Over 70 Knock-out Close-up Magic Routines from England's Finest Close-up Creators. Most of the Effects are New to Print! Jon Allen Jamie Badman Anthony Brahams David Britland Sean Carpenter Harold Cataquet Roger Crosthwaite Wayne Dobson Shiv Duggal Nicholas Einhorn Mark Elsdon Kevin Fox Andi Gladwin Brian Glover Paul Gordon
Paul Hallas Justin Higham Andy Hurst Rob James Lewis Jones Walt Lees Shaun McCree Iain Moran Andy Nicholls Jack Parker Mike Rose Al Smith Stephen Tucker Dominic Twose
Additional Editing & Cover Artwork by Paul Gordon
Copyright © Peter Duffie No part of this publication may be copied, translated, transmitted or re-sold in any way whatsoever without the permission of the publisher and copyright holder.
Introduction
by Peter Duffie
Following the success of Scotland Up Close (ebook, 2005), I decided to embark on a follow-up, and England Up Close was born. The overwhelming response from those I contacted has resulted in a huge book, far beyond my expectations. Over 70 items have been included from some 30 English close-up magicians, offering an abundance of great routines and moves. To navigate this ebook, simply go to the Contents page (next page - or click link below) and click on a name. The hyperlink will take you straight to the desired chapter. At the end of each chapter you will see an up-arrow return to the Contents.
. Click on this and you will
For an overview of the complete contents with all contributors listed in alphabetical order, go to the Full Index at the end. So, I will leave you now to enjoy the magic of England Up Close!
Peter Duffie Go to the CONTENTS
Contents Click on a name
Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 Chapter 19 Chapter 20 Chapter 21 Chapter 22 Chapter 23 Chapter 24 Chapter 25 Chapter 26 Chapter 27 Chapter 28 Chapter 29 Index
Jack Parker Sean Carpenter David Britland Stephen Tucker Jon Allen Wayne Dobson Nicholas Einhorn Iain Moran Kevin Fox Andi Gladwin Shaun McCree Roger Crosthwaite Rob James Andy Hurst Mike Rose Paul Hallas Brian Glover Walt Lees Anthony Brahams Lewis Jones Andy Nicholls Jamie Badman Dominic Twose Justin Higham Paul Gordon Mark Elsdon Shiv Duggal Harold Cataquet Al Smith Click for Index
Jack Parker You may not know him, but they do..... "His card stuff is ingenious. I'm very pleased he consented to allow Genii to publish so many of his items at once." Richard Kaufman (on the up and coming One-Man Magicana column). "Jack brings a fresh, innovative and fooling approach to card magic." David Solomon "I had to cull 40 effects from my new DVD set - only the strong survived. Jack's item survived the slaughter." Paul Harris "Some of the most canny card magic I've seen recently has come from the mind of Jack Parker, a fellow who understands how to construct an effective routine." David Regal Jack's website: http://www.jacksdeck.com/index.html
Trial Separation Jack Parker
Effect A Joker is placed face up in the middle of the deck. One spectator picks a card from above it and one from below, to ensure they are different. However, when they look through the deck they find both cards have now completely vanished. The cards are recovered in an extremely unexpected way.
Set Up Just a deck of cards with one Joker.
Working Arrange it so the spectators are either side of you. It’s important they do not see each others selections. 1. “In a moment I want you both to pick a card but I want to ensure you don’t pick the same one. So, I’ll put the Joker in the middle as a marker. If you can pick a card from ABOVE the Joker and you from BELOW, then we know we are safe.”
Jack Parker
Remove the Joker, turn it face up and place it in the middle of the face-down deck.
2. “If you could touch a card somewhere from above the Joker.” Spread through and have spectator 1 touch a card in the top half. When they touch a card flip all those above it face up.
3. “You could have picked any of these…..” Spread through these, culling any card, then lift of all the face-up cards in a spread (the culled card still beneath). Raise you left hand, pushing over the top face-down card, and show them its face (Fig.1).
Fig.1
4. “…but you decided on this one. Please remember it.” Drop your hand back again and carry out Head Over Heels. Briefly: The culled card is slid under the selection, then the face-up section (plus the two face-to-face cards) is/are flipped face down onto the lower half. The selection is now face up 2nd from top.
5. “We’ll leave it where it was, above the Joker. Now if you (spectator 2) could pick a card from somewhere below the Joker.” Push over a few cards as a group to hide the face-up selection, then spread right down the deck, past the Joker, for spectator 2 to touch a card. When they do, again flip over all the cards above it.
6. “Once again you could have picked any of these…..” Spread down through these, culling any face-up card. The Joker will be face down amongst them. Slow down when you get near the end of the face-up cards and stop at the first facedown one – do not spread past it.
7. “…but you decided on this one. Please remember it.” Again lift off all the face-up cards (the culled card still beneath), raise your left hand and show spectator 2 their card by pushing it over. There is a discrepancy here in that spectator 1 may
Jack Parker
see the card beneath the selection is face up (Fig.2), but this is unlikely and is not registered.
Fig.2
After spectator 2 memorises their card, pull it back flush with the deck and lower your hand. Now do a Two Card Push Off, made easy by the face to face cards on top. Push the double over a little so that you can complete Head Over Heels again but this time beneath both cards. You finish back as you started but now with the face up selection 3rd from top. Both spectators are unwittingly remembering the same card.
8. “Again, we’ll leave it where it was, below the Joker. So, yours is above and yours is below. I don’t know what either of them is.” Push off a few cards at once to hide the face-up selection and spread down to the Joker which you injog a little. Then spread down through the rest of the cards to reiterate which card is where.
9. “Here’s the thing. If I turn the deck over so we can see the faces, your card (spectator 2) should be amongst this first group which is now ABOVE the Joker.” Square up, taking a Pinkie Break above the Joker, then turn the deck over carrying out a Turnover Pass.
10. “If you can tell me when you see it please. You (spectator 1) can keep an eye out for yours too if you like but it should be in the other section.” Slowly spread through the face-up cards allowing both spectators to see them. When you get to the face-down card in the centre (supposedly the Joker) lift of all the face-up cards above it and thumb it off face down onto the table (Fig.3).
Fig.3
11. “Your card is not there? Hmmm. Well here’s the Joker so that is all the cards that
Jack Parker
were below it before. Your card has vanished.” Turn the face-up cards you just lifted off face down and put them beneath the others.
12. “Well let’s see if yours is still there (spectator 1). These are the remaining cards that were above the Joker before.” Now slowly spread through the rest of the face-up cards so both spectators can see. When you get to the face-down ones you stop, and flip the top section face down again. The deck is now all face down.
13. “Yours has gone as well? Hmm. The plot thickens. So what colour was your card? Black. And yours? Black as well. Well what suit was it? Clubs. And yours? Clubs as well. Strange. So what value was yours? A Seven; the Seven of Clubs. I’m sorry? You say that was your card too? It can’t have been, you clearly picked them from different parts of the deck. How the heck did you manage to pick the same card? Well, at least we are only missing one card now. None of these was the Seven of Clubs was it. So we are looking for a single, missing card somewhere…..” Raise your eyebrows and stare at the supposed Joker on the table. One of the spectators will turn it up to reveal the mutual selection.
End Notes There are some subtle moments in the effect. When you spread through face up, not only do they not see their card but they also do not see a Joker, strongly reinforcing that it is on the table. It is possible to have a further climax by having the Joker reappear reversed in the centre of the deck. All you need do is after you spread through the second half of the face-up cards at the end, square up stealing the top face-down card beneath this packet. Turn the lower half back face up again and drop the other half on top. The deck is now face up with the Joker face down in the centre. This may well be overkill though. As you will appreciate, the first Head Over Heels set ups the selection for the Christ Force on the second spectator. You can do away with the second Head Over Heels if you wish. Simply get a break under the face-to-face double, drop the face-up cards on top and flip everything above the break face down. The selection ends up back 2nd from top, face up. I find the Head Over Heels both times gives a continuity of action and makes the whole turnover sequence much easier.
Sean Carpenter Sean Carpenter's original blend of magic and comedy was described by The Stage & Television Today as "outstanding", and has firmly established him as one of the UK's most entertaining new performers. His contagious sense of fun, combined with two of the most skilful hands in the business, make Sean one of the most sought after magicians around. At venues ranging from The Orient Express to the world’s most exclusive hotels, and from luxury cruise liners to the staff party at a meat pie factory in Leicester; Sean Carpenter has amazed and entertained audiences all over the world. With over ten years experience as a professional entertainer, Sean has performed in more than 30 different countries. Sean's Website: http://www.seancarpenter.co.uk
Insertion Technique Sean Carpenter
Effect Suzie, the beautiful fictitious spectator, is asked to name any card. Let’s imagine she says the Eight of Clubs. She is then handed a business card and asked to mime pushing it into an imaginary pack of cards so that the magician can observe her technique. After carefully watching the way she does this, the magician takes back the business card and writes a prediction on the reverse side. It is only after this prediction has been made that Suzie inserts the business card into the real pack of cards that has been face down on the table all along. The magician then explains that by studying Suzie’s “insertion technique” he was able to guess exactly how close she would stick the business card to whatever random card she named at the start, in this case the Eight of Clubs. Written on the business card is “16 CARDS AWAY” and the business card has indeed been inserted exactly 16 cards from the freely named Eight of Clubs!
Working The method here is basically Bill Simon’s Business Card Prophesy move combined with a memorised deck. I use the Aronson Stack but it will work with any stack that allows you to know the numerical position of every card. This plays rather strongly for laymen, but it is an ideal effect for anyone who is new to memorised deck work, as there are no calculations or estimated cuts involved. 1. To begin the routine, place your memorised deck on the table and ask the spectator to
Sean Carpenter
name any card. You aren’t committed to a particular effect at this point, so if they name an easy card such as the bottom card of the deck – you can just ask them to turn the pack over and there it is. One of the fun things about memorised deck work is that several cards are already in position to be instantly produced in a very impressive way, so every time one of those cards is requested you have a miracle! If not, you just carry on with the effect you were planning to do in the first place. Anyway, a card has been named. Once again, let’s assume that it was the Eight of Clubs, which is 16th from the top in the Aronson stack. Anyone who works with a memorised deck regularly will know the stack position as soon as a card is named, but this is a good trick to build your confidence with the stack if it sometimes still takes you a few seconds to recall the stack number. While the spectator mimes sticking the business card into an imaginary pack you have plenty of thinking time as you pretend to carefully study her technique. After careful consideration, you then take back the business card and write, “16 CARDS AWAY” on the reverse side.
The number you write is always the stack number of the named card; its memorised position from the top of the pack. So if they named the 24th card you would write “24 CARDS AWAY,” and so on. The spectator then pushes the business card into the deck for real without peeking at your prediction. If you now turn over the business card to show what you have written using Bill Simon’s well known Business Card Prophesy move, it will automatically position the named exactly the correct number of cards away. I am sure most readers will be familiar with the Bill Simon move from Effective Card Magic, but here is a description for completeness. The move is performed as you explain that you have attempted to guess how close the spectator would stick the business card to the card they randomly named: You are holding the face down pack with a business card projecting from the front end. You are now going to turn over the business card to show the writing on the reverse side, but in the process you will cut the pack around the business card. Here’s how: a) Start by spreading off all the cards above the business card and gripping them in your right hand, thumb on top and fingers below (Fig.1). b) Now turn over your right hand so that you can grip the projecting business card against the right hand cards with your right thumb. The business card is clipped against the back of what was originally the top card of the pack (Fig.2). c) Your left hand now releases its grip on the business card allowing your right hand to revolve forward turning over its half of the pack along with the business card that is clipped
Sean Carpenter
against it (Fig.3). The right-hand’s cards are moved below the left-hand cards as the right hand is turned over and the two halves of the pack are brought together once more (Fig.4). The business card is still projecting from the front of the pack but now the prediction side is face up and the two halves of the deck have been transposed.
Fig.1
Fig.2
Fig.3
Fig.4
2. The Eight of Clubs is now 16 cards below the inserted business card – the exact position you predicted. As long as the position you wrote down is the same as the stack number of the named card, your prediction will always be correct. If the named card is in the bottom half of the deck, though, you will need to openly cut the inserted business card to the top of the pack before handing the pack to the spectator so that she can count down from the business card. Otherwise, if you just discard the cards above the business card without replacing them on the bottom, you could run out if cards before the predicted position was reached.
End Note If the named card is very close to the bottom of the deck, I usually subtract its stack number from 53 and then count up from the business card rather than down from it. As an example; let's imagine the 44th card (Six of Spades in the Aronson Stack) is named. 44 subtracted from 53 is 9, so I write: "9 CARDS BELOW" as my prediction. The business card will then end up exactly 9 cards below the Six of Spades after the Bill Simon move.
Sean Carpenter
Named! Sean Carpenter
Effect At any banquet table of complete strangers, a spectator’s name is found written across the back of his chosen card. This routine is taken from my DVD, “Sean Carpenter’s General Magic”, available in the UK from www.albionmagiccompany.co.uk
Method I was in my early teens when I first saw Mike Gancia produce a spectator’s name on the back of a chosen card. Mike’s method was simply to find out someone’s name in advance and then write it onto the card he wanted to force. It’s a great effect if you can learn the name without anyone knowing, but I’ve always wanted achieve the same result without any prior knowledge. To be able to approach any table of complete strangers at a commercial gig and still have the spectator’s name appear on the back of his chosen card. My solution was to use an index of 52 common men’s names, cunningly disguised as a pack of cards…
The Props To make up the secret index I took a shuffled pack, discarded the jokers and advertising cards, and then wrote a different male name on the back of each card in the pack using a permanent marker. I deliberately avoided names with two equally common spellings, such as Brian/Bryan, as I didn’t want anyone to tell me that I’d spelt their name wrong. The photograph below (Fig.1) shows how the names are written, with a large name diagonally across the centre and smaller names in each of the index corners.
Fig.1
The pack was then stacked with the names in alphabetical order. The small names in the index corners of each card make it easy for me to scan through and locate the correct name when the pack is fanned with the faces towards the audience, and this layout makes perfect sense on the back of a card as it mirrors the way that the face of a card is set out. Here are the names I used to make up my pack:
Sean Carpenter
TOP OF PACK - Adam, Adrian, Alan, Andy, Ben, Bill, Bob, Brett, Chris, Colin, Craig, Dave, Derek, Frank, Gary, Graham, Harry, Ian, Jack, James, Joe, John, Julian, Justin, Ken, Kevin, Lee, Malcolm, Mark, Martin, Matt, Mike, Neil, Nick, Paul, Peter, Phil, Richard, Rob, Roger, Ron, Russ, Scott, Sean, Simon, Steve, Stuart, Terry, Tim, Tom, Tony, Wayne - BOTTOM OF PACK To complete the index, I placed an unmarked joker on top to make it look like an ordinary pack and inserted a thick card (two cards stuck together with superglue) into the centre. In my pack the thick card is inserted directly below the Eight of Spades, as this is the card I decided to force. IMPORTANT: If you make this effect up, don’t write on any cards until AFTER you have decided which card you want to force. The force card needs to be in the middle of the pack, so if you’ve written Alan on the back of it – the alphabetical order starts to get a bit tricky! The only other props required are a normal pack of cards that matches the index pack, and a drinks coaster. The coaster goes into my left trouser pocket and acts a divider between the two packs. Let’s call the side of the divider closest to my body the “inside” of the divider, and the side furthest away from my body the “outside”. The normal pack is on the outside of the divider and the index pack is on the inside. The backs of both packs face my body.
Working 1. This routine is performed towards the end of a set, so during my earlier effects to the same group I have been able to introduce myself to several people and learn their names. Alternatively, I may have read a name from a badge or place setting, or remembered a name that someone else has used. Let’s imagine I have learned that a man’s name is Martin (a useful tip here is to fill up your index pack with the names of all the people you know – then this will remind you which names are in the pack). I remove the index pack, hold it with the faces towards Martin, and riffle through the pack from the face until he says stop. The thick card allows me to always stop at the Eight of Spades, which Martin remembers. A little experimentation will show you that this is automatic.
2. I then fan the pack with the faces towards the audience to show they are all different, secretly scanning the backs of the cards to locate the one with Martin’s name. Once spotted, I close the fan keeping a finger break above the “Martin” card. The pack is then returned to my pocket, but in the process the “Martin” card is added to the face of the normal pack. Here’s how: As the pack is returned to the inside of the divider, I release the cards above the break, allowing my thumb to grip the next card, pull it up out the pack, and then add it to the face of the normal pack before my hand leaves the pocket.
3. I now reveal the identity of Martin’s card, either using a gag prediction such as a long card, or simply reading his mind and naming the card. This proves that Martin and I have a definite psychic chemistry, so I remove the pack again to try something much more difficult. This time, however, I pull out the other pack. A pack with Martin’s name written on the back of the bottom card! From here I’m free to force the card and produce it in any way I like. The card with the name is on the bottom so, for lay people, a Hindu Shuffle Force works as well as anything. I usually glimpse the bottom card so that I can name the selected card before producing it. A simple production method that ties in nicely with the effect is to use the spectator’s name to
Sean Carpenter
locate the card. Have a break below the selection in the centre and then spell his name, cutting a small packet from the bottom to the top for each letter. Cut at the break on the last letter and then turn the pack over to reveal the selection on the face. Finish by revealing that the name is written on the back of the chosen card.
David Britland David is the author of a number of books on magic including Phantoms of the Card Table, Chan Canasta - A Remarkable Man and The Mind and Magic of David Berglas. He is a writer and consultant producer on many of the UK’s television magic shows including: Derren Brown’s Trick of the Mind, Dirty Tricks, Death Wish Live, Secret World of Magic, Magick and The Real Hustle. He has a blog at www.davidbritland.com and promises to update it more frequently now that he’s advertised it! David's Excellent Blog: www.davidbritland.com
Progressive Jacks David Britland
Effect A sandwich routine in which the red Jacks find the black Jacks and the black Jacks find the selected card.
Working 1. Remove the four Jacks from the deck and place them face down on the table. “This is a take a card trick. You can take any card. . . except one of these. You’ll see why in a moment.” Spread the rest of the deck face down between the hands and have one of these cards selected. The spectator remembers the selection and replaces it. And, of course, you control it. This time to the face of the deck. Place the deck face down on the table and then turn your attention to the four face down cards you removed earlier. “Let me tell you why I didn’t want to select any of these cards. They’re Jacks. The detective cards of the deck. And believe it or not they are going to help find your card.”
2. As you patter display the Jacks face up and arrange them so that the red Jacks are on top of the black Jacks. Spread the cards and then square them up. Take them at the right fingertips and then begin an Elmsley Count that counts cards from the right hand into the left hand. In fact you only make the first part of the Elmsley Count, apparently counting the two red Jacks into the left hand (Roy Walton's Split Elmsley). However, because the usual switch is made on the second card counted you will actually have one red and one black Jack in each hand. Keep the pair of Jacks in each hand square so that you don’t expose the real situation to the spectators.
David Britland
“Which Jacks do you want, the red or the black?”
3. Whichever pair is named drop it face up on top of the face-down tabled deck. Place the other pair face up on the table. Let’s assume they chose the red Jacks. Pick up the deck and give it a double undercut bringing the bottom card (selection) to the top where it will cover the face-up Jacks. “Okay, red Jacks it is. Let me cut the red Jacks into the deck.”
4. Place the deck on the table and cut it into two heaps. “Now the red Jacks are already busy looking for your card. Here’s where the black Jacks come in. Because their job is to find the red Jacks and bring them back. Watch!”
5. Place the apparent pair of black Jacks face up on top of what was the upper packet. Leave the pair of Jacks overhanging the front narrow edge of the packet (Fig.1). Take the remaining packet and place it on top of the Jacks but square with the rest of the deck (Fig.2).
Fig.1
Fig.2
“Okay, watch closely. Because the black Jacks are going to find the red Jacks and the red Jacks are going to find your card." Place your hands either side of the table deck and using your forefingers draw the projecting cards square with the deck (Fig.3a & 3b). Your thumbs at the inner edge of the deck stop it moving as the cards are drawn flush. I first saw this bit of neatness used by Martin Nash. It has come in very useful in lots of routines.
Fig.3a
Fig.3b
6. Snap your fingers, wave your hand or do whatever mystical nonsense comes to mind to symbolise a moment of magic. Then spread the deck face down across the table. In the middle of the spread you will find the four Jacks face up with a single card face down between them. Remove these five cards as a unit and put the rest of the deck aside.
David Britland
7. “It’s a Jack sandwich. The black Jacks have found the red Jacks,” you say as you remove the red Jacks from either side of the five-card spread. “And the red Jacks have found just one card.” Place the red Jacks aside so that you are holding only the face down card. “What was the name of your card?” Turn the card over to show that you are correct.
End Notes Now that you have the basic idea try the trick with one pair of Jacks face down. With the four Jacks in the left hand let’s assume that the upper two are black. Openly flip the black Jacks face down on top of the red Jacks. Take the packet in the right hand so that you can perform an Elmsley Count as required in Step 2. You appear to count the first two face-down cards into the left hand. In fact you now have a face-up card beneath a face-down card in each hand. Place the left-hand pair (apparently face-down black Jacks) on the table. Drop the right-hand face-up pair of red Jacks on top of the deck and Double-cut the selection to the top as per Step 3. Continue with Step 4 outjogging what appears to be two red Jacks face up in the middle of the deck. Draw the face-up red Jacks into the deck as per Step 5. When you spread the deck you will have two face-up red Jacks either side of two face-down black Jacks and the selection inbetween. Add a little finesse here and there and you have a pretty good trick.
Stephen Tucker Stephen Tucker started magic at an early age and rose to promimence n the early 1970s with his involved, with David Britland and John Brown, in the Talon close-up magazine. This was followed by Spell-Binder and Chicanery. Later he became editor of Pabular magazine. Over the years he has written a number of books, including; Cardinal Sins, Cardiac Pacemakers, Cardiac Stimulation, Cardiac Arrest, The Gemini Book, Thought Waves and Card-Bored), produced various videos and DVDs, marketed numerous effects and published routines in most magic magazines. Steve is currently the editor of The Budget - the magazine of British Ring 25 of the I.B.M. - and is a professional close-up/cabaret performer, and a magic dealer/lecturer with his own range of magic. Asked by Wayne Dobson to write his Dobson's Choice trilogy of books, and by Bob Ostin to compile, partly write and illustrate his life's work into his new book, Bob Ostin - "A Lifetime Of Magical Inventions" - Steve is one busy guy! Stephen's website: http://homepages.tesco.net/stephen.tucker1/index.htm
Stephen Tucker's
Caan (Card At Any Number) Effect
You ask someone to think of any playing card. You write down the name of a card as a prediction. You ask them which card they thought of. They say, “The Four of Diamonds”. You shrug your shoulders and admit that you were miles off, but you’d now like them to think of a number between 1 and 52. You write down a number and ask which number they thought of. They say.... “22”. You say, I was wrong again, but I’ll initial the paper so that you can keep it as a souvenir. You do so, and hand it to them. They look at the initialled scrap of paper and see that you had predicted that they would think of the Nine of Hearts and the number 34. They will not be impressed. However, you now take the cards from their case and deal down to the 22nd card (the number they did think of) and set it face down to one side. You continue the deal down to the 34th card (the number you predicted) and set this card to one side with the first. Finally, you flip both cards face up to reveal that they are the Four of Diamonds (the card they thought of) and the Nine of Hearts (the card you predicted).
CAAN was the forerunner to my ACAAN routine, which I now sell in both mail order and e-trick formats. Details are on my web site www.stephentuckermagic.co.uk
Preparation
Your cased deck should be arranged in the Bart Harding stack. Note: I use the Harding stack , as many magicians are familiar with it and can calculate the position of a card (or what card is at what position), without resorting to the crib sheet.
10C, 7H, 4S, AD, JD, 6C, 7C, 9S, 6D, AC, JC, 8H, 5S, 2D, QD, 3H, KH, 10S, 7D, 2C, QC, 9H, 6S, 3D, KD, 4H, AS, JS, 8D, 3C, KC, 10H, 7S, 4D, 8C, 5H, 2S, QS, 9D, 4C, AH, JH, 8S, 5D, 9C, 6H, 3S, KS, 10D, 5C, 2H, QH.
Print out the crib-sheet below (reducing its size), cut it out then glue it to the side of your Bicycle card case that does NOT bear the image of the back of a card.
0 0
1
2
3
4
5
6
7
8
9
xc 7h 4s ad jd 6c 7c 9s 6d
1
ac
jc 8h 5s 2d qd 3h kh xs 7d
2
2c qc 9h 6s 3d kd 4h as
3
3c kc xh 7s 4d 8c 5h 2s qs 9d
4
4c ah jh 8s 5d 9c 6h 3s ks xd
5
5c 2h qh
C 10 20 30 40 50 6
js
8d
7 35 45 1 11 21 31
H 41 51 16 26 36 46 2 12 22 32 42 52 17 S 27 37 47 3 13 23 33 43 8 18 28 38 48 D 5 14 24 34 44 9 19 29 39 49 4 15 25 A
2
3
4
5
6
7
8
9
X
J
Q
K
The upper rectangle of the two will help you to write down the name of a playing card, and the lower rectangle will allow you to write down a number between 1 and 52. You will also require some slips of paper, approximately 65mm square, upon which to write. Alternatively, you can use your business card (assuming it isn't black!). I wrap an elastic band around the cased deck and put a few slips of paper beneath the band on the side opposite the crib-sheet.
Performance 1. Introduce the cased deck, with the crib-sheet hidden. Remove the slips of paper from beneath the elastic band and table them. Pick one up and rest it onto the crib-sheet side of the card case, held in your hand. The case is angled so that no one else can see the crib-sheet or what you are about to write. Write your initials on the paper, at the lower centre, as you ask someone to think of ANY playing card. My own initials (S.T.) are shown in the following illustrations. You now ask which card they thought of. Let’s assume that they say they thought of the Four of Diamonds. Comment that things are not going well, as you got that part of the experiment wrong. Ask them to now think of a number between 1 and 52. 2. By now you have manoeuvred your piece of paper so that its lower edge lines up with the suit of the named card, in this case diamonds. This is shown in the illustration below. The lower row of numbers represent the values of the cards. If you glance at the square represented by the intersection of the named value and suit, i.e., 4 and Diamonds, you will see that the square contains the number 34. This is the number that you now write on your paper at the upper right corner. This is also shown on the illustration below.
3. Once you have apparently written down the number they have thought of, you ask for the number they did think of. Let’s assume that it was 22. The horizontal row of numbers 0 to 9, along the top of the upper rectangle, represent the second digit of their named number and the vertical row of numbers 0 to 5, at the left of the upper rectangle, represent the first digit of their named number.
You now manoeuvre the paper so that the upper edge is lined up with the horizontal row of squares that represents the numbers 20 to 29. So... the square at the intersection of 2/2 contains the playing card 9h (Nine of Hearts). This is basically the same method of locating a square on a map by using a cross reference. This is shown in the illustration below. You grimace again and comment that you got the number wrong too, but you’ll initial the prediction so that they can keep it as a souvenir. In fact, you now write 9H at the upper left of the paper (also shown in illustration below), and hand it to them as you table the cased deck, crib-sheet side down. They look at your predictions and see that you were completely wrong! This confuses magicians who will wrongly assume that you were using the “one-ahead” principle! What you have now done is - you have actually written down a number (34) that, when dealt down to, will lead you to their named card and written down a playing card (9H) that, when you deal to the card at their named number, will lead you to your predicted card!
4. So... you remove the deck from its case, hold it face down and deal cards to the table, turning them face up as you do so, forming a pile of face up cards. You count, as you deal, until you reach the LOWER of the two numbers, in this case 22. You can deal the 22nd card face down to on side, but I prefer to deal it face down onto the tabled face up pile. I then continue the deal, turning cards face up as I add them to the tabled pile, until I reach the 34th card. Once again, you could deal this face down to one side, but I deal it face down onto the tabled pile, then flip the remaining cards face up and drop them onto the tabled pile.
5. Now pick all the cards up and flip the deck face down. Point out that you have dealt to the cards at your predicted number and their named number, and left them reversed in their original positions. Next, point out that you predicted the Nine of Hearts and they named the Four of Diamonds. Ribbon-spread the deck to reveal that the two reversed cards are the very same!
Reset: You only have to right the two reversed cards, leaving them in the same positions. However, if you chose to table them to one side, you’ll need to insert them back into the Harding stack, at their original positions.
A Freer Chance Stephen Tucker
Effect Six cards are shuffled and dealt into a face up row. You explain that they will choose one of the cards and you will also choose one, but you’ll try to influence their choice. Point out that there is only one court card, so they may choose that card because of this fact or avoid it for the very same reason. The joker isn’t really a playing card at all, so this may attract or repel them. One of the cards has the name Fred written across it. You won’t explain why this is so, but if they know someone by that name, this might make them choose it... or not. The other cards are fairly nondescript and they may be attracted to one of them... or not. You now ask someone to name any one of the six cards. Let’s assume that they name the joker. You remind them that you too have to choose a card. You say that you were going to choose the joker, but now you can’t make your mind up between the 9 of spades and the 5 of diamonds. You ask them, “Which one of these do YOU think I should choose? They reply, “The 5 of diamonds.” You set the five of diamonds with their chosen joker to one side, pick up the remaining four cards and show that they are all blue backed. You ask them to flip over the two freely chosen cards and... they are the only two red backed cards present!!! I came up with the following routine after seeing Bill Goldman’s ‘Free Chance’ routine, from his DVD Two For The Money. My method makes the desired outcome 100% certain – something that the original handling most definitely did not. A similar effect worth checking out by Peter Duffie, currently marketed by Aldo Colombini, and which IS 100% is "Pick me - Pick me Not."
Required Three red backed cards and three blue backed cards. The actual values and suits are not important, but an ideal set would be... a blue backed queen of hearts, 6 of diamonds and 4 of clubs plus a red backed 9 of spades, joker and 5 of diamonds. Preparation: With a marker pen write a name (Fred) on the face of the 4 of clubs (Fig.1)
Fig.1
Working 1. The three blue backed cards are all even value cards (Queen = 12). The red backed cards have odd values (the joker is a very odd card). This fact allows you to shuffle the six cards, deal them in a row and be able to differentiate, by the values, the red backed trio from the blue backed trio. Basically, whatever card they choose, you say that you were about to choose that very card. You continue that you now can’t make your mind up between.... here you name the other two cards that have the same back colour as their card. You ask them to decide for you and set the two chosen cards to one side together.
2. You now pick up the remaining four cards and position the odd backed card (from the same group as the two selections) second from the face with the cards face up. If you now flip the packet face down and perform an Elmsley Count, all the cards will appear to have the same coloured backs (say blue). It only remains for you to have the spectator flip the two chosen cards face down to discover that they too have the same coloured backs, but the colour is completely different to the four that were not selected (say red).
To reset: Simply gather all the cards together, being careful not to flash the odd coloured back in the group of four cards that were not chosen, make sure that they are all face up and replace them into your breast pocket or wherever you choose to carry them.
End Notes If you study the original Goldman routine, you will appreciate the thinking behind the above method. When the spectator thinks about it later, he will say, “But I had a completely free choice of my card AND... I even decided on which card he should choose!?” I prefer to make a face down split-Elmsley Count i.e., count the first two cards across, making the switch, and immediately flip them face up and drop them as a duo onto the table. Next count the remaining two cards across, flip them face up and drop them onto the other two. The split-Elmsley Count was published by Roy Walton in Pabular in an effect called The Witchdoctors. Try it and you might even fool fellow magicians using it?
Finally: As a youth I recall buying a trick from The Supreme Magic Company that used three blue backed and three red backed cards. One was FREELY selected and the other five (via a Hamman count) were shown to have the same coloured backs, whilst the chosen card was the only odd backed card present. To my shame, I can’t recall the originator, however, I am certain that this must have been the inspiration behind the Goldman routine. Finally, finally: I am a great admirer of Bill Goldman’s magic, but I can’t for the life of me understand why he allowed ‘Free Chance’ to be published, especially on DVD, when it was, so obviously, flawed.
Jon Allen Since the age of 9, Jon has been fascinated by magic. This fascination became a hobby and grew into a career. Since turning professional in 1988, Jon Allen has entertained tens of thousands of people over thousands of performances for celebrities, royalty, high-power business people and the general public. Jon is a previous holder of "The Magic Circle Close-up Magician of the year" award. Jon is the only magician in England ever to win the prestigious worldwide IBM Close-Up Magic Competition since it began in 1928. Jon has also won the IBM British Ring Close-Up Magic Competition. He is the only magician in the world to ever achieve this treble of prestigious awards. He was invited to perform for the very first "All British Week" at the world famous Magic Castle in Hollywood. He is one of the youngest members of the exclusive Inner Magic Circle. He is one of the few close-up magicians who regularly perform for The Magic Circle public shows. He was chosen to represent The Magic Circle for national TV publicity in America. In July 2000, he was the only overseas artiste selected to perform in the close-up magic show at the international magic convention in New York.
Sad Aces Jon Allen This micro-Triumph effect started off ages ago as a one phase effect I thought might belong in a longer, established routine. Recently, it was the addition of the named Ace that helped me come up with a routine for it. I will describe it as I do it. While I consider myself a right hander, magic dictates I am a left hander. For ease of me writing while going through it myself, I will describe it exactly as I do it. What? After a favourite Ace is named, you alternate the four Aces face up & face down only for them all to appear face down. Excitedly, you repeat the process where, again, they all appear face down. As the finale, the named Ace turns face up. How? 1. As you are finding the four Aces, casually ask if the person you are entertaining has a favourite Ace. If they say yes, you may like to add, “You have a favourite Ace… how sad.” Say it with a smile so the person knows you don’t think they are sad, unless it is another magician. If they don’t, just ask them to name one. When they do, position their Ace second down in the face-up packet.
Jon Allen
Casually show the faces without bringing any undue attention to their order. For ease of description I will assume the cards from the face are C-H-S-D. This would mean the Heart is the named Ace.
2. You are going to do a modified Elmsley Count, as follows: a) Hold the packet face down in your left hand and take off the top Ace (AD) face down into your other hand. b) Bring your left hand over and thumb off the top two Aces (AS & AH). As these two cards are almost touching the single card in your right hand, your right fingers and thumb lightly grip the two cards (Fig.1). Your left hand then flips the two cards, as one, onto the single card. You should see an AH (Fig.2).
Fig.1
Fig.2
c) Put the AC face down onto the right hand packet, while at the same time pulling back the bottom card (AD) a la the Elmsley Count (Fig.3). Flip this Ace face up on the other three Aces in your right hand in the same way as you did for the double card (Fig.4).
Fig.3
Fig.4
Checkpoint: Spread the cards and you should see from the top down: AD, face-down AC, AH, AS. Good.
3. Grip the left long edge with your palm-down left hand, finger on top, thumb underneath (Fig.5). Now when you turn your left hand palm up, you are in position to do an Elmsley Count (Fig.6). It will look as though all the cards are face down. However, the bottom card (AC) will now be face up.
Jon Allen
Fig.5
Fig.6
4. You will repeat the face-up / face-down process but with a slight change. Your right thumb pulls off the top card (AS) face down into the right hand. The right thumb then pulls over the next card (AD) and the left hand cards help to flip it face up onto the AS. The last two cards are placed on top as one while you simultaneously take back the AS from the right hand into the left a la Elmsley Count. Flip the AS face up onto the right hand pile. Checkpoint: Spread the cards and you should see from the top down: AS, face-down AH, AC, AD
5. Again take the packet in your palm-up right hand and turn over to do an Elmsley Count as before. Once again, the cards appear all face down. In fact there is one card still face up and this was the Ace named earlier (AH).
6. In order to reveal this Ace, you can do one of two things: either do an Elmsley Count which reveals the Ace as the third card or, do a Jordan Count to again show the cards are all face down but secretly positions the AH third card down. Now you can simply spread the cards slowly and the Ace is face up in the spread.
Wayne Dobson At just 16 Wayne was demonstrating great flair and originality and started to pick up local engagements and club work, on a semi-professional basis. In 1977 he was a joint first prize winner in the close-up competition at the IBM British Ring Convention. This led to his television debut on BBC TV's Blue Peter. At just 21 he decided to become a professional magician. In 1989 he was chosen to appear before HM Queen Elizabeth in the Royal Variety Show at the London Palladium and had the audience in fits of laughter with his hilarious routine assisted by Frank Bruno and Harry Carpenter. Wayne was in great demand and later on in the year made a guest appearance each week on the Joe Longthorne show, presenting a mixture of close up magic and illusion. This lead to him being offered his own TV series and 'Wayne Dobson - A Kind of Magic' was born. The series was aired nationally on Saturday nights on ITV and another two series were commissioned such was its success. At one point viewing figures reached a staggering 11 Million! In 2004 he was awarded the ‘Maskelyne’, the highest award in the world of magic, for outstanding individual achievement by The Magic Circle. Wayne's website: http://www.waynedobson.co.uk
VISION Wayne Dobson Paul Wilson’s ‘Predator’ is a stunning effect. However due to the limited use of my right hand, and still wanting to perform the effect, I had to devise an alternative method. ‘Vision’ is the result of my efforts to deviate from ’Predator’. Although ’Vision’ still uses the ’One Ahead’ principle, the effect and method are quite different.
Requirements A ‘Himber’ style wallet. Eleven identical banknotes. I use $1 bills. A Calligraphy pen for writing the predictions on the banknotes. Note: Any non permanent marker pen will suffice, however Calligraphy pens are the most suitable, as they write big and bold, and the ink does not bleed through the banknote.
Set-up Take four of the banknotes and write on them the following words, one word on each banknote:
Wayne Dobson
Take these four notes in the order above, (the ’YOU’ being the topmost banknote) and place them writing side down into one side of the wallet. On the remaining seven banknotes write the following:
Take these seven banknotes in the order above, (the ’BANANA’ being the topmost banknote) and place them writing side down into the other (empty) side of the wallet.
Working 1. Remove the wallet and open it on the side with the seven banknotes. Remove the banknotes and explain to the spectators that they have a chance of winning some money. As these words are spoken, you remove the top banknote (the one with the word BANANA written on it) and place it in front of the spectator (writing side down). Keep the rest of the banknotes in a stack in your left hand.
Wayne Dobson
2. Explain that you have three objects upon the table, however they are all invisible You then explain that there is an invisible ROULETTE WHEEL AND BALL, A DECK OF CARDS, and A BOWL OF FRUIT! Ask a spectator to pick up the invisible BALL, and ask that they spin the roulette wheel and to drop the ball into the wheel. You then ask if the ball landed is RED or BLACK? Lets assume that they say BLACK, you say, “I thought so.” You now casually remove the second to top banknote and place it onto the other banknote already on the table.
3. Ask another spectator to pick up the invisible deck of cards and to remove the four Aces. Ask them to select one Ace. Let’s assume that HEARTS is selected. You remove the appropriate banknote from the stack (the ACE OF HEARTS will be third from the top) and place it upon the other banknotes on the table. You now put the remaining banknotes that are in your left hand, into the empty side of the wallet. Close the wallet, but remember that next time you open the wallet, it will be on the other side. Put the wallet to one side.
4. You are now going to force the BANANA from the invisible bowl of fruit, using the ‘Conjurers Choice’. However due to the fact that you are using invisible fruit, the force becomes very effective. Offer the ‘Bowl of Fruit’ to a spectator, and ask that they choose a piece. 9 times out of 10 they will choose a banana, and if they do you go no further. ‘Take advantage of the situation.’ However if they choose, let’s say an APPLE, instruct them to put it on the table as you explain there are two more fruits in the bowl, an ORANGE and a BANANA. You ask them to remove the other two fruits and to place them on the table alongside the APPLE. Ask them to pick up one of the fruits from the table. If they select the BANANA, go no further. If they pick the APPLE, you ask them to pick another. Say they pick the ORANGE. Ask them to put their fruits back into the bowl. Which leaves the BANANA on the table. If they pick the APPLE (or Orange) and the BANANA: You ask them to give you either one. If they give you the BANANA, you say that you will use the BANANA. If they give you the other fruit, you put it back in the bowl, leaving them with the BANANA. You have now covered every possible outcome, and the spectator will always get the BANANA. I know it’s an old force, but it never fails to be convincing to the spectators.
5. You now recap on the selections. The chosen colour was BLACK. The chosen card was the ACE OF HEARTS. And the chosen fruit was the BANANA. You now open the wallet on the side with the ‘sentence’ banknotes. Remove them and give them to a spectator. (Make sure that the writing side is down).
Wayne Dobson
Pick up the three prediction banknotes and casually move the bottom banknote (BANANA) to the top, as you ask the spectator to deal their banknotes, writing side up onto the table. Note: Don’t make a move of transferring the banknote, JUST DO IT! After the spectator has finished dealing the banknotes: ‘YOU WILL CHOOSE THE’. Deal your three banknotes: BANANA, BLACK, ACE OF HEARTS with the writing side down on the table. End by turning over the three remaining banknotes revealing that your prediction is 100% correct.
Ring Flash 2 Wayne Dobson My original RingFlash also appeared in my Pro-File book but the following improved handling and method is far superior and easier to perform.
Required A 2”(ish) square of flash-paper with a hole at the centre, an 18”(ish) length of fine gold (or plated) chain and a box of matches.
Set-up The box of matches is half open and the chain is within the sleeve of the box resting on the drawer. To keep this from upsetting, I place the box in my right side jacket ticket pocket. The square of flash paper is in the main right jacket pocket.
Working 1. Ask for someone to remove a gold finger ring as you remove the half opened box of matches and have someone remove two matches. Close the match box with your left thumb and the chain will be secretly ejected into your left hand in finger palm position. Table the box.
Wayne Dobson
2. Take the ring and push it partway into your left fist (containing the chain). The ring enters the fist near the thumb opening and is shown, for a moment, sticking out. Ask the person with the two matches to strike one. As they do so, use your right thumb tip to push the ring all the way into the left fist BUT your right fingers pass under the left fist and, at this moment, you allow the ring to fall from the left fist onto the right fingers, which curl inwards taking the ring into a finger palm position as the left fist moves away to your left. This is the well-known Push-Through Coin (or ball) Vanish.
3. The right hand now carefully takes the burning match from them and plays the flame beneath the left fist. Say, “Some of these matches don’t work. That’s why I asked you to take two. This one works perfectly so ... I’ll keep it for later!” Here you blow the match out and place it into your right pocket (NOT near the square of flash paper! In fact I snap the head off the match.) Once the hand is inside the pocket, ditch the match and the ring and remove your hand empty. Explain that the heat from the match has a strange effect on the ring. POUR the chain from your left hand into your right. It looks, if only for a moment, as if their ring has melted and is emerging as a stream of gold.
4. With an obviously empty right hand, reach back into your pocket. Once inside Finger-palm the ring, remove and hand them the square of flash paper. As you toy with the chain ... allow the lower end to pass through the ring and finish up holding on to the chain in the right hand a few inches from the upper end with the ring secretly threaded on and still finger palmed. Take back the paper and allow the lower end of the chain to pass through the hole. Take the lower end of the chain up in to your right hand and either fasten the ends together or, to speed things up, just hold them together. It only remains to have the person, with the second match, strike it and touch the flame to the flash paper and ... as the paper burst into flames, allow the ring to fall down the chain to the centre where, as the paper vanishes, the ring seems to materialise from the flame.
Notes A new ring gag is to say, when admiring the ring, “There¹s a name inscribed inside. It’s Martin…..Martin Taiwan? Oops sorry, my mistake!”
Nicholas Einhorn Nicholas Einhorn is a member of the Inner Magic Circle, an award winner at The World Magic Championships, F.I.S.M Den Hague (2nd Place in Micro Magic) and has been voted The Magic Circle Close-up Magician of the Year three times. (1996 , 2002 & 2005). He is one of the busiest magicians in the UK, performing his own style of close-up magic and cabaret at a myriad of corporate events, private parties, trade shows and exhibitions. His work (both performing and lecturing) has taken him all over the world, from North America and the Middle East to Asia and all over Europe for audiences as large as 2000 (The London Palladium) to more intimate after dinner entertainment for as few as six guests. He is the author of The Art of Magic and Sleight of Hand (Over 250,000 copies sold worldwide) and for the past eight seasons has been Tottenham Hotspur’s resident magician where he can be seen entertaining within the corporate hospitality suites and executive boxes at every home game As a consultant and magic advisor Nicholas has created the illusions and special effects for several large stage and screen productions including the musical adaptation of Oscar Wilde's The Canterville Ghost (Starring Ron Moody) the hugely successful pantomimes Cinderella (Gaiety Theatre, Dublin) Aladdin (The Old Vic, London) and the feature film Bright Young Things, (Directed by Stephen Fry). Nicholas also designs, develops and markets new concepts and magical effects for the magic fraternity. Many of his illusions have been purchased and performed by magicians all over the world including some of the biggest and most established names in magic including Britain's best known conjuror, Paul Daniels and America's David Copperfield. In 2004 Nicholas was a regular guest for 12 weeks on ITV1’s Dan & Dusty show and has a list of other TV credits to his name. For further information visit http://www.einhorn.co.uk
Coincidence Nicholas Einhorn (2006)
Effect A spectator shuffles the deck. The magician riffles through the deck and the spectator calls ‘Stop!’ at any time. They remember their card. This is repeated for another spectator. At the count of ‘three’ both spectators are asked to shout their selection out loud. They both shout out the same card. A remarkable coincidence! This effect can be repeated immediately with a completely different outcome each time. The fairness of the procedure is paramount to the success of this trick. It is a small but impressive mystery that I add during a longer close-up set. It is nothing more than forcing the
Nicholas Einhorn
same card to two different spectators. You can use your favourite bullet-proof force but I opt for this clever handling.
Working 1. The deck is shuffled and returned to you in dealing position. Simply in-jog a random card in the middle of the deck. Manoeuvre the deck to a peek position at the left fingertips and the injogged card will now function as a short card (Fig.1). Note that the injog should be very slight - just enough to act as a short card would.
Fig.1.
2. As the right forefinger riffles through the deck at the top right corner it will be an easy matter to automatically stop at the card above the in-jog. This is basically a variation of the classic Riffle Force. In this way, you must time things so that you reach the short card as the spectator says ‘STOP!’ 3. Repeat the riffle force with another spectator.
4. Now ask them to shout out their cards, on the count of ‘three’. I have found this quick trick to work well at a large banquet table as it involves two people at opposite sides and makes the performance seem bigger. Imagine a clock face as the table, I would first do the trick with spectators at 12 and 6 and then with spectators at 3 and 9 thus involving four people in the space of about 1 minute.
As an Impromptu Tossed-out Deck The above can be expanded into an impromptu close-up version of Hoy’s Tossed Out Deck (although such a presentation should be followed with several more routines in order that people do not have time to discuss which card was which!!) Carry out the above Force with three people and then ask them to stand. Call out the names of any three cards, including the force card (calling the force card out as the second card is probably best) and then ask them to sit if they heard their card. In the end, all three will have sat down - you have seemingly read the minds of all three.
Iain Moran Iain Moran has been performing Magic for over 18 years. He has written 7 booklets and has released several of his commercial effects. He has lectured all over the country but is probably best known for the material he contributed to the now sadly defunct, EGO Magazine including a one-man issue in 2001. If you would like to contact Iain, feel free to email him at:
[email protected]
Kicked Forward Iain Moran
Effect The two red Aces are removed from the deck and placed off to the side. Two spectators then each select a card and replace them back in the deck. The Aces are cut face up in to the middle of deck, which is instantly spread to reveal two cards between the face-up Aces. The spectators are asked to remove these caught cards, only to discover they are the two Aces. The magician shows his cards, they are the selections.
Required You require one double-faced card (D/F), which shows a red Ace on one side and an indifferent card on the other. You will also need a duplicate of the other red Ace. For the purpose of this explanation, I will assume your D/F card is AD/7H and therefore your duplicate card is the AH.
Set-up From the top of the deck down stack the following: 7H, AH, AD. Turn the deck face up and insert the D/F card ten or so cards from the face (Ace side up) and the AH (Duplicate) several cards below it. I like to reach this situation during a performance, for my thoughts on this please see my comments at the end.
Performance 1. The Selections: Spread through the pack and remove the two red Aces tabling them face up to the right. They should be kept in the same order with the D/F card on the face.
Ian Moran
Ask a spectator to select a card, using the same actions as your favourite force let's suppose they select the 4S. Ask a second spectator to choose a card only this time you actually force the card on the top (7H). You are going to have the cards returned, however the only one you need to control is the first selection. This being the case, it's a good idea to take back the second selection first and insert it into the centre of the pack from the rear simulating the Tilt/Depth Illusion, be sure to let the audience actually see the card sticking out of the back of the deck before you push it flush. As you take back the first (genuine) selection obtain a break under the top two cards and prepare for Tilt. Insert the card into the Tilt break (Fig.1).
.Fig.1 Obtain a break above the selection as it is pushed flush. To the audience it should appear exactly as the previous selection, the card being lost in the middle, however this time the card ends up third from the top. By simulating your force and control before you actually have to force and control, gets your audience accustomed to your actions, and takes a lot of the heat off, when the time comes to perform the actual techniques. 2. The Red Aces: Explain that you don't care where the selected cards are, as you will not be finding them, this is a job for the two red Aces. Pick up the red Aces and place them on top of the pack. You now have a break under four cards. Your right hand takes all the cards above the break, fingers at the front and thumb at the back. Your left thumb presses down on the top card of this group, and pulls it square on top of the deck, the right hand without pausing places it's remaining three cards as one on top of it. This is a standard sandwich move, which has just loaded two cards in-between the supposed Aces. Cut the deck to centralise the Aces. 3. The Magic: After a suitable build-up, slowly spread the cards between your hands showing that the Aces have found two cards. Place all the cards above the uppermost Ace to one side. Square the remaining cards, taking a break under the fifth card from the top. Place all the cards below the break off to one side. Spread the cards in your hands keeping the bottom two squared as one and outjog the two face-down cards. Separate your hands, your right hand taking the top two leaving the bottom three (as two) in your left. Ask each spectator the name of their selected card, I ask them to take a look at the face-down cards the Aces have caught. As soon as they look at the cards, I flip the card in my right hand, face down on to the card(s) in my left. They will be shocked to discover they have the Aces. I
Ian Moran
then turn my cards face up, and spread them keeping the bottom two cards together as one, take the cards in your right hand ensuring the double doesn't spread and flash the backs before returning the cards to the bottom of the deck.
Clean Up: I usually just bottom palm the two extra cards and leave them in my pocket as I remove the card case. Of course you could simply place the deck in your pocket and perform a non-card effect, then later, when the deck is removed again, the two bottom cards can be thumbed off and left in the pocket. Getting Ready: I prepare for Kicked Forward by inserting the D/F Card and the duplicate AH under the cellophane around the card case, on the half moon cut-out side. Because the back of the AH matches the back printed on the card case everything looks as it should. Place the deck inside the case and you are ready to perform at any time. At some point during my performance I will perform a four-Ace effect, after which I place the Aces on top of the pack, with the red Aces above the black and execute a brief false shuffle. Place the deck face down on top of the half moon cut-out side of the empty case, and perform any non-card effect. When you want to perform Kicked Forward pick up the case and the box together from above in the left hand holding them by the long edges. The right hand approaches the outer end and grips the deck with the thumb above and fingers below. The right index finger goes inside the open box and under the half moon cut- out. In this position it will be gripping the two cards under the cellophane. The right hand moves forwards taking the deck away from the case. This will also pull the two cards under the cellophane on to the bottom of the deck. I spread the deck between my hands and cull any card to the bottom of the deck. Turn the deck face up and explain that you need the red Aces. Ensure you don't spread the three cards on the face as this will expose the Aces prematurely. You are apparently looking for the Aces, but you are really looking for your force card, and once you locate it, cull it to the bottom of the face-up deck. Finally spread the cards nearest the face where you discover the cards you were looking for. The red Aces are placed on the table and you are ready to proceed as described above.
Credits This effect is based on Ryan Swigert's "KickBack" routine, which has become very popular. I loved the effect, but was concerned that the other side of the selections couldn't be shown at the conclusion. This is my solution to this effect and is a piece I perform a great deal.
Ian Moran
Colourful Triumph Iain Moran
Effect A card is selected and returned to the pack, which is then shuffled together some face up and some face down. The cards are spread and they have instantly turned the right way around again, except for one that remains face down, it proves to be the selection. For a climax the deck is turned over and the backs have changed colour, from red to blue.
Set-up Needed is a simple gimmick, which is very easy to prepare. It consists of two red-backed cards joined together with tape as shown below. When the gimmick is folded with the tape on the inside, it will appear to be a single card. To make things easier later on, you may want to take a marking pen and make a bold mark on the gimmick on the index corner farthest from the tape. Fold the gimmick in half, so that the tape is on the inside. You will also need a Matching pack and three cards with a contrasting back design. For the sake of Explanation, I will assume that you are using a red backed deck with the three extra cards from a blue deck. To prepare for performance, place the gimmick on top of the deck, open end toward you, and two of the blue cards are on top of the gimmick. The other one goes on the bottom. Place them into blue card case. That completes the preparation.
Performance 1. The Force Remove the deck from the case and hold it face up in Hindu shuffle position in your right hand, in preparation for a variation of the Hindu shuffle force as follows. Begin by peeling the face card in to the left hand, and then without pausing, pull off a bunch of cards on top of the single card, as in the standard Hindu handling. Continue pulling off packets asking the spectator to say stop whenever they wish. When they stop you, place the cards that remain in your right hand injogged for about half of their length on the left-hand cards. The right hand approaches the left-hand cards and grips both packets, with the thumb on top and fingers below from the front. Turn the entire deck face down, end for end, taking back in the left hand dealing position as before. Remove the top card of the bottom portion, being careful to keep the other cards square as otherwise you could expose red backs. Hand the removed card to the spectator, this will be the selection.
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2. The Control: As they show the card to the audience, square the packets keeping a break between them with the left little finger. Take back the selection and insert in face down into the break, from the rear taking a break below it in the process. You now perform an action similar to a Braue Reversal, except a card at the centre is reversed instead of the top card. The right hand approaches the deck and lifts the cards above the break very slightly, letting the bottom card (the selection) flick off the right thumb, taking a break below it. Immediately flip all the cards above the break face up, adding the card above the break under the upper face-up half. As this is done the lower half is also flipped face up. The right hand cards are placed on top of the left-hand packet, keeping a break between them. As before the right hand comes over and lets the bottom card flick off the thumb and onto the top of the lower half, once again taking a break above the face-down selection. You are now going to turn the deck face down maintaining a break in the Process. Your left fingers push all the cards above the break to the left as your thumb goes under the left side of the deck to flip it over. This will create a step, which will enable you to retake the break between the packets as the deck is repositioned in to left hand dealing position, this time face down. Cut the cards at the break and complete the cut, keeping the break yet again. 3. First Shuffle: Cut all the cards above the break to the table, being careful to keep the cards square. You will now perform the Tenkai Optical Revolve move, which is far easier to do than it sounds, as follows: You are holding about half the deck in dealing position in the left hand, the top card is an odd blue one, below that is the gimmick, followed by the rest of the red deck, and finally the bottom card is the odd blue-backed selection which is face up. The right hand cuts off about half the cards in Biddle grip turning palm up, as soon as the hand starts to move the left hand turns palm down slapping its cards on top of the right hand cards (Figs1a, 1b & 1c).
Fig.1a
Fig.1b
Fig.1c
The left hands movement must be done carefully to avoid flashing any red backs . Place the cards down on the table in this condition. Separate the packets and riffle shuffle them together. The only important thing is to begin the shuffle by letting at least three cards from the right hand portion fall first and that the top card of the left hand portion must be on top after the shuffle is completed. 4. The Second Shuffle: Flip the previously tabled half face up placing it to the right of the supposedly face-up/face-
Ian Moran
down pile and begin a second shuffle. This time the shuffle has to be more precise It is important that the open end of the gimmick (second from bottom of right hand packet) is facing towards the left. Begin the second shuffle by letting two cards, and only two, fall from the bottom of the right hand packet, if you see your mark at this point you know you are at the right place. Continue the shuffle with the bottom card from the left packet - Fig.2 (could be 2 or 3 but 1 is better) then a few from the right, then a normal shuffle, making sure that the top card of the right hand pile falls last.
Fig.2 - Bottom card of left half is loaded into gimmick at start of shuffle.
5. The Climax: Pick up the deck in left-hand dealing position. The open end of the gimmick should be towards you into dealing position in the left hand. Remove the bottom card, with the right hand show it both sides and buckle or pinkie pull-down the new bottom card, and insert it into the break face up. Finally Slip-cut the top face-down card in to the centre of the deck - this is done as you patter about the cards being mixed face up and face down, etc. Spread the deck face up showing that all the cards are facing the same way, except for one that remains face down. Split the deck at the selection, remove it, and show it is the selected card, then place it face down on the table. Pick up the deck, cut it at the separation and complete the cut. For the climax, flip the deck facedown (side to side) and do a wide Ribbon-spread on the table, revealing that the backs have changed colour to red. The two odd blue cards will be hidden inside the gimmick, which can be secretly ditched at your convenience.
If you make the gimmick using a Joker as the outermost card, you can remove the unwanted cards, as one very easily, under the pretence of removing the Joker. Leaving you with a regular deck, ready for more miracles.
Credits This trick is based on a Derek Dingle routine, called Colour Triumphant, which can be found in Dingle's Deceptions written by Harry Lorayne. I have always liked the effect but several things didn't quite suit me, hence the reason for this offering. The gimmick is a very old idea, though I read about it in one of the Lewis Ganson Teach in series, Rovi Reveals. Rovi also used it for a Colour Changing Deck effect, but the gimmick was handled in an entirely different way.
Kevin Fox Born 1942, Kevin became interested in magic at the age of 15 while working as an apprentice with a man who was a semi-pro. He then met Mick Chardo, who taught him the Herman Pass and other moves, and who became his first mentor. Soon after, Kevin met Peter Kane and Bob Read and a friendship developed with each that would last for 40 years. In 1971, he was awarded second place in the Zenna Bennett cup at the IBM, but he went back and won it the following year! A life-changing moment for Kevin was seeing the great Albert Goshman, and Kevin subsquently corresponded with him on a regular basis. Other close friends in magic include; Brian Glover (the thinking man's card man), Bob Ostin and more recently, Reed McClintock. Over the years, Kevin has published routines in several magazines, including; Abracadabra, Pabular & the Crimp. He appeared & lectured all over the UK during the seventies, and was part of a comedy magic duo for five years working the clubs. He the magic scene during late seventies to front a show band in which he sang & played lead guitar. That lasted 27 years until he had heart trouble, and returned to Magic - about 8 years ago with the help of his old friend Brian Glover. Kevin retired from business and spend most of his time studying Magic; "It's taken about all this time to get my chop's up to speed. Now I intend to create & improve routines that interest me." Currently he is a regular attendee at the F. F. F. F. convention and he enjoys talking to & swapping idea's with other magicians.
Centrifugal Lift Kevin Fox (Transcribed from video by Peter Duffie)
The following elegant Double Lift first appeared in The Crimp magazine, but there were some errors in the description. However, it isn't an easy to describe - though it is quite easy to do. The following revised description was taken from a video sent by Kevin and is aided here by photographs.
Working a) Hold the deck face down in left-hand dealing grip. b) Riffle down the outer left corner and stop somewhere near the middle. You can stop at any point, and you can also ask a spectator to say stop. c) Lift off the upper half of the deck with your right hand (Fig.1) - your thumb and 2nd finger should extend below the packet - then immediately riffle off two more cards with your left
Kevin Fox
thumb (Fig.2). We will refer to these two cards as the Double from here onwards.
Fig.1
Fig.2
d) Bring the top half back over the bottom section again and grip the Double between your right middle finger, at outer left corner, and thumb at inner left corner. Immediately lift the Double upwards, causing it to pivot over (book-fashion) between the right 2nd finger and thumb (Figs 3 & 4) with the right edge hinging against your left fingertips.
Fig.3
Fig.4
e) Once the Double is fully face up, move the right hand back to the left until the top half of the deck is square on top of the bottom half - and the Double is now fully-sidejogged to the left and being supported by the left thumb (Fig.5). The right hand moves away as your left thumb levers the double face down square onto the deck (Fig.6).
Fig.5
Fig.6
The top card can now be dealt to the table, or buried into the deck. The whole sequence should flow along smoothly.
Multiple Selections: have two, or three spectators, in turn, call stop and carry out the
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Centrifugal Lift - each time dealing the top card onto the table. In the end, all the selections are on top of the deck and on the table are indifferent ones.
Centrifugal Elevator Peter Duffie I decided to include this routine, with Kevin's permission, because it requires two Double Lifts, but both must be from the centre!
Working 1. Run through the deck, remove the two black Jacks and place them face down on top of the face down deck, saying, “These are my assistants…they will do the magic in this trick. I'll leave them on top so we know where they are.”
2. Hold the deck face down in readiness for the Centrifugal Lift. Ask spectator A to call stop as you run your thumb down the outer corner. Carry out the Centrifugal Lift, asking the spectator to remember the card, and then deal the top card face down onto the table, centre left. Repeat this with a second spectator (B), dealing the top card face down onto the table the right of the first.
3. “So, your cards came from the middle of the deck.” As you say this, tilt the deck downwards and riffle up the inner end with your right thumb – as if to emphasise where the cards came from – and stop when you see the first black Jack (4th from the top). Establish a break under it. “My assistants will now take over.” Lift off all four cards above the break and turn then face up onto the deck, keeping a break below them. Push over the uppermost Jack to display both black Jacks. Flip the packet face down again then push over the top two cards, without reversing their order, and take them with your right hand. Casually place the deck face down to the left of the two tabled cards to form a row. However, do not comment here about the position of the deck. Just lay it down as if it’s no longer required. All attention should focus on the two Jacks and the two selections. (Fig.2 shows current layout - lettering on backs of cards is purely to assist layout view).
Fig.1
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4. “Now for the magic…if I drop the assistants onto your card... (directed at spectator B) …” Drop the two cards in your hand onto the card at the far right. “…they cause your card to rise to the top.” Turn over the top card of the packet to reveal B’s selection, then lay it face up on the table. Pick up the remaining two cards and drop them on top of the other apparent selection. “And again!” Turn over the top card of the packet to reveal A’s selection, then lay it face up on the table. “My assistants are quite talented, yes?” you say, pausing momentarily, as if the trick is over. Then, without any further ado, pick up the deck and drop it square on top of the apparent Jacks (assistants). “And for their finale my assistants rise through the entire deck...and take their bow!” Reach down and flip over the top two cards of the tabled deck revealing that the Jacks have risen to the top.
Andi Gladwin Andi Gladwin has achieved a great deal in just a few years. He was voted number one young close-up magician by the Magic Circle, appeared on TV numerous times and was invited by Lance Burton to perform in Las Vegas for a TV special! If this wasn't enough he was coming up with numerous original tricks and sleights for publication in almost all of the major magic magazines. In 2005 Magic Magazine broke their normal rules and devoted the entire Talk About Tricks section to Andi's original creations. In the same year he was invited by the magazine's editor to speak at the industry leading Magic Live convention in Las Vegas and at the beginning of 2005 was flown to Atlanta to lecture in front of some of the world's most hardcore card magicians at the TSD convention. Andi's Website: http://www.andigladwin.co.uk
Cheek-to-Cheek Andi Gladwin This handling of Paul Diamond & Jon Racherbaumer’s "Kiss And Tell" from their Big-Easy Card-Cunning eliminates the participant having to handle a deck of cards behind their back. I have never been a fan of asking a participant to place a deck behind their back for the obvious reason that I do not want him/her to become embarrassed if they were to drop the cards. This is my solution to the problem and although the effect uses a double-faced card, I urge you to give it a go as every time I teach this to a magician they admit that they never suspected the use of a gimmick.
Effect A participant is given a shuffled deck and asked to cut off half of the cards. While the performer’s back is turned, the participant is asked to cut the deck and turn the bottom half face up and replace the top face down portion on top, resulting in two face-to-face portions. More importantly, two cards are face-to-face cards in the centre of the deck. When he turns back, the performer is able to name the two face-to-face cards that the participant to.
Set-up You need a double-faced card with a different card on each face. In this example, we will use the Eight of Diamonds and Three of Clubs. Place the double-facer on the face of the deck, with the Eight of Diamonds facing upwards. Crimp the normal Eight of Diamonds and place it on the face of the deck, on top of the double-facer.
Andi Gladwin
Working 1. As you introduce the trick, casually shuffle off two thirds of the deck and then throw the remaining cards on top. This places your two-card stack to around 15th from the top.
2. Demonstrate what you would like the participant to do, by holding the deck in dealing grip and cutting off around ten cards and placing them on the table (Fig.1). Turn the lower portion (the cards left in dealing grip) face up and then pick up the face down portion from the table and replace it on top (Fig.2).
Fig.1
Fig.2
This puts the deck in a “faced” condition. Of course, you don’t actually need to place the packet on the table, but I have found that lay people find the procedure much easier to understand this way. Turn the bottom portion back face down and then cut the deck at the crimp, sending your two card set up back to the bottom of the deck.
3. Turn your back and have the participant follow your instructions. At this point, I always talk them through it step-by-step, even though my back is turned, just to ensure that they get everything right.
4. When you have received word that the procedure has been carried out, turn your back and explain that since there are two face-to-face cards in the centre of the deck, it would be impossible for you to get to them, or somehow look at them. Then, almost as if you get a brainwave, suggest, “I guess that means there’s no way I could tell you the cards that are face-to-face. I mean, that would be impossible, right? Actually, two cards are floating around my mind. The eight of diamonds and the two of clubs. They won’t mean anything to you, unless …” Quickly turn the deck over and spread it cards along the table. Take out the two face-to-face cards and turn over the Eight of Diamonds to show that your prediction was correct! To clean up, place the normal Eight of Diamonds under the double-facer and return the cards to the deck. You can then Palm off the double-facer when the time is right.
Shaun McCree Shaun McCree has entertained and bewildered thousands of people, from stars of stage & screen and sporting personalities to Members of the British Cabinet. Companies such as Mercedes-Benz, Xerox and BASF have relied upon Shaun to entertain their most important clients and to magically promote their products in the UK. His Sleight of Hand artistry has earned Shaun McCree more than twenty awards, both at home in Britain and in Europe and the USA - including his title of British Magical Champion. Shaun has authored several books and sets of lecture notes, and all contain a variety of original concepts combined with clever thinking. Shaun's Website: http://vzone.virgin.net/shaun. mccree/ShaunM/STMmain.html
The Devil's Card Sean McCree This is something of a mélange - the effect is essentially that of Allan Brown's 'Speak of the Devil' from the August '68 issue of Pallbearer's Review, along with a seriously lateral reworking of Dave Ossip's Miracle Coin Fold from the January '71 issue of the same magazine, combined with Father Cyprian's Solid Gold Prediction from The Elegant Card Magic of Fr. Cyprian. I actually created this handling to provide a vehicle for my bizarrist leanings (although it has been used in a regular card act for convention shows) and as such my script is in the form of a spooky story. Since I know this will not be everyone's cup of tea I have described the plot in outline form, rather than giving the script. I have actually also used it as a straight effect in commercial performances rather than a bizarrist piece, simply using a blank piece of paper rather than the parchment, so the effect itself does stand up without the story. However, I'm getting ahead of myself.....
Effect Firstly, a spectator is handed a deck of cards to shuffle and whilst he does so the performer relates a tale of a gambler from the turn of the century who is playing against a dark, saturnine stranger with a goatee beard in a smoky, backroom card game. The stranger is winning consistently - strange, since our gambler is cheating comprehensively and still losing. When the other players finally leave our two protagonists alone to finish their heads up game, the gambler is unable to resist finding out more about his opponent, who replies that he is, in fact, Lucifer, the patron 'saint' of card cheats, and that he has an offer for our gambler. The prince of darkness proposes a simple wager - introducing a folded parchment of considerable
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age which is unfolded to reveal it contains a playing card (I use the 6D), already signed 'Lucifer' and which the gambler (now represented by the spectator) is asked to sign too, to verify that there can be no cheating(?). The signed card is refolded into the parchment (which it now becomes apparent is, in fact, a pact with the devil), which is placed aside, with a suitable coin of the time as the wager placed on top of the packet to keep it in place. The nature of the wager is now revealed - all the gambler needs to do is choose a card from the deck in as fair a fashion as possible and he wins the ability to win in any card game he plays for the rest of his life - the only stipulation is that the card must not be the card wrapped in the parchment, the 6D. As a 51 to 1 shot, the gambler takes the bet without checking his end of the wager and is told to deal cards onto the table face up (all the while keeping an eye out for the 6D) and stop whenever he likes. When he does so, the magician places the facedown card stopped at to one side and proceeds to show all the other cards as different and the choice as fair, and yet there is still no sign of the 6D. Returning to our story, the gambler is now in a state of panic - he claims that even if the card he stopped on at random were, in fact, the 6D that he still would not lose the wager since it was specified that the only card he was not to choose was the signed one wrapped in the parchment, not just any 6D. At this, the devil opened the pact to reveal the card has gone, and the freely selected face down card is turned over to reveal that it is, in fact, the signed 6D. The story ends with the devil vanishing in a flash, taking the gambler's soul with him, leaving him to be found the next morning stone dead, clutching the pact and the coin in his cold hands......... Fairly spooky for a card trick......
Okay, let's look at the method. Firstly, the deck is regular, so this can be used as a part of a regular set if you wish, the only preparation being to remove the regular 6D from the deck before starting the effect. The pact is a piece of paper about A5 in size and, of course, mine is made to look like a pact of considerable age, complete with wax seal - I usually introduce it with some reference to the fact that 'I've been using this particular one since 1782....'. (Fig.1 shows example)
Fig.1
However, as mentioned earlier, as long as it meets the folding requirements a blank piece of paper will do just fine if you don't want to use my presentation. The paper is folded around a
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playing card, with the card placed off centre, so that it is nearer to the left edge of the paper by about a centimetre. This is what makes the coin fold aspect of the paper work - when first working the effect out, I was sure that I had seen a coin fold applied to a card somewhere in a book, but after hours of research I gave up and created this one - as I mentioned earlier it is derived from the Ossip Coin Fold (although I didn't realise that at the time) but differs towards the end to allow for the handling using a playing card rather than a coin. The card used is one which matches the deck in use, which has already been pre-signed by 'Lucifer' in an appropriate style in the centre of the face and the paper is folded around it so that the back of the card will be revealed when the paper is opened. The only other requirement is a turn of the century coin - I have used a silver dollar or a Victorian penny, depending upon where my story is being set - and this is placed in to the right trouser pocket.
Working 1. Firstly, the spectator shuffles the deck and puts it onto the table when he is finished.
2. The paper is opened, to reveal the 'Devil's Card' and the spectator is asked to sign the card too. Having done so, the card is refolded into the paper - this is rather difficult to describe and is certainly easier to follow with the props in hand. Firstly the card is placed, face up, into the centre of the paper, and the left side folded over onto the card. The card and paper are now swung upwards so that the back of the paper faces the audience and the card faces you. The right thumb now draws the card (unseen by the audience) to the right and out from under the folded left side - this is why the paper is folded slightly off centre, so that it can be slid to the right far enough to clear the folded edge without projecting over the right hand side of the paper. The card is now slid back on top of the folded left edge and the right hand side of the paper is now folded over on top of the card. The upper part of the paper is now folded over towards the audience side and this is repeated with the lower part of the paper. We should now have a packet which is the size of a card, and which from the audience side looks like it completely contains the card, but from your side the entire left side of the card is exposed and free of the folds. The packet is now rotated so that the exposed part of the card is at the underside and it is held in the right hand with the fingers below and the thumb above. Figs 2 - 9 below show this sequence.
Fig.2
Fig.3
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Fig.4
Fig.5
Fig.6
Fig.7
Fig.8
Fig.9
3. The left hand picks up the deck, holding it in a standard dealing grip, and the nature of the wager is outlined - the motivation for picking up the deck is to check with the spectator that they are happy that the cards have been thoroughly shuffled.
4. Now, in order to free the right hand so it can go to the trouser pocket to remove the coin, the packet is placed onto the deck. Actually, what happens is that as the right hand moves to the deck the fingers push the exposed side of the card to the left, allowing the packet to be placed onto the deck so that the packet is jogged to the right for about 2cm and the projecting card goes square with the top card of the deck, allowing the left thumb to move on top of the upper left corner of the card, pinning it to the deck (Figs 10 & 11).
Fig.10
Fig.11
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The right hand now removes the coin from the pocket and displays it, placing it onto the table. The hand now returns to the deck and removes the packet, sliding it off to the right and allowing the card to coalesce with the deck. The empty packet is now placed onto the table and the coin placed on top of it. So far so good - the signed card is now on top of the freely shuffled deck and the packet is empty - we are way ahead of the audience, so forcing the selection of the signed card is completely unexpected. The technique used is an adapted version of the Fr. Cyprian effect, which is, in effect, a simple approach to the Open Prediction type of plot. First we need to transfer the top three cards to a position face up beneath the face-down deck and this is accomplished by a pass type of move - the left little finger takes a break below the top three cards, then the deck is held in a classic pass type grip and the left fingers move the top three cards around the right side of the deck so that they end up face up below the deck. This efficient reversal technique can be found in Hofzinser's Card Conjuring.
5. Now, by way of illustration of what we want the spectator to do, three or four cards are dealt face up from the deck to the table in stud deal fashion. These cards are replaced on the top of the deck and the deck handed to the spectator to hold in dealing grip. They are cautioned to watch for the 'matching' 6D as they deal the cards face up into a pile on the table - since there is no matching 6D, they will not, of course, see one. As the spectator deals, I describe the rising panic of the gambler as he does not see the card anywhere, increasing the odds that he is likely to stop on the 6D as the number of cards decreases - this is simply because I want them to stop before they have dealt more than about half of the deck and some spectators will go on dealing forever! When they stop, I recap that they had a free choice, could have stopped anywhere and so on as I reach over with my palm down left hand and take the deck from them. Leaning forward, the right hand now pushes the cards on the table into a loose spread, displaying that the 6D is nowhere to be seen - as this is done the left hand simply turns palm up - there is plenty of shade here to hide what is not really a move - I have performed this move hundreds of times and have never been called on it. Okay, a situation check - there is a spread of cards on the table and the talon of the deck is in the left hand, apparently face down, but actually it is face up with three face-down cards on the top, the signed card on the top followed by two indifferent cards. The top card is now identified as the card the spectator stopped at and is placed, sight unseen, to one side in a prominent position.
6. Reiterating that the spectator freely dealt all those cards to the table, and had they gone one card further..... here the top card of the deck is turned face up and added to the tabled cards. Then, the deck is turned face up and spread to show that the 6D is nowhere to be seen - actually as the deck is turned face up, Peter Duffie's Correction Half Pass from Card Compulsions is performed, righting the reversed card (alternatively, a Christ Twist would do it). Now we are home and dry - everything has been cleaned up and all is above board.
7. From here, the rest is simply building the drama - the gambler's objection that the card he chose simply could not be the signed card is raised, and the packet opened to reveal it has vanished - since in my case the paper is a pact with the devil it is left opened out on the table to enhance the tableau. Finally the card which the spectator freely stopped on (?) which was placed aside in full view is turned over to reveal that it is, in fact, the signed card.
Sean McCree
Everything is clean and can be examined if you wish, and I always hand the spectator the card to keep as a reminder never to play cards with a saturnine stranger with a goatee beard as I say this I make a play of stroking my own beard, since this description fits me perfectly.........
Four Ace Repeat Reprise Sean McCree
The Elmsley Count handling for the Six-Card Repeat theme has been going the rounds for some time now - first published by Jerry Sadowitz as "007 and Counting" (Contemporary Card Magic, 1984), I initially encountered it via Dan Garrett about ten years ago (and it appears in his ”...Does the UK” lecture notes). Paul Gordon (latterly in Card Trickery), Doug Bennett and Aldo Colombini also have published handlings. This version, which appeared in my Snappy Stuff lecture notes, draws a little from all of the above, and I think comprises the best aspects of each into one synthesised whole - try it and see.
Working 1. Begin with four aces on the top of the deck and have a card selected. The selection must be controlled to 2nd from the top, so the Bluff Control or Depth Illusion/Tilt replacement are the obvious candidates here to do the job in the most expedient fashion. The cards are false shuffled, and spread between the hands. As this is done, the 5th card is downjogged slightly to enable a break to be taken under it in a moment.
2. The spectator touches three random cards (from beneath the top five cards, obviously) which are outjogged. The deck is squared, taking a break under the injogged 5th card, the outjogged cards are stripped out and turned face-up onto the top of the deck. The whole block above the break is lifted in Biddle grip by the right fingers and the Hartman Secret Subtraction sequence is performed to switch the visible three indifferent cards for the aces and the selection: the left thumb draws the top indifferent card onto the top of the deck, the right hand’s packet flipping it face down as it does so. The left thumb prevents the card from falling flush with the deck, allowing the right hand to come over and pick the card up beneath it’s packet, but retaining a thumb break. The hand then swings up to call attention to the face of the card. This action is repeated with the other two indifferent cards, both being retaken below the packet, underneath the thumb break. As the packet is brought momentarily flush with the top of the deck for the left fingers to square it, the cards below the break are allowed to drop onto the top of the deck, leaving just the selection and the four aces in the packet. The left hand tables the deck.
3. Now explain that these ‘three’ cards will reveal something about the spectator’s selection two of them will vanish leaving just one card as a clue. Here the cards are taken as you would normally hold them for an Elmsley Count and counted as three by taking a single card, then a block push off of everything above the bottom card, then finally taking the last single card. Give the cards a twist, then Elmsley Count them as four...look suitably bewildered as if something has gone wrong. Apologise, pick the top card off the packet in Biddle grip and
Sean McCree
place it aside. Twist the cards in the opposite direction, Elmsley Count them as four, apologise again then lift off the top card as before and table it with the first. Twist the cards once in each direction, Elmsley Count as four, apologise once more then pick off the top two cards as one and place them on top of the tabled packet of two discards. Taking a different approach, squeeze the cards between the hands to make the two cards vanish, and reveal that you now have only one card. Say, "This card tells me something about your card - it tells me it was the KD (or whatever it is as you turn it over to reveal its face) and these cards over here tell me something else - they tell me you didn’t choose an ace!” Turn over the tabled packet to reveal four aces as a kicker ending.
Roger Crosthwaite Born November 13th, 1938, Roger was educated at Malvern College, Durham University and Cambridge. He was ordained in the Church of England in 1965. His interest in magic was aroused when Fabian (Ray Griffiths) came to perform at his birthday party. Later, he was introduced to the world of sleight of hand by Cyril Golding, a superb practitioner, who greatly influenced him. His first published effects appeared in The Gen in the mid sixties and a few booklets in the eighties. After taking a break from magic, he returned with a vengeance in the late seventies. Books on card magic include; The Commercial Card Magic of Roger Crosthwaite (Written by Walt Lees), Roger’s Thesaurus (With Justin Higham) and Arcardia as well as many Lecture Notes and Pamphlets. Recent projects include the Tribute To Farelli (Natzler Enterprises) and Standing On The Shoulders of Giants. Roger Crosthwaite & Paul Gordon are neighbours...so magic is a daily diet for both in Worthing where they live. Known for his skill with a pack of cards Roger has enjoyed sessions with the late Alex Elmsley whilst he was at Cambridge and later with many top flight cardmen including Vernon and Charlie Miller, Michael Skinner and Ed Marlo. He has performed and lectured both here in the UK and in the USA over many years. A true expert, he still reckons to practice eight hours a day.
The following three routines are destined to appear in a new book of Roger's work, currently being written by John Nicholls. I thank John and Roger for allowing me to showcase these in this eBook in advance. Only the third routine, Polygraph, has appeared in print before.
An Off-Colour Deal Roger Crosthwaite
Effect The four Aces are shown and placed in the pack which is then shuffled. The cardician then deals out the cards as for a game of cards, dealing the fourth hand to himself face up. The audience sees the four Aces arrive in the dealer's hand as the cards are dealt. How is it done? The cardician explains that the cards are marked. The Aces are turned over to reveal that they have red backs in an otherwise blue pack. _________________________
Roger Crosthwaite
You must first contrive to have the four red-backed Aces spread evenly throughout the pack and the pack's original blue-backed Aces removed, either in your lap or in a pocket. Cards with white borders must be used. Some hints regarding achieving this position will be given later. For now, let us assume that the cards are correctly positioned.
Working 1. Tell the audience that you would like to show them how a card cheat can set up the pack so that the high cards in a game fall to his hand. As you talk, spread the face-up pack between your hands and place each Ace upon the table as you come to it. Explain that you will use the four Aces to demonstrate as they would represent a high hand in poker. Normally, you explain these cards would be distributed at random throughout the pack.
2. Take the remainder of the pack in the left hand, face outwards, with the thumb at the upper left corner in position to riffle down through the cards. The hand should be held pointing towards your left so that the backs of the cards are obscured from the audience's view. The next step is to insert the face-up Aces, one at a time, into the face -up pack. Take care not to flash the backs of the Aces as you pick them up.
3. Take the first Ace in the right hand face-up between the fingers and thumb as the left thumb riffles down about a third of the way in the pack (Fig.1). The Ace is inserted and left outjogged about a third of its length (Fig.2). Thumb count one card and insert the second Ace leaving it outjogged as before. Repeat with the third and fourth Aces thumb counting one card between each Ace. When the fourth Ace has been placed in position allow two cards to escape from the left thumb and retain a break under them with the edge of the thumbtip. Press the Aces flush with the pack with the right fingertips. It should look merely as if the Aces have been lost in the pack. In fact, you have controlled them to known positions at the bottom of the upper section of the pack.
Fig.1
Fig.2
4. Cut the top section of the pack at the break, taking it into the right hand for a Faro Shuffle. Carry out an In-Faro; that is, the top card of the pack goes in, or under, the new top card. To avoid confusion in this instance, because the pack is face-up, the bottom card of the left hand section goes in, or above, the bottom card of the right hand section. The result of the shuffle will be to bring an Ace into position fifth from the bottom of the face-up pack and the remaining Aces every four cards thereafter. If you wish you can continue to faro shuffle above the seventeen card stock at the bottom of the pack, but it is not necessary. At the end of the faro sequence turn the pack face down into the left hand dealing position.
Roger Crosthwaite
5. Commence to deal the cards into four hands, the fourth hand being your own. Execute a Push-off Stud Second Deal on the fourth, dealing the fourth card, a red-backed Ace face up to the table (Figs.3 & 4). Performed smoothly, the colour of the Ace will not be seen. Carry on dealing Stud Seconds to your hand until all four Aces are face up on the table and you have successfully demonstrated the card cheat's deal.
Fig.3
Fig.4
When the effect has sunk in you are ready for the kicker. "How is it done?" you ask the audience and immediately give the answer by saying, "The cards are marked on the back!" Turn over the four 'marked' Aces to reveal their red backs.
Alternative Thoughts It can be awkward to hide the colour of the backs of the Aces when inserting them into the pack at the beginning of the effect. Some may prefer the following method which is akin to the Martin Nash Tabled Multiple Shift in appearance: The Aces are face up on the table and the remainder of the pack face up and squared in front of you in position for a Riffle Shuffle action. The face card of the pack is crimped at the inner right corner. It is assumed that readers will have sufficient knowledge to be able to crimp the card undetectably. The top quarter of the pack is cut to the bottom so that the crimped card can be seen three quarters of the way from the top of the pack (inside right edge). The left thumb is placed against the right corner and riffles up to a position one card above the crimped card and holds a break. The right hand picks up an Ace and inserts it into the break, pushing it in about half its length. Immediately the left thumb releases one card onto the Ace and the right hand inserts a second Ace. This is repeated twice with the remaining Aces, the left thumb finally releasing the break as the right hand pushes all four Aces flush with the rest of the pack. The left hand immediately cuts the top half of the pack to the left in preparation for a Tabled Faro Shuffle. Perform the Faro ensuring that the cards mesh perfectly in the area of the Aces. An in the hands faro can be used if you do not feel confident of the tabled shuffle. Whichever method is adopted, the cards can now be cut at the crimp taking the crimped card to the top of the pack. Complete the effect by dealing out the cards as before. Credits The trick is based upon Milton Kort's "Off-Colour Aces" (Off-Colour Card Tricks, Magic Inc., 1970).
Roger Crosthwaite
Surprise Royal Flush Deal Roger Crosthwaite In fact, there are two surprises in this routine. Roger does not compromise regarding the method used to accomplish this effect but astute cardicians will be able to find ways around if they wish.
Effect Four cards found at random are magically changed to the four Aces. The magician offers to show how to stack the Aces so that they fall to his hand in a game of cards but, once again, the cards change and the magician’s hand is revealed to be a Royal Flush.
Working 1. You are going to secretly cull the King, Queen, Jack and Ten of Spades and at the same time apparently remove from the pack four indifferent cards but actually switch them for the four Aces in the process. It sounds daunting but the method to be explained makes it relatively easy and practical. It avoids the need to set up beforehand and renders the effect impromptu.
2. With the cards face up in your left hand begin to spread them into your right hand until you come to either an Ace or one of the Spade flush cards. If it is one of the latter, downjog it in readiness for the cull and continue spreading. Assume the next target card that you come to is an Ace. Spread until the Ace is the bottom card of the right-hand portion and perform the actions of Roger’s Transfer Switch. Briefly, move the left-hand portion of cards forward and at the same time turn the face of the cards towards the audience displaying the indifferent card at the face of the left-hand section (Fig.1). The bottom right corner of this card maintains contact with the top left corner of the Ace at the bottom of the left-hand section as you show its face. Here’s where the switch takes place. Move the face of the left-hand section back up into alignment with the right-hand section(Fig.2). As you do so, turn the left hand face down towards you and with the left thumb pick off the Ace from the right-hand section. The left hand moves forward and deposits the Ace (Fig.3), supposedly an indifferent card, onto the table.
Fig.1
Fig.2
Fig.3
Roger Crosthwaite
The movement of the left hand and the pick-off should be one smooth continuous action. After the Ace has been placed down, return the left-hand cards to below the right-hand section, keeping the cards slightly neck-tied to prevent the audience seeing the face of the indifferent card as you continue spreading. Each time you come to an Ace you repeat this procedure and downjog each Royal Flush card as you come to it. Eventually, you will arrive at the position of having four Aces, supposedly indifferent cards, face down on the table and the four Aces downjogged in the pack. Complete the cull of the Royal Flush cards by stripping them to the bottom of the pack. Difficulty may be encountered if during the spread you run across target cards too close together and here it may be necessary to re-position them by culling them under the spread and inserting them further down amongst the left hand’s cards.
3. Place the pack on the table and draw attention to the four face down and supposedly indifferent cards. You are ahead of the audience at this point but you need a short time delay covered by patter so that you can bring about a magical happening, that is, the change of the indifferent cards. Gesture towards the four face down cards and reveal that they have changed to the four Aces. That’s the first surprise.
4. Now we come to the second part of the routine. Pick up the four Aces and turn them face down on top of the pack. Remember that four of the Royal Flush cards have been culled to the bottom of the pack. Tell the audience that you will stack the four Aces to come to your hand in one shuffle. With the pack face down on the table, long sides towards you, cut the top half of the pack to the right in preparation for Marlo’s Perfect Shuffle. Briefly, the procedure is as follows: both hands take up the standard position to commence a riffle shuffle. The left thumb raises the top two cards at the inner side of the left-hand packet so the right hand can lift its packet at the rear only and insert the left inner corner between the two raised cards and the rest of the lefthand packet at the inner right corner, simulating the commencement of a tabled riffle shuffle. The right thumb allows its cards to riffle off between the two raised cards and the rest of the packet on the left-hand side. At the same time, the left thumb mimics the right thumb’s action but does not allow any of its cards to escape (Fig.4). Both packets are now pushed together, again mimicking the action of a normal riffle shuffle. The right-hand packet is pushed in under the top two cards of the left packet as it might be for a Zarrow Shuffle and the movement of the two halves is covered from the front by the squaring actions of both sets of fingers.
Fig.4
5. Pick up the pack in the left hand and deal the top indifferent card into the right. The right hand turns the card face up and places it on the bottom of the pack. Explain that this is called ‘burning a card’ and is done to prevent the dealer cheating and taking cards from the bottom
Roger Crosthwaite
of the pack. Say that you are going to deal five hands of five cards each with all four Aces going to your hand. Deal the first round of five cards from the top of the pack as normal. On the next round, continue dealing tops until you come to the fifth hand, your own, and then deal the card second from the bottom using the so-called Greek Deal. The third, fourth and fifth hands are dealt in the same way. Reveal your hand as you say that if you are a real cheat you’ll never be satisfied with just the four Aces .That’s why you’ve dealt yourself the Ace, king, queen, jack and ten -an unbeatable Royal Flush! Turn your cards face down and pick up the hands in reverse order, that is, moving from right to left. Place all back on top of the pack. Roger prefers to finish here, believing that to continue would be something of an anti-climax. However, as most cardicians will realise, you are now set to deal out five hands of four cards each, the four Aces falling to your own hand. If you do decide to continue and it is admitted that it is very hard to resist taking advantage of the position, adjust your patter accordingly and perform a false shuffle, before dealing the cards out for a second time. Alternative Thoughts A full description of the technique for the Greek Deal will be found in a forthcoming book of Roger’s work and methods. A good description of the sleight can be found in Any Second Now, Part 2 of The Professional Card Technique of Martin A. Nash by Stephen Minch (Hades, 1977). By omitting to burn a card it is obvious that a bottom deal can be substituted for the Greek Deal. Other Credits Roger’s Transfer Switch was originally included in Collected Card Notes by Justin Higham and published by the author in 1999. Marlo’s Perfect False Riffle Shuffle can be found in Alton Sharpe’s Expert Card Conjuring (1968). Recently, an extremely interesting variation appeared which gives an excellent illusion of a true riffle shuffle. See Muy Bueno Shuffle by B.J.Bueno in Penumbra magazine (No. 9, October 2005).
Polygraph Roger Crosthwaite This trick is Roger’s variation of the well known lie detector theme and was first published in Abacus magazine. Inspiration came from Gary Plant’s Computerised Lie Detector from Precursor magazine (XVIL) and there are many other examples in print. The method has been changed in an attempt to simplify and the spectator’s selection is made from the balance of the pack rather than from amongst the ‘computer’ cards. There is no memory work involved and no set-up is necessary beforehand so you can get straight into the routine. The ease of working and neatness of method should appeal.
Roger Crosthwaite
Effect A random selection of cards is ‘programmed’ to form a lie detector machine which is used to determine whether a spectator is lying or telling the truth. In the process, the spectator’s selected card is discovered.
Working 1. Have the cards shuffled. Talk about polygraphs, lie detectors and the like. Say that the pack is going to be our polygraph. Count nine cards onto the table spelling one card for each letter, P-O-L-Y-G-R-A-P-H. Don’t square the pile; just make sure that it is immediately in front of you in position for Marlo’s Anchored Add-on move, now briefly explained.
A spectator is now asked to select a card which he/she is to remember. The pack is spread between the hands face down and the spectator is requested to touch any card he or she wishes. You help by upjogging the card and turning the faces towards the spectator so that the selection can be committed to memory. When this has been done, close the spread, leaving the card outjogged. With the right hand, push in the outjogged card, angling it into position at the right rear end of the pack in readiness for the anchored add-on move. The card is positioned as if you were about to take it into the right rear palm (Fig.1). That is, it is jogged to the right and inwards towards the body. Its position is screened by the back of the right hand. Perform the add-on placing the pack off to the left, thus: position the right rear jogged card momentarily over the tabled cards (Fig.2). With the left index finger, press down on the left corner of the card so that all four cards are in alignment (Fig.3). Keeping the left hand still, move the pack over to the left slightly and, with the right hand, spread the cards on the table in a sweeping movement from left to right (Fig.4). Because of the left forefinger's clamping action the selected card is extracted from the pack and coalesces invisibly with the tabled cards. The spreading of the cards with the right hand is an addition by Roger and provides further cover and misdirection for the add-on. Students are advised to read Marlo's detailed description of the sleight in his republished lecture notes.
Fig.1
Fig.2
Roger Crosthwaite
Fig.3
Fig.4
If you are working without a table it is possible to perform the same add-on using a spectator’s left hand. You’ll find that if you handle the move softly, the selection will slide out of the pack and onto the spectator-held packet silently and imperceptibly and you will receive a spine tingling frisson when the transfer takes place. The fact that it is happening right under their noses somehow seems to add to the feeling! Regarding vulnerability to angles, well, your left hand will block one vulnerable angle from the left; it will and must inevitably stay close to your right hand at the moment of transfer. The action of the left first finger ensures that the hands stay close together. Instead of table-spreading the pack you can deposit it naturally on the spectator’s outstretched right hand and the work is done. Position check: you now have ten face-down cards (the spectators think that there are only nine), the top card is the selection, the rest are random cards. Pick up the packet and briefly fan it in the right hand, glimpsing the selection as you do so. Remember the card.
2. You’ve now got to get the selection to the position of fifth from the bottom of the packet. Here’s one way: apparently spell-count four cards, one card for each letter, P-O-L-Y, without reversing their order. In reality, you push across a double on the ‘O’ or the ‘L’. There must be no hesitation in the count. Place the five cards, apparently four, on the table and continue by spell-counting the remaining five cards as G-R-A-P-H one at a time onto the tabled four (five). Pick up the packet and take the top face-down card, turn it over and place it still face up on the bottom.
3. Commence a Reverse Faro as in Gary Plant’s routine. Push over the top card, and then outjog the second card. Push the third card square under the first one, then a fourth square under the second one. Repeat this for the rest of the packet. Turn the packet over sideways in the left hand. An indifferent card is on the face of the injogged portion. A face-down card is on top of the outjogged packet. Gary’s suggestion is to refer to the latter card as the computer operator. Ask the spectator “Is your card red or black? You can lie or tell the truth….red or black?” Whatever answer he gives you are going to use it to advantage (remember you already know the name of the selection; let’s say it is the two of diamonds). Say, “Let’s find out what the computer says…” Push the injogged packet forward square under the face down card. Because of the Jack McMillan Plunger Principle the cards that were under the face down card have been pushed through or plunged to the front of the packet. An indifferent card will now be atop the packet. Because you know the actual colour of the selection, you can use the spectator’s answer (let’s say he says “black”) in relation to the indifferent card (say, the king of Spades) and tailor make the correct lie or truth response. In the above example you’d say, “This first one is always a lie….look it’s the black king of Spades….you said black so you must be telling a lie!” If the indifferent card was red you’d say, “This first one
Roger Crosthwaite
always tells the truth….you said black so you must be telling a lie!” Whatever they say and whatever card is visible you fit to the right response. Revolve the packet through a hundred and eighty degrees keeping it in the same plane within the left hand. The face-down card is now outjogged. Ask the spectator what suit his card is. Again, he can either lie or tell the truth. Repeat the plunger move and tailor the answer accordingly. Let’s say his answer is “clubs”, and the indifferent card is the jack of hearts. In this case you’d say, “You said clubs and this is a heart… the two don’t match so once again you must be lying!” Revolve the packet again and ask the value of his selection. He can lie or tell the truth. Whatever he says and whatever indifferent card is showing you tailor the answer as before. For the last time revolve the packet and say, “This time you can no longer lie, you must tell the truth…just say yes or no!” Repeat the plunger action and the two of diamonds will push out at the front. Pivot out the card, toss it onto the table and say “It’s amazing what these polygraphs can do!” The beauty of the above series of actions/statements is that it really doesn’t matter what the spectator says or what the indifferent cards are. Clearly there will often be illogicalities and discrepancies when you tie in the answer to the card. Speak confidently and without hesitation at each stage. The more you perform it the more that will be able to think on your feet. Alternative Thoughts If you wish you can do away with the plunger completely. Simply scoop up the tabled ten-card packet and fan and glimpse the selection as before. With the packet still face down, reverse faro the cards ensuring that the top card is outjogged first. Strip out the top outjogged half as the left hand deposits the lower half face up to the left. Use whatever indifferent card is at the face of this left-hand packet to compute whether the spectator is lying or telling the truth. Repeat the procedure until you have only two cards left. Have the spectator point to one of these two remaining cards. Whatever he does, discard the indifferent card. Turn over and reveal the selection. If you do not want to use the Anchored Add-on there are other ways to effect the transfer (see below for the LTP Add-on). Or, you can simply control the selection to the top; count spread ten cards as nine by pushing over two cards as one at any time during the count and go from there. This could well be the simplest and most direct way of proceeding. Further Credits The use of the reverse faro actions to control the top or bottom card of a packet of cards belongs to Al Smith as does the idea that it does not matter what answers the spectator may give, the selection stays under control. Al calls it the ORAF Principle. See Al’s Swindlies published in Abacus magazine for May 1994 and subsequently in Card Tricks Now and Then, Smith (2001). The Reverse Faro procedure goes back into the dim and distant but Al has kindly provided some useful detail which leads us to Hugard’s Encyclopaedia of Card Tricks and a trick called Double Prediction, attributed to Charles Jordan via Stewart James, on page 459 of The First Fifty Years, Jogestja (1989). James tells us that the Jordan item was published in Master Card Mysteries by Walter Gibson in 1928. See also page 6 of Karl Fulves’ Charles Jordan’s Best Card Tricks, Dover Books 1992.
Roger Crosthwaite
Marlo’s Anchored Add-on can be found in Jon Racherbaumer’s Card Finesse 2 (L&L Publishing, 1992) and also The Card Magic of Edward Marlo (L&L Publishing, 1993).
Rob James Rob James is a full-time close-up magician from Bristol. He has performed on several occasions at the Magic Castle in Hollywood and at the Jumeriah Beach Hotel in Dubai. He coorganised the sell-out Session Convention in 2006. Rob's website: http://www.robjames.com
Cavort in the Act Rob James Two cards change places, twice, in a startling and visual manner. You can view a video of Rob demonstrating this effect here: http://www.abracadabra.co.uk/cavorting/cavorting.wmv
Set up Top three cards are Ace of Hearts, Queen of Spades and the Ace of Diamonds followed by the rest of the face-down deck.
Working 1. Double Lift to show the Queen of Spades. Turn the double face down and remove the top card which is placed visibly onto the bottom of the deck. Now Double Lift again to show the Ace of Diamonds. Turn the double face down. You will now perform a Top Card Cover Pass that shifts the Ace of Diamonds, alone, to the bottom of the deck (Figs 1 & 2).
Fig.1
Fig.2
This is easier with one card than with half the deck as it usually performed. Now turn the top card over to show the Queen of Spades. Keep hold of the Queen of Spades in your right hand
Rob James
and with one hand turn the deck over to show the Ace of Diamonds on the bottom. Be careful not to flash the face of the Ace of Hearts which is underneath it.
2. For the second more visual phase you are going to steal the Ace of Diamonds from the face of the pack on the offbeat. This is done by getting a break under the Ace of Diamonds and very briefly placing the face up Queen of Spades on top of it. Take both cards as you once again turn the deck over with one hand. Place the double face up on top of the deck. You state, "The Queen of Spades is on the top"... and now casually revolve your hand to flash the Ace of Hearts on the bottom of the deck as you miscall it, as you continue, "...and the Ace of Diamonds on the bottom." With a bit of experimentation you can work out the best finger positions to best disguise the Ace of Hearts' true nature.
3. To make the transformation the deck is taken from above with the right hand ready for a One-handed Top Palm, which is used as a colour change (Figs.3 & 4).
Fig.3
Fig.4
If you have never tried this before you will need to make sure you have got a quick one handed palm and play around with the angles that look best. 4. As soon as the card is palmed, the deck is retaken by the left hand and spread. The right hand revolves to the right so that the palmed card can be added to the spread a la LePaul's Useful Acquitment, from The Card Magic of Le Paul (Fig.5)
Fig.5
The Queen of Spades now stays under the spread for a second as you let the visual impact of the change sink in and when the spread is closed it ends up on the bottom of the deck. All that remains to do is turn the deck over to show the second transposition.
Credits This plot is based on the Cavorting Aces, the best source of which is in Stars of Magic from
Rob James
Tannen's. I want to thank Robert Moreland of Savannah, Georgia in the USA for showing the usefulness of the LePaul Acquitment in the context of a colour change.
Andy Hurst Andy is a busy semi-professional magician from Somerset. When he's not working as a performer he spends his time creating and experimenting with ideas. He is the author of Project Latnem, which can be found on his web site. Andy's Website: www.andyhurst.com/magicians-only
Cancelled Out Andy Hurst This is an impossible location where the magician goes out of the way to cancel out the possible ways the trick could be done. Here’s what the audience sees; “I’m sure you’ve all seen magicians who have you take a card and then they work out which one it was. Or maybe you’ve got an uncle who has done the trick with piles of cards and lots of dealing and you’ve had to politely applaud his ability to do something that works itself mathematically. And some of you will have come across marked cards and maybe even suspect that a professional like myself would sink so low as to use them. So let’s really try to set up a series of impossible circumstances. First of all will you cut off about half of the deck, and give those a good shuffle. You can riffle them like this if you like (magician demonstrates with other half of the deck) or you can keep it conventional and overhand mix them like this, and even give them a couple of cuts if you like. When you’re happy with that I’ll have them back. Actually you mixed those more thoroughly than I mixed mine so you better shuffle up these as well (hands participant the other half of the deck). So you’ve shuffled all these cards to eliminate the possibility that I had the deck in some special order. In fact I’ll show you the faces and you can confirm they really are well mixed, and that it’s a regular deck, there are no duplicates or anything like that – and I’ll turn away so I don’t see (magician runs through cards face up to the audience so they can see and keeps turned away as he does). But I don’t want you or anyone else in the room to know anything about
Andy Hurst
where any of the cards are either because I want to eliminate the possibility that I have a confederate or helper hidden among you. So we’ll give it one more quick mix (magician gives the face-down deck a weave shuffle) like this and then we’ll put the deck down (magician puts deck on table). Now usually a magician would run through the deck and have you pick one out. If I was to do that you might say that I somehow made you take a particular card, even though at this stage I have no idea what any card in that deck is. But you might still think I could secretly see one and then make you pick it or some such nonsense and I want to eliminate that chance too. So instead we are going to eliminate a bunch of cards from the top of that deck and arrive at a card that no one can know. And you’re going to do that when my back is turned and someone here will make sure I stay looking forward the entire time. But first we need a random number between 1 and 52, actually so we’re not here all day let’s make it between 1 and 30 or 40, something like that. In a moment I will turn my back and I want you to eliminate that number of cards, deal them in a pile to one side. Then take the next card and deal that face down on the table. Then I want you to gather all the remaining cards, you can mix them if you like, in fact to totally hide them you can put them back in the card case so I can’t see any of them. Then cover the single card you dealt to one side with the card box so I can’t see the back of it either.” The magician turns his back and the spectator does exactly this. When all this has been done the magician may turn back around. On the table in front of him is a boxed deck of cards and under that is a random card that not even the spectators know the value of. The box totally covers that card. “Now I just want to be totally certain before I attempt to divine the randomly selected card that I really have been as fair as possible. You shuffled the deck, you checked it to ensure that there were no duplicate cards and that it had ended up in a totally random order and we even mixed it before, so unless I have the ability to re-order a mixed deck of cards with one shuffle – which I don’t, there’s no way the deck is stacked. Heck, even if I did have such ability, I would need to know what positions cards fell in before my shuffle and you shuffled the deck too! After all the mixing, you decided on a totally random number and eliminated that many cards getting us to a random spot in the deck and you dealt that card down. You then gathered all the cards and boxed them and covered the selection so that even if the cards were marked – which they’re not, that wouldn’t help me in the slightest. And best of all – you didn’t even glimpse at the card yourself, so I can’t even rely on mind reading. It seems to me I have two choices, one is to merely guess at the card you arrived at, and at odds of 52-1 against, I don’t fancy that bet. The other is for me to use my abilities to divine that random card. I promise I won’t touch the box, the selection or indeed any of the cards, I do however need to cast a shadow over it with my hand…” The magician now reveals the card piece by piece. The spectator then picks up the box, and turns over the random card – sure enough the magician was correct.
Andy Hurst
Method This is one of those effects that tends to fool some magicians as well as a lay audience. The only ‘secrets’ mentioned in the patter are things that lay people have all heard of anyway like ‘stacks’ and ‘marked decks’. What I love about it is that it uses one of the very methods you cancel out early on. The whole trick requires one ‘move’ a little ability at basic mathematics and a stack. Yep – this uses a stack. But the construction of the effect seemingly destroys the possibility that that’s what it is. The stack used enables you to know for any number they name the card that will fall at that position, but there is no brute force memorization. The stack is mathematical and is only 20 cards. I know – they can name a number from 1 to 40, but we’ll get to that. For now, just trust me – we only need work with 20.
The Zero Memorization twenty-card stack. 1. AC 2. 4H 3. 3S 4. 8D 5. 5C 6. QH 7. 7S 8. 6D 9. 9C 10. JH
11. QS 12. 9D 13. 10C 14. 5H 15. 8S 16. AD 17. 6C 18. 7H 19. 4S 20. KD
This stack is mathematical and there are a few rules, but what it enables us to do is take any number from 1 – 20 and quickly calculate the card that is in that position. Here’s how: There are to different rule sets depending on whether the number we are using is higher than ten. So we’ll break this down into two initial sets of rules. If it is higher than ten and if it's ten or lower. TEN OR LOWER: If the number is odd then the value of the card is the same as the number. 1, 3, 5, 7 and 9 give us Ace, three, five, seven and nine respectively. If the number is even and less than 10 then DOUBLE it. If the outcome is greater than 13 then simply use the units. So if we wanted the value of the card in eighth position we would double that to 16 and then ignore the ‘1’ using the units which is ‘6’. If the number is 10 then it’s a Jack.
Andy Hurst
HIGHER THAN TEN: Again we are going to ignore the ‘tens’ so for eleven we will work with 1, twelve we work with the 2 and so on. If it’s an odd number we subtract it from 13. The result is the value of the card. If it’s an even number we double it, ignore the tens and work with the units, and subtract that from 13 to give us the value of the card. So… Let’s say we had the number 15. We ignore the tens giving us 5. 13-5 = 8. So the value would be 8. If we had the number 16, we ignore the tens giving us 6. It’s even so we double it to 12. 13-12 = 1 (Ace). If the number is 20 then it’s a KING. (Drop the tens leaves 0. Doubled leaves 0. 13-0=13, which is KING. But why do the math – just remember 20 is king). Now we have the value we need to get the suit. Suits are easy, the stack runs in CHaSeD order. That’s Clubs, Hearts, Spades and Diamonds. We simply attach a numeric value to each of these:
Clubs = 1
Spades = 2
Hearts = 3
Diamonds = 0
Simply take the number (position) and divide it by 4. We only care about the REMAINDER after the simple division. If the remainder was 2 then it’s a spade based on the values above. In practice what you actually do is get the remainder in your mind and repeat CHaSeD in your mind for each count. So if I have ‘Remainder 2’ in mind, I say to myself, “CLUBS, HEARTS.” Let’s take a real example or two: You want to work out the card at 19th position. So it’s greater than 10 and it’s an ODD number so we ignore the tens and work with the 9. 13-9 = 4. We know the value of the card is a four. Now we go back to the original number (19) and divide it by 4 which gives us 4 remainder 3. We only care about the remainder. In my mind I say CLUBS, HEARTS, SPADES (counting 1 – 3). So the suit is a spade. Put that together and we have the four of spades. Let’s say we need the 16th card. Again it’s greater than 10 so we ignore the tens and work with the 6. It’s even so we double it. 6 x 2=12. Subtract that from 13 gives us 1, so we know the value is an ACE. Now we take 16 divided by 4 and we know it goes four times and leaves NO remainder. No remainder is always a diamond. Ace of Diamonds. How about the 8th card. This time it’s less than 10, but it’s even so we double it which gives 16. As always we ignore the tens which leaves us 6. The card is a SIX. 8 goes into 4 two times with zero remainder, so it’s the 6 of diamonds.
Andy Hurst
It all seems far trickier in print than it is. When you boil it down the rules are very simple. Once you know the formula you can take the number from 1 – 20, and work out the name of the card is a matter of a couple of seconds. And best of all, in this particular routine where we complicate things just a tiny bit more – you get plenty of thinking time while your back is turned to do the math. But of course we’re going to have the deck shuffled to hell and back and let the spectator choose any number from 1 – 40. So how does a 20 card stack help anyway? Well thanks to some really simple card sleights the whole thing is possible. The full set-up… Here is the full set up from the bottom of the face-down deck, from the bottom up. 20-card stack set so that the face card is the 20th card in the stack, any card with its corner crimped, the remainder of the deck.
The Routine 1. Begin by having the spectator cut about half the deck. It needs to be fairly close. If it’s obviously wrong then say, “No, it's better that we have half the deck,” and have them recut.
2. Now you invite them to shuffle the half they cut off. In inviting them to shuffle you demonstrate how they ‘might’ shuffle. You say, “You can riffle shuffle,” and at that point you cut your packet, riffle them together but don’t complete the shuffle, instead pull the packets apart, reassemble and say, “...or you could be more conventional,” as you begin an Overhand Shuffle. What you actually do is shuffle off all the cards up to and including the crimped card and then throw the stack on top of them.
3. When they spectator has finished you extend your arm to take back the cards and comment that they shuffled them quite thoroughly, you then apparently decide they should shuffle the half you have too and hand that to them. What you actually do is switch the packets and hand them the same half to shuffle again. There are two ways of achieving this. I use a modified version of "Daley's Delight Switch;" the modification being that my hands move front to back instead of left to right. "Daley's Delight Switch" originally appeared in Phoenix #220 but was impossible to understand from the poor write up and single illustration. It later appeared in 100 New Card Tricks by Bruce Elliot but was written and illustrated incorrectly. Thankfully the move was written up clearly in the Duffie/Robertson book Card Conspiracy, Vol1 along with a lot of new ideas using the move. When I use the move here I hold my packet of cards between the index and middle finger of my right hand and I take back the spectators shuffled packet with my left hand and hold it between thumb and fingers with thumb on top. My Left hand now draws back towards me and the right hand begins extending toward them. At the moment the hands cross the packets are exchanged, but the right hand continues moving forward (now holding the shuffled packet) and the left hand continues back (now holding my stacked packet). See Figs. 1a, 1b & 1c.
Andy Hurst
Fig.1a
Fig.1b
Fig.1c
For those not familiar with DDS there is another way to achieve the switch. It’s inspired by a trick in Card College where a card changes by doing a pass but with the two packets barely touching. Rather than trying to call doing a pass in this way a ‘trick’ we can use it as a rudimentary switch. Take their cards and begin to dump them on top of the packet you have. What you actually do is barely let the packets actually touch, do a pass and then as if it was a second thought separate the two packets again and say, "It's best if you mix the lower half as well”. After they’ve shuffled the ‘other’ half, take them back and put them onto the other half of the deck but keep a pinkie break.
4. If you follow the patter as described in the effect description you will see how we now arrive at a point where the magician gets to do a ‘weave’ shuffle. Cut at the break and give the deck an Out-Faro Shuffle. Only the top 20 or so cards of each packet must be perfect. If you bodge it a bit, so long as the cards nearest the top faro perfectly you can limit their number to 1 – 30 instead of 1 - 40, for example.
5. You now have a situation where you can take the number they name and HALF it. If it’s an odd number then add one to it before you half it. This will give you a number between 1 and 20 and using the math we covered earlier you can determine what the card at that number is. This is where the patter is important. You will notice that the magician talks about eliminating some cards, etc. If the number they name is odd then they will deal off that many cards to the side and then deal the next card in front of them. But if it’s even (say 14) then you just tell them to deal down to the 14th card and deal it to one side. When they’ve done that they will gather all the cards, box them and then cover the selection with the boxed deck. All the dealing down, re-boxing, and so forth all takes time and you use that time to do the math and work out the card they will arrive at. The rest is smoke and dressing. Follow my suggested patter which is given in the effect description and you’ll have a miracle on your hands that no one can easily back-track.
Andy Hurst
Three Willy Andy Hurst
Effect The magician sets down the deck and swears on a copy of the Yellow pages that he will not touch it again until the very end of the trick. A spectator cuts the deck into three fairly equal piles. He chooses any of the three packets and shuffles the life out of it and sets it down. He does this with one of the remaining two packets as well. Then he cuts off a portion of the final packet, shuffles them and tosses them onto one of the piles of mixed cards. Then he cuts again and this time remembers the card where he cuts. He shuffles that cut off packet, then dumps them onto either of the previously mixed up piles and then puts the other pile on top. Then they riffle shuffle all the cards together and give them any other kind of mix that they like. Only when the spectator is convinced the cards are really well mixed does he set the deck down and allow the magician to touch it. With no pumping or any overt means, the magician plucks out a single card and lays it down in front of the spectator. The rest of the deck is thrown to a nearby dog to use as a chew-toy. The spectator names their card and then turns over the one card the magician set down. It is the selection.
This trick uses the same stack as the first trick and is a lot easier to perform. In fact if you are fairly good at audience management you only need the first half of the stack, so if you hate subtracting from 13 as is necessary with the second half of the 20 card stack, you can eliminate that portion. Also only stacking ten cards makes it easier to set up during performance, as in fact I often do, or you can keep the stack together easily while doing other tricks. If you’re audience management skills are not all there yet, or you get nervous about controlling a participant, set the full stack of 20 up just in case. Also you will touch some cards during the routine but you never touch the main deck and the few cards you do handle is done in such a casual way that I’ve never been challenged about my promise to not touch the deck. In fact I’ve heard people reconstructing this trick in conversation afterwards and say, “He didn’t touch them.” In this set-up the stack is set in reversed order. That is the face card of the stack is the first card in the stack. Once you’ve set your stack add one X-card to the face of it, set the packet face down on the table and dump the rest of the deck on top.
Working 1. Have the spectator cut the deck into three roughly equal piles. As he does just keep track of which pile is the original ‘bottom of the deck.’ We will refer to this pile as the key pile.
Andy Hurst
2. Ask the spectator to pick up any pile. If he picks up one of the non key piles say, “And shuffle it, really mix it up and then set it to your left.” If the spectator picks up the key pile then tell him to cut off about half the cards and drop them on top of either of the other two piles. Then they should put the remainder down on the table and cut some cards off that packet and this time look at the card they cut to (on the face of the packet they lift off). Then tell them to drop that onto either of the other two piles. Then tell them to riffle shuffle the two piles together and to give that pack as many more riffle shuffles and cuts as they want.
3. As they do that casually pick up the remaining cards from the table (the remainder of the key packet) and say, “Here, shuffle these in too.” As you say that you do a one-handed fan keeping them face down so that you can quickly and secretly count how many there are. Whatever this number is, you work out what card that would be in your stack and that is the card they looked at. If the spectator initially picks up a non-key pile and shuffles it, you then ask them to pick up a second pile. If that too is a non key pile say, “...and shuffle that,” and have them set it alongside the first and then have them cut the third pile (the key pile) and dump some cards, and so on. The real key to this is timing and being casual and making out you were going to say, “shuffle it,” or “cut off half,” regardless of which packet they’d chosen.
4. The Revelation: You can reveal the card anyway you like. I tend to let them really mix the cards, to the point of over-kill really. They finish shuffling and I say – no mix them more, I want you to be certain I cannot find the card you merely glimpsed at. And when they are finished I ask if anyone else watching wants to mix them, etc. Then I take the deck and pluck out their card. Another good finish is to have an index of 5 cards in each trouser or jacket pocket with contrasting backs. Tell them you put a card from another deck aside earlier, take it out and put it on the table. Have them name the card they are thinking of and let them turn over the odd backed card.
Uno Undo Andy Hurst Simon Aronson’s Undo principle is very clever. But positioning two key cards into two deep positions during an act can be tricky (unless you want to deck switch), and none of the undo tricks are something I would like to open with. Also all of the tricks published with it so far involve two selections. With that in mind I developed the following effect in which one card is found in an interesting way. I’ve disguised the placements a little. In one case the spectator is the one who does the placement for you, and the other is covered by the act of casually removing a card.
Andy Hurst
Finally, it doesn’t matter if you have a complete deck for this to work, nor will it matter if you’ve left a joker in the deck resulting in a deck with more than 52 cards.
Preparation Two cards in the deck need to be marked. If you are working with a borrowed deck, a small thumb nail notch would suffice and this work can easily be put into the cards during performance without being noticed. Remove two 10’s from your deck and mark them as above. Suit does not matter. One of these 10’s needs to be on top of the deck and the other 22nd from the top.
Working 1. Give the deck a false shuffle, retaining at least the top 22 card stock.
2. Place the deck down and ask a spectator to cut off a few cards, “Between 3 and 15 or 16 is fine,” – be vague and let them realize they have a wide range. As long as they don’t cut more than 20 all is fine. Tell them to look at the face card and then lay that portion face down onto the table.
3. Point to the talon and explain to them, “So that your card is lost totally, and that I cannot estimate where it is, I will turn my back and I want you to cut off a large chunk of this portion of the deck, and insert the small packet you cut in the middle." At this point I partially demonstrate by lifting off about half the talon, pointing to the originally cut off portion and indicating with my finger that it has to go on to the tabled section of the talon and the part they cut off goes back on top (Figs 1 & 2).
Fig.1
Fig.2
All that is important is that they cut below the key card that was in 22nd position. I find explaining “at least 1/3rd”, or if they cut off very few originally ‘at least half’, works fine. Turn away and let them do that. When they have finished, turn back around. You can throw in a false shuffle at this point if you like, but I don’t personally bother.
Andy Hurst
4. You now pick up the deck and explain that you have no idea where their card is. But you are going to pick out two cards at random that will help you find their card. You begin running through the face down deck, you are looking for the first marked 10, but it must not look like you are looking for anything, nor must it look like you are counting. Just run through at a reasonable pace until you see it and stop. Lift all the cards above the key, put them down, and deal the key face down on its own saying, "This one… and …" immediately continue running through the cards that remain in your hand until you see the next key. Make this look casual… If you are running cards from left to right, when you see the key, let it go onto the face of the cards in the right. Extend the right hand over the other tabled key card and drop key the card face down from the face on top of the tabled one, but when your hands come together the cards in the right hand go UNDER the ones in the left. In essence you have cut the cards at the key, removing the key in the process, but made it look like all you are doing is removing another random card.
5. Pick up the other packet of cards from the table and drop them on top of the cards in your hand. Hand the talon to the spectator. Explain that you are going to add together the value of the two randomly removed cards (which are of course your keys). I explain that aces will be one, kings 13, etc. I explain that as if it could have happened! Flip over the two cards. I say, “Oh, good, two 10’s – that makes the math easy!” Have the spectator count down to the 20th card and turn it face up. It’s their selection.
End Notes If you have Simon Aaronson’s book Try the Impossible, you will see that you could just as easily use a 10 and a 9 as your key cards, and adjust the deck position of the one that’s placed deep accordingly. 19 or 20 is really a minimum without limiting the cutting more. You could of course go to 26 if you used two kings. I prefer to avoid court cards as the keys, and it makes it seem more realistic and random because I explained the value of court cards and none came up.
Mike Rose Mike Rose is 28 years old and lives in Bury St. Edmunds, Suffolk. He became interested in magic when only 8 years of age, and undertook his first paid engagement at the age of 12. His initial interests were mainly cabaret (with a couple of larger illusions) and children's magic. However, he always had an interest in close up magic and this interest intensified around the age of 21, with the main focus being on card magic. Early influences came mainly from his local magic societies through his good friends; Doug Murfet and George Rissen. Also from close friends; Wayne Goodman (GOO), Oliver Smith (OGG) and Rodney James Piper. Mike admires and is inspired by all forms of magic; Stage, Close-up, Cabaret, Children's, Mentalism, etc., and he believes that all magicians can benefit from each other's knowledge. In 2000 and, again in 2003, Mike worked in Spain as a Magician and Stage Hypnotist. He recently released "The Grail" (his version of Any Card at Any Number) through Alakazam Magic UK. Mike's Motto: "Love life. Learn from every experience, and enjoy a nice cold pint!"
Cream Tea(sed) Mike Rose
Effect Several cards are shown face up one at a time, displaying the words SCONE and CREAM in an alternating sequence. The cards are now turned face down and four are dealt onto a table or spectator’s hand. The remaining cards in the magician’s hand are displayed face down showing four cards. They are put back together, turned face up and displayed showing the Cream cards have vanished ( the cream has SCONE ) and the remaining cards all say SCONE. The spectator is now asked what the cards in his or her hand are. They will say Cream. The magician now takes the cards, turns them over and shows them all showing a picture of a small JAM pot. These cards are now dropped face down onto the table except the last card, which is kept face down and snapped between the magician's hands whereupon, a small Jam pot appears and the final card is shown to be blank - the picture seemingly turning into a real pot. The handling of this effect is Roy Walton’s Oil and Queens with a few minor changes, with further inspiration derived from Paul Hallas's Bread and Butter effect. Also, thanks to Stephen Barry for input on the idea of the small pot of Jam.
Mike Rose
Requirements & Preparation Nine blank-face cards. Red and black marker pens (and others at discretion). Small Jam Pot; as found in a hotel. These are small enough to be concealed in the jacket sleeve.
On the face of three of the cards, write the word SCONE in bold lettering. On the face of two of the cards write the word CREAM in bold lettering. On the face of three of the cards draw a picture of a small JAM pot. The pictures give a bigger impact at the end of the effect. See Figure 1 for examples.
Fig.1
Leave the final card blank.
Setup The cards are arranged face-up as follows, with the SCONE card at the face: Scone, Cream, Scone, Cream, Scone, Jam, Blank, Jam, Jam
Working 1. Start by dropping the small Jam pot into the right sleeve of your jacket, just below the elbow, keeping lower arms angled up so not to drop pot out early.
2. Hold cards face up in right hand Biddle grip ready for a Hamman Count, as follows:
Mike Rose
a) Peel off the top card into your left hand, saying, "Scone." b) Peel of the 2nd card, saying, "Cream." c) Peel off the 3rd card, saying, "Scone." d) Peel off the 4th card, saying, "Cream." e) As you apparently peel the 5th card, carry out the Hamman Switch of packets, saying, "Scone." f) Peel the remaining four cards fairly into the left hand: "Cream...Scone...Cream...Scone."
3. Once all the cards have been shown, turn the packet of cards face down and deal the top four cards (keeping them face down) onto the table saying, “Scone, Cream, Scone and Cream.” Next spread the upper three cards of the packet remaining in your left hand, and take them, still fanned, in your right hand as you briefly gesture. The remaining two cards are held as one in the left hand. As you replace the three cards in the left hand, the lowermost card of the three slides below the double to the bottom (Figs 2 & 3).
Fig.2
Fig.3
4. Square the packet and turn over. Now perform an Elmsley Count with the face up packet to apparently display four Scone cards - the Cream cards have vanished. Put this packet away and pick up the four cards from the table, turn them face up and perform another Elmsley Count, displaying apparently four Jam cards concealing the blank one. Turn them face down again. and place them on the table with your left hand, but pick up the top card and retain it in your hand. As the cards are being laid down, the right hand drops down allowing the Jam pot to fall out of the sleeve into the curled fingers of your hand. The laying down of the cards offers plenty of misdirection for the retrieval of the Jam pot. Bring the hands together (keeping the Jam pot and face of the blank card concealed), then snap or tap the card and drop the Jam pot onto the table, as you turn the card around to show that the face is now blank.
Mike Rose
End Notes I have deliberately left out patter, as I believe this to be a personal thing. I personally talk about enjoying a holiday in Devon or Cornwall and a nice Cream Tea, hence the title. There is scope for some cheesy gags like the Cream has vanished, its Scone, depending on your pronunciation. The Jam pot is not needed if you do not feel comfortable with this. Just remove the blank card and replace it with another Jam card. This is still a very strong finish.
Paul Hallas Paul Hallas became interested in magic around the age of 10 and has published dozens of routines in magic magazines from 1973 onwards. he has also authored 14 different booklets. Starting with Mainly Close Up in 1979 (the year he gave his first lecture) and following on with; The Cheap Close Up Book, The Even Cheaper Booklet, TOTAT, Mental Mix, The Table Hopper's Source Book, Son of TOTAT, Magic with Business Cards, Mindful Mentalism 1, 2 & 3 and Best of Alchemy Card Magic. Before becoming a professional magician Paul had worked for the Royal Airforce, a security company and an insurance firm. Apart from performing, Paul now runs a small mail order magic business, PH Marketing, which he considers his hobby. Other than magic, he loves the cinema, reading, writing and travel. He wishes there were more hours in the day and more money in the bank. That would be "dollars," because Paul now resides in the USA. Paul's Website: http://www.paulhallas.com
Again, The Aces Paul Hallas I don’t recall where I read it, but I recall someone pointing out that four-Ace assemblies were really only for entertaining magicians. Of course there is much nonsense written about magic and many viewpoints expressed often without any real evidence to back it up. More so, on the internet these days. Personally I’ve always got good responses from assemblies, and a decent cash tip after doing MacDonald’s Aces the other week seems evidence enough to me that lay people like them. Another bit of evidence to me was another spectator telling 'anyone that would listen' that I was the best magician he’d ever seen after I did three Ace tricks (Peter Duffie's “Return To St. Nicholas” Ace production, an assembly to be described and "Twisting The Aces"). Of course we’ve all had comments like these (if we perform half decently) by people who have never seen much before. I did comment at the time I must be the ONLY magician he’d seen (it’s best not to start believing comments like this; unfortunately, many do). The way individuals approach their material and performances has the biggest affect on how it is received. Therefore the many different viewpoints about effects can all be correct for the individuals expressing them, based on reactions to their own performing experiences. I guess this really boils down to the fact that if you don’t actually try something out you will never really know if you can make it play well or not. You will simply assume one way or the other. What follows are a couple of handling tweaks developed through usage of Stanley Collins’s “The Zeta Four Ace Trick” which I’m sure people have turned the page on (if they came
Paul Hallas
across it at all). I personally couldn’t see the logic of laying four Aces in a line on the table to then add them to the deck to immediately deal them out again. A Braue Addition works fine for me and eliminates the unnecessary reversal and secret deck turnover too. Anyway I’ll describe it from the beginning (as if getting into it from scratch) then add further observation along the way.
1. With the deck face up, quickly spread it from hand to hand outjogging each Ace as you come to it for about half its length. Once you have the last Ace continue spreading and comment, “As you can see there are no extra Aces in the deck.” On getting to the rear of the face-up deck (assuming you are spreading from left hand to right) the left thumb pauses on the third card from the rear and injogs it slightly as the deck is pushed back together and flipped face down into the left hand. The right hand fingers now pivot the outjogged Aces clear of the deck and flip them face up on top. In squaring the deck it’s a simply matter to lift on the injogged card creating a break. 2. Immediately the deck is squared lift off the cards above the break (the four Aces and three face-down cards below them). This avoids the oft-seen procedure of re-spreading the cards slightly to get a break under the top three face-down cards (or even pinkie counting if you’re a card expert). The first three Aces are each peeled back onto the deck in the standard Braue way being flipped face down in the process. The last Ace (with three cards below it) is deposited face up on top then pushed part way over the deck. Note: I name each Ace on doing this and stress, “..And finally the Ace of ..” tapping the last Ace with my finger. I emphasise the last Ace for a reason, I want them to remember it. This last Ace is flipped down onto the deck as I say, “I am going to deal these Aces in a random order.” 3. Deal the top Ace to the table, deal the next to the left of it leaving a space for a card in between (Fig.1), the next to the right of the first card dealt (Fig.2) then fill in the gap with the fourth card (Fig.3).
Fig.1
Fig.2
Fig.3
If the person you are performing for is across from you, then the Ace is now in position for the well known psychological force. Collins simply dealt the four cards in a line and said there was a one in four chance the spectator could pick the Ace. I decided to increase the odds in my favour as it means less work and a more pristine ending more often. This is another reason why I paused and emphasised the last Ace before it was dealt down. I talked initially about viewpoints being expressed without any real evidence to back things up. I am about to state something you might think is bullshit and it may well be. Put yourself in the shoes of the spectator for a
Paul Hallas
moment. He has no idea what is going to happen next. You have simply shown four Aces and dealt then to the table. By dealing them ‘in a random order’ you may have been trying to confuse him as to the whereabouts of each Ace, but more than likely if he remembers the position of any Ace it will be the last one shown and the first one dealt. Don’t you think if asked to make a choice he might pick the one Ace whose position he recalls simply to maintain an element of control? I think the more intelligent spectator might, but this is pure supposition as the card is in the psychological force position anyway and I haven’t bothered wasting time by trying it in other positions, I just want to do the damn trick. I believe it helps, so I do it. 4. There is no pause after the deal, you request the spectator to touch one of the Aces as you shuffle the deck. I simply do a quick false Overhand Shuffle, but again you could easily Riffle Shuffle leaving the top three Aces in place. There are two options; he touches the real Ace or he doesn’t. a) Obviously the best option, and what you have worked towards, is his touching the Ace. Should this happen you deal three cards from the deck and add his selection to the top of these and place them to one side. Fan the deck and insert the remaining cards. Riffle the deck over the selected card and pile and show the other three Aces joined the selection. b) Okay the less desirable option, he touches another card. Deal three cards from the top of the shuffled deck (the Aces) then add his selection to the top of these and place the pile to one side. Pick up the actual Ace from the line and insert it about two thirds of the way down in the deck, but leaving it outjogged about a third of its length. You can tilt the deck upwards momentarily to flash this Ace then turn it back. The first finger of the left hand moves under the projecting card and adds a little upward pressure as the fingers of the right hand push the card into the deck. These fingers also angle the card to the left in doing so causing the rear right corner of the card to project from the right side of the deck. The latter is concealed by the back of the right hand. The left little finger is able to pull down on this corner to create a break above this card as the deck is squared ( I have no idea what this sequence is called, I first came across it in a J.C. Wagner routine as a control years back but Collins was using it in this routine and immediately 'passing' at the break). With the break being held, cut off the top third of the deck to the table. Next, add one of the other cards in line on top of it, then bury this with the cards above the break. Then, add the remainder of the deck, pick it up and square it. The Ace is now on top. Pick up the remaining card and insert it in the middle of the deck so about a third of it is outjogged. Now comes Marlo's Misdirection Palm (Cardician). The flat right hand travels across the top of the deck forward and to the right slightly in the process palming the top card (Fig.4). This really is simple, the palm presses down slightly and moves, the top card moving with it. The left fingertips at the edge of the deck can help press this card into the palm as the fingertips curl around the projecting card and visibly push it into the deck (Fig.5). Square the front end of the deck.
Paul Hallas
Fig.4
Fig.5
The left hand with the deck now moves first revolving it face up and tabling it in a forward position. A fraction of a second after this hand moves the right hand picks up the packet of cards adding the palmed card in the process. Comment how strange it is that the Aces have gathered with the one Ace he freely selected. Now show the packet to contain four Aces using a Buckle Count or Double Push-off on the third Ace, the last Ace going on the face. I add these to the face of the deck and Ribbon-spread it. Once familiar with this last palm (Misdirection Palm) practice making the insertion of the first card into the deck look exactly the same.
Brian Glover Brian is 70 this year and is now retired. "So little time, so many card tricks," he ponders. Over the years, he has contributed to Abracadabra, Magic Magazine, New Pentagram, Pabular and New Phoenix. Recent highlights for Brian include, attending the FFFF Convention in the USA for the past couple of years.
‘Interlaced Vanish’ revisited. Brian Glover This is a variation of Paul Harris’s ‘Interlaced Vanish’ from his book Super Magic.
Working 1. Openly transfer the four Jacks to the face of the pack, arranging them so that the colours alternate. Show the Jacks one at a time, laying them on the table to form a face down pile. During this process, up/outjog the uppermost two Jacks.
2. Hold the remainder of the pack face down in the left hand, and ask a spectator to call out stop as you riffle down the outer left corner with your left thumb. Cut off the top portion of the pack at the point indicated, and lay it down on the table to you right. Your right hand returns and deals the top three cards, without showing their faces, onto the pile of Jacks on the table. Place the remaining cards in a pile to your left.
3. Pick up the packet of seven cards with your right hand and place them into your left hand. Secure a break above the bottom two Jacks with your left little finger. This move is made easy by the upjogged cards. Spread the top three cards and turn them over sideways so that they end up face up on top of the four Jacks. Apparently lift up the face-up cards in a right-hand Biddle-grip, but secretly take the top two Jacks underneath. With the left thumb revolve the top face-up card underneath the packet, secretly hold a break above it with the right thumb. Tilt your right hand so that the cards are vertical and ask someone to your left to remember the card. Lower your right hand and revolve the next face-up card underneath the packet. Tilt your right hand again so that the packet is vertical and ask someone on your right to remember the card. Lower
Brian Glover
your right hand and apparently revolve the final face-up card underneath the packet. During this action the two cards under the right thumb break are secretly deposited onto the cards in the left hand. Tilt your right hand so the packet is vertical and ask someone directly in front of you to remember the final card. Lay the three cards in your right hand in a face-down spread onto the table.
4. Turn the packet in your left hand face up, and with your left thumb on top and fingers underneath the outer left corner, reverse-spread the cards. A Jack is uppermost, and the indices of the two bottom cards don’t show. Pick up the face-down card at the left of the spread with your right thumb and forefinger, and insert it between the bottom two cards of the fan in your left hand. Take the next face-down card from the table and insert it face down between the second and third cards of the fan, leaving it slightly projecting from the rear. Place the final face-down card between the top two cards of the fan. In closing the fan and taking the cards into the right hand in a Biddle-grip, take a break with the right thumb under the projecting card.
5. The left hand now picks up the bottom half of the pack from the left side of the table, and at the same time the right hand picks up the top half of the pack from the right side of the table. The right hand holds the card as shown in Fig.1
Fig.1
6. The pack is now assembled by bringing the hands together so that the face-down cards in the right hand coalesce with the cards in the left hand. Extend your left fingers so that they come into contact with the right edge of the cards below the right thumb break. As the right hand places its cards onto the table, the left fingers pull the three cards so they coalesce with the pack, and at the same time the left hand turns face down to bring the pack face up. The right hand cuts off half the pack onto the table, then takes the bottom half and completes the face-up pack. Pick up the packet with the right hand and count and display them as in the Harris original effect. Show the selected cards have vanished, leaving just the four Jacks.
7. Pick up the pack, turn it face down and Ribbon-spread the cards across the table to reveal a sandwich of two face-up cards with a face-down card between. Remove the three-card spread, and confirm that the face-up card on the left is the left-hand spectator’s card, the faceup card on the right is the right-hand spectator’s card and the turn over the face-down card to show that it is the selection of the spectator in the middle.
Brian Glover
Alternative handling After laying the Jacks face down on the table, ask the spectator to call out stop as you riffle down the pack. Cut off the top portion of the pack at the point indicated and lay it down on the table to your right. Your right hand returns and deals the top three cards, without showing their faces, onto the pile of Jacks on the table. Take the remaining cards with your right hand and place them on the cards to your right. Display the selected cards exactly as in the first version. Square the cards using both hands and Gambler’s Cop the bottom three cards into your left hand as you lay the packet of Jacks onto the table with your right hand. Pick up the pack with your right hand and square the cards using your left hand. Your right thumb contacts the cards in the Gambler’s cop position and moves them forward to align with the pack, and at the same time the right forefinger Swing-cuts the top half of the deck into your left hand and then completes the cut. The pack is placed face down on the table. Proceed as in the first version.
The Hot Card & Magician Makes Good Once Again Brian Glover
Preparation and set-up You will require a pack of blue-backed cards and a red-backed 4D. Holding the red-backed 4D face up, shorten the outer left and inner right hand corners. With the card case flap side uppermost, stick squares of 12mm double sided ‘Scotch’ tape in the four positions shown in Fig.1.
Fig.1
Arrange the face-down blue-backed pack so that from the top the sequence is- QD, QC, 8C, QH, 8H, QS and 8S. The red- backed 4D is placed face up on the bottom of the pack with the
Brian Glover
blue-backed 4D face down beneath it. Put the pack in the card case.
Working for ‘The Hot Card’ 1. Remove the pack from the card case. False shuffle the cards maintaining a full pack order.
2. Holding the pack face down in the right hand, cut the cards taking a break between the halves with the left little finger. Riffle-force to the break and show the bottom card of the top half as the 4D. Replace the cards maintaining a break.
3. Make a magical gesture by riffling the cards above the break with your right thumb. Spread the cards from your left hand to your right hand. Stop the spread when the reversed 4D appears on top of the cards in the left hand. The right hand rotates inwards until its cards are face up. The cards are fed under the double until the right fingers anchor the 4D (Fig.2).
Fig.2
The right hand now turns palm up bringing the top half of the pack face down. Assemble the pack keeping a little finger break between the halves. In righting the blue-backed 4D you have secretly reversed the red-backed 4D.
4. Repeat the sequence to show the card has apparently reversed again. Be careful when spreading the cards so as not to disclose the red back.
5. Again apparently right the reversed card. Once again spread the cards to show that the 4D is reversed. Place the cards in the right hand face down on the table. Explain that with the card constantly turning over it can become very hot. Turn the face up 4D face down to show the red back. Maintain the little finger break during this action.
6. Double Lift and leave the card(s) face up on top of the left hand cards. Pick up the half from the table in the Biddle grip with the right middle finger projecting over the outer end. Reassemble the pack by bringing the right hand in a forward movement over the cards in the left hand. During this action the right middle finger contacts the blue-backed 4D and moves it forward so that it projects from the assembled pack. The left first finger makes contact with the back of the card and acts as a fulcrum enabling the right forefinger to contact the outer left corner of the card and revolve it through 180 degrees.
Brian Glover
Remove and turn the card face down on top of the pack to show that the back has changed back to blue.
Working for ‘Magician Makes Good Once Again’ 1. Place the card case with the adhesive side up to the right-hand side of your working surface. The long sides of the case should be parallel to the rear edge of the table. Explain that when requested you want someone to call out ‘stop’ as you riffle the cards. During this explanation, riffle down to the short corner card and break the pack at this point, placing the top portion onto the table. Explain that you will take the card stopped at and place it, sight unseen, onto the card case. Demonstrate what will happen. Reassemble the pack taking a little finger break above the QD. In the act of explaining what is about to happen you have surreptitiously prepared to riffle force the QD. Riffle force the QD, and without showing its identity place it face down onto the card case at the outer right corner.
2. Explain that you will now attempt to find three cards that will match the value of the selected card. Riffle down to the corner short and Centre Double Lift to show the 8C. Turn the card(s) face down and deal the top card (QC) onto the outer left corner of the card case. Repeat twice more apparently showing the 8H and 8S, placing them at the rear corners of the card case (Fig.1).
Fig.1
3. Turn the selected card face up to show the QD. To rectify the apparent mistake cut the cards to bring the reversed red- backed QD to the bottom. Turn the left hand anticlockwise through 90 degrees and take the pack from above with the right hand. The fingers are on the front long side and the thumb on the rear. Place the pack on the card case trapping the four cards. Lift the pack and case off the table and revolve your right hand so that the thumb is uppermost. This action displays the queens (Fig.2).
Fig.2
Keeping you hand in position. Remove the queens and place them on the table. The left hand
Brian Glover
now removes the card case and drops it to the table. Thanks to the ‘Scotch tape’ the red backed 2D is hidden underneath.
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The advantage of combining the two effects is that the additional card that is the secret weapon for the first effect is then utilised as a locater in the second effect then at the end is secretly removed, leaving you with a standard pack of cards to perform other effects. The premise of using a red-backed card in a blue backed deck and referring to it as a hot-card is credited to Ed Marlo Using the left forefinger as a fulcrum to revolve a card is credited to Doc.Daley. The Centre Double Lift that I use was originated by Jack Avis, and published in The Pentagram Vol.12. No:10 – July 1958. A description of the Riffle force can be found in Robert Giobbi’s Card College Vol. 1 – pages 224-226. The idea of using the card case display is adapted from Peter Kane’s ‘Royal Flush Flash’ from A Card Session With Peter Kane. The G.W. Hunter false shuffle is the one I use. It is described In Robert Giobbi’s Card College Vol. 2 – page 259/260.
Walt Lees Walt Lees has been a full time professional magician since 1966, working in a wide variety of performing outlets ranging from large theatres to children's birthday parties. Prior to that he began his career in the early 1960's as a semi-professional, playing local social clubs and functions. In 1969 he moved to London and joined Ron MacMillan's International Magic Studio. (Martin was still at school in those days!) Working for Ron took him all over the British Isles and Europe, lecturing and demonstrating. He also edited the company's house magazine, Magic Info in its early days. Later he was to take over from Fred Robinson as editor of Pabular. During his period at International Magic, Walt surprised everyone by winning the Magic Circle's close-up competition in 1972. In 1990 he entered the British Ring's Shield Competition at Eastbourne for which he devised a comedy act under the name of 'Naffo the Fabulous'. As a result he was awarded cups for comedy, originality and overall runner-up. Mainly his role these days, when not performing, inventing or giving lectures is as the editor of Repro Magic's The Magician magazine, a position he has held since 1984 when desperate for a decent editor, Geoff chained him to the typewriter! And there he will stay until a decent editor arrives.
WalCardlet Walt Lees One of the problems with most versions of the Card in Wallet is that there is often a fumble as the magician struggles to load the palmed card into the wallet, while extracting the latter from his pocket. On the other hand, with no-palming versions, the wallet has to come into contact with the pack at some point. There is nothing wrong with this if the performer's handling and presentation are well choreographed. But I wanted to be able to remove the wallet cleanly from my pocket with an obviously empty hand, and then stress that it never goes near the pack. What follows is my attempt at a solution. The wallet itself is the old-fashioned full-sized variety. Cut a slit in the back as shown in Fig. 1. This should be long enough for a card to pass freely through, sideways.
Fig.1
Walt Lees
Begin with the wallet in any pocket from which it must be removed by the left hand.
Working 1. Before you start, palm a card in the right hand. Pass the pack to a spectator to have it shuffled. While this is being done, the right hand removes a pen from one of your pockets and holds it, to help cover the fact that it is also palming a card. The card should be full palm – back of card against palm.
2. When the pack is returned, take it in your left hand and extend it towards another person with the request that he or she turn the top card face up and sign it - handing them the pen. Let it be apparent to everyone that this card is genuinely the one which finished up on top after the spectator's shuffle — in other words, do not bring your right hand to the pack for any reason, e.g. squaring up.
3, Now comes a card vanish based on the Rub Away move described in Expert Card Technique. Bring the left hand to the centre of the table and begin to thumb off the face-up card (Fig.2). At the same time, the right hand covers it and pretends to lift/slide it off the pack (Fig.3) — slightly contract the fingers as though gripping it. In fact, under cover of the right hand, the left thumb draws the card flush on top of the pack and the palmed indifferent one is released to cover it. The left hand moves away with the pack, while the right flattens on the table as though over the card (Fig.4). Gently rub the right hand on the tabletop and after a few moments open the fingers. Raise the hand and show that the card has gone. This is a very effective vanish when well acted.
Fig.2
Fig.3
Fig.4
Pause to let the impact register, then suggest that some people think the card has been sneaked back into the pack. As you say this, spread the pack face up between your hands as though to emphasize the point. Then, as you square it, get a left fourth-finger break above the lowermost two cards (the signed one and the indifferent card which covers it).
4. Continue by saying that before people jump to conclusions about where the card might have gone, you have something to show them. Pass the pack to your right hand, which takes it in a Biddle Grip. At the same time, the left fourth finger swivels the two cards below the break to the position shown in Fig.5.
Walt Lees
Fig.5
The back of the right hand screens them from the audience. Letting everyone see that the left hand is now empty, withdraw the wallet and lay it on the table towards your left. Point out that the wallet goes nowhere near the pack. As you say this, the right hand passes the pack back to the left, which takes it face up in a dealing position, and at the same time the two lowermost cards are bottom palmed in the left hand. The fact that they are angled makes this extremely easy and imperceptible. I have fooled many wellversed card men with this steal. [PD note: including Fred Robinson, who adopted this move and developed a further technique with it]
5. The right hand now pointedly picks up the wallet, while the left turns over and quietly deposits the pack face-down on the table. The right hand places the wallet into the left hand, where it covers the two palmed cards. Flip the wallet open and with the right fingers reach inside, poking them through the slit. The left fingers, meanwhile, hidden by the wallet, adjust the two cards so that they line up with the slit. The right fingers then engage the signed one (uppermost card) and pull it into view as though extracting it from the rear compartment. Pass it to the person who signed it, to verify its authenticity. As attention focuses on the card, flip the wallet shut and take it in your right hand, clipping the indifferent card against the underside. The left hand retrieves the pack, turning it face up. The right then drops the wallet and indifferent card onto it, and once free, takes back the signed one to display it.
No-exchange Do As I Do Walt Lees I have always been interested in versions of Do As I Do that do not require the packs to be exchanged. The following one should not be dismissed on account of its simplicity. It has fooled quite a lot of people whom I would have expected to spot the method. The only requirement is two packs of cards — the colours of the backs are immaterial.
Working 1. Allow a spectator to shuffle one pack, while you do likewise with the other. In the process, sight your bottom card and bring it secretly to the top, unless you have a better way of knowing the top one! This is your Key Card.
Walt Lees
2. Explain to the participant that you are both going to look at a card in each other’s pack. So show the assistant how to hold up the pack in readiness for a standard Spectator Peek. You now pretend to peek a card in the spectator’s pack while he or she genuinely looks at one in yours. (It is important that you use a proper Spectator Peek where the person themselves opens the pack somewhere and notes the index of a card. Do not be tempted to resort to a Say-stop method while riffling the corners. This will not be convincing in the context. A lot of magicians are a bit nervous about the Spectator Peek because it is not something that can be practised in private. It must be learnt on real people in a performing situation. However, it is a very easy sleight. If you have never tried it, trust me, you will succeed on your first attempt. The points which guarantee success are: i) Hold the pack in a dealing grip level with the spectator’s chin and not vertical but sloping between sixty to eighty degrees. The combination of these two factors forces the person to bend the cards quite severely in order to look at one. ii) When the spectator opens the pack, push it lightly against his or her thumb or finger. This will widen the gap at the inner end even more and make it easy for your left fourth finger to get a break immediately beneath the selection. iii) After the spectator has let go, casually enquire: “Did you see one?” as though you are unsure.)
3. Once the person has picked a card and you have pretended to, each withdraw your packs. Invite the assistant to do exactly as you do. First cut off half the cards above the break you are holding and drop them face down on the table. Next cut to the break and drop these cards on top of the first pile. This has placed the spectator’s selection immediately above the Key Card. Continue cutting off small packets, until the entire pack is on the table. The other person carries out similar actions but does not, of course, hold a break or control any cards.
4. Each pick up your packs; then instruct the spectator to remove the duplicate of the chosen card from his or hers and lay it face down on the table, while you do the same with yours. In fact you simply look for the Key Card and pull out the one immediately above it.
Anthony Brahams Anthony Brahams qualified as a Charted Accountant and spent many years in retailing, all the time partly working as a magician. The Cabaret and Trade Show elements he now only occasionally performs, Close-Up being his main interest. For 12 years now his work time has included the production and publishing of books on magic. The Fred Kaps books, Currency, Purse and Cups and Balls were first, followed by Ken Brooke's Magic Place which he compiled for publication by L&L, as he did Come a Little Closer. All these were designed and laid out ("Desktop Publishing" ) by him as were the other books he published as The Cairn Press: Rovi, Magic from Maui (Carl Andrews) , Forty Years at the Forks (Karl Norman), Close-Up Elegance (Davide Costi), A Last Look at (Al) Leech, Rara Avis-from the Notebooks of Jack Avis. His main influences in magic are Dai Vernon, Eddie Fechter, Slydini, and Jim Ryan and, from their books, Al Leech and Paul LePaul. There are more not remembered! The most memorable experiences were his first visit to Fechter's FFF Close-Up Convention as he spent a considerable time with Eddie. And the Monday Nights at the Magic Circle in the 1970s when after an hour or so in the Reference Library with Jack Avis he went to the Malborough Arms pub with Fred Robinson, Eric Mason, Bob Read and others. He has recently been impressed by the works of Ascanio (no surprise), hence his contribution.
AA (Anthony's Ascanio) Anthony Brahams
What follows is a simple and neat handling for the Ascanio Spread that results in an even spread without any jogging, or other manoeuvring of the cards, or the block. Let's assume you have five cards and you wish to show these as four - hiding the middle card. For this description, we will use four Kings with any random card in the centre position.
a) Hold the packet face up in the left hand as if for dealing. b) Bring the left hand over to grip the packet from above, fingers at the front and thumb at the inner end. As your hand approaches the packet, your left thumb pushes over the face card of the packet to the right (Fig.1).
Anthony Brahams
Fig.1
c) As soon as your right hand has a hold on the cards, the base of your left first finger slides the lowermost card to the left (Fig.2), then your second finger-tip contacts the second-bottom card and both cards are slid as a unit further to the left (Fig.3).
Fig.2
Fig.3
This results in a four-card spread - the extra card is hidden behind the second card from the face (Fig.4).
Fig.4
The whole sequence is done in a fluent action - first, the face card is pushed to the right second, the rear two cards are slid to the left. The emphasis is on being casual.
Lewis Jones Lewis Jones graduated in Modern Languages at Cambridge University. Wrote radio drama and short stories for the BBC. Spent ten years as an educational broadcaster in Singapore. Became a close friend of mathematician and magician Tan Hock Chuan (who always performed in striking mandarin costume). Another magical influence was the Great Wong, who could construct any prop you described to him. A few years ago Lewis was made an honorary member of Singaspore’s IBM group (Ring 115). For a number of years, he scripted science series for the BBC. He now writes a regular column for Skeptical Briefs, the newsletter of the American periodical Skeptical Inquirer. "For many years, I had weekly card sessions with Jack Avis. These days, I’m privileged to be part of a monthly evening session with a few fellow magicians at John Derris’s house. In the last year or two, Jack Avis, Bernard Weller, and Alex Elmsley have left empty chairs." The author of some dozen books on card magic, Lewis continues to create miracles and can be contacted at:
[email protected] Check out Lewis's books here: http://www.hutch.demon.co.uk/lewis/index.htm
Book of words Lewis Jones In Max Maven’s effect “Autome,” a few members of the audience jot down different page numbers on a blank card. Without looking at the list, you hold it up and show it to someone who has been holding a novel. He makes a mental choice of one of the numbers, then turns to this page in the novel, and concentrates on the first line or sentence. You reveal the content of the sentence. I have never been happy with some of the curious restrictions involved in this type of effect. For example, why make a selection among numbers when your real targets are words? And once an entire page has been chosen, why limit the choice to the first line (or, in the case of some performers, the first word only)? But there were other anomalies that I would gladly do away with. Why use a method that allows you to merely hold up the card for the spectator to see, rather than allowing him to take the card into his own hands? Why use a switch that calls for a break and half-pass, when all the heat is on your hands? What follows is my attempt to make the effect as simple and direct as possible, without losing any of its impact.
Lewis Jones
Set-up Decide on how many spectators you’re going to ask to contribute words. Suppose you settle on six. Choose a dictionary. (A Scrabble dictionary makes a good choice, because of the large print and simple definitions.) Now choose six words that will give you ample opportunity for strong visualisation and colourful associations. Two of these words should be near the beginning of the dictionary, two about the middle, and two near the end. And for further variety, have each word begin with a different letter. Suppose you decide that the two letters near the beginning will be B and C, the two letters near the middle will be J and L, and the two letters near the end will be T and W. The words beginning with B, J, and T should be on a left-hand page, and the words beginning with C, L, and W should be on a right-hand page. Suppose your chosen words are banjo, cat, jacket, ladder, train, and woodpecker. Notice that the words you choose should be reasonably unambiguous, without multiple meanings. With a word such as “marble”, for instance, it would not do for you to claim to be receiving impressions of the little glass spheres used in children’s games, if the spectator was in fact visualising Greek statues, or expensive flooring material. You’ll also need a small packet of blank business cards. These could be white, but I’ve discovered that you can also get sets that come in a mixture of various colours (some cards are red, some are blue, some are yellow, etc). In what follows, I’m going to assume you have one of these coloured sets, because it allows for an extra convincer. Take any pair of cards of the same colour (say, red). On one side of one of these cards (using the same pen you intend to use in your performance), write the numbers 1 to 6 down the lefthand side. (This is so that no one will be able to scrawl words that are randomly spaced, or in such large writing that there is not enough room for others to write.) Then write each chosen word in a different handwriting, and in a random order, with one word opposite each number. Example: 1. cat - 2. woodpecker - 3. jacket - 4. train - 5. banjo - 6. ladder. Your card would look something like Fig.1.
Fig.1
Place this red card, writing side down, on the table, and drop the other red card of the pair on
Lewis Jones
top. Do the same with a pair of another colour (say, blue), and drop this blue pair on top of the red pair. Repeat with other cards until you have used up all the possible colour pairs. Eventually you will have a small packet in which each pair of cards is the same colour: the upper card of each pair will be blank on both sides, and the lower card of each pair will have your numbered list written on the lower side - something like Fig.2 but with the cards squared.
Fig.2
Shuffle all the remaining cards, so that the colours are well mixed, then drop your prepared group of pairs on top. Have your pen ready, and make sure the dictionary is to hand. You’re ready to go.
Working 1. Hand the dictionary to someone at the left end of a row, and encourage him to browse through it. Explain that you’re going to ask a few different people to think of any word.
2. Ask someone at about the middle of a row if he would mind taking part. Spread the packet of coloured cards as you say, “ I don’t know if you have any particular preference in colours. What do you fancy? Red? White? Blue? Yellow? ... “ Suppose he opts for yellow. Look for the first yellow pair (the nearest to the top of the packet), then lift off all the cards above it, turn these over, and put them on the bottom of the packet. (This means that from now on, you will never have to worry about flashing writing on the bottom card, because it will always be blank.) Close up the spread, leaving the packet in the left hand. Your right first and second finger tips drop on to the near end of the top card, and your left hand draws the rest of the packet away from you, leaving the top card held between your right finger tips above and thumb below. From now on, you will use this same move whenever you need to remove the top card. This exact handling serves to prime your audience to accept the same handling later, when the action will be less innocent.
Lewis Jones
3. Hold up the yellow card and ask the spectator, "Any special reason for choosing yellow?” The real purpose of your action is to let everyone see the colour, and to be able to freely flash the top of the packet, showing a blank card. Replace the card on the packet (in order to free your right hand to take out the pen), but the card should be injogged by about half its length. Ask for the spectator’s initials. Suppose they are W D. Write these initials on the visible portion of the second-top card, then pause and ask, “What does the W stand for?” Suppose the answer is William. Resume writing, and repeat the initials on the top card as you say, “OK, William. This is going to be your card.” Flourish the card, flashing the initials. Turn the card over, and replace it on the packet. Openly write the numbers 1 to 6 down the left hand side of the top card. “Here’s what I want you to do, William.”
4. Hand him the pen, then hand him the card. (From now on, you’ll have to keep the packet of cards tilted slightly towards you, because the new top card now shows the duplicate copy of William’s initials.) Explain that William is to think of any word that will be familiar to everyone in the audience, and that will be in the dictionary. He is to write that word against any of the six numbers on the card, then turn the card face-down. He passes both pen and card to anyone else, who does the same. This is repeated until six people have entered a word on the card. While this is happening, your left thumb eases the top card of the packet towards you, leaving it injogged. Take the signed card from the final helper, keep it face-down, and drop it on the packet in your left hand, square with the rest of the packet. The injogged second-top card is still projecting slightly towards you. Retrieve the pen and drop it in your pocket. Your right hand uses the now familiar action to apparently remove the top card, but this time, it is the injogged portion of the second-top card that is taken between your right finger tips above and your right thumb beneath. Your left hand draws away the remainder of the packet, leaving the switched card held between thumb and fingers of your right hand.
5. Move immediately to the spectator with the dictionary. “I want you to take William’s card, and look at the words everyone has written. Choose any of those words you like. You don’t have to tell us which one it is. I want you to find that word in the dictionary. Then push William’s card anywhere into the dictionary, out of sight.” As soon as he turns to the necessary page, you can easily see from across the room whether he is consulting the beginning or middle or end of the book. This reduces his choice to one of two words. Ask him to look at the definition of his word, and try to visualise it. When you see which page he is examining, you know the word. For instance, if he has opened the book at about the middle, and is looking at the left hand page, he has chosen (in this example) the word jacket. If you have any doubts about the direction of his gaze, ask him to place a finger on the word. This will settle the matter. After you have divined the chosen word, retrieve the dictionary. This automatically gets the force card away from inquisitive hands. Now, do your stuff.
Lewis Jones
Pokerface Lewis Jones This harks back to the Dunbury Delusion, via Steve Pressley’s “Near Miss.” It’s the classic plot of the magician who seems to have got it wrong, but in the end gets it right.
Working 1. From a shuffled deck, a spectator chooses any card, which you then control to the top.
2. Spread the cards face-down, and ask the spectator to pull out any card to be used as a marker. Your story is that you need a freely chosen poker hand, and by placing the marker, the spectator will choose the spot in the deck where he wants the deal to be made. He turns the marker face up, and pushes it back anywhere into the deck, up to about half its length. Square up the face-down deck and put it down on the table, with the face-up marker card still sticking half way out at the far end. The spectator is free to change the position of the marker card if he wishes.
3. For some time now, I’ve been experimenting with ways of adding an extra card to a packet, without just laying the packet on top of the deck and then taking it off again for no particular reason. In case you’re wondering, laying the deck down on the table is a necessary lead-in to the handling that follows. a) Your right hand picks up the packet above the outjogged card, and places this packet into your left hand (Fig.1). As your right hand reaches for the face-up marker card, your left hand picks up a little finger break below the top card of its packet.
Fig.1
b) Your right hand takes the face-up marker card and lays it in outjogged position on the deck. Then your right hand picks up five cards from the top of the tabled packet, one by one, and drops each card on the left hand packet, square with the deck. There should be no question in the spectator’s mind that exactly five cards have been transferred, and that they now rest above the outjogged marker (Fig.2).
Lewis Jones
Fig.2
c) Your right hand now takes hold of the near right corner of the upper packet between thumb above and fingers below. At least, that is what appears to happen. In fact, your right first finger slips into the break, as the thumb drops on to the near right corner. Hold on to the packet while your left hand draws forward the lower packet, taking the face-up marker with it (Fig.3). The marker drops on to the moving packet. Your left hand drops its packet-plusmarker on to the tabled deck, then flips the marker face down.
Fig.3
Your right hand remains motionless, and is still holding its packet at the extreme near right corner between thumb below and two fingers above. This is a very open hold, and it doesn’t seem possible that anything can have been added or taken away, using such a grip. But the chosen card is now on the bottom of the packet, bringing its total to six cards.
4. Take the packet into position for an Overhand Shuffle, and shuffle off what appears to be five cards, one at a time. The final “card” is of course a double. Turn the packet face up. Your right hand then holds it from above in Biddle position. Your claim is that you will be watching the spectator’s reactions as you deal off cards of different colours, suits, and values. These reactions will inevitably lead you to estimate the card he is thinking of.
5. Draw attention to the face-up card on top before your left thumb peels it off and flips it face down on to your left palm. Do the same with the next three cards, and then the last, which is really a double (with the chosen card showing). After this double has been flipped down, it is now second-from-top in the face-down packet of six.
6. You are now going to reject cards one at a time, by dropping each discard on to the tabled deck. Reject the top and bottom cards first, pointing out that you didn't get any reaction at all on these. Your spectator thinks you have just discarded his chosen card, but caution him to keep a pokerface and give you no clues. Hold the remaining four cards as three, still in Biddle grip. Your left fingers slide out the bottom card, then the next-to-bottom card, while your right hand holds on to the double as if it
Lewis Jones
were a single. Show the face of the double, then the faces of the two singles. Show some enthusiasm for the face card of the double, making sure you remember the identity of this card. Suppose it’s the 3 of Hearts. Drop the two singles face up on to the face-up double, then turn the packet face down and pause for second thoughts. Decide that you’ll go for your first choice. Drop the top card (apparently the 3 of Hearts, but in fact the chosen card) face down on the table. On no account mention the name of this card. Back to Biddle position. Your left fingers slide out the bottom card of the remaining 3-card packet and show it, and your right hand turns the double face up. Reject the double by dropping it on the deck, then appear to have some doubts, and make as if to exchange the remaining card for the tabled card. Then decide against it, and drop the held card on the deck. “No, I think I’ll stick with the three of...” (lift a corner of the tabled card so that you can openly glimpse it) “...Hearts.” You’re now in a position to take any bets or assurances about whether you’ve made the right choice. Have the chosen card named, then invite someone to turn the tabled card face up. Take any money and run.
Andy Nicholls Andy works full time as a trainer for a large mobile phone company where he gets the chance to try out his material on new recruits. He sees himself as more of a thinker than a performer though and enjoys working out solutions to card problems and toying with effects. He has a large library of books he regularly dips into for inspiration which he has amassed over his 8 years of interest in magic. He lives in Cheshire with his wife and new born baby.
Kings 'n Aces Andy Nicholls This is based on a trick of David Solomon's called Three Indicators (Solomon's Mind) and makes use of John Bannon's 'Discrepancy City' display from Impossibillia.
Set-up From top of the deck: Ace of Spades, King of Spades, red Ace, Ace of Clubs, red Ace, King of Clubs, King of Hearts. The King of Diamonds is in a shirt pocket.
Working 1. The patter follows a cheating theme as you explain how card sharps switch cards. I start by saying how cheaters use Aces way too often and deal the Ace of Spades from the top of the deck face up to the table. I say that Aces are far too obvious and that Kings are better as they arouse less suspicion. I then deal the King of Spades face up alongside the Ace.
2. Tell the spectator that the remaining three Kings are on top of the deck in position for the demonstration. Place the King of Spades face up on top of the deck and spread over the King and the next three face down cards. Square the spread taking a break below the three face down cards as you patter and gesture. I find a good excuse to do this is to re-position the Ace on the table by moving it slightly. Re-spread the cards taking the three face down cards above the break as one aided by the left hand as it takes the cards in Biddle grip. Spread over another two cards singly underneath to show three face down cards below the face up King (Fig.1). Square all of the cards and lift them off the deck in Biddle grip (Fig.2). (The top six cards of the deck are taken as four).
Fig.1
Fig.2
Andy Nicholls
3. Turn the packet over and perform an Elmsley Count, outjogging the face down card to show three Kings and the face down King of Spades. Remove the face down card and flip it face up onto the top of the packet to display the four Kings (?) keeping the packet squared. This is John Bannon's "Discrepancy City" idea. Turn the packet over and deal the top three cards, miscalling them as Kings, onto the table. Rotate the remaining cards in the packet to show the King of Spades but do not draw attention to its suit and only briefly flash it as there will be a discrepancy later. I perform this rotation by the corners fairly briskly and place the packet squared onto the deck saying that the one remaining King goes onto the deck. Table the deck to the side.
4. Patter that although Kings are less obvious, you still like to use Aces just to be sure. As this is said pick up the Ace of Spades and use it to flip the three face down cards over to show that the Kings have changed to Aces.
5. Patter about the disappearance of the Kings and show the one you placed on top of the deck earlier by taking the top card from the deck. There is a discrepancy here as this will be a different black King to the one shown to be placed on the deck earlier. Table the King and say that you will re-produce the other three Kings. I false cut and then perform a Benzais Spin-out (Best of Benzais) and turn the card over to show a red King and place it face up onto the black King on the table. I false cut again and produce the next King by firstly using the right thumb to out jog the top card slightly and then using the right index finger curled around the front of the deck to pull and snap the card face up below the deck. Place this on top of the previously tabled Kings. For the final King, lift up half of the deck and dribble the cards back onto the deck whilst holding it in mechanics grip. Ask the spectator to say stop. Stop when asked and show the face card of the remaining cards in Biddle grip and act concerned that it is not a King. Patter that you will have to find it the easy way and turn the deck over then spread through it looking for the King. This shows that there are no further Kings in the deck. Suddenly remember that the King is not in the deck as, by habit, you had stolen it out and placed it in your pocket. Table the deck and clearly show your hands empty before going to your pocket and removing the King sleeping there since the start. Use this red King to scoop up the tabled Kings (placing it to the bottom) and end with a display of the Aces and Kings.
Cop Out Andy Nicholls This is similar in plot to a David Regal trick called Carried Away from Constant Fooling (Book 1) both David's and my method use a form of transfer move but the handling and method is different. I sometimes use this trick to follow Kings n' Aces (see above) continuing the cheating by switching cards patter.
Andy Nicholls
Working 1. Begin by removing the four Kings and four Aces from the deck and placing them in one face up pile on the table with the Aces on top of the Kings. The order of the suits is not important.
2. Have a card freely selected from the remainder of the deck by a spectator, noted and tabled (the card can be face up as it doesn't really matter if you see it).
3. Pick up the Aces and Kings and spread them (Aces on top of Kings) to display the cards. Square up the packet, getting a break above the lower two cards (Kings). Transfer the cards to Biddle grip moving the break to the thumb. Peel off the top Ace into dealing position followed by the next. As the third Ace is taken, also contact the two Kings below the break taking them along with it, finish by pulling the last Ace on top of all. Rotate the remaining two Kings face down and place them slightly spread onto the table masquerading as all four Kings. (I do this one handed as I direct attention to the other hand holding the Aces).
4. Ascanio Spread the in-hand packet to show four Aces, removing the three-card block and placing it to the bottom of the packet (Figs 1 & 2).
Fig.1
Fig.2
5. Buckle the bottom two Kings and insert the selection face down into the break above the Kings. Rotate the packet to flash the face of the selection to show it is in the centre, before pushing it square obtaining a break above it at the same time. You now perform a transfer move (sometimes used to load a card on top of a card case. Also see Jerry Sadowitz' "Walkabout" in Alternative Card Magic for a packet-add-on use) which secretly transfers the cards below the break onto the King packet on the table. This is done by rotating the left hand palm down and adding the cards square onto the King packet as it is scooped up (Figs 3 & 4). Note, that cards do not need to go into a full Gambler's Cop. So long as the packet is held in a deep dealing position, the hand can simply turn, taking and adding the cards, without any further adjustments. As the King packet is scooped up, ensure that the added cards remain squared to hide the reversed selection when the hand turns palm up again.
Andy Nicholls
Fig.3
Fig.4
As the King packet is scooped up, table the Aces at the same time in front of the spectator directing attention towards this packet and away from the Kings. Ask the spectator to place their hands on top of the Ace packet as it is tabled to aid the misdirection.
6. Ascanio Spread the King packet face up to show only four cards, hiding the selection. Separate the Kings by pulling out the double into your right hand (dealing grip) and then counting off one more King on top. With apparently two Kings in each hand, you now carry out a casual display/convincer to show four face down cards: Using the thumbs of both hands, move the top cards forward and back - the right hand card slides over the double, which remains square (Fig.5). This is the Stencil Display by Bob Stencil. Conclude by placing the left hand Kings beneath the right hand Kings, thus centring the selection again.
Fig.5
7. Wave the face down King packet over the spectator's hands and spread it sharply to show a face down card in the middle of the Kings. The spectator can now examine the Aces to see that the card has vanished.
End Note Sometimes I'll delay the appearance of the King by turning the King packet over and spreading the top card to the right and then back spreading the lower two cards (a kind of Ascanio Spread but leaving the cards spread the same way and hiding the reversed selection). I then grip this spread with my fingers below and thumb on top. The tip of the left middle finger contacts the hidden card (lower card of the double) and pulls it sharply to the left causing the reversed selection to slide into view. This move used with a wave of the cards creates a nice sudden appearance of the selection in the centre of the Kings.
Jamie Badman Jamie retired from the SAS ten years ago after which he became the president of a major investment bank. During this time he cavorted with the social elite and on the side, worked his way through each of the Spice Girls (except Scary - even Jamie has some standards!). One morning, he woke up between the silk sheets of his penthouse apartment, stared up at the ceiling and wondered... what's it all for? That bright flash of revelation caused Jamie to forego all his worldly goods except for a deck of cards, with which he continued to toy with constantly. His contribution here and in several other publications serves as a lesson to all aspiring magicians - don't give up your day job - it's almost certainly better than this grisly alternative! Jamie's Website: http://www.underground-collective.com - Defining Magic
Call as Ace Jamie Badman
Effect Four Aces are shown. The magician places the cards under the table then brings them out covered. He has an Ace named. That Ace is cleanly shown to be the only face-up Ace in the packet! Not only that but it has a different coloured back! Then another Ace is named - now it has an odd back from the others. Finally another Ace is named - now all the other Aces have the odd coloured back and the named Ace is the only one with the original back! And all with just four, ungaffed cards!
Set-up From back to face: Red-backed AD, Red-backed AH, Blue-backed AS, Blue-backed AC.
Working Phase One - Named Ace Reversed 1. Spread the Aces face up. Ask the spec to think of one of them.
2. Take the Aces under the table and turn the top two (the black Aces) over on top of the red Aces. Hold the packet between your hands 'prayer' fashion and bring the hands back out. Hold the hands so that the left palm is facing upwards and the right palm downwards. Have the spec name their Ace. If they name a red Ace, lift the right hand. If a black Ace, remove the
Jamie Badman
right hand as you perform a Vernon Fist Flourish Variant to reverse the packet (Fig.1), ensuring that the right hand doesn't move away too soon (you don't want to expose the other side of the packet!).
Fig.1
Now take the packet into left-hand dealing grip. If the card named was AC or AH: Carry out a Jordan Count to show it is the only Ace that is face up. Keep the last card of the count in your right hand and move in to the 'Clean-Up of the Jordan' section. If the card named was AS or AD: Carry out an Elmsley Count to show it is the only Ace that is face up. Outjog the face-up card during the Elmsley. Move on to the 'Clean-Up of the Elmsley' section. Clean-Up of the Elmsley - Bonus Effect! With this outcome, you get a 'bonus' effect: Strip out the face-up card from the packet with the right hand. Turn the card over to show it has a different coloured back from the others! Buckle the bottom card of the left hand packet and insert the right-hand card above it about half-way. Push it in all the way but at the same time, contacting the inner short edge of the two cards above it. With the right hand middle finger; like a Christ/Annemann Alignment; the upper two cards get pushed forward as the injogged card gets pushed into alignment with the bottom card. Grasp the two outer cards with the right hand and turn them end over end on top of the packet so you end up with four face-up cards. Clean Up of the Jordan With this outcome it is possible to show the back of the named card as per the Elmsley cleanup but the handling is more un-natural and therefore not recommended. If you wish to take this route, however, it's easy enough to work something out using Christ-Annemann Alignments, etc. Buckle the bottom card of the left-hand packet and insert the right-hand card above it about half-way. Push it in all the way but at the same time, contacting the inner short edge of the two cards above it. With the right hand middle finger; a kind of Christ/Annemann Alignment; the upper two cards get pushed forward as the injogged card gets pushed into alignment with
Jamie Badman
the bottom card. Grasp these two lower cards and turn them end-over-end so they finally finish face up on top of the packet!
Phase Two - Named Ace with an Odd Coloured Back Have an Ace named. Place this card on the face of the packet and ensure the card of the same colour lies directly beneath. Turn the packet over and do an Elmsley Count; outjog the odd-backed card... turn it over to reveal it is the named Ace. Replace it face down on the top of the packet. Turn the packet face up.
Phase Three - Named Ace with an Odd Coloured Back II Have a different Ace named! If it's an Ace of the SAME colour as the one you just showed to be an odd-colour then simply snap your fingers over it and turn it over to show it, too, is now the odd-colour. Turn over the other two aces and you finish clean. If it's an Ace of the OPPOSITE colour then casually re-arrange the packet (if need be) so that the Ace named is third from top. 50% of the time it'll be in the correct position anyway. This can be done cleanly with a simple separation of the cards, two in each hand as you emphasise the choice, then upon replacement, the repositioning is simple. Now comes a minor variation in handling of the 'Olram Subtlety'; this variation, I believe, was first conceived by Nick Trost: Push off the top Ace into the right hand, turn both hands palm down to show two backs the same. Turn the hands palm up, drop the right-hand card to the table and thumb the top card of the left hand card on top. Push the bottom card of the left hand packet into the right hand and turn that over too, to show it's the same colour back as the tabled pair. Finally, slowly turn over the remaining, named card to show it is now the only card of that colour.
Dominic Twose
forthcoming Best of Friends 3.
Dominic has been interested in magic since his older brother bought him the Royal Road as a teenager. His interest in magic took a giant leap forward after taking lessons with Fred Robinson, and spending every Monday evening with him in the Marlborough Arms. His thinking has been heavily influenced by Dai Vernon, Gordon Bruce and Terry Guyatt. He has contributed to Profile, The Crimp, The Magic Circular and the
He is the author of Remembering Serena (a novel featuring a magician), and photographs of various parts of his anatomy have appeared with nauseous regularity in the American quarterly Freaks of Nature.
Magic Cards Dominic Twose Assuming you are using a red deck, you will need two regular cards from a blue deck. These can be any cards; I’ll assume they are the Two of clubs and the Five of Diamonds. Take the duplicates out of the red deck. You can start with the blue-backers on the bottom of the pack, or you can store them in the left pocket. When you want to perform this effect, it is straightforward to gamblers palm them, and add them to the bottom.
Working 1. Comment how you got a pack of very clever magic cards for Christmas/your birthday. “They make card tricks so easy, us magicians will be out of a job.” As you speak, cut to get the cards to the middle and hold a break.
2. Riffle Force to the first card – the Five of diamonds – show the face of it, and use the Kelly/ Ovette move to control it to the bottom, while keeping a break between the two halves.
3. Execute a second Riffle Force on a second spectator, forcing the Two of Clubs.
4. Now you carry out a reversal of the Two of Clubs as follows: Hold the left half at a 45 degree angle. Hold the right half parallel with the floor a few inches above and to the right of the left half. With the right second and third finger twist the face card
Dominic Twose
to the right and free of the right thumb – as if about to do the Kelly/Ovette move (Fig.1).
Fig.1
Put the inner left corner of the Two of Clubs below the left little finger, but above the other left fingers, so it is clipped between the left little and third fingers (Fig.2).
Fig.2
Turn the left hand so its packet is also parallel to the floor and at the same time close your left fingers, reversing the Two of Clubs on top of its half (Fig.3). Square the two halves together.
Fig.3
[Note: While Dominic invented this move independently, he since discovered that Gene Maze had already created the same move and published it in Apocalypse, Vol 11, No 5, May 1988 (Ovette Reversal). However, there is a small, but important difference, in that Dominic employs a little finger wedge that offers better control of the card.]
5. “Normally finding one card is hard enough, but, until now, only a few magicians were able to find two. But now, with these new magic cards, it has become easy. Foolproof. I’ll show you what I mean. All you need to do is press this button on the back.” Here press on the back of the top card, on some portion of the back design that is round. The centre point of a bicycle back is sufficiently button-like for me. Spread through the cards to show that one card is reversed. “The Two of Clubs – was that
Dominic Twose
someone’s card?” The second spectator will agree it is his card. Put the cards above the Two of Clubs face up onto the table. “But even if you missed that, there is a back-up system. You see, not only is the card face up, it has also changed colour.” Turn the card face down to show the blue back. Pause a moment for a reaction.
6. Look up and say, “You really can’t go wrong,” Push the top card off and appear to take it in the right hand. In reality do a Bottom Deal – I use the Erdnase method, but the technique does not have to be perfect – the audience is responding to the effect and not looking for anything further. However, you do need to turn the left hand cards face up to hide the other blue-backed card. Drop these cards face up onto the tabled half.
7. Turn to the first spectator, saying, “But you picked a card too – what was it?” They will name the Five of Diamonds. “This is the real beauty of this new pack.” Push the button on the back of the blue-backed card you are holding, and turn it over to show it has changed into the Five. Give it to them to take a look. Wait to see if someone asks you about the Two of Clubs. If they don’t, the ending is the same anyway – spread the pack out face down to show the blue-backed card in the middle of the deck, and turn it over to show the Two. By dropping the two selections into the left pocket at the end, you are set to repeat at the next table – or the next year, depending on the frequency of your engagements.
Joker Guarantee (1992 revised 2005)
Dominic Twose This is a very quick effect, but like all good colour changes, generates strong surprise. While this will work with Bicycle-brand Jokers, I don’t know what other cards it will work with. To prepare, put the two Jokers on the face of the pack, the one with the guarantee (The Guarantee Card) being on the face. Ensure the Ace of Spades is in the middle of the deck. This can easily be achieved while chatting.
Working 1. Hold the cards face up between both hands. Draw attention to the wording of the guarantee card – “It always struck me as curious as to why you should have to send back the Ace of Spades.”
2. Drop the hands slightly and look at the spectator. Say, “Now I think I know why.” As you say this, palm the top Joker into the right hand – I use Vernon’s Topping the Deck. “You see,
Dominic Twose
as soon as you take out the ace…” Look back down at the cards and start to run through them, the right hand will naturally be underneath the spread, hiding the palmed card. When you reach the Ace of Spades, outjog it. Loosely close the fanned cards, and gesture to the face Joker with the right forefinger; “…the guarantee vanishes.” Pause, holding the left hand still, to let the vanish register.
3. With the right fingers, start to push the outjogged Ace flush. As it flushes, drop the palmed Joker onto the face of the deck – like Marlo's Misdirection Palm (Cardician) in reverse. Comment, “...but as soon as you put the ace with the rest of the cards, the guarantee comes back.”
The Rotating Hand Dominic Twose This is an off-beat, easy, straightforward effect that should bring a smile to the face of most people on a cold morning. The effect – that of rotating the hand through 360 degrees – is easily achieved, but the performer must be wearing coat and gloves. Heavy gloves which hold their own shape are to be preferred.
Working Assuming the feat is to be performed with the right hand, put the right hand glove onto the right hand, but back-to-front; that is, the little finger fits in the space for the thumb, and the thumb in the space for the little finger. The arm is held at the side, with the palm of the hand facing outwards. I suggest turning the hand clockwise to this position. Due to the back-to-front glove, the hand appears to be in normal position. The actual performance is to slowly rotate the hand through 360 degrees until the palm is again facing outwards. The illusion is effective because with the palm facing inwards, as appearances suggest, such a rotation would be impossible. If nothing else, this is one of the few sleight of hand tricks that can only be achieved with gloves on.
Justin Higham I became interested in magic at the age of nine after being shown the French Drop by a school friend. This soon lead to trips to Davenports, and a little later Martin Breese's Magic Lounge in Hammersmith, London. A visiting German card man performed 'Have you ever heard of?' from The Book of John [Mendoza], and I asked Ron Dowse if the trick was for sale. He smiled and told me it was done by sleight of hand! From that moment my interest switched from props and gimmicks to closeup magic. Meeting with people like Tim Gan, Ian Land, Stephen Tucker, Shiv Duggal, David Britland, and Paul Brignall gave me an accelerated entry into the arcane world of Passes, Elmsley Counts, and Through-the-Fist Flourishes. Lessons with Bobby Bernard for the Young Magician of the Year Competition (I came 8th in the penultimate round) taught me, among many other things, that presentation is as important as sleight of hand, while annual meetings with Ed Marlo taught me how to strip away extraneous moves and 'start from scratch' with regard to problem solving and creativity. I still dabble in magic as is evidenced by the following material. Teenage obsessiveness has given way to adult restraint, but the fire still burns and will never die until I do!
Clairvoyant Plus.... Justin Higham 19 November 2005
Back in 1990 I devised a location effect based on Ed Marlo's 'Cardician's Dream' (The Cardician, 1953), which in turn was based on Bob Hummer's 'Mindreader's Dream' (1952). This was called 'Clairvoyant', and published in Technomagic Extra No. 4, June 1991. The basic principle involved an alternating red-black stack, applied in the following way: If you deal any even number of cards to the table, place the deck on top, cut the deck, and Reverse Faro, then looking through either half will reveal an odd-colour block in the centre which is half the number of the cards originally dealt. To say this another way: any number, odd or even, when doubled, becomes an even number. E.g., 3+3=6. If you deal 6 cards to the table, place the deck on top, cut, and Reverse Faro, there will now be 3 odd-coloured cards in the approximate centre of each half. Note: To do a Reverse Faro you simply spread through and outjog every 2nd card (Fig.1 shows start of oujogging procedure), then strip out the outjogged cards.
Justin Higham
Fig.1
The way that this was applied was simply to have the spectator think of a card, and then deal twice the value of the card to the table: so if they think of the 2H they deal 4 cards, or the JC = 22. The talon is placed on top, the deck cut in half, and the cut completed. After a Reverse Faro, you quickly fan either half and sight-count the odd-coloured block in the middle to ascertain the value of the selection. Fishing reveals the colour and suit, after which you name the card or remove it from the deck. This idea has two main problems, one from an effect standpoint and the other from the method. Effectwise, what logic or reason can there be (other than performing an obviously mathematical card trick) for saying, "Double the value of your card and then deal that number to the table." The methodological problem was if they think of a high-value card, such as the KH (thereby dealing 26 cards to the table). This negates the quick sight-count which was one of the main features of the method - especially when compared to Vernon's 'Super Count Down' from Encyclopaedia of Card Tricks (which I only discovered nearly a decade later, and realised was a precursor to Clairvoyant. The Vernon effect was identical to my own except for one key feature: he did not use a R. Faro to expedite the counting of the dealt cards.) Over the years I devised and published many different solutions (see Roger's Thesaurus, Collected Card Notes, The Simulation of Miracles, and Dreamwork), but none of them solved either of the problems described above. Recently, Paul Gordon sent me a version of the original Clairvoyant (See Paul Gordon's "Half a Higham" in the Paul Gordon chapter elsewhere in this book), and also the idea of simply asking the spectator to think of any even-value card. They can deal this value, place the rest on top, and cut. After the R. Faro, looking through either half will reveal an odd-colour block. Doubling the number in this block reveals the selection's value. The 'double your number' problem was now solved! But a new one was created: why only think of an even-value card? It was in attempting to solve this new problem that the following three methods were devised. At the same time, the problem involving high-value selections was also solved when I realised that you are sight-counting only half the number that the spectator dealt. Even if they think of a King, you will only find the maximum number of 7 cards, which can be sight-counted very quickly. I will mention at the outset that in the following three methods you can dispense with the wand/ name/colour handlings if the spectator chooses to think of an even-value card. In this case they can simply perform the original Clairvoyant handling (described above), and after the R. Faro, you look through, count the odd-colour block, and double it (a la Paul Gordon) to get the selection's value. My own preference is to incorporate the wand/name/colour idea regardless of whether they choose an odd or even card. This is because the extra handling (a) throws up a smokecreen, and (b) allows you to repeat the effect in an almost identical manner each time.
Justin Higham
Clairvoyant Plus Wand I will leave the method and timing for the preparation of the deck to the reader, as it all depends on the performing conditions. One way or another (usually a Cull and Faro), the deck is set so the cards alternate red, black, red, black all the way through. It doesn't matter what colour the top card is.
Working 1. Table the deck face down and have them give it any number of complete cuts. Then say, "Which do you prefer: odd or even?" Of course, this is a slightly strange question, and if they hesitate say, "Just name one, then: odd or even." If they name odd, say, "Okay, please think of an odd-value card: any Ace, Three, Five, Seven, Nine, Jack, or King." (See below for the even-value handling.)
2. Have them pick up the deck (still face down), and while your back is turned they are to deal the numerical value of their card onto the table in a pile, one by one. They tell you when they have finished. Say, "I want you to remove the next card from the pack. Believe it or not, this card is a magic wand! Please can you wave the wand over the cards on the table for a few seconds." Let them do so, then continue, "And now, would you wave the wand over my head for a few seconds!" Again, let them do so. Then say, "Okay: please drop the wand card onto the tabled pile, and then place the rest of the deck on top. Square the cards up neatly, and then cut the deck in half and complete the cut."
3. Once the spectators is finished, you turn around to face the audience. Spend a few moments trying to 'mentally tune in' to the spectator, and then say, "You are thinking of a red card." If they keep a poker face, say, "Is that correct?" Whether they say yes or no, fish for the suit in the same way. At the end of this you will know the suit of the card. Say, "Keep concentrating." Pick up the deck and give it a quick Reverse Faro (In or Out), and pivot-strip the out-jogged section into the right hand. As if still concentrating on the mental vibes coming from the spectator, spend a few moments in silence 'weighing' the two in-hand halves. Then say, "It's in this half!" Gesture with either half (I habitually gesture with the left-hand half, but it makes no difference), and then table the other half. Flip the in-hand half faces toward you, and quickly spread through and sight-count the odd-coloured block in the middle. Double the number of cards in this block and then subtract one (this 'one' representing the wand card used earlier). The resulting number is the value of the selection. Because you already know the suit, you can quickly look through the in-hand cards for the selection. If it is there, remove and table it face down. If it isn't, square up and say, "Yes, I was right. Your card is there!" Smile for a few moments as if you are bluffing, and then just name their card. Casually Riffle Shuffle the deck while the spectator is in a mild state of shock.
Even Handling The procedure for when they nominate even is a little different. Say, "Okay, so think of any even-value card: any Two, Four, Six, Eight, Ten, or Queen." Let them do so, then instruct
Justin Higham
them to deal the value of their card onto the table in a face-down pile. This time they place the talon straight on top of the dealt pile, and THEN remove the top card of the deck to represent the magic wand. Have them wave this wand card over the pack, and then over your head. Have them replace the wand on top of the pack, cut the deck in half, and complete the cut. You will note that, in this instance the wand card serves no methodological purpose other than misdirection and presentation. Turn around, fish for the colour and suit, then execute the Reverse Faro and weighing procedure as described. Go through either half and sight-count the odd-colour block, which in this instance, simply doubling (without subtracting one) will give you the value of their selection. Remove or name the selection as before.
Clairvoyant Plus Name If you do not care for the wand idea, you may prefer this. (Cf. Jon Racherbaumer's 'WeeHours Cardician's Dream' from Dreamwork, 2004.) If they nominate odd, and after thinking of an odd card deal that value to the table, instruct them to then spell their name (if it contains an odd number of letters) or else the word 'magic', spell-dealing these cards on top of the first dealt packet. For example, if their name is Roger they deal 5 cards on top of the first dealt pile while verbally spelling, 'R-o-g-e-r.' If their name does not spell with an odd number of letters, and you do not want to spell 'magic', then use the name of the restaurant or place that you are situated as long as it has an odd number of letters. (If their name has an even number of letters, you COULD have them deal-spell this name onto the dealt pile and then use the magic-wand business. But the whole point of this version is to avoid the wand idea.) Have them place the talon on top, square up, cut in half, and complete the cut. Fish for colour and suit, then pick up the deck, Reverse Faro, weigh the halves, and then go through either half to discover the selection. In this instance you double the odd-colour block in the middle, and then subtract the number of letters in the name or word spelt. In this case, 5 letters for either 'Roger' or 'magic'. Reveal or name the selection as before. If they nominate even, after they have thought of an even-value card and dealt the value to the table, have them place the deck on top of this packet, pick the deck up again, and THEN spell-deal either their name/the word 'magic'/the place you are in (whichever spells with an odd number of letters) onto the table. They place the deck on top, cut in half, and complete the cut. Fish for the colour and suit, Reverse Faro, weigh, and discover the selection. As with the wand method, when they nominate an even value, the spell-dealing business is solely used as misdirection/presentation. It bears no relation to the discovery of the selection, for the simple reason that dealing ANY odd number of cards to the table is equivalent to cutting the deck. Of course, any excuse you can think of can be used to justify spelling their name or whatever, such as 'adding a personal element', etc.
Clairvoyant Plus Colour In this version you are probably asking the spectator to give away too much information at the start as to what type of card they are thinking of. However, I am mentioning it as a possible third method.
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If they name odd, say, "And name either red or black." Then say, "Okay, so think of any oddvalue red/black card." They deal the value onto the table, and then spell-deal either 'r-ed' (three cards) or b-l-a-c-k (five cards) onto the first dealt pile. They place the talon on top, cut in half and complete the cut, and then you turn around, fish for the suit, and Reverse Faro. Discover their card by doubling the number of odd-colour cards and then subtracting 3 if they nominated red, or 5 if black, to get the value. If they nominate even, again have them name red or black and think of an even red/black card, and then after dealing the value pile, they place the deck on top, pick it up again, and spell-deal 'red' or 'black' to the table, followed by placing the rest on top. After fishing for the suit and Reverse Faroing, go through either half and simply double the odd-colour block. The spelt colour, as in the other two methods, bears no relation to the number of odd-colour cards in the middle.
You could devise some form of mnemonic to remember that, when they nominate odd, the wand/name/colour card(s) are placed straight on top of the dealt pile; whereas if they choose even, the deck is placed onto the first dealt pile, and then the wand/name/colour cards are dealt. For example, 'odd-immediate' might help you to remember that the wand/name/colour cards are dealt immediately on top of the first dealt pile. The other way to remember is to realise that there has to be an even number of cards on the table before the deck can be placed on top. If they deal an even-value, all well and good. But if they deal an odd value, you know that they must then deal another odd card or cards on top to bring the tabled packet up to even before the talon is placed on top. Originally I disliked the 'wand' method, but now I think it is the best one, as it is less procedural than the others. Maybe the reader can come up with a better solution? My thanks to Paul Gordon for re-stimulating my thoughts and helping to solve a 15-year-old problem.
Paul Gordon Paul Gordon first got interested in magic in the late 1960's. His interest grew and in 1976, he joined The Sussex Magic Circle. He started contributing magic ideas to magazines, notably Abra, in 1979. Since then, his magic has appeared in The Conjuror, Onyx, The Budget, Abacus, LaBal, Genii, Magic, Precursor and Apocalypse. In 1993, he joined The Magic Circle and in 1997 he was promoted to AIMC. Since 1992, Paul has written over twenty books on card magic and a few biographies; subjects including Victor Farelli, Percy Naldrett & Edward G. Brown. Paul is a professional magician & entertainer. Aside from working for weddings, parties and corporate functions - he also tutors and lectures (worldwide) on the art of magic. Paul's website: www.paulgordon.net
The Eradicator! Paul Gordon This is an Out Of This World effect that doesn’t look like an Out Of This World effect. It should fool ‘those in the know’ and will most definitely fool those not ‘in the know.’ Out Of This World (Paul Curry) has been ‘varied’ by the world and his wife. I think, possibly, the finest routine is, naturally, Curry’s original; although Harry Lorayne’s ‘impromptu’ version (My Favourite Card Tricks) is my ‘impromptu’ favourite. The handling you are about to read is an idea inspired by something Roger Crosthwaite once showed me as a joke. It’s most definitely (in my opinion) the easiest of all Out Of This World modern variant handlings; but must not be presented as a red/black OOTW trick! Set the deck, from the top, like so: Ten black cards, twenty red cards and the remainder genuinely shuffled. If you can, start with a false shuffle (a Jog Shuffle would work well here) and a false cut or two.
Working 1. Flip the deck face up and casually spread through the bottom section (the bottom twenty) to subliminally show a shuffled/mixed deck. As you do this, say, “If I were to ask you to recall, at one glance, the positioning and layout of the cards, it’d be difficult. It’s all about observation and memory…” Square the deck and flip it face down.
2. Catch a break under the top eight, or so, cards and Double-cut them to the bottom. (You mustn’t cut more than ten, but estimate about eight. As you read and try this effect, you’ll see
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why this procedure is undertaken. Don’t feel the urge to somehow crimp the eighth card; it’s not necessary.) Spread over the top three or four cards (as before, a few trials will guide you here) and take them in the right hand. Turn the right hand over, revealing the cards (you should have two blacks, and one or two reds – depending on how many you initially Doublecut to the bottom and also as to how many you spread off) and say, “…It’d be difficult [continuing the patter line]…but, let’s try it though.” (Here, you’ve just subliminally shown a few more mixed reds and blacks.) Turn the right hand over (cards face down), return the cards to the deck and Double-cut the blacks (whether it be one, two or three of them) to the bottom. The deck is face down in dealing grip. Position check: From top; twenty reds, twenty-two mixed and then ten blacks.
3. Say, “I’m going to deal some cards into two face-down piles; left and right – at your calling. It’s up to you…left or right!” So, deal cards from the top of the deck into two piles (at the spectator’s behest) All you, the performer, need to do is to stop when twenty have been dealt. Most spectators will deal about seven to ten per pile – but, twenty in all. Say, “It’s unlikely that you can recall how many cards are in each pile. True? I could have counted them, or I could estimate how many are left in the deck I hold. But, if you had somehow dealt the piles evenly…that’d be quite clever; because you were simply concentrating on left and right. Yes?”
4. Here now comes a very easy Ed Marlo (Jinx) switch: Whilst holding the deck, peer at the rear of the deck (as if estimating, openly, as to how many are in the remainder) and secretly pull down with the little finger on, or about, the bottom eight or so cards. Catch a little finger break above the bottom eight or so cards – you don’t have to be exact, but try get seven, eight or nine Once again, try this trick and all the technical nuances will become clear to you.
5. Still holding the deck (and break) in the left-hand dealing grip, ask the spectator to pick up any one of the two tabled piles and ask him to count them, one by one, back onto the table. As the cards are being counted, the right hand picks up the other packet and performs the afore-mentioned switch, like this: The right-hand packet comes ‘over’ the deck (all the while you watch the spectator count his cards) and the packet is casually added to the top of the deck as the right hand immediately (but smoothly/casually) moves slightly forward with all the cards above the bottom break and table-spreads them, which leaves you holding, in your left hand, an eight-card (or seven, possibly nine) packet. That’s the switch. The switch is very bold, but it really works. It’s the kind of thing that needs practice [doesn’t everything] to get the timing smooth; but it really does look good. And, it’s easy!. Figs. 1 to 4 show the switch in, as it were, action.
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6. Say, “How many have you got? [Assume he says, ‘nine.’] Well, I’ve got…one, two, three, four, five, six, seven and…eight!” Here, you deal your cards next to his, counting aloud. You will either have the same amount of cards as him, or – obviously – you won’t. If you do have the same number of cards, play on it as you patter – "That’s darned good!" Either way say, “Pretty good (or ‘darned good’). But…how on earth did you know how to separate the reds and the blacks?” Here you flip both packets face up and spread them to reveal the situation. As they applaud, casually scoop up the ‘spread remainder of deck’, flip it face up and re-spread it (try not to spread the top ‘red’ block too much) to show a natural mixture of red and black. That’s it! I’m ever so pleased with this. It’s easy to do an in no way should look like ‘another’ Out Of This World trick. For laymen, naturally, that factor is irrelevant; they’ll be fooled anyway. But, for magicians – I think you’ll fool them and catch them unawares. As I said at the start, a big thank-you and credit to my old pal Roger Crosthwaite for starting me thinking along these lines.
Mystery of The Number Nine Paul Gordon This easy to do effect is based on a Jon Racherbaumer handling from the ‘Membership-only’ section of his website at www.jonracherbaumer.com. The trick is dated October 2005 and appears to be based on some Bob Hummer ideas. My handling eliminates a crimp, some placements and a sequence that involves the spectator handling the cards under the table. I’ve never been too keen on spectators handling cards under the table as they are apt to get the instructions wrong; deliberately or otherwise. From the face of the deck you need to set any nine-spot at the face followed by four other
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cards that total nine. For instance, from the face: 9, A, 3, 3, 2 and rest of deck. Suits are unimportant as are the order of the other cards. The nine, however, must be the face card of the deck. If you wish, set these cards on the top of the deck to give you leeway for jog shuffling and then Double-cut all five to the bottom prior to performance.
Working 1. Say, “I’m going to show you the mystery of the number nine, but before I do I would like you to choose a card.” Spread the face-down deck between the hands and have them choose a card. Once chosen and noted take it back and return it to third from top of deck using Marlo’s Tilt. As part of the ‘losing’ procedure cut a packet of cards off the top of the deck and perform a Straddle Faro Shuffle but before you coalesce the interlaced cards, lose the second from top card (i.e., the top one of the out-jogged section) to the centre of the deck by dragging it off with the fingertips of the left hand. This is an easy procedure that I first learnt about from reading Richard Vollmer’s "Earthly Powers" from Harry Lorayne’s Apocalypse. Position check: The selection is fourth from top and your five card set-up is still on bottom.
2. Say, “I’d like you to choose five cards randomly from the deck so I can show you the mystery of the number nine.” Here you spread through the face-down deck and have the spectator touch any five cards (which you out-jog) as long as they don’t touch one of the top four cards or one of the bottom five cards. (If you want to hurry this procedure, simply do the out-jogging on any cards you decide. I don’t think it matters too much as to whether you or the spectator does it.) As you out-jog the cards, catch a break above the bottom five cards with the left pinkie. Square the deck leaving the five cards out-jogged and still retain the pinkie break. Whilst pattering about five random selections, strip out (with the right hand) the five outjogged cards and switch them for the bottom five cards using Ed Marlo’s easy to do Jinx Switch as described before in The Eradicator. The sneaky thing about the switch here is that the selection is now ninth from top of the tabled deck.
3. Say, “I’ll give these ‘random’ cards an unusual mix. Watch this!” Here, you perform Harry Lorayne’s Reverse Faro Ending (Personal Collection) like so: Perform a Reverse Faro with the five-card packet (i.e., out-jog every other card starting from the second from top card see Fig.1). Strip out the out-jogged two cards and turn them over onto the remaining three cards. Repeat the Reverse Faro and once again strip out the two out-jogged cards (one is face up, one is face down), and turn them over onto the remaining three cards. Finally, repeat the Reverse Faro, strip out and turn over, but place the cards to the bottom of the remaining three card packet. Flip the packet over.
Fig.1
Repeat your patter about the mystery of the number nine and spread the packet to show a nine-spot face-up in the centre. Reiterate the randomness(?) of the five cards. Table the ninespot face-up and flip the remaining four cards face-up. Point out that the total of these cards
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also total nine. Say, “This is quite unusual … agree? But look, if you add the total of these four cards they too total nine. And … if you add nine and nine (the tabled card plus the total of the other four cards) you get eighteen. The digits of eighteen, that is one and eight, total nine. So the only thing left to do is to get you to pick up the deck and count to the ninth from top card.” They count to the ninth from top card, look at it and should hail you are a genius!
JR’s Twisted! Paul Gordon Jon Racherbaumer has a very nice effect on his website that entails using the Ace to Four of Clubs being openly mixed, and magically returning to sequence. I didn’t care too much for the last count though, so here are the results of my tinkering.
Working 1. Openly set the Ace to Four of Clubs, in order – with Ace at the face. Patter about the three different ways to mix the cards. First way is step two.
2. Openly place the Ace and Two to between the Three and Four so the order, from face, is 3, A, 2, 4. Flip the packet face down and do an Elmsley Count. Flip the packet face up and spread it to show the Ace to Four in sequence. Step three is the second way.
3. Now, upjog the Two and Three, remove and place to face of packet so new order, from face, is 2, 3, A, 4. Flip the packet face down and do a Jordan Count. Flip the packet face up and spread it to show the Ace to Four in sequence.
4. The last way to mix the cards is to switch the positions of the Four and Three, and then switch the positions of the Ace and Two. Do so. New order, from face is 2, A, 4, 3. Flip the packet face down and reverse-count, for real the four cards. But, as you do – catch a pinkie break under the top two cards; between the Ace and Four. Perform a magical gesture, and do a Paul Harris-style turnover (see Interlaced Vanish in 1st issue of Apocalypse) by flipping the top two cards face up with right hand (stud-deal style) as left hand flips bottom two cards face up. All four cards are in order.
End Note In practising this, I realise it's great to follow it with Vernon's Twisting The Aces (simply cut the packet in centre so new order is 3,4,A,2) and then Daley's Aces (same preset: 3,4,A,2); the technique I use in Card Magic Companion. You now have a 5-minute 3-trick act with four cards only.
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The Mystic Nine Paul Gordon This effect has nothing to do with Victor Farelli’s "Mystic Seven" (or Eight) ideas, but more to do with some Bob Hummer ideas that Ed Marlo worked on. See Marlo’s The Unexpected Card Book (1974) for more ‘nine’ thoughts. This whole routine is based upon the principle that if the spectator cuts of a packet of cards from ten to twenty, adds the two digits and then discards that many – he’ll be left with nine cards. But how can you be sure that they cut at least ten, and no more than twenty. Easy… have the deck cut into four piles. If they choose any pile, it will (if they cut fairly evenly) contain about thirteen cards. So, my routine: Set the four Nines on top of the pack in CHaSeD order – clubs on top.
Working 1. False shuffle the deck and set it on the table. Ask the spectator to cut it into four ‘evenish’ piles. (Each pile must contain at least ten cards, but not more than twenty.) You then ask them to pick up any pile. If he picks up the original top quarter, proceed as in Outcome A. If he picks up one the other piles, proceed as in the preferred outcome, Outcome B. Outcome A Ask him to deal his packet, in rotation, into four piles. He then glimpses the bottom card of any pile and remembers it. He then scoops up the whole pack, shuffles it and you can instantly name his card. How? Well, all you do is to keep an eye on where he starts dealing. You know the nines are in CHaSeD order, so just see which pile he chooses. Easy (and pretty good), but the preferred outcome follows. Outcome B Ask him to pick up his packet and secretly count the cards. As he does this, collect the other three tabled packets so that the nines are back on top. Ask him to add the digits of his number and remove that many from the packet. (E.g., His packet contains 15 cards. 1+5=6. 15-6=9.) So, he removes 6 cards and as he does – you simply raise half the deck for the 6 cards to be lost to centre.
2. Reiterate that you couldn’t have known how many cards he started with, and you certainly couldn’t know how many he now has. (Not true!) Ask him to count his remainder. He’ll have 9 cards. Say, “Please now think of the card that corresponds to that value, and also think of any suit. In other words, this is a random way of getting you to think of any card in the deck. Even you were, and are, unaware of what you could have ended up with!”
3. Using equivoque, you now ascertain the suit and therefore, the card: Say, “You are thinking of a red card?” If they say yes, say – “A heart?” If they say yes, say – “The Nine of Hearts!” If they say ‘no’
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to the suit, say – “The Nine of Diamonds!” If they say ‘no’ to the colour of the card, say – “A club?” If they say yes, say – “The Nine of Clubs!” If they say ‘no’ to the suit, say – “The Nine of Spades!” As you receive the applause, take back his nine cards and casually drop them on top of the deck. Then, you lose, by Double-cutting, one, two, three or four cards to the bottom depending on what suit his nine is. It’s an easy mnemonic: As the nines are in CHaSeD order, lose one card for clubs, two for hearts, three for spades and four for diamonds. You then ask him to count to the ninth card from top – it’s his! End! Please don’t be tempted to produce the other Nines; it’s gilding the lily!
Half a Higham Paul Gordon In an effort to fool Roger Crosthwaite with something from one of his own books, I performed a variation that did fool him; fooled him well and good. In Roger’s Thesaurus (1994) there is a wonderful Justin Higham effect called Super Clairvoyant. To my way of thinking, the set-up – although easy – makes the effect rather un-impromptu and the Reverse Faro with a full deck is not ideal. I thought, can this be done with half a deck? It can. The non-Reverse Faro handling – described at the end of the write-up – is fun, too. See the Justin Higham section in this book for further thoughts by Justin on his original Clairvoyant effect.
Working
1. Have a deck shuffled and returned. Spread through it, faces toward you, and toss, casually (face down) to the table, thirteen reds and then thirteen blacks. Do it in a, “Yes…these will do…and these…” fashion.
2. Pick up the twenty-six card packet and give it one perfect Faro Shuffle so that the reds and blacks are alternated. Spread it face up, in bunches, so that it looks – at a glance – well and truly mixed. Hand this half to the spectator, as you turn your head away, and ask him to spread it faces towards himself and then think of any card in the packet. (He won’t notice the exact colour alteration; don’t fret.) Ask him to flip the packet face down and cut the cards (full complete cuts). From the top, ask him to deal twice the amount of cards as is in the value of the card he is thinking of. For instance, if he is thinking of a Nine, he deals eighteen cards to the table. He does so. Ask him to drop the remainder on top of the tabled packet. You can now turn back to look at him. (Agreed, there is little rationale for dealing twice as many cards as his value, but Roger Crosthwaite suggests saying, “Yes…deal the same amount as your card…plus, deal the same for me!” Not bad!)
3. Reiterate the fairness of procedure (for magicians, ham it up – no possibility of key cards
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etc) and perform one quick Reverse Faro shuffle. Strip out the outjogged cards and drop them on the table; they aren’t needed for a while. Glance at the inhand packet and say, “I think your card is here…I’m not sure.” As you say these words, flip the cards face up (towards you) and quickly note how many cards of the same colour are at the face of the packet. In our case, there will be nine. (If there are three cards of one colour, he thought of a three – and he initially will have dealt six.) His card is therefore a nine. Immediately drop this thirteen-card packet onto the other tabled thirteen-card packet and say, “…Hmm…no, I think it’s here!” Pick up the whole twenty-six card packet and see how many nines are in it. If there is only one, you know what his card is. If there are two or more – use equivoque to find it. Example: Say, “You are thinking of a red card?” If they say yes, say – “A heart?” If they say yes, say – “The Nine of Hearts!” If they say ‘no’ to the suit, say – “The Nine of Diamonds!” If they say ‘no’ to the colour of the card, say – “A club?” If they say yes, say – “The Nine of Clubs!” If they say ‘no’ to the suit, say – “The Nine of Spades!” Reveal the selection with flair!
More thoughts If you were to separate the two sets of thirteen so that you only had, say, two Tens, two Fours etc., etc – you’d shorten the equivoque. I don’t advocate this, though. I think it’s best as is! And, I guess you could use thirteen odd-value cards and thirteen even-value cards. I don’t like the idea, but want to record it here before someone suggests it. Also, I had thought you could eliminate the times-two-dealing by them ONLY being able to choose even-valued cards. (Easy to do when tabling the 26 cards.) Then, when you peek the cards (at the bottom of the inhand packet), there will be half the amount of what valued they'd chosen. This is, excuse modesty, good: You can eliminate the Reverse Faro by counting the cards that’ll fall between the two sets of adjacent colours. For instance: Try this with a full deck in alternating colour order. Ask each spectator to think of a different card. The best way (an idea of mine that Justin favours) is to say, “Can you think of an odd-valued card, and can you think of an even-valued card. That way – both cards have to be different.” Ask the one spectator to count that many cards to the table and drop the talon on top. Get the other spectator to do the same. Take back the deck and spread it face up between the hands. Count the amount of cards from the face of the deck up to, and including, the first card of a same-colour (i.e., two reds together or two blacks together) pair. The number of cards counted corresponds to the amount of cards the last spectator dealt (thought-of). Count the cards from, and including, the second card of this same-colour pair up to, and including, the first card of the second same-colour pair. The number of cards corresponds to the amount of cards the first spectator dealt (thought-of). Then go fishing… Thanks to my friend Justin Higham for a great idea. The original concept is a Bob Hummer one entitled The Mindreader’s Dream. Jon Racherbaumer wrote a booklet (Dreamwork) based on this principle together with contributions from other noted cardmen; namely Ed Marlo, Bruce Cervon, Gene Castillion, P. Howard Lyons, Ray Grismer and Roy Walton.
Murder To Describe Paul Gordon The title of this sums-up my feelings about describing this easy-to-do routine. In nearly all of my books, commencing with Protean Card Magic (1997), I have described an effect based on Ed Marlo’s "Future Classic" idea. My first handling, (and I have many) ‘Diminishing? Not
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Likely!’ (from PCM) is still my favourite laymen trick; I perform it at every show – often about twenty times a night! (It’s a really strong, if I say so myself, entertaining and magical stroller!) By the way, there is a much better description of DNL in my book, Edward George Brown; A Magical Life, 2005. The routine I’m about to describe is for purists and must be done at a table.
Working 1. Commence with the four Nines on top of the deck, in any order. Spread through the facedown deck and have a card selected and noted. (Assume it’s the QH.) Using Tilt (or my preferred method in DNL) control the selection to second from top. Say, “Your card is now centred in the deck…it’s lost…and I’m worried! I better show you my emergency card trick!” Here, spread through the face-down deck and ask the spectator to touch any four cards (which you outjog); as long as they don’t touch any of the top five cards of the deck. Say, “Maybe you can locate your own card?” Strip out and table, face down, the four ‘touched’ cards. As you patter about freeness of choice, casually Overhand Shuffle the deck by running, singly, the top five cards (injogging the fifth) to the bottom and then shuffling-off haphazardly. Readjust the deck into dealing grip and catch a pinkie break above the fifth-from-bottom card (above the injog).
2. The right hand picks up the four tabled cards, glances at them (let the spectators catch a brief glance, too) and you perform a Marlo Jinx Switch as described before in The Eradicator - brief reminder: the four cards are dropped on the top of the deck and the right hand immediately table spreads the deck leaving the left hand holding a five, supposed four, card packet.
3. You now perform a Diminishing Lift Sequence (Jennings/Marlo) like so: a) Perform a block push-off and turnover to reveal the QH. Flip the four-card block over and table the top card. b) Do a Triple-turnover to reveal a second QH. Flip the triple over and deal the top card onto the already-dealt card. c) Flip a double over to reveal a third QH. Flip the double over but deal a bottom (easy if you do an Elmsley-style block push off technique) onto the two tabled cards. d) Finally, flip over – as one card – the double to reveal a fourth QH and flip the double over onto the tabled three cards. Four QH’s have been shown to the following (very funny) original DNL patter of mine: Say, “These four cards are going to tell me all about your card. The first card tells me the colour of your card. It was a red card, right? The second card tells me it was a heart… the third card tells me it was a Queen…and the last card tells me it was the Queen of Hearts!” (This patter is funny because the spectator’s see duplicates and you don’t ‘recognise’ the fact. See the free promo video on my website for a great laymen response to this kind of handling.)
4. Pick up the tabled packet and perform an Ascanio Spread variation (Richard Vollmer/
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Roberto Giobbi) as follows: The right hand holds the packet from above (thumb at rear end and third fingertip at outer right corner) and the left fingers slide, to the left, the bottom two cards and the left thumb slides off the top card onto them; keep the three cards in fan position. This leaves the right hand holding a double (Figs 1 & 2).
Fig.1
Fig.2
5. Now, you will perform my variation of J. K Hartman’s Blow Vanish like this: The right-hand double’s left long side is at the edge of the left-hand cards right side. (Like an open book.) If both hands move upward, like closing a book, and come down again so that the cards are turned over rightward (just try this; it’s hard to explain without photos), there will be three faceup Nines and two face-down cards; the upper one being the QH. As you do the ‘book’ action, lift the cards to the mouth and blow on them. Your patter is, “Well, we can’t have four Queen of Hearts…but, my emergency cards are Nine, Nine, Nine…and one more for luck!” As you say the nine, nine, nine part – you spread over two cards and buckle to take a double. The three Nines (and hidden face-down QH) are taken, in fan formation, by the right hand and casually placed on top of the deck; which is ribbon spread on the table. (The face-down QH coalesces with the top card of the deck.) The card in the left hand is assumed to be the QH. You turn it face up (to show a fourth Nine) on the ‘one more for luck’ part of the patter!
Stand Up For CATO Paul Gordon I'm ever so pleased with this. It's a way of utilising Bob Hummer's CATO0 principle whilst standing. There are also, I think, some nice 'touches' along the way. The routine itself was inspired by some CATO handlings by Peter Duffie and Robin Robertson in Card Conspiracy Volume 1. Prior to performing this trick, cull, or preset, the four Aces to the top of the pack.
Working 1. Find an excuse to push off sixteen cards, not reversing their order, into your right hand. I usually say something like, "Did you know that 16 is a lucky number for most magicians?" Hand the deck to another spectator (or pocket it) as you are now going to only work with a sixteen-card packet which has the Aces residing on the top.
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2. Spread the cards face-up between the hands and openly remove any four cards from the packet; don't flash the Aces, though. (You could say that these four cards formed your last losing Poker hand!) Hand these to someone to 'inspect.' As they are 'inspecting' (God knows what for, but it 'works') casually cut the bottom four cards of the face-up packet to the top, thereby centring the Aces. Flip the packet face down.
3, Openly place the four 'just-inspected' cards face up on the top of the face-down packet. Say, "I'm going to lose these cards into the packet by giving the cards a Las Vegas 'small packet' shuffle!" Here you perform a Reverse Faro Shuffle. Strip out the outjogged cards and place them on top. Repeat the Reverse Faro once more.
4. The cards are now set to utilise Bob Hummer's CATO principle. To wit: Cut the packet and flip the top two cards over. Cut again and turn over two more. (This can be repeated ad infinitum, but don't! [And the entire packet can be turned over and then CATO'd]. Normally, the spectator is asked to do this, but, unless it's vital to the effect, I prefer not to for two reasons: Firstly, it 'tips' a mathematical procedure; in other words, the method. Secondly, the spectators are apt to get it wrong. Now here's something I do differently, I think, from most; it was suggested by Roger Crosthwaite: When doing the two card turnover, I push over about five/six cards and do a Zarrow Add On type move, but still only flip over two. It is deceptive. It looks like you've flipped over a bunch of cards. Continuing. After a few CATO's, perform one last Reverse Faro, but leave the cards telescoped.
5. Remove the outjogged cards, flip them over and place them onto the injogged packet (this is different from the usual two-pile deal). Finally, say, "After all this weird & wonderful faceup/face-down shuffling, wouldn't it be amazing if the only four reversed cards were my lousy Poker hand? But, I'm a magician - how about getting the four Aces?" Here, you spread the packet (try and ensure, by glimpsing, that the reversed cards are face down) to reveal four reversed cards. The Aces! Reveal as you see fit!
Here is something else you can add: Before the final reveal, check to make sure the packet is configured so that the Aces are face up. Cut a face-up card to the bottom and then cut, in the middle-ish, under a face-down card. Do an in-the-hands Tenkai Optical Revolve and Farotype shuffle. The Optical Revolve and shuffle changes nothing, but looks good and adds more mystery! As for presentation and get-into, I offer the following: As you start the effect (from a shuffled noset-up-deck), say, "Last week I was playing poker. It was a very interesting game with some unusual handlings going on. Can I show you?" Here, from a shuffled deck, you spread through the face-up deck (tilted toward you; near vertical) and remove four bunches of four cards (the last four being Aces) and toss them face down (forming one pile of sixteen cards - Aces will end up on top) onto the table as you say, "Yes.these were being played.
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and these.and these.etc!" (Don't flash the Aces, though.) You are now set to begin. I cut the Aces to centre as I remove any four odd cards and say, "These are a few of the cards I had. Look, I'll leave them face up just so you can see what happened next." Continuing, the rationale for the odd shuffling is this: You say, "One guy grabbed the cards and shuffled like this [Reverse Faro].another even turned some cards over [CATO] it was all very odd." For the final reveal, say, "After all this crazy shuffling I wondered if my four cards would still be the only ones reversed. But.I am a good card cheat. I turned the tables on my opponents and got.the four Aces!"
More thoughts If you'd rather do a Royal Flush handling (five cards), you need to use twenty cards in total (four hands of five). You need to set the five flush cards to dead centre (sandwiched between two blocks of five) as the five demo cards are being looked at. Then, after you place those (five) cards face up on the packet, four Reverse Faro's (and strip outs) will set you up. But, after the fourth Faro, you'll have to cut the packet bringing a face-up card to top; for aesthetic reasons. Personally, doing four fast Reverse Faro's is okay for me - but you might find it long winded!
Additional Thought from Peter Duffie Just a thought - to get a Royal.Flush with the first version you could: Have Royal Flush Spades on top to begin - the Queen is the top card. a) Force the Queen of Spades and have it placed face up on a spectator's hand. b) Spell T-H-E-Q-U-E-E-N-O-F-S-P-A-D-E-S - pushing the cards over as you spell (16 cards). c) Do trick and finish with A, K, J, 10 - add the Queen to make a Royal Flush. A Ten Spot might be a better Force selection so you end by dealing the rest of the Flush in order onto the spectator's hand. In this case use Diamonds and set the Ten on top. Force and spell T-H-E-T-E-N-O-F-D-I-A-M-O-N-D-S.
Hum-Drum Paul Gordon Having researched all the likely suspects (i.e., books and magazines with Hummeresque content), I can’t find any ideas that utilise CATO (see previous routine) as a force. This routine is not a miracle, but it might lead you, the reader, to formulate your own effects. From the top of a shuffled deck, strive to have any four cards (of any suit) that total eleven. For example, a 2, 3, 4, 2 will do. If you spread through a shuffled deck, you’ll often find such a sequence. Just cut it to top.
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Working 1. Have a card chosen from the deck (from below the top four cards) and control it to tenth from top. I do this by simply pushing off nine cards (as they show their card around), catching a break beneath them and then – in a Riffle Force action – have their card replaced. Do a few false shuffles and cuts.
2. Hold the deck in readiness for a Straddle Faro Shuffle and cut off at least eleven cards and weave this smaller section into the larger. Pull out the interlaced sections and ‘waterfall’ them onto the top of the deck. Say, “Your card is really lost! But, watch. Eight is my lucky number!” Deal eight cards from the top of the deck onto the table. Ask the spectator to pick them up and get them to do CATO. (I know I said, in the last routine, that I preferred to do the handling – but not here.) After they have ‘cut and turned two over’ a few times (and the rationale is…‘for you to really mix them’), ask them to deal the packet into two piles. (They must deal cards alternately.) Say, “Turn any pile over and place it onto the other packet. Now, spread the packet.”
3. Now, either the cards that total eleven will be face up, or they won’t! If they are, say, “After all of my shuffling and your random mixing, four cards are face up. Is one of them yours? No? Well, add them up. Eleven. Please pick up the deck and count to the eleventh card!” It’s theirs. If the ‘totalled eleven’ cards are not face up say, “After all of my shuffling and your random mixing, four cards are face up and four face down. Let’s see what the face-down ones are. Please turn the spread over. Is one of them yours? No? Well, add them up. Eleven. Please pick up the deck and count to the eleventh card!” It’s theirs! If you wish, show the ‘other’ cards in the tabled eight-card spread to show they don’t total eleven. You can, by the way, ‘rationalise’ the number ‘eleven’ by saying, “This is your newly nominated lucky number!”
End Note For a related idea regarding the use of CATO for a number force, see Peter Duffie's "Principles and Deceptions" column in Profile magazine, no.16 (October 1993).
Thumbs Up! Paul Gordon Although there is quite some preparation required to make this trick up, I think the effort is worth it. It’s a commercial packet trick (based on Bob Hummer’s ‘This Is It’ from Karl Fulves’ Bob Hummer’s Collected Secrets) wherein you end clean. I was going to release this as a marketed item. The ‘cost to retail’ ratio meant it wasn’t (isn’t) worth it. However, I still retain the right to do so should I feel the urge! Before you read the following few paragraphs, you might
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want to quickly read the ‘End Comments’ so you can understand a few salient points.
Requirements You will require two packs of cards (one red-backed and one blue-backed – to make the required packet[s]), a dice (or die?), some indelible black ink and a switch wallet - possibly best to use a Z wallet. Okay, have I lost you already? I hope not.
Preparation From the blue-backed deck, remove the following cards: 8S, 9H, 6D, 9D, 8C, 7C, 7H, 5S, 8H, 5D & 7S. From these cards, place the 7C, 7H, 5S, 8H, 5D & 7S face-down in the opposite side of your switch wallet. The rest of the blue deck is discarded. Place the 8S, 9H, 6D, 9D, 8C & 7C to one side for a few moments. From the red-backed deck, remove the 7D, 5C, 6C, 8D, 6S & 9S. Discard the rest of the redbacked deck. On the centre of the back of each of these red-backed cards, you need to place your thumb print (make it big...it's funnier that way) using the indelible black ink. To do this, use an indelible ink you find on the ‘stamp pads’; similar to the ones the police use for fingerprinting criminals. Or, dab sharpie ink on your thumb and quickly transfer to the card. Finally, interlace – one by one – the six red-backed and six blue-backed cards so that when the packet is face down, a blue-backed card shows. For description purposes only, assume the packet – from top down – is: 8S, 7D, 9H, 5C, 6D, 6C, 9D, 8D, 8C, 6S, 7C & 9S. Place this face-down twelve-card packet into the other side of your switch wallet. Place the loaded wallet into your jacket pocket along with the dice
Working 1. Remove the wallet and the dice from your pocket. From the wallet, remove the twelve-card packet. Don’t flash (expose) any red-backed cards. Leave the wallet to one side. Flip the packet face up and ribbon-spread it (left to right) on the table. Say, “For years and years, magicians have tried to find a way of getting folks to think of a random number – that even they aren’t initially aware of – from one to twelve. If I asked you to think of such a number, you might go for an obvious one like 6. People do, you know! But, if I asked you to roll a dice and double the ‘rolled’ value – neither of us could foresee the outcome. True! Then, if I asked you to count to the respective card in this packet – it would be a totally random choice. True?” Here you ask them to roll the dice (they can roll it a few times first to ensure its normality), double the value and then count to the card from the top (the end to your left) of the packet. (This subtle piece of patter [of which I’m very proud] ‘forces’ an even number, and therefore a red-backed card.) So, assume they roll a 3, they count to the sixth card. Point to the other cards saying, “Look, any of these cards could have been yours – but you’ve got the 6C. (The 6C is the card in this particular ‘for-description-purposes-only’ set-up.)
2. Push the 6C forward and out of the spread and say, “I’d like you to mark it with your thumb-print.” Here, they push on the face of the 6C with their thumb. (This is a good reason for simply sliding the card out of the spread and they have no reason for picking the card up, thereby exposing the back.) Say, “Although we know what your card is, we can also see it a mile off!” Here, you patter about their thumb, the pressure they used and even a few gags
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can be used, carefully, about their police record! For instance, “Hmm…you’ve done this before, haven’t you!”
3. Continuing, slide the 6C back into the spread – but to the left of the card from where it once came. In our example, to the left of the 6D. Scoop up the twelve-card packet and deal it into two face-up packets. The first card of the deal (the 9S in our example) must go to the left. The second to the right and so on. When done, pick up the left-hand packet. Spread the face-up packet and say, “You could have ended up with any one of these!” As you spread, cut the packet at the number he rolled on the dice before it was doubled. In other words, cut three cards (he rolled 3) from face to rear of the left-hand packet. This will bring the blue-backed card to the rear. Square the packet, flip it face down (a blue back shows) and casually place it in your wallet. As an ‘afterthought’, re-open the wallet (on the other side) and place the ‘blue’ packet back on the table! (Practice your timing, here!)
4. Pick up the right-hand packet and spread it face up to show their 6C. Say, “…But you chose the 6C…a really random choice!” Remove it from the spread and flip the other five cards face down (showing blue backs…and point out the other blue-backed ‘switched-in’ cards) onto the table and turn the 6C face down so that the fingers cover the thumb-print as you say, dramatically, “But…it is it the only red-backed card…and [remove masking fingers] it’s also got your thumb-print on it! That, I just don’t understand!” And…all can be examined. (Just casually ‘pocket’ the wallet!) The reset is, I guess, obvious.
End Comments i) The reason I use the cards I use (see above) is that after the switch, they all ‘blend’ as they are all middling value cards. ii) If you can, at the start, throw in a few Charlier ‘packet’ shuffles. iii) Try and choose a spectator whose thumb is a similar size to yours so that the thumb-prints look similar. iv) I guess you realise that any number doubled will give you an even number; hence the dice procedure. v) The ‘dealing two packets’ could be deemed illogical, but in performance – it really doesn’t matter! It works! I know! It’s not a trick for ‘delving too deeply’ but, it is magical! vi) Instead of the wallet switch, you could try a simple 'crossing the gaze' type pocket switch. Up to you! I hope you have fun with this…it’s great fun to do.
Paul Gordon
Impromptu Pokertell Paul Gordon In Jon Racherbaumer’s book Big Easy Card Cunning, there is a fascinating effect (Poker Tell) that requires a twelve-card set-up, a long dealing procedure and the palming-off of three cards. My handling eliminates all three, to my mind, negatives.
Working 1. Have a pack of cards shuffled and take it back. Casually spread through the face-up ‘tilted upward’ deck and toss out (face down onto the table) any four heart cards. (All the while your patter is, “Yes…let’s use these…and these…”) Upjog and toss out any eight cards (but no heart cards) onto the tabled four cards, repeat with another eight cards (no hearts) and finally four more heart cards. There are now twenty-four face-down tabled cards; four hearts on top and four hearts on bottom.
2. Perform some false shuffles and cuts (retaining top four and bottom four cards only) and hand the packet to the spectator. You now look away for the duration of the trick.) Ask him to deal four hands of six cards each. Ask him to slide out any card from the centre of any packet, look at it and drop it onto the top of any other packet. Ask him to gather all four packets in any order and then complete-cut the ‘whole’ as often as he wants. He then turns the packet face up and names all the cards, one by one, as he deals them from the face of the packet into a new pile. All you, the performer, need do is to listen to any two hearts with one card between them. The sandwiched card will be the selection!
Peter’s Foursome! Paul Gordon In Peter Duffie’s free (yes, free) e-book (available from lybrary.com) 4-Most, there is a ‘very clever’ Gemini Principle (Karl Fulves) inspired effect, of Peter’s, called 4-Some. After trying it, I immediately came up with this extension. The extension is based on a trick of mine, "Caused Effect," from Cause And Effect (1998); and because it (the book) is out of print, the trick has recently (2005) been reprinted in Card Trickery. Anyway…
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From the top of the deck, set the four Kings followed by the four Queens. Each set can be in any order, but for aesthetic reasons – set them in CHaSeD order. Then, cull the QC to the top. Position check from top: QC, KC, KH, KS, KD, QH, QS, QD.
Working 1. Whilst pattering, jog shuffle and false cut the deck; retaining the set-up. Then, Double-cut the top two cards to the bottom. Hand the deck to the spectator and ask him to deal three piles of cards, in rotation, and tell him to stop when he has ‘a handful’ in each pile. (He can stop anywhere, but I think it’s good if he ends up with about five to eight cards in each pile.) When he has finished dealing, ask him to turn the top card of each pile face up. Your patter should reflect (jazz patter) whatever turns up. I.e., if he turns up three Aces – make the most of it in your patter. If he turns up three really indifferent cards, make out they are part of a phone number, address… In other words, jazz it! Leaving the top cards of the tabled piles face up, ask him to drop the in-hand deck on any pile. He is then to pick up the whole and drop it on any other of the remaining two piles. Then, he picks up the whole and drops it onto the final pile. Then, he scoops up the entire deck.
2. Say, “Let’s do it once more!” (If you had, say, three face-up Aces – you could be trying for a fourth. Jazz it.) Anyway, from the top of the deck he is to deal cards to the table. Ask him to stop anywhere (he must stop before a face-up card turns up), but say, “…Until you get another handful, or so!” When he stops, he is to turn the tabled card face up (to position) and drop the deck on top.
3. Read carefully: Now you (the performer) take the deck and spread it, face down, between the hands. When you get to the first face-up card, the right hand moves forward (towards the table) with its portion; the face-up card being the bottom card of the right-hand spread. The right hand deposits the face-up card and the card to its right (in a ‘fan’ fashion) onto the table (Figs.1 & 2).
Fig.1
Fig.2
Fig.3
Immediately, the right hand places the remainder, in a pile, beneath (south-off) the two tabled cards (Fig.3).
4. You now repeat the whole procedure (spreading the deck, removing the pair, tabling the cards etc) until you have four left-to-right pairs and four left-to-right piles beneath. You will be
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left with a small remainder; table it to one side. Finally, turn the top card of the ‘pairs’ face up to reveal, left to right, KC, KS, KH and KD in order. Then, the kicker, turn over the piles, one by one, to reveal the Queens in the same order – matching their partners!
Thanks To Goodliffe Paul Gordon Only recently (January 2006), I was being interviewed for a new DVD about professional magicians and my own magical background. In preparation for the interview, I dug out a few old magic memorabilia files and I located this trick. In fact, it was rejected by Goodliffe (for Abra) in 1980 as being too advanced (for his readers.) He suggested I send it to another magazine, which I did. (It appeared, years later, but not in my name – but that’s another story!) With the letter was attached a fifty pence postal order, as payment for ‘Turnover’ – a (really bad) trick of mine that appeared in the 7th June 1980 issue. Anyway, a fairly interesting story – I thought! This is a new (2006 - twenty-six years later) handling.
Working 1. From a shuffled deck, toss out two sets of eight cards. Both sets should be in two facedown piles on the table. Make it a really random, ‘oh, these’ll do’ action. (The rationale I use for eight cards each is a Farelli-esque ‘Mystic Eight’ patter line.) Assume the leftmost pile is in front of Spectator 1 and the rightmost pile is in front of Spectator 2. Proceed as follows:
a). Say to both spectators, “Just to be sure none of us know the order of the cards, can you both shuffle your packets?” They do so and return them to position. b) Say, to Spectator 1, “Just in case you think I might know the top card [allude to markings etc], can you cut a portion off your packet and hand to me.” He does so and you note, casually, how many cards you have. Do this by eye-counting them. Assume you hold four. c) Say, “Please look at the top card of your remainder and then replace it." He does this. Assume it’s the 2S. d) Turn to Spectator 2 and ask him to ‘bury’ it (the 2S) by cutting off some of his cards and placing them on the remainder of the first spectator’s packet; in other words – on top of the 2S. e) Say, to Spectator 2, “No one knows the top card of your remainder. True? Well, look at it and leave it where it is.” He does so. Assume it’s the 9H. Say, “Just to lose your card, take my cards (the four-card packet you are still holding), shuffle them and drop them on your packet!” In other words, they go on the 9H.
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f) Continuing, say to Spectator 2, “Pick up the whole lot and drop them on his [point to the first spectator] packet. Those cards are well and truly lost!” Well, thanks to Gene Finnell’s Free Cut Principle, they are not lost! Read on…
2. Pick up the sixteen-card packet and cut one card from top to bottom. You need to have three cards on top of the second spectator’s card. So, if you were initially handed six cards, you’d cut three cards to the bottom. Do the cutting with a double-undercut.
3. Perform a Reverse Faro (call it a Vegas-style small-packet shuffle) by outjogging every other card starting with the second-from-top card. Strip out the outjogged cards and discard the inner packet. Repeat the Reverse Faro and once again discard the inner packet. Finally, do one more Reverse Faro but discard the outer packet of two cards. The two remaining will be the selections. The top one is the second spectator’s card and the bottom one is the first spectator’s card. Reiterate the freeness of choice and reveal the cards with flair! That’s all folks! Not a bad effect for a, then, sixteen year old!
There’s more: If you want to try this with more cards, only two lots of sixteen (thirty-two) will work. When you get to the Reverse Faro shuffle stage, you do two and lose the injogged sections, another one losing the outjogged cards and one more losing the outjogged cards. The remaining two will be the selections.
Are We Still Counting? Paul Gordon Karl Fulves' 'Still Counting' from The Chronicles (Issue # 3) was one of the first packet-type effects I tried back in 1978. What follows is a way of setting the deck, utilising a better (for me) switch and, mostly, using four cards (actually, five) in the working block thereby enabling a clean display and very clean clean-up! My handling also enables another phase.
Working 1. Commence with the four Aces on top of the deck so that the black Aces are on top. Catch a break under the two black Aces and perform a Braue Reversal (Lorayne variation from DeckSterity - I have described this in most of my other books) so that you end up with a face-down deck with two red Aces on top followed by two face-up black Aces. If you don't know the Lorayne variant (of The Braue Reverse), simply start the trick with the cards already reversed.
2. Cut the top four cards (Aces) to the bottom of the deck. Spread the deck between the hands and ask the spectator to touch, which you outjog, any four cards. (Don't expose the face-up Aces on bottom.) Strip out the four outjogged cards and table them. Ask the spectator to shuffle them (on the table a la Salad Shuffle) and hand you any three of them. As he does the shuffling, you catch a pinkie break above the four Aces. Casually place the three 'discards' onto the top of the deck, slightly sidejogged, as you ask him to look at the remaining tabled card. As he looks at the card, you square and table the deck switching the top three cards for
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the four Aces. This is a Marlo Jinx Switch described before in The Eradicator..
3. With the supposed three-card packet in dealing grip (actually, the four Aces), ask him to drop his card face down on top. As a 'magical gesture', perform a Through The Fist Flourish Variant which reverses the packet. Say, "If I snap my fingers, your card will turn face up. Watch!" Snap your fingers and perform an Elmsley Count (outjog the face-up card as it appears). Remove the face-up selection and casually slide it, still face up, to second from bottom. A 'buckle' will aid this. Say, "But what if your card had been, say, an Ace?" Here you perform another Elmsley Count (last card goes to the bottom of the packet - an 'underground' Elmsley Count) to show a red Ace. Take the Ace from the face, turn it over and place it on the bottom of the packet. "Maybe I can magic up the other Aces?" Here you do another Elmsley Count to show four Aces. (The red Ace shows twice, but it's never caught!) "But, as the Aces are acrobatic watch one of them turn over!" Do another Elmsley Count and as you do, upjog the facedown card. Remove it and flip it face up to show an Ace! Place it on the face of the packet. Now, you can end as you will. A) Either bottom palm the selection and produce it from your pocket as you say, "As for your card...it's somersaulted to my pocket!" - or, B) Drop the packet on the deck thereby coalescing the face-down selection with the deck you end clean - or, C) Cut the Ace packet and reveal the selection face down in the centre! Which ever ending you use (I use A), you end up with four honest Aces.
PD Alternative Handling Start with three Aces face up under top face down Ace. Proceed as in your original - Jinx Switch, etc. Fist Flourish Variant - Elmsley Count to make selection turn face up. At this point, spread to show face up selection and three face down cards (bottom two held as one). Remove selection and show both sides - then replace it 2nd from bottom in the fan. Square the packet and Elmsley Count - the selection changes to an Ace - outjog it. Remove face up Ace and place on the bottom. Turn packet face up and Ascanio to show four Aces, saying, "In fact you couldn't have chosen the 8C (or whatever) because you picked the four Aces." Place double to bottom after Ascanio. Selection is on the bottom ready to cop away.
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A Mystic Seven Phase Paul Gordon Note: This effect just missed being included in the 1st edition of Explorations; a new (2006) booklet utilising three mathematical principles. Explorations contains a few effects from Peter Duffie, too. If interested in this kind of work, see my website http://www.paulgordon.net/ acatalog/ for more info. Gene Finnell’s Free Cut Principle (1967) is a fascinating, if somewhat confusingly written, booklet. Utilising his principle in conjunction with Victor Farelli’s Mystic Seven concept is interesting. What follows started off as a phase of a routine, but I now use it on its own; it plays well and is quite mystifying.
Working 1. Lay the four Sevens, face up, on the table in a left to right row. For description purposes only, let’s assume they are in CHaSeD order from left to right. Beneath each Seven, casually place a face-down seven-card packet. Your patter could be, “As we are using the four Sevens, we might as well use seven cards each!” The piles, from left to right, are A, B, C, D. (You could, instead of placing seven cards beneath each packet, deal – in rotation – four piles of seven; up to you.)
2. Point to pile A (the pile beneath the 7C) and ask the spectator to cut the packet and hand you, the performer, the cut-off cards. (Casually note how many he hands you, assume three, as you spread them. You could patter, “Hmm…that’ll do” Pick up the 7C and drop it, face down, onto the remaining cards at A. Point to pile B and ask the spectator to cut a packet off and drop it onto pile A. Pick up the 7H and drop it, face down, onto the remaining cards at B. Point to pile C and ask the spectator to cut a packet off and drop it onto pile B. Pick up the 7S and drop it, face down, onto the remaining cards at C. Point to pile D and ask the spectator to cut a packet off and drop it onto pile C. Pick up the 7D and drop it, face down, onto the cards at D. Then, drop the inhand cards (don’t forget to see how many there are – three, in this instance) onto pile D. Collect (collate) the four piles by placing D onto C, both onto B and all (combined) three onto A.
3. Casually Double-cut the top four cards (your three key cards plus one more) to the bottom. Reiterate the fairness of the cutting procedure (thereby losing[?] the Sevens) and perform a Reverse Faro Shuffle. (Briefly: Upjog every other card starting with the second from top card being the first one upjogged.) Strip out the outjogged packet and lose (back to the deck) the inhand cards. Repeat the procedure two more times which will leave you with four cards – the four Sevens!
A Mystic Seven Phase II Paul Gordon In Protean Card Magic (1997), I have two routines that use the principle I’m going to describe now. (As far as I can fathom, George McBride was the first to use this idea.) See also, Professional Card Magic Miracles for more ideas. It is a utilitarian type principle; and these
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ideas can be used individually, or during a Mystic Seven based routine. (I also used this idea for my marketed trick, Dazzler.) Anyway, here is the first idea:
Working 1. Patter along the lines of Victor Farelli’s Mystic Seven routine/concept and openly remove the four Sevens and table them aside; face-up. (If you want to do this trick standing [no table], hand the Sevens to another spectator.)
2. Say, “We also need any seven cards from the deck.” Here you have the spectator shuffle the deck and deal seven cards into your hand. The deck is placed aside, it’s not needed again.
3. Spread the seven-card packet and have three cards chosen. Once noted, have them returned to the packet (the remaining four cards) by pushing off two cards so when the cards are returned, together, they end up third, fourth & fifth from top.
4. Pick up the four Sevens and place two face up on top of the packet and two face up on bottom. You now perform four Reverse Faro shuffles and strip-outs using this mnemonic: T B T T. In other words, you do a Reverse Faro (up and down-jog the packet by upjogging the second card etc), you strip out the outjogged cards and place them on top. Repeat the shuffle & strip out three more times. The second time you strip out to the bottom, the third time to the top and the last time to the top. Spread the packet and you’ll see three cards sandwiched between the face-up Sevens – the selections! Reveal with flair.
Shorter Alternative This second handling uses only two Sevens and one selection. 1. From a seven-card packet have one chosen. It is returned to exact centre (push over three cards and have it returned).
2. Carry out two Reverse Faro & Strip-Outs, with the code/mnemonic T B.
3. Spread the packet and the sandwiched card is the selection.
Note: My rationale for doing the Reverse Faro & Strip Out is that it’s the way they shuffle a small packet (of cards) in Las Vegas. Not true, but who cares! Also – do it fast; very fast!
Paul Gordon
Standing Up For Leipzig & Marlo Paul Gordon Ed Marlo’s technical handling of Nate Leipzig’s ‘Stop’ trick (see January-February issues of New Tops) has been in my repertoire for years. The hardest part of the routine is the pick up, quickly & smoothly, of a double card from atop the tabled deck. In an attempt to eliminate this procedure, I have devised a technical handling that can be performed standing. There are other technical changes, too. It is a very commercial trick as it is visual and snappy.
Working 1. Prior to performance, hold the deck face up in dealing grip and catch a pinkie break under the face card. Regrip the deck in right-hand Biddle Grip (catching the break with the right thumb) and in turning the deck face down, perform a Braue Reversal so that the deck ends up face down with a reversed (face up) card on bottom. Needless to say, you can substitute the above for a swift Christ Twist. (So you know, the reversed card and the one above it will be acting as an impromptu double-backer.)
2. Spread through the face-down deck from hand to hand for a selection to be made. Be careful, however, not to flash the reversed card. As the spectator is showing the card to all and sundry, get the top card ready for Tilt. The selection is taken back and duly ‘lost’ (actually, second from top) into the Tilt break.
3. As you square the deck (after Tilt), regrip the face-down deck in right-hand Biddle Grip and with a thumb break above the bottom two cards. You are now set for the main part of the effect wherein you peel cards from the top of the deck (using the left thumb; peeling them into the left palm) asking the spectator to say ‘stop’ at any point. You do it like this: With the left thumb, peel two cards, one by one, into the left hand - as you go to peel the third card, let the ‘double’ (the two cards on the bottom of the deck) drop onto the just-peeled two cards. To cover this action, I look at the spectator and say, “As I peel the cards – say ‘stop’ at any time you wish!” Ideally, he should stop you after a few more cards have been peeled. You don’t really want more than eight (or so) to be peeled; and you’ll see why later. Assume he stops you after a few more ‘peelings.’ Hand him the deck (due to lack of a table) and reiterate the fairness of how and when he stopped you.
4. The small packet is now face-down in dealing grip. Ask for the name of his card and as soon as he tells you, perform a block push-off and turnover of all the cards above the bottom card. His card is revealed! And – due to the impromptu double-backer – you can deal his card off the packet and hand it to him. To clean-up the packet, casually flip the top card face up and immediately do another block push-off (of all the cards above the bottom card) and turnover. All the cards are now face down. I do these actions, casually, during the applause, etc.
Paul Gordon
Additional extra You can, if you wish, turn this idea into a prediction effect as opposed to a revelation of a selected card. Try this: From a shuffled deck, spread through it face up (tilted towards you) and note any card in the centre area of the pack. Assume you spot the AD. Continue spreading and remove, without showing its face, the mate – the AH. Table it face down. As if to ‘make sure’, spread through the deck again and catch a pinkie break under the card directly to the left of the AD. The deck is face up in dealing grip; with a pinkie break in the centre. With the right thumb, catch a break under the face card and do a Braue Reverse cutting also at the centre break. The AD is now second from top and the reversed card is on bottom. Continue as in the main routine – no selection, though – and show that the ‘stopped at’ card is the mate of the tabled card.
What, Another Kick? Paul Gordon In Card Magic Companion, I have a trilogy of effects (the ‘What A Kick’ series) that utilise an age-old Henry Christ (or, possibly older) principle. Here is another routine of mine in the same genre. Here is a revised routine from said book. The small set-up required is any four of a kind (assume, for this description, the four Kings) on the top of the deck with an indifferent card between the third and fourth Kings. The Kings are in any order, but – assume the KS is uppermost. So, from the top: KS, K, K, X, K, rest of deck.
Working 1. False shuffle the deck and force the KS. The KS is returned back to position so that the deck is back in order. (I slip-cut force the KS and have it returned during a Jog Shuffle.) Table the deck and ask the spectator to cut off half the deck and hand it to you. Ask them to shuffle their (bottom) half whilst you shuffle yours. Here, you do a Jog Shuffle (retaining the top five cards) and then cut the top nine cards to the bottom of your half-deck. I do this by spreading over nine cards, to catch a break, as I say, “Your card could be here…or in your half.” The misdirection is good because the spectator is still shuffling his half-deck. Alternatively, pinkie count five cards and Double-cut to bottom and the pinkie count four more and double-cut to bottom.
2. Take back the spectator’s half and drop it on yours. (The point here is that the spectator will later subliminally know/realise that what now follows is ‘impossible’ due to the fact that he shuffled the top half.) Say, “These cards really are mixed! Look, I’m going to deal four piles of cards in a strange ‘random’ manner. I’m going to deal the cards face up and count backwards from ten to one. If we get a match, I’ll stop. In other words – if I count ‘seven’ and get a Seven-spot, I’ll stop. If I get no match, I’ll burn (turn card face down) the packet!” It’s good to reiterate this patter.
3. So, hold the deck face down in dealing grip (the set-up is fifth to ninth from the bottom) and deal cards face up into pile A saying, “Ten, nine, eight…etc., etc.” When you get a match,
Paul Gordon
stop the deal. Do three more piles in this fashion. If you get to ‘one’ (or, Ace) and don’t get a match – deal (burn) the next card face down onto the packet. So, you now have four dealt piles and depending on the shuffles and dealing, you will have four piles with face-up cards, or three such piles, maybe two, maybe one – or none. It will always be a different outcome. (The four ‘face-down’ scenario will be discussed later.) Using jazz patter, talk about the face-up cards (whether it be one, two, three or four face-up cards) and say something like, “Yes, this tells me your card was black…this one a spade…and this one a Seven! Correct? No? Oh!” This patter is impromptu – jazz patter! Make it up as you go. If, say, you had three clubs visible, you could say, “As I’ve got three clubs face up – your card must have been a club! Correct? No? Oh! As I said – jazz it.
4. Finally, say, “If we add the values of the face-up cards (add them) we get seventeen (or whatever). This tells me your card is seventeenth from top here." (Point to the in-hand packet.) Deal sixteen cards into a pile ‘south-of’ the four left-to-right piles and turn the seventeenth card face up – it’s the KS. With the in-hand remainder, perform a Reverse Faro and then table the in-hand packet. Repeat the Reverse Faro and table the in-hand packet to the right of the first. Place the remainder of the cards further to the right. Turn over the top cards to reveal the other three Kings! End!
Note: If you get to the last card of the fourth pile and get no match, the last card of the deal will be the KS. Say, “Look…no matches. That’s odd!" Reveal the KS and do the other three Kings kicker. It’s not perfect – but you need to know it.
DuffieCrosGord Paul Gordon & Roger Crosthwaite Aldo Colombini presents "Adagio" that utilises a very ingenious easy-to-do subtlety by Peter Duffie on his ‘Impromptu Card Magic’ DVD series. The subtlety originally appeared in Peter's "Return to Garden Path" which was published on his website, and "Garden Path II" that appeared in Cardeceits (ebook, 2003). Peter's concept secretly sets a packet of cards to enable an unexpected change of several face up cards, using a very simple and direct means. Using Peter's & Aldo's ideas, Roger Crosthwaite and I came up with some alternate endings. [PD Note: while phase 1 below is similar to Aldo's "Adagio," it has some differences that need to be explained in order that DuffieCrosGord 2 - 4 make sense.]
Working 1. Have a card selected from the pack and once noted, control it back to the top.
2. Flip the deck face up and spread it (tilted upward; so only you see the faces) from hand to hand. Glimpse the top card, the selection, and look for its mates. Assume the selection is the 9S, look for the 9D, 9C and 9H. When you see a mate, separate the deck at that juncture and place the mate and a few cards (the ones to its left – the ones above it), say five or six extra (it
Paul Gordon
doesn’t have to be exact, but you need from about four to seven extra cards – you’ll see why after you’ve done this effect a few times) face down onto the table so that the mate is the face card. Repeat this two more times so that you end up with three face-down tabled piles of from five to eight cards (inc. mate) each; the face card of each pile being a nine-spot. The selection, the 9S, is on top of the pack. Table the deck to one side.
3. Pick up one of the piles and do a block-push-off and turnover (or use a buckle) of all the cards above the bottom card. It looks like you’ve simply turned over the top card. Assume a five-spot is now visible. Table this packet. Repeat the turnover process with the other two tabled packets and each time you table them, lay them overlapping (on top of) each other (Fig.1).
Fig.1
Assume a five-spot, a ten-spot and a two-spot are showing. Say, “Look…three cards at random. Was one of them yours? No? Okay. If we add five, ten and two – we get seventeen. If your card was seventeenth from top of the deck, would you be impressed?” (N.B. I say this patter AS I table and show each packet [step. 3]. I pre-empt it with, “The first card tells me your card was black [or red], the second tells me it’s a ten [or whatever it is]…or maybe [looking at third packet]…a two [or whatever]." It’s ‘jazz’ patter; just to give a rationale to the whole thing.) Here, pick up the tabled deck in dealing grip and riffle down, with the left thumb on the outer left edge to approximately seventeen cards. (Do it with conviction.) Say, “Yes…that’s seventeen!” Perform a Slip-cut force and have the spectator take the apparent seventeenth card. It’s his. Applause! (I’m pleased with this unusual application of the force. Call it the NoForce-Force). Or, you could use the Veneri Turn from Farelli.
4. Scoop up the three tabled packets (aided by the overlap), but be careful not to spread them showing other face-up cards. Hold the combined packet (Two-spot at face) and do Jerry Hartman’s Blow Change. (If you don’t know it, do any change that simply turns the packet over.) There will be a very visual change of the Two-spot into a Nine-spot. Immediately spread the packet to show the Five, Ten and Two have changed to the other Nines! (Fig.2) Patter and present as you will.
Paul Gordon
Fig.2
There’s more: If, when you spread to remove the three mates, you note the cards to the left (above) of the mates (the ones that will show after the turnover – in our example; a 5, 10 & 2) and total them – 17 – you then can shift/cut 16 cards from bottom to top to place there card to exactly 17 from top. So, no No-Force-Force required. To cut 16 cards, simply run through the face-up pack as if deciding, or not, to make another pile; and eye-count 16 cards. Catch a break and cut them to top. My contribution to Peter's & Aldo's (fantastic) idea is the rationale for having face-up cards, only using 3 tabled packets etc, the dealing/forcing procedure and the end-thought regarding totalling the cards as you go.
Duffiecrosgord 2 1. Take a shuffled deck and casually spread it face up (faces toward you) and table, face down, four packets so that an Ace is on top of each. Don’t make a move of this, just do it. There should be about thirteen cards per packet, but it’s not pivotal.
2. Pick up any packet, spread it and have a card chosen. As the card is being noted, kick over the top half the packet into the left hand, have the card replaced and put the bottom section on top. The selection is now centred with an Ace below it. Repeat with the other three packets. So, four cards have been chosen and there are now four tabled packets with an Ace (and selection above) centralised.
3. Pick up the packets, one on top of the other, and false cut the deck.
4. Now, spread through the face-up deck (facing toward you) and table four packets of five, or so, cards but cut each packet so that when tabled, the Ace is the face card. (If you’ve tried the other handlings, this’ll be more clear.)
5. Do Peter’s move with each packet to reveal the four selections; supposedly on top. Then, do the usual reverse idea (once the packets have been gathered) for a four-Ace revelation. End!
Paul Gordon
Duffiecrosgord 3 I had another idea which, although it worked well, needed a difficult set-up. It was, yet again, Roger Crosthwaite who helped me solve the set-up problem. The handlings are the same as in the above two routines. However, all you need to do is table four face-down packets of cards that contain two blacks sandwiched among two reds, or vice-versa! You ask them to freely (stress the word free) choose any packet which you place aside. Do ‘the move’ with the other three packets to show three black cards. (Overlap the packets as before.) Reiterate that they could have chosen any packet (true) and turn over the real top card (mimicking the block push-off) of their packet to show a red card. Then, pick up the overlapped packets (and square) and do the turnover to get a nice visual change of three blacks to three reds…to match the free choice!
Duffiecrosgord 4 My final idea requires a small set-up. From the top of the deck set, in any suit order, A, A, K, A, K, K, A, K. 1. Jog Shuffle the deck retaining the set-up and then deal four hands of four cards in a left to right row. The third-from-left pile has a King on the bottom, the other three have Aces on the bottom.
2. You need to force the third-from-left pile. Now, you can either use a finger force (finger passing over the four piles etc) or say, “Give me a number between one and four!” The latter, if said tongue in cheek, is okay. The best force is simply to get them to touch any pile. (If the spectator is near the right end of the row, he’ll often [and it’s psychological] touch the desired packet.) Another force is the ‘touch any two piles’ equivoque force. Anyway, it’s your call.
3. So, after you’ve forced the correct pile, push it forward. Pick up the other packets, one by one, and do the block push off move (and turnover) as you say, “Look…amazingly the top card here is a King…another King…and another King.” Overlap, as usual, the King packets.
4. Pick up the force pile and do ‘the move’ to show the top card as an Ace. Say, “The top card of the pile you chose is an Ace. That’s odd!” Finally, do the turnover of the three overlapped packets to change the Kings to Aces as you say, “What’s even more odd is that if you’d have chosen any of the other packets…I could have got the other Aces!
When I Was Twenty-One Paul Gordon This effect should fool other magicians who think that you are doing the hoary old Twenty-One Card Trick. For laymen, it boasts a quick visual handling and a nice revelation. It is also pretty easy. My routine was inspired by something Jack Parker showed me. Jack has many ‘TwentyOne’ effects; all of them very clever.
Paul Gordon
Working 1. Say, “Have you folks seen, or heard of, the famous Twenty-One Card Trick? If not, here it is!” From a shuffled deck, you deal three face-down piles of seven cards each. Ask the spectator to pick up any pile, shuffle it and hold the packet face down in dealing grip. He is then to cut the packet, note the face card of the cut-off portion and then drop this portion onto either of the two tabled seven-card piles. He is then to pick up the other pile and drop it onto the larger pile and then drop the remainder of his inhand cards on top. This is a Marlo procedure and will fool magicians who are unfamiliar with it.
2. Pick up the combined twenty-one-card packet and say, “I’m going to have to whittle these cards down a bit. I mean, your card is lost here…and I can’t find it amongst all these cards.” Here you do one Reverse Faro Shuffle (i.e., up and down jog the cards so that the first one upjogged is the second-from-top card) and lose – back to the deck – the inhand cards. Deal the remaining ten cards into two piles – first card to left, second to right etc., etc. Stare at both packets – for dramatic effect – and lose the right-hand pile. Finally, pick up the remaining pile and cut the top two cards to the bottom. (I do this using the ‘squiggle’ flourish.)
3. Hold the five-card packet in dealing grip and do Harry Lorayne’s Reverse Faro Ending. Briefly: Do a Reverse Faro, strip out the outjogged cards, flip them over (slightly spread so the faces can be seen) and place on top. Repeat again. Finally, repeat once more but place flipped-over-cards to bottom. During this procedure, four faces have been seen, but not the selection. To end, spread the packet to reveal a face-down card at centre. Remove it and reveal it with flair, style & panache!
Mark Elsdon Mark has been performing magic for far too long and never gets paid nearly enough. He has, though, enjoyed the world-wide travel quite a lot! Of more interest to you, he finds it very easy to come up with swell new close-up tricks. Here’s two…
Station Master Mark Elsdon
What Happens? The performer introduces an envelope which he says contains an unusual playing card. The envelope is shaken so that the spectators can hear the card moving about inside. One of the spectators is given a pin and pierces the envelope and the card inside (he feels the card in the envelope to make sure) at a random spot. The card is then withdrawn and the spectators are shown that its back design is a map of the London Underground. Upon closer inspection, the spectator can see that he has pierced the card (and therefore the map) at Charing Cross. The performer explains that when he arrives in London from his home town, he always alights at Euston station. The performer then removes something else from inside the envelope. Inside is a London underground ticket – it is for the journey from Euston to Charing Cross!
The Hype? Only one card and one ticket are used. Neither are gimmicks are and the spectator may keep both at the end.
How Does It Happen? A manila (or brown) envelope is used which measures 3½ inches by 6 inches. The playing card with the London Underground map is standard poker size and is taken from a deck of such cards. I have found these ‘tourist souvenirs’ available in pretty much every city I have ever been to which has a subway or tube train network. This card is pierced with a pin at any destination you choose (I always use Charing Cross.) You will also need a one-way subway or tube ticket for the journey from a specific point in the city to the destination that you have (literally) pin-pointed on the playing card. As pointed out in the effect above, I always arrive
Mark Elsdon
into London at Euston station, so my prediction tube ticket is from Euston to Charing Cross. Obviously this prediction should be made to fit whichever city’s playing cards you are using. Hold the envelope flap side towards you, with the flap pointing up. The pierced playing card is face down with the tube ticket underneath it and they are both loaded upright into the left hand side of the envelope. The playing card is almost the same height of the envelope. You also need to place a piece of stiff card which is about a ½ inch shorter and narrower than a playing card is inserted into the right hand side of the envelope (Fig.1). Fold the envelope’s flap over, but do not seal it. Finally a duplicate, empty envelope is screwed up and placed in your left jacket pocket.
Fig.1
Working 1. Hold the envelope flap side down so that you are holding the end containing the card and ticket in right hand ‘Biddle’ grip. Proceed as per the effect. As you shake the envelope from side to side, the piece of card which is at the left, free end of the envelope will be heard moving around. This is supposedly the playing card. Have the spectator pierce the card and allow him to feel through the envelope that he has actually pierced the ‘card’. Withdraw the pin and without turning the envelope over, open the flap. The right fingertips now enter the envelope, contacting the back of the card and shuttling it along to the other end of the envelope and at the same time withdrawing it from the envelope. This makes it look as if the card is withdrawn from the same place in the envelope as it was when they just pierced it. Show them the hole through the face of the card and have someone turn it over to reveal the stations. Point out where they pierced it.
2. Next reach into the envelope and remove the ticket. Crumple up the envelope with your left hand and absent-mindedly drop it into your left jacket pocket. Pass them the ticket to read the journey which constitutes your prediction. They match! As everyone is examining the card and the ticket, without saying a word, casually reached into your pocket and remove the duplicate, empty envelope and drop it in the nearest bin (or ashtray or whatever, depending on where you are performing). Please notice the many subtle convincers in this routine. They all add up to block any possible explanations the spectators might have.
Mark Elsdon
KiLocator Mark Elsdon
What Happens? The magician spreads a deck of cards face up on the table to show that all is fair and above board. He then shuffles it, hands it to a spectator and turns his back. The spectator cuts the deck as many times as he likes and then deals the top five cards in a row on the table. Yes, the five cards are all different and if he’d cut somewhere else it would be five completely different cards! He chooses one and remembers it. He cuts off the top third of the deck and shuffles his selection into it. He then picks up the other four cards from the table (yes, he can look at them to check that they really are all different!) and shuffled them into the top third as well. This third is replaced on top of the deck. The magician turns back towards the spectator and without asking any questions he cleanly gives the deck one cut and one shuffle, and then places the deck on the table. The spectator is asked to name his card (which, remember, he shuffled back into the deck himself), the magician turns over the top card of the deck and it is the selection!
The Hype? This is a magician-fooler par excellence! It is one of those convention-session three-in-themorning brain-drainers that will fool anybody who hasn’t read this ebook. There are so many sneaky things going on that it is impossible for anyone to reconstruct the method. Want an impossible location effect that uses a faro? check. A stack? check. A gaffed deck? An overthe-shoulder-glimpse-whilst-turning-away? Check and check again!
How Does It Happen? You will need 26 random cards and the exact same 26 cards from a second deck (same backs please!) to make up a ‘KilLocator’ deck. Make sure that none of the cards are aces or jokers, as they could possibly be too obvious when you briefly show the deck during performance. Both sets of 26 are in the same order and one is on top of the other.
Working 1. Briefly spread the deck face up on the table to show that the cards are all different (of course they aren’t, but the wise ones will be looking for the Aronson stack, or a Koran deck and will never spot the duplicates 26 cards apart). Turn the deck face down and instruct the spectator to cut the deck several times. Turn away slightly as you are speaking, to give the impression that you don’t want to see what the spectator is doing.
2. Have him deal the top five cards to the table in a face-down row. Ask him to pick any one and remember it. Then have him cut off the top third of the deck and shuffle his selection into. Turn back towards him, as if to see that he’s doing what you asked and casually spot from which position from the left end of the row of cards he took his selection (e.g. third from the left). We can safely assume that since he is a fellow magician, he will have dealt the cards
Mark Elsdon
from left to right. Ask him to pick up the four cards he didn’t select and shuffle them into the cards he holds as well. As he starts to do this, tell him to have a look at the four rejects to make sure they aren’t all the same as his selection. He then drops the cards he has been shuffling back onto those on the table. Most theories about the method behind what you are doing will have been blown out of the water by this point.
3. You now need to make a very simple calculation. Simply subtract 1 from the selection’s position in the row as you glimpsed it when you turned back around a few moments ago. In our example above, the selection was third from the left, so 3-1=2. So, double undercut 2 cards from the top of the deck to the bottom. Finally, give the deck an in-faro and voila! The duplicate of the selection is now on top of the deck. If you were doing this trick for a lay audience you would now contrive to have some theatrical moment of ‘magic’ happening before the revelation of the (apparent) selection as being on top of the deck. However, since you are performing this simply to kick your fellow magicians in the head, just ask your spectator to name his card and then slowly, silently turn over the top card. Smile, put the deck away and lie pleasantly that it’s an unpublished Jay/Diaconis trick and that you’d really rather not say any more…
Shiv Duggal by Peter Duffie I first met Shiv 30 years ago in Ken Brooke's Magic Place. Ken's business partner Frank Farrow introduced us, and it went something like this: "Peter, have you met Shiv from India?" "Very pleased to meet you, Shiv...which part of India are you from?" "London," replied Shiv. While his parents are from India, Shiv was born in England, but Frank always referred to him as "Shiv from India," which Shiv found amusing When we met, he was a dedicated card enthusiast. That was enough to form a bond that has lasted to this day. He also liked a pint of bitter - that helped seal the bond! Shiv was a regular at the Dog & Duck and Marlbrough Arms pubs where he would enjoy the company of Fred Robinson, Eric Mason and others. Over the years, Shiv has published routines and articles in several magazines, including; Pabular, Spellbinder and Genii. He also has a chapter in The Best of Close-up Magic by Walt Lees.
Girl Talk Shiv Duggal I came up with this version of "The Whisperers" effect a couple of months after Jerry published his version in Alternative Card Magic. I have always thought there is an inherent weakness in effects that are based on repetition, such as the cups and balls and the ambitious card routine. As the effect proceeds, the audience can start to anticipate what is going to happen next making the job of misdirecting them harder, as well as lessening the surprise element of the routines. This is also true of the of The Whisperers; by the time you get to revealing the third selection the audience is ahead of you and knows what to expect and therefore the element of mystery and surprise is lost. The Cups and Balls overcomes this by having a very strong and surprising ending as does the Ambitious Card - by varying the method and also by including a surprise ending, such as Daryl’s Roped Deck. Jerry overcame the problem in The Whisperers by adding a transposition between the selection and the Jacks ( the Whispering cards). However adding a strong surprise ending to an effect can bring its own problems. The audience are so surprised by the ending that they will not remember the beginning phases but only the climax. When putting together this trick, I constructed it so that the audience believe they knows what’s happening. I even give them a solution then hit them with a surprise ending that I believe is consistent with the rest of the trick and does not overshadow the beginning phases.
Working No set up is required, therefore you could have the deck shuffled by the spectator.
Shiv Duggal
1. Spread though the deck up-jogging the four Queens, then strip them out and place them face up on the top of the face down deck.
2. Place them in R, R, B, B order from the top down. In-jog the top/face Queen and turn all the Queens face down, at the same time push down on the in-jogged card with the left thumb and lift off the top three Queens as four and place them on the right hand corner of the table.
3. Turn the deck face up, at the same time reversing the top card (the red Queen) using a Half-pass or Ken Krenzel's Mechanical Reverse.
4. Spread the deck and have a spectator touch a card, ask them to remember it as you reverse the card and out jogging it. Repeat twice more however do not out-jog the third card as much as the first two (Fig.1).
Fig.1
You must remember the three selections. Let's say they are, from the top down: KD, 3S and 9S. Try to have all the selection made from the top half of the deck (this will makes the final display more effective). Now perform a variation of Vernon’s Strip-out Addition. Take a break above the reversed Queen with the left little finger, push the lowermost selection flush with the deck with the left first finger (Fig.2) at the same time you perform the Strip out Addition.
Fig.2
This will leave you with three face-down cards in you left hand, the lowermost being a Queen and one selection reversed in the centre of the deck. I came up with this variation of the strip out addition in 1982/1983 and I have recently found out that it is similar to Daniel Rhod’s “Le Change Intervisual” and Aaron Fisher’s “The Under Cover Switch" from The Paper Engine.
5. Place the deck face down on the table. Apparently mix up the three cards but retain their order, then swap over the top and middle card. The order of the cards should be 3S, KD and
Shiv Duggal
the red Queen. Now deal them onto the table from left to right. The position now should be from left to right 3S, KD and red Queen and face up in the deck is the 9S.
6. Pick up the Queens packet, turn them face up and drop them onto the card at the left-hand side of the row - 3S (Fig.3).
Fig.3
Carry out an Elmsley Count, out-jogging the face-down card. Holding the packet at the lower left hand corner allow the face down-card to fall on to the table (Fig.4).
Fig.4
Bring the packet to your ear, pretending that the cards are telling you the name of the first selection. Name the second card you remembered, then turn the card face up to show that you are correct.
7. Repeat step 7 with the middle card but this time name the first card you remembered - KD.
8. Drop the packet onto the last card. Carry out another Elmsley Count, but this time square the face-down card with the packet. Name the last card you remembered (9S), however this time say, “You may think that was easy because as I had seen the cards as they were chosen and have already named two, so I will do something different with the last card.” Snap your fingers and do an OPEC count (first card is taken from the bottom of an Elmsley Count) to show that the face down-card has vanished. Spread the Queen packet and Half Pass the lowermost card at the same time to show four Queens (you could use the Lee Asher's Twist move). Spread the deck to show that the last card has travelled back to the deck to conclude.
Harold Cataquet
the genre.
Harold is from New York City, but has lived in the UK for so many years that we consider him a Brit! Harold developed his skills with the aid of his mentor, Harry Lorayne, and would later become a regular contributor to Apocalypse magazine and others. Harold's Ulti-monte is a popular marketed effect. The photo shows Harold wowing the attendees at the 2004 FFFF convention with his Linking Ropes routine - one of the best of
Photo by Dale Farris. Reprinted with the kind permission of Mike Powers MallofMagic. com.
ESP Mental Harold Cataquet This effect is based partially on Paul Hallas’s “ESPecially Wild”. Paul used ESP cards and goes on to do a wild card routine, but I changed the gimmicks a bit (adding color) and produced a multi-phase routine which instantly resets (and can be examined). This is the only packet trick I do in my table hopping. It’s also a great effect for tradeshows with the company logo instead of the force card.
Set-up There are ten cards in the set. You can easily make them up from the cards that come in a Piatnick ESP deck. However, you’ll have to have a bit of trouble making up the set using other ESP decks. The set consists of four double faced cards (with star [or whatever the force card] on one side, and a non-star on the other side), two normal star cards (marked on the backs), and four differently coloured star cards. For more details, see the sketch below.
Harold Cataquet
In performance, I have several sets with a different force card (e.g., one for star, one for wavy lines and one for squares). This is quite useful, especially if you’re table hopping. The set up is: normal star on top, four double facers (non-star facing upwards), normal star, and four coloured stars.
Working 1. Do a modified Hamman Count, switching on the count of six, to show: ten different ESP symbols. The modification comes in that when you count ten; rather than count the eleventh card, you just place the double card on top of the deck.
2. Openly count off the top five cards into your right hand, and in the process, rearrange them so that the star is on top of the stack. Take the remaining five cards and place them face down on the table. Check: You’ve got the star card and the double facers in your hand and the remaining five star cards (all with normal backs) are all face down on the table.
3. Have a spectator move the cards around and choose one. While he is doing this, do a half pass under the star in your hand, turning all the double facers over so that the stars face upwards. There is so much misdirection that the timing of the half pass isn’t crucial (moreover, even if you did a bad Hamman count, the heat is on the cards on the table!). Remind the spectator that he could have taken any of the ESP symbols. Ask him if he wants to change his mind.
Harold Cataquet
Effect 1 - All cards change to star 4. “The card you chose matches one of the cards in my hand.” Wave the cards in your hand over the tabled cards in a magical gesture. Count the cards from one hand to the other, placing each card on top of the previous, and then spread to show five stars. Gather the cards together in your left hand and point (with your left hand) to the cards on the table. In this subtle gesture, you are showing the back of the normal card and by implication, the back of the other cards. Tell the spectator that you think he has taken a star, and ask him if he wants to change his mind. This is a fun point in the routine, because you can remind the spectator that if he doesn’t change, he will forever wonder what would have happened if he had changed his mind. On the other hand, you remind him that maybe the selected card isn’t a star and you want him to change his mind.
Effect 2 - Spectator's card is shown to be star 5. At this point, the spectator probably took one of the coloured stars (the normal star is marked on the back). The fact that he might not leads to two different handlings. • Coloured star chosen. Take the marked face down star with your right hand and use it to scoop up the remaining three cards. While you are doing this, take a break above the bottom card in your left hand. Drop the packet into your left hand and immediately turn over all the cards above the break. Count the four top cards (double facers) onto the table to show that they are not stars. By implication, the chosen card is the star. • Normal star chosen. Just scoop up the cards (doesn’t matter which one you use as the scoop). While you are doing this, take a break above the bottom card in your left hand. Drop the packet into your left hand and immediately turn over all the cards above the break. Count the top three cards onto the table to show that they are not stars. As you count the fourth card onto the table, turn your hand inward to hide the coloured star. Then take the bottom card and use it to point to the tabled set and say that the chosen card MUST be a star. Then place the card on top of the left hand pack. Be careful not to flash the coloured star! Now turn over the selected card to reveal it’s a star (if he chose a coloured star, this is effect number 3). Some of you may worry about tabling the double facers, but there is nothing suspicious about these cards. The spectators want to see the cards in your hand as those are the ones that changed.
Effects 3 & 4 - Stars are shown to be different colours 6. Wave the selected card over the cards in your left hand. Toss the selection onto the table and then count the cards one by one onto the table (showing the backs). The method that I use is to grab the top card with the palm down with the index finger on top and the thumb underneath. Then twirl the cards in your right hand and then toss it onto the table. All the heat is on the cards in your hand. If anyone suspects a thing, they will go for those cards. The double facers are inconsequential (the most common comment is “how did you make me pick the star?”) and they won’t be examined as the spectators have already seen the backs.
Harold Cataquet
To reset (and this is the beauty of the routine) take the normal star and scoop up the other stars, place them in your left hand and then move the normal star to the top. Take the other normal star and scoop up the double facers, place these onto the other cards in your left hand and then move the normal star to the top. The set-up in your hands should be the same as the original set-up. Voila!
Lazy Man’s Hanging Coins Harold Cataquet The Hopping Half is arguably a modern classic of coin magic. So, you probably already have a Hopping Half coin set in your collection. This is a routine that uses the copper/silver coin, the penny shell and the expanded shell to produce a very strong lazy man’s hanging coins routine that floors both magicians and lay men. In fact, it makes a good follow up to the Hopping Half.
Working 1. Take the coins out of your pocket one at a time as follows: copper/silver (copper side up), shell and expanded shell. Place the three in the left hand and then transfer them singly into the other hand making sure not to flash the reverse side (This hand switch is only necessary because I perform this effect after the Hopping Half, so the coins come out of the “wrong” pocket. If you are just doing the hanging coins, then put the coins in your right hand pocket and transfer them into your left hand). 2. Talk about the invisible hooks and then proceed to vanish the coins one by one by nesting them, as follows: a) The first coin (c/s) nests into the shell as you pretend to pick it up and “hang” it. b) You then take the nested coins and place the expanded shell over it (nesting the three coins) as you apparently take the second. At this point you can very cleanly show that you only have one coin in your hand. In fact, as you vanish each coin, the left hand (which holds the nest) should be visible at all times, so that all the heat is on the empty hand. c) For the vanish of the third coin, I simply say, "If you think that looks good, you should see it from my point of view." I then turn my left shoulder towards the audience as I put the remaining coin in right hand Tenkai Pinch. Close the left hand slightly, but keep it tensed (as if you were hiding a coin). Conversely, keep the fingers of the right hand loose and in standard hanging coin position as you “hang” the final coin. The minute you separate the fingers, the audience will assume that the coin(s) are in the left hand. Drop the right hand and recover the nested coins as you gesture with your left hand (now seen empty) to the “hooks”. While you are talking about the hooks, get the nest into edge grip. 3. For the finale, you can either produce the coins all at once or one by one. If you have a coin rattle box on your right upper arm, you just grab for the hooks in one fell swoop (sounding the rattle), open your hand (so that only you can see the contents) and drop the three coins one by one into your left hand. As you look at them in your right hand, you pretend to count them, but in fact use your thumb to un-nest the coins. If you want you can show the c/s coin so that it is silver side up. Then joke about having removed the wrong coin. Then just take it in edge grip, pretend to “hang” it and pluck
Harold Cataquet
the correct coin from the air, by pushing the coin up from the rear (showing the copper side). Alternatively, with the nest in edge grip (with the expanded shell uppermost), you can just drop the coins one by one from the nest into the left hand. This takes a little practice to get the knack, but it is quite easy. Again, if desired, you can show the silver coin and do a switch. Yet another alternative is to ditch the nest into your right trouser pocket and grab a “finale” (I use a decorative set of curtain hooks with Chinese coins on them, but a large coin would do). Grab in the air, and dump the hooks onto the table. Voila! Afterthoughts: All right, it’s an easy trick requiring very little skill, but it looks so good!
Al Smith Al Smith calls himself a Card Specialist. Left unchallenged the suggestion is that if he is a soecialist, he must be an expert. Nifty. The more committed pursuer of magical trivia may have spotted Al's name here and there in conjuring books and magazines. He has been called prolific, but isn't really; he just writes a lot. Alert spotters of magical trivia may very well deduce that much of the writing deals with cards (not to mention Magic Squares and Book Tests). After the 10-year run of his magazine Abacus came to an end, Al decided not to retire and instead, launched The LaBaL.
This, and many of his other publications are available from Al Smith, 17 Osbert Road, Rotherham, South Yorkshire S60 3LD.
Fayre and Squayre
An overview of The Magic Square Al Smith Most magicians, when discussing Magic Squares, adopt an approach of simplification. That is, whatever the method, the aim is to demonstrate how simple it all is and that nothing is required beyond basic arithmetic. I did this myself in the book, Round The Square. Figure (1) shows the most basic and simple of magic squares for the number 50. Figure (2) shows the same simple square for the number 65.
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Basic and Simple. But is it easy? Well, the arithmetic is not taxing. To get the square started, simply subtract 30 from 50: 50-30=20. Insert 20 in the top left corner; then complete the top horizontal row with the numbers 5-10-15. Simple. Basic. Note that 5+10+15=30. But what about the rest of the grid? What about the other numbers? Where do they go? The arithmetic is simple, but without some effort over and above simple arithmetic, there can be no progress beyond the top horizontal row. We need to know both what the numbers are and where they go. Obvious really, but a little endeavour is required in order to make sure we understand where the numbers go. So, to repeat: In truth, basic arithmetic really is all that’s required, whether the actual method overall is deemed easy or difficult. The real hurdle, however, is not really the maths, which remain basic and therefore easy. The stumbling block is remembering where the numbers go. Before we set about trying to remember where the numbers go, we need to look at patterns. Note: patterns, not combinations. A Magic Square comprises 16 small squares or grids, each grid contains a number. Certain combinations of four of the numbers, when added together, produce a particular “target” total. In figure (1) our starting point was the top horizontal combination: 20+5+10+15=50. But each one of the four horizontal rows is a combination in its own right; and each combination provides a total of 50. There are, of course, numerous – to spectators it should seem countless – other combinations, a list of which appears elsewhere. But how do we construct the other horizontals in order to produce the other combinations? It’s all to do with patterns. Check out the simple or quick square for the number 50 as shown in figure (3). Essentially, it’s the same as figure (1), the only real difference being the four circled Sequential Key Numbers. As already discussed, the key number of 20 is arrived at by subtracting 30 from 50. This is placed in the top left corner of the grid. Since the other key numbers follow in numerical order, it’s not much of a chore to spot, and with that bit of endeavour I mentioned, to remember where they need to go. Both figure (1) and Figure (3) are substantially the same as figure (2), even though the Magic Square combinations total 65, rather than 50. The Sequential Key Numbers make the difference. Figure (3) shows that not only have the key numbers – and their pattern – been highlighted, but so have the twelve remaining “static” or “never-changing” numbers, all in blocks, sequences – patterns
– of four. Study this and notice how they interact with each other and with the grid in general. They all travel in numerical order, so there are clues to be had there. Each of these three numbers are part of a pattern of four. Using these numbers as starting points, filling in the rest of the squares becomes less daunting. Check out figure (4) which continues the simple square for the number 50. Here again, not only have the key numbers been highlighted, but so have the remaining twelve numbers, all in blocks, sequences – patterns – of four. Remember to study this and notice how they interact with each other and with the grid in general. They all travel in numerical order, so there are clues to be had there.
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Chess players will notice some semblance of the “Knight’s Tour” aspect to each of the patterns. From 20 to 21, it’s a case of one down and two across to get 21; then a diagonal to 22 and then the one down two across sequence is repeated going right to left this time. I did say “some semblance of the Knight’s Tour,” remember. Helpful, too, is the connection between the first key number and the other three numbers in the top row: 5-10-15. Add these together and of course the total is 30. It must be, since we subtracted 30 from the chosen total to get the key number 20; put another way, add all four and we get the nominated Magic Square number. But the sequence 5-10-15 is a familiar and very easy one to remember, so the top row virtually completes itself. Subtract 30 from the nominated number, insert the result in the top left corner then, breaking down 30, complete the top row with the numbers 5-10-15.
Comment Beyond this I offer no firm clues or suggestions as to how to “remember” these sequences. The key word in the previous paragraph is “study.” Look for the obvious numerical and arithmetical connections, but also look for personal mem-jogs such as the 5-10-15 sequence. As with all forms of study, practice will bring certain combinations to mind more readily than others and for no definable reason. A word here for the Self-Workerettes out there: No apologies are offered for introducing the word “practice.” Incidentally, note that if your Magic Square number is higher than 85, if you subtract 60 instead of 30 to get your key number – 90-60=30, for example – you can use 15-20-25 instead of 5-10-15. In this case a new set of “permanent” numbers is required, but they all follow the same patterns already established. And in this case, since 60 is twice as many as 30, each number in the 80-square is double that of its counterpart in the 30-square. It’s just a different form of quick or simple magic square. The essential thing to note is the the patterns remain the same. The finished grid also looks more balanced with the higher numbers. See figure (5).
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The reason I suggest – actually recommend – committing the patterns to memory, is because it's not difficult. It requires some application, but for goodness sake, isn't that what magic is about? Putting something in to get something back? A bit of input to put us out of reach of the layfolk?
By all means use any personal memory aids, they really are the best of all prompts. But unless you have an aptitude for memory systems, learning a system in order to help memorise four simple patterns is unnecessary and simply work for work's sake. And despite what the “experts” say, very few people do have an aptitude for memory systems. The arithmetic is simple, as I've said, so learning the patterns is the only work involved; we’re merely building on something we already know and use in and out of magic. It’s not so far removed from learning any new routine incorporating moves and subtleties we already have at our fingertips.
Routine Find someone in the audience who is not afraid of technology; hand them a calculator. Ask four other spectators each to think of a number. Spectator (1) is offered a choice of any number from 1-10. Spectator (2) chooses from 10-20. Spectator (3) chooses from 20-30 and Spectator (4) chooses from 30-40. I’ll discuss the reasons for this selection of choices (that’s a nice phrase) shortly, but for now assume that the numbers are 5-12-19-28. Added together these total 64 and a Magic Square for number 64 is what we’re about to create. Inform the spectators that you will create a row of four numbers – using their choices – but you will let another spectator decide whether the row will be horizontal, vertical or diagonal. To get things started say that whatever number Spectator (1) is thinking of will go into the top left corner of the grid. Have him name the number and proceed as promised. Now have another spectator decide how you should proceed. The three possible results are shown in figure (6a-b-c), together with the eventual squares. Because each of these rows is one of the many Magic Square combinations that total 64, it doesn’t matter which pattern the spectator chooses. It simply means that a slightly different approach is required when it comes to filling in the remaining 12 squares. The key thing is that the spectator gets an absolutely free choice of one of three combinations. Often a choice of one of three is not much of a choice, but here, three is the total number of (obvious) available combinations, so there’s no suggestion that it’s not much of a choice. The top left corner is a natural place to start in any writing or scribbling activity; it follows that there is something logical about filling in the squares from left to right. For me, therefore, when creating a regular Magic Square that is the ideal way to go about things. Placing the numbers in what appears to be a haphazard sequence actually looks anything but haphazard; it’s really quite mannered and seems as if it actually makes things easier for the performer, which generally, of course, it does. By offering the three-row choice and then proceeding as follows, a genuine sense of the haphazard is created, whilst at the same time staying in an area recognisable to the spectators. All with no loss and much gain. We’ll deal with the horizontal choice first; this is figure (6a). Ask the spectator with the calculator to do his stuff and add the numbers together. The total is 64, a truly random total, determined entirely by the choices of the spectators, so emphasise this. Our starting and finishing points are grid (6a and 6e). Getting there is a straightforward job and a glance at the complete square is a reminder of the various patterns. Say something to the effect: “You had a choice of vertical, diagonal or horizontal and in the end you went for the horizontal. Let’s check out the vertical.” Once again, this has an air of solid and reasonable continuity and provides the perfect reason to complete the first vertical row; figure (6b). The fact that this simplifies matters for the performer is pure
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coincidence(!) and as such need not be mentioned. The small size figure [27] is included in grid (6b) to show how 26 gets to be where it is. With a horizontal and a vertical combination completed, inserting the diagonal next is even easier and the same “logic” already used with regard to the vertical is revisited here; figure (6c). The spectator could have chosen the diagonal, but didn’t. Had he done so, the start numbers 5-12-19-28 would occupy the diagonal spaces. As there are two diagonals, remark on this and insert the appropriate numbers; figure (6d). The patterns forming in figures (6a-b-c) ensure that this is a formality. Having got to the position shown in figure (6d) the remaining blank squares can be filled in as desired. My own preference is to complete the horizontal rows. Having added the two rows not chosen by the spectator, then the extra diagonal, some vague air of logic and naturalness is maintained by moving briskly to the end and filling in the horizontals. At each stage of the construction of the square, the spectator with the calculator is asked to add the four appropriate numbers. Each time of course he gets (this example) 64. This interaction between performer and spectator creates thinking time, useful to verify that the square is actually being constructed correctly. At the stage where the second diagonal has been completed and the spectator has done the adding, I generally say something to to the effect: “Well I think we’re getting there – the numbers you chose definitely gave me something to think about – and while I fill in the remaining squares, perhaps you’d like to add the four corner numbers – 5-13-18-28 – and see what you get.” Figures (7&8) show the sequence of events if the spectator picks either the vertical or diagonal sequence to begin. The patterns are easy to spot and the patter easily adjusted to take care of whichever choice he makes. If you take a moment to glance at figures (6d-7d-8d) you’ll notice that no matter which combination the spectator chooses to start the proceedings, after the two “rejected” combinations have been inserted, this is the point we reach. The numbers are different, of course, but the combination of complete and empty squares is the same. Actually there is some symmetry in that the circled numbers always occupy the same positions; this is due to the fact that whether we begin with a horizontal, vertical or diagonal, the starting square is always the same – the top left corner.
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Duplicates By allowing spectators to choose the numbers, it’s possible that the finished square will contain duplicate numbers. See figures (9a/b), which show the start and finish of a square for 80. The likelihood of this happening is greatly reduced by suggesting a choice of numbers from 1-10, then 10-20, then 20-30 and 30-40. There won’t be any duplicates if the chosen numbers are widely spaced: 3-12-22-34
for example. In fact if there’s a gap of seven between the numbers, there won’t be any duplicates. There might not be duplicates if the gap is less than seven, but it’s as well to be aware and prepared. Generally a gap of five in the top horizontal row will ensure that aren’t any duplicates. If duplicates aren’t an issue, and for many they aren’t, then their presence doesn’t matter. It’s all down to personal preference in the end. As already mentioned, unlike some Magic Square enthusiasts I’m not a fan of this kind of square, but under the circumstances here it can’t be helped, so has to be endured. However, precisely because it can’t be helped, it can be justified, if required. What I tend to do is say: “Now, amazing though this is you’ve probably noticed that some numbers are duplicated and you may be wondering if it’s possible to create a Magic Square for number 80 without any duplicate numbers. Well, let’s see.” From here I quickly construct a quick Simple Magic Square for the appropriate number, minus duplicates. Figures (9c/d).
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Even if there aren’t any duplicates there’s something to be said for constructing a square for the chosen number anyway. A comment along the following lines will lead you into it very smoothly: “Now, amazing though this is you may be wondering if it’s possible to create a Magic Square for number 80 from scratch and with completely different numbers. Well, let’s see.” The numbers won’t necessarily be completely different, of course, but the second grid will look dissimilar enough to the grid constructed from the spectators’ choice so as not to matter. Whatever the reason offered, the time taken to construct the second square is minimal and the gain considerable. Essentially what you’re doing is the standard Magic Square routine – a nominated number is used to build a Magic Square; but coming on the back of the first effort, the overall effect is enhanced. It’s not necessary to run through all the combinations again to verify the fact that they do total 80 (or whatever). Nor is it necessary to pause to allow the calculator-spectator to check each two as you go along. He’ll do a few without being asked anyway. Simply point out the four horizontals, four verticals and the two diagonals, and conclude with a sweeping gesture saying something to the effect: “Well, I think we know the rest by now. Amazing isn’t it.”
Summing Up Repeating the square for the reasons mentioned – eliminating duplicates and so on – is a good idea. But even if we’re not concerned about duplicates, the repeat is still strong: and it can be done with no more effort than it took to construct the first square. That is, remembering the patterns. Simply shift the numbers chosen by the spectators into one of the other combinations. All it takes from a presentation point of view is to say something to the effect: “But what would have happened if you had chosen the vertical combination instead of the horizontal? Could we still create a square? Let’s see.” If we revisit the examples just discussed, we’ll see that whatever the spectator chooses, following completion of his choice, the repeat is simply a matter of constructing one of the rejects. Assuming he originally chose the horizontal, the repeat is either the vertical or the diagonal. A square is created once again, but look how different it is to the original spectator choice! How amazing is that? Well, not very from our point of view, of course, but the spectators will not be so detached and dispassionate. Another point to remember is that in performance the numbers will be handwritten and though clear and legible, like any mass of handwritten stuff, there is a merging and blurring of image. Figures 10(a-b-c) illustrate
this quite graphically. If you want to be really sneaky, shifting any combination will work and support the statement made earlier: “Now, amazing though this is you may be wondering if it’s possible to create a Magic Square for number 64 from scratch and with completely different numbers. Well, let’s see.” Shifting a combination does increase the risk of duplicate numbers, but, to repeat, if duplicates aren’t an issue, there’s no problem. Figures 11(a-b-c) show one such shifted combination; 5-12-19-28; as it happens, no duplicates. Shifting a combination is an excellent method of practice, too. For example, instead of simply placing the chosen numbers in the diagonal, first horizontal or first vertical shift them into the third horizontal. Or the fourth vertical. Or the four corners. Any, in fact, of the combinations shown. Notice particularly how the patterns control the combinations.
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28 5 12 19 29 4 13 18 6 11 20 27 13 18 29 4 3 26 21 14 10 3 30 21 17 10 7 30 20
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Perfection As promised earlier, here is a list of the various Magic Square combinations. Note that those marked * only work with perfect squares. In a perfect magic square all the numbers
Horizontal A-B-C-D E-F-G-H I-J-K-L M-N-O-P Vertical A-E-I-M B-F-J-N C-G-K-O D-H-L-P Corners A-D-M-P
Diagonals A-F-K-P D-G-J-M Others A-B-E-F C-D-G-H I-J-M-N K-L-O-P E-I-H-L B-C-O-N E-B-O-L C-H-I-N
are consecutive. A basic square for 34 uses the Others numbers 1/16 and is therefore perfect. A basic B-C-F-G square for 35 uses numbers 1/12, then brings in J-K-N-O four key numbers: 14/15/16/17. A-C-I-K Notice in figure (12) in the illustration for a E-G-M-O 34-square, the patterns discussed all through this treatise are in place: 1-2-3-4; 5-6-7-8; 9-10-11-12; F-H-N-P B-D-J-L A-E-D-H I-M-L-P A-B-M-N* C-D-O-P* E-F-I-J* G-H-K-L* 12
13-14-15-16. Don’t hold your breath but it may happen that one day the random numbers selected by spectators produce this sequence. If so, these extra combinations will work. This will happen rarely, however, so it’s as well to put them as ideas far as performance is concerned. Of course, don’t forget to remember that it’s combinations not patterns that total the Magic Square Number.
Square-Up Close If performing this in close-up, don’t be afraid to leave the grids with the spectators. It makes for a better “souvenir” than a torn or signed card. And don’t worry, there’s really nothing to find. Even if they compare grids with people on nearby tables, they’ll find nothing. This is due in fair measure to the system used and the fact that the spectators choose the numbers and their positions in the grid at the outset. Because the squares are custom-built to suit those numbers there’s nothing to discover; at least not with the sort of casual once-over the grids are likely to get from people on a night out. Once in a while someone will spot something that looks like a combination or pattern of something or other, but they’re not going to stumble on anything resembling the real work. Prolonged study and analysis will undoubtedly reveal something of the Magic Square’s mystery, but really, So What? The more they investigate, the more respect they will develop for your abilities. If you really want to go to town, have some cards printed with blank grids on one side and some publicity on the other. Tony Griffith was been this years ago and probably still is. Se his earlier notes on the subject for clever insight. Prolonged study and analysis of any magic trick will reveal something of the trick’s mystery, but again: So What? The more anyone investigates, the more respect they will develop for your abilities. But the plain fact is that prolonged study and analysis are not normally the domain of layfolk. They’ve got enough other day-today things to occupy their thoughts; their golf-swing for example. Or their sun-tan. At business functions everyone’s wondering if they’re wearing the right clothes – does it suit the current corporate image climate? Was I gabbling the correct brand of gobbledook when the CEO walked past? Even though I’m taller than the CEO, did I manage to hunch and crouch enough so it wasn’t so obvious? The really real important stuff. Only magicians will take the “problem” home; is there anything wrong with that? Well, crooks, thieves and pirates apart, generally, no.
Endgame The magic fraternity has an ambivalent approach to Magic Squares. Not being entirely selfworking is a major obstacle for many, despite their appeal; not surprising, really, because when you think about it, the same applies to most magic tricks. “I don’t really like magic squares,” is the spoken word. “I’d like to do that but it’s too much like work,” is the thought. For magic squares substitute anything you like. The spoken word is: “I don’t like packet tricks.” The thought is: “I’d like to do that but it’s too much like work.” “And anyway, I can’t do the Elmsley Count.” Whatever and whichever, Magic Squares have something, at least for me. They aren’t magic as we know it, of course, despite the name, but they do possess a sort of mystical quality.They have an honourable history and they are intriguing to layfolk. There is much in the literature of Magic concerning Magic Squares and it’s worth checking out as much as we can get out hands on. Finally, whichever approach appeals, give it a try; for what it’s worth, it’s worth it.
© A.E Smith January 2006 The following routine is 'Al's favourite' and has been taken from his excellent book Round the Square, 2003.
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his follows on from the previous chapter and forms the basis of much of what lies ahead. If you are familiar with the placement of numbers already discussed, then this will be a formality. There are absolutely no behind-the-scenes maths involved at all. That is, no calculations, no subtractions, no key numbers nothing but a simple sequential procedure. Unlike all other magic squares, no secret or mental calculations are required by the performer. The memorising of a simple numerical sequence makes the effect self working. To repeat: If you are familiar with the placement of numbers already discussed, this will be a formality. It's a mixture of prediction and magic square, the actual working will become clear as we proceed. The magic squares can be constructed in advance, via the faintly written crib. Or, if performing impromptu, as required. Two 4x4 grids are required. One is completed by a spectator, the other by the performer. So, with two grids at the ready, give one to a spectator, pointing out that there are sixteen squares and ask him to think of any number from one to 16. He can in fact think of any number at all, but the calculations required later are that much easier if a smallish number is used. A choice of one to 16 is logical, determined by the fact there are 16 squares in the grid. Once you understand the basics, experiment with any numbers that take your fancy. Assume he chooses number eight. He writes that number in the outer
left corner square. He then continues to write in nine, ten, eleven and so on, until all the squares are filled as per figure [I]. If he selects 12, the number 12 would be where number 8 is, number 13 where number 9 is and so on. A free choice. While the spectator is busy with this, you construct another square as per figure [2]. This is a Magic Square for 62. It is not necessary to calculate this but here's how. Multiply the first number - the spectator's chosen number -by four and then add 30 to that total. Here, where 8 is the first number we have 8x4=32+30=62.
Figure [I]
Figure [2]
-[62]
Figure [3]
-[62]
With practice gained from study of the earlier chapters, you will be able to complete your square well before the spectator completes his. Starting with eight, you use the exact same numbers as the spectator, but your starting square is different. Give your square to someone to hold, so there can be no hint of interference. When the spectator has finished his square remind him of his freedom of choice, then instruct him to hrther exercise his freedom by choosing any number in his grid. Assume he chooses 14. He now eliminates all other numbers in the same vertical and horizontal row as 14. Figure [3]. In each case the through-lines indicate the eliminated numbers The chosen number is circled for clarity. He writes number 14 at the side of the square. He then chooses a second number, selected from any of those not already eliminated. Assume he selects 20. As before, he writes this number below the first number, then eliminates all other numbers in the same vertical and horizontal row as number 20. Some will already have been eliminated by his earlier selection of 14. Figure [4]. He selects a third number from those not yet eliminated; this is written below the two numbers already selected. Assume 19. He repeats the elimination process and is left with the number 9, which he duly writes below the first three selected numbers. He now has four freely selected numbers. These he totals to give the following: 14+20+19+9=62. From here it only remains to reveal your magic square and its
properties. All horizontal rows, vertical rows, diagonals, four comers, the four centre numbers and several other combinations all add up to 62. Not only have you constructed a magic square, but you did it in advance of the number being known.
Figure [4]
Figure [5]
Figure [6]
Comment
N
o matter what numbers the spectator selects and subsequently eliminates, he will be left with four numbers which total 62. Both the magic square and the "force" magic square are fairly standard items. At least the basic concepts are standard. I have not seen the two combined as described here. You need only to know the number selected by the spectator, that is the number he chooses between one and 16. This is no problem, since you simply ask him to name it and you direct his actions. As stated, depending on the mental capacity of the performer and spectator, ANY number can actually be selected. In our example he commences his grid with number eight. If he elects to start his grid with number 12, multiply by four to get 48 and add 30 to get 78 to provide the force or magic square number. But remember, this calculation is not essential. All that is necessary is to remember the sequence for inserting the numbers. This done, it is simply a matter of using the same numbers as the spectator to fill in the squares. And, as discussed elsewhere, if you decide to cheat and lightly pencil in the numbers 1-16 as a prompt, the small amount of memory work is eliminated. There is no work at all. Only(?) the presentation. The basic routine was originally published in Abracadabra magazine issue, 2426, 1992, as part of my Triad under the title, Only Sixteen. The Abra Triads, are an occasional series of mini-showcases, each one featuring three routines from one person. Master mentalist Paul Hallas liked it a lot. He asked for and received permission to include it in one of his Mindful Mentalism series of books. Trevor McCombie asked if he could use it in his internet magazine. As yet it hasn't appeared. I think he's
waiting for the dust to settle on the Mindful Mentalism book. The routine seems to have caught the attention of more than a few people. A very flattering letter fiom Arun Bonerjee of India appeared in Abra (2431) a few weeks after the trick made its debut. He added an interesting, though largely redundant, addition before remarking "Never before in any book or magazine have I come across such an intriguing magic Square as that of A1 Smith, to whom my salutations. " Phew! ! Peter Ells -Abra 2430 - also wrote in, calling it "excellent" and pointing out what he considered to be a missed "kicker." It wasn't missed, it simply wasn't included. It seemed then and seems now, like something of a straw-grabber. But for completion's sake I suppose I should have included it back then. Here it is now. Mister Ells was referring to the fact that somewhere on the performer's magic square, the four numbers selected by the spectator always appear together in one of the "regular" combinations. And that this fact could be offered as a prediction. In the example used earlier the spectator numbers are 14-20-19-9. These appear in the top horizontal row. Though not in the sequence chosen by the spectator. As a prediction I feel it leaves much to be desired, especially coming on the back of the major event -the magic square itself. If the numbers appeared in the four comers -20- 19-10- 13 - or the four central positions - 18-21- 12-11 - then a case could be made for offering them as a kicker as Mister Ells suggested. The comers and the central numbers are clearly defined. They are easy to point out to the spectators and their prominent position seems to be significant. Also, rather than as a kicker, an even better idea would be to point out the presence of these numbers before piling on the rest ofthe combinations. Anyway, the routine created a minor stir and some feedback. And, wonder of wonders that master of mystery Mister Paul Daniels used it on TV- Yes! On the telly ! On one of his then regular Saturday Night Magic Shows. Doublephew! The presentation was pure Daniels; it was done alfresco and didn't include paper or pencils, but it was the self-same trick. This book would have been incomplete without some mention of the routine, particularly as it forms the basis of much of what follows. Finally, note that in this routine, the magic square number the spectator eventually "chooses" will always be an even number. Note also that whatever the even number is, it will not be exactly divisible by four. This is because it is a perfect magic square.
Back to Contributors
Index Jon Allen
Sad Aces
Jamie Badman
Call as Ace
Anthony Brahams
A.A.
David Britland
Progressive Jacks
Sean Carpenter
Insertion Technique Named!
Harold Cataquet
ESP Mental Lazy Man's Hanging Coins
Roger Crosthwaite
Surprise Royal Flush Deal An Off-Colour Deal Polygraph
Wayne Dobson
Vision / Ring Flash-2
Shiv Duggal
Girl Talk
Nicholas Einhorn
Coincidence
Mark Elsdon
Station Master KiLocator
Kevin Fox
Centrifugal Lift Centrifugal Elevator
Andi Gladwin
Cheek-to-Cheek
Brian Glover
Interlaced Vanish Revisited Hot and Cold Card Magician Makes Good Once Again
Paul Gordon
The Eradicator Mystery of the Number Nine J R's Twisted The Mystic Nine Half a Higham Murder to Describe Stand Up for CATO Hum Drum Thumbs Up! Impromptu Pokertell Peter's Foursome Thanks to Goodliffe Are We Still Counting? A Mystic Seven Phase A Mystic Seven Phase II Standing Up for Leipzig & Marlo What, Another Kick? DuffieCrosGord 1, 2, 3 & 4 When I was Twenty-One
Paul Hallas
Again, the Aces
Justin Higham
Clairvoyant Clairvoyant Clairvoyant Clairvoyant
Andy Hurst
Cancelled Out Three Willy Uno Undo
Rob James
Cavort in the Act
Plus Plus Wand Plus Name Plus Colour
Lewis Jones
Book of Words Pokerface
Walt Lees
WalCardlet No-Exchange Do as I Do
Shaun McCree
The Devil's Card Four Ace Repeat Reprise
Iain Moran
Kicked Forward Colourful Triumph
Andy Nicholls
Kings 'n Aces Cop Out
Jack Parker
Trial Separation
Mike Rose
Cream Tea(sed)
Al Smith
Fayre and Squayre Al's Favourite
Stephen Tucker
CAAN A Freer Chance
Dominic Twose
Magic Cards Joker Guarantee The Rotating Hand
Copyright © Peter Duffie No part of this publication may be copied, translated, transmitted or re-sold in any way whatsoever without the permission of the publisher and copyright holder.
