e l eft t humb .
has a l ready pull ed its rem aining
car ds flush with t h e c a rd in t h e
left hand . Al l t ha t rema in s is
to turn or flip th e card(s ) f a c ~
do wn o nt o the c ards in t h e l ef t
hand.
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Fig. 7
Li ft f o l l ow t h e exact p r o c e dur e as
illu s tr a t e d i n the F i g s . 4 a nd 5
but whe n the s t age o f the F ig . 5 is re ached th e tip of the left 3rd
fin ge r now presses up wa r d against t h e new bo t to m or f a c e c a r d.
Now
simpl y c ont i n u e t h e ide ntic al ac ti on s , o f le ft hand arcing to the left
and righ t ha nd arcing to t h e ri ght a n d downward, wh e n th e r esult will
2 53
cards the starting action of the left thumb is altered so that the
tip of the thumb contact s the left side edge o f th e deck , near the
to p, ne a r the upper l p.f! c o r ne r . This starting pos i tion i s identical
to t ha-t shewn in the lF l g . l of th e Mar l o Doubl e Pu sho f f.
This position enabl es you to cl early s e e wh e the r you ar e push ing off, as apparently on e card, t wo , three , o r f o u r cards in a bloc k.
Th e positi onin g o f th e right f i n ge rs i nto th e Stud Type Pos ition also enabl es you
to fe el i f you have th e de s ir ed n umbe r of card s in the block or more .
7.
Sup po s e y o u wan te d to d o a Doubl e Pushover bu t have pu s hed ov er
3 c ards i n s tea d . The r i g ht fi nge r s position th e ms el v es into th e Stud
Typ e Posit ion wh i.I.e the left 2n d fi n gertip co nt act s th e bot t om o r f a ce
card, of the se t h r e e , at the u p p er rightcorner . The s itu ation i s a t
this sta ge similar to that a l r eady s h own in th e Fi g. 4 ex c ep t in t his
case you wo u ld have a full d ec k in your lef t hand . Tne l eft 2n d
finge rtip presses and holds bac k the bottom card of the 3 whi~the
r i g ht fi n ge rs arc to th e r i g h t and do wnward cau sing t h e l owe r mos t
card 'o f the 3 cards t o b e f o r ce d past the r i g h t 3rd f i nge r t i p which
keeps the t op t wo cards i n perfect alignme nt . Again the s imi lar ity
is as in t h e Fig . ~ except with a ful l d ec k in t he l e f t hand .
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8.
Su p po s e y ou ha d pu sh ed o v e r a b l o ck of 4 car ds bu t wa n te d onl y a
Doubl e Li f t or Tur nov e r .
I n th is c a se the l eft 2nd fi nger tip wou ld
ho ld bac k th e botto m c a rd , o f th e fo ur card s , wi ~t he r i ght fin g e r s
mov i n g t he bl o ck of t hree car ds i n a manner s im i lar to t h at alrea dy
s h own i n th e F ig . 5 . Now the l e ft 3r d f i nge r ti p pr e s s e s u p aga ins t
th e bo t to m c ard of-th e 3 c a rd blo c k--:r:0 ke e p it b ac k as th e rig h t hand
co nt i nu e s to a r c , t o t he r i g h t, n ow wi t h only t wo c a rd s i n ali gnmen t .
Th e situa t i o n i s n ow as a lrea dy picture d in the Fig . 6 e xc e p t y ou
have a f ul l d e c k o f c a r d s in the lef t h and in t h i s c as e.
9 . Since you can push o f f ev en 5 cards and s t ill e n d up wi t h o n l y
a Do u b l e card, throu gh th e u s e of the left 4 t h f inger t i p, f o r the
3rd bo ttom card o f th e b lo c k , to hold back the card, it beco mes q u i te
o b v i o u s t hat MUl t i p le Li ft s a re just as eas y . All you n eed to do is
b e sur e that y o u initi all y s tar t t o push.off , wi t h the t ip of the
lef t t h umb , t he ac t u a l requ i r e d n umb e r o f c ards or more tha n th e
requi r e d n umbe r but c ert a in l y n ot less .
In the ca se-whe r e y ou pus h
o v e r more than the requi red numb er of c ards t h e ex cess cards are
s i mp l y held ba ck by the left 2nd , 3r d , o r 4 t h fingertips this de pend ing on how many mo r e you pushea-0ve r t h a n the needed a moun t .
Thus u p t o a 5 ca rd Turnover or Lift c an be done a s easily a s a 2
c a r d Lift o r Tur nover . I n the c ase o f Tur novers or Lifts that are
i n th e 5-4 -3 ca tego ry , then t h e l e ft side o f t h e turned c ard s sho u ld
be ge ntly- tappe d agains t the to p o f t h e d ec k to square o f f any fla r e
out that may o c c u r al ong the left s ide. Th is is e s p ec i a lly t r u e i n
cas e s whe r e a Stud Type Tu r no v e r i s used . Fo r more details r e f er t o
t h e "Turnov er Tip" .
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Fig. 2
Fig . 1
Fig . 2
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255
is t h a t the palmed ca rd goes d i rect ly on to p of and in li n e wi t h
the c a r d held by t h e l e f t hand . The lef t-r5t and 2nd fi n ge r s hav e
moved upw a r d, o ff o f its card, s l igh tly toa l l 0'" t~ palme d c ard
moving in . The end result i s t h at b ot h c ar d s are i n line a nd he ld
by t hei r inner r i g h t corne rs with the l e ft finger s a n d thumb .
If
the ri ght han~ we re mov e d away the c a rd ( s ) would a p pear s i mi la r t o
You d o not do this bu t keep t h e h a n d s , f o r
t ha t s ho wn i n Fig. r;t.
the mom ent, as in the Fig . 3 .
4.
From th e position of Fi g . 3 you have two o p t ions .
On e , th e r i g h t
hand c an move a wa y d i r e ctl y fr om the positi o n of Fig . 3 .
Or t wo, y o u
can l e v e r bot h hand s outwar d , t h e lit tle fin g e r side of e a c h ha n d is
r e s t ing firm ly against the table top du ring this o u t wa r d l e v e r i n g
act io n, as if to look at you r card . Once having looked at it the
bo t h ~ands can l ower towa rds the table wi th the right hand then
moving away to t h e right . This only e xplains t h e two possible actio n s .y ou can adopt but not t h e actual switch technique which now
wi l l follow.
5 . As s oon as t he hands reac h the p osition shown i n t h e Fig . 3 and
bo t h cards a re i n line, t h e l e f t f i nge r s pul l the i nne r left co rner
o f t h e top ca rd inwa rd c au sing the t op card to a ng le in suc h a man n er as to e xp o s e the out er l e f t c orner and the i n ne r right c orn er o f
Th e Fi g . 4 s h ows the an gl ed co nt h e l o we r or o r i g i n a l ta b le d c a r d.
di ti o n o f t h e to p c a rd wi th the r i ght h and omi tt ed .
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Fi g . 5
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1 2.
Th e l e ft h a nd r e pl ac es it s c ard b ack to i t s o r ig i na l place i n
the lin e o f fou r cards . All tha t remains is t o r ep e a t t he same
s wit c h for ea ch of t h e remaining three t a bled X c ar d s r e s ult i n g i n
the t abl ed c a rd s n ow b e in g the Ac e s with the r I g h t h and now h avi n g
four X ca r ds.
1 3.
I f th e swi t ch has been p ra cti ced e n oug h yo u can do a f a ce u p
visual ch an g e so that b y stro king, sa y , a 5 spot value card it
c ha n g e s t o a 4 - 3 -2 Ace in t u rn .
I d o not a dvise such an approach
b u t o nl y u s e it to po int out how easi ly and qui ckly it can be do ne.
14. While I h ad us ed p aper cl ips on a card in on e form or anoth er,
as a mis dire ctive tool, fo r a swit ch of a ca rd, su ch a s in t h e
" Card Switches" Chapter 12 , the follow ing is ea sy t o d o u s i n g the
card swit c h und e r di s cussion.
15.
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This
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Fi g. 8
Fig . 7
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Fi g. 1 2
~er~ ~numD pu~~s ~ n e race or Do~~om cara ~owaras yourse~r ~nus ang~ - l i n g the bottom card as in the exposed inside view of the Fig . 10 .
..
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259
S. As t h e a c ti o n o f the Fig . 11 is made th e ot h er f inger s will al s o
curl in au to ma t i c a l l y s o tha t th e s in g l e c a r d now sh owi ng, f ro ~ u n de r
th e r i g.h t h a n d , wi ll end up b e in g h eld b y th e si des wi th the r i ght
1 s t fi nge r c ur l e d on top ,
The l e ft f i ngers and thumb s t i l l ho ld th e
ou t e r end o f th i s c a rd . The Fig . 1 2 shows the p o s iti on o f t he c a r d
a nd both hands . a t this stage .
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3.
Both hands move towards
e a c h o t h e r with the c ar d s
f r om the rig ht hand g Ol ng on
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go e s on to p of the c a r d s in the r ig ht pa lm as t he cards a re all lin,e d up.
Reme mber tha t the pi n ch gr ip is at t h e e x t r eme inner le ft
corner wi t h t he left third fi ng e r t i p holdin g th e separation.
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9.
Obviousl y the p a lming action ta kes plac e with the out er side of
the r ig h t han d a t a l l times hugging the t abl e. Also to all ap pearan c e s y ou r ha nd s are moment a r il y i n t he p os itio n as in th e Fi g. 3
and then , with the pa lm o ff , a ut oma tica l ly ge t int o a pos i ti on i de nt ic a l to t h a t shown i n th e Fig . 12 with t h e r i g h t 1s t finge r c urled
on top with the other righ t fingers and thumb hold ing the s i d e s.
The right hand alone c a n hold the cards , then a few seconds lat er
jus t release th em so they fall ba ck to the table . The r ight hand
c a n n ow move tow ards the edge of t h e table to res t i t s f i nger tips
on the edg e of t he ta ble .
10. Whil e the tip o f the 3r d f i n g e r in each c a se was us ed to k e ep
th e c a r ds s epa.r a t e d some may pre f e r t o us e th e tip of the 2nd f inger
or eve n t he t ip of t he 4 th fing e r . Exp erime n t a n d choo s e whi c h y ou
feel i s bes t f or you.
THE
W~RLO
ACTIONS
1 -.
Th i s i dea wa s fi rs t cont ri buted by mysel f t o th e TOPS f r om whe r e
it was promp tl y l i f te d . To cover up t h i s obvio us f a ct i t was refe r re d
to as the Slydini Impas s.
Yet a n y th inking ca rd man k n ows that the
approaches in ea c h c a se are qu it e di f ferent.
Let's get b ack to the
purpo se o f the mechan ic s as it applies to th e s e card switche s.
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3.
The rig ht ha n d no w lets i ts card s f a l l to t h e tab l e, t hen mov es
back to rest its fin g ertip s on the ed ge of the table.
The palm ed
cards at this stag e will be h eld again st the table's edg e whil e the
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lower end or ends will move away from the palm thus mor e or l e ss
this l~~er ~~d hangs free .
4.
The left hand b e n d s at the wris t and th e left hand grasps the
l ower l e f t corne r of the card or cards , with th e l e f t thumb on t op
and 1 s t a nd 2nd f in g e r t i p s on th e f~ce , the n th e l e ft hand pu ll s
th e c ard o r c ards d ownwa r d and f ree o f th e ri ght h an d.
5. Th e r i g h t h and is no w f re e t o s or t o f mov e the tabl ed ca rd or
car ds slightly forward thus i ndirectly conveying the emptiness o f
t h i s hand. Meantime, the left fingers and thumb pu ll i t s c a r d o r
c a r d s into a Gamblers Cop position.
6 . The ri ght hand now picks up the tabled deck , from above by the
ends, to mov e it past the table ' s ed g e and casuall y drops the dec k
into the left hand, which remains slightly below the table's edge
t o prevent any flash of the c a r d s in the left hand.
Once the deck
. has been added to the card or cards in the left hand, t h e left hand
moves upw ard and the deck is squared up between both hands . The
swi tch of the card o r cards has been comp leted and a ll i s c l e a n e d
u p.
Pro c e e d t o con c l u d e whatever pur pose y ou had in mind .
A BLAC K-JACK SW I TCH
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the one below the face up Jack, the left ,lst and 2nd fingertips
pull inward on its top card, the face up Jack, to angle it to expose the ouner right and left c orners of the card just below the
Jack. At once the left thumb pulls the lowermost card, the Ace of
Spades, also inward until it is angled and in line with the upper most card, th e Jack. The resu lt is that the center card remains
jutting out as shown in the Fig . 4 with the right hand omitted .
Again a face up Jack would be the top card in this case.
6 . The outer right corner of t he center card is engaged by the
tip of the ri ght 4th finger. By pres sing inward on this corner,
with the tip of t he right 4th finger, the right end of this card
will be pre ss ed in a gainst~e palm near th e base of the thumb.
The left fing ers and thumb can now move its trip and bottom cards
out from under the right hand as shown in the Fig. 6 bu t again the
face up Jack would be showing. All th at remain s is for the right
hand to move back, with its new palmed card, to near the table's
edge. You can now c l e an - up using the "Marlo Actions ". In any
case you now have a Black -Jack.
SI MULATED VISUAL RETENTION SWI TCHES
In this switch the impression conveyed is that the tabled
card never seems to be completely out of sight . In the second switch ,
t o be described later, while the tab led card is covered it is for
such a brief second or two that again this visual impression is re tained.
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fig . 2
2. The r i gh t han d rests pa lm down on t~e tab le 's edge , the ou ter
end of the palmed card pressing against the table 's edge, with the
left hand fi ngers ho l d i ng t he inner l e f t corner of the tab led card.
The Fig. 2 shows this starting posi tion .
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Fig. 4
Fi g . 6
Fig. 5
Fig. 7
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3. At once the l ef t fi nge r s move out the card to the left while ~ h e
right f our f inge rs cu r l i n to expos e t h e back of the c ard. At the
same time thi s card is p ivoted upwa rds wi t h its lower side hug ging
the table. This results in the Fig. 10 with the tabled card remaining behind the ri ght hand and the Ace of Clubs which note has be en
moved, f or half i ts l engt h, pa s t the le ft e nd of the hi dden tab l ed
card.
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4. Maintaining the position of both hands', at ,e a c h end of the up right card, the right thumb contacts the outer side of the tabled
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card and pus hes or kicks this card off th e table into the lap. The
Fig . 11 shows this action fr om the performer's view while the Fig.
12 shows the spectator's v i ew.
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S. Let's assume you do not wish to lap the card but instead wish t o )
keep it under control and available for one reason or another. In
this case, after you attain the position sho wn in the Fig. 10, sim~l y ' l
lower the visibl e card back on to the t abled c ard so that it rem ain s
.~
end-jogged fOT about half its length , t o left as seen in the Fig. 13.
1
6. At the Fig. 13, note that the right 1st finge r is curled on top
whi le the right 2nd, 3rd, and 4th fingers-ire on the outer sides of
the cards with the thumb lying-across and against the inner sides
o f the cards. Fr om this position the left fin gers pull its visibl e
card to the left while at the same time the right fingers straight en
ou t and the right hand moves palm downward. Also the right thumb
engages the i nn er sid e of th e hi dd en c ar d a nd push this c ard fu rther
under the palm of the right hand until the hidden cards outer side
c on t a c t s the right palm along the length of t he right 4t h finger .
At this stage th e hidden c a rd will be under the palm but pre ssure on
this card wil l be mor e on th e card's outer side as the right hand
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card and pus hes or kicks this card off th e table into the lap. The
Fig . 11 shows this action fr om the performer's view while the Fig.
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slides back towards the table's edge. The Fig. 14 shows an exposed
view to show or emphasize the pressure point or contact of the right
hand on.th ehidden card. In actual performance the card would be
concealed by the right hand .
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Fig. 14
Fig. 16
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Fig. 17
7". With the right hand at the table's edge, with ~he right thumb
just past the table's edge, the right thumb moves 1n under the right
hand and onto the card as shown in the Fig. 15. The right thumb
moves in far enough until its tip comes more or less near the upper
right corner of the card. The right thumb now can carry the card
down un til it can be held slightly below the table's edge. At the
same tim~ the right hand, with slightly spread fingers, moves forward to rest on the table as depicted in the Fig. 16 .
.t
," "" .'. :. 9, " The reader will note that most card switches are th ose of a d,e -
:/ -',':".. .:Il a yed nature . That is whil e a switch of a c ard has been accomplish;'" - ed as f !'1.r a s, t he aud i e nc e i s c oncerne d no th i ng a s y e t has happ ened.
':
f or this reason t he y a re mor e conduc i ve to eff ec ts s inc e the card
in question has be en s wi t ched lo ng befor e th e actual c l imax of the
effect .
MARLO KICK SWITCH
The idea of using the thumb or t he fingers of t he ha nd
to e ither k ick a car d or c a r d s or a coin t o off the t a bl e into the
'l a p or int o a sleeve or be h i nd so mething or unde r an object , suc h
a s a deck of c a r d s , is strictly mi ne . The beginnings c a n b e s e e n
in the. "Re volu t i on a r y Car d Te chnique " c ha pt er on "Ca rd Swi t ch es",
th en lat e r in t he TO PS ma ga z in e a. s we l l as th e KABALLA. Wi t h the s e
publicl y re cor de d s our c es ava i la b le it s ho u l d no t ha v e am a zed me
when 90 % of " Car d Swi t ches" wa.s publ ished by a chro n ic edi to r as
or i g ina l ma teri a l . In t he mea ntime , the Wreck was cred it ing the
Tong unde r Co r ny lie s fo r other of my original id eas a lo n g th e se
1 ine s .
The one to be d e scrib ed i s a varia t ion of a card switch
I had in the TOPS which us ed a thumb k i c k. The one in TOP S was
done us i ng onl y 'one han d . Her e t wo hands wi l l b e us e d to g i ve
' good c over fo r a nat ur a l and inde t ec t a b l e s wi t c h of either one
ca r d or several . There is on ly a s l ight change in the t e c hniqu e
f o r sev e r a l c a r ds. The s wi t c h will be desc ribed f o r on e card ,
t h e n i t 's on l y a minor cha nge f or the s witch o f sev e r a l c a r ds .
1 . A c a r d , which may have been in th e lap or generally held ou t,
.: .i s palm ed in t he righ t hand wi th the b ac k of t he card again st the
palm . The ri ght han d f i nger tips r e s t normally on t he edg e
o f t he tabl e and a lso a i d in
keeping the palmed c a r d i n
place without any u ndue stra in
on th e hand. The le f t hand
oc c up i e s a similar position,
on the l eft, while a c ard l i es
face do wn , in a leng thwis e p o si t ion, near the ed g e of t he
ta b le. The Fi g . 1 shows t he
vi ew fro m the pe r f ormer' s side
at thi s s tage .
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is palm ed in t he righ t hand wi t h the b ac k-of t ~e card again st the
palm . The ri ght han d f i nger tips r e s t normal ly on t he edg e
o f t he tabl e and a lso a i d in
....
269
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Fig. 2
Fi g. 3
3 . Two things happen at once at the po int of the Fig . 2 . The left
thumb kicks or pushes the tabled card into the l a p (or irito a shel~)~
then both hands l owe r their palms as if t o lo ok at the ~ab le d card.
The Fig. 4 shows t he tabled c a r d being ki c k ed of f to the l ap wit h
both palms no w l owe r e d .
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. Fig. 4
. Fig. 5
4. With the tabled card kicked off and both palms still lowered
the right hand at once rel~ases its palmed card to the table. Now
follow ,c l o s e l y . Both hands now lever upwards as if having picked
up the tabled card and you a r e looking at it . Actually both hands
are empty and are in a position simi lar t o that shown in the Fig. 3 ,
the .s pe c t a t o r ' s vi~w . From the operator's side -a card remains face
down on the table .
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5. Without any
br i ng the palms
ing the back of
ering t he card ,
i n the ~ig . 5.
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FJg. 5 bo tho hands at once move a.wa.y t o expo se the tabled card. Each
h~nd mov e s to i t s res pective or i g tnal posit jon r e s u l t i n g in a. $itu~
a tion a s, a l r e.ady pi c tu r ed ~ n t h e Fig . 1. The c a rd s wj t ch ~ s easy
and $ 0 rap id th at it c an 5 e . done w~ t h the ca rds face up; howeyer~ do
not spoil or tip off t h i s switch with such an obvious approach.
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8 . Bo t h hand s now move to wards the tabled cards so that the hands
are a s shown in t he Fig . 3 , t he spec tat or 's v iew . The Fig. 2 wo uld
appl y here ex c ep t f or on e minor chan ge. Th is i s tha t the le ft t humb
mu st c ont act t he ou t er s i de of the tabled packet as shown' in the expos ed per f orme rt s v i ew of the Fi g. 6.
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Fi g. 7
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9. The left thumb at once k icks off the tabled packet into the
lap as at th e s ame t ime both palms ar e lo w ~r ed to the table. The
le f t t humb will be in th e way or betwe en t he tab l e t op and t he
palmed cards in th e right ha nd . At t h i s poin t curl th e f ing ers,
of both hands, inwards at the same t i me levering the palms off the
tabl e. us i n g the line of t he 4th f i ng er s and bas e of pal m as pivot
points a ga i nst t he t a ble top.-----rhe curling in o f the f i nge r s wi l l
expose the back of a card or cards. At this point the thumbs will
be on the f a c e of the cards, right thumb at about the center, with
the le ft , thumb n eare r t he le ft end of the card. The f ing ert ips of
eac h hand wi l l be on the ba ck of the cards. Wit hout any 'pause, bo th
.ha nds fan out the five cards, a s if looking them over. With the
Fig. 7 showing the op erator's view, you already know the spectator
is simp ly lQo king a t the back s of the fanned cards.
. 10. Having looked at the fan for a reasonable length of time, conver ge th e c ard s by r e s t i ng their lower sides a ga inst the tabl e top
a nd g iving t hem a sl ight t a p as a n a i d . The packet is t he n r epla c ed t o its app ar ent ori gin al position. All i s a gain as in th e un iversal Fig. 1 .
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9. The left thumb at once k icks off the tabled packet into the
lap as at t he s ame time both palms ar e lo w ~r ed to the table. The
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7. That is the very simpl e and direct action of the Visual Retention Switch; however, get ting the c ard, behind the hand, in position
for the s witch is also not very difficult and two practical method s
will be described.
THE FIRS T METHOD: 1. This is don e while shuffling the deck on the
table.
It can be used to leave be hind one or more cards.
For the
description assume you wish to leave four.desired cards behind your
hand.
2.
To begin, the card or cards must first be controlled to the
bottom of the deck.
The right hand cuts off the top half to the
right in preparation for the usual tabled riffle shuffle.
Begin by
the left thumb releasing the desired cards off of the bottom of the
left hand portion.
Follow by releasing a small block of card s from
the right hand portion onto the four desired cards. Now riffle
shuffle in the usual ma n n e r to mix the rest of the cards.
3. Start to telescope the halves into each other but when about an
inch or more of each half is still end-jogged, the right thumb lifts
up, at the inner side near the inner right corner, its end-jogged
cards. This results in the whole deck raising off the table, at
the inner side only, except that the original bottom four cards will
remain flat against the table. Thus a break is formed between the
bottom four cards and the rest of the deck above them.
4. As the cards are now pushed flush and square the l e f t thumb obtains and holds a break, at the inner side, between the bottom four
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THE SECOND METHOD:
1 . Th is i s als o a v ery p ra ctica l meth od ev e n
though it means more or l e s s getting way ahead as the c ~r d or cards
that are to be rung tn are already out of t he deck and faces down
in your lap . How you get them there should be no problem to any
one familiar with such t e c hn i qu e s. Readers of this magazine can
r e f e r to the other volumes to find such procedure s .
2. As suming you have a ca rd alr e ady in ybur l a p, 't he ri ght hand
c a suall y dr op s in t o t he l a p and palms t he c a rd wi th t he back of th e
ca rd against the palm. During these actions the s p ec t a t or is busy
s hu f f l i ng the dec k .
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s. The app licati on of t he Vis ual Retention Switch is quite obv ious.
As with most switches, t h e prediction effe ct , in on e fo r m or anothe r,
op e n or closed, is the usual path taken. The more deceptive the
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the switch the greater the mystery created. Since there is practically no move, in the true sense of the word, when making this
swi tch -:the JIT'Ys tery is practically guaranteed.
MONTE SWITCHOUT
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OBJECT: During a Three Card Monte routine to switch out the Ace of
Spades, or any other Black card among two other Red cards, for an X
card or a specific card like an Eight of Spades in the following sequence.
After any routine in which you use only the 3 required cards an
extra card is secretly added to the bunched up 3-cards which should
be in 'order of Red, Black, Red. In this example, the Ace of Spades
would be i n the center of t wo Red Eights. All 3 cards are face
down when the extra card, in this case the 8S, would be secretly
palmed and added to the top of the 3 tabled-cards. Since this sequence is done seated at the table the extra card can be in your
lap until it is needed.
1.
2. Assume you have secretly added the 8S and are ho1ding 'the squar ed up packet, faces down, from above by~he ends, with the right
hand. With the left palm up below the packet the left fingers and
thumb bend the sides of the packet downward in .. readiness 'f or the
familiar Monte. The left fingers peel out the two lowermost card?
so they are side-jogged, to the left, for about half their width.
The top card is two cards held as one. The right hand alone holds
the cards. The lowermost card is easily dropped off to the table on
your left. The next lowermost card is dropped off in the center, to
the right of the first card. The l ast card, really two cards as one,
are placed on the table, to your right, to result in the layout as
shown in the Fig. 1.
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Fig. 2
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3. The right and left hands pick up the two outside cards, from
above by the ends, then turn pa1m 'upwards to display their faces as
shown in the Fig . 2.
4. Both hands turn palm down but the right hand continues towards
the tabled AS to pick it up to under the card(s) in the right hand.
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the right of the first card. The last card, really two cards as one,
are placed on the table, to your right, to result in the layout as
shown in the Fig. 1.
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7. Onc e the lef t hand has dropp ed its c ard to the table the right
hand mov es to the le ft, after the left hand has a l s o moved back to
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277
I.
8.
Don 't ask the s pe c t a t or where the AS is. Instead address them
a s follo ws: "You probably would not bet on this card", as your
right hand turns face up the card on your r i ght . Point t o the card
on your left saying, "Am almost sure you wou l d be.t on this card but
if you did you would lose." Your le ft hand turns this card fa ce up.
With o ~ e card still face down on the table your r i gh t hand picks up
the card on your right. Turn this card face down and ho ld it face
down by it right side, at about the center , with thumb on t op and
1st and 2nd finger tips bel ow. Now you s a y, " You wonder wha t would
ha ppen it)Tou cho se that card. In that c a se I would do this . " Here
yo u do a Mexican Tur nov er which leaves the .Red 8 fa ce up and th e
s upp osed AS face do wn i n your right ha nd . Still hol din g t his c ard
face down t he bac k s o f the
righ t fi n ger s pr e s s on to t he
fa c e of the Red 8 and move i t
to the . r i ght . StIll holding
the fa c e down card in your
rig h t hand now c on t inu e by
s ayin g, " You wou ld n oW be
anx i ous t o c er t a i n l y bet on
t hi s c ar d but if you did you
would f ind yours elf b e h i nd 1h ,.::
ei gh t ball. " With this t. u r n
the c ard face up and place it
be t we en the two Red 8's to
cl i max the routine as-In the
Fig. ' 7.
Fig . 7
You will find that the use of the Mexi can Turnover in th is c a s e
is not only a great sell but gives them s o much to think about tha t
they can 't recons truct as to just when you may have rid yourself of
the Ace.
9.
SECOND MeTHOD - FOR THE RECORD: 1. Thi s method may appeal to s ome one on l y because the AS is clearly t os sed face down to the table , yet
on co mp l ~ t i on t he AS i s not among the three cards .
2. The start of t h i s sequence is a s a l ready ou tlined until you a r rive at t he poin t of wher e the AS i s be ing dis p l ayed as i n t he p r ev iou s Fig . 3 . This time t he AS-rs a ctua l l y to s s ed fa ce down to the
t ab l e, t hen both hands turn palm up t o s how tw o Red 8' s as in t he
Fi g. 2.
--3. No w bot h hands tur n palm down and mo v e t owards eac h oth er until
th e le f t hand covers the r i gh t hand a s in th e Fig . 8, the spe c ta t or ' s
vi ew. From the per fo r me r's side th e r ig ht 3rd finger ti p c on ta ct s th e
r,
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By no w t he l e f t . h an d has
moved t o the r i gh t and t o ssed
its card to your r ight. The
le ft hand mov e s back to yo ur
left s i d e . The ri ght hand no w
travels t o the left, a s i n the
Fig. 10, to tos s or deposit
it s card t o yo ur left .
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f.
CASED SWITCHES
The following switches involve the u s e of card ca ses ,
ei t he r empty or with a deck of cards enclosed , using a Kick Switch
tec hn i qu e of Rick J ohn s ons' fro m his book "Practical Impossibilitie s" ;
ho weve r, my approach a nd u s e of this Kick Switch is differ en t. It
is mor e subtl e si nce I have avoided it s obv i ous a pp l i ca tio n to i n stant a nd s o cal le d start l i ng vis ua l cha nges as rega rds ca r ds . Whil e
my app roac hes do ha v e cha ng es in the siz e , s hape , o r co l or of th e
ori g i n a l ob j e c t they are of a delayed t yp e. Thus the re is a tim e
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i ts c ard t o yo ur left .
All that r emains i s to conc lud e
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lap se between the Ki ck Swi tc h and the ac t ual s howi n g of the c hang ed
obj e c t which may not be as startling as an instant visual change i s
more sutprislng since now there is no way for the on l ooke r t o pin point the precise instant of the switch . Before proceeding into s ome
of the details of these Cased Switches may I mention that I have also
tried "Propelled Lapping" for them but have discarded this as not '
fitting into the approach that was desired . Hopeful this brief men tion wi l l prevent the re-invention of the same ideas by using t he
"Propelled Lapping" technique .
1ST APPROACH :
1. Since there isn't any effect in this instance the switch will
not b e expected or suspected. To all appearances you have had a
deck in use with which several effects may have been performed.
During the course of these effects the deck has been perhaps, handled, shuffled , c ut, examined and so forth by on e or more of the spe ct a t o r s . This deck is then placed back i nt o i ts card case a nd the n
tabled in full v i ew o f everybody . At a , l ate r t i me ' y ou p ick up t he
t a b l ed ca rd case, op en it, remove the ca rds f or perhaps further
effe cts . Need less t o s a y, that this dec k is no w eithe r a stacke d
de c k o r any other kind of gaffed deck th a t y ou may r equ ir e .'
2 . Le t',s ass ume t ha t you have s ome s p eci a l dec k o f car d s t hat y ou
wis h t o ge t into p l a y l a t e r in t he rou tin e wh i c h you ha ve s tarte d
with a regu lar de ck of c a r d s. Both dec k s hav e th e same 'c o l or , b ack
d e s i gn and i dentical card cases . The ' ga ff ed' de ck , meaning any
t yp e inc luding stacked, memorized or o therwise, is in your lap wi th
the oval opening side uppermost . The de ck which yo u have be en using,
for other effec ts , is now placed into its c a r d c a s e and the card c a s e
is casually placed in front of yourself with the oval opening side
uppermost with this end away from you . At this point your manner de pends on the situation at hand; however, whether you are working for
l a yme n or magicians you can always get them into some sort of co n versation as regards the effects you thus ar have performed.
3. Assuming you have managed a time lapse one way or another your
l eft hand rests its fingertips on the table's edge while the right
hand casually drops into the lap to obtain the deck and get it either
into a Tenkai Palm Position or a Marl o Palm Position. The right
hand then moves up to also rest its fingertips on the table's edge .
The si t.ua tion is now as shown in the Fig. 1 with the tabled card case
in fr ont of you, near the table's edge, while the other card ca s e
i s in a Tenkai Palm Position in the right hand.
4.
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S. The right 3rd finger now kicks inward against the ou t e r e nd oJ.
the card case causing it to be kicked off the table and into the lap . 1
The Fig . 4 shows the tabled card case in the act of being kicked off j
the table . The left four fingers, which are in front of the right
fingers, cover this spasmodic kicking action .
6. At once, Following the kick action, the right thumb swings or
p i vo t s the Tenkai Palmed card case towards the fingers of the right
hand until the right fingertips contact the outer -end of the card
c a s e , at its under s ide, thus gripping the outer end of the "card
c a s e between the rfght fingers on b ott om ~ the thumb on top . This
f ir st pivota l a ~tlon lS shown in the Fig. 5, again the performer 's
view . Fr om t he fr on t the situation i s s ti l l more or less simi la r t o
th a t already shown in t h e Fig. 3 .
7. The p i vo t al ac tion of t he Fig. 5 i s c onti nu ed un t il the switc hed
in c ard c ase end s up on i ts lo wer s i de wi t h th e fi ngers o f bot h han d s
a t th e ir respect i ve e nds of t he c a rd c a s e wi t h th e thumb at th e bac k
as i n th e Fig . 6 . From th e fr ont th e t abl ed c a s e ha s me rely be e n
1..J
281
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Fig. 5
Fig. 6
Fig. 7
Fig. 8
8. Once y6u have reached the position of the Fig. 7 yo~ have two
options. One, you can sort of toy with the card case and then replace it back to the table. You have accomplished the switch so ihat
later, using the identical actions, you simply pick up this card case.
Two, with the deck in the position shown in the Fig. 7, you follow
thru by the left hand holding ' onto its end of the card case while
the right hand moves to its end of the card case to flip open the
card case as shown in the performer's view ,of the Fig. 8. Note
also that at this stage both hands have also slightly raised the
card case off of the table iop.
All that remains is for the right fingers and thumb to reach
in and remove the cards, then go into whatever routine or effect
you had in mind.
9.
2ND APPROACH:
Here you are more or less doing an effect so you must make them
fUlly aware of the original color of the card case; however, here
again the approach you use is important. It is not done in the
manner of a color change of a card which in most cases is visibly
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Fig. 8
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instant. You don't want the change and the method that closely
associated even though the temptation to do this is very strong .
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2. Assume you have a Blue Card case and a Red Card case and each
is of the s a me size and brand. Also supp ose the cards are in their
respective cases.; however, let's further assume that you have just
changed a Blue back deck into a Red back deck.
You now place the
changed deck, now Red backed, into the Blue card case, then position
it on the table in readiness for the switch. Your left hand can
place this card case while the right hand drops into your lap where
, i t gets the Red card case which also contains a duplicate Red back
deck.
The hands now assume the position as already shown in the
Fig. 1 except the card cases are Blue card case on the table and
Red card case in the Tenkai Palm Position. At this stage do not
call attention to the tabled card case or its color.
3. Again without any pointing up of the color of the card case,
or even its presence, both hands move towards the tabled card case
and quickly but casually execute the Kick-Switch actions as already
depicted by the Figs. 2-3-4-5 and 6; however, the situation at
Fig. 7 must be with the four fingers of each hand closer tog ether
as to practically conceal the now Red card case.
The reason is
obvious - you still do not want your audience to be aware of any
change.
Note that the Fig. 9 shows the Kick-Switch in action with
a card case of an entirely diff erent design just in case you want
to change not only the color of a Blue. deck to Red but also to a
. t omp l e t e l y different design in that color.
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4. With the Red card case now between your hands and fairly well
concealed you address your audience as follows:
!lWell, I changed
the color of the deck . but now the Blue card case doesn't match. If
I were a real magician I should be able to change the card case in to the same color, like this." Here you slowly separate the hands
letting the Red card case come slowly into view until it ends up
being displayed as in the Fig. 10 which also shows the case with a
different design.
When the card case ends up being held as in the
Fig. 10, fingers and thumbs of each hand revolve th e card case,
by their 'r e s p e c t i v e corners, to show b oth sides of the now chang ed
card case.
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1. For th i s you will need a miniatur e card case, with deck inside,
to match , in colo r a nd d esign, t he re gular c a rd cas e. These are
obtaina ble in the Bi cycle brand of c a rd a nd th e Fi g. 11 sho ws ju st
such a sma ll c ard ca se in the righ t han d Tenka i Pa l m Posit ion. Obvious l y t o get mi ni card ca s e t o the s t a ge d ep ic t e d by t h e Fi g. 11
you will f irst go thru the requ ir ed sta ges as shown i n t he Fig. 1
to 3 i n c l u sive . The Kic k Switch action are then mad e as in the Figs. ' 4 to 7 inclusive ex c ept that a miniatur e deck ends up being
held ~s in t he Fig . .!l, the op erator' s view.
Fig. 11
Fig. 12
i . At t he s t ag e of Fi g . 12
the f ingers of e ac h hand a r e
close togethe r so t hat the
small card case is not s e e n .
Now slowly ~ eparate the hands
to bring the small card c ase
into v ie w as in the Fig. 13 .
Sho w a l l sides of the c a rd
case and even t o ss it out for
inspect ion .if you wish.
3. Naturally you can always
cause the miniature cards
and case to become regular
size by simply rep eatin g the
Kick-Switch mov e s as de p ic ted
Fig. 13
l to 7 inclusive.
in the Figs.
4TH APPROACH:
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Fig. 11
Fig. 12
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At t he s t ag e of Fig . 12
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logic of the actions place a c a r d face down to the table with the
long s t ? e tgward s operator. Both hands approach the tabled card as
a l r e a dy s h own in the Fig . 1. Note tha t the right thumb i s behi nd
the ha nd s as in the Fig. 3. The right thumb digs i n unde r t h e lo n g
side,n e a r e s t y ou , o f the card to raise it up wa r d a nd i nt o the po s ition s h own i n th e Fi g. 6 . The fr on t view is a s i n Fi g. 7 and you
are loo k i n g a t th e fa ce-o f th e c a rd.
Now r epl ac e t h e card b a ck
face down t o the t abl e into its ori ginal lengthwise posit ipn.
2.
You can g o thr ou gh t he abov e St e p 1 severa l t imes to ge t th e
.f e e l of t h e a ct i on s wh ich will or should be simi l a r wh e n do ing t h e
a c t ua l s wi t c h .
3 . When ready to do the a ctual switch the t a b l e d ca rd l ies l e n g thwise ~n fron t of you near the ed ge of the tab le. Your right h a nd
has t he card , to be switched i n, in a Tenkai Palm Pos i t i on . The
s i tuation is s im ilar t o that alre ady s h own in the F ig . 1 except
t he c ard on t h e table l i e s lengthwise wh ile t h e palme d c a r d is fa ce
u p in a Tenkai Pa lm Positi on .
4.
From the p os i t i on of the Fig. 1 all you ne ed t o do is .e x e c u t e
the actio n s depicted in the Figs. 2 t o 7 i nclu siv e which will se n d
the tabl ed ca r d into your lap with-you noldin g and lookin g at t he
face o f th e r equir e d c ar d . Conclud e b y simpl y lo we r ing thi s c ard
b ack, f ac e do wn, to th e ta b le into its origina l po s it io n .
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l ong s i d e , to kick all of these cards off the table and i n t o your
lap . The actions for the Mu l t i p l e card switch are iden t ical to
those already e xp lained for the single card; however , when the
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Assume you are going to use the Black and Red Fours. On top of
the deck you should have a Red Four. With deck facing you spread it
between both hands as you comment about using the four Fours. What
you do is up-jo g the remaining thre e Fours plus any! card. Next,
remove a Red Fou r first, t he n behind it remove the two Black Fours
and then the X card. Place all four cards to the top of the deck.
Rem emb er the c ards st ill face you during all thi s. Once the four
cards are on top of the deck you can square up the deck and hold it
in the left hand dealing position as the top of the deck is now
brough t into vi ew.
1.
2. The order of the cards, from top down, are an X card, two Bl ack
Fours and t wo Red Fours. Thumb over the top four c,!rds but then in
resquaring th em y ou secr etly pick up the next or fifth card. The
squared fiv e card p ac k et is turned face up onto the deck with the
left 4th fing erti p holding a break, at the lower right coiner, beneath~em.
Next, the left thumb de als ov er only the face three
cards t o dis pl ay two Red and t wo Black Fours. The right hand places
the two Red Fou rs to tabl e fac e s up. The right hand flips the two
Black Fo~rs, r eally three cards as two, fac es down onto the top of
the d eck. The X card precedes the two Bl ack Fours on top of the
deck.
3. Spread the deck, between both hands, for a free select ion of any
card. In resquaring the deck the left 4th fingertip gets a break below the top X card of the deck. The right hand picks up the two f ace
up Red Fours~to place them on top of the deck . At onc e the right .
hand grasps all the cards above the bre ak, the two Red Fours and the
face down X card, to lift th em off of the deck and thus square the
sides 'of tnese cards with the left thumb and fingers. Now the right
hand alone hold s the Red Fours a s the left thumb very slightly pushes
over the top card of the deck in order for the left 4th fingertip to
get a sli ght br eak below it at the lower right c orne~ You now
maintaIn this break during the following action s. The left thumb
peels off the face Red Four, from the right hand packet, flush onto
the top of the deck. The right hand with its Red Four, really two
cards back to back, places it onto and a l on gs i de the first Red Four
as shown in the Fig. 1 where the left thumb clamps the two Red Fours
in place. Note that at this point the face Red Four is side-jogged
for only about a third of its width.
4. The right hand takes the spectator's selected card and holding it
by the center of right side seems to insert it between the two face
up Red Fours as shown in the Fig. 2 which is basically the spectator's
view. Actually the selected card is being inserted into the break
that is still held by the left 4th finger. The Fig. 3 shows ' the
performer's view of this action-.--
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card. In resquaring the deck the left 4th fingertip gets a break below the top X card of the deck. The right hand picks up the two f ace
up Red Fours~to place them on top of the deck. At onc e the right .
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6. With the cards as in Fig. 5 above the left thumb and the right
fingertips do the following ac~ion. The left thumb presses onto the
visible X card and pulls it slightly to the left. The right 2nd and
3rd fingertips at the same time pull slightly to the right. Also
during this action the 1st fingers of each hand have been pressing
along the top end ed ges of the cards to keep alignment as well a s
cover any visible edge movement of cards. The Fig. 6 shows the positions of each hand durinQ: this slight sliding movement the purpose
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7. The left hand is now lowered to bring top of deck again into
view. The l e f t thumb now pushes the f ace down X card plus the face
Red Four to the right while the left fing ertips-press upwards ag ainst
the spectator's card. This results in the X card being the forward
card as seen in the Fig. 8, a bo t tom view wn er e the left f i nge r t ip s
are about to engage the s elect ed card and pull it flush into the deck.
8. Onc~ the left f ingerti ps have pulled the selected c a r d -f l u s h with
the de c k the t op t hr e e card sandwich is dealt o f f, one card at a
time to 'under eac h ot her as shown in the Fig . 9 whe r e the right ha nd
'ha s c leanly taken the face Red Four and is ab out to t ak e the next
card, the supposed face do wn selection, to under the card in right
hand but still in a fanned condition.
9. In the pulling of the selected card flush with the deck any edge
movement at this stage is covered by the 1st fingers of each, hand still
cov e r i ng the top end edges o f t he cards ; howev er, one can make the
pulling ba c k of the selected card as Pfirt of the dealing off o f the
three sandwich cards. You wi ll f i nd t at there is ample cover given
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1 0. With the 3 card sandwi ch sp read ou t on the table the right hand
takes the top card of the deck and casually turns it face up using
i t as a point er towards the tabled sandwich cards. The spectators
see a Black Four and this adds a convincing touch. The right finger s
have taken the card by the upper right corner, with thumb below and
1st and 2nd fingers on top, to turn i t towards the tabled c a r d s as
snown int"1le Fig. 10 where both hands are also shown as related to
the tabl ed cards, The face up card in right hand and, the deck in the
left hand.
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t hem. You can set t h'e Black Fours for another Swi tch of card s or
end with the obvious conclusion by cutting the face up Bl ack Fours
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as one onto deck, and you fin ish by spreading top 3 cards and dropping
this d~uce$andwich to table.
Very
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Fig. 11
Fig. 12
4. After the 2S has been peeled off onto the deck the right hand
with its packe~starts to move to the left as if to peel off the
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next c ard or t he f a ce do wn car d. Actuall y the r ight ha nd moves over
to t he 'Le f t un ti l it a lmost co v e rs t he 2S but n o t quite a s se en i n
the Fig. 12. When the po s itio n of Fi g . -r2 is reac hed both hands
rhaidse upward1 s a~dki t is d Url"n g thi s pwaro mdovem jent t hka t t~e r jight . h ]:
1 e f ac e up 2u
an secr et y pIC S up tn
S t o un e r tIe pac e t In t Ie rIg t
hand. Wi thou t any hesita t ion t he r ight moves upward f ar enough so
that about half of i t s packe t is visible over the top end of th e
deck a s s e en f r om t he performer' s s ide i n the Fig . 13.
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I?ick Up a no t .her card to under the th ree c ard sandwich. Instead with
Just the thr e e ca rds be g in by peeling off the fac e card, as in the
Fi g . .Ll , on t o t he t op o f t he deck.
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EFFECT: Two c ards a r e sele cted and placed a side on t he ta ble. Two
Red Aces are shown and p lac ed in the pocket . One of the sel e c tion s
is pl a ced betwee n two Bl ac k Aces wh i le the ot her se l e ct i on is p la ce d
in the deck . The Red Ace s ar e r emoved from the pocket .and sho wn.
A ca rd ap p ea r s vis ib ly between t he Red Ace s. It is the c ard tha t
was or i g inal l y b etwe en the Bl a c k Ac es . Th e card now be t we e n t he
Black Aces is th e c ard t hat was p lac ed in t o the de c k .
1. Remove the f our Aces and tos s t hem f ac e up to the ta ble. Have
deck ~ h u ff le d . You wi l l have t wo cards se lected u sing a ve ry di r e c t
appro a ch as follows:
2. Table t he deck and explain that you need to use two cards and
that you wi l l u se the t wo ca r d s he will cu t to . Have h im cut th e
deck and you p i ck up t he l ower portion s a y i ng, "I TII us e two c a r d s
fro m where you c u t." Dea l ove r the si de of t his port i on t he top t wo
card s, a dvan cing the t hi rd c a r d sli gh tl y, whi c h a re ta ke n, i n a fan
condition, by the right hand. Me ant ime th e l eft thumb p ul ls back the
advanced third card with the l eft 4th fin gertip obtaining a br eak
below it a t th e l ower ri ght co rner-.3.
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transpostion.
THE ISOLATED SANDWICHE S
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' d e c k as a t once th e r igh t ha nd move s to o ver t he c a rds to p i ck up
three c.ards .J f rom a bove by the ends , which are ra ise d up to t he l e f t
fingers and thumb wh i c h grasp the sides of the three cards to hol d
t he m well above the cards in your left hand . The righ t ha nd now
g r a s p s t he l e f t , si d e of t he thr ee c a r d s a nd does a D'Amico Spread
to show t wo cards . As sume the face si ngle c a r d is a 6D a nd the face
c a r d of t he s ec r e t dou ble 'card is a 5H. Call the nameof the 5H as
,yo u t right fin gers , fro m bene at h, f li p this car d (s ) fa ce do wn onto
the t op of the deck . At onc e t humb over the sup posed 5H to take it
f ac e down und e r t he face up c a r d in t he rig ht ha nd. You r pat t er for
this i s , "Rememb e r the Five of Hear ts and the Si x of Diamonds ."
Plac e these cards t o the t able.
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the right hand as at the same time the se c ond Red Ace is peeled off
into th~ lef~ hand. The left hand places i t s supposed two Red Aces
into the left side coat pocket with the face o f the Red Ace again st
t h e body.
7. The righ t hand places the Bl ac k Ace p a cket face up i nt o the left
hand deal i ng posit io n but wi t h t he rig ht ha nd stil l a bove t he pac ket
holdin g it by t he ends . The le f t t hum b pee ls of f t he fa ce AC plus
the bot t om Red Ace , by u s i n g a buc kl i ng a cti on on t he bo t tom-Red Ace ,
wi th the left fingers , to aid in getting the bottom Red Ace in align ment with the peeled off AC, into the left hand dealing position .
The right hand now has the-AS plus the selected SH face down under
the AS. Place the apparently single AS face up onto the AC in a
side~ogged position, for half its wiath, to the right as-rn the
Fig . 19.
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Fig. 40
8. The left hand alone now holds the side-jogged Aces deep in the
left hand dealing position. This is similar to that shown in the
Fig . 19 above except t he right hand would n ot be in t he picture.
The right hand is free to pick up the supposed face down SH on t he
t abl e. Place th i s car d face do wn on to the or i g i n a l bottom-ha l f o f
the dec k as yo u sa y , " The Five of Hear ts we wi l l retur n bac k t o
wher e y ou cut . " Drop the or i gi nal top half of the dec k onto the
lowe r portion t o lose the supposed SH.
9. The right hand now picks up the face up 6D and turns it face
down.
It is apparently inserted between the two Black Aces . Actual ly the reft fingers buckle the bottom Red Ace, very slightly, at its
lower right corner and the face down 6D is inserted in to the buckled
s pac e as shown in the Fig. ~ from the-performerts inner view .
10. The right hand moves the face down card forward and to the left
un til it is flush with the AS making sure it is aligned perfectly for
t he moment as shown in the Fig. ll.
11. Onc e t he c a rd s are i n line, as i n t h e Fig . 21 , t he r i gh t t humb
merel y pul l s, t o th e r i gh t, t he face AS to br ing-rnto v i ew th e b ack
of th e s upposed 6D f or abo ut hal f itswi dth as in t he Fig . 22.
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Fig . 19
Fig. 40
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Fig . 22
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1 2 . The right hand grasps the c ards , from above by the ends, then
,
turns p alm upwards t o sho w t he 6D f a c e up -b e t we e n two f ~ce do wn cards
taken to b e the Black Ac e s . Also the left fing ers pull the face u p
lOS do\yuwards a s if to central i ze it or expose it mo r e . This is
S1iOwn in the Fig .. 23 ; ho wever, ' this action wi l l c au s e the 6D to be
s t e p p e d to the riglit o f the fa te down SH secretly a b ov e the-6D . This
is i mp o r t a n t for th~ n ext mov e.
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bottom view. ' Al s o the right thumb will automatically get a break,
at the back end, on the two lowermost lined up cards which will consist of t he 6D and a Red Ace face to face. Study the Fig. 25 and
you wi ii get~he idea .
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Fig. 25
15. The righ t hand
left side along the
ment, of the spread
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16. The right hand no w plac es the spre ad of cards to the table whi l e
the left hand, wi t h its copped cards, drops to the side. Once the
right hand ha s dropp ed its cards to the table the left hand moves up
and straight ba~k into the left side coat pocket. While there the
copped cards are placed onto the 'ba c k of the Red Ace that was already
in the pocket. All the 3 cards are squared, then brought out with
the cards in a deali ng position wi t h a face up Red Ace showing.
17. The right hand grasps the left side of the c ards and does a
D'Amico Spread to display two Red Aces. Square them up, then turn
them face down into the left hand. Again grasp the left side of the
cards do ing another D'Am ico Spread to show t wo backs. Resquare the
cards turni ng them f a c e up into the left hand. Again grasping the
left side of the cards repeat the D'Amico Spread to show t wo fanned
Red Aces. The Red Aces ~ace the spectators and the cards are held
in the right hand as seen 'in the Fig. ~.
18. You will now cause a card to visually appear between the Red
Aces. Mome n ta r i l y grasp the left side of the spread Aces with the
. left hand, thumb at the back with the fingers on the faces, which
enables the right hand to re-position itself so that the ball of the
right thumb will be placed onto the card's lower right -corner at
the back with the 1st and 2nd fingers on the face at this same corner.
Now with the ball of the right thumb push upward on the bottom end,
at the right lo wer corner, of those t wo cards that are lined up as
one. During this movement of the - right thumb the right hand is also
moved up ward slightly, as if about to catch a card, when suddenly a
face down card will appear between the face up Red Aces as in the
in the pocket. All the 3 cards are squared, then brought out with
the cards in a deal i ng posit ion wi t h a face up Red Ace showing.
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The right hand grasps the left side of the cards and does a
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19 . Ask the spe ctator what card he has between the Black Ace s on
the table. On getting the repl y, " The Six of Diamonds" , you say,
" Tha t is now betwee n the REd Aces I I , as yo u turn your 3 card spread
over t o reveal the sel e ction i n thi s example the 6D. - Now ask wha t
card was pl ac e d i n to the de c k . On getti ng a rep l yof , " Fi v e of
Hearts" , show tha t this c a rd is now between the Bl ac k Ace s .
What fo llows are so me v ar iations in handling t ha t
may appeal to the reader. The lengthwise handl ing of the card s wi l l
be fou nd easier whi l e the other handling is a mor e sophisticat ed
a ppro ac h t o my ori g i na l sandwich effect as rec orded by Bert Fenn
in
and lat er .pub l ished in
' LENGTHWI SE HANDLI NG
1 . Si nc e t he basic effect is the s ame as already expla ined all you
have to do is the r equired Steps leading up to the po int whe r e you
hav e a Red Ace in yo ur pocke t as supposedly t wo Red Aces whi l e the
rig h t hand ha s ap paren t ly two Black Aces bu t rea l ly , be low them, a
sel ect ed card fa ce down wit h a Red Ace fa c e up below t hat . On e
suppo s ed s el e ctio n has a lready been repla ced i n t o"the dec k a nd t h ~
remaining s ele ct ion i~ s t i l l face up on the table .
2 . The right hand is holding t he Bla ck Aces fro m abo ve' by the end s
and the face Ace is the AC . Peel of f the AC , secret ly also taking
t ~e bo t t om Red , Ace, intO-th e 1eft ,hand bu~retains a l e f t 4th
f i nge rt i p br ea k between th e AC and the s e cre tly t a ken Red Ac es as
se en in the Fi g . ~ .
3. The right hand now has a fa ce up AS with a face down se lec ted '
c a r d s ecr e t l y under it. Place the AS-race up onto the AC in an
in -j ogged position for less that haIT its lengt h as shown in the
Fig . 30. Remembe r to maintain your l e f t 4th fingertip break bet ween~h e AC and t he Red Ace .
--4.
Si nc e t he basic effect
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5. Whe n the inserted card reaches the stage pictured in Fig. 32
the right hand changes position so that the thumb and 1st and 2nd
f i nger s c a n push on t h e i nn er end of the face do wn se lected c a rountil it g oes f lush wi t h t h e fa c e AS a s i n th e Fig . 33 . Con tinu e
t h is p us hing act ion o n th e i nner ena o f t he i n -j oggea-cards u ntil
t h e aligned cards end up as in the Fig . 33 wh~re note that the face
AS a l mo s t covers the AC but leaves just the A index showing .
It
$liould all appear a s I t y ou accidentally puslied the AS t oo f a r a n d
the n ext a c t i on a dds cred ibi lity t o thi s. The rig ht-rst and 2nd
fi ng er t ips n ow pul l t he face AS i nwa r d, a s i n the Fig~4 , to-eip o s e
a fa ce down card . This is supposedly t h e original sho\~selection
but a ctually is t h e one that was apparently buried in the deck.
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, l ected c ar d will fa l l i n t o a de e p
Gamble,r ' s Co p as shown in the ex posed v iew o f the Fi g . 38 .
Th e 4D is face up o n t h e
3.Pr~~ endJto peel off the fac e 2 Red Aces actually taking only on e
whi le the ot h e r Red Ace becomes tEe botto m face u p card o f the pac k et
held in the ri ght hand . One Red Ace is in the pocket. Th e Bl a c k Ace
P a c k e t in the right hand has a fac e up AS -AC, face do wn selec ted ca rd
th e 9Il and a face up Red Ace . This order IS from th e face t o t h e t o p .
4 . With t he lef t hand p e e l o ff the face AS p l us the lowermost Red
Ace as apparently on e card.
To all a ppe a r anc es e ach hand holds a
Bl a c k Ace . The AC has the f ac e down 9H beneath i t.
Ha v e t he spe c ta tor who s e l e c t ea the 4D p la ce his c a r d face do wn onto t h e AS .
Ge t a lef t 4t h fi ngertip-b reak below i t a t t h e lower right co rne r , .
the n r lace t he AC face u p onto t h e cards in t h e l e ft hand .
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S . Wi~h the right hand sti ll abo ve t h e pac ket the le ft t h umb push e s
over the AC to the ri ght u n t i l ha lf of the wi d t h of a face down c a rd
is cxp o s eif" . Th e right hand grasps the AC p l u s t h o s e c a r d s above th e
b r e a k t o move them .t o t h e r ight thu s forming a sandwich of AS , face
do wn ca rd (s), AC . .Se e Fig. ~ but r i g h t hand is above t h e card s.
6.
The right hand takes t h e spread of cards, from above by the end s,
t h e n turns p al m u p to d ispl ay the f ac e of the 4D. Also the left
fingers pull the 4 D downwards t o fo rm the r e quir ed st e pp ed c ondit ion
of the 4D and the9H above it .
Refer to Fig. 3.l. for this si tuation.
7. The right h a nd t u r n s pa lm down a gaIn and rests th e spr e ad into
the left hand. Th e left fingers now hold onto the AS , plu s i ts
secret Rcd Ace, in a de aling position . The right hand, still hold i ng the AC and th e face down card(s) st arts to move o f f to the ri ght
l et t i n g the lower l eft c o r n e r of t h e f ac e down card(s) to brush
a cross the face o f the AS at i ts l ower right corner . Du r i n g this
act io n yo u wi l l fee l a c l ic k as t h e lower l e f t co rner of t he face
d o wn 2..!:!, whic h i s stepped to the righ t and ' be low the 4D , clicks off
o f t h e low er right c orner of the AS.
Once you feel tliTs has occurr ed
th e left fingers buc kl e, very s ligntly, the Red Ace that is under the
AS . Th i s a ction is shown i n t h e Fig. 40 whi ch is the p erformer's
VIew of the action.
8 . The right hand th en move s b ack
to th e l e f t durin g whi c h ti me t h e
bottom 4D, o f the cards i n the
ri ght h and , i s f ed into the buckl e d
s p a c e . The Fi g. 41 shows the e x posed b ottom viewo f this action.
Your excus e for sep aratin g the
sandwich in the f i rs t place is to
simply s a y , "Rem ember, your card
b etwe e n the two Black Ace s ."
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s e c rc t 1\CO Ac e , I Ii a o e a i m g p o s i t i on . Th e r i g n t nan c , s t i i r hol<1 ing thc AC and the f ac e d own card(s) st arts to move of f to the ri ght
l et t i n g the r- Lo we r l eft corner of th e f ac e do wn card(s) to bru sh
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ment will be thrown because your right hand c an take the ~andwich,
[ro m ab 9ve by t he end s , to ag ai n s h ow tha t the 4D is still between
t he fa ~~ do wh c a r d s. The Fig. 42 is wha t a ctua l ly tak es plac e when
the act ion of t he Fi g . 4 1 a bove"""lias be en comp le te d .
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Fig . 41
10.
Ha ving s ho wn the 4D as sti ll being s andwi che d the s p r e a d i s
rested in the left hana-but with t he ri ght hand s ti l l abo ve it h oldi n g t he end s. Move t h e righ t hand t o t he l e ft in o r de r t h at the
righ t 2nd , 3r d, and 4th fingers extend a c ross the fron t end of the
s p r e a d in order t o conceal the nex t acti ons .
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11. The left fingers e as i l y engage t h e 4D , at i ts right side, be ca use i t is stepped past the 9H , t h e n purr t h e 4D t o t he lef t , un ti l
it is a l i g ne d wi t h the REd Ace-be l ow i t . Th e se-actions a re i den ti cal
to th a t alr e ad y sho wn in the Fi gs. 24 to 25 o f the previou s method.
All tha t remains i s f o r the r ight h an d to~ a k e t h e 3 c a rd sp read a nd
place it to the table while t h e lef t hand cops t h e faced 4D and Red
Ace . Refe r to previous method Fig s . ~
f or identi cal-moves .
F r o~ t h is point o n conc lude t h e effe ct as ftlready outlined to show
the appea rance of the 4D to b etween t wo Re d Ace s whi le t h e 9H , whi ch
was ap pa r e n t ly pl ac e d In th e d e c k, is no w b etwe en t he t wo Black Ac e s .
FULL CIRCL E
Th e effe ct i s the same bu t t h e handling , using my
original a p p r o ach , is simp l er t hu s the reason for the above t i tl e.
1. The two s e l e c t i o n s are mad e a s alrea dy d et ailed wh e re y ou a ppa rently have on e select ed c ard fa ce down a n d on e fac e up on the t able.
The order of the Ace s is 2 Red Ac es, t h e AC a n d AS f r om t h e fa c e to
the to p . Beneat h t h e 4 fa ce u p Ac e s yo u nav e a lic e do wn se le c ted
ca rd, t he 911 in this e xample , which was s ecretly added from the de ck
to u n de r t he Ac es while arra nging the m, in to the r e q u ir e d order ,
ag a inst t he t op o f the d e c k.
.
2.
In this ca se when you peel o ff the Red Ac es you actu a lly do t ake
botll of them and pl ace th em in your left side co at pocket with the
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f ace s t owa rd s t he body . Your ri ght ha nd, whic h hol d s i ts Bla ck Aces
from ab ov e by th e end s, ha s 3 c ar d s which ar e the fa ce up AC-I\.S a nd
a fac e down s e le c ted c ard in-thi s cas e th e 9B.
-: .
4 . Turn a t te n t i on t o the cards in your left hand. You c a n sp r e ad o u t t he s e card s by d e a ling over th e s ing l~ AS, then d o i ng a Si ng le
Bu ck le to move tw o fa ce d own car d s , as a ppar ent ly one c ar d , t o the
ri ght - t o f o rm th e sandw i ch . If yo u p r e f er th e sandwic h c an be f orme d
whI le t Ile ri gh t lland i s hol d ing t he car ds fr om a bov e by t he e nds . In
eit her ca s e make s u r e ' tha t the fa c e AS i s fa r e nough t o t h e r ig ht t o
expose ha l f t he wi dt h of the fac e do\Vll c ard . Ref e r to p r e v i ous
Fi gur e ~ that s ho w a s i mi l a r s itua tio n .
the - ends to
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~he foll owing are some o f the qu otes fr6m th i
" Pa r all el Principle ". On pag e 17 of the bookl et , para graph 2 , is
this, . "You arr i ve at it by a s impl e in t erroga tion proces s .' This
pro ccss is ol<.l a nd I don't kno w who i nve n te d i t . I do kno w that i t
. app ear ed i n c ar dici a n- t yp e a r t i cle s where cre d i t is always c are f u ll y
' esta b lis hed' and h istory al way s carefully i gno r ed, but a s to t he
fir s t appear anc e in pr i n t , I do n' t kno w th e so urce." Ag a i.n on pa ge 1 8:'
the 3rd para g r a ph , i s this, "You a l ways a sk just three .questions a nd- j
the fi rst t wo ar e .always , " Odd ?" and " Red ?" . .
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paragr~ph
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The next few sentences , in t he same
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on e error and i s not a s. I or iginal ly me a n t it to be; howeve r , it wi l l
be quoted verb atim in ord er to emph asi ze wha t I intended and i t s
,
d Lf' Eer c nc e . Here is the quot e: " On t he ot he r hand , shou ld th e s econd ]
stat eme n t be denie d , you a c t surp r is e d a nd a sk : "Wha t was your ca r d ?" -'"
In t h i s ca s e, he wou ld name t he Ten of Di amo nd s. Very slowly tur n
ov er th e card i n yo ur hand. I t app ears a s i f you kne w his card all
t he t i me an<.l we re only pUlling his leg."
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o f perhaps so mething like , "F or the fir s t t ime, revea l your thought s
to t he r e s t ' o f the audience a s I already know them ."
,
In 'a n effort t o show t he d i f f er ence be twee n "Interro ga tio n a nd Dire c t St a t emen ts " t he f ol l owing menta l effe c t with c ar ds,
wh i c h ha d been dev e lo p e d by mysel f and kep t sec r et f or man y y ear s ,
'ena bl e s a me ntali st t o r evea l a ment all y se l e ct ed po s s i b i lity , fr om
among six c a r d s, wi thout as k ing a single qu e st io n and mak i ng onl y on e
d ir ect stateme n t .
DIRECT STATEMENT MENTAL DISCLOSURE
ErFECT: A spectator thinks of a c a r d . the mentalist makes one direct
stateme nt and reve a ls th e men t a l ly chosen card.
1 . On top of the dec k have six c ards in a kno wn order. This c an be
u sing your favorite mem ory system, the Si-?tebb in, or the Ei ght-Kings
do gge r a l. Assume the Eight-Kings arrangement is used. Not paying
any attention to s uits or col or remove six ca r ds c on s i s t i n g of the
8- K-3-l 0- 2- 7 va lues. Arra ng e t he s e c a r d s, f r om the to p down, in the
f ol l owing or der of 10- 2 - 7- 8 -K- 3. Place t he se on top of t he deck and
p la ce t he cards into the c a rd case un ti l r e a dy f or p erfo rmanc e .
2 . Remove the c a r ds f r om the card case . Table the de ck and give it
three Ri f fle Shuffles a dd i ng an X c ard, on t o the six ca r d set-up, Hi t h
each shuffle.
(See No t e A at end.) This is a convincing a nd trouble
free shuf f l e procedure. 3. Plac e the deck f ac e do wn into t he left hand dealing position.
Thumb over t he top c ard a nd take it wi t h the ri ght hand, t hum b on to p,
finger beneath, at t he lower ri gh t corner. Rais e t he r i ght hand , to
flash the fa c e of this card , th en lower t he ri ght hand to t a ke the
next t op card t o under and flush with the f irst card in the right hand.
Flash t he f ace of this card. Repeat thi~ procedure with the third
c ard . What you a r e doing i s the open i ng action and patter of the
"Stre aml in ed Di s cernment " fr om tr pa s t e bo ar d Presto tr , 1938. In ot her
words t he firs t thr e e car d s a re flas hed fa irly qu i c kl y du r i ng t he
pa tt e r line of, "I ' m going t o show you some cards, like this , and I
wan t yo u t o think of anyone of them. Am I going t oo f as t ? I will go
ve r y slowly and you th ink of anyone of these cards."
4. By the time you have fini shed the above patter the first card o f
your ai rangement , the 10 value card, has been t aken flush under the
three cards you had f la s he d . Since the s pectato r hasn't re ally discerned the f i r s t thre e cards he now can't think of them except fro m
those you now show him very slowly.
5 . , I n taking each of the next cards you take them one under the o t he r
a s be fo r e except now you more or less have them spread ou t s o that .
ea ch previ ous c a r d can sti ll be seen as you add the l i ne, " Th i nk of
anyone of t he s e, take yo u r time and c ha nge y our mi nd , if y ou wis h , t o
any other o f these c a rd s."
6.
3.
Plac e the dec k fa ce do wn lnto t he le tt hand deallng posltlon.
Thumb ov er t he top c ard a nd take it wi t h the ri ght hand, t hum b on to p,
finger be neath, at t he lower ri gh t corner. Rais e t he ri ght hand , to
f lash t he fac e of thi s c ar d. th e n lower t he riQ h t hand t o take t he
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l o wer th e r i ght an d say, " Ke e p th i n ki n g of yo ur .c a r d
If h e ha s
mad e a mental choice h e wi l l not say anyt h ing a t th i s point.
On th e
ot her hund if he te l l s you t h a t he has not th o ught o f a c ard as yet,
t hen simply raise th e right hand, showin g him th e fann ed or s p rea d
faces of the si x car d s as you add , " I sa i d take y o u r time . Ju st
t h i n k of anyon e .you l ike . " I n eithe r case h e wi l l h a v e t h o u gh t o f
one of yo ur s ix cards.
v
"
7.
In r e t u rn i h g th e s t ill spr ead or fanne d c ards to the t 6p o f t h e
d e c k i t wil l be fo und an eas y matt er to obta in a l e f t 4 th finge rtip
b r e a k be low th e t op 3X cards.
Und ercut half th e de ck ~the top
maintaining t h e brea~below the ori ginal top 3X cards . Place the
d e c k behind y o u r back or below the tab le, i f seated at such, then cut
tll e deck at t h e .b r e a k to b r i n g yo ur s ix possib ilities t o the t op .
(S e e Note !.3-)
8.
Be h i n d your b ack or un d er t h e ta b le t h e top 3 card s a r e t humb e d
o v er , wit h ou t r eversin g t h e i r ord e r, then t h e c e~tr al c ard of t h e s e
thr e e i s tuin e d face up . Plac e th e s e 3 ca r ds to the b ott om of th e
deck.
Re p eat t humbi n g ove r th e nex t top thr e e card s an d turning
t h e central c ar d fac e up .
In sert th es e 3 cards into the c enter of
th e d e c k but obt ain a l ef t 4 t h f i ng e r t i p- b r e ak b e low them.
Br iefl y ,
th e ri g h t ha n d ins ert s t he "3Card s , a s a b l ock , i n t o the o ut er e n d
of t h e deck.
Th e l e f t t humli p u l ls do wn the out er l e f t corner t o
c reate th e opening .
Inse rt the 3 c ard s fo r h alf t h e i r len gt h but
side-jo g g ed, f o r ha lf the ir wi d t h , to th e ri ght . Th e ri ght hand
o mes over the d eck t o p ush the 3 o u t - jogge d ca rds inward.
Thi s
'a c t i on of pushin g strai ght i n retains th e s ide- j o g . The l e f t fin g e rs
p US!1 up wa r d on th e r i g h t side of th e 3 si de- jo g ged cards and as b o th
h an d s square t h e deck th e l e ft 4th f iiig e r t i p ge ts a br e ak bel ow t h e
c a rd s .
9.
Th e above Di stribution Ac t i o ns ta ke o n ly s ec o n d s . Th e order of
you r ca rd s i s now i n the pro p er Eigh t - Ki ng seq u ence . The c entral 3
c ard s , fro m to p do wn , a r e t he 8 -K -3 valu e s. wi th th e K f a c e up.
On
th e bott om o f th e d e c k the three- cards , from the top-do wn, are in
1 0- 2-7 o rder wi th the 2 va lue fac e up . You onl y n e e d to know t h e
v al u es of ea c h ca r d i n-the dog g e r e l . The spectator will s upp ly the
actu al n ame o f t he c a r d.
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12. Suppos e that after makin g your direct stat ement th e sp ectat or
names on e of the c ards you alre ady have face up. I use a cryptic
line that g i ve s t h e impre ss ion you kn ew the sp ectato r 's tho ught r i ght
a lo ng. Shou ld he n ame t he K, whi c h is th e fac e up c a rd in the center
of the deck, you r el eas e the br e a k a nd do th e .s p r ea d i n g of t h e dec k
on the t abl e a s de s cri be d or be t wee n bot h hands i f working away fr om
a table. Shoul d he name the fa ce up card that is , a t the bottom of
. the dec k, the 2 , cut t he deck at the br ea k a nd reveal the fa c e up
c ard as sugge st e d. The cr ypti c l i n e , a f te r the sp ec t ator has n ame d
the c ard, i s to loo k a t him and say, Il You don 't un de r s t a nd, t hat i s
th e c ar d I rev e rs e d," as you sp r e a d to t he cor r e ct fa ce up card.
No t i c e that not onc e i s a que st i on asked a nd yet you very eff i c ientlydisclose on e o f 6 choices i n a m6s t d i re c t mann er. I wonder what
qu e s t io n s h i s t or y wl i l ask or to pa raphase Be r nard Shaw, "Wi ll t h e
chronic editors' history tell lies a s usual."
NOTE A:
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NOTE A:
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cards to the top of the deck and hold no breaks. Table the deck fo r
a Rjffle Shuffle. Undercut the bottom half to the right. Now do a
Block Transfer Riffle Shuffle of the top 3X cards, of the left hand
s cc t i on, using ei ther a Strip-Out Shuffle-,-a Push Thru Shuffle, or
a Shank Shuffle. The second shuffle is a fair one except to keep the
, 6 card set-up on top. This combination of two shuffles is excellent
Tram the stand point that if the undercut is made as if it is the
top half being used, then it appears as if the top cards during each
STiUffle are being lost. One method, to give the lilusion of the top
h~lf being taken, is to undercut half the deck to the right but slipping the top card along with the bottom portion, i~e., a Slip Cut.
On the first shuffle, which is either a Strip-Out, Pull-Thru, or a
Shank, you will do ohly a Block Transfer of 2 cards from left portion to the right. If you donlt want to do any false shuffles and
still lose the top 3X cards, then simply get a break, with left
thumb at inner s i de Tiie a r the left corner, under the 3Xcards. lin th
right hand pullout half those cards that are below the bre ak, just
as if 'Stirting a Zarrow Shuffle, except now with the 6 cards on top
of the right hand section give it a fair shuffle but retting the 6
cards of the right hand portion 'fall last. In any case you can now
proceed with the distribution of the six possibilities as already
described.
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309
SIGNED CARD TO
M~TCHB OX
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The me t ho d that foll ows i s one I devis ed a nd i s ra d i ca lly d i f fer en t from any ofiliose me nti one d. It us e s only on e matchbox
wlli ch i s i n full view a t al l t i me s and t he box is handle d wi th on e
ha nd onl y to lo ad t he c a r d.
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rais e the l e ft end of th e bo x in orde r f o r t he loft 1s t f inger t o
mov e i nt o the sl e e ve o f the bo x fa r enou gh to pus h t "Fi"Cdra we r o f th e
box unt i l i t s r ight end con t ac ts t he r i ght palm , At th i s po in t the
palm of right ha nd c an edge pa lm t he 'r'i gh t end o f the d r awc r . Next ,
the right hand moves back to the right, c a r r y .i ng the mn t c hhcx d r n wc r
with it, as the matchbox cover comes into view again. At this s t ugc
the right hand has the matchbo x drawer idge palmed as in the Fig. 1,
an expos ed v i ew) wi t h t h e le ft hand still holdin g the le f t end of
the match box s le eve and th e si de s fa cing the audie nc e and t he per f o rme r . Thcis e actio ns a r e no t part o f the e f fect but a re done while
patteri ng or di recting' atten tion t o a spect ator for one reason or
another such as having him shuffle the deck of cards. The right
hand with its palmed matchbox drawer casually drops into the lap
wher e the right hand le a ves the draw e r , mouth up , in t he l ap. The
matc hbo x sti l l has a normal app earance "fr om the f r on t and no on e
wil l -no t ice t hat the d r a wer i s mi s s i ng esp ec i all y sinc e th e box has
nev er l eft t he sight o ~ the a ud ie nce .
Fig . 1
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between the ball of the thumb and the side of the 4th finger. The
inner side of the dr awe r is along the base of the fingers a s shown
in the palm up view of the right hand in the Fig. 3.
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9 . Jus t as you reach the stage s hown in the Fig . 8 the specta tor will
h a v e cut the deck and you will be s a ying, "Let 's just mark the cu t. l I
Also th e sp e c tato r by th i s time wi l l be loo k ing at y ou r hand wh i le
it is at the st age o f th e Fig. 8. To all 'app e ar anc e s y our r ig h t ha nd
no w picks u p t h e mat chbox . Th e-ri g h t thumb c ompl e t e s the t e l e sc op i n g
a c ti on as the as sembled matchbox i s now t rapped between the ba ll of
t he t humb and the s i d e o f the ri gh t 4th finger . Thus the spectator 's
view i s n ow o n l y t h e ba ck of ri g h t hand bu t the posi t ion o f the .
matchbox is similar t o that sho wn i n the Fig. 3 . Wi t h ou t he sita t i on
the right hand move s f o r wa r d to deposit the mafchbox onto the top of
the Lowe r p o r t i o n o f the d eck just a s you r e ach the wo r d s , " ma r k the
cut. 1-'
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9 . Jus t as you r e a c h the s tage s hown in the Fig . 8 the specta to r will ~
h a v e c ut the de ck and you wil l be s a y i n g, "Let 's just mark the cu t. l I
Also th e sp e c tato r by th i s tim e wi l l be l ~ ok ing at y ou r h and wh i le
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however, you 'will give him a choice and that is you will make his
c a r d appear on the top of the lower half of cards or on the bottom
o [ the upper hal f of cards. It doesn't make a ny d i I f or c nc c wh i c h Ill'
choos es but' f or t he sa ke of co mpletene ss as s um e he choos e s his c a r d
to app ear on the bot t om of t he upper ha l f . Snap you r finge r s over
the deck s andwic h, t hen t ell him to look. ' He wi ll natur a l l y ta ke
orf the top por t i on of t he cards t o look at th e bottom c ard. His
card i s not there but you insist that you did what he asked for .
-Te l l hi~ to replace his cards bac k onto the matchbox. Tell him that
his ,c a r d is now on the bottom of the u pp ~r half. After only a bit
of misunderstandi n g you po int out tha t t he mat c hbox is on the bottom
o f the upp er hal f. Conc lude t he eff ect by le tt ing hi m op en a nd l ook
into the ma t chb ox whe r e he fi nds his s igned card.
12 ~ , Some final bi ts of advice will further aid in getting things
to work out smoothly for you. First--if you find it too tricky to
do the steal of th e matchbox drawer while it is held clos e to th e
table, then just have the matchbox off the t able an d sb rt of handling it idl y be tween bo t h ha nd s . The left hand holds t he l eft end
o f the box, by its s i de, wi t h t he le f t thumb on t he i nn e r sid e and
the l e f t 2nd fi nger on the ou t er s i de. The right fi ngers a nd thumb
sort o f gl ide a l ong t he s i des o f the box. At so me po int the r i gh t
hand moves to the lef t and co mpl et ely screens the bo x. At this
stage the position of both hands, from the f r on t , is as in the
Fig. 10 .
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sleeve you wi l l find that after a bit of p ra c t i ce you r a ng li ng of
the J rawer i nt o the sle e ve, as s hown in t he fi g. ~, will be ve ry
sl i gh t to almo s t str ai ght so th a t you wil l not n e ed t us e th e rig ht
1st fln.g.er , in order to star t t he telesco ping-actio n, but s i mp ly
press to the right, wi t h t he r i ght t humb, thus t elescoping t he matchbox sleeve and its drawer in one cont inuos action.
THE
3~
SECOND STAC K
vu r ~ n g
~n~ s
you nave pl en~ y o r ~ ~me ~o crlmp ~n e Do ~ ~o m c a r a or ~ n e
dec k. Next i n a cas ual Ov e r hand Shu f f l e run 4 c ard s t o the bot t om
an d t hr ow t he de ck on to t hem. Run another 4 c a r d s and throw the
d ~ r. k
o n to thp.m hllt
k~p.n
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315
very quickly r un off the top 5 cards, then without any hesitation
pull the top and bottom cards-:- mentally counting, "Two", then continue wi t h 3- 4-5 and throw the deck onto these cards. Soon as you
t hr owit he de ck onto the shu f fl ed off cards at once say, "Done".
This "'ill cause the spectator to look at his watch, i f he hasn't becn
looking at it all the time, as you casually cut at the crimp and complete the cut; This subterfuge saves you a half a second.
4. The time he gives you should be in the 3 ~ second area. Regardless of his answer you say, "And I stacked them for five hands", as
if this wa s i mportant. Deal out five hands of Poker-snowing you have
the Aces come to you on every fifth card.
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THE
4~
SECOND STACK
any mis alignment is good as it camoufla ges ~he run of ~ards and mak~s
the shuf fle look more normal. The loosening of the top and bottom
cards also prevents the u sual noise COllman to the Milk Build Shuffl e.
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In this routin e you will use both of the above stacks ]
and n6t onl~ logic will give you a reason for doing it again but tJlc
first stack attempt conditions the spectators to the same opening
actions as fat as th e placing o f th e Aces i s concerned. Also th e
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first exhibition enables you to easily get set for the next st ack.
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You have the requi red condi tions to g o into the thre e a nd 'a hal f
sec ond sta c k.
To g iv e a lo gic al exc use f o r the r e p e at y ou ask the
~~
SI~ e c t a t o r , as i f you f ? rgot, ho w lon g it tJo o k yo u d to s tacfk the c a rd s.
IS an s we r n atur ally WI l l b e h i gh e r tha n t1 re e a n a hal - s ec ond s .
To thi s you sa y, III s ho u l d d o b e tter than that . Would you mind timing :
it again?" Now y ou have th e exc use t o g o . in t o th e thr e e a nd a ha l f
/1
second st ack a s you a g ain s eem to p la c e th re e Ace s to the bo t t om, th e .J
top Ac e go ing i nto t h e br e a k, wi t h th e l a st Ac e on top.
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5. When the deck i s square d you c an tak e it from abov e, b y the e~d s , .J
with the right hand which turns pa l m up to displ a y the bottom of the
deck.
The le ft fingerti ps , pull th e bottom Ac e to the le ft e n ough to
expo se t h e Ace b el ow a s yo u say , "T h r e e Ac e s on the bottom." Ret ur n
the deck into le ft hand d e aling p o s i t i o n . Deal over the to p Ace and
..
take it i n the ri ght h an d , b y it s l ower ri ght corn e r, with thumb o n
top and fin g er s b en eath.
Show this Ace as you conclu d e your rem ark s -j
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.
with, "And on e Ac e on top." Return t h e Ace f ac e d own onto th e to p of
the d e c k.
No w proc e e d into the "Thr e e And A Hal f Second Stack" a s
already outlined to conclude y ou r rou tin e in an up-be at mann er.
,
NOTE: The ulld erly ing mechanic s of the three and a half sec on d sta ck
can be done for a g re a t e r numb er o f hand s.
Up t o twelv e if you onl y
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deal out to just g et the 4 Ac es. Beca use of th e long er run o f c ar d s
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it will t a k e more tim e but n ot a nywhe r e near th e time i t wou Ld a c t ua l- .;
ly take to say s ta ck 4 Ac es fo r a ten ha n d po ker st a ck. A s e v e n h and
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second stac k.
To g iv e a lo gic al exc use f o r the r ep e at y ou a sk the
spectat o r, as i f you fo rgot, ho w lon g it t o o k yo u t o s t a c k the c a r d s.
Ili s ans we r nilt llra 1 1v w; l l he h; (Jhe r th iln th r e e iln d a h ill f s ec ond s .
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poker s-tack can be demonstra ted as being done in three and a half
sec onds thru the use of the Se c ond Deal. To do this your initial
start must be with 7 cards below the crimp plus the 4 cards being
held scpa r at c d , by the l e f t 4th fingertip break, at the bottom of
th e deck. As before on e of t11:e 3 Aces goes into the break with the
other tW<Y ', going t o the bottom. The last Ace goes on t op . Do the
Ov er ha nd ShuJ)fle as for the 5 card stack. When you cut at the crimp
you ,will have 7 cards ov e r tne 1st Ace while t h e other 3 Aces wil l
be every 5th card. In dealing out the hands your Secona Deals on
the first--round will be done at 7. The second r ound at 6. The third
r ound at 3 and the 4th round at 2. You will notice that-there isn't
much to remember sInCe the numbers at which you start the deals are
progressively l ower. Thus the first two rounds is 7 and 6, then it's
half of 6 or 3 on the third round, then 2 on the la~t rou~d. The
complete-numerical tip-offs are 7-6-3-2.- You don't have to be a
memory expert for this - just a good Second Dealer.
DUNBURY DELUSIONS
- The following method of a direct Dunbury Delusion
was inspired by Bob Walker's approach to the effect. While I worked
ou t the basic three card handling the idea of eliminating all tabled
cards, leaving only the supposed wrong selection in the hands, is
that of Dave Solomon's as well as the variation of the Veneri Turn.
The effect is well known in that three cards are shown which appar 'en t l y give a 'clue as to the whereabouts of the selected card. Since
one of the three cards is the selection a failure seems evident yet
at the conclusion the cardician does have the s elected c ard. While
Charlie Miller has b~en associated with the effect, due mainly to
his particular method, the original method by Victor Farrelli should
not be overlooked.
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,6 . Rep l ace t he 3 c ar d fa n bac k into the l eft ~and but main tain t he
3 card spre a d. TIl e ri ght firg ers a nd thumb now do a ,St ud Turno v er
'o f t h e to p two c ar ds, a s one , t o f l a sh i ts f ace while the l e ft t hum b
pu lls ba ck i t s t op ca r d flu sh wi t h t he r ema i n i n g car d. The r i ght
ha nd flip s i t s card fa c e down on to t he c a r ds 'i n the le f t hand and
the Ipft thumb immedi ately thumbs off the top card to the t a b l e.
7. Your patt er for t he act i ons i n St ep 6 i s s i mpl y , "This ca r d t ells
me t he c olor of your c a r d. " The s pectato rs now think the se l ec t e d
card is now face down on the table . To f ur th er s tren gt hen th is t he
r ight ha nd takes t he c ards, f rom the left . hand, th en do es a D'Am i co
Spr e ad ( Se e al s o Pinch Sp r ea d i n this v olume ) whi ch s hows two i nd i f f e rent cards~the s e lect io n being hidden .
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8. Call attention 't o the valu es of the two sho wn cards st atin g t hat
you wi ll us c t he total of t hem t o c oun t down in t o th e de ck . By t hi s
time y our l e f t hand has a lready picked up the deck a nd i s ho lding i t
fa ces do wn in a deal ing pos ition . The t wo c ards from the right hand
a r e f l ip pe d f ac e do wn onto the to p of th e dec k.
9. Let's assume t ha t the t otal of t he t wo shown c a r d s add ed up to
1 2. Count off 1 2 c a r d s from the deck , .i n t o the ri gh t hand, t a king
tliem on e onto tne ot he r. With t he l e f t hand drop the dec k on t o t he
sup po s ed sele cted card . The l e ft hand comes back t o t a k e t he 12
c a r d s by their left sides, thumb on top- fin gers beneath , then the
ri gh t hand a t once gr a sp s the 12 car ds f r om above by th e ends. In
a f ol l ow t hr ough s e qu ence t he ref t finger s remove the bottom card
of , the 1 2 c ards. The right hand dro p s it s r emain ing ca rd s on to t he
top of tne deck .
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319
and thumbs of both hands.
Do a D'Amico Spread t o show the f a c e s of
two c ar ds.
The f ace card, of the t wo card spread, wi l l be the 3D
o r selected /ca rd. You no w use an idea t hat ori ginally a ppea r e d-rn
"Classical Four s ome".
Ca ll the cards as you see them.
I n other words,
say, "The Three of Diamonds and (wh atever the unde r card happ ens to
be)."
2.
Flip both cards face do wn ont o the top o f t he deck . The top card
is de alt face do wn to the tabl e as you repeat, "The Thr e e o f Diamonds ."
The rig ht hand t u r n s t he n e xt c ard f ac e u p a s you also rep e at its
name and then add, " Whic h tota ls up to" (h e re you a nnoun c e th e to tal
. o f .t h e tw o cards). Turn t h e face do wn card on t o the tab led card .
3. The spe cta tor t hinks h i s 3D is on the tab l e bu t you have i t on
top of the de ck. All that remains is to c o n c l u d e the effect as already explained using the Veneri Tu rn Variant.
3RD ME THOD : 1. Con t rol o f t h e s el ecte d c ard is again to 3rd f r om
the top o f the deck. The procedure is i d en t i ca l to the 2NDMETHOD
up to the point wh ere the t wo value cards are shown via the D 1 Am ico
Spread; h owever , h e r e y ou f l ip t h e t wo c ar d sp r e ad fa ce do ~n on t o
the top of the deck.
2. Star t to count the c ar d s f aces down to th e t able , one onto the
ot her bu t on the 3r d c ar d do a Benza i' s Cop and co nti n u e t h e c oun t .
On th e f ina l numbe r d e a l t h e c ard o f f t h e de ck p l u s the c o p p e d card
along on to i t . Plac e the deck as ide , then pick up th e c o u nted c ard s
to recount t hem by si mp l y s pr e adin g t h em b etwe e n both h a n d s . Whe n
you reac h t he l a s t o r b~t t o m c a r d of the co un t s o rt of snap i t with
the le ft thumb.
Th i s is a sort o f subl i min al to u ch remind ing the
s p e c t a t o r that appar ently his card was the fir st card d ealt to the
t able and t h us c ou ld n o t be the to p c a r d o f th e counted c a r ds.
Resquar e t he c ar ds and tabl e the m. Take o ff the top ta rd , and in
accorJance wi t h the presentation y ou eventuall y disclos e it a s hi s
c a rd .
4TH ME THOD : 1. Her e co nt r ol t h e se lec ted c ar d to 2nd fr om the t op .
When you do the D'Amico Spre ad th e selected card will be 2n d f r om th e
face and is actually two c ards passed off a s one. A Marlo Di spl ac ement ide a is now use d by f i rst c alli n g the name o f t h e se le c t ion ,
then flippi ng t his c ard(s) o n l y f ace do wn onto the deck, t h en a t
once the left thumb d eals this face down to the table. Th e r emain i n g c ard is then called and pl aced fa c e do wn onto th e tabl ed c ard .
From he.r e conc lu d e using the Ve ner i Turn Var iant . Obviousl y a
Benzai's Cop or Second Dea l can be a l s o used bu t i n this c a se y o u
ma y as well s how two single cards.
In fact, you can also substitute
the K.M. Mo v e f o r exchan gi n g th e a c t ua l s e l e c t e d card, either on the
first turn do \Vll o f a c ard or on t he second tur n down of th e c a rd.
Ot h c r appro achcs such as a Mira c le Card Chang e, Si mul at ed P l a ceme n t ,
Si mu l at e d Pickup, and so on can be applied to the Dunbury theme but
it' s best to de c id e o n one or t wo that you can pe rform under a n y
conditio ns. Th e ot h e r app r o a che s can b e u s ed f or t hose gathe r i ngs
with other magicians .
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inside flap of the c ard case or on a handy piece of paper, then turn
the p r~ d ic t, io n wri t ing s i de down.
S. Have the spectator cut the deck prefacing this by saying, "Cut
the dec k i n ha l f. " Point to t he lower p orti on a s you s a y, "We will
use the .ca r d s "r i gh t wher e y ou cu t." Pi ck up t he dec k and place it
into the left hand as for the Ma s t e r Grip. (S ee SECOND-CE N T E R S ~
BOTTOMS [or cletails of the Ma ster Grip) Stat e, "We will need only
t.wcn t y- T' Lvc c ar ds" as yo u t urn sli ghtl y to the left. The cutting of
the cleck appr oa ch is t hat sugges t ed by Dave Solomo n.
Here you seemingly count twenty-five cards from the left hand into
the ri ght ha nd wit hou t re versing t hei r orde r. On the co un ts of 5-10-15
and 20 you execu te the Bottom Deal Count. I n this vol ume t he r e i s a
section on the Bottom Deal Count and you can choose from these methods
the Qne you pre f er. The excess c ards r emaining i n ,t he lef t hand a re
plac ed a s i de an d t his touc h i s su btl e es pec ia l l y if you r eplace t hi s
portion face up whi ch dis p lay s t he or i g ina l bot tom c ar d .
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7. Al l that remains is to ha nd the t wenty -f ive cards to the spect ator to dea l ou t fiv e hand s of ,Poke r . Now i mpres s on him t ha t he
shuf fle d, cut, and dealt the ca r ds. Rev e al yo ur pr ed iction, t hen
have him tu rn over his hand for the climax.
The re i sn' t any problem i f he cu ts and l eaves mor e than the requ ired 20 card s but wha t i f he cuts de ep an d leave s you ' l e s s ? Suppos e
he does-and as you count you end up wi t h only 1 6 c ard s? In t h i s
c a s e 3 of the Aces wi ll be a t the St h -1 0t h- 1S t h-Pos i tio n bu t that
l as t Ace i s t he 16th c a r d. I n t hiscas e theoovi ous remar V is, " I
need nine mor e c ards ." You spre ad the deck and a s k th e sf ect ato r to
r emove 9 mo re c a rds a nd hand them to your ex tende d l eft $and . When
you have the 9 c a r ds you pi ck up t he coun t at 1 7. As t he left thumb
s hove s over tne to p c a r d to t a ke it under the c ard s i n the right hand
the right fi nger s very slightly buckl e th e bottom Ace -a t the l owe r
left co rne r onl y. I n t o th i s space the lJth-18t h-1 9th-20th ca rds are
sort of spr ea d co un t ed, t hen the r emaincrer:- wi t hout anY1JTeak in the
rhythm, ar e s i mpl y ?pread count ed t o under t he c a rd s i n t h e l e f t hand.
This procedure again is a subtle one if you think about it. Obviou sl y
i f your count i s 20 cards to 24 c ar ds t he ext ra c ar ds, to make up t he
2S c a r ds, a re simpl y placed und er t he pa cket since a l l 4 Ac es will
DC at their r equired S-l O-!i-~ posi tio ns.
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edge of the table. The four Aces are secretly already face down, in
n squared packet, in your lap.
.
2. T~~ rig~t hind reaches for the card case to place it in front of
yourself. The left hand moves towards the right inside coat pocket.
The right hand casually drops into the lap and at once takes the 4
Aces, from above by the ends, with the four right fingers extendea
along the front end while the right thumb is extended along the back
ond.
The left hand removes the pen from the left side coat pock e t and
0"'h
as it comes into view the right hand moves up and towards the deck as 1
in the Fig. I, the performer I s view, while the Fig. 2 's h ows wha t the
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spectator may not even pay attention to since his eyes will be on the
pen.
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4. The right hand adds the Aces
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directly onto the deck at the same
time curling in the right 1st finger l
on top -o f the deck as in the Fig. 3, j
In a continuing action the right - ~~
hand picks up the deck to hand it
to the spectator requesting him to
count off 25 cards while you write
something on the flap of the card
case.
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323
2ND METHOD:
1. Here the! Aces having been secretly removed are placed into your
left coat sleeve. When it comes time to add the Aces drop your left
h ~ n d t o the side letting the Aces fall onto your curled left fingers.
Position the Aces into a Gambler's Cop or sort of Rear Palm. The right
hundmeantime has extended to take the shuffled deck from above by the
ends. The left hand moves up, travelling close to the body, while the
right hand moves to meet it. The right hand simply . deposits the deck
directly onto the Aces, then the left hand at once shifts the deck into a dealing position.
2. The right hand moves towards the inside left coat pocket to remove a pen which you have previously placed there. From this point
on proceed with the rest of the requirements as already detailed in
the "Poker Prediction" when the Aces have been added to the bottom .
..
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3. If you are standing close to the table, then when the cards land
into your left hand bend down slightly as the right hand reaches for
the deck. This will bring the left hand below table level and close
to the table's edge. The right hand, having picked up the deck,
simply drops it into the waiting left hand which remains below table
level; however, once the deck has covered the Aces the left hand at
once moves up into view with the deck. Properly timed the addition
of the Aces is indetectable. Ob~iously you can also add the Aces to
the bottom in this way if you are seated and the 4 Aces are in your
lap.
--:..._--.-
3.
The r i ght hand nO \\T mo ves to a ctua l l y p i ck of f th e top c a rd ' of th e
2nd pac ket, agai n fr om ab ove by the e nds, t he n c a r r i es i t to t he left
ha nd to place it onto the card(s) already there; however , a l eft 4th
f i nger tip br ea k is he ld below this X c ar d at the lower right c or n e r.
Continue by p i ck i ng up the t op ca r d-of th e 3rd pa cket in th e .same
manner to place it onto t he cards in the len-hand .
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4. As your right hand picks of f the top card of the 4th packet your
body wi l l be turn ed s light ly to t h e r i gh t and y our hanas will also be
t owa r d s t he rig h t.
Th e r igh t hand p laces it s card on t o t hose in the
\'
l e f t hand and each time , during the pickup, your r i g h t 1s t finger is
always curled on top . Now both hands move to the l e f t and the right
1s t f inge r straightens ou t. At onc e the right hand takes t h e 3 X
' c a r d s a bove t he br ea k and 'mov e s di r e c tl y ont o t he 1 s t packe t on t he
left secre tly adding t he 3 X cards back onto the topof this packet
'\1J
in a mann er similar t o t ha t T s hown i n the Fig. 3 of "Adding The Aces".
I n a follow t hr oug h the r ight hand moves this packet forward , then
move s t o th e 2nd pa cke t to mo v e it f orward f o l l owed by do ing th e same ,..,
to t he 3rd and 4th packets .
~
5.
The four cards i n your left hand are now spread out and the right ~_
ha nd dea ls ea c h Ace fa ce up on to ea c h of the i p ac ke t s t o c o ncl u de
1
th e effe ct.
J
2ND METHOD : This does not permit the spectator to shuffle the deck
SInc e I t us e s the a ppro ac h of "As An Opene r " t hat app e a r ed in the
TOPS.
]
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1. The 4 Aces are se cretly ~ridged, at the inner end only , and rest
on to p aT the deck . They are retained t h e r e du ring some shuffles
' a nd cut s whi ch c an be qu ite fa i r loo k i ng cons i derin g th e 4 br i dged
Aces onto whi ch you c a n sh~ff le , ei the r Riffle or Ov erhana, t he n
l a t e r a cut br ings them back to the top .
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na nu uea LS ea c n Ace ra ce up
the effe ct.
on ~o
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2ND METHOD : This does not permit the spectator to shuffle the deck
SInc e I t us e s t he a ppro ac h of "As An Opener " t ha t app e a r ed in the
~~i
......--....~I ;
325
Repeat this pickoff with the 2nd packet. As you 'go to pick off the
top card of the 1st packet, on your left, your hands will automatically
also be.to t.he left. The right hand goes to place this last card onto
those in the left hand; however, at once the right hand takes all three
cards above the break, then travels back directly onto the 1st packet,
again this ac ti o.n is similar to that shown in the Figs. l-2~of
"A<.lding The Aces tr Without any hesitation this 1st packet is picked
up anJ placed onto the 2nd packet, then both are placed onto the 3rd
packet and all three placed onto the 4th packet. The whole action-Is
that of simply assembling the four paCK"ets to form the deck and place
it aside.
S. All that remains is to deal out the four cards~ you have in your
left hand; face up to the table to disclose the! Aces.
.
:6 . The above 2ND METHOD was inspired by one that Daniel (Rhod)
Brousard of France uses; however, he starts with picking up of the
single cards and the block of Aces last as in the original method in
' TOPS magazine. Neal Elias, in his notes, has an entirely different
'a ppr oa c h to using the block of Aces.
3RD METHOD: 1. Here the spectator can shuffle the cards since the
4 Aces arc held out in the lap. Also this method may appeal to those
who feel the 1ST METHOD is just too bold .
.2.
While the
sp~ctator
yo~r
left hand
.g oe s to the lap and gets the 4 Aces irito a Deep Gambler I s .Cop . , The
- ,.
3. The right hand now picks off the top card from .t h e first packet
on yout right, taking it from above by the 'e nd s with the 1st finger
curled on top. Place this .card in to the left hand, which come's up
to table level, so that its outer end projects over the left 1st
finger. In this way a single edge of the card is presented a~he
same time adequately ' ~ o n c e a l i n g the deep palmed Aces.
4. In a like manner pick up thetopcard~ of the 2nd and 3rd packets
from right to left. As the 3rd X card is placed onto the cards in
the left hand push all 3 X cards-further inward and in line with the
iAces but keep a left 4th fingertip break below these 3 cards.
S.
The hands will now be towards the left as the right hand picks
Carry this card to
the left hanJ to place it onto the cards it holds. Once the right
lland fingers and thumb have contacted the ends of ' those cards above
the break the right hand at once carri es them back secretly toward
the packet it just left, the 1st packet on your left, adding the 4 X
cards to the top in a manner already shown in the Figs. 1-2-3 of
"Adding The Aces". .
- - -
The right hand can at once either assemble the packets, one onto
the other, or simply push each packet forward as you say, "You 'f r e e l y
cut each of these packets."
Regardless of your choice eventually
J~al your cards face up to disclose that the spectator cut to the
Aces.
6.
7.
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curled on top. Place this .card in to the left hand, which come's up
to table level, so that its outer end projects over the left 1st
finger. In this way a single edge of the card is presented a~he
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Aces coalesce with the front end of the packet but keep the Aces
separated at the back end from the packet. The right thumb at once
deliberately, lifts up this back end.
Just as if lifting off a single
card, then carries the card(s) off the packet and into the left hand.
This action is identical now for the remaining l packets.
1
]
NOTE:
In the next volume of the magazine will be some other "Spectator Cuts To Aces" methods among them a different approach to "Propelled Lapping".
."I
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1. The 4 Aces are out of the deck and face down in your lap. The
deck should have the 2 Jokers in it in case you may feel some ope
will notice the deck Is thin.
2. While the deck is being cut into four packets, by the spectator,
the left hand obtains the 4 Aces face down into a dealing position.
The four packets have been-lined up, from left to right, near yourself and the tab1e 's edge. You will now create a logical reason for
handling each packet as well as use a ' new approach for adding the
Aces to the bottom of each packet.
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3. The left hand thumbs over the top card, then pulls it back but
holds a break below it with the tip of the left 4th finger.
The
right hand starts to slide the 1st packet, on your left, off the
table and onto the cards in theleft hand which has moved up to
meet the packet, as in the Fig. 1, then directly onto the cards in
.t h e left hand as in the Fig. 2. -
Fig. 1
Fig. 2
W.i th the c a r d s in the left hand and the break s till held, with
0 r the 1 o ft ~ t h finger,
the Le ft thumb deal s over the top ca r d
:llld t he rig h t ));l~Clips it over, s i d ew i.s e to the left I face up and
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noias a breaK be16w lt wlth the tlP ot the lett 4th tlnger.
The
right hand starts to slide the 1st packet, on your left, off the
table and onto the cards in theleft hand which has moved up to
"1
01
327
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and .flush onto the packet. The right hand takes all those cards above
the br:eak,by the ends from above, to carry the packet back to its
posi tion on the table while th e left hand drop s to below the table .
level wi th .i ts r omu ining :i Aces. Also the left thumb (l t the s amc tI mc
pushes over the new top c:lrJ, then d r a ws it back to once more get ;)
" Lc It 4 th flngc r t i.p 'b r e uk be low t h i s c a r d . The Fig. 3 shows the s imultUlleous action of placing the packet to the table ana getting ready
to holJ a break below the top Ace.
"
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Fig. 4
S. Repeat this ItMultiple Unit Card Add" on th e remaining 3 packet s.
Turning the top card, of each packet, face up g i v e s you a logical
excuse f o r picking up a nd re-placin g each packet . Your p at t er is
' br i e f , "You cut to an Eight here, you cut to, etc ~,1t as each p a ck et~
one after the other, is handled. There is no .he Si t a t i on in go i n g
from packet to p acke t until each has a f ace up card on top a nd an
' Ace secretl y a dde d to the bottom of e a c h .
' .
6. You will no w use the value of each face up card to count down
- that numbe r into the respective packets. 'During this you will do
a Bottom Deal Count as follows: Let's s ay the fir st packe t on yo ur
left has an 8 value card. The packet is held face down in the left
hand in a Master Grip po sition.
(See ItSeconds-C enters- Bottom slt)
The le ft thumb pushes ov er e ach c ard as th e right hand t akes them;
one under the other, by their upper right corners with the thumb on
top, 1 st finger along its top edge a t this corner and the 2nd finger
below at this corner. The right 3rd and 4th fin gert ips re'Stag ain st
the face of the cards acting as a support-rQr the counted cards.
During the count the cards taken b~ th e right hand always cover the
left thumb which is dealing over the cards. Also both hands remain
close during the count as shown in the Fi g . 4. The right 2nd finger
docs all the taking' and pu Ll i.rig in of each card to under t~cards
already taken.
7. The count is fair up to "seven", in this example, but on the count
or "eight" the right 2nd fingertip moves furth er to the left to con tac t the face of the l)()ttom card or Ace wh i I.e a t the same time the
left 2nd, 3rd, and 4th fin gers, which are converged near the upper
right corner of the packet, moving as a unit buckle the bottom card
InwarJ, very Slightly, then ease out the bottom card, again very
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cards.
In this way you have indirectly conveyed the mixture of the
deck. After the "Triumph" effect your deck will still be in the
requir6U order which will now be given.
1. The deck is in order of King to Ace, from the top down, except for
the Sevens.
The Sevens become the bottom cards of each run of cards.
The values run in sequence but not the suits or colors which can be
anywhere.
Such a deck can be arranged secretly very quickly in your
lap.
Briefly locate any King, drop it face up on your lap.
Keep
running the cards and locate any Queen and drop it face up onto the
King.
Continue in this manner up to any 1lS e v e n" and place it aside.
Now follow with any Eight spot, etc., up to the Ace, then place the
nS e v e n1l onto the Ace.
Repeat this for the next three sets of run s.
You will be surprised at how quickly you will get the required set-up. ,
2. At this point proceed with the subliminal approach with the
suggested shuffles~ Spread the deck face up to show the apparently
shuffled deck.
Flip the spread over and scoop up the deck.
If you
h~ve pre-set the deck so that you only need one Out-Faro Shuffle now
is the time to do it and cut the deck. Again re-spread the cards
face up, flip them over and face down, then ' re-square the deck and
table it.
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3. Have the spec ta tor cut the deck and complete the cut.
Pick up
the deck and do an 1lAll Around Squar e Up" to glimpse the bottom card.
What you should have, as the bottom card, is any value from 6 to 10 '
to avoid any minor problems.
If the desired value is not on-the , bottom have the deck cut until such a value is arriv ed at.
The additional cuts, especially to laymen, add to the procedure.
4. Having arrived at the required value card, at the bottom of the
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deck, table the deck.
Have the spectator cut the deck in half placing ,_,
the top portion to your right. Have him cut this half into halves
and again place the top portion to your right.
The lower half of the
deck is now cut in to halve s by the spec ta t.or with the top portion
/]
going to your right and alongside the ' f i r s t two portions.
'.
5.
Pick up the 1st packet on your left and hold it in YQur left hand
as for dealing. -rKumb over the top card taking it'by its upper right
corner, with the right hand, thumb on top and 1st and 2nd fingers
below.
Turn the right hand inward bringing the-Iace o~he card into
view.
Callout its value as you say, "You cut to a (nam e v alue of
card) so we will count that number into this packet." If the value
of the card is above a 7, then start the count with this card a s
"one" and up to the required value taking the cards one under the
other, not to reverse their order, then out-jog the card, at th e
number, for two-thirds its length. Table the packet leaving the card
out-jogged. Anytime the value of the shown card is under a 7, then
you start the count of "One" with the next top card as it is-taken to
under the card in the hand. Again out-jog the card at the arrived
number, then table the deck.
Repeat this procedure for the next two
packets.
6.
Push the out-jogged cards face down and forward to the table.
Assemble the packets, from your right to the left, one onto the other.
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The following i s the way Dav e Sol omon us e s t he pre vious c ut t i ng effect . It has a good impa ct for both laymen and
magicians . In effect , the per forme r rem oves four c a r d s from a
s hu f f l ed de ck and pla ce s these fa ce down , i n a r ow, in f r ont of
,h i ms e l f . Anot her de ck , di f f e r ent c ol or and de s i gn i f n e ed be but
not requi~ed, is th en cut i n t o f our pac ket s. The top c ard value of
e ach i s us ed to count down i nto eac h pa ck e t . These f our card s th~ n
match th e perfo r me r 1 s f our 'c a r d s . The y a r e all "S ev en s".
1. One de ck i s s e tup as r equired . The o ther deck is not and can be
a bo r r owed deck . While the spectator is shuffling the one deck you
hav e ample misdirection to seemingly shuffle yours .
2 . Take h i s de c k and rem ove the f our S e v~ n s plac ing these , without
showing th em, face down to the t ab l e, in a r ow, in fr ont of yourse lf.
, Pl a c e the r e st of t he deck aside . Fr om he re continue wi t h t he setup
deck as alr eady outl ined ex ce p t deal ea c h card a r r i ve d at to th e tabl e
in fr on t of e a c h pac k e t.
3. Poin t out that you removed f our c a rd s be f or e the spectator cut
to t he f our tabl ed cards. Turn one of your cards face up as you say ,
"I ha ve a Sev en . " Turn t he spe ctator's c ar d face up and on t o its
r e spe ct ive pac ket saying, "And you cut t o a Seven ." Con t i nue with
, t h e rema i n i n g t a bl ed c a r ds in the s ame amnner d isclo s i ng t hem one a t
' a tim e acc ompani e d by bas ic al ly t he same lin e s y ou or i g inall y d eliver ed. The reaction is v ery favor abl e.
Whil e I hav e describ ed the e ff e c t s usin g " Sev en s"
any o ther f our value c a r ds can be u sed . In fa ct y ou c an f orce f our
di f f e r en t value s thus enlarging t he scope o f the s etup de ck . As an
example is the f o ll owing e f f e c t.
DATE PREDICTI ON
EFfECT:
~rrived
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AS yo u spreaa t h e a ec K be tw e e n bo th hands you r u n th e 4 sp ot,
which i s the first n umb e r o f the dat e 47, to und er the spre ad . Con tinue the spread till you re ach th e first Joker. At this point t h e
right ha nd pl ac es its cards face do wn to t he table.
Th i s b rings t h e
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36
tabled Ace leaving about five -eights of an inch showing of the left
sidc of the 1st tabled Ace shown - . Sing le Buckle the lowermo st card 1
with the rig~hand taking the top two cards, as one, to show the 3rd ~J
Ace. Placc' this card(s) face down onto and alongside, to the right,of
- t he other two tabl ed Aces. Show the la st Ace, always snap the last
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.
Acc, then place it onto and alongside the 3rd Ace, to the right, thus J
forming a spread of four visible card s. T~top card is a single Ace .
while the next card is a double card with the ~ card uppermost.
.,
5. The right hand picks up the magazine, by its inner side, with
right thumb going below finger s on top. Turn the hand palm up , then .
palm down, to show.both sid~s o f m a g a ~ i n e . Now as ~ight hand turn s
palm up, also turnIng magazIne over, It moves m~gazIne across the Aces ~
then continues to the right to deposit the maga zine to your r ig h t
about six or seven inches away from the Ace s. Now what really has
,
llappened is that the rubber c ement on the maga zine conta ct s th e t op
J
Ace o f the four c ard s p rea d a nd c a r ri e s it of f, und er the ma g a zi n e ,
to the right. At th e sam e time the Double ca r d will automaticallY
".
split thus s t i l l s howi ng a four card s p rea d . As far a s your a ud ie n ce ji
is concerned nothing has happ ened. You will even fool y our sel f let
alone some magici an that may be watching as I hav e proven.
"1
6. Pick up t he four suppo sed Aces, really 3 Aces and an X card n ow,
displayin g them f ace down with t wo cards in~each hand. Place the
two c ard s [r o ~ t h e r i ght hand b et we en th e two cards fr om th e le f t
hand. This brings the X card to 2nd from th e to p of th e pack et.
Pretend to invisibly r emove an Ace:rrom the pack et, call ing its n am e
~in ce you will have worked out the order in which the Ace s - wjll a r r i ve ~,
then toss it t owards th e ma gaz ine. With th e packet in th e l eft ha nd
,
push o ver the top c ard, t aking i t by the e nds, with the ri gh t hand
~,
from a bov e , flash its fa ce , calling its nam e, then pl ac e it f a c e do wn
to the table. Do a Single Buckle or a Pulldown of th e bot t om card as "
the ri ght hand now t ake s tw o c ar ds , as on e, t o s how th e face of the
J
Ace. Place this card( s) fac ~ do wn onto the fir st tabled Ace but s i de jogged to the l eft this tim e for a bou t five-eights of a n inch. Sho w ]
the rema ining Ace placin g it onto thetabl,ed Ace s also side -jo gg ed
.:
to the l eft to display a spr ead o f thre e cards.
\,
7. WitJ the ri ght hand grasp th e right side of th e magazin e, with
the fin gers bene ~th a nd the thumb on top, then turn the maga zine ov er
towards the left and bru shing it a c r o s s the thre e t abl ed card s as th e
right hand c arries the mag a zin e to th e left, then inwards tow ard s
yourself to dep osit th e magazin e to y ou r left. The right hand th en
turns tIle Ace , which arrived under the maga zine , f ace up l eaving it
in it s or i g i .n a I position. Needl e ss to say that as th e maga z in e pa s sed
over the spre ad o f the thr e e tabled cards the top card, an Ace , was
automatic ally carried a way wh i le at the same time t he Double card
again split thus sti~l displayin g a spread of thr ee fac e down cards.
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thumb grasp the magazine as you do not want any semblance of having
picked'up anything else with it.
In this case the right fingertips
enter under the right isde of the magazine with the thumb on top.
Drag the magazine to the right and over the face up tabled Ace to
cover it.
You now have two Aces under the magazine, one face up ' and
one face down.
.
9.
Pick up the 3 supposed Aces to hold them squared and face down in
the left hand. Xgain pretend to remove an Ace invisibly, with the
right hand, then toss towards the magazine.
I have tried several
ways to show the 3 cards as now being only two Aces and the following
is easy, subtle, and fairly convincing. With the right 1st finger
lift off only the top card, keeping the remaining two well squared
in the left hand, then let this .s i n g l e card snap off of the left
thumb as you say, "That leaves us one --", replace the card without
showing its face, then turn the packet face up and back into the
left hand.
Lift off only the face card, with . the right hand as before, then snap it to emphasize its singleness as you continue by
concluding your patter line with the added words of, "two Aces."
They now see two Aces so the patter line fits and appears that you
have shown each Ace singly.
Turn the packet face down into . the left
'h a n d . Do a Single Buckle or Pu1ldown as the right hand takes two
cards as one, from above by the ends, to again show the Ace, then
place this card(s) face down to the table.
During this the left
fingers also snap its single Ace which the right hand takes, from
above by the ends, shows its face, then places it face down onto
the tabled card(s) again side-jogged to the left as before to form
a t~o card spread.
10.
The right hand grasps the right si~e of the magazine, ~iththe
fingers beneath and thumb on top, then turns it over to the left
carrying it as b e f or e across the spread of cards on the left to .
brush off and carry away the top card while the Double card splits
to form a two card spread.
The magazine is again near you to your
.l e f t . The right hand turns over the face" down card, that is with
the face up Ace, to disclose the arrival of the 2nd Ace.
The right
hand fingertips and thumb grasp the right side orthe magazine to
drag it over towards the 2 face up Ace to cover them thus loading .
the 3rd Ace.
11.
The two remaining cards are picked up and h61ding a "card in
each hand snap them past each other to clearly show only two cards.
At this point you must believe you have two Aces so don't go through
.a n y unconvincing subtleties like mis-calling one and showing the
other. Simply place the X card under the Ace and hold them squared
and rather deep in ~he leTt hand. Hold your left hand near the edge
of the table.
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Pretend to remove an Ace invisibly, namIng it, then toss it
towards the magazine.
During this your left hand tilts inward as
the left thumb pushes the top card slightly forward so its top end
is across the left 1st finger.
The right hand grasps the single Ace,
from above by the enos, then snaps it face up by releasing the inner
end from the right thumb which results in the single Ace held face
up by its right end with the thumb on the face and fingers below.
The right hand turns palm down, turning the Ace face down, to at
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The right hand graspi the right side of the magazine, ~iththe
fingers beneath and thumb on top, then turns it over to the left
carryinQ it as b e f or e across the spread of cards on the left to
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Both carps a ~ e at onc e squared up a s the left fingers and t humb bend
down' t he s I dc s of t h e c a r d s. The r Igh t hand, s till holding the card (s )
f rom a bove by t he ends, depos i ts t he car d( s) fa c e down t o th e ta h l e
us app a ront ly on e c a rel.
13 . Without any stalling the r ight hand grasps the right side o f the
magazine, ringers beneath a nd the thumb on top, to turn it over to
the left and carry it across and past t h e single(?) fac e down c a r d ( s )
on th e t ab le. Nee d less to s ay t ha t the top card of th e two , an Ace,
is bru s hed off to un de r t h e magaz i ne which agai n en ds up nea r you to
your le ft . The right hand t ur n s ov e r the face down ca r d t hat i s .wi t h
th e two face up Ac es t o show the arrival of the 3rd Ace.
14. Thi s time the right hand spreads ou t the l Aces, face up , from
l e f t t o ri ght i n fa i r l y wide s pr ea d and pu shes them f orward . The
right hand then gr asps t h e r i ght s i de of the ma ga zin e, only t he tip s
of t he f ingers entering be l ow t he magazine with the thumb on top,
then drags the magazine to the pos ition t hat wa s previously the 3
Aces position . Also the right hand posi tions the maga zi n e so tha t
n ow the long side i s towards t he pe rform er . . The r i ll~t. han d n i ck s l ID
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. t h e spread 3 Aces , with the iigh t thumbb eneath and fl nger s 2n the fac~' .J
a t th e ir i nne r end s. The l e f t hand meantime slightl y l i ft s up t he
i nner s i de on l y of the magazine and the right hand slides i t s sp read
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of 3 Aces under the magaz i ne and over th e face do wn Ace t ha t i s
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sec retly under the magazine. The 3 s pr ead out Aces c ov e r co mp let ely
the face down c a r d whic h now lies lengthwise under the 3 spr e ad face
up Aces.
15 . Pi ck up the shppo ~ed single face down Ac e on yo ur i e ft and
using b oth hands snap lts sides to denote it is a sing le card but
do not show its f ace . Replace the card fa c e down to the t able s a yi n g
you will ha ve to make t h i s last Ace vanish by melting it away. The
right hand pi cks up the magazine , whi ch brings into view the 3 s pr e ad
Aces, t hen pl a c e s th e ma ga zin e on to th e ta~ led fa ce do wn c a r d. St a t e
you wi ll generate the required heat to melt t h e Ace . Wit h this the
le ft hand keeps the maga z i n e in pl ac e wh i l e th e ti ps of the right
hand's four fingers are rubbe d bris kl y across the c ent er of t he
magazine. Dur ing th is you also are rubb i ng of f th e rubb er c ement .
Having don e t h i s l i f t up the magazine with th e right hand at the same
time turn i n g ov e r t he ma ga zine as you t a k e it wi th th e lef t han d .
The s upp osed Ace is sti ll there. Repl a c e t he magazine c ov e r i n g the
supp osed Ace again. Repeat the rubbing ac tions thus also rubbing
o f f the rubber cement fro m t hi s side of the ma ga zine . Lift the
magazine, with the right hand, by its inner side wi t h the thumb be n e a t h and fingers on top. The left hand picks up the card , then
to sse s i t back down a s you s a y , "S t ill not ho t enoug h . t l This tim e
keep t he l e ft ha n d near the card wi th th e fi ng erti ps of t he left
hand near the top end of the card . This time the right 'ha nd covers
t he c a r d by l e t t i ng t he outer side of the maga zine touch the table
fi rst . This momentarily covers the card and t he le ft hand. Just
be fo r e t h e r ight hand lo wers the ma ga zine th e lef t 2nd f i nge r t i p
kicks t he t op en d o f t he car d inward c a using it to gO-Off th e t abl e
a n d . into your lap . Rub the magaz in e, th en l i f t i t up aga i n t o s how
that the car d is gone. Look towa rds the Aces - t he r e are still on l y
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18. 'Le t l s pick up at the sta ge wher e you no w have t wo s ingl e cards,
one oJ t h em be i ng an Ace and t he other a n X c ard. I n pl acing ' t he t wo
cards t og ether the Ace wi ll b ecome th e bottom ca rd. Bo t h ar e held
now a s on e i n the left hand. Pre tend to rem ove on e inv i sibly to
' t o s s it towards the ma g a zine. The ri ght hand no w s imply gr a sp s th e
right s id e of the cards, with thumb on top a nd 1st and 2n d fi n g e r s
below, to turn them ov er just as if you wer e doIng a Double Tur nov e r
'wi t hou t th e deck. Turn the ca rds over to the l eft and rath er forward
so that as soon as they land, a s one, face up the left 1st finger at
once pre sses inward on th e up p e r ends causing th e c ard s to s l i de inward their sides being pr e s sed between the bas e o f th e l e ft thumb
and f i ngers. This a c t i on k e ep s them in line a s well i mmed i at ely
ali gn s th em should th er e b e a ny sli g h ~ sepa ration of th e c ards.
Rep cllt th e Double Tur n ov e r turning it f ac e down i n to t he l e ft ha nd
which a t onc e doe s the a ligning a c t i on a nd al so pr es s e s the s i des
o f the c a rd do wnwa r d. The r i ght hand t ake s t he c a r d ( s) f r om above
by th e end s , aga i n flashing the Ace , t hen p laces the ca rd( s), as
one, f a ce down to t he table . Remembe r th e X ca rd is no w ab ove t he Ace. The ha nd l i ng of the magazine is a s be fo r e. That is the 3
Ace s are d isclosed a s . the magaz i n e carr ie s t h e t op X ca rd t o under
i t le a v i ng t he actual Ace .
1 9. This time t h e r i ght hand drag s t he maga zine an d ,covers t he 3'
fac e up Ace s. The face do wn X card wi l l be , more ,or l e s s, on t op
o f t he 3 Aces . The r i ght hand p icks up t he face do wn Ace to s how
it. Mean time y ou say, IIWou ld you l i ke to se e this last Ace go
visibl y or inv isibl y?1I Without wai t ing for a r e p l y con t i nu e wi th ,
IILet me exp la i n . lI The le f t hand lift s up t h e inner side of t he
maga zin e, with thumb be l ow and fingers on top, whil e th e right hand
s e em ingl y p lac e s the Ace t o under th e magaz in e . Ac tua lly what tran sp ires i s th e rig ht hand , which is hol d i ng the fac e down Ace by -its
right end, wi t h thumb on to p a nd fi nge r s bene ath, p laces t h e Ac e l s
inn er si de under t he tip of the left thumb which ke ep s th e Ace against
the mag a zine. The left hand no w moves the maga zine off of the Aces.
The r ight hand points to the face down X card the r e as you say, "That
is visibly.1I The right hand picks up tile X c ard while th e left hand
places the magazine back onto th e 3 Aces, thu s a ddi n g the l ast Ace.
'From this point on the X card is placed on top of th e d eck and the
invisible procedure, as-pr ev iou sly explained, is pr e sented to conclude the effect. I have as s ume d that you would have f irst gon e
thru the rubbing process to supposedly . generate heat while rubbing
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by th e ends, a gain flashi ng the Ace , t hen p laces t he car d (s ) , a s
one, f a ce down to t he t a bl e. Remembe r t he X ca rd is no w ab ov e t he Ace . The ha ndl i n g of the map-az i n e is a s be fo r e. That is th e 3
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EFFEC T:
A se lect ed c a r d i s lo st i nt o one h a lf o f t h e d eck . An Ac e
1 S pl a ce d fa c e up on to p o f th i s h alf a n d a n ot h e r Ac e i s pl a ce d fa c e
up in t o the de ck . A one h a n d throw i s made a nd the per form e r s how s
h e ha s c aug ht t wo f a c e u p Ac e s with a face down c ard b e twee n t h e m
whi ch tu r n s o u t to b e th e se l ec t io n . The se lec t ed c a r d i s r epl a c e d
into the de ck. Wit h th e tw o Ac es i n hi s ha nd th e p e r for mer mak es a
stab to wa r d s the d eck . On s p rea d i ng the Ac es th e s e l ec t e d ca r d is
ba c k b etwe e n th e Aces . Nex t t h e se lec ted c ar d i s va n i shed l eavin g
o nl y th e t wo Ac e s . Th e t wo Aces a re nex t s how n t o b e t wo J a c k s thu s
th e Ac es a n d sel e ct e d c ar d h a v e v an is h ed . On s preading th e d eck th e
t wo Ac e s a r e f ou n d f a c e up wit h a fa ce do wn ca r d b e t we e n th e m whic h
t urns ou t t o b e t h e se lected c a r d . Ev er y t h i n g c an be e x a min e d a n d
th e effe c t c a n b e d o n e wi t h a b o r r owe d' d e c k .
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2. The se t u p in t h e d e ck i s t wo Bl a ck Ja c ks f ac e up a t s eco n d a n d
th ird p os i t i o ns f rom th e bo tt om of th e d e c k.
On t op o f th e de c k,
f r om t op d own , i s th e r e g ul a r 1 0H, a ny X c ard , t h en t h e r egula r AC
fa c e up at t h i rd from th e to p . --rhe DOUb l e Fac e AC - IO H car d is
towar d s c e nt e r o f t h e d e c k wi t h AC s ide f a ci n g sam e-a5 t he r e st o f
the c ard s foll o we d, a f te r a fe w card s , b y t h e AS .
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5. Hold the deck f~om above by the ends with the right hand and
. start to dribble of f the cards from the bottom of the deck as you
request the spectator to call 'Stop'. Time this so that you will have
about half the deck on the table and half in your hand . Double Cut
~ , the t6p two cards, of the retained top half, to the bottom as you
say, "You could have stopped me at any po in t among these cards."
Table this half to your right and keep in mind that it now has the
0 face up AC on the bo ttom of this portion.
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Wh~n you initially dribblethe 'deck on the table the cards are
held close to the table top so that the first few cards are let go
, a s a block to insure not flashing the two face up Jacks near the
bottom of the detk. This tabled portion is now picked up and you
give it a straight cut, then hold a break. Next thumb count or use
the 4th fingertip Kick-Out and Pull Down to get the X card and one
face up Jack to b elow the bre ak. Thus the left 4th fingertip holds
a break between the .t wo face up Jacks. You patterfor this cut is,
"You could have stopped at any point in these cards."
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7. Have the spectaior now note and remember the tabled card or in
this example the lOH. Take the lOH and insert it face down to between the face up Jacks. You can turn the packet in order to show
that the selection is really going into the packet. Since the card
is only inserted half way at this stage you need hold no breaks and
those suspecting Tilt will smile. Push the selection flu sh but th e
right thumb pulls upward on the card in order for ~he left 4th fingertip t o get a break below it. Next the right thumb, which is-at the
back end when -the right hand is above the packet as if squaring the
ends, lifts up two cards from below the break, then either Double Cut
or Single Cut to the break. This results in bringing the formed
Jack Sa ndwi c h directly to the bottom of thii portion of the deck
with a covering ~ card.
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and thumb through the face up cards until you reach the first face
.down c~rd which will be, due to the cutting procedure, the lOH.
. Thumba'If this card face down to the table saying, " He r e is"'"tJle card
you marked ofr . For the time being let's l~ave th is card here."
The right hand. turns its face up c a r d s face down and inserts them
into the c en t er of the deck. To fa ci litate this the left 4th fingertip pulls down the inner right corner of about half the deCIC; then
into this opening the packet of cards ' from the right ha nd is inserted
and the deck squared up. At this stage you have the regular AC face
up at 'second from the top with the two Jacks face up at seto na-and
third positi ons from the bottom of the deck.
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8. The left 4th fingertip does a Pull Down of the lowermost two
cards while t~rig'ht hand turns the two Black Aces face up on the
table. Pick up the AS and casually flash its back as you rest it
face down off to the-right side of the packet. Turn the AS face up
and apparently insert it into the center of the deck but In reality
it goes just above the 2 bottom cards, ala Bottom Tilt. Push the
card flush a nd then sho~ that the AS is no where near the t op or
bottom of the packet. Holding the-packet faces down in your left
hand do n quick Pull Down of the X bottom card, then with the right
hand do a Reverse Double Cut tobTing the bottom ~ card to the top.
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Next the right thumb releases the bo t t om f our c ard s and the left 4 th
fi nger tip ob t p. i ns a break a bove these. The right hand p l a c e s t heM:,
the Doubl e Pa c e c ard , fa ce up ont op of the p a c ke t . The l e ft . t humb] s
a cross the top o f the packet with th e lef t 4th finge rtip holding a
br ea k a bovc the bot tom 4 cards. Do the Ma r IOThr ow Cut holding on.to
t he bottom f ou r "curds and the f ace up AC as the rest of the p acket
s hoo t s out to the t able.
9. The pa ck et in your lef t ha nd consis ts of fiv e cards. Their order,
fro m t h e fa c e to the top is, Double Fa c e AC wi th AC side showing , t he
[ a c e down sel ected lOH card, fa c e up AS , a nd a fa ce up J ac k . Spr ead
t hese cards to show only t wo face up Black Aces with a face down card
b e t we en t hem. The pro c e du r e is as f ollows: The lef t finger s do a
Doub l e Buck le whi le the right hand , which is above the packe t as if
squar irig the ends, g e t s a break, at the back end with th e ri ght
t humb . " The r i ght ha nd wi l l hol d onto t he to p thre e c ards as on e
while the le f t hand wi l l hold its t wo c ards as one. The left hand
moves to the left to first disp lay t wo face up Ac e s a s you remar k
abou t the Ac e s having been c a u ght to ge t her. Nex t , the ti ps of t he
l eft f i ng e r s move out the bot tom fac e down l OH card of t hose h eld
i n the r ight harid . The spread of three car~is no w h eld, from
a bo ve by th ~ '~nds, by the right hand alone . The r ight h~nd now til ts
inwa r d s in~~rder t hat you may see th e fa ce of the s e l e c t e d c a r d as
i n Fig . 1 . At this st age say , "A c ard has been caught between the
Aces. Wnat is your card?" When t he sp ectator names it t u r n the
rig ht ha nd ou t ward , wi t h pa lm towards t h e spect ators, in ord er t o
sho ~ the l OH between the Ac es .
These ~ c t i o n s have ind i r ect l y s ho ~n
both t he ba ck and face o f the regular lO H and is a s ub l i mi nal bu il d .: up for the n ext phas e.
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1 2. Th e remaining ca rds ' in the lef t hand " from fa ce to t op, a re the
Doubl e Face AC wi th lOH on its o t he r side , t he t wo Blac k Ja ck s fa ce
up and cove rea by t he AC. So f a r it s eems you ha ve t wo Bla c k Aces.
To aicl in this the pacKet of c ard s is gra sp ed by i ts left side with
t he right hand thumb be l ow an d fi nger s on th e f ac e. As th e ri gh t
ha nd t urns the packet fa ce do wn you a I s o do a D I Ami c o Spr e ad t hus
s howing two back s as y ou say , "Tha t l eav es t he t wo Black Aces . 11
The l ef t fingers hold onto the spread, especially the tw o cards as
one, while right finger s take the single card t o transfer it to under
t he c ard ( s ) in the l e ft fingers . The Double Fa ce AC i s no w sandwiched
.be t we en the Ja c ks wit h th e l OH upp ermo s t as you hallUl e the c ard' s
~.accs clo wn f or the ne xt s equenc e.
13. The right hand "t a k e s the packe t by t he lo wer righ t corner with
thumb on t op and the fingers beneath . The left fingers can r i f f l e
the r i ght s i de of the ' d~ ck a s the right h~nd s ort of j a ms the l e f t
s ide of i t s packet in t o t he ri f f l ed opening and ou t aga in at t he
same t ime th e r igh t f i ngers and thumb spread out t he t hree cards
to reve al the lOH back amo ng the sandwich card s. If you pr efer you
c an simply sl ap-the top of the deck as the t h ree ca rd s .a r e f ann ed
out or simp ly wav e th e pa c ket a bove t he dec k at same t i me fa nn i ng
the t hr e e c a r ds. I n any case the i dea is to convey t hat t he selected
c a rd, the l OH in t hi s c a s e, ha s somehow re turned . The s p e c t a to r s
assume i t is s ti ll be twe en the Aces . Transfer t h e 10H to on to the
t wo f ac e down c ard s. You a r e no w going i nto the vanISh .
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14. Holding the thr ee cards, from above by the ends, with th e rig h t
hand the lef t thumb peel s off th e f a c e l OH into th e l eft hand d e alin g
position. You now seem t o pl a ce th i s c a rd to und er those he l d i n
the r i ght hand. Actual ly y ou do the "P r opelled Lapping " with the
left ha nd pac ti ca1 1y toss i ng t hef aceup l OH into the lap . Witho ut any
hesitat io n the next "f a c e down ca r d i s pee led off i n to t he lef t hand
which at on c e pla ces i t to und er t he card i n t he r i ght han d. Yo u r
patter f or the abov e peeling a ctions is simply, "Here i s th e Ten of
lIearts or your card wh i c h we will plac e be tw e en the two Bl ack Aces."
Flex the pa c ket be t we en fingers and thumbs of both hand s. Next ,
clearly s how on ly t wo f a ce down car ds , s hi f ting them f r om hand to
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13. The right hand "t a k e s the packe t by t he lo wer righ t corner wi t h
t humb on t op and the fingers beneath . The left fingers can r i f f l e
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hand, a s you s ay, " Ony t he t wo Aces . Your c a rd is gone." Let thi s
part r -egi5 t er f i r s t a nd t he n add , " Not only i s yo u r c a rd go ne bu t 50
are the Aces l " Her e turn th e t wo c ards f a ce up to show t wo Ja ck s
but do not say anything about them as you want a vanish of c ards to
registerra ther . than a change of cards.
15. ' To s s t he t wo J ac ks face s up to t he tab le . Ri bbo n sp rea d t he
dec k to s how t he t wo f ace up Black Ac e s with a fa ce do wn ca r d be. t we e n them. Rem ove th e s a ndwi c h f rom t he spr e ad a nd hav e th e s pec tator himself remove the selection. You are cl ean a nd a l l th e c a rds
can be examined. The on e Double Face card in your lap c an e asily
be palmed and pock e ted in to on e of t h e i nsid e c oat po ck e t s whi l e in
the act o f remov ing some othe r item fro m sai d poc ke t.
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Return the
Sing l e Card
Sc r e en i .ns
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lift up one card from below the break, a' face up Black Jack, to above
the break. Maintajn this break.
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9. Say, "We have an Ace on top and the other Ace somewhere in the
deck." As you say the above line your right thumb riffles the back
end of the deck upwards. During this you riffle off the bottom four
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cards or to where the second face up Black Jack from the bottom can
be spotted. The -left 4th fingertip at once moves in to obtain a
break above the bottom---rDur cards while the right thumb continues the ]
upward riffle to the top of the packet. From this point on you continue with the rest of the routine as already detailed in the first
method by doing the Marlo Throw Cut to retain the bottom four cards
and the top face up AC, then finish as explained in the Steps 9 to
15 of the first methOd. You will find the changes of the Second
Method will make the routine much smoother and not over-handled in
its opening phases.
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follows: For those who may not care for the lapping of the card,
then after the supposed couple of failures, place the magazine back .
over the Aces or off to one side. State YOU will have to use the
347
.:
DIRECT TRANSPOSITION
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There are no
1. The shuffled deck is placed face down to the left of the perform6r.
Cut off half the deck placing it about two inches or more f orward and
al6ngside the l ower half. Both hands now pick off the top cards , of
.. each half, with the tips of the 1st fingers and thumb, at their ou t er
left corners as in the Fig. 1. BOth cards are then levered face up
and rested against the table-top, as in the Fig. 2, with both hands
retaining their thumb and 1st finger grips on thelr corners. Call
attention to the names of tEe two cards in this c a s e the 2C held by
the right hand and the 4D held by the left hand.
Fig . . 1
4
Fig. 2
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Fig. 3
Fig. 4
2. The right hand now turns the 2C face down and swivels it onto
the top o f the deck as shown in tne Fig. l with left hand omi t t e d .
Continuing the action the 2C is apparent ly placed onto the top of
its packet but a' Simu1a tedPlacement is executed wi th the right 2nd
fingertip entering between the cards and the 2C as in the Fig. 4.
The spectator's view is as in the Fig. ~.
Fig . . 1
Fig. 2
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Fig. 5
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Fig . 7
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34 9
card o f this packet, with the ball of the right thumb, into a Marlo
Palm Positibn as shown in the Fig. 9.
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Fig. 10
5, The right hand , now wi th the palmed 4D, moves over to the other
packet and does a Simulated Pickoff, as already depicted by the
Figs. 7, 3 , and 2 except here it is the 4D that is now turned face
up as you-concluae with, "And here is the-Four o f Diamond s" ending
with the picture as in the Fig. 10 . .
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6. Some may prefe r to cut o f f only a small packet off the top of
the deck, ab out a dozen card s or m o r e ~ which le aves the bulk of th e
cards in the lower half, This isextra height that some may require to
more easily cop the 't op card when at the stage shown in the Fig. 9.
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j]'FECT: TIre Cardicians takes the deck in one hand and gives the deck
some rapid cuts to the table on turning over four packets an Ace is
seen at the face of each packet.
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3. The left hand at this stage is holding the sides of the deck
with the thumb on the left side and the 2nd finger on the right side
near the upper ends. The left 1st finger-Is curled underneath near
the outer end. The .r i gh t hand now comes over and above the deck.
The right 1st finger is curled on top with the 2nd, 3rd, and 4th
fingers extended along the front end. The rightthuill1.Jis extended
along the inner end with the ball of the thumb pressing in against
the inner end near the lower left corner. The 4 Aces are now apparently pushed flush into the deck; however, it is only the right
2nd finger that pushes in on the outer left corners of the 4 Aces
causing them to angle. The Fig. 2 shows an exposed left siue view
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, on t o the top of' the de~k. The right hand takes the top Ace and holds
it at the outer end, at about center, with the .t humb on top, the
1st fingertip is against the edge of the card. Shove the Ace in
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of the Aces angling out, at the right side, ncar the lower right
corner:, Tl\e Fig. 3 shows the f u l l angled condition of the 4 Aces
which includes an angling at the outer right corner.
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Fig. 9
6. The right hand alone retains the deck now holding it from abov e
so that the angled po s i t i on of t he 4 Aces, as in Fig. 8, is retained.
The right hand would be holdin g th e-deck in a manner sTm ila r to that
shown in Fi g. l but with the left hand omitted.
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7. The r ight hand now places th e deck into the left hand which t a k c:
it into a n Erdnas e Grip . The tip of the left 2nd fin ger i. spo si.tioll ed into the V space, between th e deck and the angled Ace s, a t t hc
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353
outer right corner. The left 1st fingers is positioned so that irs
extended alo~g the upper end or-the deck.
Just before the right
' h a n J moves away the left thumb angles over some top cards, towards
the right upper corner, in order to cover the 4 angle jogged Aces,
at this corner, from the top.
The deck is now-held by the left hand
alone as shown in the Fig. 9.
8.
In accordance with the presentational approach outlined at the
beginning you wait until you feel the time is just right.
Gesturing
with your right hand you say, "Here is something that may be of interest to you." With the right hand take the deck, from above by
the ends, so that the right thumb will contact the angled Aces at
the back end near the lower right corner. The right 1st fin ger is
curled on top with the right 2nd and 3rd fingers at tne-outer end
near the upper right corner. -rhe rig~4th finger does not touch
the deck but lies alongside the 3rd finger.
What happens is that
the right thumb having pressed t~angled Aces flush into the inner
end of the deck has caused them to move out, in an angled condition,
at the outer end of the deck near the outer left corner.
The Fig. 10
shows the 4 Aces angled out at the outer end with the right hand
holding the deck in the correct position to obtain this result . .The
angled cards have been exaggerated for clarity as they should be as
fine as you can get them since a sense of touch rather than sight
is used. "
Fig. 10
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Fig. 12
Fig. 11
10. Without any sta l l i n g repeat the li f t, wi th the right 1st finger ti p, with each of the remain ing angled Ace s t o result in four fa ce
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d own p &tket~ on the table, to ss ed off from left to right , with a 5th
left o v e r packet held by t he right hand . The picture at this stage- 1
is a s shown in the Fig. 13 .
Conc lude the effec t by turning over .t wo
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packets ea ch time t o quiCKl y display four Aces, on e at the fa ce o f
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e ac h packet, a s in the c l i ma c t i c Fig. 14 .
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Fi g. 14
11.
I t is mos t imp o r tant t hat onc e the ri g ht hand remove s t h e d ec k,
f ro m t he l eTIna n d , t h e right hand mus t k e e p mov ing and go at o n c e
in to t h e Swing Cut s whi c h k e e p the rlght hand mov ing.
Th e s e mcvemcn t s v ,
ar e not fast o r rapid but srrnpl y moving just e nough so that even th e
s h a r p e s t e y ed i n d i v i d u al can n ot focu s h is eyes and spot any projec .-'
t i ons at the front e nd of the deck even if they happ en to be exagger ated.
I n o t h e r words, d on't fr eeze the r i g h t hand once it takes
t h e deck f r om the left hand . Keep mo v i n g un til you have done al l
f our Swing Cuts .
-.
2ND ME THOD:
1 . This will r esult in four packets only on t h e table with the bot tom 'Jc a r d of each b e i n g an Ace .
It will be found a lot simpler for s ome.
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2.
A DOUBLE SURPRIS E
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ger ated.
In o t h e r words, d on't freeze the right hand once it takes
the deck f r om the left hand . Keep mo v i n g unti l y ou have done al l
f our Swing Cuts .
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7. It is assumed that the whole procedure is as if just toying with
the deck and the effect proper is done at a much later time as explained in the first me t hod . The double denoum ent can be used wi t h
four selec ted cards wi th an Ace climax.
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2.
Tabl e the deck and ri ffl e shuffle above the 11 bottom cards a s
you ask the sp ectator , llDid you ever see the Aceof Spades trick?ll ,
On receiving a negative answer hav~ him cut the deckthen hold it
in your l eft hand dealing position. Without saying an y t h i ng deal
the cards faceup, one a t a t ime, onto the tabl e. Continu e until
you ha ve dealt your noted ke y c ard. At this poin t ~top. L60k ,at
the spec t ator and r eque st him to call "Stop" as you de al. Here
deal t he n ext f i v e ca r ds a l itt l e mor e rapidly. The c hances ar e
excell en t that he will stop you on t he 4 val ue c ar d or at lea s t it
will be t he top card of tho s e i n you r hand. In eithe r ca s e you can
sho w t ha t he s t op ped yo u a t a f our . Point out that ha d he sto pped
you so on er o r l at er the valu e card s wou ld be dif f er en t, e ithe r
hi ghe r or lowe r. The f our spot in any case shoul d end up face up
on t he dealt p ac ket. Now c oun t four more cards fa ce up t o t he
t abl e. Take t he nex t car d and t os s out t he AS fa ce u p as you say ,
"That's ,t he Ace of Spa des tr i c k."
. -
Suppos e he do es n' t stop you and you a l rea dy have dealt the f our
spo t fa ce up onto t he tabled cards . Her e you sto p a nd l ook ing at
the spectator ra the r i mpa t i e n t l y say , " Jus t s a y 'S t op'." Th is
time deal t he n ex t f our c a r d s again rathe r ra pid l y. He should sto p
you this t i me a lmo s t 1 0 0 per 'c e n t of t he time as experience ove r the
ye a rs has s ho wn. With t his de a l the to p car d, of t ho s e i n your
ha nd, fa ce up to the t a b l e a s you s a y, "That' s t he Ace of Spades
tr ic k. "
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sno w rtrra t n er s r o ppeu you at "a r our , -- i- o r.n t OUl: t na t nao ne s t.opp ec
you so on er o r l at er the value card s wou ld be dif f e r en t, e ithe r
hi ghe r or lowe r. The fo u r spot in any case should end u p face up
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6 . A~t er the spectator has shuffled the deck take it fr om him and
say that you only ne ed a momen t to study the cards . Here spr e ad the
dec k, wi th fac e s towa r ds you , qu i ckly l oc a ting a four spo t so i t
becom es 5th fr om t he fa c e as you casu a l l y se p a rat e and cut t he c ards
at th is poi n t. Now t humb ov e r 5 mor e c ards and n o t e t he 5th c a rd as
your key c ard , then re - squa re t he d ec k. Ta b le t he dec k ana-r i f fle
shu ffle it to retain t he bo t tom ten card s a s y ou say, "l don't wa n t
you to think I setup the deck so I will shuffle the c ards again."
7 . Have a card sel ected either by the Spectator P~ek or the remo~a l
of one . In ei t h e r c a se you must obtain a left 4th fingertip bre ak
above the s el ected c a rd. He re you again have t~cho i c e of do i n g
eit he r the Bl ock Sl i p Cut or a Drop Cut Coritro l to p l a c e the re quir ed ten ca r d s ov e r t he s e l e ction plus s ome ex t r a c ar ds t ha t wi l l
pre c ede your note d key card.
8 . For the s ake of compl etion let's a s s ume you will u s e the Drop
Cu t Control. The l e ft hand holds the deck withfue le ft 4th fin gertip holding a break above th e selection somewhere in the-center of
t he deck. With t he right cut off small packets of cards dr opp i n g
t hem to the table. Continu e up to th e break. The right hand cuts
of f half of the remai ning car ds to toss them onto the t abled cards .
The remainde r , wh ich wi l l con s i st of mor e t ha n ten car ds, is ta ken
by the righ t ha nd a nd d r opped on to t he tabl ed c ards. The r i gh t
hand t ak ing a c t i on c an be f r om abo ve by the ends or t he Erdnas e
met hod whe re the dec k is tabl ed a s the right-naTId str i p s off the
c a r d s lengthwise.
9. Pick up the tabl ed cards and square them up into the left hand
as f or dealing . Fr om here the rest of t he a c t i on is as already
de s c r i bed for the AS trick.
The next method of accomplishing t he AS t rick is
rath er obvious if you consi d er u s ing the Ben za i's Cop; howeve r ,
there are c ertain touc hes t hat ha v e t a ken i n those fami li ar wi th
the Be nza i 's Cop . . I f you do n't cons id e r these fine details, the n
you may just as well do the Ben zai's Cop.
1. Loca te the AS as bes t you c a n to get i t to the t op alth ough
how you l ocate I t will a dd to the dec eption. With the AS on top
gi v e the deck s ome riffle shu ffles as you add one card each tim e
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Cu t Control. The l e f t hand ho lds the deck wit h fue l e ft 4th fin gertip holding a break above th e selection somewher e in the-center of
t he deck. With t he right cut off small packets of cards dr opp i n g
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on the first two shuffles and two cards on the third shuffle to
bring the AS/5th from the top. During these shuffles you can ask
the spcctatorlr he ever saw the AS trick.
2. With the deck face down in the left hand dealing position the
left thumb deals over the top card as the right hand takes it by
its outer right corner, thumb on top with 1st and ~ fingertips
below. Deal the card face down to the table. . Contlnue by dealing
the next card as you say, "I will deal the cards one at a time and
anytime you want, just call 'Stop'." This line should be timed so
that four cards will by this time be dealt face down .t o the table
and your right hand is now holding the face down AS and using it
to gesture towards the spectator. During this gesture the right
thumb and fingers gradually pull the card in towards the . palm until the right thumb and fingers are at the upper left corner. The
right hand now apparently places its card onto the already dealt
cards; however, you do the Simulated Placing and retain this card
in a Tenkai Palm Position. For details of the Simulated Placement
s()e the "No Lift Transposition" elsewhere in this volume.
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3. Having apparently placed its ~ard onto the tabled caids the
right hand continues the deal by the right thumb and fingers again
taking each card by the upper right corner to deal it onto the
tabled cards. You can see that the right hand taking each card by
its extreme upper right corner will disarm .those familiar with the
Benzai's Cop take. Also the deck should be held in a Mechanic's
Grip with the left 1st finger curled around the upper end of the
deck.
---
4. Continue the deal until the spectator ' c a l l s "Stop". You now
seem to pick off the top card of the tabled packet, the last card
dealt, doing the Simulated Pickoff as at once the right hand thumb
and fingers swivel the card outward and . face up to the table to show
the AS as you conclude with, HThat is the Ace of Spades trick."
Again the reader should refer to the "No Lift Transposition" elsewhere in this volume.
5. With the two methods just described plus the two ih Volume 2
you have enough to repeat the effect so that the spectator will
never forget having seen the . Ace of Spades trick.
Note:
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4. Continue the deal until the spectator ' c a l l s "Stop". You now
seem to pick off the top card of the tabled packet, the last card
de a 1 t. do i n Q" the S i mII 1 a t P. d P i r k o f f ::I, S ::I t, o n r .P. t: h P. rip' h t h a n nth 1J mh
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FARO FANTASTIQUES
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and 3rd fingers . The s i de o f the right 1s t f i nge r t i p is pressing
i tscIr~gains,t the side of the ou t e r leftcorner and the right thumb
is on top of this corner, its tip touching the 1 s t finger . The 4
fingers are thus across the whole front end concealing its thickness .
( For another method see Chapter on " Multiple Shift und er " Bluff
Sh i fts".) The ' s uppo s e d s i ngLe. Joker is n ow u s e d to scoop up the
tabled Joker. If you are standing , then the Jokers are placed in t o your right side coa t pocket. If you a re seated, then simply put
them in your lap. You now have a 49 card deck. If yo u wish you
can hand the deck out for more shuffling, s i nc e you d id look over
'. t he cards, or you c a n simply very fairly shuffle them yourself .
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4: . Pi c k
S. You are now ready for the deal; however , before you start yo u
say, "Sometimes one may accuse the dealer of deal ing from the
bottom. Just to show YOU this will not be the case. I will Dlace
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Bes ide s you can
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SInce you want to deal out only 5 hands and get the
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cards into the 5th hand you make use of an Ov e r ha nd Cull - Stock
S hu[fle -:~hat ,on-rIrst reading may app ear a s complicated and t oo
ha r d to r erncmbe r ; however, if you try it a f ew times with thc actual c ards i n the ha nd s you will qu ickl y r ea l iz e that i t is ea s y a nd
requir es no gr eat memor y.
4 . The Cull-St ock Shuffle begins by firs t c r i mp i n g t he bottom card.
Next , y ou run 4 cards and throw the deck onto these . Run 3 and
thro w. Run 5 and throw . Run 7 and throw . Thi s time pull-t op and
bot tom c a rds-t wic e but c ount tni s milk ing ac t i on as " On e- Two " , then
run s i ngle c a rd s up to the co unt of 7 in-jo gging this 7t h car d a nd
throw ba l a nc e of de c k. Obta i n a br eak below t he in - j ogge d c ard and
maintain the break with the right thumb as you now run 11 (eleven)
c a r d s, then throw all those cards above the break onto these 11
(el ev e n) cards. The right hand will have retained the small batch
of c a rds originally be low t he break and these are shuff led off
haph a zar dl y onto the top of t h e d ec k. Cut ca rd s a t th e cr i mp to
bring i t t o the bottom. Every se l ec ti on is no t only at every 5t h
c a r d fr om the top but also in their original order of 5 to 1 from
the top down.
.
S.
I f you understand t he Erdnase te rmino logy the whole breaks down
as follo ws: Crimp bo t tom c a r d. Run 4 a nd thr ow. Run 3 a nd thr ow.
Run 2 and thr ow. Run 5 and throw. Run 7 and throw . Milk t op and
bottom twice counting "One-Two". Run up-to count 7 in-jogging 7th
c a r d . Obtain break below in-jog. Run 11, ' then throw up to break
anti shuffle off. Cut crimp to the bottom. Note that the first
t hr e e runs of cards diminish by one each time or 4-3 -2 . The next
r u n i s number of hand s you will deal or 5 fo l l owed by t he original
number 7 . The only part you wil l probably have to make an eff ort
t o remember is the last run of 7 cards which entails milking two
c a r d s twice and in - jogging the 7th card. After this maintaining
the brea k , then running the 11 (eleven) cards, throwing to the
br ea k a nd shuffling off may require a lit tle pr actice to do smoothly. As you run thr ou gh t he Cul l-Sto ck Shu f f l e you will f ind that
ea c h p receding s huffle will automatically j og your memory as to
what the next shuffle entails.
6. Return the Jokers, from your l ap or your pocket, to under the
de c k, t he n turn the Jokers face up on 't he bottom in accordance with
the pr es en t a t ion ou t lined in 't he 1ST METHOD. Now dea l out 5 hand s
o f 5 cards each . Becau se t he cards order was r ev e r s ed during t he
de aT your 5th hand ha s the 5 selected cards in order of 1 to 5 from
t he top down . As before, you can disclose e a c h selection witnout
even looking at the faces of these cards . Thi s method will be
f ound t o puzzle Faro addicts . By Substituting a Riffle Shuffle
Cull -Sto c k f or t he Ov e r ha nd Shuf f le you will hav e a s op hist i c a t ed
proc edur e th at wi l l ra i se the eye- br ows of any c a r d man. In th i s
cas e, t o stay as logical as possible , make sure tha t the St r add l e
In- Fa ros are also the tabled Riffle Shuffle Fa r o s .
The f oll owing ha s not h i ng t o do wi t h th e de al i ng ou t
of hand s bu t is a suggested approac h to c ontr ol of seve r a l se le cte d
c a r d s t ha t may later be revealed , magically or othe rwise , one at a
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t o rememDer lS the last run o t j cards WhlCh entalls mllklng two
c a r d s twice and in - jogging the 7th card. After this maintaining
the break , then running the 11 (eleven) cards , throwing to the
br ea k and shuffl ing off may require a lit tle practi ce to do smoothLv .
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For a t i t l e c all it
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. THE 49 CONTROL
1. The t i t l e r e f e r s to t h e~ fac t that unknown to your sp e ct a t or s
you are working with a 49 card de ck . As s ume that afte r s hu f fl i ng
a nd c utt i ng the de ck yoU-have 5 c a r d s freely selected by a s many
s p ec t a t ors. If you are working for one person have him write down
the name s of the s e c a r d s fo r later refere nce . This is a k ind co nside r a tio n for your br o the r magi cian a s t h i s lea v es h im free to
watch the mov e s .
2. When re ady for th e return of the cards be gin by chopping only
a f ew cards off the t op of t he deck i n readiness for an Overhand
Shu f fl e. Have t he first c a r d re t urne d, on to t he smal l c hopp ed of f
por tio n, t he n run 6 card s on to it . Ask f or the next c a r d t o be
re t ur n ed onto those you just run off. Again run 6 c a r d s onto i t .
Con t i nu e in thi s manner and afte r running 6 c a r ds-on t o the final
or 5th s e l e c t i on i n - j og th e next card and Shuf fle of f . Get a break
un de r the in -jog , shuffle of f t o the break and throw the ba lance
on top. Every sel e c t i on is n ow ev e ry 7th c a rd fro m t he top. ' . Fol low by doing 3 Straddl e I n -Far os whic h-ret ain s th e se l ections at
the ir 7th po sItions and in th e original order.
3. At this poin t you can Cu l l aI l S select i ons to the top u s i ng
t he ' Le s s i nout- Cu ll Shuffle ; however~ in this case you l ea v e t hem
where they are and get each selection 'under control when you n e ed
it. In other words, by simp l y running off t he top six cards you
would have the 5th r eturned card on top of t he deck ready t o be
. dis c l o s ed as you may wi s h . Once this card has been revealed , in
some magi cal manner , you r un off a nother 6 c a r d s t o get the next
sel ect ion on t op o f t he dec k. You c an a l s o show that t he sel ec t ed
card s a re no t a t the top or b ottom of the dec k just be for e runnin g
off the to p six c ar d s a nd thro wing t he de c k on t o them .
4 . Afte r .you hav e 3 selections s ti ll at the ir 7th positions y our
con t ro l of the next-card or cards can become a little more sophisti cated by using Ri ffle Shuffle s with a Block Transfer t o lo s e the
top 6 c ar d s. Tho se f am i l i a r with the "Riffle Shuff le Systems" wi l l
know-ho w t o ac c omplish this . The Ri ffle Shuffles c an be ei ther a
Str i p-Out, a Pu s h -Thr u , a Sha nk Shuffle , or the Sp a de Shuff le eac h
of wh ich i s app l i cable to an undercut or a top cut follo wed by a
Bloc k Transf er. Dep end ing on whe t he r you und e rcut or top cut to
the ri ght , t he Block Tr ans fe r wi l l be ei t he r to the ri gh t hand
po r t ion or t he left hand half .
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s. The t ype of d isc l o s ure, f or ea ch card , is lef t up t o the indiv i dua l t o choo se and from the ma ny avai lable , one s hou l d have no
trou b l e f inding f i v e such s u i t a bl e disc ov e r ies; however , t he final
one c oul d be al ong the l i n es of t he "Dunbury Delu s ion" s ince con side r ing th e s ophistica ted cont rol it i s p lausib le th a t you could
hav e missed t his la s t card. For such a Dunbu r y type effe c t th e
reader will f i nd a couple f urt he r on in this volum e.
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The above conditions we r e put do wn by Dave Solomon
' a n d what follo ws is my solution to t he problem.
1. Using a borrowed dec k of 52 cards get to know the 26t h card f rom
the top. This can be do ne usIng t h e Faro Check or you can note the
bottom ca rd, then in an Overhand Shu f fle run of f c ards in three sets
of 7 c a r d s , then fiv e . Tu r n the d eck f a c e up ~ n d in a quick casual
spread t humb off the cards ti l l y ou rea ch y our noted key card .
Sep a r a t e the d ec k a t t h e key c a r d, leaving it on the fa ce of t he l e f t
ha nd po r t i on, hand i n g th i s ha l f to one s p ect at or and the bal a n c e to
anothe r spe ctator as y ou say, ltHe r e, you s huff le some ca rds a nd yo u
s hu f fl e some. "
2. After each spect a to r has shuffled ' his cards have them pl ace t h e
packets fa c e do wn.
Instruct each to cu t off a few cards. Just
make sure t hat each cu ts off less than ha l f o f t he ir respec tive por tions. Eac h secretly co u nts t h e numbe r of cards t hey cut o f f. Ne x t ,
the y are to t a ke their r emai ning p ac kets, c ou n t down to t h e ir numbers
and note the cards a t t hat number. Al l can be do n e whi l e yo u ha v e
y our back t urne d or be l ow t able level if the co mp a ny is seat ed. The
initially cut off pac kets can be placed out of sight in the ir pocket s.
3 . Pic k up the p ort ion tha t has the 1st spe ctator's card . I n an "
Ov e rha nd Shuffle run of f 1 3 c ar d s , in- jo g t he nex t card and shuffle
o f f.
Get a b r e a k u nd e r tEe in-j og and s huff le off to th e break.
Repl ac e this packet to t he t a bl e. Pi ck up the 2nd spectator ' s
p or t i on and repea t the same Overhand Shuff le sequence . I n a square
u p ac ti on note the bottom card , the n dr op this onto the 1 st specta to r' s c a r d.
- 4 . Pick up the assembl ed packets a nd hold t h em i n p o s i t i on for the
Faro Shu f f l e. Wi t h the right t hu mb r i f f le the upp er sides o f the
packet to loc ate your noted key card a nd cut the top portio n off ,
including t he key card, wi th your ri ght hand. Do a Faro Shuf fle,
s t a r ti n g at the bottom, so that the bottom card o f the left hand
po rti on will remain at the bottom or in essenc e . an Out -Shu f fl e for
wha t ever cards will be p er fec tly Faroed. Now don 't f or g e t to cut
th e t op c a r d to t he bottom using a Double Undercut .
5. If you have do n e th ings co r r ectl y s o f a r th e t wo se lected c a rd s
will be a t the 26th and 27t h p ositions fr om th e bo t t om of th e s e
In anot~Overhan<lShuf fle run ca r ds singly ti l l yo u run
c a rds.
o f f a bout half of t h e cards , th en shuffle off hap ha za r d l y the
the y are to t a ke t heir r emal nlng p ac kets, count down to t heir numbe rs
and note t he cards at t hat number. Al l can be do n e whi l e yo u ha v e
y our back tu rn ed or be l ow t able le v el i f the co mp a ny is seate d. The
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6. Tell
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a nd give
any i dea
the spe ctators tha t y ou don't want to know how many cards
cut off s o they are to place their cut off packets together
you th e t otal. Point out that this tota l doe s n ' t g i v e you
of the o ri g i na l nu mbe r o f ca r d s ea ch on e had .
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9 . If you do n't care to c ount t o the 2nd selection you can simply
r ev e al i t as face up in th e cente r of tne deck . 10 . You can, for another alt ernate dis cl osure, replace the 16 ca rds
on top of your cards whi c h brings the 2nd card to 18th from tne top.
Reass emble the rest of the c ards to the-Dottom g i v i ng you 52 c ards.
Tell the 2nd s p ecta to r you wi l l shuf fl e the cards and he can s top
you at any po int dur i n g the shuffl e s . You do p er fect Out - Faro s
ke eping numer ical t r ac k of t he s hu f f l es. If he sto ps y ou a fte r any
odd nu mbered shuf fle, such a s , t he lst-3rd-5th, etc., the 2nd sel ection will b e at 18th from the bottom wliIle an even numberea-Faro,
suc h a s 2nd- 4th-6fli:'; etc . , th e se l ected c a r d will be at 18th from
t he to p. - once-hen a s s t opped, you t e ll h i m t o name any nu mbe r fr om
15 to 20: Depending , on the number he names you can add or lose the
n e c e s s a r y number of cards in a cut to get the chosen card to that '
po s i t i on.
You can a lso set the 2nd s elect ion for your favorite ps ycholo gi c a l 'Stop' effect o r you can resort to a Second Deal, a Bottom
Deal and even the Benzai's Cop to get the s ame result. As you can
s e e since th e 2nd selection i s under your control you have many
op t io n s as fa r -a5 reveal ing this card is co nc e r ned.
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If you don't c a r e t o co un t t o the 2nd selection y ou c an simply
r ev e al i t as face up in th e cen te r of tne deck . -
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Faroed card for card. Telescope the packets into eac h other for about
half their length, then still holding the sides of t he elongated deck,
wi t h the' .left hand, the rig ht hand mov e s to abov e the cards to push
the cards flush. During this ac t ion the rig ht thumb, at the back end,
l ift s up on the in-j ogged sma l l p ortion which ena bles the left 4th
fingertip to obtain a brea k below the in-jogged cards and maintaIn
it as the cards are squared. The left hand cuts off those cards belo w the br ea k and transfers them to t he top of the deck wher e the
right t humb momen t a r il y keeps this packet separated, at the back end,
from the rest of the cards until the left hand moves back to under
t he deck in or de r t o take ov er the s eparation with the left 4th fingertip at the lower right corner. Instead of the right thumb hOIaing
the separation the left hand, in undercutting .t he small packet , places
t he pa cket fl ush on to the dec k but side -j ogged .t o the left for about
a quarter of an inch or less. The left hand can then regain the
s epa r a t i on by the left 4th fingertip doing a Pull Do wn, on the right
s i de , near the lo we r riglit corner. Rega r dl es s you will now have the
spectator's noted c ard on to p of the deck. Also the cards above the
break equal the numb er of c ar ds the sp ectato r removed and st ill has
in hi s pocket. You a r e now in a position to c on clude the effect in
many wa ys . The most obvious being to show his card on top f ol l owe d
by cutting those cards ab ove the br eak;plus one,: to the table in ord er
t o s ho w that your numbe r of cards match h is removed t otal.
5. At Step 4 abo ve you may struggle to get that I n - Fa r o ; however,
the f olloWing idea will make thi s part ea s i er . The Out -Faro is
basically the ori ginal top card goi ng ' ba ck on top. What you do, to
.ma ke th is easier i n t his c a se, i s to Of f -Cen ter t he Ou t -Fa r o . In
o t he r words, make sure lt will be an Out -Faro but not with a single
card falling back on "t op . You may have t wo, tnree;<:}r f ou r cards,
from t he s mall porti on , fa l l on t op during t he Out -F ar o . Al l you
have t o do is not e how many cards Faro onto the top. As an ex ample,
let's s ay 3 cards fall onto the top during the Out -Faro. This mean s
you hav e thr ee c a rd s mo r e t ha n r equ ired. Now j u st squa r e up the de c k
and get your usual bre ak below the smaller in-jo gged po rtion. Now
say, "Some place in the deck is your c a r d j" as you spr ead the fac e
down deck between both hand s. Spread to t he bre ak and then thumb
ov e r three more cards that are below the break. In re-squaring ge t
a break below the three cards you thumbed ov er . From here proce ed
as alre ad y ex p l ai ned when you wi l l have the not ed c ard on t op a nd
the cards above the break will equal the number that the spectator
removed.
6. It is interesting to note that in doing the Off -Ce nter Out Faro
that you would know the pos ition of the noted card from "t he top o f
the dec k by cutting to the break wi t hou t any adjustm ent a s sugg e st e d
in "Step ~ above .
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~hese cards, which represent a number of hours, then travel from the
deck
to ~the
chrdician's pocket.
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spectator that he has some cards in his pocket the number of which
. you do not know. He is to remove these cards and holding them
squared to place them into the center of the deck. Tell him you will
cause those cards to l eave t he deck and gO'into your pocket. Having
made this statement do not wait too long but make some passes over
the deck, then to wards your left side coat pocket.
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FLEXIBLE FORCE
1 . The de ck i s shuff led by the s pec t ato r af te r whi ch he cu ts off a
small pa c ke t to p l ace it in hi s pocket. The bal ance of th e dec k is
again s huf f led by t he spectato r . De sp ite al l t his you will be abl e
t o s et a pre -d e termined c a r d t o a posi ti on eq ua l to t he numb er o f
c ards th e s pectator cut off.
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descriptions in Step 1
dec k c a n be a bo rro wed
wh i ch you hold ou t in
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it in his pocket. He shuffles again. Meantime you get your card into
, a left hand deep Gambler's Cop. The right hand tuts off more than 26
cards 'from the now tabled balance of cards. The left hand moves up-but remains below the table level. The cards from the right hand are
dropped into the left hand and onto the card. The left hand then
moves to view at once. Since you do not have to glimpse any cards
you look at all times at the spectator during the cutting off of the
required cards.
5. Now all you have to do is pull the top ~nd bottom cards together
as you start your Overhand Shuffle. Mentally count "Two", on this
milking action, then ~ontinue running single cards ort the counts of
Three, Four, etc. till you reach 13 and toss deck onto the 13 cards
but keep -a left 4th fingertip separation between the portions. Pull
the top 'card pluSt'he bottom 13 cards as you mentally count "One l l
and on to 13 again; however, j u s t before you throw the balance on
top you glImpse the bot.tom card of this portion. . Remember it as your
key card.
6. All that remains is to cut to y~ur noted key card, ' do an OffCenter In-Faro Shuffle, cut those cards that are below the Faroed
portion, to the top. Your originally held out card now' occupies the
same posi tion as the number of cards that the spectator cut off. ,
From here you can conclude this condition in any way you may prefer.
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ADDITIONAL TIPS:
In doing the "Visual Retention Switch", as per Figs. 1 to 5, have
the card that is secretly behind the left hand near the edge of the table.
You will get a better visual illusion, from the spectator's view, if you
actually place t he card, that is held in the right hand, onto the tabled
card, rather t han as in Fig. 3, in such a manner that more than half of
its inner wi dth g o e s past the-table's edge. When the right hand lets go
of its card i t wi ll automatically falloff the table's edge and into the
lap.
Immediately th e right fingertips contact the tabled card, to move
it slightly forward, as at the same time the left hand moves off to the
left as shown in t he Fig. of this card switch. The above suggestion
applies equall y we ll to a packet of cards to be switched.
Ori the use of th i s "Visual Retention Switch", for a deck switch,
the de~k to be r u n g i n should be pre-cut with a crimp, at center, marking off its ori gi n a l o r d e r . This deck is secretly placed behind the
left hand near t he tab l e ' s edge as in the Fig. 1 of the "Visual Retention
Switch" excep t i n s tead of a single card the dec~ will be resting there.
The deck to be s wi tche d out is taken with the right hand, by the deck's
sides, at the inne r e n d . The deck is carried to behind the left hand
and at once is re s t e d, f o r more than half its inner width, onto the inner
side of the tab l e d d e c k . The right hand at once releases its deck which
topples off of t he tabled deck and into the lap.
Immediately the right
hand grasps the ri gh t end of the deck by its sides. At the same time
the left hand move s to grasp the left end of the deck by its sides. The
deck is given one c ut, to the crimp, thus bringing the switched in deck
to its original o rder in the event that you may have this deck in a
set-up order.
If th e d e c k switched in is of any other sort, then, after
the switch, just f ollow with one or more fair cuts. The whole action
appears as if t he ri ght hand took the visible deck, tabled it, then cut
it to complete a ve ry easy and indetectable deck switch.
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