Derived from concepts in Japanese Buddhist teachings, wabisabi refers to the aesthetic that finds beauty in imperfection, impermanance and incompleteness.
While I am proud of the material in this booklet, as a creator I can never feel completely satisfied with my work. My creations and ideas are always in a state of flux, constantly subject to a gradual process of improvement and refinement. Hence, whenever I publish something, I feel a little guilt in my heart because I know what 1 am publishing isn't "perfect" yet - that it has not attained the ideal standard I had hoped to achieve.
But perhaps I should realise that there is something poetic and beautiful about such works in progress, because they represent a never-ending journey to improve oneself through one's art.
My hope is that you, the reader, will also be inspired by the imperfections within these pages.
Harapan Ong
October 2017
It's difficult to find a card transposition effect more streamlined, more beloved and more performed than The Last Trick of Dr. Jacob Daley, in which two red Aces transpose with two black Aces. It is first published in The Dai Vernon Book of Magic in 1957. Methodwise, it is minimalistic and hence pleasing to many magicians' sensibilities, since it literally packs small and plays big. Effect-wise, it is strong, crystal clear and direct - you can put as much or as little presentation to the effect as you wish.
However, I've always felt there are two main problems with how most magicians perform this effect.
1. There is always always an inconsistency inconsistency with how the two Aces are dealt onto the table. For example, the first Ace is shown and tabled using a Glide, while the second is done with a Double Turnover. I feel that this inconsistency and constant changing of the grip on the packet is awkward and suspicious. Another common method that is slightly more consistent is to do a Double Turnover for the first Ace, and a Double Turnover from the bottom of the packet for the second Ace. Some methods also call for a repositioning of the cards after the first Ace is shown. I would prefer if I could somehow show show both Aces coming off the top of the packet, one after another, without any further repositioning or counting through the cards.
2. In the original original description of Dr. Daley's Last Trick, there is a feature that Jacob Daley had in his version that future versions of this effect do not - in his trick, Daley made sure that the configuration of the Aces at the start and during the routine is made extremely clear to the audience, so that there is no ambiguity with regards to how the Aces are arranged in the packet. For example, in his original routine, he makes it clear at the start that the red Aces are
sandwiched by the black Aces, before dealing the black Aces onto the table. Modern versions of this trick, using the dealing sequences mentioned in the previous paragraph, often have to obscure, make no mention of, or confuse the audience about the arrangement of the Aces, because the dealing sequence does not match the initial arrangement of the Aces. For example, the Aces are in alternating red-black order, but the two black Aces are dealt one from the top of the packet, and one from the bottom of the packet, which isn't logical. I would like a version where the order of the Aces is made extremely clear to the audience throughout the routine so that there is no ambiguity or confusion, and the audience can follow the routine perfectly.
What I offer here is not a major change or improvement to the effect - it is still the same transposition effect between the red and black Aces. However, I've simply found a way to fulfill those two requirements stated above. The dealing procedure of the two Aces is extremely fair and clean - however, it comes with a small price to pay. It requires the performer to execute a perfect Double Deal Turnover, which is a rather challenging move. It is made easier by the fact that you're dealing only with a small packet of cards - however the Double Deal will definitely need some practice. However, I think the benefits overall outweigh the difficulty of (he move, and I hope you will enjoy the following routine I call: Daley Revision.
EFFECT
The performer cleanly displays the two red Aces and the two black Aces. The red Aces are clearly shown to remain in the performer's performer's hands, while the black Aces are clearly shown to be placed on the table. With a snap of the fingers, the red and black Aces transpose the performer is now left holding the black Aces, while the red Aces are now on the table.
METHOD
The routine starts with the four Aces displayed face up in both hands. The right hand holds the black Aces while the left hand holds the red Aces. Displaying the Aces separated by colour makes the initial configuration of the cards and as well as the effect much clearer for the audience. The right hand's cards are placed on top of the left hand's cards, and the entire packet is turned face down into left hand Mechanic's Grip. From the top of the packet, the packet should read: red Ace, red Ace, black Ace, and finally black Ace.
The top Ace is flipped face up on top of the packet, showing a red Ace (e.g. Ace of Hearts). It is turned turned back face down flush on top of the packet, and the right hand then takes the Ace of Hearts and places it on the bottom of the packet. The right hand then flips the next Ace on top face up (e.g. Ace of Diamonds) to display it, before turning it back face down. However, the left pinky now executes a Pinky Pulldown on the bottom card (the Ace of Hearts), forming a break below the top three cards. The right fingers enter the break and the right hand takes the top three cards as a single unit, and moves them to the bottom (below the left hand's single card). This action mimics the previous action of placing the Ace of Hearts on the bottom of the packet, however this time three cards are placed at the bottom together. To the audience, the two red Aces have simply been displaced to the bottom of the packet - instead, the red Aces are now actually back on top of the packet.
Now, execute a Triple Turnover, displaying a black Ace on top of the packet. To the audience, this is perfectly normal and logical since the red Aces have ostensibly been placed at the bottom of the packet - hence, the black Aces should now be on top. The triple card is turned back face down, and the top card (actually a red Ace) is placed on the table. Apparently, the performer has just tabled a black Ace.
As the right hand tables the top card, card, the left thumb pushes the top card slightly horizontally to the right, in preparation for a Double ig. /). Essentially, the top and bottom cards of the Deal turnover {F ig
left hand's three card packet will be turned over together face up on top of the packet.
To do so, the right hand goes over to the left hand's packet - thumb ig. 2). The right thumb contacts the back above, fingers below {F ig
of the sidejogged top card (near its right long edge) while the right fingers below contact the face of the bottom card of the packet. The right thumb applies light pressure down on the sidejogged card, which provides a fixed anchoring point for the cards. The right fingers then pull and drag the bottom card out towards the right until it is aligned with the top card - the right thumb can be used as a gauge to stop the bottom card from being slid out too far, while the left index finger, held at the outer edge of the packet, can be used as
a supporting "rail" for the bottom card to slide out horizontally and not at an angle (F ig ig. 3).
Once the top and bottom cards are perfectly aligned, the right hand grips on to both cards and slides them together to the right, until the left long edge of the cards clear the right long edge of the remaining ig. 4). card in the left hand (F ig
Once it clears, the right hand flips the two cards face up on top as a single card, in the actions of a standard Double Turnover. This displays the second black Ace on top of the packet. The double is turned over face down, and the top card (another red Ace) is placed on top of the previously tabled card. Do note that this action is also
perfectly logical - since the red Aces have apparently been placed on the bottom, the top two cards should be the black Aces, and the performer has displayed, dealt and tabled the two black Aces from the top of the packet. There is no repositioning of the cards, there's no unjustified motions - every display and action is logical and makes sense.
With a magical gesture, the cards in the hands are now shown to be the black Aces, while the red Aces are shown to be on the table. A magical, direct and streamlined transposition has taken place, and your audience gives you a magical, direct and streamlined standing ovation.
EFFECT
A red Ace and a black Ace are placed placed face up on the table. A packet packet of four red cards is placed behind the red Ace and a packet of four black cards is placed behind the black Ace, as the magician explains that these cards will always follow the colour of their respective leader Aces. An increasing number of cards from each packet are then interchanged between the two packets - first just one card, then two, then three, and finally all four. After each exchange, the magician shows that impossibly, but logically, the packets always remain the same colour as their leader Ace. To end off the routine, the magician placed the packets on top of each other, but between the red and black Ace. This causes confusion amongst the cards as they no longer have any leader, and hence the eight-card packet is shown to have mixed themselves up, alternating red and black cards throughout the packet. However, when the cards are split back into two packets and placed behind their leader Aces, they are shown to have once again separated into their respective colours.
The first few phases of this trick is reminiscent of Roy Walton's "Switch in Time" effect, published in Tale Twisters (1972). However, the counts and displacements used are different and diverge more from Roy's routine as the effect progresses. It also uses a sequence by Edward Mario called Outjogged Oil and Water, published in MAGIC Magazine in the April 2003 Talk About Tricks Column.
METHOD
On the table, place a red Ace and black Ace next to each other, separated by a sizeable gap so as to denote the clear separation of the two colours. For instructional purposes, the black Ace is on the magician's left while the red Ace is on the right.
From the deck, remove four red and four black cards. It is advisable to use inconspicuous spot cards - for example, the Eights and Nines can be used. Arrange the Eights and Nines such that they are separated by colour, with the red cards on the face of the packet. Ensure that the values are alternating, and that the suits within each colour are in the order of A-B-B-A (e.g. Hearts, Diamonds, Diamonds, Hearts). This is important as a suit order of A-A-B-B (e.g. Hearts, Hearts, Diamonds, Diamonds) will result in an extremely discrepant false count later on during the routine.
With the cards in this position, the eight cards are spread out between both hands to show the colours separated (F ig ig. /). Catch a left pinky break above the bottom two cards (i.e. above two black cards) as the cards are squared up into the left hand. The right fingers enter the left pinky break and pick up all six cards above the break, as if it is holding on to only the four red cards. The right hand then uses its six-card packet to lever and flip and left hand's packet face down, before flipping its own cards face down on top of it all. Apparently, the top four cards cards are the red cards, when in reality reality the
15
cards have been displaced such that the top four cards are two black and two red cards.
The right hand takes the top four cards of the left hand's packet and places them just behind the red Ace, apparently dealing the four red cards behind the red Ace. The remaining cards in the left hand are placed behind the black Ace. Note that the face card of each packet can be subtly flashed and shown as a little convincer that the colours are indeed separated and placed correctly behind their respective Aces.
Explain the premise of the routine, in which the red cards will always follow the red leader Ace, and the black cards will always follow the black leader Ace. Now, attempt to mix up the cards by openly exchanging the top cards of each packet. Explain that because the cards always follow the leader, no matter how they are mixed, the colours always end up separated. Turn the red packet face up and execute an Elmsley Count to show all the red cards are now back in one packet. The red packet is flipped back face down in its original position, and the same actions are repeated with the black packet to show four black cards. The black packet is flipped back face down in its original position behind the black Ace.
Now, exchange the top two cards of each packet (i.e. the top two cards of the red packet and the top two cards of the black packet are interchanged and placed on top of the other pile. This places the cards back in position for another Elmsley Count. Again, turn the red packet face up and execute an Elmsley Count to show all the red cards are still in one packet. The red packet is flipped back face down in its original position, and the same actions are repeated with the black packet to show four black cards. The black packet is flipped back face down in its original position behind the black Ace. Apparently, even after exchanging exchanging two cards, each packet packet still consists of four cards of the same colour.
The top three cards of each packet are now exchanged, in keeping with the progression of an increasing number of cards being
exchanged amongst the two packets. After the exchange, each packet is now in the colour order of A-B-B-A (e.g. red-black-blackred or black-red-red-black), which is the perfect position for a 2-for4 count. Turn the red packet face up and execute a 2-for-4 count to show four red cards.
The 2-for-4 count is performed as follows: The packet is pinched by the right thumb and fingers at its rightmost long edge. The right thumb executes a Block Push-off on the top three cards into the ig. 2). This leaves one single red card left hand's Mechanic's Grip {F ig
in the right hand. In a smooth, continuous counting action, the left hand come back under the right hand's card and feeds its three cards under the single card. The left thumb immediately peels off the single card on the face of the packet, leaving three cards pinched ig. 3). In the same counting action, the left hand by the right hand {F ig
come back to the right hand and feeds its single card under the right hand's packet. The right thumb immediately executes another Block Push-off of three cards into the left hand, identical to the first count {F ig ig. 4). Finally, the remaining card in the right hand is counted off
on top of the left hand's packet. This is a 2-for-4 count in which the faces of two red cards are counted as four red cards.
After the 2-for-4 count, the "red" packet packet is placed back face down on the table, behind the red Ace. The "black packet" is picked up, turned face up and is shown to consist of four black cards via
another 2-for-4 count. After the count, the packet is tabled behind the black Ace.
Finally, all four cards of each packet will be exchanged. However, a minor displacement of the top card of each packet is required. Both hands reach over and pick up the top card of each packet, and uses the top card as a scoop to pick up the other three cards in the packet. The packets are now openly exchanged so that apparently, the red packet is placed behind the black Ace and vice versa. Each packet is now still in an A-B-B-A colour order, hence after the exchange, a 2-for-4 count can be used to show that each packet is of the same colour.
The red packet is picked up, turned face up and as mentioned, execute a 2-for-4 count to show that all four cards are red. However, at the end of the count, leave the last card in the right hand instead of placing it on the face of the packet in the left hand. Instead, the right hand flips its card face down, while the left hand flips its packet of three cards face down. The left thumb deals the top card on top of the right hand's card, and the right hand then places its two cards under the left hand's cards. The top card of the packet is then displaced to the bottom of the packet. This small displacement sequence alternates the colours in the packet, which sets up for the ending of the routine. This packet is placed face down behind the red Ace.
The black packet is then picked up and another 2-for-4 count is used to show all four cards as black cards. The same displacement sequence (described previously for the red packet) is used to alternate the colours in the packet - however, after the displacement, the top card does not need to be displaced to the bottom of the packet before the packet is tabled behind the black Ace.
Position check: each packet on the table consists of four cards of alternating colours. Each packet should be identical in their colour order - from the top, the cards should be in a red-black-red-black order.
After having established the colour-separation colour-separation premise of the routine, the packets will now be magically mixed. Shift the red packet towards the right until it is between the red and black Ace, and then openly place the black packet on top of the red packet. This results in an eight card packet in between the red and black Aces.
Explain to the audience that since the cards are in between the two leader Aces, the colours are now confused as they have no leader to follow. Turn the eight card packet face up in the left hand, and casually (and quickly) spread to show that the red and black cards have magically mixed and are now in an alternating pattern. The cards are then squared up into the left hand in preparation for the final display.
The colours will now be secretly separated while displaying the cards while using a sequence by Edward Mario. The cards will apparently be spread, and every other card outjogged in the packet, but the cards are actually being separated secretly under the spread. The left hand thumbs off the top card on the face of the packet (a black card) into the right hand. The right hand pinches this card between the thumb and fingers along the long edge of the card.
The left hand then moves forward and thumbs off the next card (a red card), leaving it outjogged in the right hand. This red card should be placed outjogged and slightly sidejogged to the right (F/c. 5). As the left hand comes back down to place the next black card in line with the first black card, it is actually slipped in between the red and black cards in the right hand (below the black card, but above the red card). This black card is actually placed slightly injogged and sidejogged to the left as compared to the first black card (F/c. 6).
The next red card is placed outjogged, in line with and under the first red card (F/c. 7). The third black card is then placed in line with the other two black cards, but is secretly slipped directly under the second black card and above the red cards. This outjogging / injogging sequence is continued until all eight cards are exhausted
- the result being that the red cards have been outjogged from the packet, but have also been secretly separated from the black cards. The eight cards are slightly fanned out in a small spread, and the black cards are spread out in a separate packet from the red cards below it {F ig . 8).
The eight cards are squared up into the left hand and turned face down. Due to the outjogging sequence previously, the colours are now actually separated in the left hand (with the red cards above the black), but the audience believes that the red and black cards are still alternated. The right hand takes the top four cards from the left hand, and both hands slightly fan out their respective cards as the hands move apart until they are directly behind the red and black Aces.
Explain that if the cards are now placed next to their leader Aces, the cards will then automatically separate according to the colours of the Aces. Turn each fan of cards over and table them behind the Aces to show that the colours colours have magically separated separated once again for the finale.
EFFECT
The performer offers to perform the famous "Eight-Card Mystery" which doesn't use eight cards (hence the mystery!). A card is freely cut to and remembered. The spectator mixes and deals the cut packet via a strange mysterious series of actions, only to be left with an Eight - hence an Eight-Card mystery! The selection is then found at exactly the eighth position, and as a surprise ending all four Eights are produced, concluding the famous Eight-Card Mystery.
The mathematical principle behind the effect is Alex Elmsley's 16th Card Principle, first written up in his routine "7-16" in Ibidem, Issue 13, 1958. The trick can also be found in The Collected Works of Alex Elmsley Vol. 1, p. 309. Elowever, Elowever, the trick that this routine routine directly based on was shown to me by a magician in Osaka named Takanobu Ishida. I have simply worked out the setup such that the four Eights can be produced at the end of the routine as a surprise finale.
METHOD
The set-up is simple - place three Eights on top of the deck, and one Eight on the bottom of the deck. The suits do not matter - however, take note that the Eight on top of the deck will always be the first Eight that is located during the routine.
Explain the premise of an "Eight-Card Mystery" that doesn't actually use eight cards - in fact, it uses more than eight cards. Table the deck and instruct the spectator to cut off about a quarter of the
deck. The trick will work if the spectator cuts anywhere from nine to fifteen cards - hence, instructing them to cut about a quarter of the deck will usually work. Instruct the spectator to look at the bottom card of the packet that was cut to and remember it as the selected card.
Now, explain that the packet will be mixed and "shuffled" in a mysterious manner. Since this is called an "Eight-Card Mystery", instruct them to move the top eight cards of the packet to the bottom, without reversing their order (i.e. just fanning eight cards out and placing them as a single unit on the bottom, instead of counting them out singly). After that, instruct them to move eight cards again from the top to the bottom of the packet, just like before. This will ostensibly "lose" their selection in the packet as its position is now unknown to everyone, including you, the magician.
Explain to the spectator that they will now go through a slow process of eliminating the cards in the packet one by one. Instruct them to execute an Under-Down deal - essentially, have the spectator move the top card to the bottom of the packet, and place the next card on the table, "eliminating" it. This process is repeated over and over again, alternating between placing the top card to the bottom and placing the top card on the table until there is only one card left in the spectator's hands. Explain to the spectator that because the trick is called an "Eight-Card Mystery", the card remaining in their hands has got to be an Eight. Instruct them to turn the remaining card face up to reveal that it is in fact an Eight! (It is in fact always the top card of the initial setup, so if you had memorised which Eight was on top of the deck before the trick began, you may even wish to tell them exactly which Eight it would be e.g. Eight of Elearts. This adds an extra punch to the trick.)
Pick up the cards on the table, while taking a quick glance at the bottom card of the packet. Two situations can arise now, one more likely than the other:
1. The most likely situation: situation: the bottom bottom card is is an indifferent indifferent card (not an Eight)
This situation will happen most of the time. In this case, there is an Eight third from the top, another Eight seventh from the top and their selection is exactly eighth from the top.
With the packet in your hands, instruct them to deal the cards into your hands and stop on the eighth card (since it is an "Eight-Card mystery). As a demonstration of your instructions on what they should do, begin dealing the cards onto the table singly, stopping at the third card before placing the tabled pile of three cards back on top of the cards in your hands. This displaces the Eight that was previous third from the top and moves it to the top of the packet. EHand the packet to the spectator, and extend your left palm up for them to deal into. After they have dealt seven cards, stop them on the eighth card. Have them announce the name of their card, before turning the eighth card over to reveal the selection.
To finish off, explain that the real reason why this trick is called the "Eight-Card Mystery" is that no one knows how the four Eights appear at the end of the trick. Turn the top card of the packet in your hands face up and place it on the table, revealing an Eight. At the same time, the left thumb flips its entire packet over to reveal another Eight. The final Eight is revealed by turning the rest of the deck over (which has remained unused until now), revealing the Eight on the bottom of the deck. This results in the sudden production of all four Eights as a finale to this routine.
2. The more unlikely situation: the bottom card is an Eight
This situation will only happen if the spectator cuts exactly 15 cards at the start of the trick. In this case, there is an Eight seventh from the top, an Eight on the bottom of the packet and the selection is exactly eighth from the top of the packet.
In this case, explain that since it is an "Eight-Card Mystery", their selected card is now exactly eight cards from the top. Begin dealing the cards singly onto the table, stopping on the eighth card. Have them announce the name of their selection before revealing the eighth card to be the selected card.
To finish off, explain that the real reason why this trick is called the "Eight-Card Mystery" is that no one knows how the four Eights appear at the end of the trick. Flip the top card of the tabled packet face up to reveal the Eight originally seventh from the top. At the same time, the left thumb flips its packet face up to reveal the Eight on the bottom of the packet. Finally, the last Eight is revealed by turning the rest of the deck over (previously unused). This results in the sudden production of all four Eights as a finale to this routine.
EFFECT
Three red cards and three black cards are shown to be separated from each other. When the cards are waved over each other, the cards are seen to visually mix, resulting in a packet of alternating colours. When the cards are waved over each other again, the cards are seen to visually separate back into a packet of red and black cards again.
This routine is heavily based on a colour change by Alexander Hansford, called Godel. It is available on artofmagic.com as a download.
METHOD
No extra cards are required for this short, simple and visual Oil and Water sequence. From the deck, remove three red cards and three black cards - I usually prefer to use spot cards like Eights and Nines.
To begin, place the three black cards face-up on top of the three face-up red cards to form a packet of six cards. Fan the packet out between both hands to show the initial separated condition of the red and black cards in the packet. As the packet is squared back into the left hand, catch a left Pinky Break below the top four cards (i.e. above the lowermost two red cards).
The right hand then lifts up the four cards above the break in Biddle Grip, apparently holding on to only the three black cards. To further display the black cards, the left thumb now peels off the black card on the face of the right hand packet, allowing it to fall flush on top of the left hand's packet. The next black card is once again peeled off onto the left hand packet, but is left in a sidejogged position.
This leaves the right hand holding a double, and leaves both hands apparently displaying the three black cards.
The right hand helps to square up the black cards into the left hand - however, the left pinky obtains a break below the third card. Due to the displacement just now, the three cards above the break now consist of a red card in between two black cards.
The right hand now readjusts its grip on the cards: The right index and middle fingers now enter the pinky break and grip the top three cards by the bottom right corner (thumb on top, two fingers below). The right ring finger is contacting the bottom corner edge of the three cards as a support. The right thumb should be near the edge of ig. /) . the cards in readiness for a Double Pushoff {F ig
The right hand lifts up the three cards and simultaneously executes a Double Pushoff, displaying two black cards. The right hand holds its cards to the left of the left hand's packet, with the wrists slightly crossed so that the three black cards can be seen. During the Double Pushoff, the right ring finger is used as a guide for the top two cards ig. 2). to slide along so that they stay square {F ig
You are now about to execute Godel, a move by Alexander Hansford. It will cause one of the cards in the right hand to visually change into a red card. The change is executed as the hands uncross, allowing the bigger motion of uncrossing the hands to cover
the smaller motion of the thumb. As the wrists uncross (i.e. the right hand moves sharply to the right), the right thumb pulls on the top face card of the double, pulling it towards the right and allowing it to align flush with the bottommost card in the right hand. By only moving the top card, it exposes the red card just below it, giving the ig. 3). illusion that a colour change has occurred {F ig
To help align the top card with the bottom card, the right index finger quickly adjusts its positon by moving to the rightmost edge of the bottommost card, acting as a stopper for the top card. The right ring finger, once again, should be used as a guide for the top card to slide along in order to align the cards properly.
After the change, the black card card in the middle of the display display has ostensibly changed into a red card, resulting in an alternating colour pattern. The right hand is holding onto three cards - the two black cards are pinched together and aligned against the right index finger, and the single red card is in between the two black cards, sidejogged to the left.
The right hand now squares its cards on top of the left hand packet - however, during the squaring action, the left pinky obtains a break above the bottommost card of its packet (above one red card). The right hand then secretly inserts its lowermost black card into the pinky break. The result of this displacement is that when the cards
are now spread out, the entire packet is now in an alternating colour pattern.
During the display of the mixed state of the cards, secretly cull the fourth card (a red card) to the bottom of the packet. The position of the cards, from the face, is now black, red, black, black, red and red.
The sequence to un-mix these cards is very similar to the mixing sequence. The left pinky obtains a break above the bottom two red cards, as the right hand picks up the four cards above the break in Biddle Grip. The left thumb peels off the top two face cards one by one, with the first card landing flush on top of the left hand's packet and the second card left sidejogged, just like the previous sequence. The right hand (holding the double card) squares up its cards as the left pinky catches a break beneath the sidejogged card in the left hand (i.e. beneath three cards).
The right index and middle fingers enter the break and pinch the top three cards at the bottom right corner. Execute the Godel change as described previously, doing a Double Pushoff and pulling back the top card with the right thumb as the wrists cross and uncross. This causes the alternating black-red-black pattern to transform back into three black cards.
However, as the cards are squared up, the bottommost red card in the right hand is slipped below the left hand's packet. When the cards are all spread out, the entire packet is now shown to be in a separated condition, with the black cards on top of the red cards. This concludes the short and direct Oil and Water sequence.
EFFECT
The magician, performing for a group of people, has a single spectator select and remember a card that only he or she gets to see, which is then shuffled back into the deck. The cards are then spread face up on the table, and a demonstration of mind reading, the magician gets the spectator to turn away and not look at the cards so that there won't be any clues from the spectator's eyes that the magician can use to discern the selection's identity. The magician then openly removes a card from the spread that he thinks is the selection (for example, the Ace of Clubs) and places it face down on the table. After the spectator has opened his or her eyes, they name the selection (e.g. Two of Hearts). When the card on the table is turned over, it has somehow transformed into the Two of Hearts.
METHOD
The entire trick relies on the use of a mis-indexed card. These cards can be found with any Skinner Three Card Monte set - for instructional purposes, the mis-indexed used will be the Two of Hearts with an Ace of Clubs index at one corner.
To prepare, remove the actual Ace of Clubs and Two of Hearts from a deck of cards with a matching back design as your mis-indexed card. Place the mis-indexed card on top of the deck, with the odd index (the Ace of Clubs) at the inner left corner. You should be performing for a group of people that are sat together closely enough such that everyone can see each card in a table spread clearly, as the final change depends on the fact that the audience must be able to see you clearly remove the "Ace of Clubs" from the spread.
To begin, choose a person on your extreme left to select a card. This is because the extreme left is the weakest angle for the card change
later on, as there is the greatest risk of exposing the mis-indexed from when viewing the trick from that angle. Hence, it will be good if the person on the extreme left is later turned away from the deck and not looking at you taking out the gaffed card.
Use the cleanest force you know to force the gaffed Two of Hearts onto the spectator - for example, the Classic Force can be used. The deck is cut and a break is held above the gaffed Two of Hearts. The deck is spread between the hands for the spectator to point to any card, and the Two of Hearts below the break is forced on the spectator. Once the spectator touches the back of the Two, break the deck above the Two as the left thumb pushes the Two to the right. Raise the left hand up to eye level for the spectator to see and remember the card. Ensure that no one else from the group can see the identity of this card - you may wish to give the explanation that since this is a demonstration of mind-reading, only one mind should be read; if everyone were to think of the selection at the same time, stray thoughts from everyone may contaminate the mind reading process.
Lower the left hand back down and place the right hand's cards on top of the selection, ostensibly losing the selection in the deck. You may wish to give the deck a quick Overhand Shuffle, or even hand the deck out for shuffling. If the deck is handed out for shuffling, take note:
1. During the shuffle, take note of how the deck is oriented and keep track of where the Ace of Clubs index is. When the deck is returned to you, ensure that the Ace of Clubs index remains on the inner left corner.
2. When the deck deck is returned returned to you, you, glimpse the bottom card of the the deck to ensure that the gaffed card is not on the bottom. If it is, give the deck a quick cut to place the gaffed card back in the center of the deck.
Once the deck is back in your hands, turn the deck end for end face up and spread the cards out on the table in a wide arc. Turning the deck end for end should ensure that the Ace of Clubs index is showing instead of the Two of Hearts. Instruct the spectator who selected the card to turn his back so that he is unable to see the cards - the explanation given is that since this is a demonstration of mind reading, possible clues such as body language or eye signals might clue the mind reader to the identity of the selection in the spread. Hence, by turning away, the only way the mind reader can divine the selection is to read the spectator's thought waves.
With the spectator's back turned, pretend to read the mind of the spectator by gently touching the back of his or her head. After some acting, focus your attention on the tabled spread, and by gesturing quietly to the rest of the audience, point out the Ace of Clubs in the spread (actually the gaffed card) and make sure that everyone can see which card you're pointing to. Mouth to your audience silently that you think that is the selection, before removing that card out of the spread with your right hand and tabling the card face down. Basically, your right hand pinches the card by the index corner ig. /), and as the card is being pulled showing the Ace of Clubs (F ig
away and out of the spread, its face is immediately turned towards ig. 2). This is yourself and tabled face down in front of the spread (F ig
similar to how the gaffed card might be used in the standard Skinner Three Card Monte routine in order to hide the gaffed face. When the gaffed card is tabled face down, the mis-indexed corner should be at the inner left corner, from the performer's perspective.
Leave the spread as it is as you instruct the spectator to turn around. As an extra layer of deception to lead the audience further down down the garden path, have the spectator slowly verify that his card is indeed no longer in the face-up spread. He will check carefully and confirm that the card is indeed no longer in the spread, since in his mind he has selected the Two of Hearts (which is genuinely missing in the deck) but to the audience, he had selected the Ace of Clubs (which is also genuinely missing in the deck).
Once it is verified, close up the spread and have the spectator name his card out loud. He will of course announce that he has selected the Two of Hearts. At this point, it will be tempting to go down the usual "magician-in-trouble" route and acknowledge that something has gone wrong, before "fixing" the mistake by changing the previous tabled card into the Two of Hearts. Instead, do not show any sign that the trick has gone wrong. Instead, simply reiterate to the rest of the audience that the spectator has selected the Two of Hearts. At this point, the rest of the audience will be very anxious for you, because in their mind, the trick has gone wrong because they clearly saw you remove the Ace of Clubs. To the spectator who selected the card, he may have verified that his card was not in the spread, but he will still be anxious to see if the tabled card is indeed
1
the Two of Hearts (as a form of final verification that mind-reading has indeed taken place). This is an interesting form of dual reality going on, where the involved spectator and the rest of the audience are experiencing different effects and different emotions.
To conclude the effect (and release the tension in their hearts), simply flip the tabled card over sideways with your right hand by the inner left corner, using your right thumb to conceal the Ace of Clubs index. This reveals the face of the Two of Hearts to everyone. At this point, the spectator who who selected the card will will think it's a pretty cool demonstration of mind-reading in the form of a pick-acard trick, but he might be bewildered by the loud exclamations of surprise from the rest of the audience as everyone else is reacting to a surprising card transformation that the spectator himself is unaware of.
Leave the effect as it is, as you insert the gaffed card back into the deck and conclude the routine, and allow the audience to discuss amongst themselves. The spectator might later learn that an impossible card transformation had occurred without him realising it - as the rest of the audience recounts the effect to the spectator, it will usually get more and more impossible (e.g. I saw him clearly put the Ace of Clubs on the table! I saw the face very clearly! And it changed!). This is an interesting way of increasing the impossibility of an effect through dual reality and forcing an audience to recount the effect to each other.
EFFECT
The Eight of Spades is shown on the face of the deck, and is turned face down. The deck is spread between the hands and another card, for example the King of Hearts, is chosen. The King of Hearts is flicked out of the spread and spins into the air, transforming into the Eight of Spades! The face-down card at the face of the spread is then turned over to show that it is now the King of Hearts, completing this extremely visual and flashy two-card transposition.
METHOD
This routine uses a double-faced card - for instructional purposes, the card used will have the Eight of Spades on one side, and the King of Hearts on the other. This double-faced card will allow for the visual transformation later on during the routine.
From the face of the deck, arrange the cards in the following order: Eight of Spades, face-down Three of Hearts, King of Hearts, Three of Diamonds, about half the deck, the double-faced card (King of Hearts facing up) and then the rest of the deck.
To begin the routine, start with the deck face up in left hand Mechanic's Grip, displaying the Eight of Spades on the face of the deck. After pointing the Eight of Spades out to the spectators, apparently turn the Eight face down, in reality executing a Triple Turnover. Hence, the face-down card on top is now in fact the King of Hearts.
Spread the deck between the two hands in a neat spread, doing a Block spread near the face of the deck so that the reversed Eight is not seen. The spread should arc slightly as it is spread by the left thumb and held by the right hand. Break the spread above the King of Hearts (i.e. the double faced card), holding the spread entirely in the right hand. Note that the right fingers should be outstretched in order to hold the spread, with the right thumb gripping the spread ig. / ) . near the bottom edge {F ig
The cards are clipped by the crotch of the right thumb, with the thumb parallel to the bottom edge of the face-down card on top. The right ring finger should be outstretched and contacting the back of the lowermost card in the spread near its bottom edge.
After displaying the King of Hearts Hearts with the left hand, the left thumb feeds the King under the right hand's spread, clipped by the right ring finger. The ring finger should be contacting the King nearer to its bottom right corner - hence, the face of the King is considerably more exposed as it is also angled to the left as compared to the rest ig. 2). of the spread {F ig
To cause the King of Hearts to change into the Eight, you will now execute a move that I call SpreadShot. The right ring finger will now flick the King into the air by curling inwards towards the right palm very quickly, dragging and snapping the King out of and above the ig. 3). With some practice, this will cause the King to flip spread {F ig
over in the air while sp> nn'ng/ resulting in a mid-air transformation into the Eight of Spades-
Catch the spinning Eight with the right hand's spread, allowing the ig. 4). This is a visually startling card to land on top of the spread {F ig
and impossible change, so let the effect sink in before letting the Eight of Spades slide down the length of the spread and onto the top of the left hand's packet.
Square the spread up into the left hand, before turning the face down card on top of the deck to show that it is now the King of Hearts, concluding the transposition.
EFFECT
The magician and spectator mixes a packet of four red cards and four black cards together, creating an eight-card packet of alternating colours. Explaining that the red cards, being "lighter" than the black cards as it contains less ink, will tend to rise above the black cards, the magician dribbles the packet onto the table. Visually, the spectators see the red cards rise to the top of the packet, resulting in a colour separation.
The visual change is made possible by using Ben Harris's Superflip move, first published in 1985 in his Superflip & S.F.U.C. booklet.
METHOD
This trick requires two identical double-faced cards - for instructional purposes, the double facers will consist of the Five of Clubs and Six of Diamonds. Also required are six other cards - three black spot cards and three red spot cards (these six cards should not include the Five of Clubs or Six of Diamonds). Arrange the eight cards in the following order from face to back: three face-up black cards, the double facer (Five of Clubs facing up), the other double facer (Six of Diamonds facing up), and then three face-up red cards. This results in a face-up packet of eight cards, black cards on top of the red cards.
To begin, spread the packet face up between the hands to display the cards. Hand the black cards to the spectator and have them "weigh" it in their hands, apparently to get a feel of how heavy the black cards are. Take the black cards back and place the red cards in their hands for "weighing". During this process, explain and suggest to them that the red cards should weigh less than black cards as red
cards contain less ink compared to black cards, since black ink is essentially a combination of all the other ink colours.
Next, explain that because of this weight discrepancy, an interesting phenomenon can be demonstrated. Hold the black cards in right hand Biddle Grip, as your left hand extends palm up towards the spectator. Instruct the spectator to place a red card in your left hand - they should hand you the top card of their packet, which is the Six of Diamonds double facer. Bring your left hand back and using your left thumb peel off the top black card of your packet onto the red card in the left hand.
Extend your left hand for another red card to be placed on top of its packet. Catch a pinky break below the second red card as your bring your left hand back. As the left thumb peels off the next black card onto the left hand's packet, the red card above the pinky break is stolen beneath the right hand's packet. Ensure that the steal is made such that the stolen card is as flush and as neat as possible with the rest of the packet in Biddle Grip.
Repeat the actions for the third red card and black card, stealing the third red card beneath the right hand's packet as the third black card is peeled onto the left hand's packet. This results in the right hand holding a packet of three cards as one - a black card on top and two red cards hidden underneath. Finally, extend the left hand for the last red card to be placed on its packet. The right hand then places its packet (apparently a single black card) on top of the cards in the left hand, taking care not to flash the thickness of the cards in the right hand.
At this point, the position of of the cards, from face to back, is as follows: Five of Clubs double facer, three red cards, three black cards, and finally the Six of Diamonds double facer.
As the cards are placed down down onto the table, execute a Half Half Pass on the lowermost double facer, so that the Five of Clubs is now facing up on the bottom. Explain that because the red cards weigh less,
they have a lower density and hence, like oil and water, the red cards should float up to the top of the packet, above the black cards.
To apparently speed up this process, you will now dribble the packet on the table. Grip the entire packet with the right middle finger and thumb on the rightmost corners, with the index fingertip lightly ig. /). Pick pressing on the face of the top card near the right edge {F ig
up the entire packet and hold it above the table, before allowing the cards to dribble off. On the topmost card (i.e. the double facer), execute Ben Harris's Superflip move, which flips the double facer over as it is dribbled off the fingers. Hence, the card lands on the ig. 2). rest of the packet with the Six of Diamonds facing up {F ig
This results in slightly messy packet of cards on the table, with the red cards on top of the black cards. The audience is able to see the cards apparently visually separate as they can see the colours fall on the table as the packet is dribbled. With the addition of the visual colour change of the top card, it really does seem like the red cards have somehow all "floated" to the top of the packet.
To finish, simple spread the packet out on the table to show its separated condition, concluding this simple and visual Oil and Water sequence.
Those who know me will know how much I love The Trick That Cannot Be Explained, first published in More Inner Secrets of Card Magic, 1960, p.76. I just love the idea that you can do a card trick that is completely improvised on the spot, completely going with the flow of the performance and what the audience dictates. There's something quite beautiful and almost elegant about the bottomup design that The Trick That Cannot Be Explained is based on. Moreover, the effect is often incredibly strong and baffling - it's no surprise that I always try to sneak in a sequence or two of The Trick That Cannot Be Explained when performing for laymen or magicians.
While exploring the concept of improvisation in card magic, I was inspired by improvisational comedy and especially "Whose Line Is It Anyway?", a television show featuring various performers playing improvisational games for a live audience's entertainment. In that show, there was a particular game named "Whose Line" in which the performers, while acting out a skit based on a starting premise, will have to insert random sentences on the spot into their script as dictated by the audience members beforehand. Having the performers improvise and come up with a way to make the random sentence fit the script or have the sentence change the entire storyline makes for amazing entertainment and endless humour, and is easily one of my favourite games on that show.
I then started exploring if such a game mechanism could be used in magic. It eventually developed into this card game which I call "Stock Lines".
I collected 48 magician stock lines - sentences or phrases that magicians always tend to use during their performances. I grouped them into three categories: Statements (e.g. I will now snap my
fingers), Questions (e.g. Do you believe in time travel?) and Instructions (e.g. Please hold out your hand for me). The statements are listed in the table as shown. Statements
Questions
1 am now going to
Do you have a
snap my fingers.
favourite card?
Instructions
Look into my eyes.
For this, I need the
Have you ever experienced
Please check to make sure
two red Queens.
deja vu?
the card box is empty.
You will now do this
What do you know about
trick by yourself.
probability theory?
1 am going to cut the
Wanna try?
deck into three piles.
Please check to make sure the card(s) are totally normal.
As 1 r iffle do wn the de ck , please say "STOP!" anytime.
1 will now make the
Do you believe in
Please hold on to
card(s) invisible.
fortune telling?
these cards for me.
Do you think time
1 need complete silence.
travel is possible?
Give the deck a shuffle.
1 will now demonstrate some cheating techniques
Do you gamble?
Name any card.
Wanna know how
Wave your hand
this is done?
over the card(s).
used by gamblers.
1 will now make the card(s) jum p to my po cke t.
For this, 1 need
Do you believe in
the four Aces.
psychic powers?
Hold out your hand.
Allo w m e to atte mp t
Did you know that cards
Please name any
to read your mind.
can have feelings too?
number from 1 to 20.
D o y o u b e lie v e i n lu c k ?
P le a s e h o ld o n t o m y h a n d .
1 am going to show you the difference
between
sleight
of hand and real magic.
1 need the help of two s pectators. pectators.
1 am now going to close my eyes
Did you know that magic and science are actually the same thing?
Please place the card(s) in the middle of the deck.
Did you know that magicians have very
Concentrate.
sensitive fingertips?
1 am going to need m y lucky
Do you prefer red
Everyone, take some
card - the Ace of Spades.
or black cards?
cards from my deck.
D o y o u b e lie v e i n m a g i c ?
P o in t to an an y c a r d h e r e .
1 will now shuffle the cards face up into face down.
1 will now make
Have you ever seen a
a prediction.
trained pack of cards?
Cut the deck.
To prepare for this game, get a blank deck of cards and write these 48 statements on 48 different blank cards. Assemble them into a deck of Stock Lines cards and you're ready to start the game!
To start the game, gather a group of magician friends who want to join in the fun. The Stock Lines deck is shuffled by an assigned Game Master (who is part of the audience and will be watching the performance). The Player (who will be performing and hence playing the game) will select three cards from the Stock Lines deck without looking at the statements written on them - the three cards are left face down on the table or held by the Game Master. The Player will now, with a deck of normal playing cards, perform for the audience by doing any trick the P layer wishes.
At any point during the trick, trick, the Game Master will hand hand one of the Stock Lines cards to the Player for the Player to read out loud. The Player must then try to work that sentence into the trick and still make the routine make sense and stay coherent.
FOR EXAMPLE
Player: "Now that your card is lost in the deck, I am..."
*Game Master hands a Stock Lines card to the Player*
Player: "... Do you prefer red or black cards?"
To re-emphasize my point, the Player must then try to make this new sentence make sense. The Player can either try to incorporate the sentence into the original trick that was to be performed, or abandon the original trick and change the entire trick to fit this new senlent e. Regardless, this requires a lot of improvisation on the Player's part, and will be hilarious to watch the Player squirm their way out of the difficult situation.
The Game Master can do this two more times during the Player's performance until there are no more Stock Lines cards left in play.
Usually, a good Player will be able to bring the improvised trick to a successful conclusion nevertheless.
SOME EXTRA IDEAS AND TIPS
You may want to let the Player decide when to use the Stock Lines cards in the performance, and hence remove the role of the Game Master.
Why limit it to three Stock Lines cards in play? Reduce that number to help inexperienced Players, or increase it to as many as you like to make the game impossibly difficult!
Even though it is a game, there are no winners and losers instead, it is more important for the audience and Game Master to remain positive and supportive of the Player during the gameplay. Improvisational games thrive on positivity and optimism, so when the Player makes a mistake or takes some time to think of an idea, the audience must understand that this is part of the gameplay and must continue to support and cheer the Player on. If the Player succeeds in performing a complete trick, everyone wins!
Why use Stock Lines cards? Go crazy - if you have audiences that are well-versed with improvisation, get them to write phrases for the Player to use on slips of paper. Throw them all into a bowl and have the Player choose and use these phrases during the game.
This game is perfect for injecting some fun into your sessions with your magician friends. It involves everyone and the results are impossible to predict, so it's a really exciting game to play with everyone.
This game can even be used to generate ideas for tricks. After a game, the Player may want to write down the trick that was just created through improvisation. improvisation. The plot or the effect of the improvised trick may be then refined and worked on later into an actual routine.
Regardless, this game has never failed to bring some laughter amongst my friends. It may seem intimidating to play at first, especially for newcomers to improvised magic - but trust me, be courageous and just play the game! You'll be surprised at how fun it can be.
