Toys of
Fascination The Card Magic of Garrett DN
Written by Garrett D. Nelson Photography by Sherri Ann Taylor © Copyright 2002 by Garrett D. Nelson All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic, mechanical or biological now known or to be invented, without express permission from the copyright holder.
Foreword First and foremost, thanks for the interest in these notes. I couldn’t decide if I should consider this project notes, a book, or a booklet. I think the term “notes” is the most fitting. Allow me to explain why... I didn’t start off writing things out with the aspiration of publishing them. I would be playing around with cards, or sometimes doing something completely unrelated, and an idea would hit me. It might be while watching TV, eating dinner, while working on someone else’s effect, or at 3:30 in the morning when a bout of insomnia kicked in. I would have an idea, and start playing around with it. Sometimes the idea sprouted quickly, and I had a whole effect before I was finished. But more often it was just an idea, and required a lot of tuning before it became worthwhile. Either way, I felt I had to write it down. I would scribble it down before I could forget (a habit I started after forgetting many ideas that may be great; I am not sure, though, because I can’t remember). Sometimes I would play with the idea more the next day, some I still haven’t gotten back to. With much refinement, some of the ideas got transformed into full-blown effects. I would then give them a trial by fire on real people. If I thought an idea was hot, but the spectators didn’t, I tried to change it a little bit. If it still fell flat, I got rid of it. I am not under the mistaken impression that every idea I think is great will be received well. That is why I try things out on real people. Real people don’t care if it is a groundbreaking concept, or if you used the most difficult sleight known to man. They like what they like, and predicting what they will like is nearly impossible. So I compiled many pages of scribbling through this process. I started typing some of the better ideas, the ones people reacted well to, on my computer. I did this mainly for ease of organization and because my penmanship is less than perfect. Only at this point did it hit me that maybe I should write these in more detail so anyone familiar with card magic could understand them. I started thinking maybe I could compile all these ideas. Maybe other people might want to see what these ideas are. So that’s where I am now, and that is why I call these notes. This is like a big, detailed notebook (with color photos). The effects in here are where I am now with them. I might change pieces of them in two weeks, I might leave some exactly as they are forever. Again, these are my notes of where I am with these effects right now. Each one is complete, but not set in stone. Each one has been tested on people. Each one works. But again, these are my notes. And to say there is no room for change in a list of ideas is foolish.
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I worked hard to make sure you get the best of my current ideas. There are few things harder then cutting out one’s own work. That, however, is exactly what I did on many occasions. I would come up with what I thought was a great effect. I would perform it on real audiences, and receive fair reactions. I don’t want “fair” reactions. Those items were cut. I am sure some readers will find things here that don’t suit their personal style. I can’t help that. But I really hope every person who buys these notes can find at least one piece of magic to actually use with regularity. I’m confident many readers will find more than one effect. I don’t wish to try to determine what people use. I am just telling you some ideas I have had that have worked well for me. And I am saying that I think some of these effects have potential in many other people’s repertoire. Even more, I think there are things that may be in the beginning stages of something greater. Even as I was writing this booklet I kept toying with the effects. On more than one occasion I changed the handling after I had it “finished.” Once again, thanks for the interest. I hope this purchase serves you well. Garrett DN
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Acknowledgements: Without these people, none of this would be remotely possible: Andy Dallas, Don England, Dan Johnson, Darin Rock, Wes Schield, and J R Thomas. Whenever I needed an honest opinion, a greater pool of knowledge, or help getting a better method, these are the people I turned to. And they always helped. I also would like to thank my parents, Rick Nelson and Wanda Nelson. Last, but far from least, I want to thank Sherri Ann Taylor: Thanks for being you.
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Contents Foreword
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Acknowledgements
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Moves Diagonal Insertion Reversal
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Fan Bottom Placement
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UnShuffle Pass
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Effects Selection at Any Number
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The Sandwiched Traveler
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Fake-False Triumph
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Flying Cut Revelation
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Queens Escape
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Spectator Cuts the Aces
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Spectator Cuts the Aces Color Separation
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Running Cut Revelation
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Diagonal Insertion Reversal Disclaimer: I have little doubt that at some point this move has been invented (probably many times). It uses Marlo’s Diagonal Insertion up to the point of actually reversing the card. I haven’t seen in publication a move that is exactly like this, however. As this is the case, I have no choice but to give it a name so that I can refer to it as something other than “that reversal thingy.” Again, it is very Marlo-like. What it does: Secretly reverses a card to the bottom of the deck in a most expedient way. If there is one move here to study, this is it. I like this move. I use it in many of the effects I use. At first it seems like it would be easy to spot. With sufficient practice, it happens smoothly and, with the exception of a few bad angles, invisibly. It is a lot less angley than it would seem. Try it out in a mirror or with a camera and you will see that there is ample cover. When performing for magicians, I do the actual reversal for this move painfully slow. Here’s what to do: A card has been selected. The left hand holds the deck in dealing grip. The left thumb riffles down about half the deck from the upper left edge. The card is inserted in the deck by the right hand, but left half way out (photo 1). Also, note the left thumb’s position. “Just tell me to stop wherever you want (riffle).” Photo 1
The right fingers push the card in, but in an asymmetric way. That is, the left side of the card receives more pressure. This makes the card go into the deck at a slight angle. The upper left corner of the card will pass the front edge of the pack and go past a little. The card’s right edge doesn’t get pushed flush with the deck by the fingers. They stop pushing when the card is in the position illustrated in photo 2. In photo 2 the right hand is taken away to 2 give a better view. In practice the protruding upper right edge and right side would be hidden from view. Notice how the card is held between the left thumb and pinky. Now the right hand carries the deck forward about half a centimeter (i.e. very little). The thumb and pinky of the left hand keep the selection in the diagonal position. In effect this brings the card back toward you a little bit. The upper right edge is no
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longer sticking out of the front of the deck. The card is still held between the left pinky and thumb. The left fingers are along the right edge of the selection. The inner left corner of the selection contacts the thumb (photo 3). 3
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You are now going to rotate the selection clockwise to make its edges parallel to the deck. To do this, pull back with the left fingers, which contact the left edge of the selection. The right thumb acts as a pivot point. You should now be in a position as shown in photo 4. Bring the left first finger to the upper right corner of the selection. Clip the card between the first finger and the pinky of the left hand. Pull the selection down with the thumb and pinky of the left hand. The second and third fingers of the left hand assist by touching the top of the selection. The right hand also assists by pulling the right side of the deck up slightly (photo 5-6). This will bring the card from the middle to the bottom, and reverse it in the process. The card will initially go to the bottom but stick out to the right. This jog is covered by the right hand. 5
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Once the card is on the bottom, flat but out jogged, the left hand squares it on the bottom. The motion of the left hand is almost the same as if you are rubbing the bottom card from left to right. You will get a feel for getting it perfectly square very quickly. This squaring motion feels very similar to the end of a half-pass. If you are inserting more than one card, this same move can be used. You can do it one by one, or put them in as a block, and reverse them all at once. This can be used when a spectator inserts the card, too. Obviously, they must leave it sticking out. You can assure they do this by verbally asking them to, or by squeezing the back of the deck as to prevent the card from moving too far into the deck. End Note: Don’t try to rush this move. It can be done slow. Another thing I like about this move it that you can start it, pause for a while, then finish it. All you need to do get it to the point where it is side-jogged. You can leave it in that position for some time; even take your left hand away from the deck (as your right hand will cover the protruding card. This same move, with minor modification, can be used to control a card to the bottom without reversing it. When removing the card from the pack the action takes more of the form of a classic pass. If you learn this move, and know the classic pass, I have no doubt that you will quickly see what I mean.
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Fanned Bottom Placement What it does: Fancy way to invisibly control a card to the bottom. Have a card selected. Cut the deck in half. The left hand should hold its cards in standard mechanics grip. The right hand holds its cards in preparation for a one-handed fan. It is fine to use the left hand to get the right into position for the fan. Have the selection put back on top of the left hand’s cards. Make sure it is square. You will now do two things simultaneously; one hand fan the rights cards, and pinky count the top two cards of the left’s packet. It helps to fan the cards rather slowly; too fast and people won’t even notice to look at your right hand. The fan need not be perfect. If all has gone well, you now have a fan of cards in your right hand, and your left hand has a break below two cards. Extend the pinky of the right hand. Use it to slide the two cards forward as one (photo 1). Photo 1
The following sequence is shown in the sequence of photos (I like to keep the photos on the same page as their description, but in this case it just wasn’t feasible). The right hand moves forward. It then sweeps left to right over the top of the double with the fan still open (photo 2). What can’t be seen is that under the fan the selection is stolen away. The knuckle of the first finger contacts the top card of the double (the selection) as in photo 3. The left thumb assists in pushing the selection to the right. After it is pulled away a bit to the right, the middle finger pins the selection to the first finger (photo 4). Checkpoint: Watch the angle from the front. Although you may not see the move from your vantage point, from the front it is easy to flash when you take the selection away if not careful. Take the selection with the fingers contacting as far on the left side as possible. This will put the card in position to be better covered by the right hand’s first and second fingers. The right hand continues to the right until the last card of the fan, that is the card farthest to the left, is halfway across the deck (photo 5, the selection is exaggeratedly injogged). It then closes the fan on the base of the left thumb, secretly placing the selection to the bottom (photo 6).
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There is still a card visibly jutting out of the deck. Obviously, it will seem as if it is the selection. Square the card slowly and fairly into the deck. It should look like you selected a card, out jogged it, and closed a fan on top of it. This move can be used as a change, too. If this is done with the cards face-up, it makes a nice color-change. My inspiration for this move is the Hofzinser Pass. Some may say that it seems like an extravagant way to insert a card. To that I must plead the Fifth. 5
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Unshuffle Pass What it does: A pass guised as not shuffling the deck. Confused? Read on… This is a pass done in plain view, but under cover at the same time. It is done under cover of doing nothing. This description is all on the assumption that when doing an in the hands riffle-shuffle you start with the whole deck in the right hand, riffle cards off your right thumb to your left hand, then shuffle. If not, you can simply switch “left” and “right” in the description. You will need a right thumb break or a jog above the selection. Use whatever method makes it easier for you to split apart at that point for an in the hands riffle-shuffle. The left hand comes away with the bottom half of the deck. The selection should be on top of the packet in the left hand. Utter some line about how you don’t even need to shuffle. “Some magicians do fancy shuffles or cuts. I am not even going to shuffle the cards.” As you say this, mimic shuffling, with one large difference: The two packets are 20 centimeters away from each other (photo 1). Photo 1
Bring the cards back together after the nonshuffle, but place the left’s packet on top. This will hence put the selection on top. You have now controlled the card to the top by openly doing nothing. End Notes: Believe it or not, this works. I wouldn’t be so bold as to immediately show that their card has amazingly jumped to the top, but it is a safe, easy, non-suspicious control when used sparingly. My inspiration for this move was James Swain’s Dummy Pass.
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Selection at Any Number Effect: A card is selected and returned to the deck. The spectator is asked to name a number between 5 and 25. Their card is at that number. Why I like this effect: This same concept can be applied to the open prediction. I prefer using a selection to a prediction card. I have plenty of other effects that use a prediction, and I like to make things as clear as possible. In my mind having a selection, picked by the spectator, appear at a number, also picked by the spectator, makes a lot of sense. Plus it is quicker (cuts out having to make and explain a prediction) without lessening the effect. Not that I don’t like prediction effects, I just feel this works better in this instance. Method: I have two methods for performing this effect. If you would rather not use the Diagonal Insertion Reversal, check the End Notes for a different way of getting the card into position. I feel the way described below is superior to the one in the End Notes. It is quicker, and there is basically no fiddling with the deck; no cutting, shuffling, etc. Before beginning, half pass the two bottom cards of a face down deck. You have a face down deck with two face up cards on the bottom. Have a card selected. Return it to the deck by means of the Diagonal Insertion Reversal. You now have three face up cards at the bottom of a face down deck. Ask the spectator to name a number between 5 and 25, and explain that you will deal that number onto the table. You could give them a much broader choice of numbers, but fewer than 5 makes the handling a bit awkward, as there is little need for a pause when you need it. More than 25 just take a long time. Deal that number out openly onto the table. The deck is in a regular dealing grip. It should go without saying that you should not allow the deck to bevel much. With your right hand point to the cards you just dealt. Spread them a little and make a comment about how you really did deal the exact number stated by the spectator. As you do this your left hand falls to your side. When you bring it back up, it will be held in the opposite way. That is, the deck will be flipped upside down. You don’t want it to be at your side long, and it must be casual. I like to lean over toward the cards as if I am inspecting them myself. This has two purposes. The first is that it draws the attention to the cards. You will find that if you pay attention to something and act as if it is important, others will follow suit. Second, it makes it logical for me to drop my hand. If I were to keep my hand up and in front of my body, it would be in the way when I am looking at the cards.
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Photos 1 and 2 show how the deck is held before and after the “flip” is made. It isn’t really flipping the deck; rather it is just bringing the deck back up in a different position. Don’t try to make a move out of this. It happens quite easily. Photo 1
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Draw attention back to the deck. Take off the “top” card, the selection, and place it aside from the rest of the group already on the table. “If you had picked a number one less, you would have stopped me at this card.” As you say this, turn over the top card of the packet you dealt onto the table. “If you had picked a number one greater, you would have stopped me at this card.” Turn the top card of the deck over. “But, for whatever reason, you picked ____ (fill in blank with number they said).” Turn over the selection. To clean up, half-pass under the top two cards as everyone looks at the selection. End Notes: The other method involves the use of a three card half-pass. The deck begins normally; no cards are reversed. After the selection is returned, it is controlled to third from the bottom. Have the card inserted into a spread. Catch a break 2 cards below where the selection was inserted, then double-undercut. This will leave the selection in the needed position, third from the bottom. Half-pass the three cards and you’re there.
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The Sandwiched Traveler Effect: A card sandwich is made using kings and a card selected by a spectator. The spectator cuts away half the deck, puts it in its box, and puts the box in her pocket. The card sandwich is put face up into the half of the deck still left. When the cards are spread out there is no longer a card between the still face up kings. The selection is still face up, however. It is face up in the half of the deck in the spectator’s pocket. Why I like this effect: It seems completely impossible, especially because no duplicates or gaffs are used. Also, I think magic that happens to something in the possession of the spectator is very strong. This time a card travels to a packet of cards that the spectator has complete control over. Method: Before anything else it should be noted that this effect is actually easier with jumbo index cards. I often perform it with regular indexed cards, but jumbo indexed cards are preferred if there is a choice available. The reason for this will become apparent later on in the description. Openly go through and remove the two black kings. As you do this, get the two red aces to the top of the deck. I cut the first ace to the top, then underspread cull the second. For purpose of explanation, I will assume you have the ace of hearts on top, ace of diamonds second from top. Lay the kings on the table. Cut the deck but maintain a break above the two aces. Riffle force the break. Cut at that point. Perform a double lift to show the ace of diamonds. Turn the double back down. Lay the ace of “diamonds” on the table face down. You will now need to perform a modified Braue Reversal. The right hand secures a thumb break below the top card while holding the pack from above. The left hand cuts about 3/4 the deck off from below, turns it face up, and sets it on top of the deck. The right thumb still has its break, but now it is below 3/4 the deck plus the ace of diamonds. The left hand cuts away the rest of the cards below the break, turns them face up, and then returns them to the same place. Turn the deck back face down. Quick check: You now have a face down deck with the ace of diamonds face up about 1/4 the way down. The way I justify this is with patter along the following lines; “Now I need your help. I want you to decide how many cards I am going to use. Just try to cut off more than half (as I show the 3/4 and turn them face up). Not a small portion (show 1/4).”
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Have the spectator put that half in the box, then in their pocket. Obviously, if you are trying to speed the effect up, you can have them just hold onto the deck instead of putting it in the box and her pocket. Pick up the three tabled cards. Arrange them as in photo 1. It is important that the visible parts of the cards’ indexes are upside-down to you for two reasons. One, when you turn your hand to display them it will be right side up for the spectators. Two, it makes the coming move a whole lot easier and more fluid. Tilt your wrist down away from you to show the card sandwich to the spectators. They will see a red ace and naturally assume it is theirs. Don’t draw attention to the fact that you have a red ace. I don’t name it at this point in case it might make someone notice that they can’t see the full index of the ace.
Photo 1
Bring your wrist back. Use your right thumb and fingers to pinch the right side of the group and turn all three face down, still in the same stepped position in the left hand. If all is well what you have in your hand should now look like photo 2. 2
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With your right thumb bring the bottom card (the bottom card in the step, actually the top card of the packet of three) flush with the top card of the step. You should now be in the same position as photo 3, with the ace sticking out the bottom of the packet.
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You are now going to reverse the two kings while leaving the ace face down, and bringing the ace to the bottom. This move was an idea of Marlo’s to be used with a backslip. Pull the two kings forward as one. The ace is held back by the pinky and the base of the thumb. Turn the kings over lengthwise, and place them back on the ace. Be careful not to make noise performing this move. It should look like you simply squared the packet and turned it over. Photo 4 is the kings about to be set down back on the ace. 4 Cut the portion of the deck left over by the spectator about in the middle. Insert your packet in and square. Snap your fingers (or utter your favorite magical phrase). Reveal that the two kings are still in the deck face up, but there is no longer anything between them (photo 5). Explain that the selection is still face up; it just can’t be seen right now…because it is in the spectator’s pocket. End Notes: Play around with the selection process. A force will be needed, but there are many other options than a riffle force to a double lift. I chose this method to publish, as it is very direct. There are many other methods that can be used. Some can even make this effect raise the eyebrows of a magician friend…I really like the miscall used here. This effect has to keep moving or it can become too drawn out for a lay audience. Presented properly to a receptive audience, it will get you a great reaction. Allan Ackerman’s Kabbala Elevators was my inspiration for this effect. 5
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Fake-False Triumph Effect: A card is selected and returned. The deck is shown to be all face down. Half the deck is turned face up, and shuffled into the face down half. With just a snap of the fingers, the deck has righted itself, except for the selection. Why I like this effect: I love Triumphs. I had a video of this effect posted on the internet and received a ton of positive feedback. This effect can fool people who know the original Triumph, as it turns out. Method: Have a card selected and returned via the Diagonal Insertion Reversal. At this point you are in a very clean position. You can spread the deck almost entirely to show that all the cards are all face down. I wouldn’t verbally bring attention to this, but anyone watching closely will notice, and those are the people you want to notice. You are now going to split the deck while secretly reversing half of it. The left hand holds the deck in dealing grip except the thumb is at the upper left corner and the first finger is curled underneath the deck. The right hand holds the deck from above. The right thumb should be on the inside edge, a comfortable number of fingers on the outside edge (photo 1). Photo 1
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The hands should be rotated a little. The back of the right hand should face your audience.
The right thumb splits the deck. There should be a little more than half the deck above the break (photo 2). Now, at the same time, the right hand rotates palm up while the left hand rotates slightly palm down, and the first finger rotates the bottom packet. The left first finger helps the bottom packet rotate by extending a little. The first finger does this a split second before the hands begin to turn up. The position at this point is shown by photo 3, which was taken from my right side. 3 It should be noted that at this point the thumb is not contacting the bottom packet. The reason being that if the thumb is left behind it doesn’t move during the sleight. Minimizing the movement of the left hand can help minimize any suspicion. Although the packet is held in a slightly unnatural way (only for a split second), it won’t be noticed.
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Again, it should look like you split the deck and turned one half face up. In reality you have a face up half in your right hand, and in the left a face up half with the selection face down on top of it, which makes it appear face down. Now the left thumb comes back down and contacts its packet, but extends past the bottom (the left hand will grip both packets in a moment). The reason this is necessary is because the right hand is holding its packet in an awkward position to shuffle from, so it will need to be re-griped. The right hand places its packet under the left’s packet just far enough to reach the left thumb and middle finger (photo 4). 4
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If you don’t make too much of this reversing procedure, that is do it casually, it will fly right by. The right hand takes its packet back but grips the packet in preparation for a faro shuffle. I use the term faro shuffle loosely here, because it doesn’t have to be a perfect weave. The face up packet in your right hand should start the faro on the bottom (the bottom card once the packets are together should be from the packet in the right hand) (photo 5).
The packets should be pushed together a little less than half way (they need to be at least a little past the indexes. It will become apparent why shortly). Once pushed in, the visibly face up packet should be tilted so its inner left corner protrudes from the supposedly face down packet (photo 6). You will now have to change grips, and it can be tricky. The left thumb and middle finger will need to reach past their packet and hold the entire halfshuffled deck. If the bottom card of the right hand’s packet is not contacted, it will fall (as it is the bottom card of the deck). This can be tricky because this needs to be done without straightening the angle of the packets, or exposing any cards that are not facing the way you are representing them to be.
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Once the unshuffled packets are griped securely in the left hand, the right hand will grip the packets. The right hand’s fingers will go on the bottom of the packets, and the right
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thumb will go right in the middle of the packets. You will be in the position shown by photo 7. 7 Now the left hand will move to dealing grip. The only modification is that the first finger is extended behind the obviously face up cards. This helps control spreading the cards soon to come. If all has gone well, you are in the position in photo 8. 8 It is now time to fan the halfknitted deck a little. The right thumb maintains some pressure as the left thumb pushes cards to the right. Be careful not to go to far and show some of the indexes of the cards you are representing as face down. You have some extra breathing room because of the angle of the openly face up cards. At the same time, however, make sure you don’t look like you are trying to hide anything. This should look like photo 9. Note: If the angle of the cards is too great, it looks odd. It also shouldn’t be too neat. You are showing the disarray of the cards, not showing how evenly you fan the cards. 9 10
Take your right hand away from the cards. Move your left first finger down to your other fingers. Make sure your windows are closed on your left hand (make sure your fingers are together). Now you can flash the back of this as well, and it will keep the illusion (photo 10). This is why it was important to have a card that is openly face up be in the bottom of the two packets.
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I don’t draw attention to the cards during this convincer. I talk about what a bad state the deck is in because of the face up and face down mixing, but I don’t verbally invite them to look at the cards. A convincer should be something that is noticed on one’s own, not pointed out by the performer. An example of what not to say is, “Hey, look at how mixed up these are!” If you are talking about the cards, and have them openly displayed in front of you, people are going to notice that the cards are mixed up really well. I also talk with my hands a little and flash the back of the packets once. I call this convincer the Gar-a-fan (like caravan with a “G”). It really helps sell the illusion. Straighten the cards (photo 11) and push them together slowly. Again, don’t verbally draw attention to this. If you do it slowly your spectators will notice that the cards are fairly being pushed together. 11 Cut (or pass) the cards to make sure the selection is near the middle. Reveal that it is the only reversed card in whatever way you please. If I am milking this effect, I like to put a rubber band around the deck as soon as I push the cards together. I then wave my hand over the deck and invite the spectator to look at the cards. End Notes: My inspiration for this effect was Dai Vernon’s Triumph, and Don England’s in the hands Triumph. The Gar-a-fan: I need to mention Don England and J R Thomas who helped me perfect this. It was actually J R’s idea to add flashing the back of the cards. It also should be noted that Don, and his ventriloquist dummy, threatened to steal this idea… The Gar-a-fan will almost need to become second nature. It does take a little practice to look natural, but I think it is well worth it. It isn’t necessary for this version of triumph. One could just as easily forgo it and just square the cards. If the time is taken to learn it, though, I would say that is time well spent. The name of this effect comes because some magicians assume there is a false shuffle.
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Flying Cut Revelation Effect: A card is selected and returned to the deck. The magician cuts the deck in one hand a few times. Then he throws half the deck (fairly high) to his other hand, and quickly throws it back again. Once card is left in his hand. It is the selection. Why I like this effect: People are always asking about quick, visual effects. This is one of those. It establishes you are a good card handler, as you can draw attention to your smooth one-handed cut. Plus it can be done with a ragged, borrowed, shuffled deck. If you can do a Charlier cut, this effect can be performed almost immediately. It looks much harder than it really is. Method: Begin by crimping the bottom card in the deck. For this particular effect, I crimp the inner left corner of the bottom card down. To do this hold the deck in mechanics grip. The right hand is holding the deck from above. Secure a break above the bottom card by riffling one card with the right thumb. Then slide Photo 1 the deck forward about a quarter inch leaving the bottom card behind. The right thumb then puts a healthy downward crimp in the inner left corner of the bottom card (Photo 1). Actually crimping the card is fairly easy; just push the corner toward the opposite diagonal corner. Remember, don’t make this crimp too small; you will have to be able to easily cut to it. If you are unfamiliar with crimping techniques, this is a very common one. The whole sequence takes about one second. It can be done safely without the risk of it being noticed provided you do it causally, and don’t stare at your hands while it is done (even then, it is doubtful that a layman will have any idea what you are doing). It is very useful in many other routines using this type of crimp. It should be noted that crimping the inner left corner in this effect is designed for someone who does the Charlier in the left hand. Doing things in this way ensure the crimp will be away from the spectators (closer to you) and on the same side of the deck as the left thumb. . Have a card selected. Hold the deck in the right hand. Swing cut the top packet to the left hand and hold out the top half for the spectator to replace her card on. Drop the bottom half on top. You now have the crimped card right above the selection. Do a few one handed Charlier cuts. As I do this I say something along the lines of, “As a magician, you probably expect me to do more than simply impress you with my amazing one handed cuts (say this tongue-in-cheek). You probably would expect me to actually find the card you chose.”
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I plan this so that when I finish my last sentence I have cut to the crimp (Cutting to the crimp should be easy if you made a good sized crimp), and have kept the two halves separate (Photo 2 and 3). This isn’t a break you need to worry about concealing, as you will throw the cards just a moment after reaching this position. Even if someone does watch you closely, the break can be attributed to the one handed cut. Remember, you have already executed several one handed cuts clearly without a break. The crimped card is now on the bottom, the selection on top. 2
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As soon as the word “chose” leaves my mouth, I toss the top half of the deck to my right hand. I throw the pack high enough to go over my head. It just looks good to give it a little hang-time. Plus it gives a nice contrast to the way I throw it back to my left hand a moment later. Toss the pack on its end, as if it were standing up on its short side. The back should be toward you, the face facing the spectator. Actually tossing the pack without allowing the cards to separate isn’t that difficult. It is a combination of things. You need to allow your left hand to follow through a fair amount. Also be sure the cards are pretty square when you finish the last Charlier. Some people have a lot of trouble with this action; some can do it right away. If you are the former, practice is the answer. To get the feel for throwing a fairly large pack of cards without them separating in mid air, just practice tossing a full deck. Once you can toss the full deck the desired height without problems, you will be set for this. 4
Now you are going to catch the pack in the right hand and quickly toss it back at the left, leaving behind the selection. Catch the airborne pack in the right hand. The thumb should be facing you, the fingers on the spectator’s side. As soon as you have the cards gripped securely, toss them straight back to the left hand. While the first 22
toss was somewhat of a lob, this is more of a direct throw. It has a little bit of a twist to it, however. You will need to retain the top card, and the top card only, in the right hand. Let go with the fingers of the right hand, but maintain contact between the thumb and the top card, which is the selection. Photo 4 is a picture of the pack actually in mid-flight heading back to my left hand. The selection, Ace of hearts, is retained in my right hand. If you have trouble learning to toss the packet while retaining one card (instead of 2 or none), try twisting your wrist a little bit clockwise as you throw the cards back to the left hand. If you practice this move just a little bit, it will become very natural very quickly. It is not at all necessary to do the second throw as far as I do in photo 4. In fact, while learning the throw it will be much easier to be within 6 inches when the pack is released for the throw back to the left hand. The part of the trick that will cause a reaction is the fact that you come away with one card, the selection, rather than how far you throw the deck on this toss. If you want to amaze people with how far you throw the deck, you can throw the deck fairly high on the first toss without much problem. I only emphasize this point because it would be a shame to have someone pass this effect up because it is too time consuming to learn to do the second throw very far. Make sure you catch the packet in the left hand securely. At this point you have the deck in the left hand and the selection in the right. Keep your hands at about shoulder height, and spread a little more than shoulder width. If you do this you will end in an applause cue, which is always a good way to end an effect. End Notes: I was playing with the move that is now called “the second toss” for quite awhile before finally coming to this routine. I liked the way tossing the deck and coming away with cards looked; very magical. However, the tired old idea of tossing the deck and coming away with two cards, the top and bottom, is not something I wished to exasperate any further. I started playing with throwing the deck, but only coming away with one card. Then came the idea of cutting the deck, tossing it, and coming away with one card. Finally I thought, “Hey, I could crimp it to control which card I cut to.” Concurrently I had been playing with throwing whole decks in the air, around my back, etc. without making a mess of them. Combine these two ideas, and this is what we now have. I thought the concept was a little transparent at first, or perhaps a little too bland. I have used it on many, many laypeople, and they like it much more than I would have suspected. Proves once again that magicians and laypeople have very different tastes. Something I can’t complete the writing about this effect without mentioning is the “What’s going on there” factor involved. If you perform this effect, it will attract some attention from others who you have not yet performed for. Why? Simple: You are throwing a stock of cards in the air. It causes curiosity.
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Queens Escape Effect: Eight cards are cleanly and fairly shown. These are the four fours, and the four queens. It is explained that the queens are going to do an escape. Not an escape like Houdini with chains, but an escape using just cards and a card box. The fours are set on the table; the queens are put in the card box. After a pause the spectator is invited to pick up the box and look inside; the queens and fours have switched places. Why I like this effect: Giving the illusion of solids passing through solids is a fascinating idea. Combining that theme with a four-card transposition felt like a good idea, and it can be very strong… not to mention that there are no duplicates or gaffs. Method: Make sure the card box is on the table with the opening facing you. The large flap should be on top. Fold it so that you can easily get to the opening. It doesn’t have to be sitting open too much, just make sure the flap isn’t going to get in your way a little later. It is also helpful if you remove the two little flaps from the box. Just tear them off. Remove the four queens and four fours from the deck. Arrange the queens in your right hand so that they are two red then two black (or vice versa). This will help hide an inconsistency later. The fours can be in any order, but must go below the queens. For the sake of explanation I will assume the cards are set in the right hand face up in this order from top to bottom: QS, QC, QH, QD, 4S, 4C, 4H, 4D. They should be held in the right hand as if in preparation for a Hamman count. The cards are all square. The right fingers are together and cover the front of all the cards. Photo 1 shows a view from the front. The queens are peeled off one by one into the left hand by the left thumb. Upon peeling off the last queen, replace all four on the bottom of the right hand’s packet. The order of the cards is now, from top to bottom, 4S, 4C, 4H, 4D, QD, QH, QC, QS. Your logic for both these counts (the second one is coming up) is to make sure everyone understands that you really are using eight, and only eight, cards…and that each card is different. Call out the suits as you go by them to show that you are just trying to make it fair. Photo 1
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Reach the left hand back over to the right hands packet. You need to get a fairly large break above the bottom card, the QS. Use the first finger of the left hand to pull the outer right corner of the QS toward you. This will cause the inner right corner to separate from the rest of the packet. Secure the break with your right thumb. To reiterate, this should be a fairly sizable break (photo 2). This will be hidden by the right hand’s fingers, which cover the front of the packet.
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You will now execute what could be termed a Hamman count with a single card transfer. Peel off the first three fours. Make sure that each time the left hand comes back to take another four the card just taken is completely hidden by the packet. In other words, all the cards in the left hand go below the right’s cards and go out of view when the left hand comes back to peel off the next card. This is so that is will look the same as the sleight you are about to execute. When the left hand comes back to take the final four, the 4D, the left hand’s three cards are left on the bottom of the right’s packet. The left hand comes away with all the cards above the break. This should appear as if nothing more has happened than you counted off the last card into the left hand. The key to this move’s success is keeping the same rhythm. Anyone familiar with the Hamman count should have no trouble with this concept. The 4D will show on the top of the left’s packet, the QS will show on top of the right’s. This is why the queens were arranged red-red-black-black; if they were alternating in color a red queen would show when a black queen should be showing. A minor detail, perhaps, but a detail I feel is worth the effort. The situation now is this: the left hand holds from top to bottom 4D, QD, QH, QC. The right hand holds QS, 4H, 4C, 4S. You are representing the left hand as holding the fours and the right hand as holding the queens. Needless to say, the packets should be kept square from here on out. Set the right’s packet down on your surface face up. Take the left’s packet (supposedly the fours), turn it over, and grip it from above in the right hand. Instruct the spectators 3 4 to keep a close eye on the fours. They aren’t as important to watch as the queens, but they are important none-the-less. Heck, they are roughly half the trick. As you explain/instruct the audience you are going to put the four in gamblers cop. This will occur in the motion of squaring the cards. The key to success in this move is rotating your hand rather than the cards. They should stay level throughout the entire action. Show the four on the face, and then bring the packet back to a deep mechanics grip. Act as if you are squaring the cards between the base of the left thumb and the left hand’s fingertips. The left hand should lie flat under the cards (photo 3; in this picture the cards should be in motion toward your body, beginning the squaring action). When the cards get far enough back, allow the right thumb to let the face down four fall off. The left hand then rotates down peeling the card into gamblers cop (photo 4). Continue the squaring
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motion forward. It should appear that you simply squared the cards. In reality you now have the bottom card, the only four (4D), in a gamblers cop. Set the three queens aside, face down. Remember, you are representing these as four fours. Now take the “four queens” from you working surface. Take them with the right thumb and middle finger. Use the first finger to pull the left edge and turn the packet over (photo 5). Put them in your left hand as in photo 6. Notice that it will be the lower left corner that you guide in front of the single card. Push the four cards 5 down with the right fingertips while simultaneously pushing the 4D up behind the packet with the right thumb. All five cards should be flush. It should appear that you are just squaring the cards. Keep the queen, the QS, in view as much as possible. This will affirm the illusion that you are just squaring the packet of queens you are holding. This sequence will take some practice to make it look good. And be wary of the gamblers cop’s angles throughout. 6
Put the five cards in a grip similar to a mechanics grip. However, make sure the first finger of the left hand contacts the outer right corner of the cards from below. In other words, it should be touching the queen of spades. Bring the cards a little past parallel to the ground (they should slant to hide underneath them a little bit).
Reach over to grab the card box with the right hand. As you do this you will need to bevel the bottom card of the packet in the left hand (the QS). Doing this is not difficult as you are in a perfect position to pull the left first finger in against the QS. You will need to get a fairly sizable separation between the queen and the packet (photo 7). 7 Allow the left little finger to hold the break after the queen has been beveled. The queen fits nicely into the crease between the tip and middle portion of the little finger. You can hold this break with practically no effort as the card naturally slides to this point on the finger. Once the break is secured, the first finger of the left hand straightens out somewhat, giving a touch of extra cover. More importantly, it will aid in an upcoming move.
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Remember, the last few paragraphs are to be done while reaching over to grab the card box. This sequence takes significantly less time to do (a fraction of a second) than to explain. You should hold the box with the opening toward you and the flap on top. Bring the box up to the cards. Just before the card box reaches the cards, relax the left hand’s grip a little. This will allow the front of the queen (the front right corner, to be exact) to separate from the rest of the cards. You have a large amount of cover for this as the flap of the box, and the box itself, obstruct the view. Slide the four fours into the box while sliding the queen below the box. Photo 8 is a view of this from the right side with my hand open to give a better view. 8 After I slide the cards into the box I pause, then pull them out a little and step them as in photo 9. I make sure it is clear that four, and only four, cards are put into the box…and that they really do go into the box. Push the cards flush into the box. Close the flap. It helps considerably in closing the flap to squeeze the box with the left hand, which is holding the box from below. This bevels the bottom of the box and aides in the insertion of the flap. 9 Once the flap is closed the right hand takes the box, and card below the box, from above. The thumb on the side nearest you, the middle finger opposite. The box is set on the face down pile of queens. You now have a box with the fours in it and a pile of four queens below it. Make your favorite magical gesture and allow a spectator to reveal that the queens have escaped, and that the fours are in the box. End Notes: This effect is designed for performance at a table. More specifically, seated at a table. It can be performed in other situations, but it is definitely engineered for seated table work.
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Spectator Cuts the Aces Effect: Four spectators cleanly cut a packet of cards. After each cut the Magician never touches the packets. The top card of each packet is an ace. Why I like this effect: This is the only spectators cut to the aces effect I use. There is no shuffling or cutting by the magician. At first it may look too transparent. I assure you it is not. I use it often, sometimes for a group containing an uncooperative spectator. The only moves used could theoretically be done even without misdirection (so anyone burning your hands is unlikely to have any more insight than those who don’t), although there is plenty. It is easy enough, so I urge you to learn it well and try it out. I bet you get a killer reaction. Method: Control three aces to the bottom, one to the top. Using the aces for another effect then replacing them, running three to the bottom, followed by false cuts and shuffles seems as good a method as any other. Don’t mention anything about cutting to the aces. Instruct the first spectator to cut a small packet of cards, a little less than a quarter. As soon as they cut off a packet, separate the bottom card of the deck, an ace, from the rest of the deck a little. Point to a general area for the spectator to put her packet down. A great way to do this is by saying, “Put the packet there,” while kind of nodding with your head. This will definitely give a vague idea of where the deck is suppose to go, which is what you want. Ask her to move it a little to the left (or right) after she sets it down. Look squarely at her packet as you make your request. This will draw the attention to the packet she just cut for more than long enough. Do the motion of a Herman pass with just one card (photos 1-4). This can be covered in any way. I usually don’t use the same cover all three times. My favorite is masking it in a squaring action. The sequence of photos below show the rough movement of how to pass the card from the bottom to the top for this routine. Photo 1 3 2
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This should not be a fast movement (!!!!!!). In this era of speed driven passes, try to refrain from doing this too quickly. Focus on being smooth. You now basically repeat this three more times. After each cut is made allow the spectator to set the packet down, then ask them to move it a little. Maybe a little to the right, maybe to the left, maybe away from the little puddle of spilled water. It doesn’t matter what you say. It does help to ask them to set it by an object. This will force them to look down, and generally everyone else looks at the object. Make sure you execute the once card pass smoothly. You also need to make sure no one cuts off to big a packet. Tell the selectors that you want them to all turn over their top card at the same time. Oddly enough, each person has an ace. End notes: I would again like to stress that this routine works, and works well. It seems like a simple concept, and perhaps it is. But I have always hated cutting the aces routines where a packet switch is needed. As Darwin Ortiz says in strong magic, we should try to make our magic look as close to what it would look like if we were really doing magic. To me, that would not entail taking the top card of each packet, doing this or that… It would be simply turning over the cards and BOOM! They are all aces. On the technical side, a side-steal would probably work just as well to control the aces one by one to the top. The method I use is the one written here. I feel more comfortable with the move here than a side-steal. If you are the other way around, by all means do it with a side steal.
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Spectator Cuts the Aces Color Separation Effect: Four spectators cleanly cut a packet of cards. After each cut the Magician never touches the packets. The top card of each packet is an ace. Each packet is turned over to reveal that it consists only cards matching the color of the ace on top. Why I like this effect: The cutting the aces is strong on its own, no doubt. But if you have the time to do a quick setup, this is a stunner. Before learning card magic I used to be in aw of tricks where the colors were separated at the end. I guess I still am. Method: This effect is especially effective if you begin with a good false shuffle. I will assume in the description that you have already read and understand “Spectator Cuts the Aces.” As such, I will only be explaining the main differences rather than writing out the entire effect. You will need to start with the deck separated by color. For the following I will assume you have red on top of a face down deck, and black on the bottom. You need a red ace on the top and bottom of the deck. In the middle you need the two black aces. The black aces should be between the reds and blacks. I will also assume the order of aces is, top to bottom, red ace (on top of deck), clubs (top middle card), spades (lower middle card), red ace (bottom of deck). The inner left corner of the ace of clubs should be crimped. The crimp should be strong enough that you can easily cut to that spot. It is crucial in this effect that you can get the spectator to cut a little less than a quarter each time. If you can’t, they will cut into the wrong color. Don’t be afraid to ask them to drop some cards off their cut. Telling them there won’t be enough cards left for what we need to do is not only logical, but it is the truth. After the first cut, bring the bottom card to the top (a la “Spectator Cuts the Aces”). After the second cut, perform a pass below the crimped ace of clubs. Again, this pass should not be fast. It should be a Herman style pass. The right hand moves right to left in a squaring motion for cover. Although you are passing a large block to the top over a small number of cards, this can look perfectly fair. Let the spectator make the third cut. Make sure the third and fourth cuts are not too deep. It is especially important on the fourth cut. If you had a fair amount of cards left over from the first two cuts you will have more red cards at the bottom to worry about.
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After the final cut, which should be a fairly small cut, give the small packet in your hands a quick (real quick; as in one overhand shuffle) mix. This will destroy any evidence of the colors being separated. “I want everyone to take their cards and turn over the top card like this (demonstrate by turning over the top card of your packet).” Everyone will be surprised to discover they have an ace on top. “That’s a little odd, but what is really strange is if you do this (turn over your packet and spread the cards out between your hands).” You cards should be in no particular arrangement. All of their packets will be the same color as their ace. End Notes: I think this a great kicker ending for a cutting the aces. It just cements the fact that they had to cut at those exact spots, or so it seems… Although there are many cutting the aces effects, and some that involve separation of the colors, I have to say my creative influence for this was Aldo Colombini’s Contact Colors.
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Running Cut Revelation Effect: A card is selected and returned to the deck. A demonstration is given of a running cut, as used in many casinos. The question is raised of whether it is possible to tell the value of a card while cutting this way. On the next cut one card seems to be pulled from the middle of the packet. It is face up. Why I like this effect: I can be performed in the hands, it is very visual, and it uses something that a surprisingly large number of people are familiar with, due to casino play, the running cut. Even though as written it isn’t true to what a running cut looks like in gaming play, the concept is still the same. If you are interested in using a true, tabled running cut, the routine can easily be adapted (see End Notes). Method: It makes this effect infinitely easier if you put a little work into the deck. It will need a small, east-west, concave bend (the middle of the face down deck is lower than the long sides). If performing at a table, this can be done with a riffle shuffle, assuming you shuffle from the sides. Have a card selected and return it via Diagonal Insertion Reversal. Ask if anyone has played blackjack at a casino. No matter what the answer is, ask if they know what a running cut is, then demonstrate it in the following way: Hold the deck in the left hand in preparation for a Hindu shuffle. Instead of taking the cards off the bottom, take them from the center (photo 1). Perform a couple of Hindu shuffles this way, explaining that a running cut breaks up the order more thoroughly than a traditional cut. Photo 1
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“I’ve seen this cut used a lot. It always makes me wonder if there might be some way to get a real good look at the face of a card while cutting like this.” Now take a decent sized packet from the bottom. The way you grip this packet is crucial. The packet is held with the second finger, third finger, and the thumb. The first finger pushes down on top of the packet (photo 2). The fingers and thumb on the sides of the packet exert more pressure on the bottom of the packet. That way the lower cards of the 32
packet are gripped while the top cards are loose. They don’t come off because of the pressure exerted by the first finger. The goal is to make the thumb and fingers have a grip on only the bottom card. It is definitely knacky, but you can get the hang of it without too much work. It also helps to have the fingers angled so they move away from the cards as they move up (photo 2). Although in the photo it may appear that I have a fair grip on all the cards, the top portion has very little pressure on it. Now take a couple of small packets off the block in your hand, but not too much. The coming move is easier if you have a sizeable chunk of cards to work with. You are going to toss all the cards in the left hand onto those in the right, except the bottom card (the face up selection), in one quick action. Bring your right hand back about 6 inches. It then moves forward quickly, toward the rest of the deck. Just as it reaches the rest of the deck, three things happen simultaneously. One, your right hand pulls back. Two, it tilts down a little bit (photo 3). Three, the right hand releases some of its pressure (but keeps it on the bottom card) and lets the first finger relax its grip. Photo 4 shows the completed revelation. 3
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This move is knacky, no doubt. But it doesn’t take much to get the knack. I like to make a tongue-in-cheek comment about how if you know what to look for you can catch a glimpse of the face of a card. End Notes: I began using this as a tabled effect. I would use a genuine running cut instead of the Hindu shuffle. Unfortunately, a table is not always available or practical. If you have a table present, I recommend using a real running cut. One should have little trouble converting the toss and single card carry away between the two methods (tabled and in hands). This effect is much more difficult with old or sticky cards
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That’s it. You have reached the end of my first publication. I really hope you picked some things out of here to use. And if you didn’t do that, I hope it got you thinking. Maybe you will use a part of an effect, or something made you think of an effect you would like to create. I guess I really just want you to feel inspired by something. Inspired to learn, inspired to create, inspired to explore, inspired to anything. If you need to contact me, my email address is
[email protected] Again, I hope you enjoyed Toys of Fascination.
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