Card College Volume 1
Card College Volume 1
Card College Volume 1
\JOLUM( I
A COMPLEJ( COURSE: IN SL(IGHT- 0~-HAND CARt MAGIC
Roberto Giobbis
CARD COLLEGE
Volume 1
Roberto GWbbi~
CARD COLLEGE
Volume 1
illustrated by
BARBARA GIOBBI -EBNOTHER
-~-
HERlVIETIC PRESS, INC.
Seattle, Washington
THANKS!
This course is my most ambitious work to date. It would not have been possible in its
current, professional form without the help of the following people.
First I would like to thank my wife and friend, Barbara, for the roughly fifteen hundred
illustrations she painstakingly drew for this five-volume course; and for her constructive
criticism, her concrete suggestions on the form and content of the course, and for her
understanding. Without her help this work would never have been written.
I would also like to thank Richard Hatch, who undertook the enormous ta..c;;k of
translating my German text with elegance and painstaking precision. Having been a
professional translator myself, before adopting my vocation of professional magician,
I can vouch for the high quality of his translation. Collaborating with a man who has
translated the works of the Viennese genius Johann Nepomuk Hofzinser gave this task
an almost mythical flavor for me.
Great thanks go to Stephen Minch, who unites all the qualities it takes to produce a work
that yearns to be the best of its kind. His knowledge of the history of magic and of the
requisites of performance are only equaled by his skill as a publisher. His suggestions on
credits, historical annotations, technical details and matters of instruction have added
considerably to make this book easy and pleasurable to read. It is an honor for me to
publish my book with Hermetic Press.
Finally, I would like to thank my magical friends, the genial Juan Tamariz, the brilliant
Bernard Bills, the well-read Richard Vollmer and the circumspect Aurelio Paviato,
for their direct and indirect suggestions, which have influenced the contents of
these volumes.
ISBN 978-0-945296-18-8
AT LAST!
Giobbi has done it!
Giobbi, none other than Roberto Giobbi. It had to be someone with the deepest knowledge
of the literature of card magic-in English, German, French, Italian and Spanish-someone
with an understanding of what is effective and practical for an audience-in other words,
a professional magician-someone with a theoretical understanding-having thoroughly
studied the theories formulated by the foremost thinkers in magic-someone with expe-
rience as a writer, an extraordinary ability to collect, organize, select and summarize this
theoretical, practical and literary knowledge-and finally, someone with an understanding
of book publishing as a medium. Someone who loves and cherishes our art of performing
magic with cards, someone who delights in embracing it, someone who harbors illusions
about it ...
If only there was someone in the world possessed of all these qualities, if fate would only
grant us one such person ...
Fate has done so! He exists: Roberto Giobbi!
Roberto Giobbi has studied all the languages I've mentioned. As a professional translator
and interpreter; over the course of many years, he has digested hundreds and hundreds
of classical and modem texts on magic. He has himself written, published and distributed
several famous and fantastic magic books. He is a successful professional magician. He is
a personal friend, translator and interpreter of some of the most important magical thinkers
(Vernon, Ascanio, Fred Robinson ... ), and he unites the depth of Germanic thinking with
Swiss orderliness and the open-mindedness of the southern Europeans (his parents are
Italian and he received some of his training at theEscuelaMagica de Madrid [Magic School
of Madrid]).
I have known and admired Roberto for more than thirteen years. I have worked with him
for uncounted weeks at my home in Spain and at the Escorial conferences on card magic.
I have ef\ioyed numerous conventions with him, and I can assure you that he is the per-
fect man for the job. Humane, intelligent, open-minded, industrious, pedagogically adroit,
he is an utterly infatuated connoisseur of our art of card magic.
We can congratulate ourselves: Roberto exists and has given us this priceless work
But-what of the work itself?
It is a publication that urgently needed to be added to the literature (the publishing house
Editorial Frakson purchased the rights to a Spanish translation even before they had read
the book, so certain were they of its importance).
In an exquisite and entertaining manner, we are granted an insight into the technical secrets
of card magic. Step by step we experience the complete beauty of our art and take delight
in the infinite ingenuity selflessly lavished on it by mar_1y authors and creators. We learn,
in the greatest detail, the most wondrous way to enter the kingdom of card magic.
Some will think, "I already am a card expert. I have studied the art for six years and this
book is not for me." Perhaps they will not read it.
And these people will never know what they have missed! A book so detailed and clearly
written, its contents chosen with such intelligence, is required reading even for someone
who has been pursuing card magic for twenty years. I have been doing card magic nearly
forty years and intend to study it thoroughly, just as I have its predecessors: books by Padre
Ciuro in Spanish, and Jean Hugard and Frederick Braue (The Royal Road to Card Magic)
in English. For Giobbi's book, written a half century after Hugard and Braue's, brings to
light all those things that have been added to the legacy of card magic over the past fifty
years.
In this manner there arose from the magical union of a nearly mythic individual (the com-
bination of all his talents would seem the work of either God or the Devil) with literary
necessity, a classic of card magic (and to be a "classic" prior to publication is surely the
purest magic, isn't it?).
Dear reader, I hope that this book will give you great pleasure, that you will fully enjoy it,
that you will find it useful and place it on your night stand, or next to your pillow, or on
your desk beside the books by Erdnase, Vernon, Ascanio, Slydini, Tarbell, Marlo, Le Paul,
Daley, Al Baker, Annemann, Hugard, Braue, Maskelyne, Hilliard, Robert-Houdin, Rene
Lavand, Kaplan, Gaultier, Hoffmann, Roterberg, Hofzinser, Paul Harris, Jennings and others
that you already have, or will soon wish you had.
And-naturally!-beside your deck: our cherished, most beautiful and magical instrument
with its fifty-two or fifty-four misplayed pasteboards.
And now I shall conclude (at last!) as I began ...
Giobbi has done it!
AT LAST!
Madrid, 1992
Introduction to volume 1
Dear Reader,
Welcome to my Card CoUege, a study course, by the way, that has nothing in common with
any class you may have sat in on before. I trust you won't sleep through this one! You may
approach it holistically or piecemeal. There are no term papers, no exams, no grades. I
want this course to be more fun for you than any other class you've ever had.
Essentially, this is a book on the principles of the art of card magic, not a mere collection
of techniques and tricks. It will take us from the history and symbolism of cards, through
their physical properties and dexterous handling, all the way to the psychology that both
conceals and reveals.
If you understand and apply the contents of this course, you will be able to do anything
with cards that your own creativity suggests. Do understand and assimilate the principles
in this book Don't be limited by the individual tricks, the presentations or especially the
scripts and gags. Understand why and how at that particular moment precisely this was
said or done. Give each technique its due; then-if you are sure you understand the
underlying principles- adapt the tricks.
Regarding credits: In my writing I have always been careful to cite the sources, insofar a3
they are known to me. This gives the inventor of an idea proper recognition and permits
you to look up the original description. However, the practice of providing extensive
historical credits can give the writing style an academic character. In an attempt to avoid
this pitfall, yet still give the interested reader sufficient historical background, I have
employed footnotes in the text, which lead to further information in the Bibliographic Notes
starting on page 245. More detailed discussions of ideas, plots and concepts have been left
to works written for the students and researchers of magic history. I feel that this plan
represents-for a book of this type-a fair way to recognize and give thanks to those who
have earned it. Omissions are my responsibility and your understanding is appreciated.
I wrote this book for all those readers whose tastes are as simple as my own: I want only
the best of everything! I have tried to give you my best in this book Now you must decide
whether I have succeeded.
Roberto Giobbi
Reinach, 1995
The Art if Peiformi1i'J
Magic with cards
A Personal Note
I wrote this course for fun. I truly e:rUoy analyzing, understanding and describing complex
physical, psychological and dramatic sequences ·a s precisely as possible.
Yes, writing this course really was great fun. I hope some of the fun rubs off. I hope that
you sense this inner joy and grow to share it as you read each page, study each technique
and trick, and finally, at the culmination of this process, give a live performance for an
audience. This inner joy springs from the knowledge that one has made something of
oneself, that one has exhibited and expressed oneself fully in an artistic sense. Perhaps
someday this will change your life, as it did mine when I resolved to make the practice of
magic my profession. Perhaps it will also be a constant source of joy, refreshing and relaxing
your spirit in your moments of leisure with a creative and challenging activity. In any case,
I wish you boundless pleasure.
2 CARD COLLEGE
is equally important. Line drawings emphasize the important things and omit eve:rything
else. This gives the reader a better insight into the essentials of a technique or sequence.
Furthermore, line drawings may be reproduced with greater clarity.
The trick descriptions contain significantly fewer illustrations, as they generally use tech-
niques that have already been depicted in detail. Don't let the low quantity of illustrations
mislead you regarding the high quality of the tricks.
The illustrations are almost always from the performer's viewpoint. This allows you to
compare the illustrated situation with the positions of your own hands and cards. In some
cases, the view will be from another angle to clarify a point. These exceptions are noted
in the text. They generally show the audience's viewpoint or a view where the cards are
transparent. The latter are still from the performer's view, but the transparency allows for
a better understanding than a view from below.
On the Terminology
In other books on card magic you will find some terminology at variance with that used
here. This is because writers of magic have never adopted a unified technical vocabulary.
As many conjuring articles are contributed by enthusiasts, almost invariably without com-
pensation, the authors are most often untrained.as writers, and each employs a different
means of expressing technical matters. I have made an attempt in this course to formu-
late a logical and consistent terminology. Much of that terminology is sununarized on the
maps of the hands and deck that appear on the front and back end-sheets of this book. I
think the logic of these terms is reasonably obvious, with one possible exception: my defi-
nition of the outsides and the insides of the fingers. The outsides of the fingers are those
sides on the same side of the hand as the thumb. The insides of the fingers are those sides
on the same side of the hand as the little finger.
4 CARD COLLEGE
ABrief History if Playi~ Cards
Playing cards are the instrument of the card cof\iurer. The more you lmow about your
instrument, the more sensitively you will handle it and the more expressively you will
master it, making it an extension of your personality. It is therefore imperative that you
learn some facts (and speculations) regarding the origins and symbolism of playing cards.
In addition, the material presented here can form the basis for both intelligent conversa-
tions with your spectators and presentations for card effects.
There are as many theories about the origins of playing cards and their introduction into
Europe as there are about the origins of the Easter bunny. A plausible thesis maintains
that the Arabs brought cards from the Middle East in the fourteenth century and introduced
them to Europe via Spain and Italy. Egypt is often cited as the country of their origin, and
Egyptian playing cards do bear a remarkable resemblance to the earliest Spanish and Italian
decks. The oft-heard claim that gypsies were responsible for their introduction is not sup-
ported by the fact that cards were present in Europe before the gypsies were.
The first lmown mention of playing cards, according to Luis Monreal, in his article
"Iconographia de la Baraja Espanola" (Journal of the International Playing Card Soci-
ety, February 1989) occurred in Spain in 1371. The absence of playing cards is telling in
the works of both Petrarch and Boccaccio. In Italy, a Florentine city ordinance forbidding
a newly introduced card game called naibbe is dated May 23, 1376. Cards are not men-
tioned in England until the fifteenth century, but seem to have first appeared in central
and southern Europe at the end of the fourteenth century, lending support to the theory
that they were imported, though their exact geographical origins remain obscure.
The expertise of artisans and the ingenuity of the human spirit are wedded in the mysteri-
ous deck of cards, making it not merely a mathematical labyrinth and chaos of symbols,
but-in the skillful hands of a card magician-a proper stage on which fifty-two actors
can be brought to life to represent the entire human condition. There are, in fact, incred-
ible parallels between the world of man and the microcosm of the deck The duality
principle of life-day and night, good and evil, etc.-is symbolized by the colors red and
black The court and spot cards represent the hierarchy underlying the organization of
primitive and civilized societies. The four suits symbolize the four seasons, the thirteen
cards in each suit represent the thirteen lunar cycles each year, the twelve court cards cor-
respond to the twelve months of the Gregorian calendar (1582), the fifty-two cards are the
6 CARD COLLEGE
Horatio Galasso published Giochi di carte beUissimi di regola, e di memoria in Venice.
Rather than describe tricks dependent on sleight-of-hand, as Scot had, Galasso described
tricks having as their basis intelligent applications of mathematical principles, including
a stacked deck, possibly the first description of this idea Scot and Galasso thus laid the
foundations on which card cof\iuring would build during the following two centuries.
Any brief sketch of the history of card cof\iuring would have to make mention of the fol-
lowing individuals, who profoundly influenced all who followed them: Pinetti of Italy,
Robert-Houdin of France, Johann Nepomuk Hofzinser of Austria, Charles Bertram of
England and S. W. Erdnase of the United States. The latter wrote the first detailed and
precise descriptions of card-cheating methods. His book, The Expert at the Card Table
( 1902) was at first only understood by a few, chief among them Dai Vernon, who must be
cited as the last truly outstanding influence on the art. In the first half of the twentieth
century many important contributions were made by performers and authors such as Carlo
Rossetti, Padre Wenceslao Ciur6, Theodore Annemann, Frederick Braue, Jean Hugard,
John N. Hilliard, Professor Hoffmann (Angelo Lewis), August Roterberg, Ottokar Fischer,
Conradi-Horster (Conrad A Horster), Camille Gaultier and Jules Dhotel. More recently
the art and literature of card cof\juring have been enriched by Arturo de Ascanio, Derek
Dingle, Alex Elmsley, Lewis Ganson, Frank Garcia, Phil Goldstein, Bro. John Hamman,
Richard Kaufman, Harry Lorayne, Edward Marlo, Stephen Minch, Juan Tamariz and
Richard Vollmer, to name just a few.
Without doubt, playing cards are the most fascinating object employed in the art of magic.
No less a performer than Hofzinser designated card col'\iuring the "poetry" of magic. Cards
have produced a palette of sciences, from their symbolism of humanity to their numeri-
cal properties and all the mathematical possibilities embodied therein. They serve at play
and strategy, for fortunetelling and occult practices, and as a vehicle for social communi-
cation. They permit an expression of skill and intelligence. Everything is brought together
in card cof\juring, for there is no effect, no emotion, that can't be expressed with a deck of
cards. They are a microcosm reflecting the "human condition", to use Rousseau's expres-
sion, mirroring the fate and reality of mankind. Card tricks unite the principles of nature
(natural material), of art (creativity, interpretations, self expression, talent), of science
(psychological and mathematical principles) and of spirituality (symbolism, personal
growth and therapy).
Thousands of human beings have influenced the history of card magic in small and large
ways, and hundreds of thousands of magazines and books testify persuasively to this. At
the beginning of the twenty-first century, at least one book on card magic is published each
week Perhaps this book you now hold will help you to become a part of that history.
I would like to thank my learned friends William Kalush, Richard Vollmer and Vanni Bossi
for contributing information that has substantially influenced this essay.
The Hands
With the cards as your instrument, your hands are the tools that actually determine the
success of the card trick being perlormed. In principle, your hands are your most impor-
tant tool. And any work of art is generally only as good as the tools employed to create it.
In any case, you can only expect the best results if you care for them properly.
The coordination between your thoughts and the movement of your hands is extremely
important. In Chapter 27 ("Theocy") in Volume 2, I shall discuss the topic in more detail.
Here I am only concerned with the condition and care of the hands and their relation to
the execution of techniques.
Hand and Skin Types
The importance of your hand's skin type is relative. By this I mean that people with all types
of skin can, of course, perlorm magic. But there are certain techniques that are easier for
those having somewhat drier skin-for example, thumb and little-finger counts, double
lifts and false shuffles-whereas all false deals and some palming techniques are facilitated
by a somewhat moister skin. The specific anatomy of your hands will make some
techniques easier for you, while others will test your patience. Obviously, huge hands make
palming (Chapter 18, Volume 2) easier to execute and conceal than small hands, and long
fingers better cover the pass (Chapter 19, Volume 2) in front. But such an attribute can
also have its disadvantages, as even an unsophisticated spectator, upon seeing huge hands,
might think, 'Those hands could hide anything."
Once you know your hand and skin type, you will take note of this relationship and patiently
spend more time on some techniques than on others; and you will naturally be happy when
8 CARD COLLEGE
some teclmiques prove easy for you. From my own experience and the result of polling
many experts throughout the world, I can assure you that you can learn every technique,
independent of the kind of hand and skin you have, providing you motivate yourself to
devote sufficient practice to it, which-as stated earlier-can vary from hand to hand. In
the worst case you can console yourself with the knowledge that every teclmique may be
replaced by another technique, or a principle, or a subtlety or ruse.
In this connection let me point out that the anatomy of your hand will change very little
during your lifetime-unless you are reading this book as a child. However, several factors
(age, environment, climate and stress) are responsible for a change in skin types. From
birth to my mid-twenties, I had very moist hands. Around age twenty-six, my skin got drier.
'This can also be measured in terms of one's use of decks: I used to need three to four decks
each week Now I need only that many a month.
Hand Care
'This is not a short course on manicure, but the topic must be addressed. Your hands will
be on constant display during performance. Can you risk having them not look their best?
Here I shall outline a few of the basic principles of hand care. Pay attention to your hands,
for they represent your greatest investment in the art of performing magic with cards. Well
groomed hands will give you the same feeling of well being as wearing a freshly laundered
and pressed shirt.
Your hands will quickly become soiled as you practice. The dust all around us will stick to
the sweat and oils of your hand to make them dirty. Soiled hands in turn shorten the life-
time of your deck, even with plastic cards, which otherwise last a long time. Before
practicing and, of course, before every performance, wash your hands with a mild soap. I
personally use an alkali-free pH 7 soap. Such neutral soap removes dirt without harming
the natural oils of the hands. 'This keeps the hands from drying out after washing, and leaves
you with practically the same feeling in your fingers after washing as before, so that your
practice session can continue unimpeded. Try different soaps and, when you find the one
that is best for you, stick with it. If you have very moist hands, you can find creams in drug-
stores that will keep your hands dry. This can be a great help during practice and
performance. I used them for years.
If you have normal or somewhat dry hands, I recommend that you apply a cream after
each washing. Use a formula that is quickly absorbed and non-greasy-your cards will
thank you. You can skip the cream after the practice-session washings.
The appropriate length of your fingernails is partly a matter of taste, but short nails facili-
tate the execution of most techniques and generally look better. Nail biting is absolutely
taboo-break the habit, even if it means visiting a hypnotherapist. Pay just as much
attention to your cuticles. My advice: Go at least once to a professional manicurist, paying
close attention to the procedure and getting professional advice on the proper care of your
nails. Then buy a good pair of nail shears, a cuticle remover and a good cream, compatible
with your skin type.
10 CARD COLLEGE
• Bridge-size trick decks are widely available to the general public. But only the most
sophisticated laymen know that poker-size trick cards exist. Even some magicians fail
to suspect trick cards when poker-size cards are used.
• In my experience, poker-size cards are generally better quality and have more attrac-
tive back designs. Would you want to work with less than the best and most appealing?
• Poker- and bridge-size cards are equally easy to palm, independent of your hand size.
The determining factor here is technique.
• The use of poker cards has become a status factor in the profession: experts use poker-
size cards. This is, admittedly, a debatable point.
My advice is to use poker-size cards from the very beginning, for practical reasons. You
can easily switch to bridge-size cards at anytime, but to do the reverse would be quite
difficult.
The Finish
Among the many designations used to categorize the treatment of the outer layers of play-
ing cards, the most commonly seen are plastic coated, linen finish, resilient linen finish,
air-cushion finish and Nevada finish.
Buy one of each of these decks and experiment with them. But be prepared to change your
preference in the course of time. Criteria that seem important to you when you begin your
study may seem less so as you become more expert.
The advantage of plastic coated cards is that they last longer and generally stay flat. But
they also cling less to one another, which can make them difficult to fan evenly. Some
advanced techniques, though, like second, bottom and center dealing, as well as pull-
through shuffies, are made easier with reduced friction between cards.
Face and Back Designs
The best back designs for the card coi\iurer have a white border. Prominent examples are
Bicycle Rider Backs and Tally-ho Circle Backs. Borders are more pleasing resthetically.
They also relax the eye and facilitate the execution of many techniques in which a card is
reversed in the deck
For gambling routines, though, cards with an overall back design, particularly the Bee and
Steamboat brands, are recommended, as such cards are generally used in professional gam-
bling. This is because of the widely held belief that such cards are more difficult to mark
on the back-which is a total myth.
The Card Case
Use cards that come in a cardboard case. Aside from the fact that these cases are the most
common with better brands, the case itself has many magical uses. Some cards will also
be wrapped in foil or wax paper inside the case, an additional sign of quality.
Treating the Cards
Some magic books tell you that the cards must be specially treated. Generally this is in
reference to cards for the stage manipulator. Cards for close-up performances need not
be treated. Forget about fanning powder or zinc sterate-simply use a good quality new
deck Decks with rough edges, or ones that do not spread evenly must be broken in. But
stop before your perspiration penetrates the edges of the cards.
12 CARD CDLLEGE
CHAPTER 1
FUNDAMENTAL
TECHNIQlJES
'~man without a foundation is like a ship without a rudder and
compass, buffeted here and there by every wind. "
Samuel Smiles
This chapter should be studied first, as it defines and details essential card
techniques on which everything is built. The terms and handlings taught here
are used repeatedly in the chapters to follow. A thorough understanding and
mastery of this material is necessary to grasp and attain all that is to come.
14 CARD COLLEGE
Dealt~ Position
FUNDAMENIAL TECHNIQUES 15
This position will be referred to as the strad-
dle dealing position. In contrast to the other
positions, the little finger is at the inner end
of the deck This grip offers the firmest and
securest control of the deck and is required
for the successful execution of certain
techniques. This position should only be
taken inunediately prior to the execution of
those techniques.
Check Points
1. How finnly should you hold the deck? Yes, you've held cards in your hand all
Imagine the deck is a bird: Hold it your life, but where was your index fin-
fi.nnly enough to keep it from flying ger? It's like the fourth string of a violin:
away, but not so finnly as to crush it. Without it, there's no symphony. Never
2. To obtain a smooth bevel of the deck, forget the index finger!
slide the left thumb lightly over the left 4. Deviations from this dealing position
side of the cards, from bottom to top. will be required by certain techniques
3. Don't make the mistake of assuming and will be detailed in the relevant
that you already know this technique. descriptions.
16 CARD COLLEGE
The End Gri)J
This position is often used when the right
hand cuts the deck or lifts it from the table
or the left hand. The illustration shows the
open end grip. The deck is held near its right
corners between the thumb and middle
finger. The ring and little fingers rest neatly
alongside the middle finger, and the outer
phalanx of the index finger is bent in, so that
the fingertip rests on top of the deck
Check Points
1. A common mistake is to hold the right the deck is beveled slightly to the right,
fingers almost perpendicular to the the outer right comers of the top few
deck Look closely at the illustrations. cards slide naturally between the ring
The thumb and the back of the deck and little fingers.
make an angle of about thirty degrees,
2. The open end grip is so named because
as do the other fingers at the front. This
the majority of the deck is visible. In
is true of both end grips. In the illustra-
contrast, the covered end grip has the
tion of the covered end grip one can
advantage of masking the thickness of
see how this allows the outer right cor-
ner of the deck to contact both the the deck from the front. It is often used
middle phalanx of the little finger and when the right hand holds more or
the inner phalanx of the ring finger. If fewer cards than claimed.
fuNDAMENlAL TECHNIQUES 17
Elevated Deali"f!5 Position
Tills position should always be used when the deck needs to be displayed with particular
clarity. The emphasis achieved draws greater attention to the deck and should, therefore,
only be used when such attention is desired. The fact that the deck is held at the finger-
tips, away from the palm, makes it appear less fumly held and controlled. As a result, this
position gives an impression of extreme fairness.
18 CARD COLLEGE
squart~ the Deck
You will encounter this term often in this course, so we will define the handling precisely.
Later this squaring teclmique will be employed with a break, a step or an ir\iogged card to
achieve advanced teclmiques.
\~
When you square the deck in the hands,
always do it this way, as the handling at the
fingertips visually implies extreme fairness.
FUNDAMENW TECHNIQUES 19
The Ail-around square-IgJ
This technique is used to square the deck in the hands, but it is also a prerequisite for
numerous advanced techniques.
(
!---' Hold the deck face down in left-hand deal-
ing position. The right hand takes it in end
grip and lifts it to elevated dealing position.
The left index finger is bent under the deck,
so that its nail contacts the bottom.
20 CARD COLLEGE
Givif!5 the Deck aCoff!Plete cut
Hold the deck in left-hand dealing position; then bring the right hand over the deck, grasp
the upper half in end grip, lift it and place it on the table. Return the right hand to the deck,
grasp the remainder in end grip and place it on top of the cards on the table. Inunediately
lift the entire deck in end grip and return it to left-hand dealing position, where you then
square it.
In placing the halves on the table, let them drop from an inch or so above it, rather than
simply setting them down. This gives the procedure a more elegant and innocent
appearance.
FUNDAME.N'li\L TECHNIQUES 21
The right index, middle and ring fingers
work under the resulting spread to keep the
cards flowing from left to right. The index
finger alternates with the middle and ring
fingers (these two acting as a unit) to pull
cards to the right. This illustration from
below shows the index finger just after it has
pulled a few cards to the right, while the
middle and ring fingers are being extended.
Check Points
1. The "flow" of the spread between the somewhat magical impression on the
hands results from the alternating viewer.
push of the left thumb and pull of the 3. The position of the little fingers is criti-
right index, middle and ring fingers. cal. They not only give the spread
2. Viewed from above, the motion of the stability between the hands, but permit
cards resembles that of a conveyor the cards to be extended in a wider and
belt. This makes an resthetic and even more attractive spread.
22 CARD COLLEGE
ougwz~ cards as They are syread
Between the Hands
The purpose of this technique is to pick cards out of the deck, then place them elsewhere
· the deck or on the table. Let's assume we want to remove the four Aces, which are
distributed evenly in the deck
fUNDAMEN'li\L TECHNIQUES 23
Resume the spreading of the cards until you
come to the next Ace. This is outjogged in
the spread in the same manner as the first
Ace. The procedure is repeated two more
times, until all four Aces project from the
deck
How you proceed from this point depends
on the requirements of the effect being
performed. The various handlings will be
detailed in the context of the trick descrip-
tions.
nribbli1!5 cards
This technique has numerous uses. Among them are: as a flourish, as a method for having
a card chosen, as a demonstration of the performer's lack of control over the cards, and
as a way to prepare for a palm.
Dealing cards would seem to be so elementary a topic, the reader may wonder why it is
necessary to discuss it at all. But once again there is a right way and a wrong way to do
things. Initially, either would serve the purpose equally well, but for advanced techniques
precise positions of the fingers are critical. We will describe two methods of dealing. Most
of the other variations follow from these techniques.
24 CARD COLLEGE
Deali~ cards Face Down-
The Draw Method
As dealing techniques generally originated at the ga.rnillg tables, it is not surprising that their
nomenclature comes from that source. The draw metlwd refers to the manner in which
cards are dealt in draw poker.
Hold the deck face down in left-hand dealing
position. The heel of the palm rests lightly
on the table or "floats" very slightly above it.
As the right hand approaches the deck, the
left thumb pushes the top card slightly to the
right. The right middle finger enters the gap
between the left index and middle fingers
and contacts the index of the top card with
the outside of the outer phalanx rather than
with the fingertip. Grip the outer right comer
of the top card between the right thumb (on
the back) and middle finger (on the index).
Check Points
1. As the right hand approaches the left the horizon is between twenty degrees
to take a c ard, the left hand rolls (in rest position) and forty-five degrees
slightly inward to the right on the heel (in dealing position).
of the palm, then rolls back This is 3. When the card is placed on the table, it
repeated throughout the dealing. This should not be done with a noisy click
small, natural, rocking motion makes or snap, but with a gentle firmness.
the deal more pleasing to the eye while The only sound one should hear during
it aids the right hand in grasping the the deal is the quiet sound produced by
top card. the cards as they slide over the top of
2. The angle of the deck with respect to the deck
fUNDAMENlf\L TECHNIQ!lES 25
Deali1I5 cards Face uy-
rhe stud Method
Stud method refers to the marmer in which cards are dealt in the game of stud poker, the
poker variant in which some cards are dealt face up.
26 CARD COLLEGE
The Swi1!5 cut
' old the deck in left-hand dealing position.
en, with the right hand, grasp it in open
d grip. Extend the outer phalanx of the
right index finger to contact the front end of
e deck. At the same time, move the left
· dex finger slightly away from the deck to
make room for the right fingers. With the
right index finger, lift approximately half of
rhe deck at the front end, raising it simulta-
eously forward and to the left. Care should
be taken that the outer right corner does not
ecome caught on the right middle finger.
CheckPoint
By taking the deck in open end grip, the right corner of the packet can get caught
right middle finger shouldn't interfere on this finger. To prevent this, concen-
with the leftward swing of the upper trate on lifting the cards simultaneously
half of the deck. Nevertheless, in lifting forward and to the left.
the upper half at the outset, the outer
fuNDAMENTAL TECHNIQ_UES 27
The Break
A break serves to hold a gap between two or more cards or packets, using one or more
fingers or a portion of the hand. The breaks are classified according to their function and
utility, and are generally held with very specific parts of the hand.
28 CARD COLLEGE
Check Points
1. Note in the illustrations that approxi- 4. When a break is held, it should not be
mately half the outer phalanx of the visible at the front of the deck Unfor-
left little finger extends past the inner tunately, this is often the case with
right corner of the lower packet. This brand new decks, especially with plas-
ensures that the break is hidden, par- tic coated cards. The slickness of the
ticularly when the index, middle and cards causes the packets to separate.
ring fingers lie together along the side To prevent this, hold the deck in a
ofthepack secure but relaxed grip, with the
2. How large should the break be? For the thumb on the deck, as mentioned
sake of clarity, the break has been above, keeping everything in check
exaggerated in the illustrations. Once with a light pressure. Remember the
you have gained confidence with this metaphor of the bird: Hold it tightly
technique, the break will be about an enough to keep it from flying away, but
eighth of an inch wide. Of course, it gently enough not to crush it.
can be somewhat larger or smaller, 5. Practice maintaining a break as fol-
depending on how fleshy the pad of lows: Hold the deck in left-hand
your little finger is. dealing position. Lift off about half the
3. Practice holding a break under the top deck with the right hand, this time
card of the deck, then under the completely separating both packets.
bottom few cards. This situation will Replace the right-hand portion, catch-
present itself as often as the need to ing a break with the pad of the left little
hold a break in the center of the deck. finger. Square the deck while holding
In all cases, it is critical that the top of the break, so that no irregularity of the
the deck remain perfectly flat. Often cards is visible. Lift off the cards above
when a break is held under the top the break and repeat the procedure.
card, its inner right corner is bowed This not only teaches you how to catch
upward. Never be guilty of this, as the a break, but how to cut to it.
resulting "ski~ump" is a tip-off.
fuNDAN.EN'lf\L TECHNIQUES 29
Fonnif!_IJ a Little-ftf!.!Jer Brrak under the
Toy card- one-handed Method
Hold the deck in left-hand dealing position.
With the muscles of the hand-in particu-
lar the heel of the thumb-bevel the deck
to the right. In the same motion use the
thumb to push the top card to the right a
distance equal to the width of its white bor-
der (about three-sixteenths of an inch). You
will feel the right edge of the card as it slides
over the pads of the middle and ring fingers.
Check Points
1. The beveling action and subsequent 2. Take care that the break is not visible
squaring occur smoothly and without at the front of the deck, and also that
interruption, forming a harmonious the top card remains perfectly flat. As
whole that must feel natural. The noted earlier, a break under the top
motion is barely visible. It can be com- card can often be spotted in the hands
pletely masked by a casual gesture of of even advanced cardmen from a yard
both hands or through a covering or away if the inner right corner is bowed
misdirecting activity of the right hand. up like a ski-jump.
30 CARD COLLEGE
Formi~ a Little-f!~er Break undtr
Multiyk cards
Let's assume that you need to hold a break
above the bottom three cards of the deck
(see, for example, the effect "The Spectator
Cuts the Aces" on page 51). Spread the deck
between the hands until the bottom few
cards can be counted by sight. Place the
pads of the right ring and little fingers on the
face of the fourth card from the bottom, at
its exposed right side, and pull this card
inward for a quarter to half an inch, so that
it projects from the back of the spread. (As
the converse of an outjog, a card in this
position is said to be injogged.)
Push the cards together in the left hand. The
deck is again in dealing position, but with
the fourth card from the bottom projecting
slightly from the back For the sake of clar-
ity, this situation has been exaggerated in the
illustration. If the card doesn't project
clearly from the back of the deck, use the
wrist to give the deck a light shake against
the left index finger.
fuNDAMEN'Ii\L TECHNIQUES 31
With a light upward pressure, push this card
flush as the deck is raised to the left finger-
tips. This creates a break that is taken by the
left little finger as soon as the deck reaches
the fingertips. In this position, the cards can
be openly squared and the front of the deck
gently riffled with the tip of the right middle
finger. Lower the deck back into standard
dealing position. The small action necessary
to form the break is masked by the larger
squaring action.
CheckPoint
Carefully study the action of squaring the NOTE: You can use this handling to take
deck at the fingertips while holding a a break at any place in the deck, or when
break. This action can be introduced any- you spread the cards face up and desire
time a little-finger break is being held. a break above or below a selection.
Check Points
1. 1/.~t pressure .;trom the curled right covered end grip and turn slightly to
index finger on top of the deck mini- the left, to prevent the gap at the inner
mizes the space between the packets. left side of the deck from being seen.
2. Note that the deck can be held in either 3. Additional cover can be achieved by
op~n or covered end grip. If yqu are beveling the deck to the right, as in the
surrounded by spectators, use the illustration.
32 CARD COLLEGE
The stey
In many cases the step plays the same role as a break or an ir\iogged card, which is to say
it marks a specific location in the deck. The step can be formed directly from a break and
the deck placed on the table.
Hold the deck in left-hand dealing position,
with a little-finger break caught near the cen-
ter. Take the deck into right-hand end grip.
This hand will mask the formation of the
step. Bend in the outer phalanges of the left
middle, ring and little fingers, forcing the
inner right comer of the upper packet to the
left, where it falls on the lower packet. This
collapses the break, after which the left fin-
gers take up their accustomed positions at
the right side of the deck. This configuration
of the deck is termed a step.
The deck is controlled by the right thumb
and middle finger. The heads of the arrows
show the points at which the edges of the
deck are aligned. This is where the thumb
and middle fingers of both hands exert con-
trol over the deck. These two lines are the
only ones along which pressure from the fin-
gers will not destroy the step. The deck can
be set down on a table, spread, even cut into
multiple packets, without disturbing the
step, as long as the deck is handled only at
the alignment points. Starting with a step, a
break can be reestablished at any time.
Check Points
1. The step should not run parallel to the the formation of the step at the front.
edges of the deck, but at a slight angle 3. It is best to cover the formation of the
as shown in the illustration. The angle step with a casual squaring motion, ini-
makes it possible to handle the deck by tiated by the left hand immediately
the ends and sides, as discussed above. after the step is formed. Obvio1.1Sly, the
2. The step can also be formed by the left squaring is only simulated, the fingers
hand alone, as you stand with this hand gently sliding along the edg~s of the
hanging at your side, or as the right upper packet. The deck is lifted to the
hand carries out a misdirecting action. left fingertips as previously described,
But in most cases the right hand holds squared, then replaced in standard
the deck in covered end grip to conceal dealing position.
fuNDAMENTAL TECHNIQUES 33
This is a flourish, and like all flourishes, it should be used sparingly and deliberately. I
emphasize this here because the riffle can become a neiVous tick, subconsciously repeated
without realizing that it annoys the spectators. In such circumstances it communicates an
impression of clumsiness. Yet, if introduced judiciously, it can underscore dramatic
moments, providing an artistic highlight.
TIP: If a card is on the table and you riffle the deck about four inches behind the end of the
card, the resulting gust of air will move the card. This action can be used to dramatize a
moment when a magical event is perceived to happen. You can also employ the riffle prior
to the revelation of a tranforrnation or use it to indicate that a card has invisibly left the
deck and magically entered the card case on the table. Or you can hold the deck up to your
ear and riffle it, claiming that the cards are telling you something. In any case, this adds a
dynamic and audible element to your presentation, making it more interesting.
Riffling can also seiVe to convince spectators that the deck is squared. This is most useful
when, for example, you are holding a break, perhaps with the little ful.ger. Lift the deck to
the fingertips and gently riffle the cards once.
34 CARD COLLEGE
The Ribbon syread
This teclmique is a flourish too, but from the outset it will be used often to spread the cards
on the table, which is why it is included here as a basic teclmique. You will be astonished
at the incredibly strong impact this gesture with the cards has on laymen. Somehow the
teclmique appears much more difficult than it is. Knowing it has such an impact, use it
sparingly, acknowledging that you are accomplishing something extraordinary.
fuNDAMENTAL TECHNIQUES 35
Spread the deck in a ribbon from upper right
to lower left. This creates an asynunetrical
picture, which is resthetically pleasing.
Check Points
l. T.Qistechhiqtie is best performed on a slick surface. In such cases it may also
covered surface. On a smooth surface be necessary to apply heavier pressure
roaY
it be necessary for the left thumb with the right l)and.
and nuddle fi.riger to hold the lowest 2. The ribbon spread first described
caids .irl pbsition as the right hand should form a g~htle curve . .'I'his
Spl'~ads the deck If this is not done, more attractive than a straight line
the bottom card will not cling to the from left to right
36 CARD COLLEGE
CHAPTER 2
SHUFFLE
TECHNIQUES, PART 1
''Whatever you can do, or dream you can, begin it.
Boldness has genius, power and magic in it."
Overhand shuffling is a basic tool of card cof\iwing. Even if you have been
performing the overhand shuflle since you first learned to play cards, you will
soon recognize that the method described here employs a technique that feels
somewhat different. The grip will probably seem a bit unconventional, and
you may wonder why this retraining is necessary, since your present over-
hand shuflle technique is more than adequate to mix the cards. But if you take
into consideration advanced overhand shuflle techniques, you will realize that
the basic method taught here is a prerequisite for successful execution of all
subsequent overhand shuflle techniques. I hope this brief explanation will
motivate you to abandon your old shuffling habits.
The shuffling off is a combination ofletting cards drop from the right hand and pulling them
off with the left thumb. The drop from the right hand is accomplished by relaxing pres-
sure between the right thumb and middle finger.
A single overhand shuffle of the deck, as just described, will be designated a shu.file in the
following descriptions.
40 CARD COLLEGE
Clieck Points
1. More likely than not, most readers will some remark and gesture with your
already have mastered a version of the right hand and its cards; then reswne
overhand shuffle before reading the the shuffle. Other strategies can be
above description. This can lead to an derived from the particular circwn-
"all thumbs" feeling; for in analyzing an stances of the trick being performed.
action that is already familiar, often 3. The shuffle actions should not be jerky,
you will find that nothing works any- but harmonious, symmetrical and
more! Probably you can retain most of "round". By "round" I mean that the
your present handling. But pay strict right hand does not move up and down
attention to the positions ofthe left in a straight line, but describes a gentle
index and little fingers. They will pro- arc.
vide the actual control over the cards. 4. In principle, the right hand is the only
These fingers play a decisive role when hand that moves in the overhand
cards project from the outer and inner shuffle-the left hand appears motion-
ends of the deck less to the observer. In fact, the left ·
2. Pay attention to the rhythm of the .hand acts as a "shock absorber", pre-
shuffle. As a general rule, try to make venting brusque motions.
no more than six or seven shuffle 5. Very important: Be generous in your
actions in the course of a shpifle. That movements. Hold both elbows away
is neither too long nor too short, and from your body and keep the deck at
is accepted by the audience as natural. least eight inches from your ch
There are, however, situations in not use your chest as a "safety
which it is necessary to exceed this to catch cards that slip inward
limit. In such cases, the longer shuffle the shuffle. Control the cards
may be justified with some comment with your hands. Always ex
pertinent to the trick; for example: this posture as you practice,
"When I ask some people to shuffle the approaching a more normal posi
cards, tltey are very thorough about it All overhand shuffle techniqu
and shuffle like this. Of course, this take place at roughly the height of
isn't really necessary. You can shuffle solar plexus, whether you're stan
like this just as weU." Another ap- or seated.
proach to disguising an extended 6. Rather than looking at the car
shuffle is to interrupt it as you make shuffle, converse with your a
Check Points
1. Don't use an old deck for this tech- then continue with a normal shuffle,
nique. Worn or dirty cards often stick repeating the single-card fllll with a
together, making it difficult to run few cards in the center of the deck;
single cards with precision. If the cards continue with a normal shuffle, then
do bind, try holding the deck at a finally fllll the last few .cards singly.
steeper angle. This will often over- This is a good practice sequence,
come the difficulty. which will allow the technique to be
Tcy fllllning single cards at the start, mastered quickly.
42 CARD COLLEGE
control if the roy and Bottom cards
CONTROL OF THE TOP CARD
44 CARD COLLEGE
Shuffle off the rest of the deck The ir\jogged
card projects from the back of the un-
squared deck, and the left little finger acts
as an antenna, sensing and controlling the
injogged card. The following shuffle will
bring the Ace packet back to the top of the
deck:
46 CARD COLLEGE
controllifl5 the Bottom stvck
The purpose of this teclmique is to retain the order and position of the cards on the bottom
of the deck Once again, two shuffles are required, but the formation of the break at the
ir\jogged card differs somewhat.
r
This method is well suited for controlling
even a large bottom stock Once it is mas-
tered, the shuffle can be used-as can the
top stock control-to retain the order of
more than half the deck
When it is necessary to retain only a few of the bottom cards, for example the four Aces
or a royal flush, the following technique may be used. It has the advantage of using only a
single shuffle and is similar to the technique for controlling the bottom card.
Begin the overhand shuffle with the pad of
the left ring finger extending beyond the
lower right edge of the deck This allows the
ring finger to hold back a small packet from
the bottom of the deck in the first shuffle
action. The right hand in effect strips out the
center portion of the deck in this initial
action. Depending on the length of your
fingers, the little finger may be repositioned
as shown in the illustration. Finish by shuf-
fling off the rest of the cards. Thus, the
bottom cards of the deck have been retained
there.
48 CARD COLLEGE
TRICKS WITH THE OVERHAND SHUFFLE
Thought stealer
This is my interpretation of a fine trick from Hugard and Braue's classic treatise, The Royal
Road to Card Magic. 1 It is based on the work of American magician Arthur Finley, who
.,·as the first to experiment with the spelling of mentally selected cards.
Effect
The spectator thinks of a card in the deck The deck is then shuffled and given back to the
spectator. Without anyone revealing the identity of the card, the spectator mentally spells
the name of the card, placing one card on the table for each letter spelled. The last card
dealt is the selected one!
Preparation
For this minor miracle you must remove six cards.from the deck and place them face down
on top in the following order: 'l\vo of Clubs (ten), Six of Spades (eleven), Five of Hearts
(twelve), Seven of Spades (thirteen), Four of Diamonds (fourteen), Queen of Diamonds
(fifteen). The 'l\vo of Clubs is now the top card of the deck The numbers in parentheses
correspond to the number of letters in the name of the card. As you'll have noticed, each
card has one more letter than the card before it. This fact, combined with a few false
shuffles, is the secret of the trick (Later I will reveal how this wonderful effect may be
performed at any time with a borrowed and unarranged deck)
The initial shuffle, the subsequent cutting of the deck and the dealing of cards from the
center give the strong impression that the spectator really could have thought of any card.
In fact, however, the choice is restricted to the six cards you already know and whose pre-
arrangement automatically assures your success.
''I'U tum away, so tlwt I can get no hint from the direction of your gaze ahout which
card you 'U think of" Thrning your head away physically communicates the fact that you
do not wish to influence the spectator's choice. Some readers may think that this state-
ment exposes the principle of watching the gaze to your audience, but you are, in fact,
simply eliminating a method that will normally occur to any intelligent person.
Once the spectator has mentally chosen a card, turn back, gather the cards and place them
face down on top of the deck In doing so, leave the order of the cards unchanged.
You now once more employ the Top Stock Control-fr\iog Shuffle: Begin an overhand
shuffle by pulling off the top half in a block; then run nine cards on top of this, ir\jog the
next card and shuffle off the rest of the deck Form a break under the ir\jogged card and
shuffle off to it, throwing the rest of the deck on top. This places nine cards above the pre-
arranged stock on top of the deck-the Two of Clubs being tenth from the top, and each
of the next five cards corresponding in position to the number of letters in its name.
During the shuffle you explain, "I wiU now try to divine the card in your thoughts. "Look
the spectator in the eyes and ask him or her (this is more entertaining with a spectator of
the opposite sex) to concentrate on the mentally selected card. You then claim, "Of course,
I know the card in your mind, and to prove it to you I wiU place the card you are merely
thinking ofat its ideal position in the deck." By now the shuffling is over. Snap your right
fingers over the deck and exclaim with a finely feigned concentration, "It is done. "
Gaze at the spectator. "Your card is rww at the only position in the deck corresponding
exactly to the number of letters in its name. " This statement will confuse most of the
spectators, so you immediately add, "I'U show you wlwt I mean. " Hand the deck to the
spectator, who is instructed to deal one card face down from the top of the deck for each
letter, spelling the name of the thought-of card. "For instance, if you thought of the Ace of
Diamonds, you would speU a-c-e o-f d-i-a-m-o-n-d-s, with one card for each letter. Don't
forget the of."
so CARD COLLEGE
The card corresponding to the final letter should be retained face down in the spectator's
hand. Be sure that the card is not revealed prematurely, and say to the spectator, ''Now,
or the first time, teU everyone the card you freely tlwught of" Your helper then turns the
card over, and it really is the thought-of card-the pre-arrangement having done the work
or you.
If at first you lack the necessary self-confidence to control the spectator's actions, you can
deal the cards and finally display the chosen card yourself. But it is much more effective if
the spectator does this. If you act with confidence and friendly authority, all but the most
difficult of persons will do as you instruct.
Final Notes
1. I promised you an impromptu method 2. Note how the execution of each sleight
that can be used with a borrowed is obscured by the script. Each shuffle
deck If you have a good memory, you should be performed casually and
need not pre-arrange the cards before without emphasis.
performance. As you deliver the intra-:
3. Since nine cards makes .for a rather
ductory monologue and divide your
long run, you may wish to consider run-
gaze between the cards and the spec-
ning only five cards, then doing another
tator, simply remove the relevant cards
shuffle to run the remaining four cards
(or others that spell with the same
needed. Or simply run five and inter-
number of letters) and place them face
up on the table. You must, however, act rupt the action of the shuffle momen-
as though it doesn't matter which tarily as you make some comment and
cards are used. (This, by the way, was gesture; then resume the shuffle, run-
the method originally suggested by ning the last four cards.
Hugard and Braue.)
Effect
The spectator cuts a shuffled deck into four roughly equal packets and the top card of each
packet turns out to be an Ace!
The deck is thoroughly shuffled at the outset and the spectator cuts the deck freely.
Preparation
Secretly position the four Aces on top of the deck Naturally, should subsequent tricks
require some other four of a kind, those four cards can be used in place of the Aces.
52 CARD COLLEGE
As these cards are drawn away, use the left
side of the packet to flip the top card of the
left hand's four sidewise and face up onto
the three below it. The card is seen to be an
Ace.
56 CARD COLLEGE
An oyttcal False cut from the HJmd
Hold the deck in left-hand dealing position.
Grasp it by the sides in the right hand as in
the illustration (shown from the front) and
raise it to elevated dealing position. Pay par-
ticular attention to the position of the right
index finger. Holding the cards at the finger-
tips, look at the deck
\
It is important that both packets remain squared and that no cards project from the back
of the left hand's packet. Pressure from the thumb and middle finger of each hand keep
the cards square. Drag the tip of the right index finger over the back of the top card of the
deck as the right hand pulls the lower portion back The fingertip first glides inward on
the back of the top card, then moves to the right, tracing an L-shape as the cut is made.
This refinement (suggested by the Canadian magician and puzzle master, Mel Stover) adds
significantly to the deceptiveness of the cut for those spectators watching the deck 3 The
right fingertip finally settles fumly on the back of the lower packet as it moves to the right
and forward.
Return the right hand smoothly to the left hand and take the remaining packet by its sides
near the inner end. Then carry this packet forward and to the right, depositing it squarely
onto the tabled packet. This simple but deceptive cut preserves the entire order of the deck
58 CARD COLLEGE
A stmy~ False cut
Although this false cut is again vecy simple, performed smoothly and with the requisite
self-confidence, it is quite deceptive.
The same procedure may be easily adapted to a triple cut with three packets. In this case,
you first cut off about two-thirds of the deck and deposit it to the left of the bottom third.
In a continuing action you carcy the top third again to the left and set it down. Return the
right hand to the packet on the right and place it into the left hand. Interrupt the cut
momentarily as you adjust something with the right hand. Then complete the cut by placing
the right-hand tabled packet onto that in your left hand, followed by the remaining tabled
packet.
To change the dynamic of the procedure, you can use your right hand to slide Packet A
over the edge of the table and into the waiting left hand. Inrmediately secure Packet A in
right-hand end grip, remove it from the left hand and place it onto Packet B. Slide these
combined packets back off the table and into the left hand, then set them onto Packet C
and slide the entire deck back and into the left hand.
lf you carry out the cutting and replacement of the cards smoothly and without hesitation,
the sequence is surprisingly convincing and the validity of the cut will never be questioned.
60 CARD COLLEGE
The sliy cut from Dealt~ Position
Thls teclmique doesn't maintain the order of the deck Instead, it enables you to cut the
deck from your hand to the table while keeping the top card on top.
Hold the deck face down in left-hand deal-
ing position, with the left thumb lying
naturally on top of the deck near the outer
left corner. Bring the right hand over the
deck to assume end-grip position. Begin the
cut by lifting the top half of the deck roughly
an eighth of an inch at the inner end with the
right thumb. Then, with the right hand, cut
these cards to the table in a continuous
motion. However, with the left thumb, exert X
light but steady pressure with the inside of
the outer phalanx on the top card, holding
it back
Thls card should fall imperceptibly flush with the lower half of the deck Bring the right
hand back to the left hand, take the rest of the deck in end grip and drop it onto the tabled
half. The deck has apparently been given one complete cut.
Check Points
1. When this sleight is executed, the most you perform the sli~ut action, draw-
common error seen is the position of ing their gaze up and away from the
the thumb, which should not lie across deck and your hands at the moment
the width of the cards, but at its natu- the sleight is executed. Then look
ral position at the outer left corner, as down at the packet remaining in your
shown in the illustration. left hand, refocusing attention on the
cards, as you complete the cut.
2. You need only press lightly against the
top card with the inside of the outer 5. The slip cut is also frequently used to
phalanx of the thumb. The card will be lose or reposition the top card of the
held back almost automatically. deck while otherwise retaining the
order of the cards. To do this, make the
3. The slip cut can be facilitated by turn-
slip-cut action as taught above, but
ing the left hand slightly clockwise at
instead of placing the right hand's
the wrist and tilting the outer end of
portion on the table, complete the cut
the deck up just enough to conceal the
by replacing it on top of the left hand's
top card from the audience's view at
cards. For this handling, you should tilt
the moment that card is slipped onto
the outer end of the deck down a bit,
the lower packet. Warning: Thls twist
fully exposing the back of the top card
must be imperceptible!
and obscuring the front end of the
4. Look up at the spectators just before deck as the cut is executed.
Hat Trick
Effect
A spectator shuffles the deck The magician then places three prediction cards face up on
the table and cuts the deck three times-cutting to the only three cards that match the
prediction cards in both color and value.
62 CARD COLLEGE
"Each card has a mate in the deck, a card
having the same color and value." Thrn the
three face-down cards face up one at a time,
placing them so that they overlap the corre-
sponding prediction card as shown in the
2
[t •
... 4-
., ~·
,~ ..•
illustration. ''I am happy to report that in
some magical and mysterious way, I have
m anaged to cut to the three mates. " This
~
y "*'z A
•Ag +
...?_
Effect
The deck is again shuffled by a spectator. The performer removes the twelve court cards
and displays their random order, after which he cuts them into the deck They are then
caused to rise magically to the top in matching pairs.
CARD COLLEGE
CHAPTER4
CARD CONTROLS
"Not everyone can be a star, but all can strive to do their best and
constantly improve."
Henk Vermeyden
Card controls are those techniques that secretly place one or more cards at
a specific location in the deck Most often a card is controlled to the top or
bottom of the deck, but we will also encounter situations in which a card must
be controlled to, say, fifth from the top. This chapter describes several direct
techniques for accomplishing this. Additional methods will be described in
forthcoming chapters of this course, in the context of the techniques under
discussion there (for instance, the Hindu shuffle [Chapter 11] and the pass
[Chapter 19, Volume 2]).
66 CARD COLLEGE
The overhand s~ control
You can do this control inunediately, using the overhand shuffle teclmiques you have
learned in Chapter 2. Since all the underlying steps have already been taught, the following
is a concise description without illustrations.
The spectator removes a card from the deck and remembers it. Begin to give the deck an
overhand shuffle, shuffling off about half the cards. Then extend the left hand with its half
of the deck toward the spectator, with the request that the chosen card be replaced on top
of the shuffled cards.
This done, continue the shuffle by running three cards onto the chosen card, ir\jog the next
card and shuffle off the rest of the deck Direct your gaze at the deck as you run the first
two cards, then look up at the audience. The spectators will see that the first few cards
are fairly shuffled, upon which they will relax their attention on the shuffle.
Form a break under the ir\jog, shuffle off to the break and throw the balance of the deck
on top. You have just brought the spectator's card to fourth from the top.
''I hope your card was rwt accidentally shuffled to the top or bottom of the deck," you
remark, as you display the top three cards, replace them, then turn the deck face up and
display the bottom cards. Turn the deck face down and begin another shuffle sequence,
running off the top four cards, ir\jogging the next and shuffling off the rest of the deck Form
a break under the ir\jog, shuffle off all the cards above the break and throw the final four
cards on top. The spectator's card is now on top of the deck
Check Points
1. Make a point of not looking at the deck from the top, say seventh. To accom- ·
as you shuffle, looking instead at the plish this, simply run six cards onto
spectators, with whom you are speak- the selection instead of three, then
ing. The shuffle should be regarded as injog the next. The second shuffle
a mere "formality'' and is given no spe- brings the card directly to seventh
cial emphasis. position from the top.
2. To maintain consistency in the manner 4. Once you have gained mastecy of the
the card is selected and then returned injog shuffle you may wish to try
to the deck, you may wish to have the injogging the first card you run. In
card chosen by starting an overhand doing this you can bring the selection
shuffle and asking a spectator to call directly to the top with the second
stop. When he does so, hand him the shuffle. This, however, requires a
top card of the left hand's packet small ir\jog, a vecy smooth handling of
3. It is sometimes necessacy to position the shuffle and good control of the
the selection at a specific number audience's attention.
CARD CONTROLS 67
The "W1woys!" control
This is surely the easiest control in the chapter. It is based on an idea of American dealer
and innovator U. F. Grant 6 It is quite bold, but when properly executed there will be no
suspicion that you are controlling a card.
The bottom card of the face-down deck is
secretly reversed there, face up. This is
accomplished between tricks, or through
one of the reversal techniques discussed in
Chapter 24 (Volume 2). Dribble the cards
into your left hand (page 24) and have a
spectator choose one by calling stop during
the dribble. As the spectators note the
chosen card, replace the rest of the deck
onto the dribbled portion and square the
cards. Next swing cut the upper half of the
deck into the left hand, have the spectator's
card placed on top of this packet and drop
the right hand's cards on top.
This places the reversed card over the selec-
tion. Overhand shuffle, keeping the center
cards together. (This is easy. Simply drop
about a quarter of the pack in a block as you
near the center section.) Then spread the
cards between your hands, saying, "Your
card is somewhere in the shuffled deck. "
Suddenly the reversed card comes into view.
''Whoops! I must have turned a card over
during the shuffle. I hope that isn't yours?"
Whatever the spectator's response, divide
the spread, so that the face-up card is on top
of the left hand's portion, and hold the card
in place with your left thumb.
68 CARD COLLEGE
your right hand palm up again, place its
under the left hand's cards and square
deck. The chosen card is now on top.
Gheck Points
1. This control requires more acting abil- an accidentally reversed card. This
ity than digital dexterity. Actually react attitude makes this technique con-
as though you had accidentally turned vincing.
over a card during .the shuftle, some- 3. You could also have turned the left
thingthat surely has happened to you hand palm down; pushing the reversed
on occasion. card onto the right packet with the left
2. The method just described embodies thumb. If doing so, it is a simple mat-
the handling you would actually use to ter to push the card under the reversed
turn over a card reversed in the pack card on the left packet over slightly,
Give no thought to controlling a card; obtaining a glimpse of the index of the
just concentrate on straightening out chosen card.
CARD CONTROLS 69
The right thumb and middle finger form
line of pressure. The right index finger lies
on top of the deck, and the tip of the left
thumb extends just beyond the outer left
comer. With a single thrust, push the card
into the deck with the middle finger. Al-
though it appears to go straight in, thE'
skewed pressure between the right thumb
and middle finger press the left edge of tht>
card against the left thumb, causing the card
to enter the deck at a slight angle.
70 CARD COLLEGE
,-ariation: You can have the card chosen
fro m a fan and replaced in it. (Instructions
on makiDg a fan are given in Chapter 12,
ge 179.) If the spectator inserts it too
orcefully, pull it out again, so that it projects
or about half its length from the fan. ''Did
yo u show the card to the others? Please
remember i t!" Briefly expose the faces of
e fan and card to the spectators, then close
e fan with the card still projecting from the
front and continue as described above.
Check Points
1. The spectator can insert the card into position. The bent left index finger
the deck Riffle the front of the deck supports the deck
from bottom to top to allow the spec- 5. Here is an additional subtlety: When the
tator to do so. Pressure from the left card has been inserted diagonally into
thumb on top of the deck prevents the the deck you are controlling the cards
card from going more than halfway in. solely through the pressure of the left
Proceed as before with the diagonal thumb and middle finger. As soon as
insertion. the card is fully inserted, riffle your
2. The outer left comer of the inserted right thumb lightly up the inner end of
card must not project from the left side the deck This does not disturb the
of the deck The left thumb, strategi- position of the angled card. You can
cally placed exactly as described, now transfer control of the deck to
prevents this. your right thumb and middle finger,
then use the left thumb to riffle lightly
3. Once the card projects halfway from
down the side of the deck near its
the squared deck, a single thrust com-
outer left corner. Only after this second
pletes the insertion.
riffle do you form the break, square the
4. The insertion and the formation of the deck at the fingertips and eventually
break take place in elevated dealing lower it into dealing position.
CARD CONTROLS 71
The Peek control
Hold the deck face down in left-hand dealing position. The outer right comer should be
slightly beveled, as is always the case when the deck is held in dealing position. Here, the
mild bevel aids in the forthcoming riffle of the cards, which should be smooth and neat
72 CARD COLLEGE
Raise the left hand and deck again to aver-
tical position and riffle the outer right comer
with the right middle finger until the spec-
tator tells you to stop. As you do this, tum
your head away to avoid seeing the cards.
The spectator notes the identity of the face
card of the upper packet. To make this
/-:;y
)
easier, you may need to open the deck a bit
more. The illustration shows this from the
spectator's viewpoint.
I
The cards are gripped by only the left thumb
and the base of the index finger, causing the
entire right side to open. You now press the
outer joint of the left little finger more firmly
against the right side of the deck Note how
this causes the pad of the left little finger to
be squeezed over the top right edge of the
lower packet.
Once the spectator acknowledges having
noted the card, release the upper packet
from the right middle finger. This almost
automatically clamps the pad of the left little
finger between the packets. If you want to
take a break above the chosen card, let it
riffle off the right middle finger before press-
ing the left little finger against the side of the
deck and releasing the rest of the cards. With
the left fingers close together and the little
finger projecting slightly past the inner end
of the deck, the break is concealed from all
sides. Square the deck at the fingertips and
face the spectators.
A variation: The spectator can open the deck
to sight a card. In fact, this is how the peek
was originally handled. Hold the deck as
described above, clamped between the
thumb and index finger. Show the spectator
how to use his or her left thumb to open the
deck at the outer left comer (spectator's
perspective, as seen in the illustration) and
note the card there. When your helper does
so, press the deck lightly but securely
against the spectator's thumb. This permits
you to take a break with the pad of the left
little finger when the spectator lets go.
CARD CONTROlS 73
Whichever of these two handlings you use, you can now control the card to the top or
bottom of the deck using the overhand shuffle method described next.
Check Points
1. This control uses an unconventional exposition has led to a false assump-
method for having a spectator note a tion? When reviewing the procedure a
card. But unconventional need not second or third time during subse-
mean suspicious. To justify the proce- quent phases, you may now refer
dure you could say, "Don't take the consistently to the "thought-of card"
card out ofthe deck and replace it; just without risking an intellectual con-
remember a card that you see." Or frontation.
''Don't remove a card, just think ofone 2. You can use the right index finger in
that you see. " Indeed, the technique place of the middle finger to do the rif-
lends itself well to presentations sug- fling. 'This produces a different picture
gesting that the spectator merely and is largely a question of taste.
thought of a card. Don't overempha-
size this, however. Doing so could 3. The whole secret of the successful
cause a scrupulous observer to men- execution of the peek technique is in
tion that the card was not thought of, the pressure of the left thumb against
but looked at. Choose your words with the base of the index finger. Keep in
care; for example: "You are the only mind the analogy to the screw.
one who has seen the card. Please pic- 4. Don't forget to turn you head away as
ture it clearly in your mind. At this soon as you begin to riffle the cards.
point, 011ly a mind rea11er could know And only turn your gaze back to the
which card you are thinking of" See spectator after the deck has been
how subtly and elegantly a proper squared at the fingertips.
74 CARD COLLEGE
While the right hand momentarily controls
the cards, move your left hand to overhand
shuffie position at the left side of the deck
Pivot the right hand slightly clockwise, pre-
paring to grasp the deck in overhand shuffie
position.
Check Points
1. The tricky part of this technique is in deck very lightly. This allows the deck
the third phase, when the deck is being to pivot without the thumb losing its
brought from a horizontal to a vertical break
position This will onlyworkifthe right 2. Begin the shuffie as soon as the deck
thumb and middle finger handle the is in overhand shuffie position.
CARD CONTROLS 75
Repeat the selection process by having a second spectator call stop. This time you riffle
more rapidly, so that a card in the upper half of the deck is chosen. Use the pad of the left
ring finger to take a break under the second spectator's selection.
Square the deck at the fingertips and allow several seconds to pass, perhaps using this time
to make appropriate comments relating to the effect at hand. Then, with your right hand,
cut off all the cards above the top break and drop this packet onto the table. Next cut off
all the cards above the second break and drop this packet onto the first. Finally place the
remaining cards from the left hand on top of the tabled cards. This automatically brings
the second selection to the bottom of the deck and the first to the top. A simple,
economical-but very effective-two-card control.
CheckPoint
You can alSo control both cards to the cardontothelowerpacket(seepage61).
top. To do this, take both breaks above Place the second packet onto the first.
the selections. Cut off and table the cards Finally drop the third packet onto the
above the top break, then cut to the sec- tabled cards-both cards are now on
ond break, using a slip cut to pull the top top of the deck.
76 CARD COLLEGE
Check Points
1. In this method, a shuflle follows each 2. If this control is being executed in a
selection. Make the best of this situ- parlor setting, use spectators seated
ation by using the shuffle time to far apart. Then shuflle as you proceed
advance the plot with presentational from one spectator to the next.
patter.
CARD CONTROLS 77
Briefly review what has happened: "Your
card is somewhere here in the deck." With
these words you casually dribble the cards
back into the left hand in the following man-
ner: Take the deck into right-hand end grip.
As soon as the left fingers are masked, insert
the outer phalanges of the little, ring and
middle fingers into the break The fleshy
pads of the fingers contact the back of the
chosen card lightly along its right side.
78 CARD COLLEGE
Check Points
1. The removal of the card is better 2. It is critical that the extraction of the
concealed from the front if the left selection blend optically with the drib-
hand pivots the extracted card about bling of the deck. This is what makes
twenty degrees clockwise. This is the pass invisible from practically
precisely shown in the next to last evezy angle. As in most passes, the view
illustration. from the right is the most vulnerable.
other contro~
Other controls of one or more cards are described elsewhere in the course. They are
mentioned here as a reference, once you have completed the course.
Transfer Cuts (Chapter 6): Once a break is taken above or below a card, it can be con-
trolled with a double or triple cut. But always follow this procedure with a false shuffle
that brings the card to the top or bottom, or leaves it where it is. A cut by itself is a bit
too obvious.
The Key Card (Chapter 10): This places a whole chapter full of control methods at your
disposal.
The Hindu Shuffle (Chapter 11): This can be used to control one or more cards.
The Spread Cull (Chapter 13): This is the ideal method for controlling a card that has been
located in a face-up spread by means of a key card to the top of the deck But you can
also use it to bring a card above or below a break to the bottom of the deck as the cards
are spread face down.
The Pass (Chapter 19, Volume 2): This is probably the most direct method for bringing a
card to a desired position in the deck without visible motion.
The Crimp (Chapter 22, Volume 2): The crimped card acts as a key card (see above). You
need only find the position of the crimpec'. card to proceed with a control (for exan1ple,
an overhand shuffle or a pass).
CARD CONTROLS 79
TRICKS WITH CARD CONTROLS
80 CARD COLLEGE
FinnlNotes
1. Should the spectator choose the diamond-cards that spell with thirteen
twelfth card from the top as the sha- letters, then you must spell "D-I-A-
mus card, you have been granted a M-0-N-D" (no "S"). Simply spell its
minor miracle and should make the name, using the shamus card as the
mostofit. first letter, ahd turn over the next card
2. If the spectator chooses one of the top And if the shamus is one of the four
eleven cards of the deck, place the clubs with ten-letter names, don't add
shamus card face do"Wn on top and use the card to the deck; instead, spell its
it as the first card of the spell. Should name with ten letters and turn up the
the card happen to be one of the four next card.
The QRestion Is • ••
This trick by Karren Fox12 is short and to the point. But if you perform it you will see that
it often makes a stronger impression on spectators than many more extended routines.
Effect
Someone notes a card, which is then shuffled into the deck The performer forms the cards
into the shape of a question mark -upon which the point of the question mark turns out
to be the previously selected card!
CARD CON1ROI.S 81
CHAPTERS
foRCE TECHNIQUES,
PART 1
''It takes a lot of work to make something simple."
Anonymous
In this chapter I will share with you various force techniques. The French verb
forcer basically means ''to influence", and in German and English one actually
often speaks of a "forced choice". Force techniques in card magic are
procedures that lead a spectator to choose a particular card. The truly
masterful methods require technical skill, sensitivity for the complex lines
of communication between performer and spectator, and finally a good
understanding of psychology. We will examine such techniques in Chapter
15. But in this chapter we will begin our studies with several simple and
certain methods that always succeed.
84 CARD COLLEGE
The Crisscross Force
This force has, over the past sixty years, gained immense popularity with card conjurers
because of its simplicity and deceptiveness. It is the invention of Max Holden, 13 a profes-
sional magician who retired from the stage to become a New York magic dealer and one
of the larger mail-order magic businesses of the twentieth century.
After the pause, which should last at least ten seconds, continue with the force. Thanks to
this diversion, the spectator will no longer be certain which half was originally the upper
and which the lower. This is known as time misdirection. Complete the deception by using
your right hand to pantomime the action of cutting off part of an invisible deck in midair-
"You cut the deck at any location . . ."-and place the imaginary right half on and at right
angles to an imaginary lower half-"... and we marked that location.
l/3face up
First demonstrate what you wish the spec-
213 face down tator to do: Cut off about a third of the deck
from the top and turn it over, placing it face
up on the face-down tabled cards.
"Cut off a small portion of the deck, turn it over and place it reversed on the other cards.
To rrwke the procedure even more randmn, cut once again, but this time cut off a larger
portion and turn it over on top of the rest of the deck."
86 CARD COLLEGE
Ribbon spread the deck on the table from
left to right. Approximately a third of the
deck is face up, while the other two-thirds
is face down. Continue your explanation:
"Then look at the first face-down card to
which you have cut. In this case, it would
have been the Ace of Spades."
Check Points
1. Do not omit the initial demonstration bring the original top portion back to
(a shrewd psychological ruse sug- the top as you re-assemble the deck
gested by Edward Marlo 15). It ensures The force cards are placed consecu-
that the spectator knows exactly what tively on top of the deck
to do, but it also makes it difficult 4. If it makes no difference which card is
(even for experts) to keep track of the forced, you can begin by having a spec-
positions of the cards. tator shuffle the deck Ribbon spread
2. If you want, you can repeat the dem- the shuffled cards face up on the table
onstration. In that case, the force card to display their mixed condition, and in
would initially be placed third from the the process secretly note the second
top. card from the top. Scoop up the cards,
3. This technique can be used to force make a comment that delays the
several cards, one after the other. After proceedings for a moment, then go
each selection you must take care to directly into the force procedure.
'
and relax the grip of the left fmgers. This
releases the riffled portion, causing it to roll
over and off the left fingertips to land on the
r I
the strategically placed middle, ring and
I~ little fingers of the open right hand.
I
88 CARD COLLEGE
Close the right fingers, turning over the
riffled packet, which lands face down in
right-hand dealing position.
\
Check Points
1. Use a controlled gaze when perform- attention you carry out the division of
ing this force to minimize the attention packets described above. .
the spectator gives to certain aspects 2. Just as critical as the gaze is the con-
of the procedure: Look at the deck dur- scious use of the two planes of the
ing the riffle, saying, for example, cards (that is, the loweringofthe right
"Good, we'll stop right there." Now hand's packet with respect to the left
look the spectator directly in the eyes hand's). Only when this is done will the
as you say, ''Please remember your deception be perfect.
card." During this moment of divided
90 CARD COLLEGE
A lRICK WITH THE FORCE
The Lie Detector
Effect
The spectator notes any card in the deck, then removes any other seven cards, naming
them aloud, one after the other. But on one of the cards, the spectator lies, naming the noted
card instead. Using the principles of lie detection, the performer is able to ascertain the
moment of the lie and name the noted card.
92 CARD COLLEGE
CHAPTER 6
TRANSFER CUTS
The great Russian painter K P. Bryullov·once corrected a student's picture.
Incredulous, the student looked at the altered drawing and cried out, "How
is it possible? You only changed a detail, yet it is completely different!"
Bryullov replied, ''Art starts where this detail begins."
In these techniques the deck is cut several times to bring cards from above
or below a break to the top or bottom of the deck This does not alter the
positions of the cards relative to one another in the deck Such techniques
were developed by the Canadian master Dai Vernon, whose work also popu-
larized them.
94 CARD COLLEGE
The Doubk cut
Hold the deck in left-hand dealing position,
maintaining a break near center with the left
little finger. Assume this break is held above
the Seven of Hearts. Our goal is to bring the
Seven to the top using a two-cut sequence.
TRANSFER Curs 95
After transferring the bottom packet of the
deck to the top, the left hand resumes deal-
ing position beneath the deck With your
right hand, cut off all the cards above the
break and let them drop, still unsquared,
onto the table.
Check Points
1. Begin the left hand's cutting away of the about half of the lowermost cards to
bottom cards as soon as the right hand the top. This packet need not be
grasps the deck from above. This pre- squared. Finally, again with the left
vents even those spectators on your hand, cut all the cards below the break
left from seeing the break. to the top and square the deck Once
again the Seven of Hearts is on top
2. If there is no table available, this pro- while the relative order of the cards
cess can be performed in the hands: has been preserved. The placement of
Hold a left little-finger break above the the first packet on top of the deck and
card. Then grasp the cards in right- the removal of the rest of the cards
hand end grip as previously described, under the break should blend into a
taking over the break with the right single, smooth action. This makes the
thumb-and, with the left hand, cut cutting efficient and elegant
96 CARD COLLEGE
The Trtyk cut from Toy to Bottom
The purpose of this technique is to bring the top card of the deck to the bottom through a
series of cuts, while preserving the relative positions of the cards. The same principle can
be employed to bring the bottom card to the top. In theory, the double cut just described
could be used for this purpose; but in this context it would look to the spectators as if the
deck were simply cut twice at the same location, raising the suspicion that the two cuts
have changed nothing. Also the finesse of the unsquared packet is not effective with a single
card. For these reasons we use an extension of the double cut; namely, the triple cut.
TRANSFER Curs 97
The Triyk cut from Bottom to Toy
This technique is similar to the last, except that the bottom card is brought to the top,
without disturbing the relative order of the cards.
98 CARD COLLEGE
TRICKS WITH TRANSFER CUTS
Triyk coincidence
This amazing trick 17 is the cunning creation of John Scarne, a legendary American card
expert and gambling authority who, among other honors, was in 1938 voted one of the "Ten
Card Stars" then living. I have made only a few minor changes to Mr. Scarne's handling.
Effect
Two decks are used, one with red backs, the other with blue backs. The performer and a
spectator each shuffle a deck and three times exchange a single card. When both decks
are ribbon spread it becomes apparent that the three cards match-a triple coincidence!
Preparation
Take any three cards from the red deck and distribute them evenly in the blue deck For
the sake of explanation, assume the three cards are the Three of Hearts, the King of Clubs
and the Two of Spades. Place the same three cards from the blue deck on top of that deck
You now have a red deck that is short three cards and a prepared blue deck that can be
introduced at any time you decide to perform this trick
TRANSFER CUTS 99
your card on the table before the spectator lays down one from the red deck, and stress
this fact in your presentation. At p-te conclusion of the exchanges you have three randomly
chosen red cards at the bottom of your blue deck, and three predetermined red cards
distributed through it. The corr, sponding blue cards are in your helper's red deck
"Often, chance will dictate that these six cards bear a very specific relationship to one
awther. Keep in mind that you freely chose the cards from a deck you shujjled yourself.
And I always chose my cards before you chose yours."
These words prevent the climax from being exposed prematurely. Some spectators may
anticipate the outcome, but they will not be certain. The fairness of the proceedings must
be clearly summarized at this point The clearer the procedure at the beginning, the stronger
and more inexplicable the effect at the conclusion.
Push the stranger cards in your deck forward and ask the spectator to do the same. By
grasping the card at the inner end with the thumb on the face and the fingers on the back,
it is a simple matter to peek at the faces of two of the cards as you push them forward.
Effect
Someone removes a card from the deck without looking at it. Three spectators then each
name a number and for each the magician de~ that number of cards face down on the
table. The card removed by the first spectator turns out to be a Seven. After pointing out
the mysterious connotations of the number Seven, the performer turns the bottom card
of each packet face up: they are the other three Sevens!
Preparation
The four Sevens are on top of the deck This can be accomplished during a preceding effect
or by using a spread cull (see page 187). A matchbox containing several matches is on the
table. If you have no matches and cannot borrow any, use a few coins in a coin purse.
FirwlNotes
1. When you Jearn the classic force .in 2. To bring the Sevens from the ...oo1ro1n
Ghapter 15, you can use it to force the to the top, I have suggested that you i
first Seven. The execution of the force execute double cuts rather than triple
is easier than.usual, Since the spectator cuts. While I cautioned against double
can take any one of foilr consecutive cuts for this purp()~~ earlier (page 97),
Sevens. Afterone ofthe Sevens has in this instance they are permissible;
bee.J;l removed; you cut the deck to since they are carried out casually
bring orie Seven tO the top and two to the sidelines while everyone's att(:m..:
the pgttbm; Thensimply proceed as tion is on the actions of the spe(:tators;
pteviousJ.Ytallght.
After each riffle shuffle you will want to square the cards. This method, one first recom-
mended in print in 1902 by the mysterious card sharp S. W. Erdnase, 19 is a particularly
efficient and elegant method of doing so.
This riffle shuffle, in which most of the deck remains visible, differs from the closed riffle
shuffle in only a few details. Because of its "open" appearance, it looks fairer and is pre-
ferred to the closed shuffle. But it is a bit more difficult and requires greater coordinatioiL
In the beginning you will also think it requires greater strength, but-as with most tech-
niques- this is just a temporary misconception. The true secret lies in properly
coordinating the actions.
Hold the deck in riffle shuffle starting
position. Divide the deck as previously
described (see the first four illustrations of
the closed riffle shuffle on pages 105 and
106). Maintaining the hands in their posi-
tions, begin to riffle the cards with the
thumbs, interlacing the adjacent corners as
shown in the illustratioiL Push the interlaced
halves together and square the deck as pre-
viously described.
Preparation
Separate the red and black cards in the deck For the sake of our explanation, let's assume
that the red cards are on top of the black cards.
Final Notes
1. If perform this as an opening effect, 2. Ideally, you should perform this location
the cards can already be separated into in the middle of a program, after several
reds and blacks. Don't, however, begin spectators have shuffled the cards. As
with the location described here, but you proceed in your study of card magic
with a few other effects that preserve you will find there are many tricks that
the red-black separation This delays permit secret sorting of the red and
the use of the stack and prevents black cards during the course of the
anyone, even other magicians, from presentation
figuring out your method.
Effect
The four Aces are produced from the deck in a spectacular fashion. The performer notes
that a royal flush in poker is even better than the four Aces, and promptly cuts the deck into
four packets. The top card of each packet is revealed as the Ten, Jack, Queen and King of
Spades, which-along with the Ace of Spades-yield a royal flush!
Preparation
The preparation is so simple that it can be accomplished in the course of a preceding
routine or while addressing the audience. (As you work through this course, on page 187
Put the halves of the deck back together, with the six-card stack on top. Then turn the
newly produced Ace face up and lay it next to the first.
Take the face-down deck into left-hand
dealing position. Now, using the left thumb,
push the top card about a quarter of an inch
to the right and, with your right hand, cut
something between half and two-thirds of
the cards from the top of the deck to the table.
Set the lower right edge of the remaining
packet onto the table and lower left edge of
this packet just over the right side of the Ace.
Immediately remove your hands from the
cards. Under perfect conditions a second or
two will pass before the weight of the right
packet flips the slightly misaligned Ace face
up. (This novel production is attributed to
Michael Schwartz. 27 )
With a little experimentation you will discover the proper position for the cards and the
best size (that is, weight) of packet to use. This production is very pretty, particularly when
there is a pause before the action. When this occurs one gets an impression of the card
almost turning over by itself. A deck of cards that has been broken in can help to produce
the desired delay.
After placing the third Ace face up beside the first two, set the left-hand packet onto the
right, returning the royal flush stack to the top of the deck Cut the Ace of Spades to the
bottom with a triple cut (see page 93). The final Ace will be produced using the Cervon
Begin a riffle shuflle by releasing a single card (the Ace of Spades) from the left thumb,
then a few cards from the right thumb, then riffle off the rest of the cards normally. Having
finished the riffle, do not square the interlaced halves. Instead, push them only about three-
quarters of an inch into each other.
With the right thumb, lift the right-hand packet along its inner side keeping the lower outer
edge of the interlaced packets in contact with the tabletop. This leaves the Ace of Spades
lying alone on the table, concealed under the elongated deck
Final Note
Of coll.ISe, the deck can be false shtiffled chapter and tabled false cuts from Chap-
and false cut between each Ace produc- ter 25 (in Volume 2), since these leave the
tion. The most natural method ·would cards on the table and avoid excessive
use riffle shuffle teclmiq1.les from this handling.
You can also return the deck to face-down left-hand dealing position without involving the
right hand, by moving the left thumb to the left along the top of the deck, then working
the left fingers underneath the deck to its right side.
Check Points
· 1. Keep the left index finger at the outer face card is moved before the right
left comer of the deck Do not move it, hand reaches under the deck and while
even as you execute the glide. you are still looking at the spectators.
2. Move the middle, ring and little fingers 5. If more than one card slides back with
as a unit and not individually. This ren- the face card during the glide it is prob-
ders the movement virtually invisible ably due to poor quality cards; use new,
to even a keenly observant spectator. clean cards that slide easily. The rest of
the deck is held in check by the left
3. The slightly diagonal glide not only thumb and index finger.
minimizes the distance the face card
6. If the cards above the substituted card
must move, but prevents the specta-
slide forward as it is drawn off the
tors on the right from seeing any
deck, this is not a problem, since this
telltale projecting edge.
could actually happen as a result of the
4. Pay close attention to the timing: The action you are simulating.
Look at the spectators and explain: "The Coue test failed. Perhaps we'U have rrwre luck
with numerology. Name your favorite number between one and ten." In principle, the
spectator could name any number from one to forty-eight-you are holding forty-nine
cards-but restricting the choice to less than ten keeps the trick moving briskly. Position
the deck for the glide, casually exposing the indifferent card on the face. Let's assume the
spectator names the number five. With your right hand, deal the bottom card face down
onto the table and casually flash its face in the process, subtly reinforcing the outward
honesty of your actions. Glide back the chosen card and deal the next three indifferent
cards onto the table. On the count of five take the chosen card and hold it face down in
the right hand: "One, two, three, jour and jive: the number you chose. "
Look confidently at the spectator, who is finally asked to name the chosen card. As soon
as you hear it, shift your gaze disconcertedly toward the fac~own card on the table that
the spectators believe to be the card just named. Look at the face of the card in your hand
and ask the spectator, "Are you sure?" Pause to let the spectator confirm the card; then
slowly revolve the card in your right hand, so that it first faces you, then faces the audi-
ence. It is the card chosen by the spectator! You and the rest of the audience can now ef\joy
watching the spectator who incredulously turns over the tabled card. Who doesn't believe
in numerology now?
A Doubk Turnover
In this technique, the double card is turned over and displayed directly on top of the deck;
then it is immediately turned down again. One advantage of this method is that even spec-
tators seated on low furniture cannot see the additional thickness of the cards. The double
card is constantly in motion, but always under the performer's control, giving you consid-
erable security.
Using the method just described, obtain a
left little-finger break under the top two
cards. Introduce a delay, as previously
described. Then bring the right hand over
the deck in end-grip position and grasp both
cards between the right thumb and middle
finger. Retract the left thumb as though it
were preparing to push over the top card,
and pull the double card to the right with the
right hand, the left thumb moving along with
the card. It should look as though you are
pushing the card over with the left thumb.
Effect
Two cards inexplicably change places. To do so, one card apparently travels from the center
of the deck to the top, then changes places with the other card, which a spectator has held
pressed against the table top the entire time.
Final Note
Naturally, it is best if the two cards dis- contrast. However, you can quickly look
played contrast well with each other. In through the deck and cut a contrasting
taking the shuffled deck from the spec- pair to positions second and third from
tator and proceeding directly with the the top without diminishing the effective-
effect, there is no guarantee of such a ness of the trick
Effect
The spectator chooses a card, which is then shuffled back into the deck The performer
shows another card, which the spectator freely inserts halfway into the deck, in an attempt
to locate the chosen card. Unfortunately, the performer's magical powers seem to have
failed. But ultimately, the card held by the spectator is found to have changed into the
chosen card!
Check Points
1. The pretext for spreading the cards 2. After turning the deck face down,
face up is dictated by the context of should the ir\jog, due to the unsquared
the particular trick For example, you status of the cards, not be clearly
might need to find and remove the four visible, a gentle shake of the wrist,
Aces, eliminate the Joker or simply sending the cards forward against the
show that the deck has fifty-two cards. left forefinger, will be found helpful.
Check Points
1. Should the card not be clearly visible, from the left hand's action.
tap the spread from left to right with TIP: Once you have mastered the spread
your hand, further spreading the cards. cull in Chapter 13 (page 187), you will
2. Use both hands to gather the cards, as use it almost exclusively when you
shown in the illustration. This is more need to control cards located with a
natural and it helps to draw attention key card.
A Phenomenal Memory
A version of this trick was shown to me by the Spanish card genius Juan Tamariz. He, in
turn, had seen it performed in Las Vegas by Jimmy Grippo. 33 Grippo's method is a
wonderfully simple solution to an effect called "Moe's Move a Card" by the American
enigma, "Moe" Seidenstein. 34 Perform this trick as though it were really a feat of prodigious
memory and, for those not in the know, no other explanation is possible.
Effect
The performer shuffles a chosen card back into the deck, then ribbon spreads it face up
on the table. He stares at the card spread for fifteen seconds, after which he turns away.
The spectator then moves the chosen card from its location in the spread to another part
of the spread. The performer looks at the cards again and notes the location from which
the card was removed. Finally he divines and locates the chosen card.
Final Notes
1. Recently, on a popular German tele- spectator. In that case, a key card is not
vision game show, one contesta;nt necessary and the spectator can
successfully memorized five shuffled shuffle the deck As long as you don't
decks in thirty minutes. You can use forget the force card, nothing can go
this incident to create a topical pres- wrong.
entation for this trick, in which you 3. Performed properly, many spectators
will, of course, point out that you only will be convinced that what they have
take fifteen seconds to do the job. seen really is a feat of memory. Don't
2. The samepresentation may be used if disillusion them.
the chosen card is simply forced on the
Effect
The magician divines a card merely thought of by someone. That person shuffles the deck
before and after thinking of the card-and in doing so contributes to an apparently
impossible occurrence.
FirtdlNote
Naturally, there are an infinite nuinber of thought-of cardto the twelfth position
ways to bring the preceding effect to a fromthetopanduse"TheShamusCard"
proper conclusion. Often I'll bring the climax (page 80) to produce the card.
Effect
Someone is invited to cut the deck into three approximately equal packets, then select two
cards under the fairest conditions, shuffling each packet thoroughly before and after the
cards are chosen. It seems impossible for the magician to fmd the cards under such
circumstances-but he does.
Preparation
Bring the thirteen spade cards to the top of
the deck and arrange them in numerical
order, with the Ace on top, followed by the
TWo, then the Three, etc. The King of Spades
is thirteenth from the top. Having done this,
place eleven indifferent cards on top of this
stack, making the Ace of Spades the twelfth
card from the top. You are now ready to
11 indifferent cards
begin this extraordinary location trick
Oscar W. Firkins
The Hindu shuffle is basically a teclmical variation of the overhand shuffle.
It may look slightly unnatural to spectators when they first see it, although
in some countries it is considered a normal and legitimate method of shuffling.
But it will sometimes be advisable to justify the shuffle in the context of a
routine with a witticism or gag. We'll discuss this further in the trick
descriptions; but first, I will describe the basic technique and several
interesting teclmical applications.
Check Points
1. For the initial shuffle action, the block move away from the body than to have
of cards being pulled off the deck is the right hand move toward it. Second,
held by the left middle and ring fingers because this handling of the shuffle is
just below the finger pads, and by the clearer for the spectators, who can see
outer phalanx of the thumb on the which packets go where. This is true of
opposite side. For the subsequent practically all Hindu shuffle tech-
shuffle actions, however, the blocks niques.
contact the outer joint of the thumb 3. Don't forget the position of the right
instead of the outer phalanx. little finger. It acts as a stop in picking
2. I want to emphasize once more, that up the deck with the right hand. This
you move only the left hand, keeping ensures that the other fingers immedi-
the right hand still. First, because it is ately and automatically find their
more elegant to have the left hand proper positions.
Placif!5 a~ card
with a HindU slmffie
The spectator has chosen a card and is ready to return it to the deck Begin a Hindu shuffle,
glimpsing the bottom card after a few shuffle actions. Continue the shuffle, then extend
the left hand's packet for the return of the chosen card. Once the spectator has placed the
card on top of the packet, toss the right hand's cards on top of it. This places the key card
directly over the spectator's.
Go through the entire deck once in this explanatory phase. Should the spectator call stop
during the explanation, point out that you are only explaining the procedure that will be
used in a moment to choose one card from the entire deck.
Begin a second Hindu shuffle and stop where the spectator commands. Display the bottom
card of the right hand's packet to the audience: your force card. You can now place all the
cards remaining in the right hand onto the left hand's packet, completing the sequence.
Or, if you wish, you can introduce an additional subtlety as follows: Mter displaying the
force card, continue the Hindu shuffle, but begin it by pulling a small block of cards from
the bottom of the right hand's stock. Mter a few regular shuffle actions, display the new
bottom card. 'This may be repeated several times until the right hand's packet is exhausted.
As you do this, you point out, ''Had you stopped me here or here, the card would have
been quite different. "
Check Points
1. Pulling the cards from the bottom is no who are not misdirected and look
more difficult than pulling them from unswervingly at the deck.
the top. It is important, however, that 3. The initial, explanatory shuffle should
as you do so you look at the spectators be performed somewhat more slowly
and make a pertinent remark to mis- and clearly than the subsequent one, in
direct their attention. which the card is forced. 'This compels
2. The cards must be pulled from the bot- the spectator to concentrate on calling
tom with no break in the rhythm from out stop rather than noting that the bot-
a normal shuffle. 'This will render the tom card has been there from the
maneuver deceptive even for those outset
rhe•card
Effect
The perlormer displays a mysterious card bearing arcane symbols. This is the Magus Card.
The hieroglyphs on the card instruct a spectator to cut the deck in a particular fashion;
and, on the spectator making the final cut instructed, a previously chosen card is revealed.
Slowly the performer turns over the Magus card-and its face is that of a normal card-
one that matches the spectator's selection!
Preparation
In addition to a deck of cards, you will need
a card from a deck with a contrasting back
design. Using a fine-tipped permanent-ink
marker, draw several hieroglyphs on the
back of this card. You can use the symbols
shown in the illustration or find others, but
take care to use genuine hieroglyphs and not
just some imaginary images.
Once prepared, this card can be carried in your wallet and you will always be ready to
perform the effect, provided a corresponding deck of cards is available. Let's assume that
the Magus Card is the Ace of Clubs. If you follow the whims of a perlectionist, you will
want to contact a magic dealer and obtain an Ace of Clubs with a blank back from which
to make your Magus Card.
Finally, you command your apprentice mage to place the remaining packet onto the other
two and square the deck
''According to the Magus Card, the series of cuts that you yourself have carried out /w,s
brought your card to the top of the deck. If so, then great happiness will be yours for the
rest of your life." Ask the spectator to name the card, then to turn over the top card of the
deck-it is the chosen card!
Final Notes
1. .T he face of the Magus Card should be for spectators who have seen it before
instantly recognizable. I have sug- and may still remember the name of
gested the Ace of Clubs because- the previously chosen card.
unlike court cards-it is nearly iden- 3. The script can be delivered with total
tical in every deck Naturally, under seriousness. Few will believe it, but no
certain circumstances, and if you are one will be completely certain. If you
p~rforming with your own deck, a card
don't favor this mystical approach, use
with obvious symbolic meaning, such Chinese or Arabic symbols instead of
as the Ace of Hearts, may be used hieroglyphs and accompany the effect
2. If you carry several Magus Cards in with an amusing story.
your wallet, you can perform the effect
Final Notes
1. This trick lasts only about a minute and controlling and placing the relevant
is ideal as an ice breaker, leading into cards. This consistency gives a coher-
a longer routine. ence to the procedure that causes the
2. Note how the Hindu shuffle is used somewhat unusual handling of the
consistently throughout: selecting, deck to become accepted as natural.
Check Points
1. Note the exact position of each finger. 2. By beginning and ending the sequence
The little finger in particular selVes to with the deck innormal dealing posi-
keep the cards from sliding out of the tion, the cut will not only be efficient,
hand during the flourish. but also pleasing to watch.
)
Depending on the strength of the toss, the
card will sail one yard or farther outward
before returning to your hand on a slightly
lower trajectory.
Check Points
1. The right thumb can be at the outer left 2. In this, as in other fan techniques,
corner of the deck or in the approxi- pressure plays an important role.
mate center on the left side-both Experiment with various degrees of
work Try each position to discover pressure, as it is extremely difficult to
which one works best for you. convey such things on paper.
Gheck Points
1. It will take a few days for you to gain the arc, the more perfect your fan will
the knack of twisting the cards prop- be.
erly. The action is truly nothing more 2. Of course, it is the correct pressure of
than the semicircular finger-motion the fingers that produces the fan. Tiy
described. Initially you will tcyto ~e itfirst with medium pressure. You may
the circle too large, resulting in a fan need to try more or less pressure,
that isn't perfectly round. The tighter depending on the quality of the cards.
Check Points
1. It is important that you look ahead in 3. It is very difficult to spread the cards
the spread as you go through the deck evenly and with a smooth tempo while
This will allow you to spot the card culling one or more cards. The solution
early, then pull it under the deck with- is to find a rhythm. Imagine that the
out hesitation when you reach it. You cards you spread between your hands
want to avoid any hesitation that are a concertina or small accordion.
would seem unnatural or suspicious. The left hand pushes the cards to the
2. If you desire to bring all the Aces to the right and the right hand pulls them
rear of the face-up deck, after culling farther to the right, the hands moving
the first Ace, continue spreading apart to "open" the spread. Then the
through the cards until you reach the hands move toward each other, lightly
next Ace. The previously culled Ace pushing the cards together, so that the
remains under the spread and the right hand can take the next few. These
indifferent cards travel over it as they together-and-apart movements alter-
are pushed into the right hand. At this nate smoothly. If appropriate to the
point you will notice that the card presentation at hand, the flow can be
under the spread forms a V-shaped interrupted periodically: ''I'm going to
opening at the left, which can be seen remove the two J akers from the
from the front To conceal the opening, deck . . . whenever they stay in the
after culling the first Ace, use the left deck .. . the trick doesn't work. " The
thmnb to push the subsequent cards ellipses show pauses in your speech,
forward for roughly an inch as they are during which you look at the audience.
spread to the right. This widens the The culling of the card under the
spread to nearly one and a half cards, spread is executed as you open the
effectively masking the culled card spread again slightly and look up.
from view. As soon as you come to the Searching through the cards and exe-
next Ace, cull it just as you did the first cuting the cull should take aboutten
The second Ace will slide automatical- seconds without interruption; slightly
ly beneath the previous one. Continue longer otherwise. The rhythm with
in this fashion until all four Aces are which you spread the cards is more
under the spread; then push the spread important than the actions of the
closed into the right hand. The Aces fingers-I stress this again as it is the
are now at the rear of the deck real key to success with this sleight.
Check Points
1. I've suggested that you position the force card from a known position or
force card fifth from the top. If you're from a break, you needn't look at the
more comfortable with another posi- cards while culling it. If you have the
tion farther down in the deck, by all force card fifth from the top, as sug-
means use that. gested, you may wish to execute the
double push-over taught in Chapter 14
2. Instead of going from a known posi-
(page 211) twice, then steal the next
tion, you can also cull the force card
card beneath the spread. All this can be
from a break.
done by touch alone while conversing
3. Whether you do the spread cull with a with spectators.
Preparation
In the course of a previous effect or during a break in the performance, secretly bring the
four Queens to the top of the face-down deck, using the spread cull or another strategy.
Drop the right hand's cards onto the King and square the deck This secretly loads the first
Queen over the spectator's face-up selection.
Repeat the above sequence three times, using either the same individual or three other
spectators. This places three more face-up selections in the deck, each with a Queen loaded
face down above it. Culling the Queens can be done without looking at the cards, if you
consistently cull the fifth card from the top.
As You Like It
Effect
Someone shuffles the cards, then freely thinks of any value in the deck Let's say the Fours
are chosen. The magician cuts the shuffled deck into four packets and shows that the
bottom card of each is a Four!
Check Points
1. Don't curl your index finger under the 2. The thumb count is executed quietly
deck. This would signal the method to and should not be heard.
observant spectators. It is also com- 3. The transfer techniques described are
pletely unnecessary, as the index finger basically one-handed, but you should
can apply sufficient pressure when also think about how the right hand
held naturally at the outer end of the might be used, as it can greatly facili-
deck as shown. tate the process of transferring breaks.
CheckPoint
The break under the top three cards can you casually spread over the top three
be obtained during a preliminary phase face-down cards as well. In closing the
with either a thumb count or little-finger spread, take a little-finger break under
count. Or you can simply place the four the top seven cards; then with your right
Aces face up on the deck and spread hand lift all the cards above the break to
them to display their faces. In doing this the left fingertips, as described above.
With your left thumb, push the final Ace to the right and use the right fingertips to flip it
sidewise and face down on the deck The position of the cards from the top is now Ace, X,
X, X, Ace, Ace, Ace, followed by the rest of the deck If you deal the top four cards into a
face-down row on the table, they will, of course, be the top Ace and three indifferent cards.
CheckPoints
1. Flip the Ace face up in exactly the look down at the Ace of Hearts, which
same manner you will next turn it face you are just turning face up. As you
down. The tipping of the right hand's perform the secret addition during the
packet in flipping over the Ace is par- second turnover, raise your gaze
ticularly important in this regard. This smoothly and look briefly at the audi-
conditioning of the spectators' percep- ence. Then look at your left hand as it
tions is critical for the deception. apparently places the Ace face down
2. The dynamics of the gaze also plays a on the table.
role. Look up at the spectators, then
ATFUS
ATFUS is an acronym for "Any Time Face Up Switch", an exchange technique developed
by Edward Marlo from a switching procedure invented by the brilliant British magician
Alex Elmsley. 49 The ATFUS technique is extremely flexible and can be used for many pur-
poses. For example, you can display four face-up Aces, and in the course of this action
exchange two of the Aces for two face-down indifferent cards from the deck This is the
application we will use to teach the basic technique.
As described in the Braue addition (page 205), use the left thumb to draw the top Ace off
the packet and onto the deck, which you move outward and to the left. Narne the card as
you pull it not square onto the deck, but onto the outer right portion of the top of the deck
Check Points
1. As the cards under the break are sto- between two primary actions (the
len, the right hand's packet must not pulling off of the Ace, followed by its
appear to cover the deck completely. squaring under the packet). The
Pretend the top of the deck is a hot primary actions are emphasized to
stove top that can be touched for only focus attention, which is allowed to
a split second But that is sufficient for relax during the intermediate sec-
the cards under the break to be added ondary action, when the cards are
onto the deck stolen.
2. The drawing off of the Aces and the 3. As I mentioned at the beginning of this
subsequent squaring of them beneath description, the ATFUS technique is
the right hand's packet is performed capable of much more than the one
slowly but smoothly. Part of the secret application given here. For a fuller
of this technique is a steady pace and understanding of the breadth of this
the rhythm with which the primary concept, you will want to read Edward
and secondary actions take place. The Marlo's original article, which can be
cards are stolen in a moment of secon- found in his book MI.N T., Volume 1,
dary importance, which is sandwiched starting on page 60.
t
While holding the deck face down in left-
hand dealing position, bend the left thumb
somewhat more sharply than usual and use
it to push the top card about half an inch to
the right. The thumb is only bent immedi-
ately prior to executing this technique.
)
Before that it lies naturally on the deck
X
Extend the thumb roughly an eighth of an
inch farther, bringing the inner side of the
outer phalanx of the thumb into contact
with the second card from the top. This
automatically pushes this card to the right
as well. The right sides of the cards slide
over the tip of the middle finger, then over
the tip of the ring finger. Both fingers feel
these edges and can be used to monitor the
action.
Check Points
1. The action is carried out entirely by the pressure. Sidewise pressure must
left hand, the right hand serving only cause the buckle to be visible at the
to cover the sleight by grasping the outer end of the deck and exposes the
deck from above or by providing mis- curling of the index finger. To prevent
direction through the performance of this, keep the outside of the index fin-
some other action, such as turning ger, for its entire length, in contact with
over a card on the table or cutting a lower outer edge of the deck This is a
packet off the deck barely noticeable alteration of stan-
2. Properly executed, the buckle is not dard dealing grip. Then, to buckle the
visible from the front. The most com- card, press with the entire index fin-
mon error is to press the index finger ger, not just with the outer phalanx.
toward the outer left corner rather This is the best way to assure proper
than exerting a diagonally inward execution of the sleight.
Because the 1\vo of Spades is still caught in the midst of the surrounding cards, the spec-
tator will need a few seconds to "free" it from the spread (it naturally adheres to the other
cards despite the release of pressure from your hands). This situation reinforces the
impression of the spectator's freedom of choice. ·As soon as you sense that the force card
has been grasped, imperceptibly draw back the spread away from the card.
Check Points
1. The entire construction is designed to only be perceived consciously by the
maximize the interval of time between spectator after the fact, when-having
the preparation for the force and the taken the force card-he or she rea-
actual selection process. This makes it sons that you probably wanted to
practically impossible for the spectator reach the visible separation. Please
to see a connection between the posi- don't underestimate the intelligence
tioning of the force card (the cause) and keen powers of observation of
and the actual force (the effect). many spectators, who-though gener-
2. In spreading the deck, it is extremely ally eager to cooperate-will draw the
important that the cards above the correct conclusions in these situations.
break be prevented from being pushed 3. A trick useful for learning the classic
over even slightly before you reach force is "Seventh Son of a Seventh
them in the spread. Even a step of a Son", page 101. (Especially see Final
sixteenth of an inch can betray your Note 1 on page 102.)
desire to reach this location. This may
2W CARD COLLEGE
Check Points
1. As Robert-Houdin noted over one hun- You must avoid any suggestion that
dred years ago, 50 you should use the you have succeeded at something. To
expression 'Take a card" rather than borrow an expression from Juan
"Choose a card" when executing the Tamariz, you mustn't begin to cluck
classic force. Not only is the phrase lil~e..a hen that has just laid an egg.
more precise, but it avoids even the After all, the spectator has only taken
verbal suggestion of the freedom the a card from the offered spread, which
spectator, in theory, enjoys. Many isn't all that earthshaking an event, is
people believe things are as they seem it? One tendency that is particularly
and that these things can scarcely be widespread is to hand the deck to the
changed by their decisions. "Take a spectator immediately after the force,
card" reinforces this belief, encourag- saying in a triumphant tone, "Fine.
ing an attitude in the spectator that Now replace the card anywhere in the
works in your favor-while ''Choose a deck and shuffle it yourself!" This
card" might inspire unwanted hesita- would make even the dimmest spec-
tion and a more deliberate exercise of tator suspicious. It is far better to
the spectator's freedom of choice. shuffie the deck briefly yourself, then
2. As soon as you are sure that the casually-as though you hadn't even
spectator is taking the 'I\vo of Spades, thought about it-ask the spectator if
you will naturally be relieved and he might like to shuffle the cards as
delighted-especially when you are well. If he declines, press the deck into
just starting out and your force is not his hand anyway: "No, no. Go ahead
always successful. You must, however, and shuffle them-! don't want you
take great pains to hide such emotions. to say afterward that I cheated."
Ours
The term outs refers to all those techniques, strategies and methods that serve to overcome
a failed force. You have three basic options: You use either (1) a direct method or (2) an
indirect method to put the Two of Spades into the spectator's hand, or (3) you use the
indifferent chosen card for another effect, then return to the intended trick requiring the
Two of Spades and attempt the force again. Let's examine these options in greater detail.
In the following descriptions, when I talk about an X-card I mean a selection that results
from a failed force. (The Two of Spades will continue to be our force card.)
Indirect Methods
In these clever methods, the X-card is used to force the 1\vo of Spades. Once you under-
stand the principle, numerous other possibilities become available to you -some of which
will be introduced later in this course.
Another Trick
To avoid prolonging the program unnecessarily (which is only critical for formal programs),
quick alternative tricks are recommended; that is, tricks that can be performed in less than
a minute and that maintain the performer's control of the force card.
Of course, I have only outlined a few of the possibilities for correcting a missed force. But
perhaps this attempt to systematize the options will help you to find and categorize your
own favorite method.
Final Observations
A familiarity with the available outs will have a significant influence on your inner game,
since you will then lmow there are one or more ways you can proceed should the force
fail. With some performers, this lmowledge produces such an increased self-confidence,
the force nearly always succeeds!
As soon as the right middle finger reaches the outer right comer of the upper packet, turn
your head aside and say, "Please take this card-don't let me see it at all." At the same
time revolve the right hand palm down, moving the thumb to the inner end of the deck As
a consequence of this action, the pad of the right middle finger automatically rolls out of
the gap at the outer end, but remains anchored on the end of the upper portion of the deck
Don't move the right hand until the spectator takes the force card and the left hand returns
with the balance of the packet. Conclude the sequence by reuniting the packets and squar-
ing the deck
Check Points
1. Pick a spectator to work with who is your hands at the critical moment. So
seated or standing at some distance we must introduce a handling that
from you. This justifies the use of a delays the execution of the technique.
procedure that is somewhat unusual This is accomplished by separating the
outside the company of magicians. packets at the outer end with the right
''Please, stay in your seat," you say. middle finger.
After all, if the spectator were closer, 3. Note how loosely the top card of the
you would simply offer the spread left-hand packet slides over the tips of
deck for the removal of a card. the left fingers in the final illustration.
2. The use of the right middle finger is a This underscores the impression of
crucial element. Most people expect openness and fairness. Note too the
you to separate the deck immediately position of the left thwnb!
upon your hearing stop, and conse- 4. The remark "Please take this card-
quentlythey focus all their attention on don't let me see it at all," as you turn
the deck at that moment. This is pre- your head aside creates a slight diver-
cisely the weakness of other handlings sion of attention or, at the very least, a
of the riffle force: The spectators' reduction or division of focused obser-
attention is focused on the deck and vation.
Although this trick 52 takes only a moment to perform, it will make a long lasting impres-
sion on many spectators. In the course of the effect, one of the spectators is drawn into
the action and performs the magic. Nonetheless, at the conclusion, the assisting specta-
tor still has no idea of how the trick was accomplished.
Effect
The performer divines the identity of a chosen card by feeling a spectator's pulse. Then
the trick is repeated, but with the spectator feeling the magician's pulse and bringing an
inexplicable feat to a successful conclusion.
You could say something like ''You must not be here at all-you have no pulse." But please
avoid double entendres and statements in questionable taste. Once you have found the
pulse, begin to name the four suits: ''Hearts-clubs-diamonds-spades. Yes, that was
very clear. When I said 'hearts' your pulse jumped. Your card must be a heart. "Continue
Headliner!
The following trick is a spectacular prediction for special occasions. It does require some
advance preparation, but it is worth the effort. The basic plot goes back to at least the 1930s.
In 1937, Theodore Armemann mentions a use of it by Kenneth Chamberlain.53 Here I've
updated it, through a bit of modern technology.
Effect
The spectator chooses a card, which the performer fails repeatedly to divine. After pointing
out that all the most important events of the day are in the daily newspaper, he asks a second
spectator to choose a page-and found printed on that very page is a large image of the
chosen card!
Preparation
Take the daily newspaper and open it up to a page with very few or no photographs. Papers
like the New York Times or the Wall Street Journal are ideal for our purpose, as they contain
relatively few photos. Using the single sheet feeder of a large photocopy machine, copy a
Jumbo card onto the center of one of the inner pages of the newspaper (for our explanation,
let's say it is page nine). With a red ink cartridge or a color copier you can even copy a red
card or a court card. This provides even greater contrast and visibility.
The trick is most effective when performed with the current edition of the newspaper. Place
your prepared paper near the performing area If you know you will be the guest of someone
Final Notes
1. You can use a riffle force for the first anyone else read the paper in the
card and a classic force for the second. interim, it is unlikely the preparation
If you choose to do this, place all four will be noticed-and what does it
Nines just below the Six of Clubs. This matter if it is? Even more devious: In
will give you a four-card leeway for the afternoon, stop by the establish-
your classic force. ment where you plan to meet your
2. You can also perform this trick in a res- friends that evening and order a cool
taurant. Come somewhat in advance beer. While you are there, exchange
of the guests and order the daily paper. the papers. Then, that evening, don't
Secretly exchange it for your prepared show up until all the others have
copy, which you then "return". Should arrived.
Toyc~ecovm
The top change, like palming and the pass (Chapters 18 and 19 in Volume 2), is a technique
with no "external reality" (to borrow a phrase from the great Spanish master Arturo de
Ascanio)-in other words, your audience should not be aware that any action has taken
place. The technique is executed in secret, in contrast to overhand shuffle techniques, which
simulate actual shuffle actions, or the glide, in which a card is actually taken from the deck
These sleights present an external reality, an overt and motivated action, for the specta-
tor. This is not true of the top change,. for which there is no automatic action to obscure
the secret one; so one must be contrived. I will now describe several logical and natural
cover actions for the top change. The basis for all of them is that there must be an overt
reason (other than that of exchanging cards), or at least an implied one, for the hands to
come together or cross.
Situation One: The spectator will be
requested to extend one hand palm up. Ask,
"Are you right-handed or left-handed?"
Hold the card in your right hand in front of
the deck Immediately after asking this ques-
tion and as you request, ''Hold out your
hand with the palm up, " move your left
hand forward and past the right hand's card,
executing the top change along the way.
Your motivation in moving the left hand is
to demonstrate how the spectator should
extend the hand.
Metamoryhosts
The handling of this effect was inspired by Larry Jermings's "Monarchs' Quartette".55
Effect
A spectator chooses a "prediction card", which is set face down to one side. After an initial
mismatch, three cards randomly chosen by the spectator are ultimately shown to match
the value of the prediction, giving you four of a kind!
Preparation
Arrange the four Kings on top of the deck, with the black Kings sandwiched between the
red ones, or vice versa. Such a simple setup can easily be arranged in the course of a
preceding effect. Often it is advantageous to use .the spread cull described on page 187 to
accomplish this.
This bold switch of the cards (called the Jinx change) 56 is done openly, but passes
undetected because all the actions flow together and have an outward logic. Carefully study
the dynamics of shifting the gaze and the smooth sequencing of the actions.
Props
In addition to a deck of cards, you will need a large coin. Glue an easily recognized minia-
ture card (for example, the Two of Diamonds) to the tail-side of the coin. If miniature cards
are not available to you, you can use the index of a card from a regular deck Place the
coin in a small coin purse. If you wish, use a somewhat exotic coin and container, and write
a suitably odd story to go with them.
hnmediately shift your attention from the spectators to the coin and slip the card in your
right hand beneath it again-but this time with the miniature card displayed on the coin.
''I know, that wasn't bad, but you are probably a bit disappointed. You expected the real
Fi1W1Note
You can avoid the spread control by sim- convincing; and second, because it pro-
ply controlling the force card to the top vi des excellent cover for practicing
after the force. But I recommend the multiple techniques.
above version: first, because it is more
INDEX 249
peek control 72-74 squaring after the riffle shuffle 107-108
peek control for two cards 75-76 squaring the deck 19
Phenomenal Memory, A 145-146 stage manipulations 168
Pinetti, Giuseppe 7 step 33
piquet 6, 9 stock 40
poker-size decks 10-11 Stover, Mel 57
pop-up card 178 stud method of dealing 26
post-peek overhand shuffle control 74-75 swingcut 27
swivelcut 173-174
Q
Question Is ... , The 81 T
Tamariz, Juan xi, 7, 145, 203, 221
R Tarbell, Harlan x:ii
Red-black Location, The 113-114 Tarot 6
red-black overhand shuffle 113 Taytelbaum Ace production 115
reverse one-handed fan 182-183 Taytelbaum, Eddy 115
ribbon spread 35--36 terminology 3
ribbon spread control with a key card 143 Teschner, Rainer 224
ribbon spread turnover 183-184 theory 4
riffle force 224-226 Thot Echo 149
riffle shuffle, closed 105-107 Thought Stealer 49-51
riffle shuffle, Jack Merlin's 177-178 thumb break 32
riffle shuffle, open 108-109 thumb count 7 197-200
riffle shuffle starting position 105 time misdirection 85
riffle shuffle stock controls 109 tip-over addition 206-208
riffling the cards 34 top change 233-238
Rise and Swap 132 top change covers 236-238
Robert-Houdin, J. E. xii, 7, 221, 223, 232 transfer cuts 79, 94-98
Robinson, Fred xi, 189 treating cards 11
Rosini, Paul 147 Trick That Cannot be Explained, The 148
Rossetti, Carlo 7 Triple Coincidence 99-101
Roterberg, August xii, 7 triple cut from bottom to top 98
Rousseau, Jean Jacques 7 triple cut from top to bottom 97
Royal F1ush Finale 114-118 Trost, Nick 63
Royal Road to Card Magic, The xi.i, 49 turning over the top card I 169
running single cards 42 turning over the top card Il 170
turning over the top card ill 171
s turning over the top card IV 124
Scame, John 99 two-handed fan 179-180
Schwartz, Michael 116
Schwartz, Sam 149 u
Scot, Reginald 7 under-the-spread force 189-190
secret addition of cards 203-204
Seidenstein, "Moe" 145 v
Seventh Son of a Seventh Son 101-102
Veeser, Bob 51, 114
Shamus Card, The 80 Vernon, Dai xi, xii, 7, 74, 76, 94, 148, 168, 170
shuffle action 40 Vollmer, Richard 7
shuffling off 40
single, double and multiple push-over 211-212
skat 6, 10
w
ski-jump 29 waterfall riffle shuffle 110-112
slip cut from dealing position 61 "whoops!" control 68, 136
Slydini, Tony x:ii Williamson, David 202
soap 9 wind-up gag 179
Soma, Francesco 6 y
somersaulting card production 116
Spectator Cuts the Aces, The 31, 51-53 YourNumber-YourCard 147-148
spread cull 79, 187-189
spreading the cards in the hands 21
z
spring riffle shuffle 176-177 zinc sterate 11
inside of
the thumb
outside of
the thumb
upper heel of
the thumb
lower heel of
the thumb
inner joint
\
I
( fork of the thumb \
May of the Deck
Iii ii I
Top of t he Deck
(here, the back of the deck) upper outer edge
lower outer edge
Bottom of t he Deck
(here, the face of the deck)
upper inner edge
lower inner edge
I tiE l