Introduction

Welcome to The Celtic Cabal.

Following the success of Scotland Up Close and England Up Close, I decided

to embark on a new publishing venture, this time featuring magic from
Ireland, Wales and Scotland; a true Celtic affair. The result is The Celtic
Cabal. The enthusiastic response from those I contacted has resulted in a
superb collection of Close-up Magic, Card Magic, Mentalism and Stage
magic.

To navigate this ebook, simply go to the Contents page (next page) and click
on a name or effect. The hyperlink will take you straight to the desired page.
At the end of each effect & chapter you will see an up-arrow . Clicking on
any arrow will return you to the Table of Contents.

While this electronic book is copyright © Peter Duffie, each article is strictly
copyrighted by the contributor: No extracts may be taken from this
publication without the permission of the copyright holder. All manufacturing
rights are reserved by the contributor.

I would like to thank Mike Vance for proof-reading and editing this book and
Peter Arcane for designing the excellent cover. Peter also came up with the
title for this book: The Celtic Cabal.

So, I will leave you now to enjoy this unique collection of Celtic Magic.

Peter Duffie

Copyright.© Peter Duffie 2010

No part of this publication may be copied, translated, transmitted or re-sold in any
way whatsoever without the permission of the publisher and copyright holders.
 Table of Contents
Click on a name or title
Mentalism
Name Title Page
Q.R. Confabulating Confabulation 1
Max Gordon The Creative Side 5
The Last Straw 9
David Lees Mentalism (essay) 14
Tarot Magick 18
Jim Cuthbert Where will we Go on Holiday? 25
Paul Lesso The Jungle Book Test 27
Quadtratus Magic Square 29
Pete Lamont Shape Up and Shape Down 33
Peter Duffie Brainwoven 38
Triple Humdinger 40
Peter Arcane The Birthday Book 42

Card Magic
Roy Walton Magic Spell finds Great Hands 48
Dave Forrest Press gang 50
Christ Almighty! 52
Eddie McColl Bold Two Cards to Pocket Transpo 56
Euan Bingham Less is More 60
Gary Middleton Lying Leech 63
Mother’s Pride 66
Scotty Johnston Thanks to Braue 72
George McBride Not for the Faint Hearted 76
Harry Guinness T^3 81
Jackie McClements C.S.I. 85
James Went Selected Daley 88
Patrick McCullagh Estimation 92
Peter McLanachan The Traveller Vanishes 97
Selected Vanish 101
Alan Rorrison Thrice 104
Steve Thompson It’s Out of My Hands: Out of This World 109
David Walsh World Snap Champion 111
Erdnase Concurrent Three Card Cull/stock… 113
Pat Fallon Out of Sight Location 115
R. Paul Wilson Royal Road Trip 118

Close Up Magic
James Piper Vanishing Matrix 122
Dominic Lavin How Did Harry Houdini Walk Through a Wall? 130
Geraint Clarke Creativity (essay) 133
Mis-Fortune 137
Trevor Lewis Flight of Hand 140
Steve Hamilton Spot On 145

Stage Magic
Pat Fallon That’s Entertainment 151
Nevin Cody Sláinte 155
Val Le-Val Bamboozled 157
Viv Davies Tube Production 160
It Works for Me 164

Bonus Manuscript
Tom Sellers Royal Flush Manuscript 169
 Chapter 1

Mentalism
 Confabulating Confabulation
A handling by QR

Confabulation is now a standard mentalism classic. It is Alan Shaxon’s handling of

Al Koran’s “Dream Car”.

Effect
Three audience members are invited to call out the make of a car, a colour and a
sum of money (usually the amount of change in their pocket). This is recorded on a
pad. The performer removes a sealed envelope from his wallet and removes from it
a folded sheet of paper, which reads, “Please deliver to the Kennedy Hilton (name
of venue) a Toyota Lexus, color red, and the deposit available is $2.30.”

Though I rarely perform it in my main act, I always have it ready as it is a wonderful,

failsafe, fallback item. The audience cannot mess it up as whatever they call out
ends up on the prediction paper.

In the original, the prediction ends up on the small, flimsy sheet of paper via carbon
paper. I wanted a full A4 size (standard European letter size and similar to US
standard letter size), no carbon, no mess and no double writing version.

In many effects of this type (including Koran’s medallion), information is recorded

on a pad, the page torn off and handed to someone to mind. In nearly all cases,
this information is easily remembered by the audience, so there is no need for the
person holding your notes to check if they are correctly recorded, thus eliminating
the need for double writing.

Let us say you have recorded the information, and it has been spirited away to the
prediction envelope. You are holding the piece of paper that apparently has this
information, and you are going to read it back to the audience. But in the heat of
performance, you have forgotten what the audience called out. What do you do?

Simple.

Just ask the audience for the answers and look at the piece of paper as though you
are checking if they are right. Remember, you are the one in charge!

Now for the prediction sheet, which will be folded into ninths, taking the shape of a
small pad. The information will be written directly onto this; it will be folded again
and loaded very naturally into your wallet. A piece of stiff card, cut to the same size
as this pad, will remain in your hand, and the audience will assume this is what you
wrote on.

1
 Take a standard sheet of white paper. You are going to
fold it into thirds with two horizontal folds. Fold the top
third down. Fold the bottom third back. You have
basically made a “Z” shape. Unfold the bottom third
and fold it up, reversing the crease.

This bottom third must fold easily forwards or

backwards (Fig. 1). For the next part of the preparation,
leave it folded back.

Fig. 1

We will now fold this folded sheet further into ninths with two vertical folds. Fold the
left third back on itself, followed by the right third, making sure the edges are flush
(Figs. 2, 3 & 4).

Fig. 2 Fig. 3 Fig. 4

If you open out the sheet, you will see the shape of nine
panels (Fig. 5). The top row will be numbered (for
reference – you don’t write anything) top row 1, 2 and
3, the middle row 4, 5 and 6 and the bottom row 7, 8
and 9. See Figure 1 (the numbers are for illustration
purposes only but show the way the page is folded and
the sequence).

On the top two-thirds (panels 1 through 6), you will write

anything you like such as, “Please deliver to the
Kennedy Hilton …”

Fig. 5

You might like to have the top third printed with a bogus letterhead from the venue
to help fill the page or have some extra non-related wording typed at the top of the
page. You can then ask the spectator to read what’s typed on the page and later
ask her to continue reading, giving the illusion the whole page is typed.

2
On the bottom third - panels 7, 8 and 9 - panel 9 (bottom right) will remain blank.
The audience’s choices will be recorded on the center panel (8). On panel 7, write:

Model:
Color:
Deposit available:

At the very end, sign your name, which can start in panel 7 and continue into panel
8.

Re-fold the sheet into ninths. Fold the top half down
(into eighteenths), creasing the middle horizontally
(Figs. 6 & 7).

Straighten it out again. Now cut a piece of stiff card

slightly narrower and 3/8” longer than panel 8. Glue
some paper the same color as your prediction onto the
card. Write three pieces in illegible writing on one side
of the card. This will later be perceived as the recorded
information. Slide the card into the folded sheet
immediately under panel 8. See Figure 4 above — finger
Fig. 6 indicates where the card is inserted.

This now makes up your “pad.”

Note: The final fold in Figs. 6 & 7 is done again before

performance, making it easier to fold during
performance. In Fig. 7, the half number you see is 9, as
side 8, with the information, is folded inwards. It is in
Fig. 7 this final folded state that the paper is loaded into the
envelope.

You are now ready for performance.

Take out your “pad.” Hold it in your left hand with the top narrow part flush with
your forefinger. This helps cover anyone looking at the top of the pad (a bit like
covering the thickness of cards in a trick). The card is sticking 3/8” out the other
end towards your body. The audience calls out the pieces of information which you
write down on the appropriate spaces on panel 8. Having done this, you are now
looking for a lady to come onstage and assist you. This is the misdirection and
cover for the sneaky bit.

As you are looking at the lady (as is the audience), pull the card out half way from
the sheet (to the crease) and turn it face over – end for end. This automatically
folds the prediction sheet into eighteenths and has it concealed in your left fingers.
The card is now sticking out of the top of your hand. If anyone were looking, it would
appear as if you just turned the pad face down.

3
As the lady is joining you, reach over with your right hand and take the card, holding
it aloft. The folded sheet just remains in your left hand. It is in the perfect position
for palming, and the left hand casually goes to your pocket and loads the wallet. Do
not make a move of this. There is absolutely no heat on the left hand. All attention
is on the lady coming onstage, and the audience’s peripheral vision is on the card
in your right hand.

Hold the card and look at what you have written, reminding the audience of their
choices. You can slip the card into your outer breast pocket or casually place it in
the lady’s hand face down, immediately turning your attention to the wallet. She
has no reason to read the card, and, even if she wanted to, her attention is directed
to the wallet. Her free hand helps remove the envelope and the prediction from it.

The prediction has panel 9 (blank) face out, so the immediate illusion is that all the
writing is on the inside of the folded sheet. Now, there is a knack to unfolding this
paper so no glimpse of writing is visible until the sheet is unfolded. Try it in front of
a mirror. Or you can take the outside corner of panel nine and shake out the sheet,
which will unfold quickly.

The lady reads out the prediction. Now remember, earlier you creased the bottom
third of the sheet both ways. After the prediction is read, fold the top third down
and the bottom third up. All the writing is now on the inside and will bother any
magicians watching.

Once, performing for a group of magicians, I did Confabulation early in the show
and left the prediction sheet on a table. During the course of the show, I re-wrote
the audience’s choices on a separate sheet, making sure the choices were written
in different areas - not all on the one panel. I contrived to switch the two, and, after
the show, a couple of know-it-alls were very surprised when they read the sheet.

End Notes
This routine originally appeared in Vibrations, the magazine of the Psychic
Entertainers Association.

Email: [email protected]

4
 The Creative Side
Max Gordon

Premise
It is an established medical fact that the two halves of the brain are responsible for
completely different functions. The left, or logical side, is responsible for reasoning,
calculation, etc. The right side is the creative and intuitive side. (There are many
more aspects to this topic, but those are the two we need to focus on for this
effect.) This information allows us to frame a very powerful effect in a more
believable, yet still baffling, presentation by telling the audience that, by shutting off
one side of the brain’s activity, the other side becomes dominant, thus changing
the outcome of an experiment.

Props
o A deck of playing cards,
o 2 x “Creative” cards (I made mine Poker sized and laminated them for
longevity)
o 2 x “Logical” cards
o 1 Eye patch

Effect
The performer explains that he would like a volunteer to take part in a real-time,
brain function experiment.

“Having read a lot about the theory of the way the brain copes with different tasks,
I would like to try an experiment to see how much logic interferes with our ability to
be intuitive.”

Performer has the spectator shuffle the deck whilst he shows the audience two
indicator cards (fig. 1): one marked Logical (in black); the other Creative (in red).
These are placed face up at one end of the table.

Logical Creative

Fig. 1

The performer takes the deck and, after a single cut (to make sure the spectator
has no idea what is now the top card), he says:

5
“I will now hold up cards one at a time, and you decide if they are red or black. I will
deal them onto the indicator cards as you call them.”

Spectator now calls the colours red or black as they wish. Performer stops after 10
- 12 cards have been dealt. These are turned over and shown. Unless they really
are psychic, there will be a mixture of cards in each pile. Performer now explains:

“The reason that these cards are mixed up is because your logical brain is
screaming that you can’t make a decision because you have no way of ‘knowing’
what the colour of the next card is; it conflicts with the right side of your brain,
which controls imagination and intuition. Result: chaos. We all know people who
are right or left brain dominant. They’re focused but extremely stuffy accountants
or bankers, as opposed to the highly creative but extremely scatty artist or actor. In
both of these examples, one side of the brain has become much more dominant
than the other. With this in mind, let’s try and alter the balance of your left and
right brains. I promise it won’t hurt a bit; well, not much anyway!”

Performer now introduces an eye patch and asks the spectator to place this over
his right eye and confirm that no light is allowed in as he explains that this reduces
the stimuli to the left side of the brain. (Confusing, I know, but true.)

The spectator once again shuffles the cards, and the performer cuts them. The
performer begins calling red or black, and the cards are dealt face down by the
spectator, creating two long rows (see fig. 2).

Logical Creative

Red cards x 26

Fig. 2

6
Once 26 cards have been dealt, the performer introduces two more indicator cards,
but this time he changes the designation of each column (fig. 3).

Logical (x)
bbbb Creative

Creative Logical

Black cards x 26

Fig. 3

The spectator once again shuffles the cards. Then, they are cut. The performer
continues, with the spectator calling red or black, until all of the cards have been
dealt. The cards are then turned over to show that every card dealt is under the
correctly coloured indicator card.

Working
Firstly, if you do not recognise this as a dressed up version of Paul Curry’s “Out of
this World,” then put this book down and seek out the original. OK, good. You are
still reading! What makes this presentation more baffling is that the procedure
before the eye patch is introduced is exactly the same as after its use. The
spectator can shuffle the cards, and, if you wish, they can do all of the dealing.

How?
I forgot to mention that the deck is a stripper deck set to split red/ black. The
indicator cards and eye patch are simply dressing to enhance the premise. The first
time the performer cuts the cards without stripping out the cards. The cards are
laid exactly as they are according to the shuffle and then revealed to be mixed, as
you would expect in a random red / black call. The patch is introduced, and the
process is repeated. The deck is once again shuffled; the cards are cut with a strip
out cut. The only thing you need to know is what colour is on the top half (easy way
is to look at the bottom card). The indicator cards can then be positioned
accordingly. You know that the first 26 cards are red (in our example).

7
So, you keep score until you get to 26 and then introduce the next 2 indicator
cards, having the spectator shuffle the cards once again. You also cut the cards to
keep the process consistent before the spectator deals the remaining cards,
although this is completely irrelevant as they are all black.

The Reveal
I suggest you point to the column which you know to be correct and ask the
spectator to turn them over.

As soon as they reach for the cards, you do the same with the other row, but, in this
case, you misalign the top card and, as you gather up the cards, move the top
marker card (x) to the top of the assembled pile. Immediately turn over the
gathered cards and show the two distinct blocks of colour.

This will appear exactly the same as the spectator’s batch.

Overview
This effect puts all the emphasis on the premise as opposed to just the performer,
at least at first glance. Next they will consider that you must know the order of the
cards; this notion is then blown when the spectator is able to do the same. Leaving
no obvious explanation as to the method (unless they believe you really can foresee
which colour is coming next), this pseudo explanation will allow you to open the
audience up to other supposedly genuine mental phenomena. (Never a bad thing.)

Impromptu option
If you want to perform this routine with borrowed cards, then you could write
Logical and Creative on your business cards and have them close their right eye
whilst calling the cards. The deck is shuffled as per above, and then you simply fan
the deck towards yourself and apparently remove cards at random. This you do the
first time around and show how many they got right. The second time around, you
only lift red cards from various places in the deck, leaving you with only black cards
for the last 26.

In my opinion, this is not as “clean” as the stripper deck version but equally baffling
in the result. It goes without saying that in this version the spectator calls all of the
cards. (Obviously, you would miss out on the eye patch scenario and just patter
about the brain divisions.)

Manufacturing rights reserved.

8
 The Last Straw
Max Gordon

Effect
The performer shows four straws protruding from his hand. "One of these straws is
longer than the others and contains something of interest, especially to me!"

Three spectators remove one straw each. The performer opens his hand to show
the last remaining straw is not only longer than the others, but that, tightly stuffed
in the end, is a piece of blue paper. The spectator removes this to find it is a Five
Pound Note.

o Free choice of straws (No Force)

o Nothing added or taken away
o You are clean before and after the effect
o Instant reset
o Easily customised (could be a prediction, message or money)
o Ideal for close-up or parlour

Sometimes a prop suggests an effect. Sometimes it's a move. In this case, it was
the title, "The Last Straw," which started the juices flowing. I liked the idea of having
straws chosen and the short straws all lost, leaving you with the long one. So I now
had a concept but no method. I went through five versions of the effect before
finally settling on the one you now have before you. I tried straws in an envelope,
money on the outside of the straw, straws wrapped in the £5 note, etc. I hope you
like where the journey has taken me.

Set up
To perform, you will require four straws the same length and one small piece of
straw with a groove cut in it (fig. 1), which will hold the note or billet.

Assuming you are using the £5 note version, carefully fold the note in half (short
sides folded, you now have a piece of paper 1.5" x 5" approx). This is then tightly
rolled up small enough to insert in the end of the small straw.

In performance, have the small straw (SS) over the end of any other straw. These
are placed in an envelope to keep them from getting crushed. Reach into the
envelope and withdraw the four straws, keeping the top of the long straw level with
the others and the £5 end concealed in your fist. Explain that one of these four
straws is longer than the others and contains something of interest. If working one-
on-one, you can have them close their eyes or turn around. If working to more than
one spectator, then you turn your back on them as you tell them that you are going
to mix the straws up so no one knows where the long straw is. Turn back around
and display the straws as per figure 2b below.

9
You explain that the long straw has been folded over, so they all look the same. In
actual fact, all of the straws are resting in the groove of the SS, which is in the
crook of the right thumb.

The Last Straw

Have each spectator in turn choose a straw. Once you are left with one straw, very
openly grasp the top of the remaining straw with the finger and thumb of your left
hand and rotate it downwards (counterclockwise) towards the fingertips of your
right hand. As you do this, the bottom of the straw will slide along the groove until it
touches the rolled-up note. Once it does so, the right third and fourth finger relax
and allow the Short Straw to rotate down into sight as the long straw swings down
to meet it. As soon as the straws are aligned, pinch the straws with your right 2nd
finger and thumb where they overlap and display the now longer straw.

Extend your right hand towards the spectator and, if appropriate (in other words, if
you trust the spectator to return it), allow them to remove the £5 note. As soon as
they do this, I place the straw in my top pocket, ostensibly to free up my right hand
to display the fiver between both hands.

The pictures show the rotation of both straws before they are aligned. The groove
allows the long straw to enter the short one and remain in place due to the
expanded plastic.

Fig. 1

Performer’s view (right thumb out of position for clarity).

Figures 2a – 5a, below, show the performer’s view from the opening position of the
straws and the rotation of the last straw before the final display.

Figures 2b – 5b show the same positions from the audience viewpoint.

10
Performer’s View Audience View

Fig. 2a Fig. 2b

Gimmick pivoting downwards.

Fig. 3a Fig. 3b

Gimmick pivoting into position.

Fig. 4a Fig. 4b

11
 Final display position.

Fig. 5a Fig. 5b

Close-up of gimmick (see Fig below).

I have drawn a line around the

cut-out area to show that only ¼
of the diameter is removed. Any
more than this will reduce the
gimmicks ability to stay on the
last straw.

The length of the gimmick is

decided by the length of the
inserted item plus the diameters
of four straws. (The size of your
hand may also be a factor for
consideration.)

At the end of the sequence, it is important that you pinch the straws where the
short straw meets the long straw to ensure that the straws stay aligned and don’t
separate when you remove the £5 note.

Should you be uncomfortable with the “Bank Night” theme, you can always
substitute a billet with the client’s message, a prediction or, in fact, anything that
could be inserted into a drinking straw. The straws I use are readily available (free
from most McDonalds!). Just look for the widest straws available to make the
insertion of the £5 note easier.

This routine can be adapted to many situations, such as gambling themes like “Just
Chance.” It’s also an idea for family restaurants where kids have soft drinks and a
perfect ice-breaker — “Did you get the lucky straw? No? … Well, try these.”

12
 End Note
As an alternative handling, you may wish to show the long straw with the £5
protruding from your clenched fist prior to arranging the straws.

Email: [email protected]
Web site: http://solutions.yolasite.com

13
 Mentalism
David Lees

Mentalism is one of my enthusiasms in magic. If ever there was an area of magic

that can still appear to be 'the real thing,' it has to be Mentalism. If you combine
this with cold reading, perhaps a touch of bizarre magick, and quite a bit of acting,
combined with a few interesting stories to tell, you have, in my humble opinion, a
'killer combination;' its effects can be devastating. The only down side is that you
have to be prepared to live the part. I have found myself standing in the queue of
the local supermarket, giving a reading while waiting to be served!

Family celebrations or other social events can become an evening’s work, with
many people wanting a quick demo: "Can you read my mind? What can you tell
about me?" If you’re not accosted by people wanting a reading, you are considered
fair game for every sceptic on the planet. Or so it can seem.

Nevertheless, Mentalism in all its diverse forms is a fascinating branch of magic.

Although utilising many fairly standard magic techniques, the mindset and
performing persona are entirely different. You are NOT performing 'tricks;' you are
demonstrating abilities of the human mind. Therefore, little mannerisms, such as
tugging at your sleeves, showing your hands empty and opening the hand slowly -
pinkie first, as only a magician can - are strictly taboo.

In most occasions, you do not want to have a vast collection of props around you
either. Your abilities lie within your mind, not in brightly painted boxes.

Having said that, I do feel that mentalists often worry about things that they need
not worry about. The Centre Tear is a prime example. I have never yet met a lay
person that asked me, "Why have you just torn up that piece of paper after having
asked me to write something on it?"

These little points are usually easily covered in the presentation.

I have used the CT in an apparently impromptu 'psychic' reading on many, many

occasions. The tear has been easily explained away, particularly in my more
'witchie/occult' days. I honestly cannot recall any occasion when the tear has been
questioned.

Mentalists often worry about the ‘one ahead’ principle as well, so much so that
they can often look extremely guilty when utilising this principle. Why worry about
it? I still love performing Annemann’s 'Fourth Dimensional Telepathy,' although I do
not use the number force. It still plays beautifully. ‘Pseudo Psychometry’ is also very
powerful, if you act as though you are a psychic picking up 'energy' from the item
and not simply identifying which object belongs to which person.

14
In the psychic business, the 'TRUE' psychics - those individuals that earn their living
giving readings - don't use bags or envelopes for a psychometry demo; they take a
personal item, such as a finger ring, look at the individual who gave them the item,
simply do a quick reading, hand the object back and move on to the next
item/person.

Simple, direct and to the point.

There is a difference, however, between a psychic, a clairvoyant and a mind reader.

Clairvoyants are not likely to ask you to select a playing card, shuffle it into the deck
and then reveal its identity. They are more likely to perform a reading via Palmistry,
Aura, Spirits, Tarot or Psychometry.

Uri Geller, for example - as far as I am aware - presents his work in a psychic frame;
he reads minds and performs telekinesis, but I do not believe that he presents his
work as though it were from the spirits. In fact, as far as I am aware, he does not
perform readings.

Doris Stokes presented her work in a mediumistic frame. This is a very different
concept.

It is wise to think about this; you do not want to confuse the issue.

If you are interested in mentalism, I firmly believe that you have to think carefully
about the image you wish to develop, the persona you will portray and the 'gifts' you
apparently possess. Are you a Clairvoyant, Clairaudient and Mediumistic, or are you
a Mind Reader? Do you peer into people’s thoughts? If so, how does this work for
you? Do you sense their thoughts, interpret imagery - see, hear or feel their
thoughts - or is it a combination of all of the above? This is quite possibly more
important than many mentalists think.

After all, the answers to these questions will greatly influence how you develop your
performing persona. It will also greatly influence the material you can perform. For
example, if you have the ability to read minds, how does this enable you to predict
tomorrow’s headlines?! There would be no explanation for that.

If you claim to be a medium, therefore you communicate with spirits; what if

someone asks you, "What's my middle name?" or, "How many kids do I have?"

A simple answer to that would be, "Sorry, that's telepathy - quite a different gift from
Mediumship."

Decide which abilities you apparently possess, and then devise presentations
around that 'gift.'

15
For example, let’s take the effect 'Pseudo Psychometry.’ If you were a mind reader,
you would hold an object in your hand, and then you would have to connect with
each person (usually a number of volunteers) to read their minds and discover the
owner of the item. However, what if they decided to think of their pet dog? You
might only pick up the word 'Rover.' How would this help you find the owner of the
object? It would make sense to look at each volunteer and ask them, “Is this your
ring? Simply think ‘yes’ if it is, ‘no’ if it is not.”

Now if you were psychic - someone who had learned to trust your intuition and
received flashes of imagery or felt energy from the object almost as an echo of the
owner - it would perhaps make more sense that you would pick up or see scraps of
information - names, experiences, odd bits of information - which may not make
sense to you because you are, of course, only sensing fragments - disjointed
imagery and/or sounds, scents, almost random information - of which you would
struggle to understand the meaning. You could only interpret them from your own
frame of reference, trying to interpret another's life via your understanding of
random snapshots that pass in the blink of an eye, and to understand the
complexity of another person’s essence by drawing on your own life experience.

Would you struggle with this? Would it require a focused effort, deep
concentration? The next time you are having a conversation with someone that
can't quite bring to mind what they are going to say (words on the tip of their
tongue), watch their expression and the way their eyes search the air around them,
as though the answer or understanding was floating there.

Look for the confused or agitated expression flickering across their face and how
their expression changes or brightens as understanding finally dawns on them.

In my opinion, this is how Psychometry should be presented. Indeed, I feel that this
is probably true of many mentalist effects. In other words, there would be genuine
emotion, puzzlement, understanding, happiness, sadness and frustration. You
would possibly feel under pressure to interpret the 'energy' accurately and as
quickly as you could, followed by a sense of relief when the actual meaning dawned
upon you. On a simple level, wouldn't you feel quite chuffed with yourself if you were
successful?

I remember watching Uri Geller, a couple of years back, reading the mind of Ulrika
Johnson via a T.V. link (he was in London, she was in Paris). When he successfully
duplicated her drawing, he was ecstatic, quickly followed by a sense of relief; and,
of course, the audience reacted in kind. Now that's worth thinking about. Certainly
it is far more welcome than a sly, smug little grin with a cocky little look in your eyes
which states, "Look how clever I am."

Mentalism is an amazing and enjoyable branch of the performing arts. However, it

does require some serious thinking. The unfortunate thing about Mentalism is that,
even after having worked through all of the above - selecting your material,

16
developing the persona and brushing up on your presentational and acting skills, it
is still wasted on other magicians. They will totally ignore all the important aspects
and say, "Oh! It’s just the Centre Tear!” or, “Oh, you’re using that old thing?” or, "My
God! Are you using billets? I thought they died with the dinosaurs!"

Bloody magicians drive you up the wall!! Keep them happy by showing them twenty
versions of a Double Lift.

17
 Tarot Magick
David Lees

Here is a little idea that I have been playing around with. It is essentially a
combination of three separate items to create a “mini programme” with tarot cards.

Stage 1

Effect

The mystic places a pack of tarot cards on the table. The cards are mixed, and the
spectator selects four Tarot cards. The mystic opens an envelope to display a
prediction which states the name of the four selected tarot cards.

Each of these cards is placed into separate envelopes, which are then mixed
around so that no one knows which card is in which envelope.

The spectator is asked to touch any envelope, and, when this is done, you ask them
to name which card they believe is inside the envelope. Whichever card they name,
the mentalist records that on the envelope. This is repeated until all envelopes have
been touched and a tarot card has been named. The envelopes (containing their
tarot cards) are mixed and then laid out on the table to display the written
information face up.

At this point, one envelope is eliminated and placed aside for the time being. The
remaining envelopes are opened, and it is found that the spectator ‘guessed’ which
card was in each envelope correctly. When the discarded envelope is opened, you
reveal that you had predicted in advance which tarot card would be eliminated.

Working

Ok, this is simply Devin Knight’s “Blindsight” applied to tarot. The handling is
slightly different, although the original handling could be utilised. Working with the
tarot suits me better and allows me to give a quick reading.

If you are not a reader, you could use postcards or photographs of famous tourist
spots, countries or landmarks, and the spectator is given a chance to actually
attempt a test in remote viewing.

I picked up a set of the Pocket tarot, which is a nice size to carry around (hence the
name) and will also fit in the small little manila/pocket money envelopes.

18
Here is my own handling. The four cards to be forced are stacked in a known order
on the top of the face down deck. Obviously, they are forced on the participant. Any
method of forcing the cards would work, but please do not use fancy handling.
Keep it simple and straight forward. A stop force would work well; I like to use Harry
Lorayne’s “A spectator cuts the aces.” A straightforward slip cut will also do the job.
Once the cards are forced, I perform a quick reading with the cards. I then point to
an envelope which has been placed to the side. From the envelope, I remove a
prediction which names the four cards chosen from the deck.

The four cards are now picked up in a prearranged order. To keep it simple, let’s
just say 1, 2, 3 and 4, from left to right. Pick the cards up so that #1 is on top of the
packet and #4 is on the bottom.

We will now ‘do a little mix.’ If the cards are held in your left hand, you count the
cards into your right hand in the following manner: deal the top card into your right
hand and the second card on top of it, reversing the order; card three is placed on
the BOTTOM of the packet and the last card (4) is placed on top of the right hand
packet - the order of the cards is now 4, 2, 1, 3; transfer the cards to your left hand
and repeat the count twice more.

The cards are now back in their original order. Place them face down onto the table
and display a small packet of envelopes. You place one of the chosen tarot cards
into each envelope.

You now have four envelopes on the table, each containing one of the selected tarot
cards. Genuinely mix the envelopes around. If you refer back to the presentation,
you will know that the participant is going to pick envelopes one at a time and
apparently sense which tarot card is in which envelope. This is very simple because,
unknown to the participant, the envelopes are pre-written with the names of the
tarot on the face (address side) of the envelope. All you have to do is make sure
that you place the proper card into the envelope. Simply have the envelopes
stacked in the same order as the tarot.

Of course, the pen I apparently write with is a dry pen. Once you have had the
participant ‘guess’ which tarot card is in which envelope and have apparently
recorded their guess onto the envelope(!), place the envelopes onto the table in a
row, writing side up.

The next step is another lovely touch from Devin Knight. We have four envelopes in
play but only three outs. This actually sets us up for a lovely kicker at the end. Let
us say that envelope #4 has no out. Here is how it is handled.

Explain that they are going to eliminate one envelope. Ask the participant to select
any envelope. If they select either 1, 2 or 3, that envelope is placed to the one side,
and we are all set for the finish. If they select #4, place it to the one side and ask
them to pick another two envelopes. This will leave one envelope remaining, and

19
this is apparently the one that has been eliminated for the time being. All that
remains is to open the three envelopes and show that the card inside matches the
writing on the envelopes. The participant has guessed correctly. Explain that we
could not have known which envelope and tarot card would have been placed aside
… or could we?

Now for the outs. If card #1 was placed aside, remove the card from the envelope
and show that it matches the writing on the envelope, but inside the envelope is
another piece of paper, which states, “I knew you would eliminate this envelope. It
contains card #1.”

If #2 was placed aside, open the card box and remove the card which predicts that
the spectator will place aside card #2. If they had placed aside card #3, you would
simply show the prediction on the reverse side of the card from the box, as it has
card #2 on one side and card #3 on the reverse.

I strongly urge you to look up Devin Knight’s original “Blindsight” routine and
handling. It is one of my favourite effects.

Stage 2

This is a nice little item that I have had a lot of fun with. It can be performed
completely impromptu and completely surrounded. It is handy as one of those
items "to have up your sleeve" for just the right situation. For purposes of
explanation, you will need three playing cards at hand.

Effect

A pack of cards is borrowed, mixed and shuffled as required. Eventually three cards
are selected, and the deck is placed aside.

The three selected cards are placed in a row, face down on the table. You explain
that you will turn your back, and the spectator is to pick up one card, look at it,
remember it and then place it back onto the table, face down in its original position.
Once this is done, you ask them to swap over the OTHER two cards. In that way,
each card has been handled once by the participant.

You turn around and give the participant the opportunity to 'give the cards a little
mix.' When this final mix is done, you pick up the three cards, glance through them
and eventually select one. This is the spectator’s selected card.

20
 Working

So far so simple. The method is, of course, Bob Hummer’s “Note Under the Cup.” If
you are not familiar with it, here is the basic idea.

Once the cards are selected, you take them from the participant and casually
glance at the bottom card. This is your key card. Place this to the right of the row
(for explanation only). The other two cards are dealt to the left of this, and all cards
are face down.

You turn your back. The participant goes through the process of selecting their card
and mixing the other two. You turn around to face them. Pick up the card to the
extreme right; if this is still your key card, then you know they selected this card (as
they swapped the other two). If it is not your key card, it is also not the chosen card,
as they have swapped this with your key card. Therefore, the remaining card is the
selected one.

As I said, it is similar to the handling of Bob Hummer’s "Note Under the Cup." Now,
here is the difference.

Ok, you are at the point where the spectator has selected their card and mixed the
other two. You now turn around to face them. At this point, you do not know what
card they have chosen. You do not even know if your key card is still in its original
position (the extreme right), BUT, in your mind, you pretend that the key card is still
in the same position (extreme right).

Explain that they can mix the cards again if they wish. (You may even want to
demonstrate this by placing a finger on two of the cards and just sliding them
around a little.) You simply keep an eye on the card you THINK is your key card.

Let the participant mix the cards, and again keep an eye on the card you believe to
be your key card. Once they are happy with their mixing, you pick the cards up and
follow the process above to discover the selected card.

I love the additional mixing. I love the fact that this can be performed impromptu.
Yes, you can use playing cards. I would probably use tarot cards. They select three
cards they are drawn to and then make a final selection of one of those cards. This
would lead into a reading for the participant, finally revealing their selected tarot
card.

You could use family photographs and then describe the thought-of family member.
(Perhaps a reading again.) This could be very effective if the selected photo is of a
deceased person!!

You could also use postcards and perform a design duplication with the selected
picture.

21
The possibilities are endless.

Stage 3

A Little Séance

This is a nice little routine to perform, if you have a taste for the Bizarre.

”Once again the little tavern was full with a rough and rowdy crowd who were
obviously a little worse for wear, having partaken in the noble art of excessive
alcohol consumption. They were a dangerous, unpredictable crowd with a taste for
occasional violence.

”However they had learnt through bitter experience to accept the somewhat
strange practices of the sombre individual sitting in the corner, next to the roaring
log fire. He was regarded by many as something of a witch, wizard, soothsayer or
perhaps even a Devil Worshiper. Certainly, he was indeed a practitioner of the dark
arts. Yes, better to leave him be.

”At this moment in time, he was sitting in the corner with a 'client,' perhaps
conducting one of his many strange rituals for payment, which was never cheap.
Always a price had to be paid.

”Sitting with the Sorcerer was a middle aged woman, obviously worn down by the
trials of life. In fact, she had recently suffered a bereavement and was struggling to
deal with the devastation this wrought in her life.

”Sitting upon the table was a small, dark and somewhat tattered cloth bearing a
collection of strange symbols. Sitting upon the cloth was a small brass-coloured
bowl, a pack of ancient Tarot Cards and a single, lit candle.

”The Sorcerer, who was known to a few as Marcus, was talking to the woman in a
kindly tone with a look of grim determination in his eyes. He removed from his
pocket a simple notepad and a pen. From the notepad he tore a single sheet of
paper, which he folded into quarters as he explained,

’Any practitioner of the arts will always pay homage to the four elements: Earth, Air,
Fire and Water. This page has been divided into four to represent each element.’
He then continued by drawing a shape in the middle of the paper; it could have
been a circle or a square or some other bizarre symbol as the reports have varied
from time to time.

”He handed the paper to the woman with the request that she visualise in her mind

22
the individual she would wish to communicate with from the spirit world. She was
to print the name of that individual on the paper within the mystic symbol drawn
thereon.

”Having completed this, the woman was to fold the paper into quarters again with
the name within the folds. Taking the paper from the woman and holding it in plain
view, the sorcerer continued,

’This simple piece of paper is a physical representation of your loved one as you
remember them in their physical life. However, when the time is right, all physical
life is destroyed.’ As he states this, the sorcerer begins to tear up the piece of
paper. As he does so, he says, ’The destruction of this paper represents the
destruction of your loved one’s physical life.’

The piece of paper is touched to the candle flame and dropped into the bowl.

"As the paper is consumed by the candle flame, it represents their rebirth into the
spiritual life."

As the paper is burning in the bowl, the Sorcerer hands the tarot cards to the lady
with the request that she mix the cards a little, select twelve cards from the deck
and lay them on the table.

The Sorcerer places the deck aside and, taking the selected cards, he places them
in a circle around the bowl in the centre of the table.

His gaze shifts from the Tarot cards to the small bowl, and slowly his eyes shift
focus slightly as he begins to speak.

”The sorcerer apparently began to talk about the life of his client, discussing her
family, her career, the trials and joy of her life. At times the lady can be heard
laughing, and at other times the tears rolled down her face unashamedly.

“I cannot mention all that was discussed, for in truth I do not know, but, apparently,
the lady had recently been widowed, and it is said that the sorcerer brought her
husband back from the spirit life to talk to his grieving wife one last time.

”It was strange to see the lady as she left the tavern that night. There were tears
running down her cheeks, which of course hinted at a great sadness, and yet there
was a smile on her face and a light in her eye that had not been present before.
She had the appearance of someone who had passed through a great sadness
and come out the other side with hope in her heart and an understanding,
perhaps, of the purpose of both life and death in our continued existence.”

The method, of course, is extremely simple: the gift of the gab, some cold reading

23
and a centre tear. There are many out there, of course, although there is one in
particular that I would recommend!

Email: [email protected]
Web sites: www.davidleesmagic.co.uk & www.davidleespsychic.co.uk

24
 Where Will We Go on Holiday?
Jim Cuthbert

The close-up performer is sitting at a table with one assistant. On the table, there
are six envelopes (4x4) as well as six coins all from different countries.

Effect

The performer lifts one of the envelopes and invites the volunteer to select any one
of the six coins on the table. This coin is placed into the envelope in the performer’s
hand (no force). This action is carried out until all envelopes have a coin in them.
The performer mixes the envelopes, guaranteeing neither he nor the assistant
knows which coin was placed into any of the six envelopes. The volunteer is handed
a small aeroplane (children’s toy or picture) and invited to pass it over all six
envelopes, stopping at any time by placing the aeroplane on one of the envelopes.
All the other envelopes should be removed. The performer takes the envelope from
the table and turns to a position where the coin will easily slide out of the envelope
onto the table. This will match your prediction.

Requirements

o 7 coins of similar origin (7 British 5-pence coins)

o 6 coins of different countries
o 6 4x4 envelopes
o 1 Post Card showing a typical British scene

Preparation

You place a fine piece of card into the envelope, and this gives you a changing bag
effect. See Fig. 1.

Fig. 1

25
One of six matching coins is placed in the rear part of the envelope. The same
action should be carried out with the remaining. All envelopes are now set up as
alike coins are at the rear side of the envelope.

It should now be clear how this works. Simply

follow the effect description above.

Technical Point:

When opening the selected envelope, you need to

hold the envelope at both sides as the drawing
shows. This allows you to prevent the other coin
from falling out of the envelope (Fig. 2).
Fig. 2 .

Email: [email protected]

26
 The Jungle book test
Paul Lesso

The spectator selects a book at random and hands it the performer. The performer
riffles through the book and asks the spectator to call out stop several times; up to six
words are selected this way. The spectator selects one, and the performer proceeds to
reveal the thought-of word.
Working

This is an impromptu book test using a progressive anagram to determine the selected
word and some mnemonics/images to make the lists trivial to memorise.

The method is simple; when riffling through the book, miscall the first word on the
page using the words from the list below. The performer riffles through the book and
asks the spectator to call out stop several times. Whenever the spectator calls out,
“Stop,” the performer stops riffling through the book and calls out the next word on the
list. Up to six words are selected this way. The spectator selects one without revealing
it to the performer. The performer proceeds to divine the word using the progressive
anagram method.

For example, the spectator selects the word 'mahogany' from List 1. You would
announce the letter 'M' and get an affirmative response, meaning you read out the
next letter down list. The next letter, 'O,' also gets an affirmative response, so you
would move down the list again. When ‘W’ was announced, you would get a negative
response and would now know they have selected the word to the left, i.e. mahogany.
Reveal as you see fit.

I like to get the person to write the word they chose down and get them to score out
letters as I get them correct, hence using a simple pencil reading to work out the
correct word.

27
To make using the progressive anagram easy, the word MOWGLI (a character from the
jungle book) is used.

List 1 List 2 List 3

M Intense Green cash
O Music Music exam
W Mahogany meditation abdomen
G wash-room Wisdom flamethrower Mouthwash / worms /
hometown
L Meowing/ miaowing womanising Warmonger / home-grown / mouth-
watering / housewarming / womanising
I acknowledgement Well-groomed glow-worms

To make the lists easy to remember, I use the following images:

Imagine yourself hearing intense music coming from a mahogany wash-room and
finding yourself meowing in acknowledgement.

The backup phrase is to visualise yourself surrounded by green music whilst you are
deep in mediation, wondering about the wisdom of womanising with somebody who is
well-groomed.

The second list is for contingency. Sometimes people will say, ‘I did not say stop there,’
or, ‘I don’t want that word.’ For such cases, a second list is useful if an alternate word
is needed. Of course, you have to remember when you use a word from the second
list…

With the use of a few mnemonics, this becomes surprisingly easy to learn and perform.

28
 Quadratus Magic Square

Paul Lesso

I've always been fascinated by magic squares and have spent a lot of time looking at
methods of generating magic squares. Here I propose a simple method of generating a
4x4 magic square that can sum to an arbitrary number.

1.1 Basic method

This basic square is shown below. Here the magic square sums to A+B+C+D and
needs another number, g, which must be at most half of B to avoid negative numbers.

The verticals, horizontals, diagonals, 4 corners, corner 2x2 squares, centre 2x2
square, corners of any 3x3 square, middle 2 from opposite sides, off-diagonals, etc. all
sum to give the total A+B+C+D, as can be seen from inspection of the square below.

A B C D

D-g C+g B-g A+g

B-g A-g D+g C+g

C+2g D A B-2g

For example, if we are given A, B, C and D as a starting point, we can construct:

23 73 45 63

29
Now we need to pick g. Since B=73, we need g to be less than 36. If we set g=12,
filling in the other squares gives us:

23 73 45 63

51 57 61 35

61 11 75 57

69 63 23 49

1.2 Automatic magic square for sum 50-100

When I started to perform the magic square, I found it useful to know a magic square
where B, C, D and g has been set for me, and all I had to do was remember what
numbers go where. The square I used is shown below.

Since B, C and D are known and sum to 40, we can create a magic square for any
number above 40. For presentation, I've always found it best to ask for a number
between 50 and 100 so that A is not too small.

A 18 12 10
9 13 17 A+1
17 A-1 11 13
14 10 A 16

The square will sum to the selected number, so A must be equal to that number-40

So for a magic square that sums to 63, A is 23; thus, the square looks like:

23 18 12 10
9 13 17 24
17 22 11 13
14 10 23 16

30
1.3 Automatic magic square for sum 1900+

Here is a magic square I use for the year people were born. The numbers here look
quite scary, and I've had quite a good reaction from this one. This square is
considerably harder to remember.

Here A is the year of birth minus 1600.

A 425 546 629

619 556 415 A+10
415 A-10 639 556
566 629 A 405

So for somebody born in 1966, A=1966-1600=366, which gives us:

366 425 546 629

619 556 415 376
415 356 639 556
566 629 366 405

For this one, I make sure there is a calculator on hand for people to verify what I've
done.

1.4 Other comments

I've presented it here assuming the top vertical line will be filled in with numbers called
from spectators or numbers chosen to sum to a particular number, but any vertical,
horizontal, diagonal, corner 2x2, centre 2x2, etc. can be used as the starting point with
a little practise.

For example, if we fill the diagonal in as such:

31
 23

73

63

45

By inspection we see that A=23, C=73-g, D=63-g and B=45+2g. The simplest way (but
perhaps most obvious) is to set g=1, yielding A=23, C=72, D=62 and B=47. Hence the
square now looks like:

23 47 72 62

73

63

45

And, filling in the rest of the squares as before:

23 47 72 62

61 73 46 24

46 22 63 73

74 62 23 45

With practise, the squares can be filled in a very random looking manner to hide the
method.

32
 Shape Up and Shape Down
Pete Lamont

Effect
The performer invites a member of the audience (let’s call him George) to take part
in an informal ESP experiment. He is seated at a table on the performer’s left,
behind which the performer stands. A deck of Zener cards is introduced and its
contents explained (i.e. the five symbols and the fact that there are five of each).
The cards are spread, faces towards the audience, so that everyone (apart from
George) can see them. The performer explains:

“As you can see, they’re in no particular order, but, as you’ll see, it would make no
difference even if they were — the important thing is that George doesn’t know
what order they’re in.”

Two small envelopes are then shown: one with a large ‘1’ on the face; the other
with a large ‘2.’ These are placed on the table.

“Inside each of these envelopes is a card with one of the five symbols. These are
the targets, which I’ve called ‘1’ and ‘2’ for traditional reasons. It’s your job,
George, to try to hit those targets by using ESP or any other method you feel might
work. Some people like to guess, but it’s more risky.”

Envelope ‘1’ is pushed forward, and the first trial of the experiment begins.

“This is how it works. I’m going to deal these cards one at a time onto the table. At
some point, George, simply say ‘stop.’”

The cards are dealt slowly and deliberately. At some point, George says, “stop.” The
performer stops dealing. The next card is dealt on the table between the deck and
George. To prove the fairness of the procedure, the next card is shown, the
previous card dealt is shown, the remainder of the deck is spread towards the
audience and the cards already dealt are turned face up and shown one at a time.

“As you can see, if you’d said stop a moment later, you’d have gotten a circle [or
whatever it is]. If you’d stopped a moment earlier, you’d have gotten a cross [or
whatever it is]. In fact, you could have gotten any of these. But you stopped at this
one. Take a look inside the envelope and tell us what the first target is.”

George picks up the envelope, opens it and removes the target card. It is a star.
The performer slowly and deliberately picks up the stopped-at card. He shows it to
George, watching his reaction. Then he checks it himself, smiles and shows it to the
audience. It is a star. He congratulates George.

“At this point, George, some people think you’re psychic, and some people think
you’re lucky. But sadly, there are one or two people out there — deeply cynical,
miserable individuals — who think there may be something underhanded going on
… [the performer scrutinizes the audience, some deeply cynical people smile, the

33
performer points at them] … and now we know who they are. I know, it’s hard to
believe, but these people actually think that you cheated. So let’s see if you can
prove them wrong and provide them with some wonder in their otherwise pointless
lives. Let’s do it again. And this time, I want you to do everything openly and fairly.”

Envelope ‘2’ is pushed forward, and the second trial begins.

The deck is reassembled and placed face down in front of George.

“This time, simply turn over the cards one at a time and place them here [in front of
the deck] face up. And at some point, whenever you like, simply stop doing it. I’ll
say nothing and do nothing, and the audience will remain silent.”

George turns over as many cards as he likes and stops at some point. The
performer points at the face down card on top of the deck and then at the spot on
the table where the first selected card had been placed earlier [between the deck
and George], as he says:

“At this point, nobody knows what it is. Slide the card towards you nice and slowly
and leave it where everyone can see it.”

The performer pauses and exhales. He slowly picks up the second envelope with
his right hand, holds it up and gestures with his left hand to George.

“This is your moment of truth, George. We’re looking for a … [he opens the
envelope and shows the target to the audience] …square. Take a private peek at it,
and we’ll know from your reaction if you’ve succeeded or not.”

George looks at the card and smiles.

“I think he’s done it again. Show it to the audience, especially the cynical ones.
Ladies and gentlemen, psychic George!”

George is once again congratulated and escorted back to his seat as he receives
his applause.

Working
This began with the discovery of what, in my opinion, is an almost perfect force. I
can say that because the force is not mine but Max Maven’s (see ‘Shape Up’ in
volume 2 of his Videomind series). It’s strength is twofold: first, it allows the
participant a remarkably free choice (which is invariably the strength of a good
force); second, and this is not the same thing, the process is quite clearly beyond
the control of the performer. The main drawback is that the effect is, at the end of
the day, a single prediction of a Zener symbol. I wanted to strengthen the effect by
adding a second trial, and, because I could not come up with a stronger force, I
decided to add a first trial that would both work on its own terms and hopefully
enhance Max’s force.

I also wanted to change the effect from a prediction by the performer to an

‘experiment’ in which the participant succeeds. It is a personal thing, but I think

34
pseudo-psychic demonstrations are significantly enhanced in this way as it
minimises the particular problems associated with any ‘psychic’ deception
(however tongue-in cheek) and allows for some genuine (i.e. spontaneous)
interaction with the participant, regardless of how sceptical he or she might be.
Now the method.

The Stack
The Zener deck is stacked as follows: stars are placed in positions 5, 7, 11, 13 and
25; every second card (of the first 20) is alternatively a circle and a square (e.g.
cross, circle, wavy lines, square, star, circle, star, square, cross, circle, star, square,
star, wavy lines, etc.). This allows the order of the cards to be shown openly without
any stack being noticeable, which is essential in both trials. It also allows you to
force a star, followed by either a circle or square, as follows:

Trial one
This is a psychological force of a star with several outs. As you deal the cards face
down, one by one, finish the instructions as the third card is placed on the table. In
most cases, the participant will say, ‘stop,’ as you are at either the 5th or 7th card
(i.e. when a star is either on top or has just been dealt). When he says stop, focus
on the timing, not the cards (‘Now? Sure? OK.’), and point to the force card
wherever it is as if it is the obvious choice. Then simply place it to the side.

If the participant takes longer to say, ‘stop,’ you have the 11th and 13th cards
available.

If he says, ‘stop,’ at a point when none of these can be used convincingly, which
rarely happens, simply Bottom Deal the last card (a relatively simple move from a
small packet of cards). In this case, I point to the top card and then to the position
on the table I intend to place it and look directly at the participant as I execute the
Bottom Deal. The Zener cards have no borders, so it is invisible from more than a
few feet away.

To prove the fairness of the choice, show the next card and the last card dealt and
briefly spread the remainder of the deck faces towards the audience. Then pick up
the face up cards and casually deal them face up onto the table. This shows the
‘random’ order and reverses the order.

After the revelation, casually drop the selection face down on the remainder of the
deck and place the face up cards face down on top. The deck is now back in its
original order.

Trial two
This relies upon Max’s (terrifyingly?) beautiful force, which uses a stack with every
second card being alternatively a circle and a square with a square-circle double-
facer in the envelope. The participant turns cards face up onto the table from the
top of the deck and stops at any point he wishes. I always mime the action of
turning the cards over as I explain what to do so that things are nice and clear and

35
because it allows me to set the pace of the turning procedure (i.e. slowly). As he
turns over the cards, I stand motionless and silent. The tension is not only more
dramatic but also makes it virtually impossible for someone to continue beyond the
first 10-15 (never mind 20) cards. Thus, when they stop, either a circle or a square
will be either face down on top of the deck or else face up on top of the turned over
cards. In the former case, as above, say, ‘At this point, nobody knows what this card
is …’ In the latter case, say, ‘At this point, everyone can see where you’ve stopped –
there is nothing you can do to change that …’ Either way, the participant slides the
card towards himself.

After a short pause, pick up the second envelope with your right hand and gesture
to the participant with your left hand. “This is your moment …” sets up the final
revelation, and your opening of the envelope is merely a precursor to this. This
matters because he opened the first envelope and, in doing so, implicitly showed
the first target to be clean. You must open the second envelope because the
second target is a double facer, and this is natural enough since the roles are
reversed (i.e. in the first trial you dealt, in the second trial he dealt). But the content
of the envelope should not be the final focus of attention.

If the force card is face down, as above, simply remove the target card (so that the
appropriate side of the double-facer is showing towards the audience), place the
envelope behind it (to minimise flashing the other symbol) and hold it up in the
right hand as you direct attention (with your left hand) to the participant for the final
revelation.

If the force card is face up, do precisely the same, but, as you direct attention
towards him, ask him to hold up the card and show it to the audience as he
receives his applause. In this latter case, the revelation of the target card is the
logical end to the experiment, but it is not the theatrical end — it confirms the
match, but the display of the selection by the participant is the finale of the piece.

As the audience reacts, casually drop the card and envelope on the table, shake his
hand, cue him to stand and escort him back to his seat (giving him no opportunity
either to look at the target card or, as importantly, to appear to the audience as if
he would like to). However, by focusing on the participant throughout rather than
yourself or the props, there should be no heat on the double-facer.

Final thoughts
Some readers may be wondering what to do if the participant goes past the first 20
cards on the second trial. The short answer is that this has never happened. This is
because the pace of the turning is set by the performer, and it is happening in
silence as the whole audience watches. The only reason someone might drag out
the process is if they wanted to mess up the trick (and did not mind looking like
they wanted to in front of an audience). But such scenarios are the product of
creating a challenge situation between you and the participant. The whole
presentation is designed to give the participant credit for what happens; there is
nothing to challenge. It is possible, however, that a participant who feels perfectly
comfortable in front of a crowd might sincerely try to get it right and wait for a
moment in which he feels he has got it right;, this might lead him towards the end
of the deck. If this were to happen, it would be no time for a cheap line such as,

36
‘Sometime today please’ (assuming there is ever a time for such a line). But if this
were to happen, you would know in advance that the target does not match. Thus,
you could simply remark that the time he took suggests he is not confident and
politely instruct him to do it again, this time going with his first gut instinct. Done
correctly, this could actually add to the drama of the situation. If this sounds
complicated, you could simply remove four of the cards from the deck beforehand
and work with a 21 card stack so it cannot happen. And if the possibility that
someone might notice there are cards missing from the deck concerns you, then
simply select someone who is genuinely psychic and ignore everything above.

Email: [email protected]

37
 BrainWoven
Peter Duffie

Effect
You place a cased deck of cards on the table. You now ask a spectator to imagine
that she is looking through the cards. You say, “Half the cards are red, and half are
black… Choose a colour.” She might say, “Black.” “Throw them away … that leaves
you with all the red cards … half the reds are Hearts and half are Diamonds …
which will you throw away?” She might choose to throw away the Hearts. “That
leaves you with the Diamonds … there are thirteen of them … Ace, Two, three …
right up to Jack, Queen, King ... I want you to keep only one and throw away the
other twelve … which value do you want to keep?” She might say the Seven. So,
through a seemingly totally free selection process, she has settled on the Seven of
Diamonds.

You now say, "Before I came along here tonight, I took an odd playing card that I
found lying in a drawer, and I shoved it into this deck as a marker. It will be easy to
spot because I put it in the wrong way round."

You now remove the deck from its case and spread the cards face down to reveal a
face up card amongst them. This is the marker that you inserted earlier to mark a
predicted spot. The card that lies facing this marker is removed and turned over to
reveal the freely named card, the Seven of Diamonds.

Finally, the marker is turned over to reveal the name of the selection boldly written
across its back.
--------------------------------------------------------

This is a one deck version of a previous effect of mine called ‘Bran-death.’ There is
a single instance of equivoque, after which all choices are free. This procedure is
taken from Max Maven’s B’Wave.

Requirements
A Brainwave Deck is required (not an Invisible Deck). This will have red backs on
one side and blue on the other. Hold the deck with the red backs uppermost, and
then split any pair. Note the colour of the face up card. This is the colour you will
force at the start of the routine. Let us assume for this description that the colour is
red.

Preparation
Take a permanent marker and write on each red back the name of the face up card
that is paired with it.

Finally, reverse the order of the deck by counting the pairs one by one on top of the
other. Put the deck into its box so that you can bring it out with the unmarked blue
sides uppermost.

38
 WORKING
Talk about premonitions, E.S.P., astrology, or whatever.

Bring out the cased deck and drop it onto the table. Explain, "Before I came along
here tonight, I took an odd playing card that I found lying around, and I shoved it
into this pack as a marker; it will be easy to spot because I put it in the wrong way
round."

You now follow the procedure as outlined in the effect above. With your first
question, you will force the colour red, after which all choices will remain
consistent.

You do this as follows:

Say, “Half the cards are red, and half are black. Choose a colour.”

If the spectator chooses Black (as in the effect above), you say, “Throw them away
… that leaves you with all the red cards … half the reds are Hearts and half are
Diamonds … which will you throw away?”

If the spectator chooses Red, you say, “You want the red cards? …Good. Now, half
the reds are Hearts and half are Diamonds … which do you want? “

You now continue as in the effect as you offer choices of suit and then value.

After the initial choice of colour, it doesn’t matter which suit or value is chosen, but
you must remain consistent. So, the spectator either always keeps or throws away.

Once a card has been “freely” chosen, pick up the case and remove the deck.
Spread the pack and count to the value as normal. When you reach the card, split
the pair to reveal a face up card as you promised. Say, "Ah, here’s my marker …
and I placed it right next to a card … not just any card … but a specific card.”

Ask the spectator to remind everyone of the card she chose, and then remove the
face down card directly above the face up marker (upper card of the roughed pair).
Turn the card face up to reveal the thought-of card.

Act as if the trick is over. This allows the effect to register, and then say, "There is
one thing I didn't tell you about this odd marker card … you see, before I shoved it
into the deck, I felt compelled to write something on the back of it."

Slowly turn the card face down to reveal the name of the thought-of card written
boldly on the back.

39
 Triple Humdinger
Peter Duffie
Here is a favourite of mine from one of my ebooks (Cards by All Means, 2001). A
spectator removes any eight cards from the deck; then you write three predictions.
In the end, all three predictions prove to be correct.

This is based on Bob Hummer’s "Personality Test" (Collected Secrets, page 14).
Here, Hummer has a spectator mix eight cards. In the end, he has predicted that 5
cards face one way and three face the other (a 5/3 personality). The problem is
that, on occasion, you get seven facing one way and one facing the other. The ‘out’
offered is, in my opinion, a tad weak.

The following circumvents that problem. By openly mixing a few cards first, you are
guaranteed a 5/3 result. However, thanks to Hummer’s CATO (which isn’t really
used in the original Hummer trick), when the spectator carries out a further mix,
you are then guaranteed a 7/1 result. So, both can be predicted in advance. The
icing on the cake is that you also know what the single face down card will be, thus
securing your third prediction.

Working
Have three slips of paper and a pen at hand. Give the deck to a spectator, ask him
to shuffle it and then remove eight cards. The rest of the deck is discarded.

Take the eight cards and hold them face up

in dealing grip, saying, "This is a
precognition. In a moment, you will mix the
cards so that some face the wrong way. I
will try to predict certain facts."

As you speak, openly flip over the cards at

positions 2, 4 & 6. Also glimpse and
remember the lowermost face up card. Let’s
say it’s the Ace of Spades (see Fig. 1). Place
the packet on the table.
Fig. 1

Take the three slips of paper and write the following on each:

Slip 1 Slip 2 Slip 3

5/3 7/1 AS

40
Leave these lying in a row on the table, in order, writing side down. I suggest you
write 1, 2 and 3 on the backs so the audience knows which is which in advance.

The trick now works itself. Or, I should say, the spectator does it all for you! Here is
the procedure:

First Prediction
a) Tell the spectator to pick up the packet and give a cut. It doesn’t matter which
way up the packet is.

b) Tell him to flip over the top two cards together and then give the packet a cut. He
repeats this as many times as he wishes (this is classic CATO).

Finally, he spreads the cards on the table. Draw attention to the number of face up
and face down cards — there will be 5 and 3. Turn over the first prediction and have
it verified.

Second Prediction
a) Gather up the cards and give them back to the spectator. He can repeat the
CATO process a few more times as it won’t alter the outcome. Otherwise, just move
straight to step b).

b) Tell him to deal the cards into two piles, dealing alternately left and right. He
then turns either pile over onto the other.

Again, he spreads the cards on the table. Draw attention to the number of face up
and face down cards — this time there will be 7 and 1. Turn over the 2nd prediction
and have it verified.

Third Prediction
Finally, point out that there is one single reversed card among the eight, the identity
of which nobody could have guessed in advance. Turn over the final prediction and
have it verified to conclude.

Web site: www.peterduffie.com

Email: [email protected]

41
 The Birthday Book
Peter Arcane
History

The Birthday Book came about five years ago when I was working a regular close-
up weekend gig. I’d been carrying Paul Gordon’s Diary effect around with me since
I’d started but had never found where to add it to my table act. So it sat in my
pocket until it got the better of me!

The idea just popped into my head as I stood in front of a young couple. What
follows is the original effect.

Original effect

I had in my pocket a pack of cards set up for my version of the PsyColour Deck. On
a whim, I just handed the diary to the young lady and asked her to look up her
birthday. As she was doing this, I removed the pack from my pocket and placed it
on the table.

I asked the young lady what card was written next to her birthday. She told me and
I slowly picked up the deck, allowing them both to see the red box. I then removed
the cards, again letting them see the red card on the top. I now turned the deck
over, fanned through it and removed the named card, placing it face up on the
table next to the young man to my right. I placed the deck back in the box.

“Wouldn’t it be interesting,” I said, “if this card, the one next to your birthday, was a
‘little’ special.” They both looked at me like I was mad! (That often happens!)

“You see, this is a red deck, and this card just so happens to be blue!”

The reaction was enough for me to leave them totally gob-smacked. They actually
came back the following week with friends and asked me to perform it again. By
then, I’d mulled it over and came up with the idea you hold in your hands.

Now, this reads pretty flat from the page. So I can only suggest you give it a go. It is
rather ballsy, but if you give it a go you’ll be surprised. Just don’t make too big a
deal about the deck, and DON’T be in a hurry to put it back in your pocket. Just
treat it like a walk in the park – nice and casual.

The Birthday Book

I took the Gordon Diary, put it back on the shelf and came up with my own method
for the using the diary, a method which I’ve found allows for some great flexibility.
First off, I actually use a Birthday Book; it saves me updating it ever year. The
choice is yours – Diary or Birthday Book - so take your pick.

42
Take a deck of cards, give them a good mix and then remove 26 cards. These 26
cards we’ll call the force cards.

On the first date in your Birthday Book/Diary, write the first card of the 26 force
cards, on the second date the second card and so on till the 26th card and the
26th of January.

Now on the 27th write the first card, on 28th the second card and so on. Keep
repeating this until you have filled the whole Birthday Book/Diary.

If you’re using a Birthday Book, it will last you a lifetime. If using a diary, you may
choose to update it every couple of years.

You could make the diary up using the full deck, but read on, and you’ll see
why/how I use only half the deck.

The Original Effect – Deck Set-up

Take a blue backed deck and place a red backed Joker on the top. Place the deck
in a red box, and to all intents and purposes it’s a boxed red deck.

To use, you simply remove the face down deck, showing the red backed Joker. Turn
the deck face up and spread through the cards looking for the named card.
Remove it face up, turn the deck face-down again and box.

Treat it with the respect it deserves, and it’ll fly. After all, why would you box a blue
deck in a red box!?

I shared this idea with Gene Nielsen, and he told me he’d been using it for years.
So it pre-dates me; I’ve no idea who to give full credit to.

(Date with) Destiny

Once I’d made the ‘Original Effect’ up, I started to play around with the whole idea a
little more and came up with the Destiny idea. Unfortunately, my ‘first cut’ turned
out to be very close to Peter Duffie’s Discovery Pack. Peter very kindly said that I
could write up my effect, but, being the sort to never rest on my laurels, I sought out
my own twist on the idea.

Requirements

o A red deck
o Five duplicate cards; make sure this card is NOT one of your force cards.
o Twenty one cards from the red deck leftovers; again make sure the
duplicate card is not in there.

43
Remove all your force cards and, on the back of them, write the name of your
duplicate card. Place these cards face down and, on top of them, place face down
17 of the leftover cards. On top of these cards, place one of the duplicate cards,
then one of the leftovers, a duplicate card, a leftover, duplicate, leftover, duplicate,
leftover and the last duplicate.

Working
The Birthday Book/Diary is handed to a volunteer. They are asked to look up their
birthday or a birthday of someone they know. The card next to the date is to be
remembered.

You now remove the deck and say, “Normally, I’d ask you to take a card!” As you
say this fan the cards face down, showing red backs. Be careful not to flash any of
the 26 cards with writing on them. “But I don’t want to do that today. I’ve had you
note a card from this diary, a card I couldn’t possibly know, a free choice from a
freely selected date currently known only to you.”

“What card was written next to the date you selected?” The card noted will be one
of the force cards, one of the cards with writing on its back. When they name the
card, spread through the deck and remove the card, placing it face up to the side.

“Now here’s what I’d like you to do. There is something called Numerology, which
for centuries has fascinated man. You may have heard of it. It deals with our past,
present and future, some may say our destiny! Let’s take the ‘date’ of the day you
have chosen.” (Let’s say they have chosen the 27th of August.)

“We need to reduce the date to a single digit; you have chosen the 27 so 2+7=9.
Would you like to include the month? The choice is yours.” It makes no difference if
they include the month or not; we’ll still get them to go where we want them go! “So
that will be 9+8=17, and 1+7=8. Does that mean they’ve had their birthday
already this year?” Now here’s the sneaky part; we NEED them to end up with an
ODD number, so no matter what they reply we add one if they’ve ended up with an
even number.

“So we now have your Destiny number, which is 9. Take the deck and deal nine
cards face down from the top.” Watch carefully as they do this.

“Good. Now place the ninth card next to the face up card. Had we dealt one card
less, we’d have ended up with the X of X, one card more and it would have been
the X of X. So we have two freely selected cards from a freely selected date. But
what if Destiny had already been decided? We have here a face down card
selected using your Destiny number.” Turn the card over to show one of your
duplicates, say the Three of Hearts. “It is the Three of Hearts, and we have a card
selected from the date you looked at.” Turn over the card to show written on the
back, “Three of Hearts.”

This effect plays really strong, especially if the date they look up was their own
birthday.

44
 50:50

I’m hoping by now you are seeing how flexible this Birthday Book/Diary can be. One
Birthday Book/Diary has umpteen possibilities.

The next deck’s originator seems to be Ed Marlo, who used it in an effect called
‘Oddity’ that he released to the market in 1959. It is simply a deck made up from
26 red backed cards and 26 blue back cards. Decide which colour of backs you
want for your force cards (the ones that appear in your Birthday Book) and remove
them from an appropriate deck. The other 26 cards should have a different
coloured back and not include any of the force cards.

So if you use a blue deck and a red deck, you can make up two 50:50 decks very
easily.

Place the force cards on the bottom and the non-force cards on top. Box the deck
in a box of the same colour back as the non-force cards.

Working

Have someone look up a date in the Birthday Book and remember the card next to
it. Remove the 50:50 deck and spread them face down, only showing the top 26
cards. Now turn the deck face up and remove the card that was noted from the
book. Place it face up on the table, turn the deck over and again fan them a little,
showing the backs. Now turn over the tabled card; it is seen to be a different
coloured back.

Aunt Mary’s Birthday

The core of this effect lies with Dave Campbell’s infamous “Fred” trick.

Take a red deck and remove all the force cards (the ones that appear in your
Birthday book). On the back of all these cards, write the name MARY.

In the remaining 26 non-force cards, write a selection of 26 random names, male

and female.

Place the MARY cards face down and the random name cards face down on top.

Working

The date is looked up in the Birthday Book, and the card noted. You now turn to the
volunteer and say, “I know exactly which card you have in mind; it’s the same as my
Aunt Mary’s!” This may or may not get a chuckle or groan. You continue by
removing a deck of cards and showing them to all have different names written on
their backs. Carefully spread the top 26 cards, showing the random names.

45
You now ask them which card they noted, turn the deck over and remove the
named card. You remind them that you said you had a feeling they had Aunt Mary’s
card in mind. You turn the card over to show the name “MARY” written on the back.

Aunt Mary Bonus

For those that have gone to the trouble of making up the Aunt Mary deck, here is a
little bonus.

Staples sell a small padlock - it’s actually called a Wordlock - and it uses letters
rather than numbers. This padlock can be used with the Aunt Mary deck to give you
something else to play with. I’ll not go in to any detail as I still use this in my close-
up act, but I thought it only fair to mention it because you’d gone to the bother of
making up the deck.

Credits:

o Diary: Ted Danson, Paul Gordon.

o Original Effect: Harry Lorayne, Doc Eason, Gene Nielsen.
o (Date with) Destiny: Peter Duffie.
o Aunt Mary’s Birthday: Trevor Duffy, Phil Goldstein, Dave Campbell.
o 50:50: Ed Marlo’s ‘Oddity.’

Birthday Book Tip

If using a Birthday Book, try and find one that doesn’t have ‘Birthday Book’
embossed on the front. If it does, you may want to consider disguising it slightly.
This way you can use the book for other dates. For example, ‘Aunt Mary’s Birthday’
with a wedding anniversary plot allows you to have a wedding ring attached to the
padlock.

Email: [email protected]

46
 Chapter 2

Card Magic

47
 Magic Spell Finds Great Hands
Roy Walton

Effect
After mixing a packet of twenty-five cards, a magical spelling formula is applied to
them, which extracts an unbeatable poker hand.

Set Up
A Royal Flush is secretly on top of the pack.

Working
Give the pack a false shuffle that retains the top five cards in position.
Alternatively, palm off at least five cards from the top, let a spectator shuffle the
cards and return the palmed cards to the top when you retake the pack.

Deal out five poker hands face down onto the table in conventional dealing fashion.
One of the Flush cards is now secretly positioned at the face of each hand.

Point out that there are probably cards that would make a good poker hand
amongst the dealt hands, but they are scattered about. As you say this, show the
faces of a few of the hands, in some cases picking up a complete hand, showing
and replacing and sometimes just picking up the upper four cards, showing and
replacing.

The showing procedure is a very casual one in line with your remark about good
cards being scattered. You do not want to expose the face card of every hand.

Gather up the hands in any order, placing one face down on top of each other.

The twenty-five card packet can be mixed by any number of cuts and Straddle Faro
Shuffles, the cuts being done both before and after the shuffles. If you do not do
faros, a Reverse Faro will also work. With a packet of only twenty five cards, a
Reverse Faro is not too bad and can be carried out speedily. If you don’t do Reverse
Faros, you can simply deal the packet into two face down hands and then place
one on top of the other, perhaps saying, “If each hand had more cards in it,
perhaps there would be more good cards in them...”

Anyway, after the mixing, cut so that any of the Royal Flush cards is positioned on
the face of the packet and hold it face down in the left hand.

Explain that you have a magical spell that helps you find the best cards in a
shuffled group, the spell being the sentence, “MAGIC SPELL FINDS GREAT HANDS.”

Spell out the first word, ‘magic,’ transferring one card from top to bottom of the
packet for each letter in the word. Place the card that you arrive at on the last
letter face down on the table.

48
Follow the same procedure for the next word, ‘spell,’ placing the card reached on
the last letter aside with the previous one on the table.

Repeat this procedure for the remaining three words in the sentence until you have
five cards face down in a group on the table.

Turn the remaining cards in your hand face up and spread them out between your
hands, saying, “I wonder if the magic spell found some good cards for playing
poker.”

Turn the five tabled cards over to reveal the Royal Flush and say, “Not bad.”

Web site: www.tamshepherdstrickshop.co.uk

49
 Press Gang
Dave Forrest

Effect
You claim that, by simply pressing your hand flat on top of the deck, you can make
Aces appear on top. You proceed to prove this to be true by producing all four
Aces, one by one … well, almost. However, a problem with the fourth Ace is
magically rectified.

Set Up

Reading from the top down:

Face down Ace, face up Ace, face down X card, face up Ace, face up Ace, rest of
deck face down.

Working
Take a Tilt-style break under the top four cards. Explain that, by pressing on top of
the deck, you can make Aces appear. You demonstrate by covering the top of the
deck with your right hand. Then, after a pause, lift the hand off again and show
the hand to be empty.

Your right hand comes over the deck again, and the heel of the hand kicks four
cards above break forward for a border’s width (Fig. 1 shows the top four cards
after being kicked forward — the right hand has been omitted for clarity). Instantly
press down with the right fingertips, causing the top four cards to tip upwards and
into right palm (Tip-over Palm – see Fig. 2). After this pressing action, move the
right hand away to reveal that Ace no. 1 has appeared as promised.

Fig. 1 Fig. 2

50
 Bring the right hand over again (with
cards in palm), lift off the face up Ace
from atop the deck and deposit it on
the table (Fig. 3).

You right hand comes back and

deposits four palmed cards on top as
you carry out another ‘pressing’ action.
Lift the hand off and appear surprised
that no Ace has appeared. Turn the
right hand palm up — the hand empty.
Fig. 3 Press again, this time palming the top
card into the right hand. Ace number
two appears.

Your right hand lifts the face up Ace from atop the deck as before (as in Fig. 3),
and deposits it on the table.

Your right hand comes back over and palms another card from the top of the deck
under the guise of another pressing action. You had one Ace in palm already, so
you palm another one under it. The third Ace appears.

Your right hand removes the Ace and deposits it on the table.

Your right hand comes over and ‘presses’ for the fourth Ace, depositing both
palmed cards — hold a left pinkie break under them — then your right hand turns
palm up to show that it’s empty. No Ace has appeared.

Execute a Double-turnover (easy due to

the break you are holding) and lift it off
in right hand Biddle grip. Regard the
back of the double momentarily as
though looking for the problem. As you
place double back on deck face up,
Side-steal the last Ace into right palm
(Fig. 4 shows view from below) and then
change the indifferent card that is on
top of the deck to the Ace – again, by
‘pressing.’
Fig. 4

If you wish, you can use the KM Move to clean up as you place the final Ace on
the table.

51
 Christ Almighty!
Dave Forrest
This is a variation on the Henry Christ ‘Fabulous Ace Trick.’

Working
Run through the deck and upjog three Kings, while at the same time culling the
four Aces to the rear. Drop the three Kings on the table. You missed a King.

So, run through again and upjog the last King. Remove and table it with the other
three Kings. Now secretly shift any Six spot to the face and secretly reverse it as
you close up the deck and turn it face down. The Six spot should be face up on
the bottom.

Double-cut the top two cards (Aces) to the bottom. During an Overhand Shuffle,
run nine cards singly and then throw balance underneath. (You reversed the order
of the top nine cards.) Double-cut the bottom two cards back to the top.

Push over seven cards from the top. Square up and hold the break. Slip cut the
top card into the break (7th from top). Keep a break under the top seven cards.
Pause and then push off the top seven cards and then three more. Re-take your
break under the top ten cards.

Position Check: The order of the deck is, reading from the top: Ace, X, X, X,
X, X, Ace, X, X, Ace, break, Ace. There is a face up Six spot on the bottom of
the deck. The four Kings are on the table.

Cut the top ten cards to the bottom

and retain a break above them. Then
your right thumb picks up one card
from atop the lower packet. There are
nine cards below the break.

Lay out the Kings in a row in order:

Spades, Diamonds, Clubs and
Hearts, reading from left to right (Fig.
1 shows audience point of view).

Fig. 1

52
 The Kings are Lost into the Deck

Cut ¼ of the deck off the top and

place the packet behind the King of
Hearts (Fig. 2). Cut off another ¼ and
place this packet behind the King of
Clubs. Cut off all the cards above the
break and place these behind the
King of Diamonds. Fan the remainder
face down in the right hand.

Fig. 2

Pick up the King of Spades and place

it face down into the fan above the
bottom three cards — the King of
Spades is 4th from the bottom (Fig.
3). Square up the fan.

Pick up the King of Diamonds and

place it face down onto the packet in
your hand. Pick up the King of
Diamonds packet and drop it on top.

Pick up the King of Clubs packet and

Fig. 3
drop it on top. Pick up the King of
Clubs and drop it on top, but maintain a break. Double-cut the top card (KC) to the
bottom.

Pick up the King of Hearts and place it face down on the King of Hearts packet.
Drop all cards in hand on top. All four Kings are apparently lost.

The Kings are Found

Spread the deck face down; a face up Six spot appears in the centre (Fig. 4). Split
the spread at the Six and place all the cards above the Six squared and face up
on the table (Fig. 5).

53
 Fig. 4 Fig. 5

You hold half the deck with the Six on top in the left hand. Take a break under the
top three cards (face up Six and two face down cards – Ace & King).

Pick up all three as one and place

them onto the face up pile on the table
(Fig. 6).

Count down six cards one by one from

the top of the packet in your hand,
turning them face up onto the face up
pile on the table. When you reach six,
gesture with the sixth card as you catch
a break under next card. Place the
sixth card back on top and then turn
Fig. 6 over a double — the King of Spades
shows. Turn the double down again
and deal the top card (Ace) off to the side.

Turn the cards in hand face up and pick up the five dealt cards below; then add
the packet to the face up pile on the table.

Pick up the complete deck and turn it

face down; then spread through the
cards singly. As you reach the centre,
the King of Diamonds shows face up
(Fig. 7) — do not spread any further as
there is a face up Ace under it. Take all
the cards above the King of Diamonds
and place them in a face down pile on
the table. Turn a double face down and
deal the top card to the table beside
the first. Place all the remaining cards
Fig. 7 in hand on top of the face down packet
on the table.

Pick up the deck and spell, “K-I-N-G-O-F-C-L-U-B-S,” one card for each letter (the
cards are dealt face down). Gesture with the card that arrived on the last letter as

54
you catch a break under the next card. Place the card back on top, and then turn
over a double. You have spelled to the King of Clubs. Turn the double down again
and deal the top card to the table with the previous two “Kings.”

Drop the cards in hand onto the dealt cards. Pick up the deck and Double-cut the
top two cards to the bottom. Give the cards an Overhand Shuffle, running the first
card singly and the last card singly on top.

Hold the deck face down in left hand dealing grip and obtain a break above the
bottom card. Lift the deck from above (Biddle grip) with the right hand and Swing-
cut about half the deck into the left hand. Flip over the top card of the left hand
section, revealing the King of Hearts. Turn the King face down again, performing a
Drop Switch with the bottom card (Ace), and thumb the new top card onto the
table.

You have found four Kings.

Finally, after some build-up, reveal that the four face down Kings have changed
into the four Aces.

Web site: www.full52.com

55
 Bold Two Cards to Pocket Transpo
Eddie McColl

Effect
Two spectators each select a card and sign their name across the face. The cards
are returned to the deck, and the deck is placed on the table. You say that the two
cards will leave the deck and appear in your pockets. You reach into your left jacket
pocket and remove a card; this proves to be the first signed selection. You drop the
card on the table. You now reach into your right jacket pocket and remove a second
card; you announce the name of the card, and the second spectator verifies that it
is his card. You now ask the spectator to blow on the card, whereupon it changes
into the first spectator’s card. The second card is now found to be the one lying on
the table.

Working
Have two spectators each select a card and sign their name (or initials) across the
face. Take the cards back and place them face down on top of the deck. You will
now apparently place each card into a different part of the deck while really
switching them and secretly delivering them into left palm. To accomplish the
switch, Eddie uses Marlo's ‘Bold Control,’ which appeared in Volume 5 of Marlo's
Magazine. This leaves you in perfect position to complete the task using Eddie’s
‘Bold Bottom Control,’ which will take the two cards into left hand Cop. To do this,
proceed as follows:

a) Hold the deck face down in left hand dealing position. Take the two selections,
place them face down on top and retain a left little finger break below them. Move
your right hand away for a moment and remind the audience that the cards were
freely chosen and signed, etc. This creates a moment of relaxation; there is no
need to rush into the move.

b) You now bring your right hand over the

deck and secretly move the top two cards to
the right for about half their width (Fig. 1).
Turn slightly to your left as you do this and
keep your right hand fingers together. The
sidejogged cards are therefore concealed by
your right hand. It can also help if you raise
the right long edge of the two cards so they
are clipped between your right third and little
finger.
Fig. 1

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c) Release a block of cards from the bottom (about a third of the deck) and move
all of the cards above diagonally forward (Fig. 2). Your left thumb immediately pulls
off the top card of the deck proper, and this card is taken outjogged onto the lower
packet (Fig. 3). From an audience perspective, you have pulled off one of the
selections.

Fig. 2 Fig. 3

d) Replace the right hand cards and

release another packet of cards (about a
third again) on top of the first third of the
deck. Now move all of the cards above
diagonally forward again and pull off the
top card of the deck, as before (Fig. 4), so
it is outjogged and in alignment with the
first outjogged card. Replace the remaining
cards square with the rest of the deck.
Fig. 4
You will now push the outjogged cards flush with the deck, but at the same time the
two sidejogged selections will be maneuvered into a left Gambler’s Cop.

e) Your left hand moves the deck to the left by pivoting at the wrist while your right
hand remains static and retains its grip on the two sidejogged cards (Fig. 5). Once
the deck has cleared the two cards (Fig. 6), the left hand reverses its action, and
the deck is fed above the two selections (Fig. 7). Now, without any pause, your right
fingers extend, and the middle finger starts to push the two outjogged cards flush
with the deck (Fig. 8). At the same time, your left fingers also extend beneath the
deck and secure the two selections in a Gambler’s Cop.

Fig. 5 Fig. 6

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 Fig. 7 Fig. 8

While the above took a lot of words and photographs to explain, steps b) through e)
take only 5 or 6 seconds to accomplish at an unhurried tempo.

Your right hand places the deck on the table.

State that the two selections will now travel to your pockets. Both hands now go to
their respective outer jacket pockets as you search for the cards. Once your left
hand is inside the pocket, shift the double (two cards) into a more comfortable
dealing grip and bring both hands out again with the left hand seemingly holding
one card.

Bring your right hand over and lift the

double out of your left hand in a Biddle-
style grip. However, the tips of the right
fingers must extend over the upper edge
so that the double is held at the first joint
of the middle finger (Fig. 9).

Raise your left hand to show the face of

the card, saying, “Who chose the Ace of
Clubs [here you name the card that is
Fig. 9 showing]?” Look directly at the spectator
who responds, and you will now carry out Cliff Green’s 90% Perfect Change, as
follows:

a) Bend your right fingertips inward until

the double is held clipped in the joint of the
middle finger. This allows you to release
your thumb grip and slide the thumb along
the back of the card (Fig. 10).

b) You now push the upper card outwards

at the same time your right forefinger curls
on top until it meets your thumb (Fig. 11).
Your thumb now slides inwards and then
Fig. 10 under the swiveling card at the same time

58
your left forefinger presses down on the outer left corner of the card. Your thumb
moves forward, and the card is pushed upwards and gripped back outwards
between the forefinger and thumb (Fig. 12).

Fig. 11 Fig. 12

c) Finally, your left hand takes the card

while the other card remains behind in the
right hand, held in a Tenkai-style Palm (Fig.
13).

Fig. 13

At this point, your left hand drops the card face down on the table. This was
suggested by Gordon Bruce to avoid confusion and allow full focus on the single
card now in your hand.

Your right hand now goes to the right jacket pocket and brings out the palmed card,
held with its back towards the audience. Look at the card and miscall it as the
second selection. Once the second spectator verifies this to be his card, pause as if
the trick is over. Then ask him to blow on the card. Snap the card over, revealing
that it is now the first selection.

Finally, turn over the card on the table to complete the transposition.

Email: [email protected]

59
 Less is More
Euan Bingham
My starting point for this trick was Peter Kane. He mentioned in his writing that an
effective way of coming up with a new trick is to picture an existing effect and work
out a way of doing it in reverse. That's exactly what I've done here. I've taken
Tommy Tucker's ‘Six Card Repeat’ and Derek Dingle's ‘Too Many Cards’ and flipped
them on their heads. Hopefully you'll enjoy the result.

Working

Start off by having a card selected and

control it so it ends up 4th from the top of the
pack. Let's assume for sake of description
that the selection is the Two of Spades. Tell
the spectators that you'll need five chances to
find the card; as you're saying this, spread
through the deck and upjog five cards. The
first card you upjog must be the selection,
which is easy as you already know it's 4th
from the top. The first three cards should be
Fig. 1 upjogged for about 3/4 of their length,
whereas the fourth and fifth cards should
only be upjogged for about half of their length (Fig. 1).

Close up the spread, leaving the cards upjogged. You will now appear to strip the
five cards into your right hand; however, you will actually only take the top three
using a Marlo concept. Here's how:

Your right hand comes over the upjogged

cards, palm down, with index finger touching
the left long side of the cards. At the same
time, the tip of your left index finger quietly
reaches up and hooks around the outer end
of the two lowermost jogged cards (Fig. 2
shows view from below).

Fig. 2

The left index finger gently pushes the two cards flush with the deck as the right
hand pivots the jogged cards to the right, allowing them to pivot around the tip of
left middle finger (Fig. 3) until they are free from the deck and securely held in the
right hand, thumb on top, fingers underneath (Fig. 4). You'll find as you do this your
right hand naturally tilts at the wrist in order to keep the cards face down as you do
the pivot.

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 Fig. 3 Fig. 4

With your left hand, briefly square the deck; then turn the left hand palm down and
place the cards face up onto the table to your left so that the deck is angled to the
right, pointing at an imaginary two o'clock position. The positioning of the deck
becomes important later when you need to do an add-on move.

You'll now give the packet a brief ‘Three as Five’ false count as a convincer that you
have five cards: with the cards held in standard Elmsley Count position, take the
first card fairly, then steal it back as you take the second card, steal this card back
as you take the third and then count the last two cards fairly on top.

Pantomime taking a card invisibly from the packet as you say, “I'm going to take
cards one at a time and make them invisible; the reason I make them invisible is
that it makes it a lot easier to throw them away without you seeing.” Suit your
actions to words as you appear to throw away the invisible card.

To continue, you now execute a ‘Three as Four’ count to show that you really have
thrown one away. Briefly: take the first card fairly, steal it back as you take the
second and count the last two fairly on top.

Again, pretend to throw away another invisible card. Count the three cards fairly
this time, showing you only have three left. You can spread the cards at this point if
you wish.

If you have done everything correctly, the top card of the packet should be the
selection at this point.

Once more, go through the motions of throwing away an invisible card.

To show you only have two cards left, you're going to change procedures slightly
and use a false display instead of a count. With the cards face down, squared in
the left hand, bring the right hand over, palm down, and hold the cards in standard
Biddle grip - thumb on the inner short end, middle/ring finger at the outer short
end, index finger lightly curled on top. Slide the bottom card of the packet to the left
simply using the friction between your fingers and the bottom card. Your right hand
retains the top two cards as one. Immediately tilt both hands at the wrist so that
you are showing the faces of the two cards to the spectators. Name both cards at
this point; let's say they're the Six of Diamonds and the Jack of Hearts. Turn the
hands and reassemble the packet face down so that the double goes back on top.
Immediately catch a break below the top card.

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At this point, feign slight confusion as you say, “Well, I'm actually not sure which
one is yours. Maybe you can help me out. What was the name of your card?” When
they name their selection — the Two of Spades — laugh a little and lean forward
slightly. It appears you have failed; this creates a moment of relaxation, which you
will use as cover to perform the following add-on by Edward Marlo:

The right hand comes over the pack and once again holds it from above in Biddle
grip (Fig. 5). In one continuous motion your left hand immediately turns palm down,
retaining the two cards below the break (Fig. 6 shows exposed action view). Reach
over to the deck and add the two cards onto the face of the deck (Fig. 7) as your
left hand scoops it up and turns palm up (Fig. 8). It should look just like you have
reached over and picked the deck up.

Fig. 5 Fig. 6

Fig. 7 Fig. 8

You're now left clean with one card in your right hand - the selection. Ask the
spectator again what his selection was. Allow the card to fall face down onto the
table as you apparently hold up the final 'invisible' card with your right hand. 'Throw'
the invisible card away and rub the selection against the table slightly to show it is
just one card. To finish, turn the card face up to show it is indeed the spectator’s
selection.

Email: [email protected]
Web site: http://magicbong.blogspot.com

62
 Lying Leech
Gary Middleton

Effect
A spectator selects a card, and it is then lost back into the deck. You ask the
spectator to imagine that they are now in a police station and that you will now
interrogate them in order to find out what card they selected. However, you point
out that they can lie or tell the truth. And so you ask the first question; “Was your
card red or black?” After they answer, you give the deck a few cuts and turn a
packet face up. The colour of the face card of this packet reveals the true colour of
the card. The packet is placed face down on the table. “What was the suit of your
card? Was it a Club, Heart, Spade or Diamond?” Once the spectator replies, you
again cut the deck and turn over a packet. The face card reveals the suit of the
card. Again you leave this packet face down on the table beside the first pile. Now
you ask, “Was your card a picture card or a spot card?” Again you cut a packet from
the deck, and the truth is revealed. Now you ask the spectator, “What was the
name of your card? Again, you can lie if you want to.” She might say the Nine of
Hearts. You now spell N-I-N-E-O-F-H-E-A-R-T-S, one card for each letter, and the final
card proves to be the selected card. In this case, she told the truth. Finally, you ask,
“Did you feel that you were in a police station? … Well, you know that if you ever
need the police in a hurry, you simply dial … 9 … 9 … 9.” As you say this, you flip
over the three tabled packets to reveal the other three Nines.

This is a combination of the Martin Gardner ‘Lie Detector’ plot and an Al Leech Ace
production.

Preparation
Put a crimp into a card. This can be any card except a Nine spot. Gary uses a
bottom cutting breather Crimp.

Now set the following eight cards on the bottom of the deck, reading from the face
inwards:

Nine of Hearts (force card), Nine of Clubs, King of Hearts, Nine of Diamonds, Ace of
Clubs, Nine of Spades, Five of Diamonds, crimped card, rest of deck.

Note: Once you understand the working, you will realise that the cards in the setup
that are not Nines can be any cards so long as they match the true specifics (red,
spot card, Diamond) of the force card, the Nine of Hearts.

Working
Hold the deck in left hand dealing grip and run your left thumb down the outer
corner as you invite a spectator to call stop. When they do, bring your right hand
over and swing cut the upper section into your left hand, your right hand taking the
lower section (Fig. 1), and then raise your right hand and ask the spectator to

63
remember the card at the face of this section (Fig. 2). This will be the Nine of
Hearts.

Fig. 1 Fig. 2

The above force is a variation on an original method published by Trevor Lewis. I

am unsure who the variation belongs to, but the underlying deception belongs to
Lewis.

Once the card has been noted, cleanly drop the right hand half on top of the left
hand section and square all. You can also carry out an Overhand Shuffle if you
wish, as follows: undercut about one third from the bottom; shuffle all of these
cards on top; then shuffle about one third from the top into your left hand; and
throw the balance on top.

Now cut your crimped card to the bottom of the deck. This places your seven-card
stack on top. Following the presentation as given above, you now proceed to ask
the questions, emphasising that they can lie or tell truth as they so wish.

“Was your card red or black?”

As you ask the question, obtain a little finger break under the top card of the deck
(see End Notes) and then transfer the break to the thumb of the opposite hand as
you take the deck into right Biddle grip.

As they answer the question, cut about five cards from bottom to top and repeat,
cutting a further five cards to the top. To show the answer, turn all the cards above
the break face up. Gary does this by digging his right thumb tip into the break and
then pivoting the packet face up between the first finger and thumb — in a similar
action to the Stuart Gordon Double Lift.

Fig. 3 Fig. 4

64
As the packet turns face up, obtain another break under the top card of the main
deck. Allow the face card of the turned packet to be noted briefly as you make a
comment about whether or not you think the spectator told the truth. Then turn the
packet face down again. But as you do so, allow it to kiss the top of the deck and
secretly steal the broken card under the packet as you move it forward, placing it
face down on the table. This steal is an Al Leech idea from his ‘Sleeve Aces’
routine.

As you are turning the packet face down again, obtain a little finger break under the
top card of the deck.

“Was your card a picture card or a spot card?”

Simply repeat the above as described.

“What was the suit of your card? Was it a Club, Heart, Spade or Diamond?”

Repeat the same sequence once again, but there is no need to obtain the second
break this time.

Position Check: There are three face down piles on the table. The audience
thinks the face cards are the Five of Diamonds (colour), Ace of Clubs (spot
card) and King of Hearts (suit). In fact, the face cards are now three Nines.
The selected card, the Nine of Hearts, is on top of the remainder of the deck
(about 20 cards) that you still hold in your hand.

Ask the spectator to name his card. Again, he can lie if he wants to. Using a Second
Deal, spell the card named, dealing one card for each letter and dealing seconds
on all but the final card. Hold the final card face down and ask the spectator to
truthfully name their card. Turn over the card and reveal their selection.

Finally, turn over the other three packets to reveal three more Nines.

End Notes
To obtain the breaks during the question and answer parts of the above trick, Gary
uses the Harvey Rosenthal Squeeze technique that appeared in the Rosenthal one-
man issue of Trapdoor magazine.

65
 Mother’s Pride
Gary Middleton

Effect
A spectator manages to select the two Jokers from your deck without knowing how.
He now picks a card for himself, and the Jokers find his card not once, but twice;
the second time the selection appears visibly between them. Finally, you place both
Jokers below the card box. Now the selection transposes with the Jokers, leaving
the Jokers in your hand and the selection below the card box.

Start with two Jokers on the bottom of the deck. The card box should be lying on
the table to your right.

Working

Phase 1
Start by saying, “There are two Jokers in this deck, and I would like you to try to find
them without looking at the faces.”

Spread the deck face down from hand to hand, and ask a spectator to touch any
two cards. Outjog each card when he touches it. As you begin to spread, obtain a
little finger break below the bottom two cards (Jokers). You will now carry out Derek
Dingle’s ‘No-Lap Switch,’ as follows:

a) Close up the spread, leaving the two cards outjogged.

b) Bring your right hand over the deck, and your right middle finger kicks the
outjogged cards to the left so they become angled. The deck is then gripped
between the right middle finger (at outer end) and thumb (at inner end). See Fig. 1.

Fig. 1 Fig. 2

c) Immediately, your left hand twists leftwards at the wrist, moving the two Jokers
from under the deck into alignment with the two angle-jogged cards (Fig. 2).

d) In a continuous motion, the left hand strips out the two angle-jogged cards plus
the two Jokers and retains a break between both pairs of cards. Without pause, the

66
hands momentarily come together again; the right hand then moves the deck
forward, and, as it does so, you secretly pick up the upper two cards under the
deck, move forward and place the deck on the table.

You now hold the two Jokers. Make a magical gesture, turn the cards face up and
congratulate the spectator on choosing the Jokers.

______________________________

Drop the Jokers face up on top of the tabled face down deck and pick up all.

Spread the cards from hand to hand, saying, “This time I would like you to pick a
card for yourself; just touch one.”

As you begin the spread, push the two Jokers

over together and grip them in your right
thumb crotch; then continue to spread the
cards (Fig. 3). When a card is touched, break
the spread so his card is on top of the left
hand portion and raise your left hand,
showing him the face of the card and saying,
“Remember that card.”

Fig. 3

Lower the left hand and place the sections of the spread together again, but, as
you do so, Cull the selection under the spread. You now reposition the culled card
so it is directly below the two face up Jokers, which are on top of the deck. Gary
uses a Troy Hoosier method. Briefly: your right hand breaks the spread, taking the
two Jokers plus the culled card into the right hand. Then take a few more cards
below these three cards as you say, “You could have touched a card anywhere. You
could have stopped me near the top…“ Then quickly spread over most of the deck
and break the spread near the bottom as you continue, saying, “… or you could
have stopped me nearer the bottom.” Close up the spread as you complete your
sentence, saying, “But you stopped me near the middle, and we’ll leave it there.” In
fact, it’s now third from the top.

Give the deck a complete cut to centralize the face up Jokers as you explain that
the Jokers will find and trap the selected card. Spread the cards from hand to hand
to show the two face up Jokers, but there is nothing in between. Pause for effect
and say, “But if I give the cards a snap, one card suddenly jumps between them.”
Here you carry out a simple revelation published by Jerry Sadowitz in Cards Hit
(Breese Books, 1984). This move was also developed by Gordon Bruce. The only
difference here is that the card starts directly below the face up Jokers instead of
on the bottom of the deck. Proceed as follows:

67
 The deck is spread between your hands; the
left thumb presses on the face of the
lowermost Joker, and your right middle finger,
under the spread, presses on the back of the
uppermost Joker (Fig. 4).

Fig. 4

Now, your left fingertips push the face down card (selection) below the Jokers to
the right so that it is gripped by the tip of the right middle finger. You now quickly
break the spread between the Jokers as if you were snapping the spread in two
(Fig. 5). Then you bring the sections together again; a face down card is now seen
between the face up Jokers (Fig. 6).

Fig. 5 Fig. 6

Phase 2
Cut the deck, bringing the three-card sandwich to the top. Push off the top three
cards and take them with your right hand, thumb on top and fingers below. Turn
your hand to show the trapped selection and then turn the hand down again. As
you are doing this, catch a break under the top card of the deck with your left little
finger. You will now carry out a switch devised by Steve Hamilton. However, Gary
has a variation in the handling. Proceed as follows:

a) Figure 7 shows the starting position. The deck is in face down dealing grip, and
you hold a break under the top card. The three-card sandwich is held in your right
hand. They are no longer spread and should be held squared, as shown.

68
 Fig. 7 Fig. 8

b) Your right hand now approaches the deck, and, as it does so, your right thumb
pushes the upper two cards as a unit to the left (Fig. 8).

c) Once the two ‘pushed-off’ cards are square with the deck, your right first finger
enters the break and grips the top card of the deck. Without pause, your left hand
now moves forward with one Joker on top of the deck, while leaving the lowermost
Joker plus the top card from the deck held in the right hand (Fig. 9). Immediately,
your right first finger pulls inward, causing the face down card below the Joker to
back-jog for about half its length (Fig. 10).

Fig. 9 Fig. 10

Note: as you carry out the above, you should retain a left little finger break below
the two pushed-off cards as they are taken on top of the deck.

d) Bring the right hand forward over the pack and briefly touch the back-jogged
card to the top face up Joker on top of the deck to create an elongated sandwich
(Fig. 11).

Fig. 11 Fig. 12

69
e) That is the switch. You hold the elongated display for only a moment, and then
your left thumb riffles down the outer left corner of the deck and opens a break
near the middle. Insert the right hand face down card into this break, but leave the
card canted to the left or right (Fig. 12).

Noticing the card is askew, you place the face up Joker held in your right hand on
top of the deck, ostensibly so you have a free hand to straighten the card. Do so,
but leave the card outjogged. Now pick off the top three cards — two face up Jokers
plus the face down selection.

With the selection stolen under the Jokers,

hold the packet in right hand Biddle grip. The
left thumb pulls the uppermost Joker onto the
deck; then the remaining right hand double is
placed on top, sidejogged for about an inch.
The right hand retains the packet of cards in
this stepped position (Fig. 13).

Fig. 13

You will now push the outjogged card flush with the deck, and, at the same time,
you will cause the selection to visibly appear between the two Jokers.

Bring your right hand over the deck and

hold the Jokers above the deck as shown
in Figure 14.

Place your left first finger on the outer end

of the outjogged card.

Fig. 14

Two things now happen simultaneously:

The left first finger slowly pushes the

outjogged card flush with the deck. As you
do this, your left third finger is extended
under the Jokers and engages the right
edge of the face down selection, which is
hidden below the uppermost Joker, and
Fig. 15 this card is pushed to the left. Figure 15
shows the end result.

70
 Phase 3
Repeat the Steve Hamilton Switch as described in the previous phase, steps a)
through e). But this time push the outjogged card flush. This leaves the two face up
Jokers on top of the deck.

Flip the Jokers face down and deal the top card onto the card box. Now, apparently
deal the other Joker on top of the first, but execute a Second Deal, switching the
Joker for the selection.

Then say, “To make them more secure, let’s put the Jokers under the box.”

So, pick up the Jokers (?) from atop the box and place the two cards ‘momentarily’
face up on top of the deck, leaving them sidejogged to the right. Flip them face
down, but, in doing so, you lose the lowermost card using a Double Lift clean-up
published by Gordon Bruce and also Juan Tamariz. With your right thumb on top
and fingers below, you turn the two cards face down ‘bookwise;’ as you do so, your
right thumb pulls the face card of the pair (Joker) inwards while the fingers push
the outer card (selection) outwards. The result is that the top card (selection) lands
in an outjogged position, while the face Joker lands square on top of the deck.
However, it appears that both cards are outjogged.

Pick up the box with the right hand, bring it over the deck and pick up the outjogged
card (which the audience assumes to be the two Jokers) below it; then place the
box with the card below it on the table.

Pass the top two cards (Jokers) to the bottom and catch a break above them.

Spread the cards from hand to hand and ask the spectator to try to find their card
by touching the back of a card. Outjog the card and carry out the Dingle No-Lap
Switch as described previously. This switches the single outjogged card for the two
Jokers.

Carry out a Fist Flourish with the Jokers and then split them into two cards — the
two Jokers. Finally, show that the selection is under the card box.

Email: [email protected]

71
 Thanks to Braue
(Out-Jogged Braue Addition)

Scotty Johnston

Inspiration
In late 2004, the late Jack Parker sent me a small video clip of his handling of the
Aftus move. I simply loved the touches he had added to turn a standard move into
something that oozed finesse. A month or so after watching Jack's clip, I started to
toy with the handlings of other well-known moves. It wasn't long before the idea of
doing a Braue addition from an outjogged perspective came to mind.

The original Braue addition first appeared in print in Hugard's Magic Monthly,
Volume 2, Number 12, May 1945, page 119, under the title, “The Secret Addition”
by Fredrick Braue.”

What follows is my handling for the Braue Addition. It is important to note that the
move is carried out with a certain degree of finesse and choreography.

Although I have four variations of the move, I have only included the basic concept
for the handling of switching three cards for four. The reason behind this is
because, once you have concept the handling down, the variations are pretty
obvious to figure out. With a little thought you can easily switch out four for four,
etc.

I would like to acknowledge the following people for the help and motivation
received in eventually getting this done:

Mark Tams, Mark Aspiazu, Peter Duffie, Paul Rooney, Allan Ackerman, Dominique
Peeters and Luke Dancy.

Switching out three from four.

For the sake of this explanation,

we will say that the four Aces
are on the table in a face down
pile, and the pack is held in left
hand dealing grip.

Obtain a pinky break below the

top three cards of the pack. The
right hand picks up the four
Aces and gives them an Ascanio
type fan (Fig. 1).
Fig. 1

72
 Flip the fan face up on top of
the pack to briefly show the four
Aces. The right thumb moves to
the back of the fanned packet
and begins to move forward to
square the packet. As the
thumb moves forward, you
contact all of the cards above
your break and add them
secretly below the Aces.
Continue to move the whole
packet forward in one fluent
Fig. 2 motion until it is held just above
the pack in deep Biddle grip,
outjogged for half its length.

The left index finger now kicks the main pack rearwards for about half an inch, so it
ends up in deep dealing grip. The left thumb peels the Ace at the top of the packet
face up onto the top of the pack so that it ends up side-jogged to the right for half
its length and outjogged for half its length (Fig. 2).

Using the right hand packet, flip

the Ace face down so that it
ends up outjogged for half its
length (Fig. 3).

A couple of small tips when

performing the flip over; slightly
tilt the left hand downwards and
to the right. To help keep the
cards square as they land, use
the left hand first finger at the
outer end of the outjogged
Fig. 3 packet and the heel of the
thumb and left fingers at either
side for support.

Continue the above flipping over procedure for the next two cards. You should now
have three cards out-jogged but squared on top of the pack. The right hand will be
holding a block of four cards in deep Biddle grip. The block of cards in the right
hand will consist of one face up Ace followed by three face down indifferent cards.

73
 The right hand now places the
block it holds slightly outjogged
for about half the length of the
white border onto the three
outjogged cards. A left hand
third-finger break is held
between the two packets at this
time (Fig. 4).

Two things are now going to

happen simultaneously: the
right hand index finger will
Fig. 4 contact the centre of the face
up Ace on top of the packet and
start to drag it towards you.

As you drag the Ace rearwards,

the left index finger pushes the
three cards outjogged below
your break rearwards until they
are aligned with the rear of the
pack (Fig. 5).

As you are carrying out the

above action, timing is a key
factor. The drawing back of the
Ace is timed with the left index
Fig. 5 finger pushing the outjogged
cards flush with the pack. If
done correctly, the move will be completely invisible.

The right hand continues to peel the Ace rearwards until it is clear of the pack, at
which point the right thumb goes underneath the Ace; it is picked up and turned
over, end for end, so that it ends up face down.

As soon as the card is turned face down, it is moved forward and snapped off the
left thumb before being flipped face up onto the three face down outjogged
indifferent cards. Thumb over the Ace and pick it up in the right hand (thumb on
top, fingers below); flip the Ace face down onto the table.

The right hand now deals the rest of the outjogged cards face down onto the tabled
Ace. If preferred, you can just lift the outjogged packet with the face up Ace on top
and spread them onto the table; of course, this will all depend on what type of
switch-out you are performing (see Fig. 6 below).

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 So that's all there is to it.
Hopefully you will figure out
the other switches that can
be performed in this manner.
I must reiterate the
importance of the
choreography and timing
involved. If you don't get this
correct, the move won't look
good; so please take the time
required to practice so it
Fig. 6 looks the real deal every time
you perform it.

Email: [email protected]

75
 Not For the Faint Hearted
George McBride

The following routine was inspired by Dai Vernon’s ‘Travelers,’ from Stars of Magic,
and Larry Jennings’ ‘Ambidextrous Travelers,’ from The Classic Magic of Larry
Jennings. There is no doubt this routine presents quite a challenge and is
technically very demanding; however, for anyone wishing to test their palming
ability, it’s well worth considering.

Effect
Any four of a kind is removed from the deck and signed by the spectator. With the
deck held face down in the left hand dealing position, the four signed cards, say the
four Fours, are placed into four different parts of the deck. Almost instantly, the two
red Fours are produced from the right and left jacket pockets.

The two red Fours are shown and placed face up into the centre of the face down
deck. The two black Fours are now produced from the same left and right jacket
pockets. The two black Fours are also pushed face up into the middle of the face
down deck. Instantly, all four Fours are produced from four different pockets.

Working
A casual sports or suit jacket should be worn. Begin by placing a Joker from the
deck you’ll be using into your right trouser/pants pocket, back out. Now, any four
cards of the same value are removed from the deck and signed by the spectator on
their faces. After the four cards have been signed, they should be arranged in
alternating colour sequence - Red, Black, Red and Black.

The signed cards are now placed into four different parts of the deck (Fig. 1) and
multiple shifted to the top. The shift that I prefer is the Neal Elias shift (Fig. 2 shows
shift being completed). *See ref 1.

Fig. 1 Fig. 2

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 As soon as the shift is complete, palm the top
two cards of the deck into the right hand
Classic Palm. *See ref 2. The deck is now
positioned in the left hand in preparation for
the Lowey Palm of the top card of the deck
into the left hand (Fig. 3). *See ref 3.

Fig. 3

Place the right hand into the right outside

jacket pocket, dump one of the palmed cards
in the pocket (the one nearest your body) and
produce the other card from the pocket. After
producing the card, it is held in the right
hand, face up and thumb on top, fingers
below. With this card being held in the right
hand, grasp the outer end of the face down
deck with the right hand, thumb and card on
top and your fingers below the deck (Fig. 4). Fig. 4

As the deck is removed from the left hand,

the left thumb swivels the top card of the
deck into the left palm (Fig. 4). The palmed
card is now produced from the left outside
jacket pocket. This card is also placed face
up on top of the deck along with the other
face up card (Fig. 5).

Fig. 5

These two cards are spread, and the first face

down card of the deck is secretly stolen below
them (Fig. 6). These cards are now lifted off
the deck, squared and pushed face up into
the middle of the face down deck, which is
being held in the left hand dealing grip.

Fig. 6

77
 As these cards are pushed into the face down
deck, they are stolen into the left hand classic
palm using the Erdnase Diagonal Palm Shift
(Fig. 7). *See ref 4. The deck is dropped face
down onto the table as both hands enter the
left and right hand jacket pockets.

Fig. 7

The left hand removes the outer card of the

palmed three from the pocket, leaving the
other two behind. The right hand removes its
card; these two cards are dropped face up on
top of the tabled face down deck (Fig. 8).

The deck is now picked up and placed into

the left hand dealing position. The two face
up cards are pushed into the middle of the
face down deck. Again, these cards are
Fig. 8 palmed into the left hand palm using the
Erdnase Diagonal Palm Shift as the deck is
placed face down onto the table.

Both hands now enter the left and right

trouser/pants pockets. The left hand removes
one of the palmed cards, leaving the other
behind. The right hand removes its card,
which was the card you placed there
previously; both cards are held back outward.
The right hand places its card behind the left
hand card (left hand now holding both cards
as shown in Fig. 9). This frees the right hand
to casually pat the right and left jacket Fig. 9
pockets as you say, “Four cards to four different pockets.”

The right hand then re-takes one of the cards from the left hand; however, the
other card is taken, in other words the cards are switched; this move belongs to
Peter Duffie. Both cards are now replaced into the left and right trouser/pants
pockets, the left hand card going nearest the body. *See ref 5.

The four cards are now produced from four different pockets as follows:

78
 The left and right hands enter the left and
right jacket pockets at the same time. Whilst
in the left pocket, the left hand executes the
pants leg reversal move with the card nearest
the body (Fig. 10 shows exposed view). *See
ref 6. Both cards in the left pocket are now
grasped face-to-face and removed from the
pocket in an almost Copped position.

Fig. 10

Both the right and left hands are removed

from their pockets at the same time; they
emerge with the backs of the fingers facing
towards the spectators as if holding cards
(Fig. 11). You will now appear to produce two
of the signed cards - one from the left jacket
pocket and one from the right jacket pocket -
using another cool move by Peter Duffie.

Fig. 11

With the backs of the left and right hand fingers facing towards the spectators and
the hands about six inches apart, the right hand moves below the left hand; as this
is done, the top card in the left hand is pushed off with the left thumb as the left
hand turns slightly inward.

Fig. 12 Fig. 13

By this time, the right hand is passing below the left hand as it moves towards the
left; the pushed-off card is taken onto the right hand palm as the hand continues
its journey to the left, palm up (Fig. 12). The card should appear face up and look
like it came from the right hand. The right hand then moves back out of the way, as
the left hand then moves towards the right and drops its card face up onto the
table to the right (Fig. 13). *See ref 7.

79
Both hands now enter the left and right hand trouser/pants pockets, producing the
other two cards (outer card removed from left pocket). These cards are dropped
face up onto the table, simulating the same hand actions as used earlier with the
Double Flight move.

* Credit References

1. Neal Elias Multiple Shift, Ed Marlo`s Revolutionary Card Technique (1961).

2. Erdnase Multiple Card Palm, Expert at the Card Table.

3. Lowey Palm, Stars of Magic and The Card Magic of Francis Carlyle.

4. Erdnase Diagonal Palm Shift, Expert at the Card Table.

5. Double Fantasy, Close Up to the Point, Peter Duffie (1984).

6. Pants Leg Reversal, Card Manipulations, Jean Hugard.

7. Double Flight, Move Mastery DVD Series 2, Peter Duffie.

Email: [email protected]

80
 T^3
(Pronounced ‘T to the Three’)

Harry Guinness

Effect
A three-phase, in the spectator’s hands, transposition routine. The spectator’s and
magician’s cards twice switch places. The spectator then names any 4 of a kind to
act as bodyguards. The spectator’s card is clearly placed face-down between two of
the four-of-a-kind and placed under her hand. The same is done to the magician’s
card; however, with a wave of his hands, the cards once again switch places, the
bodyguards proving ineffective.

__________________________________

This routine came about through a desire to make the excellent ‘Simple Transpo’
effect into a proper routine. The way this always seems to be traditionally done is to
start with the transpo and then do an ambitious card routine with the spectator’s
selection; this always seemed very forced to me, not in the least because the
transpo tended to be stronger than the inane ACR that followed. However, what I
quickly realised was that, by using the wonders of the top change, you could make
it easily repeatable. This was grand for the second phase; however, I felt it really
needed a third, more impossible phase, and thus the bodyguards idea came about.

One other point before describing the effect: this went through quite a few handling
variations, all of which had merits. I still use some variations depending on the
circumstances, so I will describe the method in its most general form first and then,
at the end, describe some of the slight changes in sleights you can use. Now to the
working.

Working
In case you haven’t realised it yet, the magician’s chosen card is actually a pair of
duplicates. For the purposes of this description, I will assume the duplicate is the
Three of Clubs. For the effect to start, you need to have the two Three of Clubs on
top of the deck. I tend to cull them after my Two Card Routine. You can, of course,
just open with this and have them already on top. Spread the cards for the
spectator to choose one. If they are trying to catch you out by selecting the top
card, you can either mess with their head by using the duplicate or just make them
choose another one. Assuming they pick a different card, have them show it around
to everyone else.

At this point, Top Palm the Three of Clubs and have them place their selection -
let’s assume it’s the Queen of Hearts - on top of the deck. Load the palmed Three
of Clubs on top of their selection and turn over a double showing their card. Turn
the double face down and place the top card (Three of Clubs) on the table for them
to put their hand on top of, or get them to put one hand palm upwards, like a table,
put the card face down on it and have them place their other hand on top. Turn
over a double as you say, “Oh, I’ll use the... (notice the Three of Clubs) Three of

81
Clubs.” Turn the double face down and take the top card (their Queen of Hearts) in
your hand, wave it over their hand and reveal that the card they think is in their
hand is now in yours. As soon as you show the Queen of Hearts in your hand and
they all see it, Top Change it for the Three of Clubs on top of the deck. Everyone will
be staring at the spectator as they are opening their hands to show she has the
Three of Clubs in-between them, which gives you all the misdirection you need. The
next bit requires nerve and audience management, but, trust me, it’s really easy;
the spectators are reeling.

You now have the two duplicates in play: the one the spectator is showing around
in her hand and the one they assume is the Queen of Hearts in your hand. If they
look at the duplicate in your hand, you’re going to be in trouble, so just don’t let it
happen! What you do is put the Three of Clubs as the Queen of Hearts in their
hands and tell them to guard it better this time as you take the other Three of Clubs
off them. If you tell them, “Slam your hand on top so I can’t get near it,” they will do
just that without looking at it. This conveniently means no one else can. As they all
look towards the spectator slamming the card in-between her hands or against the
table, judge your moment and Top Change the Three of Clubs for the Queen of
Hearts that is on top of the deck. You’re now set up to repeat the effect as before.
Reveal as before with a wave and a wink, depending on how attractive the girl or
boy is and whether you have the social skills to pull it off! This time, however, hand
both cards to the spectator.

By giving the cards to the spectator, it will clear up any lingering doubts anyone
might have had of you switching the cards earlier. I love using a different method to
achieve the same thing and so eliminate suspicion for the previous method! You
then ask them to name any four of a kind to use as bodyguards to stop you being
able to use sleight of hand; let’s say they name the four Kings. Spread through the
cards and remove the four Kings, being careful not to reveal the duplicate Three on
top of the deck. If you’re at a table, place the four Kings on it. If not, hand the red
Kings to one spectator and the black Kings to another.

So the situation is as follows: You are holding a deck of cards with a Three of Clubs
on top of it; the original spectator is holding the Queen of Hearts and the other
Three of Clubs; two more spectators are each holding two Kings; the entire
audience, regardless of gender, is sexually attracted to you.

The following move is a variation on the standard sandwich move, and what it does
is it swaps the card placed face down between a pair of face up cards with the face
down card on top of the deck in the action of displaying them. So, in the first
instance, it will swap the Queen of Hearts placed face down between two face up
bodyguard Kings with the face down Three of Clubs on top of the deck. The small
packet of three cards (two face up Kings and a face-down Three of Clubs that the
spectator believes is the Queen of Hearts) is placed between the spectator’s
hands. You then repeat the move for the other two kings and the Three of Clubs the
spectator was holding, this time swapping the Three of Clubs for the Queen of
Hearts that was on top of the deck. This is then revealed as before with the added
kicker of the bodyguards failing to stop the magic.

So now the move: I just call it the T3 Switch. We’ll continue using the cards as
above in this example. Get a break under the Three of Clubs on top of the deck.

82
Spread two of the Kings - let’s assume they are the two red Kings - face up in your
right hand. Have the spectator place their selection face down between the two
cards (Fig. 1), square-up the packet and transfer it to Biddle Grip (Fig. 2).

Fig. 1 Fig. 2

Peel off the top King onto the top of the deck as you steal the Three of Clubs that
was above the break (Fig. 3); however, maintain the break under the King. Next,
pull off the face down Queen of Hearts (Fig. 4) as you steal the King from above the
break just as you did the Three of Clubs.

Fig. 3 Fig. 4

Then place the packet of three cards that the

spectator believes is the single, face up King
on top of the packet. Push across three
cards, and they’ll see the face up King, a face
down card (which they’ll assume is the Queen
of Hearts) and finally the other face up King
(Fig. 5). The Queen of Hearts is actually face
down on top of the deck in position for you to
repeat the move with the three remaining
cards (the Three of Clubs and the two black
Fig. 5 Kings).

Possible Handling Variations

As I mentioned at the top, this routine went through a number of changes before
becoming the handling above. Most variations are minor ones that got changed for
one reason or another. One handling involved upwards of five top changes! The

83
first one is obviously the get ready. I prefer to use the Top Palm method; however,
you get the exact same effect by secretly turning over the top card and placing their
card face up on top of it. This loads the dupe above the selection.

The two top change reset for the second phase can be repeated as many times as
you want; I just reset it the once before doing the ending to keep it a reasonable
length for walk around, but, if you are taking your time at a table, then three or four
repetitions are possible if you present it well and with increasing degrees of
impossibility (maybe throw in a Face Up Transpo, as seen later!).

The other big change is that the T3 Switch can be entirely replaced with two top
changes; it is awkward to pull off, though, as you don’t have the inherent
misdirection you got first time round, and spectators are more likely to check the
face down cards. It is perfectly doable if you just go for it and adapt on the fly; it
was, in fact, the original handling of the final phase.

Credits
Credit for this is very difficult to assign. The transpo routine this is based on is as
old as anything. If anyone knows the real originator, please email me at the
address below and I’ll adjust credit appropriately. I’m sure the two Top Change
reset for it is in print somewhere as well. The idea of using court cards as
bodyguards is also really old!

Email: [email protected]
Web site: www.harrythemagician.ie/magic.html

84
 C.S.I.
Jackie McClements
Here’s something for nothing, almost. Magicians probably won’t like it, but the
general public does: CSI. I’ve never watched it, but I think it stands for crime scene
investigation; it’s a cop show. This got me thinking about Vernon’s ‘the fingerprint
trick.’ Police investigation tools have improved since fingerprinting was state-of-the-
art, and the public knows this.

Liam Montier’s Ultraviolet DVD led me to think of this reveal.

What follows is a simple trick, but, with adequate presentation, it can prove to be a
stunner.

You’ll need the following:

o UV marker pen (security pen)

o UV torch (for reading the security pen marks)

Preparation
Take a card and, with the UV pen, mark it around the edges, something like below.

I’ve tried various placements of the ink, starting off with just putting it on the actual
thin edge of the card to putting fingerprints on it, and have found this to be the best
arrangement (see figure 1).

This can, of course, be any card you want.

Fig. 1

The ink is shown as black in this picture, but in reality it’s invisible until illuminated
by UV light.

Set up
Have the ‘gimmicked’ card in position to force it on your victim. I have it on the face
of the deck so that I can cut it to the centre later and classic-force it. If this is not

85
to your liking, you could use the riffle force or any one of the many available
methods out there.

Working
Tell the spectators that you’d like to try a simple experiment using a piece of
equipment that used to be very expensive but is now easy to get very cheaply.

Get a male spectator to volunteer his services.

Have a card chosen (forced) and tell the spectator to hold the card face down
between his hands.

Tell him to peek inside and note what the name of the card is. Get him to allow
other spectators to see inside and remember the card, too.

Now tell the spectator to replace the card in the deck, stressing that he doesn’t
touch the deck.

Lift off about half of the deck and have him replace the card on the bottom half.
Drop the cards you are holding on top.

Ask another spectator if he has washed his hands recently; this will usually be
answered in the affirmative.

Tell the second spectator to shuffle the deck to completely lose the selected card.
Then have him place the deck onto the table.

Now the Trick Apparently Starts

“Derek took a card, remembered it and was careful not to let anyone else touch it.

“Derek then returned the card to the deck, and you all shuffled them up.

“Your (indicating the shufflers) hands are all clean.

“As viewers of detective and crime shows all know, a lot of things can be detected
nowadays that never could be in the past.

“For instance, minute traces of blood, sweat, urine, semen and vomit can now all
be found to point the finger at perpetrators who would have gotten away in the
past.

“I’d like to show you something quite unusual using something that was very
expensive to use in the past that you can now pick up for next to nothing.”

Here you introduce your UV key ring torch.

“William, could you spread out all the cards on the table, faces downward, as
neatly as you can?”

86
Choose another spectator and show him how to spread the cards by tracing a
horizontal line above the table where you want them to go.

“Thanks. Now you be the detective and see if you can find Derek’s card. Press this
button here and check the cards in turn.”

Hand him the torch and show him how to switch it on.

William switches the torch on and moves along the spread of cards as in Bob
Ostin’s classic, “Beamshot.” One card will glow. It will be the selected card.

“Now, Derek, go and wash your hands!”

Note: Just before turning the card to reveal the selection, I lift the torch upwards to
illuminate the entire spread. If the room is not too brightly lit, the single glowing
card will stick out like a sore thumb; it’s quite an eerie sight.

You can, of course, use your own storyline, but this one works for me.

If Derek and William are not present in the group you are working for, then simply
substitute the names of people actually taking part - a small point but worthy of
note.

Email: [email protected]

87
 Selected Daley
James Went

This trick combines the classic “Last Trick of Dr. Daley” with the addition of a
signed card. The strength of this variation lies in the fact that the signed selection
remains hidden during the transposition of the Aces, while building to a startling
reappearance at the climax without going near the talon of the deck. Whilst I
believe it would be impossible to improve on such a classic as the original, this
handling has achieved some great reactions.

Fellow Welsh magician James Piper (check out James’ chapter in this book), who
had a handling of the same effect, originally introduced me to the addition of the
signed card a few years ago. Although my handling is different, I am indebted to
him for introducing me to the plot. It is my hope that you find something contained
within that may find further application in your own magic.

Set Up
Start with the four Aces on top of the deck in C-H-S-D order from the top down.

Working
Have a card selected and signed, undercover of which obtain a break under the top
two cards in readiness for Tilt.

Take the selection from the spectator and

apparently push it into the centre of the deck,
in reality placing it into the tilt break (Fig. 1),
effectively positioning it third from top.

Patter about card control and perform an in-

the-hands False Cut.

Explain that you’ve now managed to move

their card to the top of the deck. Perform a
Fig. 1 Double Lift and display the Ace of Hearts.
Turn over the double and place the top card,
in reality the Ace of Clubs, on the table.

Tell them that there’s obviously been some error in your otherwise superhuman
powers of dexterity. Apologise and tell them that you’ll try once more.

Double-cut the top card to the bottom.

Perform a Triple Lift and display the Ace of Diamonds.

88
 Again, feign disappointment at a further miss.
Turn over the triple, and this time take the top
two cards as one and place them on top of
tabled card, jogged slightly to the right (Fig.
2). This will be important for the display to
come later. A Double Deal can also be used
here.

Explain that, in order to make up for losing

their card, you’ll attempt to find the black
Fig. 2 Aces in a magical manner.

Perform the Hofzinser Two-card Catch, which leaves you with the two red Aces in
one hand and the deck in the other (Figs. 3 & 4).

Fig. 3 Fig. 4

Place the deck to one side and reveal the fact you now hold the two red Aces,
which were previously believed to be on the table.

Holding the two red Aces in your left hand,

reach down to the two tabled cards to reveal
them as the two black Aces. The grip here is
important to ensure that the top card(s) (the
double) doesn’t split. Using your middle finger
and thumb at the short ends, grip the cards in
a sort of Biddle grip using a fairly light
pressure (Fig. 5). Picking the cards up in this
manner enables them to remain in the
stepped condition and ensure the Ace of
Fig. 5 spades and the selection hiding behind it
remain together.

Turn everything face down and place the red Aces in you left hand on top of the
two(?) black Aces. Turn the five cards face up and perform an Ascanio Spread to
display the four Aces. Although this isn’t essential to the rest of the trick, it acts as
a subtlety to reinforce the fact that you only have the four Aces.

Close the spread, turn the cards face down again and perform an Elmsley Count,
with the last card going on top.

89
Explain that the Aces like to switch places and offer to repeat the effect, this time
with the black Aces.

Perform a Double Lift and display the Ace of clubs. Turn the double over and place
the top card on the table.

Perform a Triple lift from the bottom of the packet ala Gemini Count, displaying the
Ace of spades. Turn the triple face down on top and place the top card onto the
other card as before. The red Aces are now on the table, and you are holding the
two black Aces with the selection sandwiched between them. By now, the memory
of the selected card being present in the first place is often forgotten, which is why
it’s important to get it signed. It also helps to make the reappearance in a moment
more powerful.

Have the spectator turn over the two tabled

cards, revealing the red Aces. Using your left
hand, sidejog the bottom card of your packet
to the left slightly and turn your right hand
face up, showing the two black Aces (Fig. 6).

Place the two (?) black Aces face down on top

of the two face down red Aces.

Fig. 6

You are now holding a face down five-card packet with the selection on top.

Turn the packet face up and reiterate the names of the four Aces, taking each one
in turn off the top with your right hand, turning it face down and placing it
underneath the packet. Do this with the first three cards and then stop when you
get to the Ace of spades, which is the last of the four.

You should now be holding -- reading from the top -- face up Ace of spades, face up
selection and the remaining three Aces face down underneath

The following move is difficult to explain but very easy to perform:

Hold the packet between the right hand index finger and thumb at the right hand
long side -- like a fingertip Elmsley.

Push the lower four cards to the left with the right index fingertip, pulling the Ace of
spades slightly to the right at the same time.

During this motion, flip the bottom four cards over under the Ace of spades whilst
maintaining this Ace face up on top (Figs. 7 and 8).

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 Fig. 7 Fig. 8

Although this reads rather convoluted, it flows from the preceding count and should
be carried out as one fluent action with a steady rhythm. It also positions the cards
for the final revelation.

At the end of this procedure, you have positioned the selection at the bottom of the
four Aces.

Spread the Aces between your hands, pattering that they can be harnessed to find
certain cards in the deck. Remind them of the signed cards from earlier.

During this motion, cull the selection to a position underneath the middle two cards
of the spread. The selection should now be hidden beneath the spread in a central
position.

Wave the spread over the tabled deck and ‘snap’ the spread Aces in the middle
point as if breaking it in two between your hands. This action causes a face down
card to appear at the central point of the spread.

Reveal the card to be the selection.

Email: [email protected]

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 Estimation
Patrick McCullagh
I love this effect because it has an element of risk (i.e. you may get the wrong card
and have to use an out to finish the effect successfully). You see, the spectator
really has a free choice of card, and you just have to guess as to what it is.

To improve your chances of getting the right card, many methods of effectively
reducing the number of cards the spectator has to choose from have been
developed. However, it is important to know that it is impossible to guess correctly
each time; therefore, you will need “outs.” The nice thing about this type of effect is
that it can have many different outcomes, and so it is exciting to perform. The real
secret is to just keep your cool and continue until you pin down the selection.

My Method
I give the cards to a spectator to shuffle and check; then I take them back and
explain what I want them to do.

“I am going to spread the cards across the table, and I want you to glance down
and lock the picture or number of the first one you see into your mind. Don’t go
looking for one; it’s an instant thought...are you ready? … OK.”

I then ribbon spread the cards on the table (right to left if they are on the opposite
side - it is important that the indices are clearly visible to them). As the spectators
look at the cards, I say, “Got one ...yes?”

This is to force them into a quick decision. At the same time, I turn my head
towards them and try to guess where they are looking at in the pack. They tend to
be looking at the card they have selected. You have to lock in on a card at this point
and remember it. This is the card that will help you with your guess. Immediately
after this, scoop up all the cards and reconfirm that they have just picked a card
that has caught their eye (often people will just think of a card as they are not really
listening to your instructions).

At this point, I normally give the cards a couple of false shuffles and cuts. It’s not
important, but I feel it adds to the confidence in the spectator’s mind that I could
not know what the card is.

”OK, let’s see if I can get your card.”

Take the cards and spread them towards yourself as if trying to make up your mind.
What you are doing is looking for the card you spotted earlier and at two or three
cards on either side. It is highly likely that the selected card is amongst these. In
this case, I guess the Ace of Diamonds - see example spread in Fig. 1, below.

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 Fig. 1

From this spread, I can see two Diamonds in the middle; I think it’s the Ace of
Diamonds or the King of Diamonds, so I fish a bit.

“I’ll get it in three guesses; it’s a cherry-colored card.”

They will generally answer, and, depending on the reply, you will make other
decisions.

1.) “Yes.”

“Thanks … I was just thinking out loud … but that just confirms my thoughts.”

I now know it’s red and more than likely a diamond.

2.) “No.”

“Have you never heard of black cherries?”

OK, so now I know it’s not a red card; it’s probably the Seven of Spades, Nine of
Spades or the Five of Spades.

3.) “Why should I tell you?”

“You don’t have to, but, if you don’t, I think our relationship is doomed.”

They normally say Yes or No at this stage. Still, it doesn’t matter … keep plodding
on.

Still no further forward except that I still have my first guess of the Ace of
Diamonds.

“OK, I think I have got it … I am going to commit myself to it!”

Red Scenario
You will go with your guess so take out the Ace of Diamonds and place that on the
table.

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“Don’t look … I think I have got it … but I still have two guesses!”

Because it’s red and the two Diamond cards are in the middle of my group, I will cut
the King of Diamonds to the top, ready for an “out.” I then load it under the card
box on the table as I patter.

Card Under Box is a great utility move I first read about in 100% Sankey; this move
was obscurely hidden in the body of a horrendous routine called “Clue,” which I am
certain most people gave up reading early in the routine. This is a very easy load as
all the moves are so natural; it is much simpler than Card Under Glass as the box
gives it complete cover. The most important point is to have the card box in the
correct starting position.

The card box is placed close to you at a

45º angle (Fig. 1) so that, when you turn
your left hand palm down, the pack
position mimics that of the box. The
motivation for the load is that you feel
the box is obstructing your way, so you
casually just move it out of the way, at
the same time loading the card. I point
Fig. 1 to the tabled card with my right hand as
my left, with a little finger break under
the top card, moves towards the box. I then push the selected card away and say,
“Don’t look.”

Fig. 2 Fig. 3

Fig. 4 Fig. 5

The left hand picks up the box underneath the pack of cards (Fig. 2), and both
hands come together, the box and broken off card taken in the right hand (Fig. 3)
and turned down as they are placed off to the right (Figs. 4 and 5). All the above

94
must be executed without looking at the card box. If you make it very offhand, it will
go straight past everyone. Now you have an “out” card under the box.

“OK … it’s a Diamond.”

If they say, “YES,” you are probably home and dry. If they say, “NO,” go to section 4
on the next page.

“Last guess … it’s a picture card?”

If they say, “YES,” you can be pretty certain it is the King of Diamonds. Just to be on
the safe side, say if it’s a “NO,” it’s probably the Ace of Diamonds, and you are
home and dry.

“I can’t even remember what I put down ...”

As you say this, quickly run through the cards and cut the other Diamond court
cards to the top. (Hey, you may have missed completely with you first guess.)

“Yep! I think I got it … those are my three guesses … remember I have already
committed myself. I have placed a card on the table … for the first time, please
name your card.”

Again, a number of things might happen.

1: They say Ace of Diamonds. Ask them to turn it over and take your applause.

2: They might say King of Diamonds. I say, “Wouldn’t it be great if that card on the
table was your card....it would, but unfortunately it’s not.” I pick it up and show it. I
then place it back on the pack and say, “You see, the card you thought of wasn’t
even in the pack.” Spread the cards to show it’s not there. Then bring attention
back to the card box, point to it and say, “You see, your card has always been
under the card box.” Get them to turn over the box and watch the surprise.

3: They may say Queen of Diamonds or Jack of Diamonds, which are the top and
2nd cards. If they say Jack of Diamonds, cut the top card to the bottom and get a
little finger break under the top card. Say, “I wasn’t sure, so I placed two cards on
the table. I have one over here under the box as sort of security blanket …” Turn it
over to show the King of Diamonds, saying, “Hey … close … but this card...” Pick up
the tabled card and point at the spectator with it. Then, as an afterthought,
momentarily set it back on the pack and point again with your right hand, saying,
“Would you bet on it?!” Regardless of their reply, say, “What was your card again?”
When they reply, do a double turn-over to show you were right.

Note: I more often than not do a top change instead of setting the card back on the
pack; however, it is difficult to explain the timing in these short notes. If you can do
it, I think it’s much better as the hand holding the selection seems never to have
come close to the pack.

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4: None of the above. In this case you must quickly look at the cards and find the
selection, culling it to the top as you make up some patter, such as, “I don’t believe
it … I got it again … ” Then use the “out” in point 3, above.

Black Scenario
Place the Seven of Spades down on the table as your primary guess and load the
9S under the box as before. Place the Five of Spades on the top of the deck and
continue as before with the red guess.

Sometimes there may be only one card that sticks out, and you may want to go
straight for it. I will often do this if I get a really strong feeling I am right. This is fine
as long as you are confident that you can quickly locate and switch in the correct
selection if you are wrong.

If you would like to refer more on the subject of Estimation, Derek Dingle and Terry
Lunceford, from the U.S., have done great work on it, as has Joe Riding from
England, to name but a few.

Email: [email protected]
Web site: www.pat-trick.com.au

96
 Exploring the Deck Vanish
Peter McLanachan

The deck vanish is one of my favourite plots in card magic and one that I have
explored on a few occasions. I look upon these two routines as different routes to
get to a common destination: that being the vanish of a deck of cards under the
noses of the audience. To save time, I have explained the first routine, “The
Traveller Vanishes,” in full detail, and I will refer back to certain points of this
explanation in the description of “Selected Vanish.” I hope you enjoy both of them.

The Traveller Vanishes

I love Vernon’s “The Travellers” from Stars of Magic, and this is a handling of
Vernon’s original and brilliant effect that incorporates another of my favourite
pieces of card magic – The Deck Vanish. The following routine was created to
nearly duplicate the way that the original is performed but with a few little changes
to allow the incorporation of the deck vanish (done purely to kick other magicians
in the head).

If you have not learned the original Vernon version from Stars of Magic, may I
suggest – in fact, may I demand – that you go get the book and learn the Vernon
routine first. I know that there are many methods that now involve fewer palms,
but, in my opinion, none of them come close in construction to the original.

Effect
Four signed aces are lost in the deck. Each one then vanishes from the deck and
reappears in 4 separate pockets. Upon offering to repeat the effect, the deck is
found to have vanished, leaving only the 4 signed cards.

Before you begin, make sure you have a couple of marker pens handy so that the
cards can be signed.

Working
Have the four Aces signed by members of the audience. The spectators MUST sign
these cards; otherwise, the effect of the routine is lost. That is an important point
that Vernon was always at pains to get across, so I shall say it again, loudly — HAVE
THE SPECTATORS SIGN THE CARDS!

Hold the deck face up and insert the Aces into the outer end of the deck at
different places, leaving them protruding for about half of their length. This allows
you to apparently show the Aces going into separate parts of the deck, while you
carry out a Multiple Shift to control the cards to the back of the deck. The original
Vernon method from page 98 of Stars of Magic works perfectly well for this, as
does the D’Amico Multiple Shift, which can be found on page 31 of The Multiple
Shift by Edward Marlo, recently reprinted on page 381 of the bound volume of his
Revolutionary Card Technique series.

97
As you square the cards, Bottom Palm the Ace at the bottom of the face up deck
and explain that you will cause the four Aces to vanish from the deck and reappear
in different pockets around your body. Keep the deck in left hand dealing grip with
the palmed card hidden underneath for a few moments before you proceed.

Snap your fingers or make some other magical gesture to allow the audience to
realise the moment that the “magic” happens … or is supposed to! At this point,
take the deck from above with your right hand while the left hand — with its palmed
card – goes towards your left trouser pocket. After it goes in, it brings the palmed
card into view for a few seconds as you say, “There you are, one here…” Continue
the sentence by taking the deck face down into left hand dealing grip and patting
your right trouser pocket, saying, “…one here…” Pat your jacket pockets, saying,
“…one here and one last on this side.”

Relax and act as if that is the end of the effect. As you do so and while toying with
the deck, palm the top two cards off of the face down deck; then take the deck
from above as you say that you’ll prove that the signed cards really are where you
said they were.

Holding the deck from above in your right hand, show your left hand empty, but
don’t make a big thing of it; a simple gesture will do. Then reach into your left hand
trouser pocket, removing the card you put in there a few moments ago. This Ace is
shown and placed face up on top of the deck.

The left hand takes over holding the deck from the right hand, and the right hand
now goes, with its palmed cards, towards the right trouser pocket, where it drops
both cards. Remove one of these cards and show it to the audience. The second
Ace has travelled.

As you remove and show the second Ace, get a break under the face up Ace sitting
on top of the deck.

Place the second Ace face up on top of the deck on the top of the first Ace. You now
hold a break under the top two cards, which are both face up Aces.

The right hand now takes the cards above the break from above with all four
fingers at the front and the thumb at the back (Figs. 1 and 2).

Fig. 1 Fig. 2

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 Exposed view Audience view

As this happens, the left hand takes the deck in a deep, almost Gamblers’ Cop; grip
with the left thumb at the side and the index finger along the front of the deck and
move towards the outer left jacket pocket. A slight turn to your left helps shield this
action (Figs. 3, 4 and 5).

Fig. 3 Fig. 4
Extreme exposed view A little less exposed

Fig. 5
How the hand would look as it goes to the pocket

When the left hand reaches and enters the pocket, the deck is left there, and the
left thumb drags the top card (the third Ace) off of the deck. Remove your hand -
with the Ace - from your pocket and show the Ace. Place this on top of the Aces held
from above in your right hand as you transfer the cards, as if they were the deck,
into a deep dealing grip (Figs. 6 and 7).

99
 Fig. 6 Fig. 7
(Performer’s view) (Spectator’s view)

Your empty right hand now enters your right outer jacket pocket as you briefly act
as if you are looking for the last Ace in there. Your face should show a little concern.
Now, put your right hand into you left trouser pocket and palm the card that is
already in there. As this is happening, have a concerned look on your face as if you
cannot find the last Ace. Your right hand now goes towards the inner left jacket
pocket and apparently removes the final Ace from there. To make this easier, have
your hand enter the jacket just above your waist and move up towards the pocket.
Show it and place it face up on top of the other three Aces.

At this point, I create the effect of the deck vanishing. The line I use here is, “I know
how the aces get to the pockets. The only thing that bothers me is where the deck
goes.” As I start the second sentence, I slap the Aces between my hands and then
openly deal them to the table to show that the deck has vanished.

End Notes
As I said at the start, I love to perform Vernon’s “Travellers” and the Deck Vanish.
My first introduction to non-gimmicked methods for vanishing a deck of cards was
courtesy of Jackie McClements’ effect called “Shock Treatment,” from the
manuscript of the same name. That set the ball rolling for me; for some time - any
occasion that I had the opportunity - I would conclude my performance with the
Deck Vanish. Another method of note was by Larry Jennings, who performed and
explained his handling in his Thoughts on Cards videos.

The Deck Vanish in conjunction with the Travellers effect is not a new idea. After a
conversation with Bill Goodwin, Los Angeles-based performer and creator Alfonso
published his handling entitled, “The Vanishing Traveller,” in the Magical Arts
Journal (Page 27, Volume 1, Issue 11 and 12, June and July 1987). Although we
have the same start and finish points, our routes to get to those destinations are
very different.

100
 Selected Vanish
Effect
Three spectators each select a card, which are noted and lost back in the deck. The
first two cards vanish from the pack and reappear in the performer’s jacket
pockets, leaving the last remaining card alone in the performer’s hand, the deck
having vanished.

Set Up
Place a card in your right jacket pocket with the face towards your body.

Working
Have three spectators each select a card. These are noted by the spectators,
replaced in the deck and controlled to the top so that the first selection is on top of
the deck with the third selection under it and the second selection under that. I like
to have the cards replaced in the order that they were first selected, and this gives
me the challenge of working out how to get them in that order.

One method I use for controlling the cards into the first-third-second order is: whilst
holding the deck in left hand dealing grip, cut about a quarter of the deck off in
your right hand and offer the left hand portion for the first card to be replaced on
top. As you replace the right hand portion, get a break under the first selection and
keep the break between the portions. Undercut about one quarter of the deck from
the face to the top, then cut all the cards above the break and ask the second
spectator to place their card on top. Replace the right hand portion on top, keeping
the break. Again, cut another portion of cards from the bottom to the top, then cut
at the break once again and have the last card replaced there.

As this card is being replaced, the right hand performs the first part of the ‘Kelly-
Ovette Move’ to allow a break to be held by the right thumb. Holding the deck from
above, the right ring and little fingers reach under the deck and contact the face
card of the packet, the first selection. This card is then moved to the right so that it
is free from the right thumb at the back end. It is then raised up again so that the
thumb can re-take the card at the back, holding a break.

The act of the spectator replacing the card covers this action as the audience will
be watching the replacement of the card. Replace the top half of the deck and
transfer the break from the thumb to the left little finger. You can now have the
cards brought to the top by whatever method you wish, whether it’s a Double
Undercut or a Pass.

As you explain that each of the selections is going to vanish from the deck and
reappear in different pockets around your person, Top Palm the top card of the
deck into your right hand. Your left hand, holding the deck, moves away from your
body so that the deck is well away from the right hand pocket. Riffle the corner of
the deck with your left thumb and reach into your right jacket pocket with your right

101
hand. Drop the palmed card inside your pocket as you remove the card that is
there. Hold this card with its back towards the audience and ask the first spectator
to name their card. When they do so, look at it, say, “correct,” and then immediately
replace it into the deck without letting anyone see the card’s face.

Now turn to the second spectator and begin to ask for the name of their card (yes,
this is an old gag, but it still goes well lay audiences). Turn back to the first
spectator once again and ask for the name of their selection. Riffle the corner of
the deck in the same way as you did earlier on, very briefly show your right hand
empty and remove the first selection from your pocket, showing its face to the
audience. Hand this card to its selector, getting a break under the top card of the
deck as you do so.

You now follow steps 6, 7 and 8 of “The Traveller Vanishes” to produce the second
selection from your left jacket pocket while ditching the deck in the pocket.

This leaves one card to masquerade as the deck.

Hand the second selection to its selector, keeping the “deck” close to your body.
Hold the “deck” in a deep dealing grip, as you did in “The Traveller Vanishes” (see
Figs. 1 and 2 below), and ask the third spectator for the name of their card.

Fig. 1 Fig. 2
(Performer’s view) (Spectator’s view)

When they name it, act as if there has been a huge mistake on your part. Apologise
for making the mistake of allowing the spectator to select that particular card,
saying, “Your card does not vanish from the deck … the deck vanishes from your
card!”

As you say this, your right hand comes over the “cards” in your left hand and
presses down on the “cards,” apparently squeezing the deck out of existence.
Show the final selection to be the only card left between your hands.

End Notes
I used to perform a similar routine with just two selections, but I felt that it was a
little confusing and did not make much sense. Then, on a trip to the 25th

102
anniversary convention of Magischen Nordlichter in Hamburg, Germany, I decided
to add a third selection, and, suddenly, the routine seemed to flow a lot better than
my previous version.

Email: [email protected]
Website: www.thecardman.co.uk

103
 Thrice
Alan Rorrison

Effect

Inviting three spectators to assist, you explain that you will show them a magic
effect and that you will do it twice. But, if things to well and you are feeling lucky,
you might try it a third time. This said, you remove your deck from its box along with
two business cards. The business cards, you say, are your predictions. You then
shuffle the deck and hand it to a spectator (we will call him A), who now deals cards
into a pile on the table and stops at any point. He then picks up one of your
predictions and drops it on top of the dealt cards as a marker; then he places the
balance that he holds on top of all. Spectator B now takes the deck and repeats the
same process. There are now two predictions/markers buried at random locations
in the deck, and the spectators have done all of the work. At this point you say,
“Well, you’ve done so well up till now that I think we should go for a third one. We
might not succeed, but let’s go for it anyway.” At that, you open the card box and tip
out a third business card prediction. Spectator C now takes the deck and carries
out the same procedure as before. All three predictions/markers are now at
random locations in the deck. Finally, you spread the cards face down and remove
each marker along with the card directly next to it. You turn over the first card; it
might be the Three of Clubs. Your prediction is now turned over, revealing that you
had written “Three of Clubs” on its back. The second card is turned over, and again
your prediction matches. Finally, the third card is turned over, and the final
prediction is shown to be correct.

This is a simple triple-prediction system based on Karl Fulves’ ‘Gemini Twins.’ The
first two predictions follow a similar path to the Fulves original. However, Alan has
added a clever third prediction which adds to the effect immensely and will fool the
knowing ones.

Requirements

You need three business cards (these must have blank backs so that you can write
on them) or three blank business cards. Write the name of a different playing card
on each. For this example, we will make these cards the Ace, Two and Three of
Clubs as this will make the description easier to follow (see Fig. 1). In actual
performance, these will be three random cards.

104
 Fig. 1

You also need a regular deck of cards in their box. The box must still have the main
portion of the cellophane wrapped around it.

Set Up

Your first predicted card — in this case the Ace of Clubs — is placed on the bottom
of the deck, and the second predicted card — in this case the Two of Clubs — goes
on top. The third predicted card (Three of Clubs) is slid face down under the
cellophane so that the back of this card appears to be the printed back on the box
(Fig. 2).

Fig. 2 Fig. 3

Finally, place the deck into the card box

(card box is back side up as shown in Fig.
3) and then slip the three predictions (in
1-2-3 order from top down) inside the
box, under the deck (Fig. 4).

Fig. 4

105
 Working

Invite three spectators to assist.

Remove the deck from the case, leaving the predictions inside for the moment.
Give the deck a couple of Riffle Shuffles, retaining the top and bottom cards. Leave
the deck on the table.

Now pick up the card box and tip out the three business cards with the prediction
sides facing downwards. Point out that you only need two of the cards as you push
off the upper two cards onto the table. The third card is replaced inside the card
box.

Give the face down deck to spectator 1 and ask him to start dealing cards one by
one into a pile on the table. He can stop whenever he wishes. When he stops, ask
him to pick up the top card of the pair of predictions (this is prediction 1) and to
drop this card on top of the cards he just dealt. Finally, instruct him to drop the
remaining cards on top.

The deck is now passed to spectator 2, who carries out the same actions.

At this point, you appear quite happy with the proceedings thus far, so you offer to
go for the third one. So, you now need to get the card from under the cellophane on
the card box to the bottom of the deck. Alan accomplishes this in a rather sneaky
way that is not at all difficult to do.

a) Your left hand picks up the deck, gripping it from above as shown in Fig. 5.

Fig. 5 Fig. 6

b) The hand continues towards the card box and picks it up under the deck with the
opening pointing to your right (Fig. 6).

106
 c) You now reach into the box with your right
fingers, ostensibly to remove the third
business card. But before the fingertips are
fully inserted, they engage the card under the
cellophane and drag it forward slightly (Fig.
7).

Then, without pause, the fingers reach in and

slide out the business card, dropping it on the
Fig. 7 table. Push the card forward towards the
spectator; then come back to retrieve the deck, as follows:

Your right fingers go under the jogged card, and your right thumb presses on the
top of the deck (Fig. 8). The fingers and thumb now pinch the deck plus the hidden
card, and then the left hand pulls the box away (Fig. 9) and places it aside. This
leaves your left hand holding the deck.

Fig. 8 Fig. 9

The hidden card has now been added to the face of the deck.

Note: Prior to placing the box aside, show the audience that it is empty and that
there are no extra predictions in play.

Give the deck to spectator 3 and ask him to carry out the same procedure as was
done previously; he deals cards one at a time into a pile and stops when he wishes.
He picks up the third business card, drops it on top of the dealt pile and then drops
the remaining cards on top of all.

Now all that’s left to do is build up the effect and reveal your triple prediction, as
follows:

Spread through the deck (or a spectator can do this if you want to keep this a totally
hands-off trick) and stop when you reach the first business card/marker. Remove
the marker along with the playing card directly above it and place both together on
the table.

107
Continue spreading. Remove the next marker along with the card above it and
place these on the table next to the first set of cards, forming a row.

Continue to remove the final marker and card and place these on the table,
completing the row.

Finally, starting at either end of the row, turn over the first card, announce its name
and then turn over your prediction to reveal that it is correct. Now turn over the
middle card and then turn over your prediction; you are again correct. Finally, reveal
the final prediction to be correct to bring the routine to a strong conclusion.

Web site: www.alanrorrison.com

108
 It’s Out of My Hands: Out of This World
Steve Thompson
Ideally, cards are dealt into piles, and these are plopped over and spread out.
They would not be squared, combined or in any way handled.
You would do nothing but turn them over.

My Bias
I feel that in most tricks there are critical beliefs. The degree to which these are
believed is the degree to which the audience is amazed. If you change a queen into
an ace on someone’s hand, it is critical that they believe (before and after the
revelation) that you placed a queen on their hand. The more they believe this, the
more amazing the trick is.

The crucial belief in ‘Out of this World’ is that they feel that they really did deal into
reds and blacks and that the performer did nothing.

So, the most important moment in the routine is the moment just after they deal. If
you do anything to the cards at this point, it will erode the impact of the effect.

Ordinary people deal cards into messy bunches. It takes time and effort on the part
of the performer to square, combine and handle these bunches after the dealing. It
is therefore unlikely that you can make these actions psychologically invisible or
even justified.

Moreover, from a theatrical standpoint, any activity at all between the deal and the
revelation is likely to be dramatically very weak.

In the following version, the piles are not combined or squared or brought together.
They are simply plopped over and spread out.

Working
Start with a deck separated into reds and blacks. False shuffle and ask an
audience member to deal the cards into the two piles face down.

Pay discreet attention to the dealing and estimate or count when she gets to about
halfway. You don’t need to be too accurate (as a few misses add credibility to the
effect).

At the halfway point, say, “Tell you what; let’s give someone else a go too.”

Gesture to them to give the remainder to someone else. This second person now
does exactly the same but obviously at a different spot on the table. They have their
own two piles as it were.

This generates four piles of cards.

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Now comes the crucial moment. They have dealt. You have not touched the cards,
and you have generated almost exactly what you want: two black piles and two red
piles. There is only a minor discrepancy in that two piles are in the wrong places.

What you are now going to do is virtually nothing. You are so close to having
actually accomplished the ideal effect. There is no need to handle, manipulate or
contrive in any way. It is difficult to explain because there is no real technique. It’s
just a matter of timing, confidence and direction.

You just haphazardly pick up a red packet and a black packet. Hand the red to a
spectator face down and tell them to look at them as you spread the blacks for
everyone to see. Turn your attention to their red cards. As you do, spread the other
black packet in your hands and then draw attention to it. Finally, spread the
remaining red packet.

In this way, their attention is being bounced from black to red to black to red. I
wouldn’t over-think this. Just turn over the packets in a mixed up way. If you don’t
pay attention to their location, neither will the audience.

The overall impression the participants have is that they actually dealt the cards
into reds and blacks. That’s it. It couldn’t be more simple and direct.

Email: [email protected]

110
 World Snap Champion
David Walsh
This is an altered handling and presentation for a Brother John Hamman effect.

No setup is necessary.

Working
The presentation is based on a kid’s card game called Snap; perhaps in different
parts of the world it is known by a different name. The game involves two players.
Each player deals cards, one by one, face up in a pile. The winner is the first to slap
their hand on the pile when two matching cards are dealt together.

Tell your audience that you were recently at a major Snap conference where they
held the annual World Snap Championships. You can have a little fun here; people
are never really that sure whether to take you seriously or not.

Explain that you had the privilege of meeting the current world Snap champion, who
gave you a few tips on practicing for reaction speed.

Having explained how it works, ask a spectator to assist you.

Ask them to remember a card as you run through the deck and to remember at
which number it lies.

A break under a double should have been taken by now, and the deck is held as
normal in the left hand. Lift the double from the deck with your right hand and hold
it up with the face outwards. Now take a second card onto the face of the double
and hold the packet up again so the spectator can see this second card. You take a
third in the same manner and point out that, if they wanted this card, they would
remember it and the number three.

Continue to take cards in the right hand in this manner, and, after you have shown
a dozen or so, ask if they have got one yet. If so, replace the cards on top of the
deck. If not, continue, repeating the question every dozen or so cards. Replace the
cards on the deck when a positive response is heard.

Point out that, with their knowledge, they have an advantage that will really test
your reflexes.

Take a poised position before dealing the top card face down to the table,
explaining that they have to count to and snap (slam their hand down) on their card
at their secret number and that you will try to beat them to the card.

Continue to deal until they snap. Don't make a movement. Just pause, look at them
a little confused and ask if they are sure. As they turn the top card of the pile over
to check, you have ample misdirection to carry out the following:

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Take the deck from above into a right hand end grip position (Biddle style). As you
do this, the left thumb presses on the back of the top card (the selection) and
draws it off. The left hand immediately turns palm down and is placed flat on the
table with the face up card protruding at either end. This action is a bit like loading
a card under an ashtray. As I said, you have ample misdirection here because the
spectator is fully focused on the top card of the pile as he turns it over.

As they see the wrong card on top of the pile, bring attention to the selection under
your hand, pointing out that the technique really did sharpen your reflexes!

112
 Erdnase Concurrent Three Card Cull/stock
Part Bluff Method, with 2nd Deal
David Walsh

This procedure interrupts the Erdnase Cull Shuffle to pick up on the stock shuffle
before the desired cards are ever brought completely together, thus performing
both procedures while cutting down on the time and action required to accomplish
both consecutively.

The calculations may seem a bit much at first, especially related to the options.
However, it is simply a case of adding or subtracting to result in the number between
two of the desired cards, depending on whether this number is greater or less than the
number of players. After a while, the procedure will become obvious and easier to
understand.

The hardest part by far of the Erdnase Cull shuffle -- and even more so with the
Erdnase Stock shuffle -- is the action of injogging the top card. This procedure
removes the need for that action.

Working
Note the positions of the three desired cards in the standard Erdnase Cull Shuffle
manner.

Cut the deck, bringing the first noted card to the face before commencing the
shuffle.

Forget the first noted number and mentally change the second and third numbers
to become the first and second.

Undercut about a quarter of the deck, injog the first card and shuffle the last card
on top.

Run off the top card, forming a break at the injog, shuffle off to the break, run one
less than the first number, injog, running one more than the second number, outjog
and shuffle off.

Undercut to the outjog, forming a break at the injog.

Run the first card, and then throw the balance on top (injog the thrown packet).

If the second number is less than the number of players, follow a) and continue.

If the second number is more than the number of players, follow b) and continue.

If the second number is equal to the number of players, follow c) and continue.

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 a) Run a number of cards equal to the number of players minus the second
number, outjog and shuffle off. Undercut to the outjog, forming a break at
the in-jog, throw on top, run the number of players, injog and shuffle off.

b) Outjog and shuffle the last card on top. Undercut to the outjog, forming a
break at the injog, run the second number minus the number of players and
throw to top. Run the number of players, injog and shuffle off.

c) Outjog and shuffle off, running the last card to the top. Undercut to the
outjog, forming a break at the injog, and throw on top. Run the number of
players, injog and shuffle off.

Undercut about three-quarters of the deck, forming a break at the injog. Shuffle off
to the break and throw the balance on top.

For a) & c): Deal the first two rounds as normal. After dealing the second desired
card, Second Deal until you reach the final card, which you deal from the top.

For b): Deal the first two rounds as normal. After dealing the second desired card,
deal the second number minus the number of players and then Second Deal as
desired until finally top dealing the last card.

End Notes
1) It be noted that the first desired card, originally cut to the face, is simply run from
bottom to top, back and forward as often as possible, before being deposited below
the two card stack when necessary. The procedure is basically the same for the two
card cull/stock only without bothering to control this card. It should also be noticed
that there is only one shuffle in the sequence where the last card isn't run to the
top. To make remembering the sequence easier, you can run the last card to the
top every time, and the shuffle remains just as deceptive. This way the third card
becomes an automatic placement.

2) If the second number is greater than twice the number of players scenario b) won't
work. However, after the deal, its position from the top of the deck is known. This can
perhaps be taken advantage of later.

3) If the position from the original second to third cards is equal to the number of
players minus one, the third card’s positioning becomes entirely automatic. Following
the procedure as normal places the third card in its desired position with no need for
second dealing.

This situation can of course be manipulated by the gambling demonstrator with great
ease, as can the introduction of a fourth card of same kind. It takes the position one
card before the first in the original sequence. Its position is then ignored for the sake of
calculation, and the procedure is followed as normal with one minor alteration; the last
(or first) two cards are run between the top and bottom of the deck throughout the
procedure. This results in a stock of three cards directly followed by a fourth card that
is controlled by Second Dealing.

Email: [email protected]

114
 Out of Sight Location
Pat Fallon

Effect
Two freely selected cards are found one at a time by the performer by inserting a
face up Joker into a face down pack while it out of sight and inside an opaque
paper bag or behind his back.

The History
This routine came about very early on in my career while playing around with a
double faced card as I was trying to work out the solution for a different effect. For
a long time, it was a regular part of my restaurant act, especially for tables of two. A
slightly different version of it was first published in my lecture notes ‘Old Ideas New
Twists’ in 1995, under the title ‘The Joker does it.‘

Requirements
o A double faced card with a Joker on one side and any indifferent card on the
other
o A thick Joker
o A normal Joker
o A regular deck to match

A corner short joker could be used in place of the thick card if you prefer.

You also require an opaque paper bag like you would

associate with take away food (Fig. 1). This type of bag,
which should measure at least eight and a half inches
by seven inches, will open as wide as three inches,
which will allow for both of your hands to enter the bag
at the same time. You could also use a nice fancy gift
bag as long as it is big enough for the job.

Set Up
On the face of the deck, place the double faced card,
indifferent side face up; the normal Joker goes
somewhere in the centre, and the thick Joker is on the
Fig. 1 top. It is a good idea to have the duplicate of the
indifferent card of the double facer second from the top, well out of sight. The bag
is folded flat and carried in your side pocket.

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 Working
Run through the deck face up to show that it is well mixed and remove the regular
Joker from the centre when you reach it. Care should be taken at this point not to
expose the second Joker at the top of the deck or the duplicate of the double faced
card. The Joker is left face up on the table as it will be used later as a locator card.

Ask a spectator for a number, which you suggest should not be too high (as it must
be less than twenty six) as you are going to count that number of cards onto the
table. Have the spectator take the next card, remember it and then return it to the
top of the dealt pile. You place the remainder of the cards on top, which puts the
double faced card on top of the first selection. Pick up the deck and repeat this
sequence with the second spectator, which will in turn put the thick Joker on top of
the second selection. Square up the deck and place it face down beside the face
up regular Joker on the table. Remove the bag from your pocket, open it out fully
and lay it on its back with the mouth of the bag facing you. Due to the construction
of this type of bag, it will retain its open shape even lying down like this.

Pick up the Joker in one hand and the deck in the other and put both hands into
the bag. With your eyes facing forward, you tell the spectators that you are going to
insert the Joker face up into the deck, and, with sense of touch alone, you will
attempt to locate one of the selected cards. In reality, you just leave the Joker in
the bottom of the bag as you mime the action of placing it into the deck.

Bring the deck out of the bag again and spread through the cards until you come to
the face up Joker (double faced card), which you remove and place Joker side up
on the table. Take the card that was beneath the Joker and put it face unseen
between the palms of the first spectator’s hands. This will be their selected card.
You pick up the Joker from the table with one hand (being careful not to show the
indifferent face on the other side) and the deck in the other and place them back
into the bag. Once again, you leave this second Joker in the bottom of the bag
along with the first one, and then, with your thumb, you locate the thick Joker in the
deck. Separate the cards just enough to flip this Joker face up without changing its
position in the deck as you remove it from the bag. Spread the cards again until you
reach the face up Joker, remove the card below it and place it face unseen
between the palms of the second spectator as this is their selection.

Ask the spectators to name their selections before you allow them to look at the
cards they are holding as it creates a stronger finish to the effect. If you contrive to
give the spectators the other person’s card, you can add an extra climax by asking
them to look at the cards and asking them if that is the card they selected. They
will, of course, reply that it is not, and, when you ask them to name their selection,
you simply swap them over so they are each left holding the correct card. During
the revelation of the cards, you pick up the bag, fold it flat once more and return it
to your pocket. At the conclusion of the effect, you are left with a clean deck if you
discard the Joker, or you can do as I do and keep it in the deck as a locator card. If
you wish to repeat the effect when table hopping, it is an easy matter during a quiet
moment to retrieve the cards from the bag and reset your deck, which only takes a
few seconds.

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Providing you are not working surrounded, you can dispense with the paper bag
altogether and perform the locations behind your back. When you place the Joker
behind your back to apparently insert it in the deck, you simply ditch it in your back
trouser pocket. I must admit my preferred method, whether surrounded or not, is to
use the bag as it keeps the focus of the effect much better.

Web site: www.patfallonmagic.com

117
 Royal Road Trip
R. Paul Wilson

A few years ago, I recorded a series of DVDs on The Royal Road to Card Magic. This
was a wonderful exercise for me as it taught me just how much I missed when I
first read the book. Royal Road contains some of the finest card effects ever
invented and several of the finest sleights I know (check out the palm replacement
and tell me you have a better way).

An offshoot of this project was a desire to try and find cleaner, simpler methods for
effects, methods that I think might be worthy of the Royal Road book. Personally, I
am certain this is not new, but I am yet to find the original routine. Until I do, here it
is:

Working
Spread the deck face up and remove the four Aces, placing them openly on the
face of the deck.

As you do this, secure a break under the first three face cards prior to adding the
Aces. You will have put the Aces on the face of the deck and have a break under
seven cards.

Take the cards above the break in right hand Biddle grip (Fig. 1) and then flip the
deck face down into the left hand (Fig. 2). Place the right hand cards onto the deck,
keeping a pinkie break under them.

Fig. 1 Fig. 2

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 Now thumb over the upper three cards to
display four Aces (Fig. 3).

Fig. 3

Now flip all seven cards above the break face

down and then deal the top four cards onto
the table, the first three being dealt into a row
and the fourth card going in front of you —
classic ‘T’ formation (Fig. 4 from audience
point of view).

Fig. 4

You have just shown four Aces and placed them on the table. In actual fact, only
the card in front of you is an Ace. The other three Aces are on top of the deck. This
simple switch was published by Alex Elmsley in his ‘1002nd Aces.’

Thumb off three cards face down into the right hand. Thumb off another three and
take these cards under the first three. Repeat three more times as you patter about
adding three cards to each Ace.

In fact you have taken three extra cards, but this is never noticed, unless you
decide to act guilty about it.

Flip the fifteen cards in the right hand face up onto the deck, taking care not to
flash the Aces at the rear of the face up block. Keep a tiny pinkie break under these
cards.

Spread off three cards with the left thumb — three odd cards are seen. Flip these
three cards face down onto the deck, and then take them with the right hand and
place them on one of the outer ‘Aces.’

Repeat twice more, placing three cards on top of the other two cards in the row.
Spreading the cards to show them and flipping them onto the deck is important.

For the last Ace (the one in front of you), spread two cards to the right with the left
thumb to show another three odd cards, and then flip everything above the break
face down. Take the top three cards (all Aces) and place them onto the card in front
of you.

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You now have all four Aces in the leader pile by one of the simplest means
possible.

Email: [email protected]
Web site: www.rpaulwilson.com

120
 Chapter 3

Close-up Magic

121
 Vanishing Matrix

James Piper

Effect
You lay four coins at the four corners of your close-up pad. From a deck, you
produce the four Kings. You now cover each coin with a King. You say that you will
make the four coins jump; however, when you lift each card, it is seen that the coin
that was below it has vanished. There are now no coins! To remedy this unexpected
occurrence, you change each King into an Ace. Finally, you lift the four Aces,
revealing a coin under each.

Requirements
You require four coins and a deck of cards. Arrange the deck as follows, reading
from the top down:

Ace, King, Ace, King, Ace, King, Ace, King, rest of deck.

Working

Phase 1 – Four King Production

Lay the four coins near the four corners of your close-up pad (Fig. 1).

Fig. 1

Tell the audience that you also need four cards for this. Proceed as follows:

a) Give the deck a False Cut and then execute a Double Lift to show a King. Turn
the double face down and deal the top card onto the table between the four coins
— this is really an Ace.

b) Now give the deck a Slip-cut. This loses the top card and sets you up to show a
second King. So, execute a Double Lift, again showing a King, turn the double face
down and deal the top card (Ace) onto the table on top of the first card.

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c) Repeat step b) to produce a third King.

d) For the fourth King, James does it a little differently. Again, you Slip-cut to lose
the top card. But now, instead if repeating the same production, you Side Steal the
bottom card and add it to the top; this is done as you wave your hand over the
deck. You now cause a card to seemingly propel from the middle of the deck. In
fact, it is the top card that is spun out. We are unsure who to credit for this well-
known move. Martin Lewis’s name has been suggested, but it could go back further
into the mists of time. Anyway, proceed as follows:

Take the deck from above with your right

hand, second and third fingers at the front
and thumb at the inner end (Fig. 2).

Note that the second and third fingers and

thumb are holding the deck towards the right
edge (just past the midpoint). Raise your
hand so that the face of the deck faces the
audience.
Fig. 2

Now press on the back of the top card with

your right first finger and pull downwards,
causing the card to buckle (Fig. 3). Pull until
you feel you can pull no more, and then
release the pressure from your first finger.
The card will shoot upwards, spinning into the
air. As it does so, pass the deck from your
right hand into your left hand and then catch
the spinning card with the now free right
hand.
Fig. 3

As you catch the card, pose in an applause position. However, applause will be
muted because the audience can all see that you have produced the wrong card.
Instead of the fourth King, you have produced a random card. Looking at the card –
oops — you now realise your mistake. As you are looking at the card, obtain a left
little finger break under the top two cards of the deck (Ace/King).

Drop the right hand card face up on top of the face down deck.

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 Now lift off the top three cards as one with
your right middle finger at the outer left
corner and the thumb at the inner right
corner (Fig. 4) in readiness for the Swivel
Change.

Fig. 4

Under cover of a forward and backwards waving motion, your first finger reaches
over the left edge of the packet (Fig. 5) and then pulls inward, causing the packet
to turn over (Figs. 6 and 7). The card has changed into the last King. Immediately
place the packet back on the deck (Fig. 8).

Fig. 5 Fig. 6

Fig. 7 Fig. 8

There is a face up King on top with a face up Ace beneath it. Using the natural
break created by the back-to-back situation, flip the top two cards face down as
one, then deal the top card onto the table with the previous three cards.

The audience believes the four cards on the table are the four Kings, when in fact
they are the Aces. Place the deck aside as it is no longer required in this routine.

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 Phase 2 – The Vanishing Matrix
The coins lie in a square matrix formation. We will mark the four corner positions as
A, B, C and D to make the explanation easier to follow (Fig. 9).

Fig. 9

You will now cover each of the coins with the four cards. The audience believes
these to be the four Kings when they are really the four Aces, so take care not to
flash the faces of these cards.

Hold the four cards in a spread condition in your left hand and move the cards so
that coin A is covered. Place your right fingertips on the back of the topmost card,
pinning the card to the table (Fig. 10), and then move your left hand with the other
three cards to the left, leaving coin A covered with a card.

Move your left hand to the right and cover coin B (Fig. 11), again pinning the top
card to the table. However, this time you press downwards with the right fingers,
causing the left edge of the coin to lift. You now steal the coin under the remaining
two cards into left finger palm.

Fig. 10 Fig. 11

Two cards remain in your left hand. Take one card into each hand with the stolen
coin under the left hand card. Place these cards onto coins C and D (Fig. 12). Coin
C is genuinely covered, but coin D is stolen into the right hand (you now have a coin
held finger palmed in each hand).

Immediately lift both hands away from the cards and move both coins into classic
palm (Fig. 13).

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 Fig. 12 Fig. 13

Turn each card 90 degrees so its long edge is

towards you (Fig. 14).

Position Check: There is a coin under the card

at position A. There is no coin at position B.
There is a coin at position C. There is no coin
at position D. There is one coin classic
palmed in each hand.
Fig. 14

You now say that the coins will jump and assemble together. In fact, they will
vanish.

Move your left hand to position A (outer left)

and pick up the card, showing a coin. As you
say, “Jump!” you replace the card and then
pick it up again, but you do the
Schneider/Dingle Pick-up move to show the
coin has now gone. Your right hand
immediately moves to position D (inner right)
and picks up the card. The audience expects
to see two coins; in fact, there are no coins
(Fig. 15).
Fig. 15

Now pivot both cards so they are clipped between the first and second fingers in
each hand (Fig. 16), and then transfer the right hand card to the left hand (Fig. 17).
This is the standard continuation of the Pick-up move, which keeps the left hand
stolen coin hidden. If you are unfamiliar with this move, I suggest you obtain the
Complete Works of Derek Dingle for an explanation or check Al Schneider’s work on
Matrix.

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 Fig. 16 Fig. 17

Two coins have vanished.

Now reach forward with your right hand and pick up the card at position B (outer
right) to show that this coin has also vanished (Fig. 18). Pivot the card as before
and then place the card on top of the other two cards in your left hand (Fig. 19).

Fig. 18 Fig. 19

One card remains at position A, and there is a coin under it. Reach forward with
your right hand and pick up the card as before, using the Pick-up move to show that
this coin has also vanished. Rotate the card as before and then snap this card off
of the three left hand cards, thus implying that there are no hidden coins (Figs. 20
and 21).

Fig. 20 Fig. 21

127
 Now place the right hand card on top of the
three cards in the left hand (Fig. 22). The
cards are in a spread.

Position Check: You hold four cards in a

spread in your left hand. The audience
believes that these are the four Kings — they
are the Aces. There are two coins concealed
beneath the spread of cards. The other two
coins are classic palmed, one in each hand.
Fig. 22

Now say, “But the strange thing is, when these coins disappear, this card changes
into an Ace.” As you say this, turn the top card of the spread face up and replace it
on top (Fig. 23). You now deal the face up Ace onto the table, but, as you do so,
your right fingers steal one of the coins below the Ace (Fig. 24).

Fig. 23 Fig. 24

Repeat this with the next Ace, dealing it face up onto the table beside the first Ace
(and with a coin loaded beneath) and saying, “… and this one also changes into an
Ace.”

Now take the top card of the remaining pair

into your right hand (Fig. 25).

You still have a coin in classic palm in each

hand. You now rotate both cards face up as
you release the classic palmed coins into
finger palm (Figs. 26 and 27).

“And these two also change into Aces.”

Fig. 25

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 Fig. 26 Fig. 27

Place the two Aces onto the table to either side of the first two (Fig. 28).

Fig. 28 Fig. 29

Finally, say, “And, everyone knows that the Aces are known as the money cards.”

As you say the above, place the fingers of both hands on the four cards and pull
them inwards to reveal that the four coins have returned (Fig. 29).

Email: [email protected]
Web site: www.pipermagic.co.uk

129
 How Did Harry Houdini Walk Through a Wall?
Dominic Lavin, M.M.C.

What you are aiming at here is to entertain and perplex the audience by showing
them something, explaining what you have done (but not how) and then doing a
similar thing but differently.

Effect
Talk about the impossible and how Harry Houdini could walk through walls. Ask if
they have ever read the book by that title. Set up a portable wall and describe that
this is a miniature of what actually took place when Houdini performed it. ‘He
invited a committee of leading citizens on stage: the Mayor, Chief of Police, City
Manager and the like. A carpet was thrown on the floor, and a team of bricklayers
built an actual wall, which was then surrounded by the committee. Screens were
placed on either side of the wall, and Houdini went out of sight behind one screen
and emerged shortly on the other side of the wall behind the other screen.

Next, show a portable wall in two sections, which, when put one on top of the other,
present a solid wall. However, they are separated and replaced one on top of the
other, and this time a gap is seen through which Houdini, represented by a playing
card folded lengthways, passes into and emerges on the other side.

Is that how Houdini did it? Hardly, as in real life, the wall was built of solid brick and
completely surrounded.

Tell the audience that Houdini was reputed to have special powers, and some said
he could dematerialize at will. However, he was also a great athlete and capable of
acts of contortion, even twisting himself inside out, which could be another
explanation.

Fold the card representing Houdini face outwards, lengthways, and a second card
end for end, representing a tiny crack in the wall. Push Houdini through the other
card and, as he passes through, he twists inside out. Tell the audience that this is
probably the real explanation.

Requirements
There are two different tricks.

The first part is to make the portable wall – See Figure 1.

Take a square page and divide one side into 4 columns and the other into 6
columns. See Fig. 1 below.

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 Fig. 1

Cut along the zig-zag line (edge of shaded section in Fig. 1), and you now have two
sections representing the wall. Decorate the squares to make them look like bricks.
When you put the sections together with 6 columns on the top and 4 to the side,
there will be no gap. Hold the sections at the diagonally opposite corners, x and y,
and spin them around. This will turn them over to show the other side, but this time
put them together with five columns on each side, and the self-working puzzle will
this time show a square gap/hole in the middle (Fig. 2).

Fig. 2

These two sections can be made from paper, cardboard, balsa wood, Lego Blocks
or whatever you choose to give a level of visibility which suits you.

The second part of the performance is actually Roy Walton’s ‘Card Warp,’ and,
while there are many great explanations, I single out Eugene Burger demonstration
with high dramatic content in his The Experience of Magic chapter on ‘The
Inquisition.’

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 Working

Show the wall without the gap. Explain how Houdini had a group of spectators split
in two teams to build the two sections of the wall, then take a playing card to
represent Houdini (say a King) and have a spectator fold it down the centre, face
out. Take the two separate sections of the wall and turn them around to show the
reverse sides, but reassemble the two sections as above with 5 columns on top
and 5 on the sides. This automatically creates the gap. Have the spectator pass the
card through the gap - nice touch with audience participation. Then, holding the two
diagonally opposite corners, spin the two sections around again and reassemble
with 6 columns on top and 4 along the side. Thus, the gap will have disappeared.

If you had the temerity, you could mention that once there were two blondes on
either side of the wall, and one shouted to the other, “How do you get to the other
side?” The other shouted back, “You are on the other side,” but I leave that to your
discretion and style.

[As a well-read magician, you know the real explanation for this was that Houdini
actually passed underneath the wall when a trap door in the stage was opened.
The carpet sagged in the space where the trap door was, and he wriggled under the
wall in this space. The carpet was only a distraction and created the illusion.]

Continuing with your explanation, have another spectator take a second card and
bend it end for end, and, while this is being done, you will have all eyes on this
activity, which is the distraction so you can secretly tear the first card representing
Houdini - in the centre, midway from either end, from the side to the middle.

Continue with Card Warp and show how Houdini was perhaps sliding through a tiny
gap in the bricks; the strain was so great that he twisted himself inside out with a
supreme effort. Sell it big, and don’t forget to tear each of the two cards in half at
the end, giving two halves to each of your helpers.

I guarantee you that, if at an intimate party, you will now have a discussion on
Houdini and his powers, and you can introduce your next effect seamlessly.

I claim no credit for inventing either of the above, and it is the linking and routine
which give it a different angle and put it into a context beyond a trick because of
the possible explanations which you give as being feasible.

You can substitute the idea of Houdini and the wall and make up someone who
went through the Berlin Wall or Copperfield going through the Great Wall of China.
The story line and presentation are what count as the mechanics of doing the trick
are rehearsed and polished and will take care of themselves.

Email: [email protected]

132
 Creativity
Geraint Clarke

Creativity. What is it? How do I get some? Do you get a student discount?

All but the latter of the three are questions I'm asked every day. Facebook, Msn, E-
mail … no matter how you communicate it, it seems every aspiring magician would
like help with this word.

The following material will hopefully help give you some insight into thinking,
whether consciously or otherwise, with a creative outlook on everyday concepts,
creating new ideas and giving you a personal, unique and original approach when
making new associations between existing methods or new hypotheses.

So let’s start with …

Why?
Why do you want to be creative?

Is it a need to be famous? To earn money? A necessity for life? Or, is it simply an

urge to explore your own potential?

The main focus on this thesis is creativity within the Art of magic.

Art, in its purest definition, is the product of human creativity.

So within the genre of art, which encompasses our love for magic, our very ideal
should be to display a creative, unique and entertaining, if not inspiring, form of
deception.

I crave creativity to be original, to be the best and to do nothing more than feed my
own ego. It is my biggest flaw and my strongest attribute at all times.

Once you have worked out why you find the need to create an expression of your
own 'ART,' you will have a better understanding of yourself, and least importantly,
the rest of this document.

Inspiration can come in many forms: from your perception of a non-magical

occurrence in every day life, to a forced flicker of an idea, to what is actually
possible.

Lloyd Barnes and I started a website called www.disturbreality.com, as we felt that

we had something to offer the magic community.

Creative new methods for new era trickery.

Magic accessible to everyone who is living it.

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We want to help everyone push the boundaries of what is perceived to be possible
in reality.

Our job is to amaze, and inspiration for material can come from the drink you're
quenching you’re thirst with, the chair you’re sitting on or the pack of cards in your
grasp.

You can continue to read if you humour the idea that inspiration can be derived
from EVERYTHING!

By now you should understand your passion, determination and the way in which
you find inspiration and perceive it.

Each person is different and thinks differently, so you could argue that, "some
people have it, and some people don't."

If that were the case, some people wouldn't be able to learn a new skill, but with
enough practice, thought and preparation, anything is possible.

Firstly:

Relax, don't force it.

Ideas don't come because you want them to; they come as you are able to freely
think, so my main tip is relax.

This next part may sound a bit weird, but most of my ideas come to me at night
when I sit in a dimly lit room listening to music and practicing with a deck of cards,
a few coins or whatever materials are used to pull off such miracles.

That is where I feel most relaxed and can let my mind wander.

The next tip is:

Take something you want to achieve, and then

reverse-engineer a method for such a feat.

I often ask spectators what they would like to see, and, trust me, you get some
good information from them, although most of them just want to see you do David
Blaine's rendition of card through window.

Taking a card through window as an example, I often make a list of all the bad
points of a trick or sleight and work out a way to do the same effect with fewer bad
points.

You often come up with a better method or more solid handling for something.

For example; you may not want to use a duplicate card or a stooge, or you simply
cannot afford to toss your deck on the floor. Or, in my case, are just too proud to
demean oneself by pulling off such a Godly effect (such as throwing a card through

134
a solid pane of glass), only to be clambering all over the floor making sure you have
the entire deck as you receive your applause.

“Slow down,” I hear you cry. This information is gold; I need to write it down. Have
no fear magi. Let's do a re-cap of things to get your creative juices flowing:

1. Relax and get comfortable.

2. Don't forget that inspiration is all around you.
3. Try to think of the finished effect, and then engineer a method. ( OR ... )
4. Take current sleights and tricks on the market and make a list of all the things
you don't like. Then create a method to remove the bad points, thus creating an
entirely new method for an effect you love.

Games are fun and competitive. They can come with rules, but, no matter what,
each individual always has their way of following said rules.

Individuality and originality exist in everyone who plays a game. So here is my idea
for you …

It has been said that there are only 10 principles of magic:

* Production
* Vanish
* Transposition
* Transformation
* Multiplication
* Penetration
* Restoration
* Suspension
* Levitation
* Mentalism

(Thanks to thecuso.info for the above list.)

What you can do with magician friends, friends, colleagues or family members is
pick an object at random, something that you could use in a magical performance,
and then randomly pick a theory of magic.

You could come up with … say …Pen > Transposition, for example. Then work out
how you would want the pen to transpose and with what.

It could be the pen and its cap changing places. But think of the circumstances.
Would it be at your fingertips, in someone’s pockets, under a table, in a bowl? You
decide!

I've played this game, and a chewing gum restoration was created as a result of it.
It is now one of my most performed effects of the week so far. I must have done it
some 20 times for different spectators over the course of the past three days. This
proves that the game could spark that primary ignition on your creative flare
(excuse the pun).

135
I'm not saying that I'm an expert, but clearly people are emailing me for a reason.

I have had hundreds of emails or conversations about the very information above,
and I hope that, as a set of ideas and methods, this can introduce you to a whole
world of possibility and give you some insight into the question everyone asks, but
no one gets answered.

Cheers,

Geraint Clarke

136
 Mis-Fortune
Geraint Clarke

Effect
A bank note is borrowed from the spectator; this can be any denomination and hold
any value you are comfortable with. The unique serial number on the banknote is
noted by the spectator to prove that no switches can occur.

The note is then ripped in half, clearly and openly.

The performer explains that most people have been in a situation where we have a
ripped or tattered banknote, but, with a little magic, we can show them how to fix
such a problem. The performer aligns the pieces and folds them; the spectator
squeezes the pieces, and, when they open their hand, the note is fully restored.

A clever switch they think, but, when they check the serial number on the banknote,
they can match it to the one they jotted down. Both are the same.

Preparation
This method was conceived in a dream after seeing Rich Ferguson's Serial Biller
effect on Ellusionist.com. This method isn't the best of the two, but it is the most
practical, and it’s gimmick-less. Also, it can be done with any bill, not just American
currency.

However, this effect, when performed correctly, is just as powerful to an audience

as Rich's, so it's my chosen performance piece.

It relies on the art of mis-calling, hence the name Mis-fortune.

So, to start you need a bill that you don't mind ripping. Here in the UK, where I live,
our lowest value bill is £5.

Get yourself a bill, and memorize the serial number. It's not that hard — I know what
your thinking; how am I supposed to remember all these numbers and letters?

It's pretty easy. If you can remember your telephone number, you won't have
trouble remembering a serial number. Just take your time.

Once memorized, fold the bill into quarters and place it into your pocket. That's the
complete setup.

Working
Ask the spectator if they have a bill, making make sure the banknote that you ask
for matches in value to the one in your pocket.

137
Recently, I have been taking the opportunity when people get their change in a bar,
or pub, to spot the same value banknote, and then I go into the effect.

To start: Finger Palm your prepared banknote from your pocket.

Take the borrowed banknote and then ask the spectator to make a note of the
serial number in their phone or on a notepad. I sometimes give them a playing card
to write on.

However, this is the secret; you already have their banknote. So instead of giving it
back to them, you pretend to read out the serial number from the bill. You simply
miscall the serial number that you have in memory from the prepared finger-
palmed bill.

Next, you openly rip the bill in half, and I always get them to verify the tear.

Once verified, align the two halves and then fold them once so that it is the same
size as a full banknote folded into quarters.

Now you can execute a Shuttle Pass to bring the restored banknote into view, and
straight away get them to squeeze it tight in their hands.

Or you can place the ripped folded pieces on top of the finger-palmed note and,
with the same hand, go to place the ripped pieces into their awaiting fist. As you do
so, the thumb pulls the ripped pieces back into the palm as your hand is turned
palm down, and the finger-palmed full banknote is released and falls into their
hand.

Done properly, this is just a switch and should look like you simply ripped and
folded a banknote and then placed it into their hand.

Now for the reveal.

Ask them to open their hand, check the note and then verify the serial number -- a
miracle, it seems.

End Notes
You have plenty of time to ditch the torn note in your pocket while the spectators
are verifying the serial number.

Try to make it seem natural, as if you were casually putting both hands in your
pockets to end the trick.

You are left with a ripped banknote at the end of this. A bit of sticky tape will solve
that problem, and shops will still accept them. If you are uncomfortable with this,
then take them into the bank and exchange them.

I always joke about keeping their note or them buying me a drink out of it, and you
would be surprised by how many times they do take that suggestion and buy a
drink or give you the note as a tip.

138
Thanks for reading, and I hope you get as much out of this effect as I do.

Credit: Rich Ferguson for the inspiration behind the effect.

Web site: www.DisturbReality.com

139
 Flight of Hand
Trevor Lewis
Reading the January 2010 edition of the Linking Ring with the portrait of Shirley
Ray adorning the cover led me to the Silent Mora routine on page 60. Reading
through his effect reminded me of a routine I perform when table hopping. Although
my routine is simpler that those of Mora, Ed Marlo, Johnny Thompson and Danny
Archer, I must acknowledge that their original thinking helped me create the
following routine.

Requirements
Three small rubber balls (approx 2.5 centimeters in diameter)

One small plastic Nun that can be found in many novelty shops
(Fig. 1 is an example)

Place the plastic nun in your right coat pocket.

Fig. 1

Working
Approach a table with a ball palmed in each hand and display the third ball
between the first finger and thumb of the left hand as you say, "Are you having a
ball? If not, I'm like Vincent Van Gogh. I've got one 'ear.'”

Continue, saying, “Yes, tonight we're going to have a ball, and I brought mine with
me. It has a split personality."

Let the ball drop into the left hand, and then squeeze it. Open your hand to show
two balls.

Toss one of the balls into the right hand and retain the other in the left hand. The
right hand opens to receive the tossed ball, and it looks as though both balls were
tossed from the left hand (Shuttle Pass).

Drop both singly into the top of the closed left fist. Squeeze and then show three
balls.

"See, they like each other’s company. Would you like to see some magic or some
juggling?” If they nominate juggling, go to hand the balls to one of the spectators
and say, "After you ... Oh, alright. If there was time, I'd go and get the clubs and the
blindfold. It takes years to be a great juggler; unfortunately, I haven’t reached that
year."

140
"These balls are made of a new wonder material, so named because in a moment
you’ll wonder what I’m going to do with them."

"I think they were once part of an Abacus, but I wouldn't count on it."

"I gave a friend of mine some good news. He said he'd give me £1,000 if I played
the Palladium. Well, he doesn't have to give it to me now...”

The routine now follows the same road as many others, allowing the balls to drop
into the closed left hand and stealing out two using the Double Rollout move. This
move was first published by Ed Marlo in The Linking Ring (June 1957) and was a
variation on the Pop-out Move devised by Oscar Platek. The latter was a rollout of a
single ball. Marlo’s addition would cause two balls to roll out of the fist, and it
appears as follows:

There are three balls on the table. Pick up one, place it on top of your closed left
fist and then allow the ball to sink into the fist. Pick up a second ball and place it on
your fist as you did with the first ball. Again, you allow the ball to slowly sink into
the fist. Pick up the last ball, and, as far as the audience is concerned, this third
ball is also allowed to sink into the fist. The audience believes all three balls are in
your positioned closed left hand. In fact, there is now only one ball in the left hand;
the other two are in your right hand. Here is a description of the Double Rollout:

Please note that the balls used in the photographs are larger than what you would
use for this routine.

a) Three balls lie on the table. Make a fist

with your left hand; the hand should be in
the 'thumbs up' position.

Now lower the thumb until it touches the

first finger, giving you a 'platform' (Fig. 2).

Fig. 2

b) Pick up one ball with your right hand and place it on the platform (Fig. 3).

c) Relax your left hand, allowing the ball to sink into the closed hand (Fig. 4 and
then Fig. 2 again).

141
 Fig. 3 Fig. 4

d) Pick up a second ball and place it on the platform. Again, relax your left hand,
allowing the ball to sink into the closed hand.

e) Pick up the third ball, but, as you do so,

secretly position the two concealed balls in
the left hand horizontally against each other
(Fig. 5 shows an exposed view).

If the two balls are now squeezed together,

they will climb up and appear side by side on
the 'platform' formed between thumb and
first finger (Fig. 6 and Fig. 7 show an exposed
view). So, as the right hand with the third ball
Fig. 5 reaches and covers the left hand, the left
hand squeezes the two balls, bringing them
above the platform. This action is covered by
your right hand.

Fig. 6 Fig. 7

The right hand retains the third ball and also steals one of the other two balls off
the platform. As the right hand moves away, one ball (the third ball) can still be
seen on the platform. This ball is then allowed to sink into the fist, giving the
impression it joins the other two balls.

You must practice this move until it becomes second nature.

142
Position Check: One ball remains in the left hand, and, unknown to the spectator,
there are two balls concealed in the right hand.

Announce you will make the three balls travel from the left hand to the right.

"Having placed the balls in the left hand, I'll now give them their 'marching' orders
and make them travel from my left hand to my right. This happens so quickly,
nobody will see them going … not even me. This is where my hands perform a feat!
O.K. It’s corny, but so are my feet!”

Two balls appear to travel from the left hand to the right — a little acting here will
help convince your audience.

"Did you see them go? No? Well would you like to see the third ball go visibly?
…Yes. Right.”

Toss the remaining ball visibly from the left hand to the right.

"There you are ... visibly."

Apparently transfer the ball from the right hand back to the left, but retain it in the
right hand. This bit of byplay is used by Johnny Thompson in his three ball routine.

"And now invisibly."

The ball vanishes from the left hand and reappears in the right.

The three balls are now on your working surface.

One of the balls is now apparently placed in the left hand but retained it in the right.
(Standard move as done with sponge balls.) The second ball is placed on top of the
closed left fist and allowed to drop into the hand. "That's two," you say. The third
ball is picked up with the right hand and placed into the right coat pocket along
with the first concealed ball. Both are ditched, and the right hand leaves the pocket
with concealed plastic Nun.

There is one ball is in the left hand, and the other two are out of play in the right
coat pocket.

Ask the spectator, "How many balls do you think are in my left hand?"

Irrespective of the answer, open the left hand, showing one ball.

Pick up the ball from the left hand and perform a throw change (i.e. retain the ball
but throw in the Nun). The left hand closes as you ask, "How many balls are there
in my left hand now?"

Irrespective of the answer, say, "No, none!" At that, open the left hand, showing the
figure of the Nun.

143
This does give the routine a comedy and obvious finish, and you are almost set to
table hop.

Note: The above routine should have been included in the recently published book,
Routines Matter by Phil Willmarth and Trevor Lewis, but, due to the time factor with
the printer, the routine was not available.

Email: [email protected]

144
 Spot On
Steve Hamilton

The following routine was described by Steve in a private letter written to George
McBride in the mid eighties. As Steve’s description was in short hand and rather
terse, I thank George for carefully working through each move and interpreting
some handling details that Steve hadn’t described; also for the photographs.
Although rather risqué, when used under the right circumstances, the routine is
very commercial and allows for some spontaneous humour, a couple of sure fire
laughs and a lot of fun. While this uses cards, I have placed the routine in the close-
up section because it’s more than just a regular card trick.

To prepare, you have to make up four special cards.

These consist of:

o One blank-faced card with any strange spotted design on the face;
o One blank-faced card with the words, “A NAKED LADY,” written on the face;
o One blank-backed Six of Spades with a picture of a topless female model on
the blank back;
o One blank-backed Queen of Hearts with a different spotted design on the
blank back;
o One regular Three of Clubs.

Fig. 1 — Faces of the cards

Fig. 2 — Backs of the cards

145
 Set the packet of five cards as
follows, reading from the face:

Blank-faced card with spotted

design (face up), then blank-
backed Queen of Hearts with
spotted design (queen face
down), then blank-backed Six of
Spades with picture of female
model (Six face up), then a
regular Three of Clubs card (face
Fig. 3 up) and finally the blank-faced
card with the words, “A NAKED
LADY,” written on the face (face up). See Fig. 3.

Have this packet in your pocket.

Using another regular deck, force the three matching cards in your packet - in other
words the Six of Spades, Three of Clubs and the Queen of Hearts - making sure the
spectator to your right gets the Queen. Have these cards replaced and lost in the
deck.

Explain that you are going to try and determine the names of the selected cards,
but first you will have to perform a psychological test to make sure they can handle
all the excitement.

Remove the packet from your pocket and explain that these are specially designed
cards used in the “Ink Spot Test.” Explain that each card will be shown to each
spectator, and they are to interpret what they see.

As you say all of the above, hold the packet

face down in your left hand and push off the
top card, taking it into your right hand; then
Buckle the bottom card, taking the block
above the buckled card below the right hand
card (Fig. 4). This leaves a single face down
card in your left hand which is taken below
the right hand cards. Re-square the packet.
You have just shown three face down cards.

Fig. 4

Turn the packet face up and perform a Stanyon Count to show three spot cards. In
brief: hold the cards as if for an Elmsley Count, count off one, on the count of two
the cards are switched, then count the final card as three.

Remove the face spot card and place it to the back, flipping the entire packet face
down into the left hand.

146
 Take off the top card and hold it from above
in the right hand, fingers at the outer end
show it only to the first spectator to your left
(Fig. 5). Return this card to the top of the
packet, leaving it outjogged for half of its
length. Ask the spectator what they interpret
in the spotted design. Show the same card to
spectator number 2 (centre); as this is done,
secure a break under the new top card. Ask
the spectator what they thought they saw.
Fig. 5

As you replace the viewed card, add the top

card of the packet to the face of the returning
card, leaving it outjogged (Fig. 6). Now
remove the double, show it to the third
spectator (this is the written card) and ask
the spectator what they see - of course, they
see the written card and answer, “A NAKED
LADY.” Casually say, “What an interesting
interpretation.”

Fig. 6

Now say, “It’s time for a new card,” at which you casually reverse count the cards
one at a time, one card going on top of the other, with the block being the last to go
on top.

A break is now secured with the left pinky

above the bottom two cards of the packet
(Fig. 7). You will now repeat the entire
showing process, this time handling the top
three cards as one. On the last show, you will
add a fourth to the face using the previous
method, and therefore the last card shown to
the right hand spectator will be four as one.

Fig. 7

As this packet is lowered back onto the left hand cards, the face of it brushes
against the left hand fingers, sidejogging the face card to the right, and the left
pinky finger reaches around and pulls down on this sidejogged card, taking a break
above it.

All of the cards above the break are taken by the right hand, and the next two cards
are counted one at a time on top of this block, reversing their order. As the cards

147
are counted, say, “It’s time for a fresh design.” Re-take the cards into the left hand
dealing position and repeat phase one of the routine again.

After showing the last card — a double — drop it back on top of the packet, and then
immediately turn the top card face up and look at it as if trying to see the naked
lady. Remove this face up card from the top of the packet with your right hand,
`stud` style, and then deal the top card of the packet face down on top of this right
held card.

The thumbs of both hands now dig under

their respective packets, turning all cards
face up (Fig. 8). Relax the left hand and take
a left pinky break under the face card; be
careful as this card is supposed to be a single
card.

Explain that you think you know what’s going

on. The spectator on the right is then asked if
he selected a female card, perhaps a Queen
Fig. 8 (of course he did!). The right hand now flips
its two cards face down on top of the right
hand face up cards.

The three cards above the break are

immediately taken as one with the right hand
(Biddle grip) and rubbed on the left sleeve
(Fig. 9). As this is done, the left hand cards
are turned inward slightly.

Fig. 9

The right hand now revolves back to show

the face card has turned into the selected
Queen. And then the left hand cards are
rubbed on the right hand sleeve (Fig. 10),
revolved back and spread to show the
other two selected cards.

Fig. 10

148
 The right hand cards - a triple - are now
placed face up onto the face of the left hand
cards (Fig. 11). Pause for a second as you
square the cards, and then say, “If anyone
ever mistakes a playing card for a naked lady,
they should seek professional help
immediately.” As this is said, perform a
quadruple turnover, bringing the model card
into view. The model card is flashed to all
three spectators as the packet of cards is
Fig. 11 placed away into your pocket.

149
 Chapter 4

Stage Magic

150
 That’s Entertainment
Pat Fallon
This is simply my presentation for the anti-gravity glasses.

Effect
An old hardback book is covered in a clean white handkerchief to remove any
doubt that there may be any adhesive on the cover. Three plastic tumblers are
shown, and a different coloured silk handkerchief is placed into each one with a
small corner of each silk left sticking out. Holding the book in one hand, you turn
each of the tumblers mouth down and balance them on top of the book. With the
tips of your fingers on the bottom of the tumblers to hold them in place, you turn
everything upside down. Carefully, you take your hand away, and the tumblers
remain suspended from the book, defying gravity. All three silks are pulled from
inside the tumblers and draped over your forearm before returning everything to an
upright position. The tumblers and the white handkerchief are once again removed
from the book, and they can be handed out for inspection if so desired.

The History
This routine has evolved over a number of years from the many marketed versions
of this particular effect and from routines published by Ali Bongo, Ian Adair and
Terry Seabrooke. This routine was first published in my lecture notes ’Magic For
Older Children’ and is also featured on my DVD of the same name.

Requirements
o Any old hardback book
o Three drawing pins
o Some paper glue
o Three plastic tumblers
o Three 12 inch silks
o A white gentleman’s pocket handkerchief

For my routine, you will also require a pair of white gloves and a padded postal
envelope.

151
 Preparation

Push the three drawing pins through the

back cover of the book from the inside,
arranging then in a triangular pattern just
wide enough for your thumb to fit
comfortably between them (Fig. 1).

You then need to glue the last page of the

book to the inside of the back cover to hide
the heads of the pins.

Fig. 1

Set Up
Fold the white handkerchief into quarters, place it over the protruding points of the
drawing pins and slide the book into the padded postal envelope. The three silks
and the white gloves are inside the stack of tumblers, which should be close at
hand.

During the performance, when placing the tumblers on the handkerchief covered
book, you must position the rim of each tumbler inside the triangle of the
protruding pins. Be very careful not to snag any part of the silks that are inside the
tumblers on the pins, or you will be in very serious trouble when you try to remove
them later.

When putting the finger tips of your free hand onto the base of the tumblers, you
insert the thumb of your hand holding the book into the gap between all three
tumblers, jamming them against the pins. The pressure of your thumb is enough to
hold them in place when you turn everything over and even when removing the
silks from inside the tumblers while they are suspended from the book.

Working
Begin by picking up the envelope as you say, “I bought this old home entertainment
book on EBay recently, and, when it arrived in the post, there was a note with it.
The note suggested that, when handling a valuable book like this one, you should
always were gloves. This is to preserve the paper as it would disintegrate over a
period of time being handled with bare hands“.

152
Put on the gloves and remove the book from the envelope.

“The reason I bought this particular book was because as a child we did not have
television, so we had to make our own entertainment. Every home had a book just
like this one; in fact, if I am not mistaken, this was the very book we had... well not
this very book but one just like it“.

Flick through the pages of the book with your hand, concealing the points of the
pins as you say, “It is full of party games, songs, puzzles and even some magic
tricks. I remember there was one particular trick I always wanted to try out, but,
until now, I could not lay my hands on all the things I would need to see if it would
work.”

“Besides the book itself, you needed three plastic glasses. I searched the world
over for plastic glass but could never find any, so I had to settle for three glasses
made from plastic instead. You also needed three coloured silk hankies, which was
not a problem, but the last item was almost impossible to get: a clean, white
gentleman’s handkerchief. The trouble I had trying to finding a clean white
gentleman. You have no idea. It was almost impossible, and, when I did find one, I
had some job trying to persuade him to give me his white handkerchief.”

Show each item as you talk about them and then continue.

“To perform this wonderful feat of magic, you have to wrap the clean handkerchief
around the book, polish the glasses, put a coloured silk hankie inside each one
and, if possible, balance them on the book. You then had to attempt to turn them
over and back three times without letting them fall. So once you started, you could
not take your hand away at any time as they would fall.”

As you explain this, you take your hand away when the glasses are upside down,
but you don’t appear to notice that the tumblers did not fall from the book.

“In the book, it says that the real trick is to pull the silk hankies out of the glasses
while they are upside down. Now, I think that is impossible as you could not do that
without taking your hand away, and, if you did that, the glasses would fall off,
unless, of course, you were to wave a magic wand over the glasses, which would
somehow enable them to defy gravity. If that happened, it would be real magic, so
let’s give it a try and see how we get on.”

Take your hand away again to pick up the magic wand and wave it over everything.
Put the wand down and look surprised that it has actually worked. Slowly pull out
the three hankies and put them over your arm or in your top pocket. Turn the book
over, remove the glasses and return them to your table. Unwrap the handkerchief
and casually flick through the pages of the book once again, your fingers covering
the protruding drawing pins. Fold the handkerchief, place it on top of the pins and
slip them both back into the envelope.

153
 End Notes
The book you use can, of course, be any title, but the one I use is an old home
entertainment book which I show to the audience; it gives some credence to the
story line. You could just say that any book you use was a home entertainment
book and not draw any further attention to it.

Web site: www.patfallonmagic.com

154
 Sláinte
(Meaning: To your health. Pronounced: slawn-cheh)

Nevin Cody

A Presentation for Water into Wine

You require a Lota Bowl or, if you can, get a Lota Goblet, which is better. The one
pictured here is a Lota Bowl available from Martin Duffy and Martin Breese.

Fill the Goblet with wine and continue until

compartment is full, then plug the hole.

Now, empty what is in the goblet and then replace

with water. Have the Goblet sitting on your table
along with two drinking glasses. You are set.

“In the land of Celtic myth, the drink of the Gods — wine — was very precious. It
was so important that many of the ancient rituals that they indulged in still exist
to this day and have spread across many cultures.

“This drink of the Gods was so important that you had to use all your senses to
appreciate it: smell, taste, touch, sight and lastly, sound, which is still done by
clinking our glasses.

“However, the Vikings came to Ireland; they had heard of the drink of the Gods
and took all in sight. The Celts hid the wine, but every time it was found.

“Queen Mave, the leader of the clans, called all her witches to help her, and the
drink of the Gods was magically turned into water, stored in new lakes throughout
the land and are there to this day.

“So when the Vikings came, they saw only water and left empty-handed. To drink
the wine, you need a special goblet and the knowledge of how to use it. This
knowledge has been passed from generation to generation, and only those with
Celtic blood can perform this feat of magick.

“This is the water the Vikings would see.”

Pour water out of the goblet. Then, once empty, remove the block in the hole to
allow the wine in the compartment to flow out.

“However, once they had gone, the water would become wine, and the party
would start.”

155
Pour wine out of the goblet into a glass.

“You can see it…”

Look at the wine.

”You can smell it …”

Lift the Goblet and smell it.

“You can touch and taste it …”

Dip a finger into the wine and put it to your mouth to taste it.

“And lastly, you must hear it.”

Clink the glass off of the other glass containing the water and say, “Sláinte.”

“The land of milk and honey has many hidden secrets, one of which I share with
you tonight.”

Email: [email protected]

156
 Bamboozled
Val Le-Val
This is an embellishment on my “Another Bottle Trick” that appeared in my lecture
notes. This is based on Maurice Fogel’s “Bewitched, Bottled & Bewildered.” While
the effect remains the same, the method used here is entirely different.

Effect
Four bottles, each covered with a paper cover, sit on the table in a row. After
naming the different drink in each bottle, you state that you have made a prediction
about the outcome of this experiment. You show a sealed envelope and leave it in
full view. A spectator is now asked to choose their favourite drink from the four
drinks mentioned. He is then asked to move the bottles around, after which he
places four cards, numbered 1 to 4, in front of each bottle. They can place the
numbered cards in any order they please. Your back is turned while this is done.
You now state that it would be impossible for anyone to know under which cover
and behind which number the spectator’s favourite drink is hidden. You now pick
up the envelope, take out the prediction, show it clearly to the audience and then
read it out. It might say, “You will place your favourite drink at position no. 3.” This
proves to be absolutely correct. As a final gesture, you open the bottle and give it to
the spectator.

Requirements
You will need four bottle bags, which are obtainable in most greetings card shops.
All four need to be of the same colour. I cut the open ends (which have the carrying
handles) off so that it makes each like a sleeve that can be placed over a bottle.
But another idea that was suggested to me was to leave the handles on, to place
the bottles into the bags in the normal way and then to put a bulldog clip over the
opening so that the spectator does not have a preview of the bottle while he is
mixing them. This also makes for an easier handling. The covers are also marked
so that you will know which bottle is under each cover, thus allowing you to identify
each one after the spectator has moved them around. See Figure 1 for an example.

Fig. 1

If you look at Figure 1, you will see how the covers are marked.

The first one has no mark.

The second one has a mark on the left.
The third has a mark in the middle.
The fourth has a mark on the right.

157
It depends on which paper bags you use; if they are patterned you can probably
disguise the mark within the pattern. It doesn’t matter how you mark them just so
long as you can identify each one is all that matters.

You will also need to make a prediction card; the way this is made is very
important.

Take a piece of white card

approximately 7” x 4” and write
the prediction on it with a
permanent marker as shown in
Figure 2. Take note of how the
words are placed as this is
important.

You will also need some clear

transpaseal, which is a self-
Fig. 2 adhesive material for covering
books, etc. You now cover your
prediction card with this material.

You now finish off your prediction

using a dry-wipe marker to add
two numbers (4 and 3) as shown
in Figure 3. The way these
numbers are written is vital.

Now look at Figure 4.

Fig. 3

Note that the dotted lines are only

there in the diagram so you can
see how the shape of the numbers
is formed and how they can be
altered.

Fig. 4

For position 1, a wipe of the thumb would eliminate the cross of the 4 and all of the
three.

For position 2, you would wipe away all of the 4 and the curve of the 3.

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For position 3, you wipe all of the 4.

For position 4, you wipe away all of the 3.

Place the prepared prediction into an envelope. This envelope should be slightly
larger than the card so there is a bit of slack. This allows you to buckle the
prediction card slightly to avoid the numbers being prematurely erased.

So if you now follow the handling as described in the effect above, all you need to
do, while recapping the events that have happened, is swipe the thumb, and the
deed is done!

Email: [email protected]

159
 Tube Production
Viv Davies, M.M.C.
I have been using the following routine for probably over twenty years; in that time it
has developed into what it is today and goes down very well indeed. It has all the
elements that are needed in a successful trick.

The basic effect is that, during an attempt to make sweets, two long streamers are
produced. These are then changed into sweets, and all ends happily. I know in the
United Kingdom this may not been seen as appropriate these days, but the
principle could be used to produce anything. I will give you my setup, and, if it is of
interest to you, please customise it for your own use.

Props Required
o Split ghost tube/phantom tube with two rings that fit over the ends, see Fig.
1. Split tube showing load chambers.
o Two silk steamers
o Two pieces of kitchen paper towel
o Feather duster
o Tube with centre divide and bottom (Fig. 2)
o Production items (sweets)
o Any funny wands and bits of business you want to use.

Split Ghost Tube Tube with centre divide

Fig. 1 Fig. 2

Preparation

Tube 1 - Load chambers are loaded with streamers.

Tube 2 - Load sweets into one side and a feather duster in the other.

160
 Routine and Patter
At the end of my opening effect of a rising wand/silver sceptre, I do actually let the
case fly off in the direction of one of the youngsters I feel would be suitable for this
next item.

“If you would like to bring the case back to me... Thank you. Can you feel anything
inside like springs or elastic? No? Yet you said it flew off on its own.” Children will
usually say, “It did,” or something like that.

“It’s OK, I knew it flew off really, and thanks for bringing it back to me. To say thank
you, I am going to give you some sweets.”

You look into your box and cannot find any sweets.

“I am sorry. I was going to get some on the way, but I forgot …”

Playing this up as I do, I have had parents say, ‘It’s OK. I have some to spare.’ Don’t
you just love them?

“Not to worry. You will just have to make some; can you make sweets?”

React accordingly to whatever response you get; normally this will be no.

“Don’t worry. I will help you. What do we need to make sweets?”

Look in the box again.

“We need two pieces of bless you paper from the kitchen.”

Break off two pieces of kitchen tissue from a roll.

“I always call it bless you paper. When I used to called it tissue, people would say
‘Bless You,’ so I think it must be called Bless You paper. We also need two of
these.”

Pick up the two metal rings that fit over the end of the tube, retaining the tissue.
Again, there is a lot of potential for byplay. I usually ask, “Do you know what these
are?” and get answers like cookie cutters and insides of Sellotape. For some
reason, adults find this funny, but school Sellotape does come on large rolls,
although a lot of adults do not seem to remember this.

(Create further byplay with rings by suggesting what they could be; this includes
hanging them on my ears and saying, “No, they are not ear rings. They are actually
a pair of elephant’s wedding rings. That is why they are so big.”)

Now proceed to put the paper over the load end and secure it with a ring. Doing this
above the helper’s eye line keeps you safe. Turning the tube over, I usually get the
child to look inside to confirm there is nothing there. I have never ever had anyone

161
say anything other than confirm this. Children never notice the bottom of the tube is
oval instead of round. Then a piece of tissue is placed over the other end of the
tube.

You can now introduce whatever you like in the way of byplay, such as a selection of
wands, magic words, etc.

Get the child to wave the wand over the tube, and everyone else shouts the magic
word. Breaking the paper, you say, “What kind of sweets have you made?” As you
do this, start pulling the streamer out of the tube. There is usually a laugh on the
production. The streamer I use is 20 feet long by three inches wide (sorry, I should
think metric) and contains 10 different colours. I pull this out quite slowly and
usually get a reaction each time the colour changes. I also make comments like,
“What have you done? This is not sweets, etc.” The amount of silk streamer that
comes out of the tube would not appear to physically fit back into the tube, and this
is then put down.

“If things do not work out right, we do not give up. We try again. Maybe someone
did not say the word loud enough.”

After taking the rings and paper off, opening the tube and then refitting them, the
trick is tried again. The result is to produce another streamer the same size as
before. (Even adults often wonder where these come from, especially the second
one.) Opening the tube again confirms there is nothing else inside.

“What do you think is going wrong? We are trying to make sweets.”

The children will shout things like, “The magic wand isn’t working,” or, “Wrong
magic word.” This gives you an excuse to change the wand, change the word, etc.

I then say, “Wait a minute. I may also have picked up the wrong tube; maybe this
one only makes these streamer things ... let me have a look. I think I should have
been using this one.”

Pick up the second tube, saying, “Now there is nothing in this tube.”

As the handle of the feather duster is sticking out the top of the tube, the children
will soon shout out that there is something in the tube. There is scope here for you
to not understand or catch on. Eventually, when you do catch on, you can take out
the duster and tickle the helper on the hand or ear. The use of the duster covers
the fact that you not show this tube empty; the duster looks like it fills the tube, and
nobody has ever suggested otherwise.

“Let’s see what we can do with all these colours,” you say, picking up the coloured
streamers and pushing them in to the empty side of the tube. I usually leave pieces
hanging out and say, “Now all the colours are in the tube.” You can imagine the
reaction. Eventually, when all the streamers are in the tube, “We will try again, third
time lucky. Nice and loud after three: 1, 2, 3.” Children shout the magic word, and
the helper waves the wand.

162
Now if the tube is shaken, you will hear the sound of the sweets. Already there will
be the rumblings of pleasure from the audience. “Wait, let’s check; it could be a
load of stones or nails, but it could be sweets or even 5 pence pieces. If there is
something silly or nasty in here, do not clap. But if it is something nice, give ’name'
a real big clap.”

I then pour the sweets out into a dish for all to see, saying, “Give ‘name’ a really big
round of applause. Now, there will not be enough for everyone, but there should be
enough for anyone who comes up to help during the show.”

I then proceed to give a small bag of the sweets, a magician’s assistant certificate
and a balloon model animal to my helper, and they are sent back to the audience.

Please note: I do NOT give the helper the sweets that have actually been produced
and have been in the apparatus. Instead, I decant Smarties straight from the tube
into a paper sweet bag under cover of my box. This ensures that the sweets are
fresh and are not dirty from the equipment. Other sweets like M & M’s, Skittles or
Minstrels would work quite well, but non-coated sweets like Revels or Maltesers
should be avoided as they would stick together.

The two tubes I have used are some utility props I picked up over the years. If you
have something like this, all well and good, but the items could easily be made
square out of wood or even cardboard. The tissue could be held on the end with
elastic bands.

163
 It Works for Me
A Box Table for Children’s Shows

Viv Davies, M.M.C.

Background
When I started out many, many years ago, like many others I threw what I thought I
needed into a suitcase or two and headed off to a venue hoping to borrow a table.
It was not long after that I made a collapsible table and took this with me as well. I
still had props all over a table; I thought this looked good and gave people
something to look at. This raised its own problems; if items were not used by the
time you finished, you would get asked, "What's that for?" and there was an
underlying disappointment that the audience was missing something. The other
problem was that things could be knocked off the table or even taken by children.

The big problem I had with things like traditional roll-on tables was that, in most
cases, props were stored in the bottom of the box and, if you did not want to spend
half your show on your knees, had to be moved up before the show to be used. This
also meant that the props had to be packed away again after the event. In lots of
fold up boxes on the market, the sides were often missing or cut away in the upper
section, and this could cause angle problems. I set out to design something that
would solve the problems as I saw them and came up with my design for a box that
was on wheels, could be carried up steps and would then double in size up to a
working height, all without disturbing the contents or even having to move props
about before the show. This led to a very short lead-in time between arrival and
starting.

The finished box looks something like this - see Figure 1 below. The top can be
used flat, but the lid hinges up and, with the addition of a length of pre-formed
aluminium on the front edge, makes a perfect card stand. A simple strip of wood
(approx. 1 x 2 cm) screwed on the inside of one side panel acts as a lid support; the
length depends on the lid angle you require. There is also a little block of wood on
the lid in the correct position to hold the support in place. If the support is only
loosely screwed in place, by lifting the lid slightly the support drops, and the lid can
be lowered to the closed position.

164
 Fig. 1

Parts
Let’s take a look at the parts
and cutting list; the material
you would use would be up to
you.

My box was made from 5/16th

inch plywood. This is not quite
as heavy as 3/8th inch and still
allows screws to be fitted in its
edge.

Thinner material would require

a corner fillet to be fitted to
give suitable strength. The
actual size of the panels you
use would depend on your
circumstances and most
important your car boot size.
Figure 2 shows an example.

Fig. 2

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 Top and Bottom

The top and bottom can be made from

two pieces of the same size.

The front and bottom should be glued

and screwed together every few
centimetres. Remember to countersink
the screws into the ply so that the
screws do not interfere with the front
panel. When built, a bar of approx. 2 x 5
cm can be fitted 2 cm below the top, at
the rear between the two sides, see
main picture fig. 1. This not only acts as
a strengthening bar, but also provides
somewhere to house the closure clips. It
should be fitted low enough to allow the
wood strip on the lid to fit into the space
to give a good snug and secure fit.

The lid is hinged in place to open up to

form a card stand. See Figure 1.

Fig. 3

The Legs
The original legs were made from an
inverted "T" shape of jointed timber
and over the years had to be
strengthened with a metal bracket. A
stronger shape was required, and I
came up with the shape shown in
Figure 4.

The legs could be made from plywood

and cut in one piece; this would be
the easiest method of making the
legs. I did try MDF (Medium Density
Fiberboard) once, but these only
lasted a few shows before breaking,
so I would not recommend you go
Fig. 4 down that road.

I currently use timber that has been jointed with a bridal joint. These have proved to
be very strong, stable and durable.

166
 Leg Detail
When two identical legs have been made, they can be joined together with a length
of dowel rod. This not only acts as a spacer for the legs but also as a carry handle. I
used 28 mm dowel rod, which was quite chunky and strong enough to hold the
weight of the box. Figure. 5 shows the joint detail.

For decoration, I ran a router around the

inside and outside of the legs to give a
little detail and take away any rough
edges. The inside dimension of the legs
should be approx. 62 cm apart to allow
clearance, and the dowel can also be
screwed from the bottom to ensure it
does not come loose. The legs are fitted
to the side of the box with nuts and
bolts; if a metal spacer is put through
the legs, these bolts can be locked up
tight, and the legs will still swing. Small
blocks of wood can be fitted to the side
Fig. 5 of the box in suitable positions to
accommodate catches in the open and closed positions. Figure. 7 shows the block
details.

The finished box has two rear doors and a fixed shelf to suit the props (Fig. 6). I
have also fitted a small drawer between the castors to house small parts like
wands, marker pens, etc. I have a piece of wood sticking down from the door to
stop the drawer from opening in transit. All doors and lids are held closed with
catches (Fig. 7). If you wanted to, you could easily fit a lock. I was always worried
that, if I had done this, I may turn up for a show and find I had lost the key. I find
that catches work well and are not too easy for little fingers to open.

Fig. 6 Fig. 7

167
 Finishing Off
The whole box should be painted in bright colours
for children's work, the brighter the better.
Personally, I prefer a high gloss lacquer hand-
painted or, even better, sprayed. The front of the
box could be decorated in your own style, but I
have gone one step further and fitted an "L"
shaped aluminum strip around the front side and
bottom edge (Fig. 8). This allows me to fit a better
Fig. 8 quality sign in the front as this is the side that is
seen the most. I have different signs for different
times of the year and could even make a custom sign for a particular client if the
fee was sufficient.

Email: [email protected]

168
 ROYAL FLUSH

SLIP & CULL

SHUFFLING

by

Tom Sellers

A treatise on how to use the above shuffles to

duplicate the feats of the card sharper.

169
A demonstration of card sharping always appeals to the spectators, even more so than
card conjuring or manipulation. No matter how expert you are with cards, if someone
steps in and does a bit of card sharping his demonstration will steal the show, the
spectators will remember his feats when yours have been forgotten, hence the
purpose of this treatise. It will show you how, if called upon, to give a demonstration of
what should not be done with a pack of cards.
The rules are simple and few in number and are as follows:-

1. THE SLIP SHUFFLE.

The slip shuffle is simply this. Hold the pack in the right hand as is usual for shuffling,
press the left thumb on the top card and start to pull ONE CARD AT A TIME into your
left hand, henceforth this will be referred to as "thumb off" or "thumbing off."

2. REPLACE PACKET.
Means replace the packet held in the left hand (after thumbing off) onto the top of the
pack which is held in the right hand.

3. FALSE SHUFFLE.
The only false shuffle required here is one which will not disturb the top twenty-five
cards or so.

4. FALSE CUT.
Place the pack on the table to your left, with your right hand lift off two thirds of the
pack and lay this down to your right. Take half of this heap and place it in the centre.
Lift the right hand packet and put it on top of heaps one and two.

5. CULL SHUFFLING.
The required cards are on the bottom of the pack. Hold the pack in the right hand,
press the thumb of the left hand on the top card and press the fingers of this hand on
the bottom card, pull downwards and the top and bottom cards will slip clear off the
pack and fall face down into the left hand. Cards are then thumbed off onto these two
cards.
I will now proceed to show you what can be done with these few principles.

170
 SLIP SHUFFLE No.1.
TO SLIP FOUR ACES SO THAT YOU WILL GET THEM IN A FOUR HANDED GAME OF FOUR
CARDS EACH
Have the four aces on top of the peak. Hold the pack in the left hand, lift up the under
half of the pack into the right hand.
a) Thumb off three cards from this packet onto the top of the left hand
packet. Replace Packet.
b) Thumb off six cards into the left hand and replace packet.
c) Lift up under half of the pack again and thumb off three cards onto packet in
left hand, replace packet.
d) Thumb off five cards, replace packet.
e) Lift up lower half of pack again into right hand and thumb off three
cards, replace packet.
f) Thumb off four cards into left hand, replace packet
g) Lift up lower half of pack again, thumb off three cards, replace packet.
The above procedure puts the aces at every fourth card from the top. Deal out the
cards and then you turn up the four aces. With practice you will be able to do this in a
few seconds. Practice with the aces face up to start with then you will be able to follow
how the principle works. You will then be able to work out four-handed five card games
and five handed five card games.

SLIP SHUFFLE No.2.

SHOWING HOW CARDS PLACED AT DIFFERENT NUMBERS FROM THE TOP OF THE
PACK CAN BE CONTROLLED TO THE TOP.
A good way to work this is to ask someone to give you four different figures, such as
2,5,7,9. When you get the figures always remember them from lowest to highest, then
openly insert the aces at these numbers from the top of the pack. Hold the pack in the
right hand:
a) Thumb off to, and include the lowest number. (This brings lowest number to
top of pack right away) replace packet.
b) Thumb off to one less than next highest number. In this instance it will be
four, and replace packet.
c) Thumb off to second number five (this brings two cards to the top)replace
packet.

171
 d) Thumb off to one less than third number, replace packet.
e) Thumb off to and include third number "seven", replace packet.
f) Thumb off to one less than highest number, replace packet.
g) Thumb off to highest number; replace packet, and you will have the four aces
on the top of the pack.
All this should be presented to show no matter where the cards are the sharper can
control them to the top or the pack.
NUMBERS 2, 9, 7, 3, TRANSPOSED WOULD BE 2, 3, 7, 9.

SLIP SHUFFLE No .3.

TO PLACE THE ACES ON THE TOP AND CONTROL THEM TO ANY NUMBERS SELECTED
BY THE SPECTATORS.
This works in reverse to the preceding shuffle, number two. You must remember the
numbers given from highest to lowest this time. For example, you are given 8, 2, 6, 5,
you transpose them to 8, 6, 5, 2, then proceed.
a) Thumb off to, and include highest number, replace packet.
b) Thumb off to one less than highest number, replace packet.
c) Thumb off to and include next highest number, replace packet.
d) Thumb off to one less then this number, replace packet.
e) Thumb off to third highest number (including it), replace packet.
f) Thumb off to one less than this number, replace packet.
g) Thumb off to and include lowest number, replace packet.
Spread out the pack and show, the four aces to be at the chosen numbers .

CULL SHUFFLING.
TO DEAL THREE ACES TO YOURSELF IN A THREE-HANDED GAME OF BRAG.
Place three Aces on the bottom of the pack this time. Proceed as follows:
a) Cull the top and bottom cards, that is, slip them off the pack onto the left
hand, thumb off five cards onto these two and replace packet.

172
 b) Cull top and bottom cards again, then thumb off three cards onto these two
and replace packet.
c) Cull top and bottom cards once more then thumb off one card onto these
two, replace packet.
Deal three hands of three cards each and you will get the three aces.

For four hands of three cards each the following is used. Three aces on the bottom.
a) Cull top and bottom cards, thumb off eight, replace packet.
b) Cull top and bottom, thumb off five, replace packet.
c) Cull top and bottom, thumb off two, replace packet, then deal four hands of
three cards each.

FOUR ACES ON THE BOTTOM OF PACK.

For four hands of four cards each:
a) Cull top and bottom cards, thumb off eleven, replace packet.
b) Cull top and bottom cards, thumb off eight, replace packet, cull top and
bottom cards, thumb off five, replace packet.
c) Cull top and bottom cards. Thumb off two replace packet.
Deal four hands of four cards each and you get four Aces.

To Cull a nap hand:

Place A.H., K.H., Q.H., J.H., 10.H. on the bottom of the pack.
a) Cull top and bottom cards, thumb off nineteen, replace packet.
b) Cull top and bottom cards, thumb off fifteen, replace packet.
c) Cull top and bottom cards, thumb off eleven, replace packet.
d) Cull top and bottom cards, thumb off seven, replace packet.
e) Cull top and bottom cards, thumb off three, replace packet.
Deal five hands of five cards each and you will get the nap hand.

173
 THE GAMBLER’S PIPE.
Place a small piece of mirror inside the bowl of your pipe; have this on your table. Now
execute SLIP SHUFFLE No.1. Have all the hands turned up, you hold, of course, the
four Aces. Spread all the hands a little and quickly note the first three cards of the
FIRST HAND. Replace this hand on top of the pack, then replace the other three hands
on top of the first hand. Now deal out twelve cards. Suppose the three cards you noted
were, A.S., K.H., Q.D., say to the first spectator, "You will get the A.S." Turn the next
card over and show you were correct. To the second person say, "K.H." and the third
person "Q.D.", turning the cards over after you name them.
Then say I even know the cards you will get. That would be easy if I used marked cards,
but I use something much better; it is this. You see I was able to see your cards in this
little mirror here. Show the pipe, it will cause great interest as many will have read of
such devices.

A PONTOON CERTAINTY.
You take a shuffled pack and straight away shuffle it, then deal yourself a pontoon.
Proceed, take the shuffled pack, turn it face up in front of spectators, remarking he
has shuffled it well. You secretly note the Ace and King which has the fewest cards
between them. When you spot this you count them. For example, you see an Ace, then
ten cards, then a King and counting from the ace at the left to the king at the right
gives you twelve cards. Calmly cut the pack under the ace bringing it to be the top card
of the pack.
The rule for a four-handed game this. Subtract eight from your number, that is twelve
equals four, plus one, equals five. Reverse the position of the top five cards by
thumbing off, then replacing, then thumb off four (your first number), and throw the
whole pack on top of them. Then thumb off four cards and replace. Deal off four cards
then four on top of them and you will get Ace, King. Should there be less than eight
cards between Ace and King, for example, Ace, four cards, King, this makes six cards
in all, cut bringing Ace to top of pack. Lift up the lower half of the pack, and thumb off
this half onto upper half as many cards as required to make eight, in this instance two,
replace upper packet on lower packet, now thumb off three cards, one card more than
you took off to make up the difference, replace packet. Thumb off four cards, replace
packet. Deal out again as above and you get Ace, King.
The numbers given are for four hands. The numbers for more or less hands can be
easily worked out on the same principle.
The following ruses should be useful when working out any routine :-

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 RUSE No.1.
BLUFF BOTTOM DEAL.
Place the Ace of Spades at bottom of the pack, let spectators see it. Patter about
gamblers dealing cards from the bottom of the pack so that they will fall to their
partner’s or their own hand. Deal two rounds of cards, and at the third round, and it is
your turn, obviously draw the card from the bottom onto your own hand, finish he
round and say of course you would have to be much quicker than that. Gather up the
cards again, replace them on top of the pack, but see that you get the Ace second
from top.
Make the double lift turning the top two cards face up, saying we will use this card
again. Turn both face down again. Take the top card, put it on the bottom of the pack
without letting anyone see it. Deal out your cards again, turn he pack face up, and say,
"Well, gentlemen, you see the Ace has gone. I wonder who got it?" Turn up the first
spectator’s hand and show it there.

RUSE No.2.
THE PALM.
After you have dealt four Aces to yourself, and while the spectators are looking at
them, palm off four top cards. Have the Aces replaced on the pack, get the four
palmed cards on top of them. Now take the four top cards and place them into
different parts of the pack. They will be taken for the four aces. Now work SLIP
SHUFFLE No.1., and again get the four aces.

RUSE No.3.
MISDEAL.
After you have dealt yourself four aces, when you gather up the hands get the Aces on
the top of the pack. Deal four hands of four cards each, but as you deal the last card of
your hand accidentally? turn the card face up. Say, "Sorry gentlemen, but we shall
have to call this a misdeal. Gather up the hands again, deal, and you get the four aces.
HINTS.
Always false shuffle and false cut before each deal, at least false cut. Don’t appear to
be too clever by showing waterfall shuffles, fancy one hand cuts, etc.
Handle the cards naturally but inwardly carefully.

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 A CONVINCING ROUTINE.
1. SLIP SHUFFLE No. 2.
2. SLIP. SHUFFLE No.1.
3. RUSE No.2.
4. PONTOON CERTAINTY.
5. BLUFF BOTTOM DEAL.
6. NAP HAND CULL SHUFFLE.

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YOU ARE NOW ARMED FOR ENTERTAINMENT PURPOSES ONLY.

TOM SELLERS.
INVENTOR MAGICIAN.

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 The End.

Thank you for purchasing this book.

I hope you enjoyed the material.

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