BS Control from Sex Sells Tres Pass from Thinking Out Loud Making Ripples from Le Asher Touche is what you say from Pulp Friction Slap that Ace from Hand Jobs
B.S. CONTROL "3 STANDS FOR "LUFF 3PACING OR JUST lLL IN YOUR OWN WORDSx 7HAT YOU ARE ABOUT TO READ ) FEEL IS A VERY INTERESTING IDEA ) HAVE TO MENTION THAT ABOUT A WEEK AFTER ) THOUGHT OF THIS ) SHOWED IT TO !LLAN (AYDEN A CHILDHOOD FRIEND FOOLING HIM ) EXPLAINED HOW ) DID IT AND HE TOLD ME HE HAD IT IN PRINT IN (IS IDEA IS CALLED 3NEAK EASE AND IT CAN BE FOUND ON PAGES OF #ARD 3HARP ON $UTY )T JUST SO HAPPENED THAT HE HAD A COPY ON HAND SO ) LOOKED IT UP 4O MAKE A LONG STORY SHORT HE lNALLY AGREED THAT THERE WAS A MAJOR DIFFERENCE BETWEEN OUR IDEAS AND ) AGREED TO MENTION HIS NAME HERE AND TELL THE MAGIC COMMUNITY THAT !LLAN (AYDEN IS ALIVE AND WELL ) THINK THE GRANDFATHER OF THIS IDEA THOUGH IS %DWARD 6ICTOR WITH HIS $EPTH )LLUSION )T HAS ALSO OCCURRED TO ME THAT -ARLO PROBABLY THOUGHT OF SOMETHING SIMILAR AND STUCK IT IN ONE OF HIS @-ARLO -AGAZINES $ONT YOU HATE WHEN THESE DEAD GUYS COME FROM THE GRAVE AND BITE YOU IN THE ASS
%FFECT
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&OUR !CES RANDOMLY STUCK IN THE DECK 3EE 0HOTO 4HE DECK IS THEN SQUARED GIVEN A CUT AND ALL FOUR OF THE !CES ARE BACK ON TOP
-ETHOD &AN THE FOUR !CES IN YOUR RIGHT HAND SHOWING THEM IN ALL THEIR SPLENDOR (OLD THE REMAINDER OF THE PACK IN YOUR LEFT HAND 9OUR ANGLES ARE CRUCIAL NOW 9OU WANT EVERYONE WHO IS WATCHING TO BE EITHER DIRECTLY IN FRONT OF YOU LOOKING DOWN ON YOUR HANDS OR OFF TO YOUR RIGHT LOOKING DOWN ON THE HANDS
7ITH YOUR LEFT THUMB RIFmE DOWN ABOUT ONE THIRD OF THE DECK AND STICK THE lRST !CE IN LEAVING IT OUT JOGGED ABOUT HALF ITS LENGTH #ONTINUE TO PULL YOUR THUMB DOWN BUT DONT LET ANY CARDS GO OFF OF IT 4HIS CREATES A SPACE AND ANGLE NECESSARY TO MAKE IT LOOK AS IF THE NEXT ACE YOU ARE ABOUT TO STICK IN IS REALLY GOING A FEW CARDS DEEPER THAN THE !CE ABOVE IT 9OU ACTUALLY STICK THE SECOND !CE DIRECTLY UNDERNEATH THE lRST ONE BUT TURN IT A BIT SO IT DOESNT QUITE LIE STRAIGHT WITH THE lRST !CE 4HE MORE RANDOM IT LOOKSxTHE BETTER 2EPEAT YOUR ACTIONS TWICE MORE WITH THE OTHER TWO !CES
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(ERE IS A HELPFUL HINTxTHE LOOSER YOU STICK THE !CES IN THE DECK THE MORE IT LOOKS AS IF THEY ARE SPACED &ROM THE @BAD VIEW YOU CAN SEE WHAT IS REALLY HAPPENING IN 0HOTO .OW PUSH THE !CES IN THE DECK AT AN ANGLE SO YOU CAN GET A FOURTH lNGER BREAK ABOVE THEM .OW YOU CAN DO A MYRIAD OF THINGS WITH THE CONTROLLED ACES RANGING FROM BRINGING THEM TO THE TOP OR THE BOTTOM
"ONUS 9OU COULD GIVE THE DECK A QUADRUPLE UNDERCUT BRINGING THE !CES TO THE TOP ON THE LAST CUT OR YOU COULD PASS THE !CES TO THE TOP 9OU CAN ALSO CRIMP THE TOP !CE AND LET THE SPECTATOR CUT THE DECK SO THEY HIT THE CRIMP $O WHAT YOU LIKEx
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TRES PASS ) AM NOW GOING TO DESCRIBE THE SECOND FASTEST PASS IN THE WORLD )TS NOT THE FASTEST BECAUSE THERE IT ALWAYS SOMEONE FASTER 9OU MUST BE WEARING A COAT JACKET AND A WRIST WATCH IN ORDER TO DO THIS PASS ) THINK 3TEVE 3PILL &RED +APS AND $AI 6ERNON PLAYED WITH SIMILAR IDEAS 7HAT ) LIKE ABOUT THIS PASS IS THERES NO hDIPv SO IT CAN BE VIEWED FROM A DISTANCE ) WOULD ONLY DO THIS FOR MAGICIANS &OR LAYMEN THIS IS WAY TOO MUCH WORK ) MUST CREDIT 'ORDON "EAN FOR THE TITLE 'ORDO ACTUALLY CAME UP WITH THE NAME WHILE SLEEPING 'O lGURE
4HE IDEA 4O DO A SPECIAL TYPE OF PASS UNDER THE RUSE OF PULLING YOUR SLEEVE BACK AND CHECKING THE TIME
4HE WORK PHOTO
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(AVE A CARD SELECTED THEN PLACED BACK IN THE DECK 'ET A PINKY BREAK ABOVE THE SELECTION "RING THE DECK SO ITS BACK CORNERS TOUCH AGAINST YOUR STOMACH 4HE PACK SHOULD BE PARALLEL TO THE mOOR 3EE PHOTO 9OUR RIGHT HAND SHOULD NOW MOVE IN FRONT OF THE PACK AND BLOCK THE SPECTATORS VIEW 3EE PHOTO 4RAP EVERYTHING ABOVE THE BREAK BETWEEN YOUR STOMACH AND THE WRIST OF THE RIGHT HAND .OW YOUR LEFT HAND WILL PIVOT PALM DOWN COMING AWAY WITH THE CARDS BELOW THE BREAK 4HE SELECTION IS ON TOP OF THIS PACKET AND WILL STOP WHEN THE LEFT WRIST MEETS THE RIGHT lNGER TIPS 3EE PHOTO 9OUR RIGHT lNGERTIPS PULL UP YOUR LEFT SLEEVE TO CHECK THE TIME ON YOUR WATCH 3EE PHOTO
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3AY h4HIS PASS WILL TAKE ABOUT THREE SECONDS DONEv .OW TURN YOUR LEFT HAND PALM UP AND DEAL THE TOP CARD INTO YOUR RIGHT lNGERS 3EE PHOTO 4URN THE CARD OVER USING THE lNGERS ./4 THE WRIST BEING CAREFUL NOT TO REVEAL THE HELD OUT PACK !S YOU SLOWLY TURN THE CARD OVER REVEALING THEIR SELECTION MOVE THE PACK IN THE LEFT HAND BELOW THE ONE IN THE RIGHT -OVE THE RIGHT WRIST AWAY FROM THE STOMACH ALLOWING THE HELD OUT PACK TO FALL SQUARE UPON THE CARDS IN THE LEFT HAND BELOW AS YOU HAND THE CARD OUT TO THE SPECTATOR $ONE SMOOTHLY THIS PASS WILL FOOL EVERYONE WATCHING
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Making Ripples (ERE IS A FANTASTIC AMBITIOUS MOVE THAT CAN BE PLACED ANYWHERE IN YOUR AMBITIOUS ROUTINE ! MAN BY THE NAME OF 4OM !LLEN FROM 3ACRAMENTO #ALIFORNIA CREATED THIS -OMENT OF -AGICAL /CCURRENCE -/-/ (E SHARED IT WITH THOSE THAT WERE IN THE UNDERGROUND AND IT WAS HIGHLY RESPECTED AND GUARDED !S A SIDE NOTE ) MET 4OM AT THE @ ! -ULTIMEDIA CONVENTION AND THATS WHEN HE SHOWED ME HIS CREATION )T WAS THE MOST IMPRESSIVE AMBITIOUS MOVE ) HAD SEEN IN A LONG WHILE ) PLAYED WITH IT FOR SOME TIME AND CHANGED IT AROUND TO SUIT MY STYLE 4OMS MOVE lNALLY SAW PRINT IN h'ENII -AGAZINEv /CTOBER @ 6OLUME NUMBER 4OM CALLED HIS MOVE @4HE 2IPPLE AND MY VERSION WAS CALLED @4HE 2IPPLE 0LUS AND WAS FEATURED RIGHT NEXT TO 4OMS ) TRULY DISLIKED THE NAME MY VARIATION WAS GIVEN BY 2ICHARD +AUFFMAN SO ) HAVE DECIDED TO GO ON THE PRINTED RECORD AND RE NAME THE MOVE @2IDING THE 2IPPLE "ELOW IS THE EXPLANATION OF BOTH THE ORIGINAL AND THE VARIATION %XCERPTS ARE TAKEN DIRECTLY FROM THE 'ENII ARTICLE THANKS TO 2ICHARD +AUFFMAN AND 4OM !LLEN !LSO A .EW 9ORK MAGICIAN AND GOOD FRIEND *" "ENN USED MY VARIATION TO CLOSE HIS AMBITIOUS ROUTINE WHEN HE lLMED h4HE #HAMPIONS OF -AGIC )))v
Effect: 4HE SELECTION AMBITIOUSLY COMES TO THE TOP IN A VISUAL MANNER
Tom’s Original ‘The Ripple’: (OLD THE DECK IN YOUR LEFT HAND FACE DOWN AT THE lNGERTIPS THE THUMB IS AT THE INNER LONG SIDE THE lRST lNGER IS AT THE LEFT END THE SECOND AND THIRD lNGERS ARE AT THE OUTER LONG SIDE AND THE PINKY TIP SUPPORTS THE DECK FROM BENEATH 4HE SECOND THIRD AND PINKY lNGERS ARE STRAIGHT AND ARE AT A DEGREE ANGLE IN RELATION TO THE DECK .OTE THAT THE DECK IS BEVELED VERY SLIGHTLY TO THE LEFT 4HE POSITION OF THE LEFT lRST lNGER IS VITAL )T IS CURLED SO THE BACK OF THE lNGERNAIL THE ROUNDED PART RESTS AGAINST THE EDGE OF THE LOWERMOST CARD OF THE DECK 0HOTO )T IS VERY IMPORTANT THAT YOU DO NOT HOLD Photo 13
THE DECK TOO TIGHTLY )T MUST BE HELD TIGHTLY ENOUGH SO THAT THE lRST lNGER DOESNT SHOVE THE ENTIRE THING TO THE RIGHT BUT LOOSELY ENOUGH SO THAT ONLY THE CARDS IMMEDIATELY IN CONTACT WITH THE LEFT lRST lNGERNAIL RIPPLE OUT 4URN YOUR LEFT HAND SO THE RIGHT END OF THE DECK IS TOWARD THE AUDIENCE
Photo 14 3LOWLY UNCURL YOUR lRST lNGER ITS NAIL RISING ALONG THE LEFT END OF THE DECK DISPLACING CARDS LITTLE BY LITTLE AS IT GOES PHOTO 4HIS CAUSES A REACTION AT THE END OF THE DECK WHICH LOOKS LIKE A RIPPLE MOVING UPWARD PHOTO 9OU MIGHT THINK OF THIS AS GENTLY SCRAPING THE LEFT END OF THE DECK WITH YOUR lNGERNAIL 4HIS GIVES YOU AS 4OM SAYS h! mUID WATER LIKE RIPPLEv Photo 15 4OM USES THIS IN COMBINATION WITH $AI 6ERNONS @0OP UP CARD MOVE IN %XPERT #ARD 4ECHNIQUE 0G TO MAKE IT ONE OF THE MOST VISUAL AMBITIOUS SEQUENCES OF THE ST CENTURY
My variation ‘Riding the Ripple’:
Photo 16
-Y VARIATION TAKES 4OMS ORIGINAL h2IPPLEv A LITTLE FURTHER "EGIN BY HAVING A CARD SELECTED REMEMBERED AND INSERTED INTO THE CENTER OF THE DECK 3ECRETLY CONTROL IT TO THE TOP ANY WAY YOU LIKE ) USUALLY DO A DOUBLE LIFT SEQUENCE TO GET EVERYTHING READY AND IN POSITION 2EADJUST THE DECK SO YOUR THUMB IS AT THE LEFT END lRST lNGER AT THE OUTER LONG SIDE SECOND THIRD AND PINKY lNGERS AT THE RIGHT END 0HOTO 7HILE THE DECK IS TURNED DEGREES
THE GRIP IS THE SAME WITH THE PINKY TIP PRESSING UPWARD BENEATH THE DECK AND THE LEFT lRST lNGER CURLED SO THE BACK OF ITS NAIL IS AGAINST THE EDGE OF THE BOTTOM CARD 4HERE IS SOMETHING EXTRA THIS TIME !S YOU TURN THE DECK IN ORDER TO READJUST IT YOUR RIGHT lNGER SLIDES THE TOP CARD OUTWARD ABOUT THE WIDTH OF ITS WHITE BORDER 0HOTO
Photo 17
9OUR LEFT SECOND lNGER SHOULD BE NEAR THE OUTER LEFT CORNER OF THE DECK 4URN THE DECK SO THE INNER LONG SIDE IS TOWARD THE AUDIENCE %XECUTE @4HE 2IPPLE SCRAPING UP THE SIDE OF THE DECK WITH YOUR LEFT lRST lNGER 7HEN YOUR lRST lNGER REACHES THE TOP OF THE DECK IT WILL AUTOMATICALLY PRESS UPWARD AGAINST THE JOGGED Photo 18 TOP CARD 0HOTO 4HAT CARD IS NIPPED BETWEEN THE lRST AND SECOND lNGERTIPS AS THEY STRAIGHTEN LIFTING IT OFF THE DECK 0HOTO
Photo 19
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Touché ...is what you say!! (ERE IS A FANTASTIC EFFECT THAT WAS CREATED BY "ILL (ERZ 0AUL #UMMINS HAS A VERSION CALLED h#OUNTING ON ITv PG PUBLISHED IN HIS SET OF NOTES ! 3HUFFLED $ECK )N 5SE -R #UMMINS ALSO LISTS THE OTHERS THAT HAVE METHODS ON THIS EFFECT ) FIRST SAW 2OGER +LAUSE PERFORM THIS EFFECT AT THE ,AS 6EGAS #LASSIC #LOSE 5P #ONVENTION ) WAS VERY IMPRESSED UNTIL HE DISCUSSED HIS METHOD ) FELT HE WORKED WAY TOO HARD TO ACCOMPLISH HIS EFFECT SO ) WENT HOME AND DEVISED THIS METHOD
Effect: 4HE DECK IS SHUFFLED BY THE SPECTATOR ! NUMBER IS NAMED BY THE SAME SPECTATOR AND THEN THEY TRY TO THEN CUT THAT SPECIFIC NUMBER OF CARDS FROM THE TOP OF THE DECK 4HE CARDS ARE COUNTED TO SEE HOW ACCURATE THE SPECTATOR IS -OST OF THE TIME THEY ARE NOT EXACT SHOWING THE DIFFICULTY OF THIS EXERCISE 4HE MAGICIAN STATES HE WILL NOW TRY BUT WILL MAKE IT MUCH MORE DIFFICULT 4HE MAGICIAN ASKS THE SPECTATOR TO SELECT ANY CARD AND SIGN THEIR NAME ON IT 4HE MAGICIAN SAYS HE WILL NOT ONLY FIND THE REQUESTED NUMBER BUT ALSO THE SIGNED SELECTION AT THE SAME TIME 4HE CARD IS RETURNED TO THE DECK LOST AND ANOTHER NUMBER IS CALLED OUT )N A VERY FAST MOTION A SMALL PACKET OF CARDS BECOMES OUT JOGGED IN THE MIDDLE OF THE DECK 4HE PACKET IS REMOVED COUNTED AND FOUND TO BE THE EXACT NUMBER OF CARDS CALLED FOR 4HE TOP CARD OF THE PACKET IS THEN TURNED OVER TO REVEAL ITS THE SIGNED SELECTION
Method: (AVE THE DECK SHUFFLED BY THE SPECTATOR UNTIL THEY ARE SATISFIED %XPLAIN IT IS VERY DIFFICULT TO NAME A NUMBER AND THEN CUT THAT EXACT NUMBER OF CARDS FROM THE TOP OF THE DECK !LSO EXPLAIN IF THE NUMBER ONE WERE TO BE SELECTED IT WOULD BE QUITE EASY TO CUT /R IF THE NUMBER WERE CHOSEN IT WOULD BE JUST AS EASY 3AY THE MOST DIFFICULT NUMBERS TO CUT TO ARE BETWEEN AND BECAUSE THERE IS NOTHING TO COMPARE THEM TO UNLIKE ANYTHING OVER 4HIS IS JUST A PLOY TO LET THE SPECTATOR FEEL COMFORTABLE ABOUT SELECTING A NUMBER BETWEEN AND .OW HAVE THEM NAME A NUMBER BETWEEN AND BUT MENTION NOT TO NAME TOO HIGH OF A NUMBER BECAUSE IT WILL MAKE MORE WORK FOR THEM LATER ON 4HIS IS VERY IMPORTANT TO MENTION BECAUSE YOU WANT THEM TO NAME OR )F YOU SAY THIS LITTLE SUBLIMINAL MESSAGE IT INCREASES
YOUR CHANCES OF THEM CHOOSING ONE OF THOSE NUMBERS )F THEY DONT ITS ALL RIGHT THE TRICK WILL STILL WORK )T IS JUST OPTIMAL IF THEY NAME ONE OF THEM ,ETS SAY THEY NAME THE NUMBER TWELVE )NSTRUCT THEM TO CUT TWELVE CARDS FROM THE TOP OF THE DECK 7HEN THEY HAVE LET THEM COUNT THE PACKET ON THE TABLE TO SEE HOW ACCURATE THEY WERE !S SOON AS THEY START COUNTING PICK UP THE REMAINDER OF THE DECK AND CRIMP THE LOWER RIGHT CORNER OF THE TOP CARD -AKE SURE TO BEND THE CORNER UPWARD AWAY FROM YOUR BODY SEE PHOTO .OW CUT THE TOP CARD TO THE BOTTOM OF THE DECK USING A DOUBLE UNDERCUT .OTE 9OU CAN ALSO JUST CRIMP THE BOTTOM CARD OF THE DECK IN THE SAME FASHION SAVING YOURSELF A LITTLE TIME AND EFFORT "Y NOW THE SPECTATOR HAS FINISHED COUNTING THEIR SMALL PACK FROM THE TOP OF THE DECK 4HEY WILL ANNOUNCE EXACTLY HOW MANY CARDS THEY HAVE CUT 3OMETIMES THEY ARE OVER THEIR SELECTED NUMBER AND SOMETIMES THEY ARE UNDER )N RARE CASES THEY ACTUALLY CUT EXACTLY AS MUCH AS THEY NAMED )T DOESNT MATTER AS LONG AS YOU SOMEHOW GET FOURTEEN CARDS FROM THEIR PACKET &OR INSTANCE THE SPECTATOR SAYS TWELVE AND THEN PROCEEDS TO CUT FIFTEEN CARDS FROM THE TOP OF THE DECK 4HEY HAVE CUT MORE CARDS THAN THEY HAVE CALLED FOR ) WOULD SAY h/H YOU WERE VERY CLOSE BUT YOU CAN SEE HOW DIFFICULT IT REALLY ISv !S YOU ARE SAYING THIS YOU SCOOP UP THE PACK OF FIFTEEN CARDS WITH YOUR RIGHT HAND AND THEN PLACE THEM ON TOP OF THE DECK +EEP A FOURTH FINGER BREAK UNDER THEM 3PREAD THEM TO THE RIGHT AS IF YOU WERE TO HAVE A CARD CHOSEN AND READJUST YOUR BREAK SO YOU HOLD FOURTEEN CARDS INSTEAD OF FIFTEEN .OW CUT THE FOURTEEN CARD PACKET TO THE BOTTOM OF THE DECK UNDER THE CRIMP 0HOTO
(ERE IS ANOTHER EXAMPLE ,ETS SAY THEY NAME TWELVE AND CUT SEVENTEEN CARDS FROM THE TOP 9OU FOLLOW THE SAME PROCEDURE EXCEPT YOU READJUST THREE CARDS THIS TIME INSTEAD OF JUST ONE 2EMEMBER THIS IS THE PROCEDURE IF THEY CUT OVER FOURTEEN CARDS BUT THIS DOESNT ALWAYS HAPPEN 3OMETIMES THEY CUT UNDER FOURTEEN CARDS SO HERE IS WHAT YOU DO ,ETS ASSUME THEY SAY TWELVE AND CUT TEN CARDS FROM THE TOP OF THE DECK !LL YOU HAVE TO DO IS GET A FOURTH FINGER BREAK UNDER THE TOP FOUR CARDS OF THE REMAINING
DECK AND ADD THEM TO THE TEN CARD PACKET *UST SCOOP UP THE TEN CARDS WITH YOUR RIGHT HAND AND THEN PLACE THEM ON TOP OF THE DECK 9OU HAVE NOW ADDED THE TEN CARDS TO YOUR FOUR CARD BREAK MAKING A TOTAL OF FOURTEEN CARDS ABOVE THE BREAK 4HIS CAN BE ADAPTED FOR ANY NUMBER "ASICALLY YOU JUST NEED TO GET FOURTEEN CARDS ANYWAY YOU CAN #UT THE FOURTEEN CARD PACKET TO THE BOTTOM OF THE DECK BELOW THE CRIMP ) FEEL THIS IS THE BEAUTIFUL PART OF THIS METHOD BECAUSE THE SPECTATOR DOES ALL OF THE WORK FOR YOU IN THE CONTEXT OF PROVING THE DIFFICULTY OF THE EXERCISE .OW YOU ARE READY TO TRY THIS FEAT YOURSELF %XPLAIN TO THE SPECTATOR YOU WILL TRY THE SAME THING BUT YOU WILL ALSO HAVE A CARD SELECTED SIGNED LOST IN THE PACK AND FOUND WITH THE SPECIFIC NUMBER OF CARDS NAMED 9OU STATE THIS MAKES THE EXERCISE THREE TIMES AS DIFFICULT 3PREAD THE CARDS SO THE SPECTATOR CAN SELECT A CARD BUT MAKE SURE THEY DONT PICK ONE FROM YOUR STACK ON THE BOTTOM (AVE THE SPECTATOR SIGN THE CARD WITH THEIR NAME 3WING CUT THE TOP HALF OF THE DECK INTO YOUR LEFT HAND AND HAVE THE CARD REPLACED ON TOP OF THAT HALF 'ET AND KEEP A FOURTH FINGER BREAK BELOW THE SELECTION AND THEN COMPLETE THE CUT BY PLACING THE PACK IN THE RIGHT HAND ON TOP OF THE PACK IN THE LEFT HAND 4HE SELECTION NOW SITS BELOW THE FOURTEEN CARDS AND THE CRIMP CARD IN THE MIDDLE OF THE DECK 4HAT MAKES SIXTEEN CARDS TOTAL INCLUDING THE CRIMPED CARD THE FOURTEEN CARDS AND THE SELECTION .OW CUT THE DECK AT YOUR BREAK SO THE STACK CYCLES BACK TO THE BOTTOM 'IVE THE DECK A FEW FALSE CUTS AND SHUFFLES BEING CAREFUL NOT TO FLASH THE BOTTOM CARD OF THE DECK THE SIGNED SELECTION 9OU ARE NOW READY TO HAVE THE SPECTATOR NAME ANOTHER NUMBER BIGGER THAN THE ONE THEY NAMED BEFORE !PPROXIMATELY FIFTY PERCENT OF THE TIME THEY SAY SIXTEEN )F SO YOU HAVE A MIRACLE WITHOUT ANY WORK ) WILL NOW EXPLAIN THE REST OF THE ROUTINE AS IF THE SPECTATOR NAMED SIXTEEN ) WILL GO BACK AFTERWARD AND EXPLAIN IF THEY MENTION ANYTHING HIGHER OR LOWER 0HOTO
'ET A FOURTH FINGER BREAK ABOVE THE CRIMP AND TRANSFER THE WHOLE DECK TO THE RIGHT HAND "IDDLE GRIP -AINTAIN THE BREAK WITH YOUR THUMB SEE PHOTO 4HE NEXT MOVEMENT HAPPENS EXTREMELY FAST AND IN ONE CONTINUOUS MOTION 3WING CUT THE UPPER HALF OF THE DECK INTO THE LEFT HAND AND THEN TOSS THE
WHOLE SIXTEEN CARD PACKET FORWARD TO UP JOG THEM ON THE RIGHT HAND PACKET SEE PHOTO !T THE EXACT MOMENT THE PACK MOVES FORWARD LET THE TOP PACKET FALL ON TOP OF THE UP JOGGED PACK STOPPING IT FROM FLYING OUT OF YOUR HANDS 4HE RESULT SHOULD BE AN 0HOTO UP JOGGED PACK OF SIXTEEN CARDS IN BETWEEN THE MIDDLE OF THE DECK SEE PHOTO 3TRIP OUT THE UP JOGGED PACK AND THEN HAND THEM TO THE SPECTATOR !SK THEM TO COUNT THE PACK TO SEE IF YOU ARE EXACT 7HEN THEY COUNT THE PACK THEY REVERSE THE ORDER OF THE CARDS THEMSELVES BRINGING THE SIGNED SELECTION TO THE TOP !SK THEM TO TURN THE TOP CARD OF THE PACK OVER TO REVEAL THAT YOU HAVE NOT ONLY FOUND THE SELECTED NUMBER OF CARDS BUT ALSO FOUND THE SIGNED SELECTION 7HAT HAPPENS THE OTHER FIFTY PERCENT OF THE TIME YOU ASK THEM TO NAME THEIR SECOND NUMBER /BVIOUSLY THEY WILL EITHER SAY A NUMBER HIGHER THAN SIXTEEN OR LOWER THAN SIXTEEN 4HE CHANCES OF THEM NAMING A NUMBER HIGHER THAN SIXTEEN ARE MUCH GREATER THAN YOU WOULD THINK BECAUSE IT IS OBVIOUS THE LARGER THE NUMBER THE HIGHER THE DEGREE OF DIFFICULTY .OTHING COULD BE FURTHER FROM THE TRUTH 0HOTO
4HIS IS WHAT YOU DO IF THEY NAME OR 9OU ALREADY HAVE A BREAK ON THE SIXTEEN CARDS SO ALL YOU HAVE TO DO IS USE YOUR RIGHT THUMB TO RIFFLE UP THE BACK OF THE PACK ABOVE THE BREAK AND ACQUIRE YOUR CARDS &OR EXAMPLE IF THEY SAY EIGHTEEN RIFFLE UP TWO CARDS AND THEN LET THEM FALL ONTO YOUR SIXTEEN CARD PACKET 9OU NOW HAVE EIGHTEEN 0HOTO CARDS AT YOUR DISPOSE SEE PHOTO )T IS THE SAME FOR AND OTHER THAN THE AMOUNT OF CARDS YOU RELEASE 4HIS IS ACTUALLY MUCH EASIER THAN IF THEY NAMED SOMETHING LESS THAN SIXTEEN 9OU HAVE TO DO A LITTLE MORE WORK IF THEY NAME
OR 9OUR PATTER IN THE BEGINNING OF THE ROUTINE SHOULD TAKE CARE OF THIS PROBLEM MOST OF THE TIME BUT YOU ALWAYS HAVE TO BE READY FOR ANYTHING ,ETS SAY THEY NAME ELEVEN 'IVE THEM A CHANCE TO CHANGE THEIR MIND SAYING THE HIGHER THE NUMBER 0HOTO THE HIGHER THE DIFFICULTY )F THEY REFUSE AND STAY WITH THEIR ORIGINAL DECISION HOLD YOUR BREAK AND BEVEL THE DECK TOWARD YOURSELF SEE PHOTO 9OU ARE GOING TO DELETE FIVE OF THE CARDS FROM YOUR SIXTEEN CARD PACKET 5SE YOUR RIGHT THUMB TO RIFFLE UP THE SIXTEEN CARD PACKET UNTIL YOU FEEL FIVE CARDS BELOW YOUR BREAK 4HIS IS A BIT DIFFICULT BUT WITH SOME PRACTICE YOU WILL BE ABLE TO DO IT WITHOUT HESITATION 2EADJUST YOUR FOURTH FINGER SO NOW YOU HAVE A BREAK ON ELEVEN CARDS AND CONTINUE THE ROUTINE AS NORMAL !NOTHER WAY TO DELETE CARDS IS TO SPREAD THE WHOLE DECK AS IF A CARD WERE BEING SELECTED AND READJUST YOUR BREAK SO YOU NOW HOLD ELEVEN CARDS #ONTINUE THE ROUTINE AS NORMAL 4HIS ADJUSTMENT IS EXACTLY LIKE IF THEY CUT OVER THEIR SELECTED NUMBER IN THE BEGINNING OF THE ROUTINE "OTH METHODS WORK BUT ) PREFER THE FIRST METHOD OF RIFFLING TO DELETE !GAIN WITH SOME PRACTICE IT WILL LOOK SMOOTH
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Slap that Ace 4HIS IS A GREAT ITEM FOR THE JAM SESSION AT AM (IT THEM WHEN THEY ARE TIRED
Effect: 4HE MAGICIAN RUNS HIS THUMB DOWN THE DECK AND HAS THE SPECTATOR CALL STOP /NCE THEY SAY STOP THE DECK IS CUT AT THAT EXACT POINT THEN TABLED 4HIS HAPPENS TWO MORE TIMES SO THERE ARE THREE PACKS ON THE TABLE AND ONE LEFT IN THE HANDS OF THE MAGICIAN 4HE TOP CARD IS DEALT OFF OF EACH PACKET INTO ANOTHER PILE ON THE TABLE 4HE MAGICIAN ASKS WHAT THE SPECTATOR THINKS HE CUT TO !S THE MAGICIAN IS SAYING THIS HE IS RAISING HIS EYEBROWS UP AND DOWN 5SUALLY THE SPECTATOR SAYS hUMxTHE FOUR ACES v IN A DISBELIEVING TONE 4HE MAGICIAN PICKS UP ALL THE PACKETS BACK INTO HIS HAND EXCEPT THE PILE OF THE FOUR RANDOM TOP CARDS (E TURNS THOSE OVER SLOWLY THEY ARE ./4 THE FOUR ACES (E THEN SHAKES THEM AS A MAGICAL GESTURE LIKE HE WAS SHAKING DICE AND THEN SLAPS THEM ON TOP OF THE DECK 4HEY MAGICALLY BECOME THE FOUR ACES 4HEY ARE DEALT OFF THE PACK AND CAN BE EXAMINED BY THE AUDIENCE
Credits: ) HAVE A SIMILAR ROUTINE IN MY LECTURE NOTE #LOSE #OVER "EFORE 3TRIKING )T IS CALLED @2ESISTANCE IS &EUDAL AND ALSO USES -ARLOS @SPONTANEOUS ADD FROM !CTION 0ALM
Method: 9OU HAVE A SMALL SETUP ON THE BOTTOM OF THE DECK 9OU NEED TO REVERSE THE TH CARD FROM THE BOTTOM THEN HAVE THE FOUR ACES BENEATH AT THE AND ND POSITIONS 4HIS MAY SOUND COMPLICATED BUT IT REALLY IS NOT 4HIS IS HOW ) USUALLY GET INTO THE SETUP WITHOUT ANY COMPLICATION (AVE THE FOUR ACES ON TOP OF THE DECK 2EVERSE THE BOTTOM CARD OF THE DECK AND THEN MOVE THE FOUR ACES TO THE BOTTOM VIA A DOUBLE UNDERCUT 9OU ALSO HAVE TO KEEP A BREAK ABOVE THE FACE UP CARD WITH YOUR LEFT FOURTH lNGER
(OLD THE DECK IN DEALING POSITION AND HAVE YOUR LEFT THUMB ALONG THE LEFT LONG SIDE OF THE DECK "EGIN TO RIFmE DOWN THE DECK AS YOU ASK THE SPECTATOR TO CALL STOP 4RY NOT TO GO MORE THAN A QUARTER OF THE WAY DOWN BECAUSE YOU ARE GOING TO MAKE FOUR PACKETS 7HEN THEY CALL STOP TABLE THE SMALL PACKET AND THEN DO IT AGAIN $O THIS TWO MORE TIMES SO YOU HAVE THREE PACKETS ON THE TABLE 3AY h) AM GOING TO TAKE THE TOP CARDS OF EACH OF THESE PACKETS AND SEE WHAT YOU HAVE CUT )T WOULD BE IMPRESSIVE IF YOU MIGHT HAVE CUT TO v -OST OF THE TIME THEY SAY THE FOUR ACES AND THAT IS THE BEST THING THAT CAN HAPPEN 4HEY ARE NOW @CREATING THE MOMENT )F THEY DONT SAY THE FOUR ACES ITS OKAY BECAUSE YOU REPLY WITH h BUT THE ACES ARE THE BEST FOUR OF A KIND IN THE DECKv $EAL OFF THE TOP CARDS OF EACH PACKET BEGINNING WITH THE PACKET IN YOUR LEFT HAND 2EMEMBER YOU ARE STILL HOLDING A BREAK ON THE BOTTOM lVE CARDS $EAL EACH TOP CARD INTO A PILE ON THE TABLE !FTER EACH TOP CARD IS REMOVED REPLACE THE PACKET ON TOP OF THE PACKET IN YOUR LEFT HAND 9OU NOW HAVE A PILE OF FOUR CARDS ON THE TABLE WHICH THE SPECTATOR BELIEVES ARE THE FOUR ACES 4HE SUSPENSE IS BUILDING 4URN THE FOUR CARD PILE FACE UP AND REVEAL THEY !2% ./4 THE ACES 4HE SUSPENSE FADES AWAY -AKE SURE THE CARDS ARE SPREAD SO THE PIPS ARE FACING THE AUDIENCE RIGHT TO LEFT BECAUSE THIS HELPS YOU Photo 11 FOR THE NEXT MOVE 7HILE EVERYONE IS LAUGHING AT THE FACT THAT THEY ARE NOT ACES EXECUTE %D -ARLOS @SPONTANEOUS ADD "ASICALLY YOU ARE GOING TO REMOVE THE DECK FROM THE LEFT HAND TO TABLE IT AS YOUR LEFT HAND WITH THE COPPED FACE UP CARD AND FOUR ACES SIMULTANEOUSLY TURNS PALM DOWN 4HE lVE CARDS ARE ADDED TO THE FACE UP PACKET SEE PHOTO 0ICK UP THE PACKET IN YOUR LEFT HAND IN ONE mUID MOTION 4HE CARDS SHOULD BE FACE DOWN IN DEALING POSITION IN YOUR LEFT HAND 3HAKE THE PACKET AS IF YOU WERE SHAKING A PAIR OF DICE AND THEN SLAP THEM SQUARE WITH THE DECK 4HIS MINIMIZES ON THE mASHING 4HE TOP CARD OF THE DECK WILL BE A FACE UP ACE 4HIS IS QUITE AMAZING TO THE AUDIENCE 4HEN DEAL OFF THE TOP FOUR CARDS AND REVEAL THEY ARE
INDEED THE FOUR ACES "ECAUSE THE TH CARD FROM THE BOTTOM STARTED FACE UP IT BECOMES THE TH CARD FROM THE TOP FACE DOWN AFTER THE ADD ON 4HE NEXT FOUR CARDS BENEATH IT ARE FACE UP SO BE CAREFUL NOT TO mASH THEM !S FOR YOUR CLEAN UP ) JUST CUT THE TOP lVE CARDS TO THE BOTTOM AND THEN RE REVERSE THE BOTTOM FOUR 4HIS MAKES IT SO YOU ARE NOW CLEAN
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