Kyle Leon

h
fleisc
le
e Co

Rind
Jo
ras

as
K

Joe
972 Box Bits
hae l
Mic

t Varg
978 One Four All

Boye
982 Worker's Cheek-to-Cheek

986 Flurry

992 Joker Transpo Patrik Kuffs

995 The Final Destination
n g
S he
1002 Cubicle Coincidence Yu
iam
1004 Challenge Accepted Ch
Michael Rubin

1008 Six Card Cheat

1012 Dale's Last Card Trick Dale Moore

1014 Slam Change

1016 Sankey Says

Bi
stein

Jay Sankey z
 Vol.2 No.9

Let me be plain — this issue took way too long of a time to send out. I spent a very sizable
chunk of August on vacation in Jamaica getting engaged, and I fell behind on a lot of my
regular monthly commitments. The solution? This September issue is being sent out at
the same time as the October issue, as a double feature. All of my subscribers are getting
a free month of the magazine added to the lengths of their subscriptions, as my way of
apologizing for the delay. For everyone else, this issue will be offered for free for the first
week of October from my website. I am very happy to be back on track moving forward!

This isn't the only thing that makes this an interesting issue. There's a good mix of card and
coin magic, and quite a few new contributors to the magazine for you to get to know.

Joe Cole has been putting out quality magic for a while to the magic community, and you
may have learned some of his coin box work from one of his books already. In this issue,
he's sharing some odd bits and byplay for Okito coin boxes. While he has structured these
moves into a short sequence, you can feel free to take whatever bits that you like and fit
them into your existing coin box routines.

Michael Kras has contributed a trick from his forthcoming book Synthesis & Secrets,
(release date to be announced) which is a collection of his original close-up magic, a
treatise on his move The Kras Change, and some essays on the synthesis between magic
and theatre, inspired by his theatre career and work as the resident magic associate for
Harry Potter and the Cursed Child in Toronto. It's very exciting for me to have this work
shared in The Hermit!

Magicians have all heard the name Joe Rindfleisch, and many think of him as "that rubber
band magician," but in this issue he is sharing a personal version of a Rubik's Cube trick
that uses the prop from Francis Menotti's Cubic. If you have that marketed trick, you can
do this right away—and if you don't, this routine will make you want to go out and get it.

Dale Moore is also a new name in The Hermit, and he

offers a card trick that uses a unique gaff to achieve
a variation of Dr. Daley's Last Trick. Don't worry—
despite the use of the gimmick, the trick ends
totally examinable.

On top of all that, you are getting new

magic from returning favourites like Kyle
Leon, Michael Rubinstein, Boyet Vargas,
and Patrik Kuffs—plus a card change from
Biz and some deep thoughts from Jay
Sankey. Chiam Yu Sheng and I offer our
solutions to the problem posted in the
#hermitmagicchallenge last July, as well.

Dig in and enjoy this issue, and try not to

rush it—despite the fact that the October
issue is coming at you tomorrow!

— Scott Baird, editor.

971
 box bits
joe cole

Diving down the rabbit hole of Okito coin box magic with Joe Cole
makes a "coin guy" like me feel nothing but admiration and respect.
Unlike so many other magicians who act as if they are somehow
limited by the base functions of their props, he wrings every drop
of magic possible out of them. Though the sleights presented aren't
especially difficult to execute, it will take some considerable practice
to make them look as smooth and effortless as Joe does.

I first encountered Joe's work nearly twenty years ago, when I was
given a spiral-bound book of his called MicroEconomics (2005) as
a birthday gift. It was gifted to me by Brent Smith, the owner of the
late Vanishing Rabbit Magic Shop in Calgary. The book came with a
pair of tiny velveteen micro coin purses that were so small that they
would just barely hold a few pennies each. I had a lot of fun coming
up with my own routines for these purses, and a few other Hermit
contributors have work in the book—namely Joe Rindfleisch and
Curtis Kam! Watch for me to explain one of my favourite pet ideas
with these purses in a later issue of The Hermit.

Joe Cole's Box Bits are a composed sequence of moves that are visually
interesting and can help to explain to your lay audience what exactly
this round metal box and lid is. Like a teeny-tiny purse, a brass coin
box is not an everyday thing for the laity, and even though the magic
that one can learn to do with the prop is impossible and deceptive, it
requires something in the way of explanation or normalization. Note
that some of this work was put in Joe's book Walk Around The Box, so
if you feel after reading this that you require further clarity around any
of the moves, it can be found there.

You'll need some basic sleight of hand and a standard brass Okito coin
box for this routine. Since coin and box size can vary depending on
each magician's personal taste, I will describe the routine as I've done
it, with a box that snugly holds four Kennedy half dollar coins.

Here's the sequence as Joe shared it with me. First, he introduces the
box, showing it clearly to be empty and made of solid metal. The lid is
then accidentally pushed inside the box, and then pulled out again—
despite the fact that it obviously shouldn't fit. The base of the box
vanishes as it's passed to the spectator for examination, and is then
produced from inside the lid. This is shown to work because the lid is
flexible and easy to bed—though the spectator can't seem to do that,
either. After a short "Flurry" sequence with the lid, the lid is passed
through the performer's pocket, and then it transforms into four coins.
A replacement lid is pulled from inside the box, and the performer
can finally begin his coin magic routine.

973
 THE HERMIT

So let's break it down bit-by-bit. Begin with four half

dollar coins in your right front pants pocket. Approach
your spectator with the empty coin box in your hands,
and ask if they've seen one of these before. Explain that
you think it may have been used in the past to hold
jewelry or money, and that since you've started holding
your coins inside, many have gone missing.

While you're saying this, show the box all around, and
remove the lid. Hold the lid between your second finger
and thumb, with your index finger resting along the edge.
Use the lid to tap the bottom of the box, and then use
the box to tap the lid. The ringing sound should prove to
everyone that the box is solid brass. Finally, go to tap the
box with the lid against the open side of the box. Note
that your right fingers are against the right side of the
box while you do this. As the lid contacts the open well of
the box, rotate your right hand inward so that your right
fingers eventually contact the left side of the box; the lid
has rotated in place to create the illusion that the lid has
been pushed inside the box. Once the fingers contact the
left side of the box, the right hand draws back to the left
slightly so that the right index finger is inside the box,
and the lid has been kicked back out of the box, behind
the right hand near the third and fourth fingers. This
creates an illusion that the box is similar to an ACME
portable hole, or Hermione Granger's and Mary Poppins'
respective handbags.
974
 Vol.2 No.9

You must now perform what coin magicians call a You're now holding a lid in your left hand and the box in
"changeover". That is, the lid will secretly be transferred your right. Ask your spectator if they'd like to have a look
from its hidden position in the right hand to the left hand, at the box, and as you extend your hand to pass it to them,
under the guise of transferring the coin box base to the turn your hand palm-down and classic palm the box.
right hand from the left. Bring the hands together, and use This is just as easy as classic palming a coin—maybe even
your right third and fourth fingers to rotate the lid around easier, since the box has a sharp edge to it that provides an
behind the box (which is now held in a Spellbound-esque easy grip. Open your fingers over their outstretched hand,
position) and deposit the lid on the left hand's fingers. and the box base has appeared to vanish. Immediately
All the while your right first and second finger remain take the lid out of your left hand between your first finger
in contact with the box base, and once the transfer is and thumb by the edges in your right hand, with the
complete, the right hand comes away with the box, leaving "opening" side of the lid facing down. Your left hand is
the lid in a loose fingerpalm in the left hand. The right shown totally empty, and then shake your right hand up
hand should take the box base directly into a Spellbound and down once, releasing the box from classic palm so
position, with the opening facing the spectator. that it falls into the left hand. The illusion is that the box
has been produced from within the lid.
You'll now reproduce the lid by reversing the actions of
placing the lid into the box. Move your left hand over to So far, the lid has vanished into the box and then been
the box and jam your first two fingers inside. With your produced from it, and then the box itself has vanished to
left thumb, push the lid behind these fingers right into the be produced from the lid. It's absolute madness! Actually
box, and then clamp down on the edge of the lid with the hand them the box to examine. Don't vanish it this time.
thumb and index finger. Rotate the lid back out, and once
your thumb and index finger hit the opposite side of the Next, it's one of those rare times when that old rubber
box, take the lid away to the left, making it appear as if coin illusion actually fits. Grasp the lid of the Okito box
you've removed the lid from the box. from the sides and flex it back and forth in your hands, to
cause the surface to reflect light and create that classic gag.
Try to pace these two parts together into one continuous Explain that it's "soft metal" or something else along those
action; the "vanish", changeover, and retrieval of the lid lines. This preps them to want to check it out.
should flow together into one quick and visual treat.
975
 THE HERMIT

You will now perform a Flurry sequence with the box lid. lid from the fold until it falls back into the left hand. This
You can refer to Michael Rubinstein's routine explained is a great illusion and shouldn't be dismissed for being
later in this issue for more ideas, but what Joe does is a simple or easy to do. Take your right hand out of your
fairly standard sequence: Perform a false put into your pocket after passing the lid through the fabric, and you're
left hand (like a retention of vision vanish), and close that ready for the Box Bits finale.
hand up in a fist as if it took the lid. Extend the left hand
to your spectator as if to hand it out, but then open the left Maneuver the lid to a French Drop position in your
hand to show that it's vanished. left hand as you bring your right hand over to it, still
concealing all four half dollars in fingerpalm. Execute the
Meanwhile, the right hand has crossed your body to your sleight so that you appear to take the lid with your right
left elbow, and reproduces the box lid from there. This hand, and then give the hand holding the coins a quick
whole vanish and reproduction is done at a steady pace, shake. The coins will rattle in the hand, and you can open
and it's a quick and disarming two seconds. your hand to allow the coins to fall to the table. The lid has
transformed into cold, hard cash! Immediately retrieve
As you relax back, drop the lid into your left hand, and the base of the box with the right hand.
then perform a false transfer into the right hand, by
simply fingerpalming the lid and miming a tossing action All that's left now is to produce the lid from within the
into the closing right fist. This is surprisingly deceptive. box itself. Since the right hand is obviously empty aside
Repeat the actions of reaching forward to hand out the lid, from the box itself, it is a good idea to perform another
only for it to vanish from the hand it was supposed to be changeover, so that the lid is produced by the right hand
in, and reproduce it from the right elbow. from the box. To do this, hold the box from its edges
between the thumb and right fingers, and rotate the
Now, actually let them check it out if you like, otherwise hand palm-down across your body, so that you can set
continue with the routine by jumping right into the next it on your palm-up left hand. Now, your left hand is still
phase. concealing the box lid. It turns at the same time, bringing
the lid behind the right hand on the tips of the extended
Take back the lid, and then repeat your false transfer, and left fingertips as the left hand turns palm-up. Your right
this time put your closed right fist into your pocket, as if hand can release the box so that it sits on your left hand
you're putting the lid away. Two things will happen here— fingers, and at the same time, the lid is in perfect position
your right hand in your pocket will quietly pick up the to be gripped on it's edges and stolen by your thumb
four coins in a stack in a fingerpalm, and your left hand and second finger. The lid is dragged off the right hand's
will come over to the front of your pocket, and create a fingers and ends up in a loose fingerpalm in the right
fold in the outer layer of trouser material. We'll appear to hand. This is easier to do that to explain; refer to the
pass the lid through our pocket by shoving the lid up into illustration above if you're having trouble following along.
the fold with the left hand, and then slowly releasing the
976
 Vol.2 No.9
Finally, reproduce the lid from within the box, following If you are a fan of coin box work, and are looking for
the same choreography as before, but in reverse—the more ideas that are a bit different to the rest of what's in
fingers are shoved into the opening of the box, the lid is print, I can't recommend Joe Cole's book Walk Around
shoved into the well of the box behind the cover of the the Box (2016) enough. It's full of coin box magic that's
fingers, and the lid is rotated out and away. done mostly in the hands, meaning that many of the
routines are actually great for strolling magic—a rare find
That's all there is to Joe's Box Bits sequence! It's a unique in the world of coin box magic. And if you're a fan of this
way to handle an Okito box, since most routines are sequence, you'll love the first few pages of the book, where
primarily focused on having coins either enter or escape the titular routine is taught.
the box in a mysterious way. The coins are never in the
box in this routine; if you want a stronger visual change, Coin boxes can be obtained from virtually any magic
you can even get away with using bigger coins for this dealer, and there are many types to choose
that wouldn't even fit in the box to begin with, like silver from. Look for more of Joe's coin
dollars! This routine also helps to establish the fact that box work in the next issue of
the box is solid brass and isn't in any way gimmicked, The Hermit!
since it provides a reason to hand the box out for
examination. The last thing you'd want is to just hand it
out and say, "Here, make sure this coin box is normal."

I see no reason why you couldn't routine any

standard coin box trick after this sequence, and
I really do think that it's worth the time and
effort to have this kind of comedic byplay with
your audience if you are going to perform
coin box work for laypeople. You're already
asking a lot from them when you bring
out a round brass box that has no
real function in daily life and ask
them to not see it as simply
another magician's prop.
The least you can do is
entertain them with
the box itself first,
and let them have
a look at it.

977
 THE HERMIT

MICHAEL KRAS is a playwright, director, performer,

and magician from Hamilton, Ontario. As a magic
director, he served as the resident magic associate for the
record-breaking Canadian premiere of the multi-award-
winning sensation Harry Potter and the Cursed Child
(Mirvish Productions) and has created original magic for
the world premiere of The Extinction Therapist (Theatre
Aquarius) and Bullfinch’s Mythology (Tottering Biped
Theatre).

On top of his work as a magician, Michael is also an

award-winning Canadian playwright best known for
his play The Team (Essential Collective Theatre/Theatre
Aquarius), which won the prestigious Herman Voaden
Prize and is published by Scirocco Drama. Other plays
include No Big Deal (Roseneath Theatre), and The Year
and Two of Us Back Here (Broken Soil Theatre). He
has been an Artist-in-Residence at Roseneath Theatre,
Essential Collective Theatre, Theatre Aquarius, and
Caravan Farm Theatre.

His forthcoming book Synthesis & Secrets will be a

collection of original close-up magic with cards and
beyond, as well as essays about how experience in theatre
—as a playwright, director, and actor—can make our
magic stronger.

The following effect is more or less described in Michael's

own words.
978
I’m sure I’m far from alone in expressing what a fan I am Next, spread through the face-down deck and ask a
of Bill Goodwin’s Off-Balance Transposition; an effect spectator to freely select a card. This can be a legitimate
in which the four aces change places with a single free selection, but you must ensure that they don’t take either
selection reversed in the center of the deck. The trick is of the mates on the immediate top or bottom of the
visual and surprising but, while hardly a knuckle buster, deck. (Most people won’t do this, but we’ve all met a few
there are certainly a few moves that are more on the obnoxious people like this before.)
difficult side.
As the spectator removes the card and notes its identity—
Inspired by the John Bannon-esque approach to let’s assume it’s the Seven of Clubs—push over the top
simplifying more technically involved effects, I present One card of the deck to get a pinky break beneath it, eventually
Four All—my version of Goodwin’s piece that I personally maneuvering it into Marlo’s Tilt position.
think is quite elegantly constructed, equally visually
impactful, and well within reach for the majority of card Retrieve the Seven of Clubs from your spectator and
workers. No shifts or quadruple lifts required! explain that you’ll lose it face-up in the center of the
face-down deck. As you say this, insert the face-up Seven
DESCRIPTION directly below the top card; because of the depth illusion
Four aces are removed from the deck, and a card is inherent in Marlo’s Tilt procedure, it will appear from
freely selected. That card is inserted reversed into the the front as though the Seven is being placed somewhere
center of the deck. With a wave of the hand, the four aces close to the center of the deck. Once the Seven is fully
impossibly change into the selection in full view. The deck inserted and out of view, allow the break to fall as you
is spread, and the four aces are now found reversed in the execute an all-around square-up of the deck, emphasizing
center where the selection previously sat. the apparent fairness of this moment.

SETUP The position of the cards is as follows from the top down:
If you’ve got a decent cull in your arsenal, this can begin the face-down Jack of Diamonds, face-up Seven of Clubs,
from a shuffled deck in use. If you’d rather skip the cull, the balance of the deck, and the face-down Jack of Hearts
simply ensure that any two identical mates—like the two on the very bottom.
red sixes or two black kings—are the top and bottom
cards of the deck. Drawing attention back to the aces on the table, quickly
get a pinky break below the top two cards of the deck.
EXPLANATION This should be easy to achieve with the natural break
Begin by spreading through the face-up deck and created by the reversed selection. Now, pick up the four
removing each of the four aces as you come to them. aces in your free right hand in a short, loose face-up
If you’re starting with your top and bottom mates spread. Place the aces on top of the deck and square them
preset, you don’t need to do anything else here. If you’re up. You now hold a pinky break under six cards: the four
performing from a shuffled deck in use, simply note the face-up aces, the face-down Jack of Diamonds, and the
face card of the deck—let’s say it’s the Jack of Hearts—and face-up Seven of Clubs.
cull its mate, the Jack of Diamonds, to the rear of the deck
as you spread through to remove the four aces. Table the As the aces are squared, immediately pull all six cards
aces and turn the deck face-down in left hand dealer’s grip. above your break to the right for about half of their width
and pin them down with the left thumb.
 THE HERMIT

Take this squared six-card packet with your right of Clubs–and the four aces now lie face-down directly
fingertips by the right long edge, with your thumb on top beneath the face-up Jack of Diamonds, masquerading as
and fingers below. The spectator should think this packet the original card at the face of the deck.
only consists of the four aces, so it helps to tilt the front
short edge of the cards slightly downward, to disguise the In this position, I like to slowly pass my hand over the
extra thickness of the packet. apparent ace packet to create the moment of magic. This
gesture also provides additional physical cover for the fact
Once the aces have been removed from the top of the that this packet is now only one card thick. Then, give the
deck, use your left fingers to turn the balance of the deck corner of the face-down card a flick, to reveal that the ace
face-up in your left hand. Replace the ace packet on the packet has impossibly changed into a single card while in
face of the deck–side-jogged for half its width–as you full view.
recap the current situation: the four aces sit outside of the
deck, and the selected Seven of Clubs sits (apparently) Next, you’ll execute a simple move that both reveals the
reversed somewhere in the center of the deck. Seven of Clubs and centralizes the reversed aces. After a
moment or two of emphasizing the singularity of the face-
Next, flip the ace packet face-down onto the face-up deck down card, approach the deck with your palm-down right
and allow it to momentarily fall flush. The instant it does, hand and take hold of it in end grip. As you do this, your
immediately riffle up and grasp only the top face-down right fingers will naturally cock the face-down Seven of
card of this packet in right hand end grip. Casually slide Clubs at a leftward angle to make room for your fingers to
it forward and to the right on an angle, pinning it down grasp the deck by its front and rear short edges.
at its bottom left corner with the left thumb to hold it in
place in this forward-jogged position, as if it were the full Once your right hand has its grip on the deck, cut off
packet of cards. Below it, the mate of the Jack of Hearts about half of the deck, applying gentle pressure with your
(the Jack of Diamonds) will now be visible at the face of right index finger to the back of the face-down Seven to
the deck—but this small discrepancy should go unnoticed hold it steady in its out-jogged position. Carry the right
by your spectator and will implicitly reinforce the idea hand forward until it hovers an inch or two above the
that nothing suspect has occurred. table, then release your right index finger’s pressure on
the out-jogged Seven, allowing its front short edge to fall
This turnover should not have a lot of dramatic attention forward onto the table. From this position, it’s an easy
drawn to it, and should simply look like you’ve casually matter to use the right hand’s packet of cards to gingerly
turned the four aces face-down. In reality, you’ve pulled flip the Seven face-up on the table lengthwise.
forward just one face-down card–the selected Seven

980
 Vol.2 No.9

As the Seven lands face-up and you allow your spectator

to take in the transformation, casually place the right
hand’s half under the left hand’s remaining portion. In
doing this, you’ll be giving the deck a complete cut and
centralizing the four reversed aces. This action complete,
you may table the deck face-down in front of you.

Keeping attention on the selected card, mention that, "If

the Seven is suddenly where the aces once were, the aces
must have taken the Seven’s place in the middle of the
deck." Dramatically ribbon spread the face-down deck to
reveal the four aces face-up in the center to finish.

There have been many effects published in which two

different quantities of playing cards transpose with each
other. This particular one takes direct inspiration from Bill
Goodwin and the structure of his beautiful effect For One
Transposition, which first appeared in his 1988 lecture
notes, and then later (and more famously) as Off-Balance
Transposition on his Reflection video project.

981
 Vol.2 No.9

What we have here is a clever approach or handling to the like—so long as you don't turn to flash the card at the face
basic cheek to cheek effect, that features an instant reset of the deck, or reveal any of the faces of the cards.
that should appeal to those who do walkaround magic.
After performing some of the existing routines published After shuffling, square the cards up and transfer them to
in magic literature, the performer must take a moment to your mechanic's grip. Look down at the top card of the
reset the deck, jogging up to half of the deck in order to deck; if you see a card with your secret markings on it,
separate out the double-backed cards. Kyle has eliminated you know that you have an ordinary card on top of the
the need for this through some simple routining. This may deck. This is desirable. If you don't see a marked card, you
read as an incredibly easy routine, but what really makes can shuffle again, hoping to end the shuffle with a regular
it worth your time are the subtle nuances of handling that card on top the second time, or you can perform the
you'll find embedded in the method. following demonstration phase.

The cheek to cheek deck is comprised of twenty-six "In a moment, I'm going to fan through the cards, and I'd
ordinary cards from a standard pack, and the other like you to touch the back of one of the cards. I'll offer you
twenty-six cards are double-backed. You will need to mark the choice to change your mind—whichever card you settle
the regular cards on their backs in a subtle way, so that on is going to be your card."
you can tell which cards have faces from those that do not.
Kyle uses a red sharpie to disrupt the white design in the Match the patter to these actions: First, spread to
upper left and lower right corners of the card backs. This somewhere in the center of the deck, and sight a marked
should be noticeable only to you, as you will know what card. Acting as if this was the card the spectator selected,
to look for; don't make your marks too obvious. (If you outjog it, and then spread past it, further down into the
prefer, another option could be to use the scratch-marking deck (allowing them to change their mind if they wish).
method to leave a small white scratch in the design, if it Then, close the spread and remove the outjogged card,
suits you better.) without showing its face or turning it over, and gesture
with it to the spectator, as if this would be their card.
You can begin this routine with the double-backers Finally, replace it on top of the deck.
shuffled into the normal cards in any random sequence,
so long as all of the normal cards remain oriented face- You now have a face-down ordinary card on top of your
down. Cut any card with a face to the bottom of the deck, deck, and the spectator is primed to select their card by
and place the deck in your card case to prepare for your touching it's back. You can skip the demonstration if you
performance. like, but honestly, I go through this quick aside every
time that I perform this, regardless of whether or not
Now, to begin your performance. I've ended the shuffle "ready". I feel that it acts to prep
the audience as well as to highlight the freedom of the
Take the cards out of the box, and casually flash the face selection process.
of the deck to your audience if you like. The deck should
appear to be an ordinary pack of cards. If it suits your Now, spread through the cards, and ask your spectator to
pacing and aesthetic, feel free to ribbon spread the cards touch one. They will either touch an ordinary card or a
out face-down, so that every back is visible. The less double-backer. No matter their selection, outjog it, leaving
attention that you show to the cards, the more likely it is it in the spread, and spread past it to give them the option
that your audience won't scrutinize the backs and notice of changing their mind. Note whether or not they've
your marks. Pick up the deck if you've spread it out briefly, touched a regular card. If they have, and they don't wish
and transfer the deck to an overhand shuffle position. to change their mind, you can let them remove it from the
spread as their chosen card.
Fairly overhand shuffle the deck. The audience will only
see back designs while you shuffle, and since you are really If they do touch an ordinary card, and change their mind
fairly shuffling, you can be as open with the cards as you to another card, outjog the second card touched, and then
983
 THE HERMIT

push the original choice back into the spread. If this card
is ordinary, allow them to take out their chosen card.

You get the idea. If the result of their decision making

leaves them choosing an ordinary card, they can take it
out themselves, and hang on to it. If they end the selection
procedure with a double-backer, here's what you do:

Leave their outjogged double-backed selection in place,

and as you square the deck, get a break under the top card.
We know that this is an ordinary card, and it'll be switched
in for the double-backer. You can also get your break
using a push-off or a pinky count under the cover of your The double-backer cleans itself up, and the switch is
other hand swiveling the double-backer out of the center deceptively clean. There are other methods of switching a
of the deck, if you like. You need this break under the top centralized, outjogged card with the top card of the deck
card so that when you remove the double-backer from the in the apparent act of swiveling it out; if you know how to
spread and place it on top, you are in a position to easily do this, feel free to substitute this here as well.
switch the two cards.
Either way, the spectator has now chosen their card. They
Turn your head away as you say, "I'm going to show you can look at the card and remember it, even show it around
this card, and I'll look away, and here, actually, take while you look away if there's a crowd. In most Triumph
your card." Square the double up with your thumb and routines, you would now have the card returned before
fingers as your head turns, and then flip the double shuffling the cards into a chaotic state. In this routine,
over. Immediately use your thumb to push off the single however, Kyle has chosen to do the shuffling before the
ordinary card for half of its width, holding the deck so card is returned.
that you're showing the face to your audience. Then, as
you ask them to take the card, extend your arm out so that Move the squared deck in closer to your body and angle
they can grab it. the back of it up as your right hand comes over the top
of the deck, allowing your thumb to riffle up the back of
the pack. You are going to make a show of looking for the
approximate center of the deck, so that you can cut the
deck into two piles.

In actuality, you are instead glimpsing the bottom face of

the deck. If you see a card's face, you are going to riffle up
the back of the deck, stopping somewhere near the center
where a double-backer is above the break (the bottom face
of the upper packet shows a back design). If you see a back
design on the bottom face of the deck, riffle up the back of
the deck and stop somewhere near the center where you
see a card's face on the bottom face of the other packet.

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Immediately perform Tenkai's Optical Revolve. The hand To show the "other side," tilt your left hand up and use
holding the upper half of the deck from above turns over, your right to riffle through the deck, flashing face-up
palm-up, while at the same time the hand holding the and face-down cards to the spectator. While this is quite
lower portion of the deck turns palm-down. You will see discrepant, it's pretty convincing to the audience that
two piles of cards, one of which appears face-up, and the they're seeing both sides of the deck, and might have
other appearing to be face-down. To the spectators, you've a chance to glimpse their card. The flipping and the
cut the deck in half and turned one half over. changing of the plane of the routine from being horizontal
to vertical helps to muddle the true orientation of the
Shuffle the two halves together faro-style, ensuring that cards. Of course, there's no chance of their card actually
the double-backed card ends up on top of the deck. The being spotted as you riffle through the deck. After riffling
faro shuffle doesn't need to be anywhere near to perfect. I through the pack, set the squared deck down on the table
always think about it as shuffling the face-up cards into in front of you, slightly to your left.
the face-down cards, even though that isn't what's actually
happening. Slowly push the "face-up" half into the other Most cheek-to-cheek routines try their best to hide the
cards, so that the spectators can see that the cards are moment that the deck is turned over, since this is usually
really being mixed up. the last thing that you're doing before the reveal. In Kyle's
routine, the last thing you're doing is displaying a deck
As soon as the cards are square, immediately spread that is clearly mixed up, which is obviously more ideal.
through the cards, showing the chaotic state of the The turn is motivated by the natural actions of the display,
cheek-to-cheek deck. Half of the cards will appear face- and there is therefore less heat on it as part of the method.
up, mixed into face-down cards. Everything is as it should
be. If there was any doubt in your audience's mind about "Now, for the first time, what is your card?"
the Optical Revolve move, it's immediately dispelled when
they see that the deck really is bizarrely mixed. Ask them to name their card aloud, and then appear to
focus or concentrate on that card as you perform your
"I don't want to see your card—please push it back into the magical gesture, incantation, or traditional card reveal
deck anywhere you like." dance. Whenever you are ready and have provided
sufficient space for the magical moment to happen, all
Hold the deck so that the spectator can push their card you need to do is ribbon spread the deck from left to right.
into the deck at a point of their choosing. They will Only their selection will appear face-up in the face-down
naturally return their card face-down, since you've stated spread. Kyle ribbon spreads a few cards and then pauses,
that you don't want any knowledge of their selection. showing that the cards seem to have righted themselves
Allow them to push the card flush. before finishing the spread for the big reveal, so that the
climax is broken up into two parts.
Spread through the deck, stating, " Your card is now lost in
the chaos—". Now, square up the deck, and make a point To reset, remove their selection and hold it face-down in
of intentionally turning the deck over in your hand. Don't your left hand. When the applause has died, use their card
state out loud that you're turning the deck over, but make to scoop up the ribbon spread from left to right, so that
sure that the audience has the chance to see you do it. Say their selection automatically becomes the bottom card
something like, "They're all mixed up … look, there are of the deck. This will now act as the original face card of
face up cards on this side"—turn the deck over in your the pack the next time that you perform, and all that's
hands—"and on this side. Maybe you even saw your card left for you to do is put the cards back into the tuck case,
in there." completely resetting the routine.

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 THE HERMIT

Mr. Rubinstein uses his

Stealth Palm at one point in this
routine, which could be tricky to execute
smoothly with a dollar-sized coin. (When we get to
that point of the explanation, I'll offer a personal handling
suggestion for replacing the Stealth Palm, should you
choose to perform with a larger dollar-sized coin. There
This is a one-coin are, of course, other options available to you.)
routine from Dr. Michael
Rubinstein, which is a version of There are also three different potential endings suggested
David Roth's Flurry. Roth based his routine on for this routine—one that is geared towards performing
Slydini's one coin routine, which he wanted to perform for children, and two other finales that you can choose,
while standing. The term "flurry" is a boxing phrase depending on your audience and performance style. I'll
for a quick barrage of punches, often used as a tactic to discuss these at the end of the explanation; for now, all
disorient or throw the opponent off balance. The name is that you need to know is that the setup is simple—secretly
fitting when you compare a boxing flurry with the speedy have a coin in your right hand.
and unrelenting sequence of vanishes and productions
that characterize these routines. Those interested in Roth's The first move is a production, similar to the L'Homme
routine can find an excellent write-up of it in Kaufman's Masque coin load, that Michael calls the Fingertip Load.
text, Expert Coin Magic (1985), on page 23. What you want to do is manoeuvre the coin in your right
hand so that it is sitting on the tips of your second and
Pick up a coin and follow along! If you need any further third fingers. This is, of course, hidden by the back of
clarity about the moves and sleights discussed in the your hand, since your hand is turned inwards, hiding the
routine, they can all be found explained in great detail in coin from your audience. To get the coin to this position,
the book Rubinstein Coin Magic (2020). The coin that simply allow it to fall out of fingerpalm, or fall down from
you choose will largely be a matter of personal preference, your classic palm.
but I would recommend a half dollar-sized coin. I believe
that Michael uses this size of coin as well. If your audience Intentionally close your left hand into a loose fist,
is a larger group, they're watching from further away, and allowing it to be seen empty with your fingers spread
you're comfortable performing the moves with a larger first, and then turn the first over so that your left hand
coin, then that choice might work for you. Be aware that is palm-down, and the "hole" into the fist between your
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index finger and thumb is pointing across your body, to And now we must move to the first vanish of the coin.
the right. Both hands are now about to be in simultaneous Hold the coin in the right hand, between your thumb
motion. Your right hand is going to swing up in front of and your first and second fingers. If you do any coin
your body, bending at your right elbow, as your left hand work, you'll see that this is in preparation for a retention
starts to turn over, palm-up. The hands meet halfway in pass. Your left hand will come over in front of your body,
these actions, in the center of your body. The right hand palm turned in to yourself, as if to take the coin from your
should be slightly higher than the left, so that the second right. Under cover of the left fingers, your right second
and third fingers of the right hand are over the now- finger will extend across the face of the coin, and pull back
vertical "thumb hole" of the left hand. At that point, you'll on the coin, bending inwards and pivoting the coin to a
drop the coin into the left fist from the right fingers. This horizontal position, hidden behind the right fingers. Your
is disguised from the front by the backs of the fingers of right thumb lifts off the coin as the coin is being stolen.
each hand. This is a variation of Michael Rubinstein's Variation
Retention Pass.
In a continuing action, the left hand finishes turning
over, palm-up, and the right hand's fingertips brush the Meanwhile, your left hand pretends to take the coin and
backs of the left fingers as it moves over to the right. The carry it away to the left. This is best accomplished by
right hand appears to simply be gesturing to the left hand wrapping your left hand slightly around the right index
during this move, and the left hand should not appear to finger, and dragging down the finger as you apparently
be open at any point. take the coin, leaving your left hand in a loose fist that
mimes holding the coin. You'll now make the coin vanish
With a short space separating the hands now, you can by reaching forward and opening your hand in a quick
snap your right fingers or make any suitable magical tossing motion in front of you. The coin has vanished.
gesture, and then open your left hand to show the coin,
apparently produced from thin air. Studious readers of While your left arm is still extended outwards from the
the Hermit may be familiar with a similar load sequence tossing vanish, lift your right hand to your left elbow, and
described in Giacomo Bertini's work, that he calls the produce the coin from your left sleeve by pushing it into
Pinky Load. Really, any loading sequence that you find view with your left thumb. Display it briefly at the right
works well for you can be used for this initial production. fingertips, and then rotate your right hand in front of you,
Once produced, you can feel free to do a coin roll or two palm-up, and let the coin openly sit at your fingertips. The
to show off a bit if you like. coin has now reappeared.

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 THE HERMIT

For the next vanish, you will need to align your left hand Hold the coin in the left hand in a Spellbound position,
in line with and behind your right, closer to your body. in readiness for Marlo's Spider Grip Vanish. Thumbpalm
It's best to get into this position naturally by relaxing your the coin directly out of this position with the right hand,
left arm into this position while you're displaying the and again make the coin appear to vanish with a tossing
reproduced coin in your right hand. Turn you left hand motion in front of you. Your right hand will open, with
so that the it is palm-up, and your fingers are in a slightly your fingers spread, while still hiding the thumbpalmed
cupped position. Your right thumb will rest against the coin in place. Your left hand, meanwhile, closes into a
edge of the coin, pinning the coin in place so that when suspicious fist, drawing the audience's attention. Now,
your right hand turns over, palm-down, the coin isn't reach the left hand forward and draw the right hand
dropped immediately. Of course, what the audience back, curling the right fingers inward slightly so that you
doesn't see is that as soon as the right hand starts moving can drop the coin secretly from thumbpalm back to your
back towards your left elbow, it secretly drops the coin fingertip rest. Your left hand opens palm up in front of
into your left hand, using it as a servante. The left hand is you, undeniably empty, as your right hand then moves
also turning inwards, allowing the "thumb hole" to open back up to your left elbow to once more produce the coin
for the coin to fall through. from there.

The right hand reaches the left elbow and appears to rub As you relax back into position, holding the coin at your
the coin away, with the fingers opening to show that the right fingertips, your left hand will gesture with one finger
coin is no longer there. Meanwhile, the left hand does up, as you claim that, "The most amazing trick is, when I
the opposite action, reaching up to the right elbow and place the coin into my hand, with just a little wave, I cause
producing the coin, as described previously. Once again, that coin to vanish!"
we have a vanish and reproduction. The pacing of these
moves is quick and deliberate, aiding the overall aesthetic Matching actions to your words, turn your left hand over,
and excitement of the routine, as well as the deception of palm-up, and bring the coin over and into the left hand,
the secret transfers. Don't rush the routine, but move at a so that the edge of the coin just hits your palm by the left
steady pace to achieve the "flurry" feeling. thumb. Execute another Variation Retention Pass at this
moment to secretly retain the coin in the right hand.
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Briefly explained: As your left hand closes, your right again, and take advantage of the audience's split attention
hand will turn the coin to a vertical position, and your to drop your right hand down again, pressing the edge of
right second finger extends across the face of the coin. the coin with your right thumb so that the coin is clipped
You then curl this finger back in and lift your thumb away lightly between the second and third finger. Hold your
from the coin, so that it pivots back to a near horizontal hands with palms towards yourself at a natural height,
position behind the left fingers. As you move your right and when you're ready for a very open display of empty
hand away, your left fingers have finished closing into a hands, you'll start to rotate your hands outwards and
fist. (You can, of course, use any retention vanish that you palm-up. In the rotating action, the coin is allowed to fall
know and are comfortable with.) over the base of the third finger to be held between the
second and fourth finger by its edges. This Stealth Palm
Transfer the coin in the right hand back into thumbpalm takes a bit of practice and control, but it's a very open
and wave over the left fist again, to cause the coin to display. The worst angle is looking directly in line with the
vanish. Open the left fingers slowly, showing that it's fingers, into the palm; you should practice your angles so
really gone. As your left hand is doing this, your right that the audience is looking at your hand angled slightly
hand allows the coin to fall back from thumbpalm to your away from them (at about "ten or eleven o'clock"). You
fingers, but this time so that it lands on the base of your should drop your first finger slightly, to help hide the fact
second and third fingers. Pull the pinky finger inwards a that your third finger is bent lower than the others. This is
bit, so that the coin has a little ledge to sit against while reminiscent of the principle used in deceptive bases that
it rests on your second finger. This is in preparation for are thicker than they appear, as employed in many a stage
Michael Rubinstein's Stealth Palm. illusion. Hold both hands in a similar, nearly symmetrical
pose for a just a brief moment—don't hold the position
So, the coin has been made to vanish from the left hand too long.
with a wave. Now, put your right thumb against the tip
of your right second finger, and turn your hand up and (If you're using a larger coin and can't make the Stealth
gesture with your first finger up (replicating the gesture Palm work, just classic palm the coin in the right hand,
from before with your left hand) as you say, "And of course, and flash the hands as openly as possible while using the
it's never over here…" Gesture with your left hand open Malini/Kaps subtlety to keep the coin hidden.)

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 THE HERMIT

The audience has now seen both of your open palms, and with his right hand, turning his body back naturally in
the coin appears to be completely gone. It's time to go for the process. This body turn hides the moment that his
the big ending. I'll explain the simplest ending first, which left hand dips into his back pocket for the jumbo coin,
is probably going to be used in a situation where you're coming out with it in his palm-down left fist (held in place
showing the trick to a small child. against the heel of his palm by his fingers).

Transfer the coin from Stealth Palm to fingerpalm by The right hand produces the coin in the action of reaching,
closing the gap between the third and fourth fingers of and the body turns back square as the arms meet in front
the right hand, allowing the fingers to grip the coin in of him.
position. Once more, rotate the hand up while you gesture
with your first finger up, keeping the coin in fingerpalm, "Of course, if that's not enough, we can make the trick
hidden by the Ramsay subtlety. Then, it's a simple matter bigger."
to reach forward, producing the coin from the child's
ear. At that point, you might as well stop, since their little In the action of appearing to transfer the ordinary coin
mind has been blown. If you know the child well (or from your right hand to your left, thumbpalm the coin
better still, their parents) you can hand them the coin. and brush your right hand against your left as it turns
over, revealing the jumbo coin. Drop the jumbo coin to
Now, for adults, pulling a coin from their ear isn't really the table while simultaneously allowing the small coin
the end goal, so you have to do something else. Michael to transfer from thumbpalm to your fingerpalm. With
keeps a jumbo coin in his left back pants pocket. After a brief open gesture you can end the trick there. This is
transferring the coin from Stealth Palm to fingerpalm as essentially a handling of Roth's Standup Flurry Climax
previously described, he reaches forward and to his left from Expert Coin Magic (1985, p. 26).

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Alternatively, begin the trick with a small stack of eight of the coins to pour slowly from your left into your right,
to ten worn, soft coins in your rear left pants pocket. for a miraculous "slot machine" finish that no one will see
Produce the coin from in front of you, turning your body coming. I definitely prefer this ending to the jumbo coin,
once again to hide the fact that your left hand is going into as it appears to me to be a bit more off the cuff and natural.
your pocket and fingerpalming the coins in a loose stack.
This is handled in exactly the same way as the previous That ends the explanation of the routine. Practice the
steal of the jumbo coin. sequence in front of a mirror, and make sure you note
the angles for the use of the Stealth Palm. If you want
Turn back so that your body is square and your hands are to practice this sleight, as it might be uncomfortable at
in front of you. Use your left thumb to adjust the multiple first, try this—hold your hand flat, palm-down on a table
coins in place so that they are held quiet if you have to. or other flat surface. With your hand still contacting the
Openly transfer the visible coin from your right hand to table, curl your third and fourth fingers back together. If
your left, so that it's held by your left fingertips and thumb. you can hold this position and lift your hand up from the
Putting the coin there helps to hide the fact that your table (and turn your hand over palm-up) you will develop
hand is full of coins, as it has the same effect as a dirty the ability to naturally get into the Stealth Palm position.
hand holding a magic wand.
As with most "flurry" routines, you can take any of the
"Of course, you know that the hand is faster than the eye, so parts of this routine that you like, and mix them into your
watch as I make them multiply." existing routine. Throw in a vanish and reappearance
phase with Roth's classic lapel coin dodge if you
Quickly reach your left hand forward in front of you in like. Make it your own! This is Michael's routine, but
a grasping motion, so that the visible coin falls into your remember—you aren't him. Learn from his thinking with
left hand to join the other coins. All of the coins will rattle this routine, learn the moves you like, and then go out and
loudly, and then you can open your left hand, allowing all perform your own flurry!
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Effect purists who are only interested in routines that can their number. Remember, this is done with your head
be simply summarized in a single sentence will probably turned away as much as possible, so that it doesn't look
skip right over this, but it's their loss. With Joker Transpo, like you're paying any attention to the faces of the cards.
Patrik again gives us an easy and straightforward card
trick that plays well for layman audiences. Turn back to your participant, and say, "Please don't tell
me the card—just tell me the number that you're thinking
In this quick transposition effect, your spectator chooses of." Suppose, for our example, they were thinking of the
any number between one and ten, without telling you number five. You are going to do some second-dealing, in
their selection. You then show them the top ten cards of order to keep the joker on top of the deck. Second-deal
the deck, one at a time, and ask them to remember the four cards, one at a time, into a small pile on the table,
card that falls at their secret number. After dealing down turning them face-up as you go. Then, deal the fifth card
to their card, a joker is used in a light-hearted way to straight—the joker—on top of the pile, without showing
determine the suit and value of their selection, while it its face or turning it over.
remains face-down. To finish, the selected card and the
joker transpose magically, without the magician ever (If you just tuned out because you don't have a reliable
touching the tabled selection. second deal, don't worry—I explain an alternate option
for you to explore at the end of this write-up.)
After reading that description, you might be left confused
as to what exactly this trick actually is. Is this a mind- Next, pick up the joker that was openly set aside at the
reading effect, or a transposition? To tell you the truth, it's beginning of the routine, and explain that this joker
probably a bit of both, but from experience performing will determine what the identity is of the card that the
it here and there, I can tell you this with certainty—it's spectator is thinking of. As you make this claim, you will
entertaining. peek the top card of the deck (the real selection). Do it
like this: hold the joker up vertically, facing your audience,
You will need to have two identical jokers in the deck. as you talk about how the joker will discover what their
(Hermit regular readers, take note: this is the same setup card is. Bring the deck, still held in your left hand, behind
requirement as my Lean Travellers routine from Vol. 1, the joker, and prepare for a bubble peek. This is done by
No. 8, and Joker Transpo could easily be performed in a pressing your left thumb against the left long edge of the
set directly before my routine). The deck can be shuffled top card of the deck, as if pushing it off in a dealing action.
thoroughly before the routine by a spectator, if you wish. The left fingertips maintain their position on the right
Remove from the deck and table one of the jokers openly, edge of the deck, stopping the card from sliding over, and
while secretly culling or cutting the other to the top. Ask instead causing it to bow upwards. By rotating the deck
your volunteer to think of a number between one and ten, back towards yourself slightly, you can peek down into the
and as they are deciding on a secret number, perform any "bubble" and see the index of the card quite clearly. This
false cut that you are familiar with. You want it to look as peek just takes a second to complete, and is covered by the
if the next part of the routine is done from a random point other hand holding the joker. When you have the peek,
in the deck. As you square the deck, get a break under the release the pressure on the top card of the deck, collapsing
top two cards. the bubble. While you subtly adjust in the action of
squaring the deck up, you can easily obtain a pinky break
Now, ask your participant to note the card that falls at his under the top card.
number while your head is turned. Holding the deck in
left hand mechanic's grip, lift off the two cards above the For the sake of this example, we'll assume that the
break from the top together in end grip, and turn the right spectator's card is a Three of Clubs.
hand palm-up, showing a card face and counting "one".
Then, with your left thumb, push over the next card, rotate "Look, with his eyes, he's going to look and see which card
your right hand back palm-down to grip it in end grip you chose."
under the double, and turn the hand back over palm-up,
showing its face and counting "two". This is continued one Holding the joker face-up, slide it beneath the face-down
at a time until you count "ten" out loud, and then all of the card on top of your small pile, and wiggle it around a little,
cards are returned back on top of the deck. The order of before pulling it back out. You can put one of your left
the cards will not have changed at all, but your spectator fingers on top of the face-down card to hold it in place if
will now be thinking of the card that appears to fall at you need to.

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 THE HERMIT

The audience doesn't know that the face-down card is the

other matching joker; they will assume that it's the card
they're remembering, as it fell at their secret number. The
humor in the routine comes in the personification of the
joker that you're holding, and you're acting as if "he" is
literally given the opportunity to look at the selected card.

Hold the joker up to your ear, and pretend to be hearing

information about the card. You know the drill—first
reveal the colour, then the suit, and then the value.
A SECONDS-LESS SEQUENCE
"He says it's a black card… a club… the Three of Clubs!"
Now, if you don't perform a convincing second deal, or
if you don't have the confidence to perform up to nine
It's quite surprising to a layperson that you could know
second deals in a row, you can instead alter the setup so
what their card is, at this point. Let it be a stand-alone
that all you need to get away with is a single bottom deal.
magical moment! Once the card is revealed out loud,
This is how I (Scott) have started to perform it:
bring the joker down from beside your ear, and in a
gesture to the small pile of cards on the table, execute a
Begin the routine by cutting a single joker to the bottom
Top Change, switching this joker for the top card of the
face of the deck, and set aside the other joker openly. You
deck. You can hide the change under the guise of asking a
can perform an overhand milk shuffle to truly randomize
question, such as:
the deck while keeping the joker on the bottom, if you
wish. This is just as convincing as a false cut. Following
" Was that right, you're thinking of the Three of Clubs?"
along with the trick as before, have your participant think
of any number from one to ten, only this time, skip the
When they answer, tap the "joker" in your right hand
double card at the start of the counting procedure, and
lightly against the pile of cards with their supposed Three
actually show the top ten cards for what they are. Lift one
of Clubs. Let them pick it up and turn it over, only to
card and count "one", the second card and count "two", etc.
discover that it's actually a joker! You can now end the
routine by slowly turning over the card in your hand,
Now, instead of just asking them to name their thought-
revealing their selection.
of number directly, I like to try to guess it. I usually just
ask, "So—was the number that you're thinking of seven?" If
they say yes, that's a hit. If not, I quickly add, "Most people
think of seven. What number did you think of ?" I try to
downplay the fact that I'm asking for their number, while
also taking credit for a small guess that is surprising if not
especially magical when it hits.

Now, I deal cards one at a time, stud-style face-up, from

the top of the deck. When I get to their number, that
card stays face-down, and actually comes off the bottom.
You're left in the proper position, with their selection on
top of the deck, and you didn't have to deal any difficult
seconds. Carry on as before to finish.

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The Final Destination

Boyet Vargas
 THE HERMIT

When performing The Final Destination, here's what Offer to try this again, and ask that they change the
the spectator experiences: first, the mentalist asks the position of the coin.
spectator to hide an imaginary object. Then, the mentalist
asks some questions, and the spectator answers them If you know that the coin is in their right hand, tell the
using the power of their mind. The mentalist is able to tell spectator:
the spectator where the object was hidden. • If coin is in their right hand, transfer it to their pocket.
• If coin is in their pocket, transfer it to their left hand.
THE SECRET • If coin is in their left hand, transfer it to their right hand.
You only need to know if the first and second answers The coin is, of course, now in their pocket.
from the spectator are the same, without knowing the
actual answers. Yes, believe it or not, that’s the method. I However, if you know that the coin is in either the left
will explain further how you can obtain this information hand or pocket, tell the spectator:
under the nose of the spectator. • If coin is in their right hand, transfer it to their pocket.
• If coin is in their pocket, transfer it to their left hand.
THE BASIC EFFECT • Otherwise, retain it where it is.
What follows is the bare instruction of the effect. This is The coin now must be in their left hand.
a straight-forward procedure without the subtleties and
drama. I created this section for you to be able to test the Tell the spectator to send the current location using
method almost immediately. the power of their mind. Appear to pick up on their
brainwaves, and reveal the location of the coin.
For more details on how the effect came to be, including
my take on the presentation and handling, I suggest ONE HAND IN MY POCKET
reading carefully through the rest of the explanation. This is a variation of the Which Hand effect from Ever
Elizalde, entitled Manoeda.
This is based on the Which Hand effect from Ever Elizalde,
entitled Manoeda. Ask the spectator to hide an imaginary coin in either their
right hand, left hand, right pocket, or in their left pocket.
Begin by asking the spectator to hide an imaginary coin Ask the spectator the two questions—again, they need to
in either their right hand, left hand, or pocket. This can answer using only the power of their mind.
all take place in their mind, but they must decide on one
location for the imagined coin. Now, ask the spectator the • Is the coin in any of your hands?
following two questions. They need only to answer either • Is the coin on the left side of the body?
yes or no using the power of their mind; they don't need
to say their answers out loud. Ask the spectator if their second answer is the same as the
first. If the spectator tells you that their answers to the two
• Is the coin in any of your hands? questions are different, it means the coin is either in their
• Is the coin in your left hand? left hand or right pocket. If the spectator tells you that
their answers to the two questions are the same, it means
Ask the spectator if their second answer was the same as the coin is either in their right hand or in their left pocket.
the first. If the spectator tells you that their answers to the
two questions are different, it means the coin is in their Offer to try this again, and ask the spectator to change the
right hand. No, really! If the spectator tells you that their location of the coin if it is currently in their hands. They
answers to the two questions are the same, it means the are to move it on the opposite side of their body, into their
coin is either in their pocket or their left hand. pocket.
• If coin is in their right hand, transfer it to their left
pocket.
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• If coin is in their left hand, transfer it to their right If you decide to use physical objects, you then need to
pocket. instruct the spectator to hide their hands behind their
back before putting the object in their chosen location.
Tell the spectator to send the current location using the Afterwards, they can be instructed to place their hands in
power of their mind. Reveal the location of the coin. front of themselves in a classic "Which Hand" fist position,
if you like.
A NOTE FROM BOYET VARGAS
"I love the “Manoeda” effect from Ever Elizalde. The ON THE QUESTIONS
method has potential uses besides the Which Hand effect. Before you ask the questions of the spectator, tell them
While I was working on another effect to substitute the that they need to answer you using the power of the mind.
truth teller/liar plot, I tried to run through different effects They should not verbalize their answer or give you any
that I know of that use this plot—and that’s when I came clues. They just need to send their answer to you from
across this effect. their mind repeatedly.

"Initially, I tried to substitute the truth teller/liar plot to There are only two questions you need to ask the spectator.
that effect, but while I was working on this I came to The questions are:
realize something more—something that would eliminate • Is the object in their hands?
not just the truth teller/liar plot, but the part itself where • Is the object in their LEFT hand?
you need to get a response from the spectator on which
hand the object is in. After the first question, you just need to pause for a few
seconds to pretend that you received some message from
" You are now reading the fruit of those moments. I think the spectator. But of course in reality it does not matter
what is written here is one of the closest things to mind what their answer is. After the second question, you
reading for this type of effect. It is very easy to learn and will also pause for a few seconds and then you will act
understand. Each variation outlined here is a standalone like you are not sure that you received the answer to the
routine, and they are not meant to be done consecutively— second question, since you seemed to receive the same
otherwise the core method will mostly likely be response from the first question. You can try to explain
compromised. that sometimes when you try to read someone’s mind the
messages that you receive are not clear, that sometimes
"I would like to thank Ever Elizalde for giving me you can only hear an echo of the answer.
permission to use his “Manoeda” plot."
This is where you are justified to ask the spectator for
PROPS NEEDED confirmation on what you received from their mind. You
✓ Imaginary object ask the spectator if the answers on the first and second
✓ Spectator’s imagination questions are the same or different. There will be only two
possible responses:
You can do this effect with or without props. If you decide • No, they are different.
to use a prop, make sure it is small enough that it will fit • Yes, they are the same.
in your hands or pocket or whichever container or place
within which you want them to be hidden. If the response is, "No, they are different," this means the
object is in their right hand. Quickly acknowledge this
Another alternative is to use the front pockets and and then tell them that you will try it again. When I say
back pockets if you like, instead of hiding the “quickly acknowledge,” I mean to just say, “Okay,” and
objects in the hands. then try to move on to the next step as if the response did
not matter.

997
 THE HERMIT

If the response is, "Yes, they are the same," this means the object if you already know where the object is? This
the object is either in their left hand or pocket. Briefly adds a layer of deception so that any spectator that will try
acknowledge that you were right and then tell the to backtrack will remember that they moved the object,
spectator that you will do this again, as if the response and any clue from the first phase, if there was one, appears
does not matter. to be made irrelevant.

LET'S DO THIS AGAIN If object is in their left hand or pocket, instruct your
Why do you have to tell the spectator to do this again? spectator with these statements instead:
Well, repeating this thought exercise psychologically
negates the fact that you were able to get some sort of "If the object is in your right hand, please move it to your
information. This frames the situation as if you are pocket. If the object is in your pocket, take it out with your
starting all over again, which makes anything that came left hand. If the object is anywhere else, retain it as it is."
before look irrelevant to the spectator. This helps you hide
the core method. It also gives you an excuse to move the You will notice that this will force the object to end up to
object from one place to another. be in the spectator's left hand.

Moving the object might appear optional, since you There are other deceptions that you can use to add a layer
could already know the location of the coin. But for me, of deceit to the method. Try the interrogation approach,
moving the object also helps to add a layer in disguising questioning each location, while pretending to receive a
the method. After you offer to do this again, you tell the clear message from the mind of your audience.
spectator that you will give them a chance to move the • Is the object in your right hand?
object from their current position. • Is the object in your left hand?
• Is the object in your pocket?
After moving the object, try to get acknowledgement
from the spectator that up to this point, you don’t Pause in between the questions. Pretend as if you are
know where the object is, and that the current receiving a response from the spectator. You can even
location of the object exists only in their mind. reveal to them what response they sent as if you really
received the message.
This kind of wording frames the situation as if you are
giving the spectator a chance to further hide the object, For the final reveal, pretend that you are receiving the
when in fact you are really forcing the position of the information from the spectator. Other than that, there is
object. This solves the problem if the current location of nothing much to tell here as you already know where the
the object is either in the left hand or in the pocket. coin or object is located. It is a freehand revelation that
you can choose to present however you like.
So, if the object is in the right hand, you will instruct the
spectator thusly: ONE HAND IN MY POCKET
This variation of the Manoeda plot uses four locations:
"If the object is in your right hand, please put it in your two hands and two pockets. The object is hidden in any of
pocket. If the object is in your left hand, put it into your the four locations, but in the end it will be narrowed down
right hand. Finally, if the object is in your pocket, take it to just two locations.
out with your left hand."

This forces the object to be in the pocket, since we already

know that it was in their right hand. But why ask to move

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 Vol.2 No.9

THE QUESTIONS If they respond that, "No, they are different" then this
In this variation, the two questions are: means that the object is in either their right hand or left
• Is the object in their hands? pocket. Quickly acknowledge this, and then tell them that
• Is the object on their LEFT side of their body? you will do this again. When I say, “quickly acknowledge”
you just say, “Okay,” and then try to move on to the next
THE RESPONSE step as if their response did not matter.
As in the previous plot, after the first question you simply
need to pause for a few seconds to pretend that you If they respond that, "Yes, they are the same" then this
received some message from the spectator. But of course means the object is either in their left hand or right pocket.
in reality it does not matter what their answer is. After the Briefly acknowledge that you were right, and then tell the
second question, you will also pause for few seconds and spectator that you will do this again, as if their response
then you will pretend you are not sure that you received does not matter to the effect.
the answer to the second question, since you seemed to
receive the same response from the first question. You LET'S DO THIS AGAIN
can try to explain that sometimes when you try to read Why do you have to tell the spectator to do this again? It’s
someone’s mind, the messages that you receive are not the same as the previous plot: to psychologically negate
clear, and that sometimes you can only hear an echo of the fact that you were able to get some sort of information.
the answer. This frames the situation as if you are starting all over
again, which makes anything before that look irrelevant
This is how you justify asking the spectator for to the spectator. This helps to hide the core method, and it
confirmation on what you received from their mind. You gives you an excuse to move the object from one place to
ask the spectator if their answers to the first and second another.
questions are the same or different. There will be only two
possible responses: We want to move the object so that it will be forced to
• No, they are different. one location. Moving the object forces the location to be
• Yes, they are the same. either in the left or right pocket or the left or right hand,
depending on which one you prefer. After you offer to do
When you ask the Spectator for the confirmation this again, you will tell the spectator that you are going to
you should make it appear that you were a little give them a chance to move the object from their current
bit confused, which is why you just need to position. This kind of wording frames the situation as if
clarify. you are giving the spectator a chance to further hide the
object, when in fact you are really forcing the position of
the object.

999
 THE HERMIT

In this explanation, we will force it to be either the left or SAMPLE SCRIPT WITH COMMENTARY
right pocket. Tell the spectator that if the object is in their This script only covers one scenario, but I hope you will
hands, you want it to be moved to the opposite pocket. get the idea.
That is, if the object is in the right hand or left pocket, you
will instruct the spectator to move it to their opposite For this example, we will use the Manoeda plot and
pocket, which is the left pocket. This forces the object to assume that the spectator initially placed the imaginary
be in their left pocket. coin in their right hand. Using our method, the imaginary
coin will end up in their pocket.
If the object is in their left hand or right pocket, you
instruct the spectator to move it to their opposite pocket, The mentalist asks, "Let’s do a little bit of mind reading.
which is the right pocket. This forces the object to be in Interested?"
their right pocket.
The spectator replies, "Sure."
Reveal that you know the location of the object in the
same way as the previous plot, pretending that you are "Try to imagine in front of you is a small coin. I want you
receiving the information from the spectator. Other than to take the coin and hide it. You can hide it either in your
that there is nothing much to tell here, since you already right hand, left hand, or in your pocket."
know where the coin is located. It is a freehand revelation
that you can present however you like. Pause a second.

"Have you done that?"

" Yup."

In this sample scenario, we will assume that the Spectator

hid the coin in their right hand.

The mentalist continues, "I will ask you a few questions,

and I want you to answer them using only the power of
your mind. Got that?"

"Got it."
 Vol.2 No.9

"First question—is the coin in any of your hands? Please As mentioned before, although you already know the
answer me only using the power of your mind." position of the object, you need this subtlety to add a layer
and also hide the core method that you used to find the
Pause for a second. location of the object.

"Interesting, but I think I got something. Let me ask you "Understood."

another one—is the coin in your left hand?"
Pause for few seconds and snap your fingers.
Pause for a second.
"Great, so even now the coin is in a position that I do not
"Hmmm, that’s strange. I already asked you the second know, agreed?"
question but it seems I kept getting the same answer as the
first question. Am I wrong?" " Yeah, I agree."

You will notice that no matter the answer, it looks like you The mentalist concentrates. "Now, try to send me the
are correct. If they are thinking the same, then your first information I need. Tell me where the coin is hidden using
statement is correct. Otherwise, the second statement the power of your mind alone."
("Am I wrong?") still makes it look like you are correct.
Pause for a second.
The spectator says, "Nope, they’re different."
"The coin is in your pocket."
"Okay, that is what I thought. Let’s try this again. I will give
you a chance to change the position of the coin. If the coin " WTF?!"
is in your right hand, you will move it into your pocket.
If the coin is in your pocket, you will move it to your left [END]
hand. And lastly, if the coin is in your left hand you will
move it into your right hand. You will do this after I snap
my fingers, understood?"

This action forces the object to end up in the pocket.

1001
 THE HERMIT
joe
rindfleisch
COINCIDENCE In Joe's words: "First, I must say I really love Cubic as is. Thank you
Francis Menotti for envisioning this, and thank both you and Vanishing
Inc. for bringing this to fruition. I know inventions can sometimes
be time consuming and often a frustrating thing to do. It takes
perseverance to try and attempt to put a product out and see it through
to the end. Congratulations! It’s a wonderful effect that brings sense and
justification to the magic square premise.

"For me I didn’t want to be limited to using blank cards, so I started

working out a handling with a regular deck of cards. Once I started
working on my effect, and spending time analyzing the cube, I noticed
a bunch of things (coincidences) that when added together would make
for a mind-blowing revelation.

"The reason I called it Cubicle is because on fridays at work I perform

CUBICLE

for a group of my co-workers. I do a short set each week. I find it helpful

when I need to ask them for things, or to do work for me throughout
the week. This was one of the effects I showed to the guys, and it was
performed in a cubicle."

To describe the effect: the magician brings out a Rubik's cube with
numbers printed on it, and a deck of cards. Three spectators are invited
to sit with him in front of a table. The cube is shown and information is
told about how difficult it is to solve the cube, and how there are forty-
three quintillion combinations that a simple 3x3 Rubik's cube could
mix to, making any simple mix truly random and difficult to duplicate.
The cube is handed to a spectator to have them mix, and it's passed
along to each spectator. As this is happening, a deck of cards is shuffled
and cut. Three hands of five cards are dealt out to the spectators.

The magician explains that the spectators will continue to perform

a series of random actions. "All of these random things may add up
to something that makes sense; what some may call a coincidence,
Divine Providence, or just a good 'ol magic trick. Now, If I were to say
something random like 'back slash', that may mean nothing, but it might
in just a little while."

The magician then takes the cube, tables it in front of them, and directs
attention back to the three piles of cards in front of the spectators. The
magician then asks the spectators to pick one of the cards in their piles
and turn it face-up. The magician demonstrates by turning up the top
three cards of each packet. Suppose they are the Three of Clubs, Nine
of Hearts, and Seven of Spades. The cards combine to make 397, or
if added together make nineteen, which is an obviously completely
random total.

1002
 Vol.2 No.9
The spectators each now pick any card from their Now that you have chosen the number you will use, gather
respective piles and turn them face-up. The cards are the the twelve cards of the values you have chosen.
Eight of Hearts, Five of Diamonds, and the Two of Clubs. For example, all of the eights, fives, and twos.

Here is where all of these random actions will start to If the spectators are seated in a row on your side, stack the
make sense. This combines to 852! deck by alternating the values 852, 852, 852, 852, and then
three random spot cards (something like 397). This way,
The magician asks the first spectator, " What time is the reveal will read as a time (8:52) from left to right.
it?" The spectator responds 8:52pm. The magician then If the spectators are sitting opposite you, reverse the
asks the second spectator, "Remember I said 'back slash' order so it is 258,258, 258, 258, and then the other three
earlier? Can you please pick up the cube, revealing the spot cards. This way, it will read left to right from their
side that has been hidden against the table. Remember all perspective.
of you mixed it up!? What is the number in the diagonal
'back slash' position?" The spectator responds 852. Begin the performance by handing out the cube for your
three spectators to shuffle. The shell gimmick should be
Finally the magician asks the third spectator, "Can you stored in an accessible pocket or nearby place for easy
add up all three cards, and tell us all the total?" The retrieval.
spectator, being good at math, responds, "Fifteen".
With the prearranged stack on top of the deck, false
"Exactly! In fact, if you look at the cube in every direction, shuffle and false cut as you deliver your patter (as
all of the rows and columns on that side add up to fifteen. described above). Swing cut the deck and maintain a
Fifteen here, Fifteen here, Fifteen here, Fifteen here, and break above your stack. Riffle the side of the deck with
here! Even diagonally! What an amazing coincidence!" your thumb and have a spectator tell you when to stop,
apparently adding in another layer of "randomness".
To perform this effect, you will need Francis Menotti's When they say stop, cut the cards at the break and
Cubic effect (which is a marketed effect that comes with complete the cut, which will bring the stack back to the
the necessary props) and an ordinary deck of cards. top. Now either you or a spectator will deal three hands of
five cards. Be mindful of your stack order, and make sure
The first thing you need to do is to ask yourself if you that the dealing process results in your desired time.
would like to incorporate the time coincidence into the
effect. The cube allows you a number of choices and times After having the cube mixed, retrieve it back from the
to fit this in, if it conveniently falls during the window of spectators and secretly add the shell to the red center side
your performance. of the cube, and place it on the table, shell-side down.
That's the dirty work done!
Here is the list of viable times:
852 = 8:52 = back slash (\) With the hands dealt, deliver the instructions for picking
258 = 2:58 = back slash reversed (\) a card from their face-down packet. Demonstrate by
654 = 6:54 = forward slash (/) turning over the top card of each pile, which will be the
456 = 4:56 = forward slash reversed (/) three random spot cards (in our case a three, nine, and
834 = 8:34 = top row seven). Discard these three cards, and have them chose
438 = 4:38 = top right to left or reversed any card from within their piles. Be sure to manage the
159 = 1:59 = middle row situation, and not have them look at their entire hand, as
951 = 9:51 = middle right to left or reversed they will be four-of-a-kinds in each value. Once they have
chosen their cards, have them turn them over face-up, and
These times come directly from the shell gimmick remove the other cards.
provided in the Cubic effect. Unfortunately, we cannot
leverage the bottom row of the cube into usable times If you’re going to include the time coincidence, make sure
(unless you know that one of your spectators was born that you rehearse and practice how long it takes you to
in June of '72, but that's fairly unlikely). I’m sure if you get to the reveal phase, to give yourself time so that you
looked hard enough, you could find other meaningful can nail the reveal of the cards at that exact time. At this
combinations within these force numbers that could work point, it is all patter and presentation. Show the shell side
for you. of the cube, remind the audience that they mixed the cube
themselves, and reveal the coincidences!
1003
Chiam Yu Sheng
 Vol.2 No.9

Chiam Yu Sheng from Singapore won the Yu Sheng has decided to begin with a setup that is ordered
#hermitmagicchallenge presented in July of so that the poker deal in the routine involves four players,
this year, which was to construct a satisfactory including himself as the dealer. The setup is fairly basic
handling for the following routine, that is a and can easily be arranged in an off moment between
mash-up of a poker deal and the classic Six routines, or quickly ahead of your performance.
Card Repeat:
Here's an easy way to get the deck stacked—though you
The magician deals a round of draw poker wouldn't want to do it this way in front of your audience.
to any number of players. It is disclosed that Remove from your deck all four aces, and place them as
although the magician knows how to cheat at a group onto the table, face-down. Deal onto the aces
cards, they seldom do. That said, it is revealed nineteen more cards face-down, one at a time, counting
that the magician has accidentally dealt to yourself. Drag out any one of the aces from the bottom
themselves an extra card, and all six of the of this pile and insert it so that it is now the fourth card
cards in the magician's hand are shown to their from the top of the tabled pile. Then, pick up this tabled
opponent. pile and set it on top of the remainder of the deck still in
your dealing hand. You've placed the aces into positions
To correct the misdeal and make it a fair game, four, twenty-one, twenty-two, and twenty-three in the
the opponent is allowed to select which card is deck.
removed from the magician's hand. They then
look at their own hand, and select up to three To start the routine, give the deck a few tabled false cuts
cards to discard (as in draw poker). while you patter about how you might know how to cheat
at cards, while promising that you never actually do. The
The magician then reveals that there's been more that the audience believes your cuts to be real and
another mistake—they still have six cards in the deck to be randomized, the better. If you do any false
their hand! The magician shuffles their six cards shuffles, now's the time. I prefer some up-the-ladder cuts,
face-down, and then throws one away into the whereas Yu Sheng does a series of false swing cuts.
discard pile, apparently at random.
Now, deal out four hands poker-style, containing five
Continuing on, the opponent is dealt the cards each. The fourth hand should be dealt to you. This is
number of cards required to complete their a straight deal, with one card going into each pile during
own hand, but then it is immediately noticed each cycle. Because of the arrangement of cards, you will
that the performer is still holding a hand of six have dealt an ace to yourself first, on the bottom of your
cards! The magician still appears to be cheating. pile. After dealing, the top three cards of the deck in your
hand are all aces. After dealing, you can easily get a break
This discarding of cards, only to fail to reduce under these three cards as you square the pack in your
the amount of cards in the magician's hand hands, or by using a pinky count. Keep the deck in your
goes on for multiple phases, until the magician left hand mechanic's grip.
gets fed up and declares that they will discard
two cards, to get ahead of this problem. This Pick up your hand from the table with your right hand in
appears to work, as the magician is left with just end grip, and as you square it up against the deck, secretly
four cards. pick up all of the cards above the break onto the bottom
of the right hand's packet. Place the deck on the table off
The hands are finally revealed, and the magician to the side, and you are left holding eight cards in your
wins with all four aces, beating their opponent's right hand in end grip. Transfer them to the left hand.
five-card poker hand.
You must now reverse count them as six cards, by peeling
This is Yu Sheng's handling, explained. Follow one card off the top into your left hand, and then the next
along with a deck of cards in hand! one on top of that, and so on. After the fifth card, you
should be holding a three-card block that will be dropped
on top, and counted as a sixth card.

1005
 THE HERMIT

Act surprised, since you were only supposed to have six Reverse count once more, to make sure that you have
cards! Explain that this was just a mistake, and as you the correct number of cards. Of course, you can actually
say that, turn the packet over into your left hand. You count properly, since you hold six cards total.
can spread the cards face-up, taking three into your right
hand, and showing the remaining cards in your left hand You should be flabbergasted at this point; you keep
as three by only spreading over two. This leaves a three discarding cards without the total number of cards in
card block on the bottom of the cards in your left hand, your hands reducing! This is a bizarre thing, and needs
and you are showing a six-card hand that contains two to be treated as such; if you act indifferent about what's
aces. Offer to remedy the error by getting rid of a card. happening (which is something that a lot of magicians
Square the packet back together, and peel off the topmost do while they go through the motions of the Six Card
card (a face-up indifferent card) so that you can discard it Repeat on stage) the audience will feel indifferent about it
face-down onto the tabled pack. as well. If you can act in such a way that you also appear
to not be comprehending or believing these mysterious
You've shown a six-card hand, and you've gotten rid of circumstances, your audience is more likely to match your
one of the cards. Logically, your audience should believe level of enthusiasm.
that you're left with five cards.
Yu Sheng simply removes the bottom two cards (the
Turn the packet over, and reverse count again, in the same two remaining indifferent cards) and ditches them onto
way as before, counting the seven cards as six (you stop the deck. The idea is that by getting rid of two cards, he
when you are left holding a double card, and you drop that might be able to change the result, since the definition
double on top of the packet on the count of "six"). of insanity in this case would be to carry on discarding
single cards and expecting a different result. While I
Act confused, and then turn the top face-down card up. It like the thought process, I am personally not a fan of
is another indifferent card; discard it in the same way as removing the bottom cards, since up until this point it's
before, by ditching it openly on top of the tabled pack. always been the "top" card that has been discarded after
the count. I understand that Yu Sheng wants to get to the
If you're keeping track, you're holding six cards—two finale and doesn't want to drag this out further, but here's
indifferent cards on top of the four aces. what I do at this point—you can take your pick.

1006
 Vol.2 No.9

Since I've been the only one counting the cards, No matter which approach you use, mine or Yu Sheng's,
the audience might be suspecting that the count you'll be left holding four aces. Yu Sheng has his audience
is somehow the method to showing only six now look at their cards, which are still where they were
cards. However, we're at a place in a routine originally dealt. After they reveal the strength of their
where we can clearly show exactly six cards, and dealt hands, he then turns over his hand—revealing the
no more. So I count again. four aces, making up a winning four of a kind!

After the reverse count, I say "Look, I'm not There is, of course, a slim chance that your audience
making this up! It's exactly six cards. One, Two, could beat you with a very, very lucky royal flush, and
Three, Four, …" in the unlikely event that this happens, you should give
them credit and move on. Your audience will naturally
I drop the cards from a short height to the assume that you did this on purpose, since it's commonly
table in a neat pile in front of me, one at a time, regarded as an impossible occurrence. Celebrate them!
counting as I go. I make it look like I'm doing
this for the audience's benefit. I'm giving them I'd like to take a second to thank Chiam Yu Sheng for
a chance to watch closely, and to see that there getting involved and contributing his solution to this
really are six cards. There can be no doubt after challenge. It's quite difficult to create workable magic
this. Of course, this reverses their order again, from just a prompt, and I'm pleased with the result that he
bringing the indifferent cards to the top. shared. But this pet plot has many possible solutions, and
I would be very interested in reading your handlings as
I then pick up the packet and square the cards, well. You are always welcome to email them in to
getting a break under the top two cards as I [email protected].
do. Immediately this double is discarded to the
top of the tabled deck with the other discards, See the next routine, Six Card Cheat, for my most recent
leaving me holding four cards. They must think personal handling of the proposed plot. There are a few
that there are five left, if they're a logical human. differences, as my variation attempts to involve a spectator
I now have fewer cards than they suspect, not throughout the routine, and allows them to make proper
more. poker decisions.

1007
Let me take a moment to explain my interest
in combining the Six Card Repeat with a poker
demonstration. I don't perform either of these tricks
by themselves. I find most poker demonstrations to be
equal to or even less entertaining than the classic Six Card
Repeat, and that should tell you everything that you need
to know about where I stand with these routines.

Together, though, they just make sense. Poker

demonstrations are often only intriguing because they
show the skill required to cheat at cards—and what better
way is there to cheat (and what method of cheating is
easier for a layperson to understand) than having extra
cards? The Six Card Repeat itself often lacks a sense
of purpose. It can be fooling, I suppose, but it's often
ultimately immaterial.

Now, since we're going to be cheating, I have no qualms

about the fact that for this trick, I'm going to recommend
that you stack pretty much half of the deck. Don't skip
past just because of this; I will also explain later how to
achieve a similar effect from a setup that you can get into
in front of your audience fairly quickly.

Get out your casino visor and a deck of cards. It's time to
learn how to be the Six Card Cheat.
SIX CARD CHEAT Vol.2 No.9

I'll explain the setup and the general concept of the Your setup to deal these hands correctly looks like this,
method together, so that you can better understand why from the top down (where each "X" indicates one of the
the cards are arranged in this way. First, remove the jokers six random cards that will serve as the dealer's "Hand 4",
from your deck completely. Then you should remove the and the numbers in the left column indicate which dealt
cards that make up these three poker hands: hand that the cards belong to):

Hand 1: KD, KS, KC, 4D, 3C 1 KD

Hand 2: 8H, 2H, 10H, 3S, QS 2 8H
Hand 3: 7D, 7C, 4S, 10D, QC 3 7D
4 X
You must also remove these other cards from the deck, in 1 KS
preparation for the setup: any six random cards for the 2 2H
dealer, all four aces, and the KH and 7H. 3 7C
4 X
We'll be playing draw poker during this routine. The 1 KC
dealer (the magician, in this case) will offer the players in 2 10H
the game one round where they can draw up to two cards. 3 4S
This means the players can get rid of up to two cards from 4 X
their hand, and exchange them with two other cards from 1 4D
the deck, in order to make a strong poker hand. 2 3S
3 10D
As you can see, Hand 1 has three kings in it, which is great 4 X
for poker. The other two cards can be any indifferent cards 1 3C
that you would want a knowledgeable spectator to discard. 2 QS
Hand 2 is well on its way to becoming a flush, with two 3 QC
indifferent cards that aren't hearts and that don't offer
the possibility of a potential straight. Any poker player
4
4
X
X } Double deal
would play this hand with the intention of ending with KH (this card to be substituted in)
a flush. Hand 3 contains a pair of sevens and three other 7H (this card to be substituted in)
indifferent cards that don't offer any other prospects. Ace of any suit
Ace of a different suit
Our spectator will get to choose blindly between the three Ace of another suit
hands described above, and play their choice of hand Ace remaining
through one draw round. They will be expected to make Rest of Deck
a somewhat intelligent decision for poker, and therefore
must be chosen specifically because they have previous The deck can begin in the card box if you like, and be
knowledge of poker hands, ranking, etc. The hands are switched in before you begin this routine. Sit opposite
designed specifically to lead them to discard and draw your spectator. While you could perform this routine for
two cards. The two cards they will be dealt in return are up to three volunteers, I find it works best one-on-one,
the KH and 7H. as there are fewer distractions around the table. False
shuffle, false cut, and then deal a round of poker as if you
If they chose the first hand, they would discard the two were playing a game with three participants and yourself,
indifferent cards (the 4D and 3C) and when they receive clockwise around the table. There should be three distinct
the KH and 7H they will end up with four kings—a very hands within reach of your spectator, and one hand dealt
good hand! If they choose the second hand, they'll still in front of yourself. Continue to deal until all of the hands
discard two cards (the non-hearts) and end up with a have five cards—except, on the last card dealt to yourself,
flush—all of their cards will be hearts. Another apparent you'll perform a double deal to secretly give yourself an
winner! If they choose the final hand, they will discard extra card. If you look at the setup outlined above, you'll
any two of the three "non-sevens", and finish with three see that you're double dealing two indifferent cards to
of a kind. No matter what, if they follow basic poker logic, yourself as you complete the dealing process. Every hand
they will end up with a decent ranking hand. appears to have five cards.

1009
 THE HERMIT

Don't worry if your double deal splits or isn't that "Great, thank you. Now let's play poker. Look at your hand.
convincing—it's not pivotal to the outcome of the routine, You've said that you're familiar with the possible winning
and it actually could help to drive along the plot along if hands of poker. Decide on how many cards you'd like to
someone thinks that they've "caught" you. While you're discard and draw—you can keep them all, exchange one,
dealing, try to settle into a "charming cheat" character, or even two cards. You're going to have to try to make the
with this sort of presentation: best hand possible to beat me!"

"The game is draw poker, where you get one round to Guide the spectator through looking at their chosen
exchange up to two cards if you like from your hand. poker hand, and ultimately they will decide to discard
There are no wild cards, and there'll be no betting—I don't two cards. They can toss their discards into the center of
gamble. No, I prefer to minimize risk whenever possible the table, face-down. Now, pick up the deck and deal two
when it comes to playing cards. That's why I learned to cards off the top (the KH and 7H) to the spectator, giving
cheat." them a good hand. It's fun to watch their reactions when
they realize that they made a good poker decision. There's
Stop to wink at your volunteer and audience, then often a hint of pride in their expression. Or hope, maybe.
continue:
"Look, I want to be as fair as possible, so why don't I discard
"Don't worry, I was raised to have good manners. I'd never two cards as well. I'll even let you choose which ones. You
consider cheating in a game like this. I don't have to. In point to them and I'll get rid of them."
fact, I'll give you a bit of an edge to help you out. You can
choose any of these three hands to be yours. Which one do As you're giving these instructions, spread and square the
you want to play?" deck in your hands, getting a break beneath the top four
cards (the aces). Allow the spectator to select two of the
Gesture to the three options, and allow your spectator to cards still face-down on the table in front of you. These
make a choice. It makes no difference which hand they can go into the discard pile, sight unseen, leaving you with
choose, but when they decide, allow them to slide that three cards in a small pile. Deal two cards onto this pile
hand in front of them on the table. As they are doing this, from the top of the deck. Relax back, pause for a second,
set the remainder of the deck aside to your right, and then and then pick up your five-card poker hand with your
use your left hand to spread out your poker hand. Don't right hand from above. Square the cards by tapping them
immediately draw attention to the fact that you have six against the top of the deck, and as you do, pick up the
cards, but eventually, someone has to notice. two cards above the break, adding them to the bottom of
the right hand's packet, while maintaining a break above
"I didn't cheat, I promise—that was an honest mistake. them. Then, table the deck with your left hand to the side.
Here, to make it fair, we won't look at the cards—just slide
any one of these cards away and we'll discard it. That way, You are now holding seven cards in your right hand in
I'll have five cards left, and we can play poker. It's your end grip. Two of the cards are still held below a break. The
choice." audience believes there to be five, so you're miles ahead.

The volunteer can take out any one of your cards and "Before we see who won (and if we were gambling, before I
discard it face-down in the middle of the table. This serves take your money) I'll show you how I would theoretically
to set up the premise, put the spectator in control, and it cheat, if I felt that I had to. I'd use an extra card. It's dead
serves to start a discard pile in the center of the table. You simple. In fact, I have one, two, three…"
want to make it appear that you are trying to be fair and
above-board. This makes it more humorous later, when On the count of one, take the two cards below the break as
the same thing happens over and over again. one with your left hand, pretending that they came off the

1010
 Vol.2 No.9

top of the packet. There's no heat on the cards at this point, Wave a hand over your cards, and then spread your cards
so you can really get away with anything here. On the into a fan showing that you now have a hand of only four
two, three, and all other subsequent counts, actually peel a cards. Finish the routine by slowly turning them over onto
single card from the right hand into the left, reversing the the table one at a time, revealing the winning hand—the
order of the cards on top of this double card. When this four aces!
is done correctly, you'll count the seven cards as six into
your left hand, and all four aces will end up on the bottom I feel that the spectator's involvement with the decision
of the packet. making surrounding your hand helps to increase the
impossibility of the end result—especially since you aren't
"…four, five, six. See, an extra card. But I don't need to seen to look at your hand at all. Before you even touch
cheat, so I'll get rid of one. But don't trust me. I know you your cards, the spectator has eliminated three of the six.
saw me do it, but look, I still have six cards. This is how
cheating works. One, two, three…" One of my goals with this routine was to make the game
of poker actually feel like it was being played. Too often
Deliberately discard the top card of your packet into the poker demonstrations take place in a hypothetical realm
center of the table after the count, and then immediately where the magician discusses what hands fictitious players
count the cards back into the right hand one at a time, could have had, and the audience watches with glazed
without reversing their order this time. When I count eyes. Involving the spectator with the illusion of choices
them at this point, I like to place them into a short spread and decisions to make regarding their hand and yours
or small fan in my right hand, so that the audience can (however irrelevant) keeps them engaged and imbues the
still clearly see six cards. trick with a personal quality.

"…four, five, six. But like I said, I don't have to cheat. I'll get If you don't want to use the full setup, just set up an
rid of one for real, and look, I only have five. See? Now, tell alternating deal, eliminating the spectator's choice of
me, do you have a good poker hand?" hands altogether. Take the five cards that you will deal to
them, and weave them together with five cards that you
Close up the fan and get a break under the top two cards. will deal to yourself, faro-style. The deal should start with
Lift them up as a double, and discard them into the center the spectator, and you should be able to double deal a card
of the table. You now appear to have five cards again, but to yourself as before with the tenth and eleventh cards
you're actually left holding just the four aces. To count from the top of the deck. Set the two replacement cards
them as five, you can take one into your left hand, and that "fix" the spectator's hand in the twelfth and thirteenth
then as you go to take the next card in the count, replace positions before starting, guaranteeing them a good poker
the initial card on the bottom of the packet. This is done hand. The aces would have to be waiting in positions
in the same way that one would perform the sleight for fourteen through seventeen.
an Elmsley count. It's an easy and deceptive way to count
four cards as five. I prefer having the other hands dealt to the table, as it
gives the spectator the feeling that they made multiple
Finally, let your volunteer show their hand, revealing choices throughout the routine that could have effected
either their flush in hearts, four of a kind in kings, or three the final outcome. If you have multiple spectators, you
of a kind in sevens. They should be pleased as punch, and can let them examine the other poker hands as well, and
you should act as if you are impressed. try their luck (after you steal the aces, of course)! Whether
you try this routine out or prefer Yu Sheng's variation, I
"Maybe I should have cheated! That's a great hand! Let me hope that you consider the combination of the Six Card
tell you a secret—sometimes, you don't need an extra card Repeat and poker deal to be a worthwhile plot to pursue.
to win, you can actually get by with one less."

1011
 Dr. DALEY'S
DALE 'S
LAST
LAST
CARD
CARD TRICK
TRICK
Attached is my handling for Dr. Daley's Last Trick using a EFFECT
gimmick I haven't seen used for this routine which allows a Four cards are spread to display the four aces. A red ace is
very clear and clean handling of the trick while also being placed on one of the participant's hands. The other red ace
immediately examinable at the end. Although I haven't is placed on the participant’s other hand. The performer
found anything about its use in any online archives or clearly shows that they are left with the black aces. When
in my own library, perhaps you have seen it somewhere. the performer taps the black aces on the participant’s
Either way I hope you enjoy it; I think it is a very nice hands the participant now has the black aces and the
quick trick. performer is left with the red aces. All four cards are
immediately examinable.

Dale Moore is a twenty-seven year old magician who has SETUP

been in the United States Army for nearly a decade. He You need four normal cards and a duplicate of one of the
has always been interested in magic and it has remained a aces (for this explanation we will use the spades). You will
primary hobby and/or subject of study for the majority of now cut the duplicate into equal quarters. Take one of the
his life. In his words, "I am now and plan to always be an quarters that has an index and cover its entire back (non-
amateur, I am incredibly content focusing on magic from a index side) with repositionable glue. Let the glue dry, then
scholarly perspective as well as using my time and energy place this piece of card over the lower index corner of the
to come up with ideas that I like and then developing ace of diamonds. Order the cards from the face, AH, AS,
them in a friendly and relaxed environment as opposed AD (with the gimmick at the inner right position), AC. All
to spending those resources on performing in professional of the center pips should be oriented in the same direction.
environments."
METHOD
Spread so all four Aces are seen (this is made easy by
using the orientation of the pips). Perform an Elmsley
count, placing the last card underneath the packet. I don’t
normally draw attention to this, but if they are paying
attention then at the end they will feel like they saw all
of the full faces at the beginning and at the end of the
routine.

The position of the cards now is from the face AC - AS

- AD - AH. Turn the packet face down side-for-side,
spread over two cards into the red hand and spread the
remaining two cards in the left hand. Place the two cards

1012
 Vol.2 No.9

in the right hand under the two cards in the left hand, and this card in a right hand biddle grip as I set it down onto
the position is now AD - AH - AC - AS. or under their hand.

Perform a triple block push-off (or buckle the bottom Take the two face-to-face cards and turn them over end
card) and turn over a triple to show the Ace of Hearts. for end held in Biddle grip and back spread the bottom
Turn the triple back over face down and place the card on card to the left. This will display the fake index corner
the table and under the participant’s hand. I tend to use from the black ace under the face down card, and your left
a Biddle turnover so that the handling feels congruent thumb will be positioned across the line that the quarter
throughout. I thumb over the switched-in card and grab of the card makes, which will cover it from any angle.
it in the right hand end grip as I set it onto or under their
hand. Grab the gimmick card in your hand with your left hand
palm-up, thumb on top and fingers on bottom (from the
Swap the position of the middle and top card. To do this, display, just press your thumb down). Pull off the bottom
buckle the bottom card with the left index or middle card and at the same time rotate your left hand palm-
finger. Lift the two top cards slightly in the right hand end down (hiding the face of the card) as you tap this card
grip and thumb off the top card onto the card in the left on the back of the participant's hands or wave it over the
hand, before squaring everything and catching a pinky cards on their hands.
break below the top card.
While you are tapping the card on the back of the
Now you will do a double turnover from the bottom of the participants hands or waving it over the cards in their
packet. With your right hand hold the packet in a Biddle hands you will also thumb off the fake index corner into
grip, and lift up slightly on the top card. Move your left your left hand finger palm, removing the gimmick from
hand to the left until the right corners of the double card play.
contact the pads of your right middle finger and thumb.
Have the spectator turn over their cards to see that they
The double will now pivot on these two fingers side for now have the black aces. You can now turn your cards
side and downward like you are closing a book. This will over to show you have the red aces. Finish by handing
position the double face-up under the top face-down card. them out or throwing them face-up onto the table.
Move your hand to the left so the index corner of the ace
of diamonds is displayed to the left of the face down card.

Turn the whole packet over side for side, as you do this
you should allow the cards to square. Thumb off the top
card onto or under the participant’s hand—I also place

1013
 THE HERMIT

What we have from Biz this month is a very versatile

Slam Change
colour change that is a variation of a Zach Mueller change.
It can be used as a simple colour change, where one card
changes to another, and it also looks really great when you
want to split one card into two.

For the basic change, the top card of the deck will be
shown, and it will change into the card that is second its side, giving you the ability to angle it away from your
from the top. For magicians, this means that you can use it palm with a slight tilt, in order to access the bottom face
when you want to show the wrong card or a mistake, and of the deck.
then change it to the proper selection (that was previously
controlled to the top of the deck). I'll explain how to use it The change is comprised of two motions that are co-
to split a single into a double after going through the basic dependent and must be done simultaneously; success
mechanics. with the change depends on these two movements being
as simultaneous as possible, as quickly as possible. This
The grip on the deck is important. You need to be holding is not a slow change by any means—it is meant to be an
the pack so that it rests in the cradle of your left fingers on instantaneous, visual move.

1014
 Vol.2 No.9

Hold the deck so that it is on its side, angled vertically in Meanwhile, the initially visible card has already started to
the left hand. The left index finger provides a stabilizing move to the bottom of the pack on its own accord, due to
presence around the front edge of the deck. The face-up the sheer force of the card beneath it moving it aside. The
card that is going to be changed out should be held against left thumb guides it into position as previously described.
the top side of the deck, outjogged for about a half inch. When the change is complete, the left thumb can then
Grasp the card with the second finger and thumb of the return to pin the new card against the top side of the deck,
right hand at the rear. This is the starting position for the as before.
change.
This change can be repeated continuously by immediately
The left thumb can now rest on top of the face-up card, repeating the move and changing the card into the next
pinning it in place on the side of the deck. The left hand's card on top of the deck, since you finish the colour change
motion during the change is to peel the card down and back in starting position. Practicing the Slam Change is
to the left with your left thumb, dragging it quickly onto easy, since you can just do it over and over!
the bottom of the deck. Your left index finger may have
to "kick out" for a brief moment to provide clearance for To split a card into two, set up two low-value mates (such
the card to get to the bottom face without getting hung as the two black threes) face-to-face on top of the deck.
up. You may need to practice this movement by itself to Remove a black six, and then hold it in starting position
ensure that you can do it with speed and without excessive for the change. Execute the change by replacing the six
hand motion. Only the left thumb is engaged in taking the with the top card of the deck, and then when the change
visible card from the starting position to the bottom of the is complete, immediately rotate the left wrist to turn the
pack. deck to a more natural dealing position, and separate your
hands slightly, revealing both of the threes. You can even
The simultaneous motion from the right hand is to try turning two cards into one, following the same logic.
produce the second card from the top side of the pack,
replacing the previously visible card. In readiness for the Note that there is a lot of cover being used to hide these
change, the right second finger should contact this card. mechanics. The initial movement of the change begins
The visible card is outjogged for about a half of an inch to with the right finger contacting and dragging up on the
allow you to access the top corner of the top card of the top card of the deck, beneath the visible card waiting to
deck. Since your right hand is lightly grasping the visible be changed. This card provides cover for that action. Then,
card near the rear of the deck already, you'll notice that when the new card has replaced it in that position, the
you won't have to make a big adjustment in order to create final nanoseconds of the initial card coalescing onto the
the necessary contact. bottom face of the pack is also under cover. While this
description reads as if there'd be a lot of visible movement
You're ready to execute the change. in order to execute the change, so much of it is covered
(and the movements are done so quickly) that a startlingly
With the visible card in starting position, the right hand instantaneously changing illusion can be produced.
will drag the top card of the deck straight up from beneath
it, and once it's clear of the deck, this card will be turned
face-up and slam down to replace the visible card on the
top side of the still-vertically held deck. Your right second
finger and thumb should naturally be holding the card in
a similar position to the first.

For more sleight of hand from Biz, check out his

Instagram @namesbiz. All Photo and Video credit for
the Sleight Corner is to Moon.

1015
 THE HERMIT SANKEY SAYS

CHANGE IS DIFFICULT
Scan the code to link to Jay Sankey’s YouTube video, “Change is Difficult”—and while you’re there, remember to like,
subscribe, and hit that notifications bell!

1016
 Vol.2 No.9

In his YouTube video Change is Difficult, Jay Sankey offers "But it's daunting. It's challenging. So that is the challenging
some truth about how we deal with change, and how to news that I want to remind you. But now, here to me, is the
we can expect change to occur in our lives. Here's what really exciting, amazing news:
Sankey Says:
"It's doable. And people do it every day. So why not you
"Just wanted to share with you some very challenging news, and me? People do it every day. It's doable. So there's this
and some news that is, to me, extremely exciting. I've been balance about being humble and being realistic about it,
interested in this self-development industry/area for a and reminding yourself that y'know, you're going to hit
long time. The idea of playing any tiny part in helping any walls and it can take many tries. There's nothing easy, or
other people shift , change, evolve, "better", whatever—to simple, about any of this. You can watch clips and listen to
me, it's super exciting and humbling. a podcast or buy a new membership but none of it's easy!
It's all going to be really, really hard and mysterious and
"I just wanted to share with you and remind you about difficult. And nobody has the answer that's for sure. It's
the challenging news that runs contrary, because a lot of about trying new things and finding something that works
people are trying to sell you stuff, ultimately. One of the big for you.
key words is "easy", "fast/quick", doable.
"Having said all that, it's doable! We can do it, and people
"Freud said, 'History is destiny.' And we all, every day, do it every day—people who may have fewer resources
typically make choices based on ideas that have been with than you or I have—they do it. So it's just a reminder that
us for many, many years. We make the same choices. In we can do it. Let's keep trying to. There's changes I'm trying
many ways we are stuck on train tracks. The grip is that to make in my life and I know I can do it. I know you can
extreme. too, but it's not going to be simple, it's not going to be fast,
and it's not going to be easy. Okay? But we can do it."
"So, changing your life—making a small change in your
life—given the momentum of all your past choices, and
the history of all that, and how it's so hardwired to self-
perpetuate—trying to make a small change is not easy. It
will not be easy, it typically is not quick, okay? It's really,
really, really hard.

"And the odds of us not failing, but the odds of us achieving

(particularly with the ideas we have in mind, rather than
achieving something different) our goals are small. People
try all the time and they don't succeed.

"This is real. I think it's extremely important that we, when

we're trying to make shifts, that when we wake up and
look at something that we're trying to shift or change—
whatever it is, a career thing, a personal thing, lose five
pounds, smoke less cigarettes—whatever it is, I think we
have the best chance of success if we stay real about it,
alright?

1017
 THE HERMIT

ADDITIONAL CREDITS
ONE FOUR ALL of Curtis Kam (1996, p. 43) and Alan Nguyen's Flurry
Production, published in John Bannon's Impossibilia
There have been many effects published in which two (1990, p. 97).
different quantities of playing cards transpose with each
other. Michael Kras' takes direct inspiration from Bill CUBICLE COINCIDENCE
Goodwin and the structure of his beautiful effect For One
Transposition, which first appeared in his 1988 lecture There is currently a GoFundMe page set up to assist
notes, and then later (and more famously) as Off-Balance Francis Menotti, who has recently suffered a major injury.
Transposition on his Reflection video project. The magic community has a history of supporting each
other through hard times, so let's do what we can. Follow
THE FINAL DESTINATION the QR code below to access the GoFundMe page and
make a donation of support:
The further recommended reading (and the effect that
Boyet has based this routine on) is Manoeda by Ever
Elizalde. He would also like to extend special thanks to his
family, for inspiring him to create and enhance his skills
in Magic and Mentalism; the PTMD family that motivates
him to continue; Ever Elizalde for giving his permission
to use the Manoeda plot; and Marc Salem for the words of
encouragement. The cover image used is by Ivana Cajina
of Unsplash.com.

FLURRY DALE'S LAST CARD TRICK

David Roth's The Flurry is published in Expert Coin The Last Trick of Dr. Jacob Daley was printed in The Dai
Magic (1985, written and published by Richard Kaufman) Vernon Book of Magic (1957, p. 210). While the effect is
on page 23. popularly known as "Daley's Last Card Trick", there were
many routines in print with a similar effect of two pairs of
Tony Slydini's One Coin routine is published in Slydini cards transposing.
Encores (1966), written by Leon Nathanson, p. 35. His
routine was performed by a magician seated at a table, and Repositionable glue is available at most crafting stores, in
David Roth was reportedly motivated to create The Flurry glue stick form. Elmer's brand is an affordable option.
in an effort to perform a similar routine while standing.
WORKER'S CHEEK TO CHEEK
David Roth's Standup Flurry Climax (a jumbo coin
production) is also published in Expert Coin Magic Cheek to Cheek is a mechanical deck for performing
(1985) on page 26. a "Triumph" effect, marketed by U. F. Grant in 1948.
Kyle Leon uses the classic deck with twenty-six double-
Other notable "flurries" that I recommend researching, if backers, offering simply his own handling touches and
you are interested in this style of routine, include Curtis marking system that make the effect more suitable for
Kam's Copper/Silver Flurry in Professional Close-up contemporary walkaround performers.

Visit www.hermitmagic.com to access

subscriptions and back issues of
1018
The Hermit
 Vol.2 No.9

CHALLENGE ACCEPTED / SIX CARD CHEAT SLAM CHANGE

Six Card Repeat is a card effect created for the stage Biz credits Zach Mueller for the initial inspiration for this
by Tommy Tucker in which the performer shows six colour change.
cards, throws three away, and yet still has six cards
when counted. It's repeated several times to humorous
effect. Tommy Tucker invented it in the 1920's, and
it first appeared in print in Charles Eastman's Expert
Manipulative Magic (1936).

To my knowledge, there haven't been other published

routines wherein the idea of the classic Six Card Repeat
is used as a demonstration of cheating during a gambling
routine. Anyone with any more information about this
plot combination is encouraged to get in touch!

BOX BITS

While coin boxes have been explained in print as far back

as Scot's Discoverie of Witchcraft (1584), the common
prop known today is said to be the invention of Theo
Bamberg, some time around 1911. Hence the name,
"Okito Coin Box". Coming Up in The Hermit

The "through-the-pocket" move used in this routine I'd like to once more apologize for being late with this
with the coin box lid is a variation of the Dave Coleman issue, but I'm very pleased to be on track again and ready
Method published in Modern Coin Magic (1952, p. 66) to to immediately send the next issue to you!
effect a penetration of the pocket with a coin.
This October, a trifecta of Collectors delights awaits from
The Flurry by David Roth is also a part of this coin yours truly, Bertie Mac's Echo Stack is explained in detail,
routine; see the credits listed previously in this issue. Joe Cole shares a few more coin box things, Paul Gordon
and Tomás Giammarco return to The Hermit, and Millard
The Rubber Coin Illusion is explained in David Acer's Longman shares a system for performing readings with
routine, Quartermain, on p. 166 of his book, Natural coins. All that and more are coming at you right away!
Selections Vol. 2 (1999). This classic gag is also published
in Tricks, Vol. 1 No. 2, (June 1901, p. 15). This November, look for a deep dive into a vague theme—
"Things that fly", as well as a small collection of Triumph
More of Joe Cole's coin box work can be read in his book ideas. And December will introduce another group of new
Walk Around the Box (2016). contributors, just in time for the holidays!

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