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MEANS AND ENDS
J. K. HARTMAN
Transcribed, February 1973

J. K. Hartman

This manuscript is the fourth installment in a series, each of which has been successively
less thematic in subject matter. The first, Secret Subtraction, was concerned with a
single sleight, Odd Lifts with a single category of sleights, and Packet Magic with
routines and pertinent sleights having common structural characteristics. Means and
Ends is a general card work comprising miscellaneous sleights and routines, although
each part is divided into several relatively cohesive chapters.

The general comment can be made that some of the material in this manuscript is
somewhat older from the standpoint of chronology of creation than the contents of its
predecessors. For that reason, the items in question are probably less technically
sophisticated. By the same token, they have had more extensive seasoning and can be
offered with a greater historical guarantee of effectiveness. For example, the routine
entitled "Poker Face-Off" is the most impressive for laymen of any in the four
manuscripts. It also has the longest repertoire tenure.

These observations do not mean that all such material has not been continuously
rethought and updated as more varied skills and approaches have been assimilated.
Card magic too can become old fashioned, and it is essential that effects and methods
confidently thought of as time tested are not in reality time worn.

The only consciously unoriginal move included is the Half-Passed Turnover, a

previously unpublished concept of the late Lin Searles. Authorization to describe it was
received from him shortly before his tragic death during the Christmas season of 1972.
In giving it, he wrote, "You certainly have my permission to include the Half-Passed
Turnover in your manuscript. I doubt it would ever be published otherwise. My only
request as to the method of explanation is that it be done in English, a language seldom
used in magic books." To this imaginative, literate, humor filled man, Means and Ends
is dedicated.
 Contents
PART I: MEANS .................................................................................................................. 8
Chapter I: Riffle Selection Controls ................................................................................ 8
R. S. Switch .................................................................................................................. 8
R. S. Key Glimpse ......................................................................................................... 9
R. S. Jog Control ........................................................................................................ 10
R. S. Glimpse .............................................................................................................. 10
R. S. Bluff Controls ..................................................................................................... 11
R. S. Throw Forces ..................................................................................................... 12
Chapter II: A-D Multiple Control .................................................................................. 14
Chapter III: Variety Pack ............................................................................................... 18
Push Up Force ............................................................................................................ 18
Underturn .................................................................................................................. 18
Underturn Force ........................................................................................................ 19
The Catch Switch ....................................................................................................... 19
Swing Slip Cut ............................................................................................................ 20
Packet Palm ................................................................................................................ 20
Turnover Glide ........................................................................................................... 21
Friction Jog ................................................................................................................ 22
Knuckle Jog ................................................................................................................ 22
Plunger Top Shift ....................................................................................................... 22
New Wave Change ..................................................................................................... 24
Bluff Cull .................................................................................................................... 25
PART II: ENDS .................................................................................................................. 26
Chapter I: More With Four............................................................................................ 26
A La Card .................................................................................................................... 26
Four Downs ................................................................................................................ 26
PersuACEive............................................................................................................... 27
Four For All ................................................................................................................ 27
One Good Turn .......................................................................................................... 29
About Face I ............................................................................................................... 30
About Face II .............................................................................................................. 31
A Common Mistake ................................................................................................... 32
Invisible Cut ............................................................................................................... 33

5
 Over and Over ............................................................................................................ 34
Four-gone Delusion III .............................................................................................. 36
Overskill II ................................................................................................................. 38
Chapter II: The Witchcraft of Discoveries .................................................................... 41
Finders Leapers.......................................................................................................... 41
Uprising ...................................................................................................................... 41
A Choice Trick ............................................................................................................ 43
Three-D ...................................................................................................................... 44
Cross-Spell ................................................................................................................. 46
Drop Stop ................................................................................................................... 47
Two Strikes................................................................................................................. 48
Psychic Backstop ........................................................................................................ 49
Thought Over ............................................................................................................. 50
Chapter III: The Discovery of (Sand)Witchcraft........................................................... 52
Sandwich To Go ......................................................................................................... 52
Holy Sandwich ........................................................................................................... 53
Sandwichmaker.......................................................................................................... 53
Bread & Butter ........................................................................................................... 55
Hip Switch .................................................................................................................. 55
More or Less(or) Optical ............................................................................................ 56
Switch On A Switch .................................................................................................... 57
Sandwhichever ........................................................................................................... 58
Changemaker ............................................................................................................. 59
Search Flight .............................................................................................................. 60
Caught Red Handed ................................................................................................... 62
Change Collectors ...................................................................................................... 64
Chapter IV: Psychosomagic ........................................................................................... 66
Predictable Prediction ............................................................................................... 66
Under The Influence .................................................................................................. 68
Twocast ...................................................................................................................... 69
Compulsive Thinker ................................................................................................... 70
Hickory Dickory Deck .................................................................................................71
Thinking Spell ............................................................................................................ 73
Mentalias .................................................................................................................... 75
Think Twice ................................................................................................................ 76

6
 Teleapathy .................................................................................................................. 77
Crossed Thoughts ...................................................................................................... 78
Thought Thrust .......................................................................................................... 79
Poker Face-Off ...........................................................................................................80
Chapter V: Odd Ends ..................................................................................................... 83
Unfair Exchange ........................................................................................................ 83
Post-Hypnotic Card ................................................................................................... 83
Descardes I ................................................................................................................. 85
Descardes II ............................................................................................................... 87
Halt One Two ............................................................................................................. 89
Truth Detector............................................................................................................ 90
Hope For the Best ...................................................................................................... 91

7
 PART I: MEANS
Chapter I: Riffle Selection Controls
The first three of the following sleights represent no more than the incorporation in the
context of a riffle selection of a standard move not generally associated with a selection
process. As a matter of interest, the combinations, which comprise the only original
feature, have proved more useful and more applicable than the moves on which they
were based.

The specific sequence referred to in all cases below as the "Riffle Selection" is as follows.
Hold the deck in the left hand - forefinger curled beneath it, thumb at the outer left
corner, remaining fingers along the right side. The right hand is not in contact with the
deck.

Riffle down the outer left corner with the thumb and stop at a point indicated by a
spectator, holding the opening with the thumb. Cut off the upper section with the right
hand from above. Either the face card of the upper portion or the top card of the lower
portion can be exhibited as the selected card.

R. S. Switch

The purpose of this move, which is a simple extension of the side glide, is to substitute
an indifferent card for one freely and naturally selected by a spectator but not exposed to
the performer. Strangely, there is not an overabundance of methods for accomplishing
this objective despite its obvious utility. In performing almost any discovery, for
example, a selected card can be more freely manipulated to a desired position since in
the spectators' eyes it lays securely in view on the table.

Begin the riffle selection as described above. Separate the deck at the indicated place,
making sure that the first joints of the right fingers extend beyond the outer end of the
upper section so that they can comfortably curl onto its face.

Turn this section upright to show the bottom card to the spectator. At the same time,
trail the left hand after the right and point to the selected card with the extended left
second finger which makes light contact near its lower left corner. The back of the

8
forefinger falls onto the top card and the section is thus gently scissored between the tips
of the left first and second fingers, (See Figure 1)

Without changing the relative position of the hands, lower both sections.
Simultaneously, perform the Side Glide by pivoting the lowermost card of the upper
section to the right with the right fingertips. That card is thus pulled from the grip of the
right second finger which now contacts the one above it.

Without pause, slide out the latter card, the left first finger falling onto its back.
Gripping it between the left first and second fingers, deal it to the table. The timing
should be such that the removal of the card takes place at approximately the same
moment the packets reach the horizontal plane. The fact that the left second finger never
seems to lose contact with the selected card adds to the deception.

At this stage, there are several alternatives. If the actual selection is to be controlled to
the bottom of the deck, either (a) return the upper section onto the lower, executing a
Bottom Replacement; or (b) simply slide the original upper packet below the lower in
reassembling the deck. If the actual selection is to be controlled to the top, do not
resquare it after the Side Glide: allow it to remain jogged at the inner right corner as the
upper packet is replaced on the lower. Hook the left little finger over the jogged card to
form a break and cut or double cut.

R. S. Key Glimpse

Hold the deck in the left hand in position for the riffle selection, in this case the second
finger at the outer right corner. Perform the riffle and cut the deck at the indicated
point. Turn the top section to an upright position to show the face card to the spectator.

Trail the left hand after the right, extending the right forefinger to point to the selected
card, contacting its face near the lower left corner. In so doing, hold the section in the
left hand so that the lower end slants outward. The left thumb is in the same position as
after the riffle, its ball touching the top card at the upper left corner.

As you thus point to the selected card, buckle the uppermost card of the lower section by
sliding the left thumb slightly to the right. The second fingertip holds the outer right
corner of the card in place and the index of the card is exposed to a view from above.
(See Figure 2)

9
As soon as the glimpse takes place, which is at the same moment the spectator is noting
his card, relax the pressure of the left thumb to release the buckle. Lower both sections
and reassemble the deck. A key has been established under the selection. The basic
action is, of course, the standard Top Card Glimpse (Expert Card Technique, Hugard
and Braue, 1st. edit., p. 100).

The sleight can also be used to learn the name of one of two free selections. Ask
Spectator One to note the lowermost card of the upper section and perform the Key
Glimpse as described above. Follow by allowing Spectator Two to note the top card of
the lower section. Since the position of both cards were arrived at by chance, the
selection seems fair.

R. S. Jog Control

Perform the riffle selection and cut the deck at the indicated point. Turn the top section
to an upright position to show the face card. Trail the left hand after the right, the
forefinger extending to point to the selection, the thumb straightening normally to lay
diagonally across the back of the uppermost card. As the spectator notes his card, injog
the top card of the lower section about a quarter-of-an-inch with the left thumb. Lower
the hands, reassembling the deck without disturbing the injog.

Take the deck at the inner right corner with the right hand - thumb above, remaining
fingers curled beneath, the corner more or less in the thumb crotch. Strike the left long
side of the deck against the table top in a squaring action which seems to obviate breaks
or other means of control. Return the deck to the left hand and control the selected card
to the bottom (establish a break above the injog) or second from bottom (establish a
break below the injog) via double cutting or overhand shuffling. (The starting point here
is the Thumb Jog, Andrus Deals You In, Andrus, p. 81).

R. S. Glimpse

Perform the riffle selection, separating the deck at the indicated point. Turn the lower
half to an upright position and push off the uppermost card sufficiently to expose the
index corner - approximately three- quarters of an inch.

When the spectator has noted the card, do not draw it back square. Lower the left hand,
the second and third fingertips contacting the face of the side-jogged card. Place the
upper section above the overhanging portion of this card. The outer ends of section and
card meet, the inner end of the section is raised about one-quarter-of-an-inch to allow
the tip of the right thumb to touch the inner edge of the selection. (See Figure 3)

Moving the left thumb aside to accommodate the action, slide the upper section to the
left until it is square with the lower, maintaining the raised position of its inner end until
the sections are aligned. In the process, however, freeze the selected card in a stationary
position by exerting gentle downward pressure with the right hand against the left
fingertips and maintaining firm contact with the right thumb and fingers at each end.

10
That card will thus continue to be sidejogged under cover of the right hand when the
deck proper has been reassembled.

A "turnaround" squaring action is now performed: twist the deck to an upright position
with the right hand - backs toward the spectators, thumb end up, fingers end down.
Square the sides of the deck and the jogged card with it by running the left fingers and
thumb downward from upper end to lower end, simultaneously glimpsing the selection.
When the thumb and first and second fingers reach the lower end, grasp the deck there
with them and turn the hand palm up, carrying the deck to a face down position.

The action of sliding the upper section over the selected card without changing its
position is completely deceptive and virtually automatic. The Glimpse was derived from
the move used in Edward Marlo's "Bold Prediction" (The Cardician, 1st edit., p. 142)
and his Turnaround Glimpse (The Multiple Shift, p. 56).

R. S. Bluff Controls

Perform the riffle selection, cutting the deck at the indicated point. Turn the lower
section upright and push the uppermost card to the right so that the spectator can note
it. Lower the hand, pulling back the selected card and obtaining a break under it.

In the same motion, begin to replace the upper section. As soon as it rests on top of the
selected card, immediately lift it off again, taking the selection with it. At the same time,
push the top card of the lower section to the right and point to this card - ostensibly the
selection - with the extended right forefinger, making a remark such as, "Your card is
not the Joker, is it?"

Your attitude should be one of momentary forgetfulness and, of course, your remark
should have some relationship to the routine being performed. The procedure from this
position (Position I for purposes of explanation) can vary. For example, draw back the
uppermost card of the lower section, angling it to the left so that it extends over the
outer left corner of the packet. Replace the upper section, executing a Bottom
Replacement. Meticulously straighten the protruding card and push it cleanly into the
deck. The selection has been controlled to the bottom.

Returning to Position I, simply drop the upper packet on the table. Deal the supposed
selected card on top of it. Place the other section on top of all. Again the selection has
been controlled to the bottom.

11
(b) Returning again to Position I, in the act of pointing to the supposed selected card
with the right forefinger twist the right hand forward so that the section it holds is in
more of an upright position. A view from above allows you to glimpse the bottom card of
this section which is, of course, the actual selection. That card can then be either
controlled as described above or left in the center of the deck.

(c) The same idea can be used to control the card to the top of the deck. Begin the riffle
selection procedure as before. Cut the deck at the indicated point. Turn the lower section
to an upright position and push the uppermost card to the right so that the spectator can
note it. Meanwhile, with the right hand, obtain a break above the lowermost card of its
packet with the thumbtip, using the Drop Switch preparatory move.

Lower the left hand, squaring the selected card without obtaining a break under it. In
the same motion, begin to replace the upper section. As soon as it is directly over the
lower, release the card held by the right thumbtip. Immediately withdraw the upper
section as before, pushing the top card of the other section to the right and pointing to it
with the extended right forefinger. Make the type of remark suggested above. Drop the
upper section on the table, deal the supposed selection on top of it, and place the
balance on top of all.

R. S. Throw Forces

The following are alternative handlings for the standard riffle force.

(a) With the deck in the left hand, hold a break under the force card at around the center
of the deck. Riffle the outer left corner with the thumb, inviting a spectator to call stop.
Hold the opening at the indicated point with the thumb as usual. With a sharp wrist
turn, tilt the deck to an upright position, at the same time releasing that opening by
relaxing the thumb, and toss the section above the break into the waiting right hand.

The latter receives the cards in an upright position - fingers at the upper end, thumb at
the lower end. In a continuing motion, raise the upper section so that its face card is
fully visible, apparently the card at the designated point. The actions will work as well
whether the spectator calls stop above or below the original break.

(b) In this case, situate the force card slightly below the middle of the deck and maintain
a break above it. Time the riffle so that a spectator will call stop somewhere above the
break. With a sidewise throwing motion, toss the section above the break face down
onto the table or into the right hand, which receives it more or less in dealing position.
Do not consciously release the opening held by the left thumb - it will dissolve
automatically - and the thumb will end up in an apparently unchanged position, but
above the force card.

(c) hold a break over the force card around the middle of the deck. Riffle the outer left
corner of the deck with the thumb, stopping when so instructed. This point can be above
or below the break. Turn the left hand palm down to apparently toss or drop the upper

12
section face up onto the table. Actually, lose the opening by relaxing the thumb and
release the cards below the break.

Immediately turn the left hand palm up, at the same time reassuming the prior position
of the left thumb by bending down the outer left corner. Shove off the top card of the
section in hand as the selected card, and the force is complete. (If the routine involved
permits the selected card to be exposed, the same means can be used to force the face
card of the original upper section.)

This handling is particularly deceptive as a multiple force. For example, assume that it is
necessary to force the four Aces. Secretly alternate them with indifferent cards on top of
the deck (e.g., via a Faro Shuffle) with an Ace uppermost. Perform a swing cut and
maintain a break between sections. Now execute the Throw Force as described.

Turn the left hand palm up and shove off the top card to the table as the first selection.
At the same time, allow the thumb to push the next card slightly to the right as well and
obtain a break beneath it as it is resquared. Still without using the right hand (which
plays no part in the sequence), reassemble the deck by turning the left hand palm down
and picking up the tabled section beneath the cards it holds.

Repeat the identical series of actions to force the other three Aces. A different card
appears on the face of the upper section as it lands on the table each time, lending
credence to the suggestion that the selections have come from different parts of the
deck. The exclusive use of the left hand also gives a more casual and uncontrolled
appearance.

13
 Chapter II: A-D Multiple Control
The A-D Control is a very easy means of controlling any number of selected cards to the
top, to the bottom, or both. Several selections can be controlled to the top - others to the
bottom, and some to designated positions from the top or bottom. They can be
controlled to the top in the order selected, in reverse order, or in some other order.
Moreover, the selection procedure is the type which does not necessitate spectators
actually removing and replacing their cards. The handling may seem a bit awkward, but
it is completely deceptive to laymen and, in fact, will confuse other cardmen.

Begin with the cards in normal dealing position in the left hand. Take the deck at the
inner right corner with the right hand - thumb on top, fingers curled beneath - the
corner more or less in the thumb crotch. Square it by striking its left side against the
table, the bottom card facing to the right so that it is not visible to the spectators.
Alternately, strike its left side against the palm of the extended left hand.

Arch the left hand over the deck in the position usually assumed by the right: forefinger
curled on top, remaining fingers at the outer end, thumb at the inner end. Slide the deck
inward until the right hand assumes a normal dealing position. The whole series of
actions is solely intended to provide a natural transfer of the deck from dealing position
in the left hand to dealing position in the right hand. In the following descriptions, it will
be labeled the Transfer.

(a) With the deck in dealing position in the right hand, spread the cards into the left
hand - the usual action to permit a card to be selected but with the roles of the hands
reversed. As you do so, request Spectator One to point to a card. Separate the spread
with the designated card on top of the portion in the right hand. With the left fingers,
close up the section they hold and take the selection on top of it, sidejogged to the right
for half its width and held in place by the left thumb.

Raise the left hand to allow the spectator to note his card. At the same time, close up the
section in the right hand; then with the fingers from below, kick out the lower cards to
create a semi-fanned appearance. Draw the selection square as you lower the left hand.
Reassemble the deck by placing the section in the right hand on top of the one in the
left, obtaining a break between them. Double cut to the break and the first selection is
on top of the deck.

Perform the Transfer. Repeat the identical actions described above for the selection of
the required number of cards. After the final double cut, the chosen cards will be on top
of the deck in reverse order. Note that the bottom card does not change throughout, and
thus the squaring actions constituting the Transfer must not expose it.

(b) Assume that the second selection must be controlled to the bottom. Control the first
card to the top as explained and perform the Transfer. Proceed as described through the
display of a second card to Spectator Two. As the left hand is lowered, obtain a break
below the selection as it is drawn square. Reassemble the deck by placing the section in
the right hand on top of the other and double cut to the break. The second selection is on

14
the bottom, the first selection remains on top. Cards can be controlled to the top or
bottom at will by obtaining breaks either above or below them.

(c) Assume that it is necessary to control four cards to the top of the deck in the actual
order of selection - the first on top, the second from top, etc. Control the first three to
the bottom of the deck, Perform the Transfer. Arch the left hand over the deck to square
it and position it properly in the right hand.

With the left thumb, riffle off the bottom three cards. Slide the balance of the deck
forward for about a half-inch and then inward again, injogging the upper card of the
lowermost threesome with the left thumbtip. Now proceed with the selection of the
fourth card.

Show it and draw it square. Reassemble the deck by sliding the section in the right hand
on top of the one in the left without obtaining any breaks. Arch the right hand over the
deck, press down on the injog while squaring it to form a break, and double cut to the
break. The selections are on the top of the deck in the desired order.

As an alternative, the injog can be accomplished before the Transfer, with the deck in
dealing position in the left hand via the identical maneuvers. The Transfer can then be
performed normally without disturbing the injog.

(d) Assume it is necessary to control one or more selected cards to a particular position
from the top - for example, under the top four cards. If three selections are involved,
control the first two to the top as described. In preparing for the third card to be
selected, injog the fourth from bottom card. Proceed with the third selection,
reassembling the deck without obtaining any breaks. Form a break above the injog and
double cut to the break.

(e) By way of example of the kind of extensive rearrangement which can be

accomplished, assume that selection #1 is to be controlled to the bottom of the deck, #2
to second from top, #3 to the top, and #4 to third from the top. Control #1 to the
bottom. Control #2 to the top. Perform the Transfer and spread the deck from right to
left for the third selection.

Take it on top of the section in the left hand as usual, in this case making sure that the
left thumb is not fully extended. Raise the section to show the card. As it is lowered,
straighten the left thumb so that the selection and the card below it are both pushed
slightly to the right. Now when the deck is reassembled, a break is easily obtained under
the second card of the lower section.

Double cut as before and injog the second from bottom card. Proceed with the selection
of the fourth card. Reassemble the deck, form a break above the injog, and double cut to
the break. The selections have been brought to the desired positions.

(f) As another example, in a routine described in later pages entitled "Post-Hypnotic

Card", it is necessary for the selections to be controlled in 2- 4-1-3 order from top down.

15
One means of so doing is described with the routine. The following is an alternative
using the A-D control.

Control selection #1 to the top. In displaying selection #2, crook the left thumb as
explained above so that a break can be obtained beneath the second card of the lower
section as the deck is reassembled. Double cut to the break.

Injog the bottom card and continue with the selection of a third card. Form a break
above the injog as the deck is reassembled and double cut to it. Again injog the bottom
card and have a fourth card selected. Form a break above the injog after reassembling
the deck and double cut to the break.

(g) Twofer. Secretly reverse a 4, 5, or 6 spot on the bottom of the deck - for purposes of
explanation, assume it is a four. Hold the deck face down in the left hand. Arch the right
hand above it, and with the thumb riffle off four cards from the bottom. Move the
balance slightly forward and then back again, the right thumbtip injogging the
uppermost of the bottom four cards in the process.

Obtain a break below the top three cards (one less than the value of the reversed card).
Cut these three cards to the bottom of the deck without disturbing the injog using a
straddle grip Overcut (Packet Magic, p. 67). Perform the Transfer and allow Spectator
One to make a selection. Reassemble the deck, form a break above the injog, and double
cut.

Perform the Transfer and have Spectator Two select a card, making sure not to expose
the reversed card near the top of the deck. Reassemble the deck without obtaining any
breaks and place it on the table. Ribbon spread it from right to left to show the reversed
Four in the center.

Ask each spectator if it is his card. When they reply that it isn't, comment, "It must be
trying to tell us something". Using the value of the card, simultaneously count aloud to
the fourth card above it with the left hand and the fourth card below it with the right.
Push out each, ask for the names of the selections, and turn over the two cards.

(h) The following very specific application can be performed without the cross-handed
feature, but in doing so the final actions seem less natural and comfortable. In it, one
selected or known card has been controlled to the top of the deck, another to the bottom.
It is necessary for a third card apparently to be reversed at random in the middle of the
deck but actually to be secretly positioned between the two selections.

With the two cards in place at top and bottom, perform the Transfer and ask a spectator
to point to a card as you spread the deck from right to left. Separate the deck with the
designated card on top of the section in the right hand. As the left hand squares its
cards, turn the hand palm down. Clasp the designated card, still face down, beneath the
section in the left hand.

16
Turn the left hand palm up, exposing the face of the card. At the same time, kick out the
lowermost cards of the section in the right hand with the fingers from beneath.
Reassemble the deck, the face up card in the middle, still apparently at the point it
occupied originally. It is positioned as desired.

(i) Note that in the preceding maneuver, the bottom card of the deck is not exposed,
contrasting it to the different technique incorporated in Bill Simon's "Business Card
Prophecy" (Effective Card Magic, Simon, p. 32). Another fine Bill Simon routine
("Double Play", Ibidem #24, p. 7) can be worked quite conveniently with both the
regular A-D control and this last application. The following handling, which
incorporates these as well as other technical changes, is described as another example of
this control system in action.

Have a spectator select a card and control it to the top. Have a second spectator select a
card and control it to the top as well. Proceed as in variation (h) to have either spectator
point to a third card which is apparently reversed in place in the center of the deck.

With the deck squared in the left hand, spread it in the normal way as you ostensibly
remind yourself that the reversed card should be protruding from the deck. Outjog the
card, and obtain a break two cards beneath it as the deck is resquared. Lift off the
section above the break with the right fingers and thumb, taking it near the inner right
corner. Use it to lever face up the uppermost card of the lower section - presumably the
card beneath the reversed card. Ask, "Does this card belong to either of you?"

When both spectators reply in the negative, lever the card face down and replace the
upper packet flush onto the lower. Ask, "How about this card?" At the same time, lift the
section above the protruding reversed card with the right hand from above. Turn the
hand palm up, showing the card over the reversed card. Again, both spectators reply in
the negative.

Begin to replace the upper packet, but slightly forward of the lower, the right thumbtip
contacting the top card of the lower packet around a quarter-of-an-inch from its inner
end. Draw the upper section inward and release it squarely onto the lower, the right
thumbtip injogging the card it contacts in the process. Lift up on the injog with the
thumb while squaring it and obtain a break under it with the left little finger.

Extending the left hand, ask Spectator One to tap the underside of the reversed card and
to name his. Ask Spectator Two to tap its face and to name his card. Lift off the section
above the break with the right fingers and thumb, taking it near the inner right corner.
Use this section to lever face up the uppermost card of the lower section. It is the first
spectator's selection.

Clasp the upper section on the lower, overhanging its outer right corner so that the first
selection is still visible. Withdraw the outjogged card and toss it on the table. Turn the
upper section face up and hold it on top of the lower, overhanging its right side. The
second card thus exposed is the other selection.

17
 Chapter III: Variety Pack
Push Up Force

With the deck in the left hand, hold a break under the force card which is situated
around two thirds of the way down. Request a spectator to lift off a small portion of the
deck, shift it toward himself for about half its length, and replace it, "...like this". By way
of demonstration, cut off about one third of the deck and outjog it for half its length.
There is little danger of the spectator overshooting the break in following your
directions.

When he has done so, arch the right hand over the deck, forefinger curled on the back of
the upper section, remaining fingers at its outer end, thumb at the inner end of the
lower section. Tilt the deck very slightly upward to mask the exact position of the right
thumb.

In what amounts to a single action, push forward the upper block of the bottom section
(above the break) until it is flush with the top section and lift off the two as an entity,
tilting it upright. (See Figure 4) The actions of pushing forward and lifting off are
practically simultaneous and the combined movement virtually automatic. It appears to
the spectator that you simply removed the section he shifted forward originally.

Underturn

The following sleight was explained in Epilogue #7, p. 1 and has been utilized in routines
included in the previous manuscripts. It is also incorporated in several routines to be
described in later pages, and "by popular request" the description is repeated below.

With the deck in the left hand, perform a double turnover using an end- for-end
technique. Leave the double card overhanging the outer end of the deck by
approximately a quarter-of-an-inch. Call attention to the name of the card thus
displayed. Apparently turn it face down, again in an end-for-end manner by grasping it
at the outer right corner between the thumb and first and second fingertips of the right
hand. Actually, perform the following actions.

As the right hand approaches the card, tilt the outer end of the deck upward to meet it.
As the right fingers and thumb start to remove the card, the left thumb, lying diagonally

18
across its face, glides the uppermost card inward until it is injogged about an eighth-of-
an-inch. The right fingers thus draw out the second card, and do so until it is free and its
inner end catches on the left forefinger which has curled around the outer end of the
deck.

This card is then pivoted face down on top of the deck, the left thumb moving aside to
accommodate the action. As it folds face down, concealing the reversed card below it,
the deck is gradually lowered to a horizontal position and the inner end of the top two
cards squared with the right thumb. A few moments in front of a mirror will indicate the
proper timing here. Outwardly, the top card has been turned face up and then face
down.

Thumb-gliding the top card to an injog position eases the freeing of the second card and
reduces visibility from the front, The use of an end-for-end variety of double turnover
provides consistency with the Underturn technique and greater naturalness in
depositing the double card in an outjogged position.

Underturn Force

Hold the deck in the left hand with the force card on top. Request a spectator to shift a
portion of the deck toward himself for about one third of its length "...like this." To
demonstrate, lift off about one third of the deck and replace it in an outjogged position.

After the spectator follows your instructions, tilt the deck upward and grasp the upper
packet at its outer end. Turn it face up onto the lower, at the same time performing the
Underturn move with the top card. As you do so, say, "You have cut to this card - which
we can all see."

Ribbon spread the deck on the table or simply push off the face up cards into the right
hand. Point to the first face down card as you say, "...and you have also cut to this card,
which none of us can see." Ask the spectator to remove that card as his selection. It is
the force card.

The Catch Switch

Hold the deck in the left hand and cut off the upper half with the right hand from above.
Push the uppermost card of the lower section to the right and use the upper section to
lever it face up. Call attention to the name of the card thus exposed.

Push the card to the right again and use the upper section to begin to lever the card face
down. In order for it to land flush on the lower section, it is necessary to move the left
thumb aside. Do just that, but at the same time perform a squeezing action with the left
hand so that the heel of the thumb bulges over the edge of the lower packet. Accordingly,
when the card is levered face down a flesh break has been created beneath it.

In the meantime, continue the natural flow of the right hand so that the upper section
moves directly over the lower. Press down at the outer end to coalesce the two sections

19
at that point. The break remains at the inner end, however, and the card above it
automatically joins with the upper section to become its bottom card.

Without hesitation, withdraw the upper section and thumb off the top card of the lower
section to be taken as the card just shown. Replace the upper section either executing a
Bottom Replacement or simply holding a break and double cutting to it. The card
actually shown is the one on the bottom of the deck.

This move is an alternative to Edward Marlo's method described in "Cardillusion",

Mental Cases With Cards, Warren Wiersbe. In the Catch Switch, the movement of the
left thumb from a spectator's perspective is just as it was when the card was legitimately
levered face up. Both handlings allow switches of more than one card without
reassembling the deck, occasionally an advantage over the Drop Switch.

A combination of the Catch Switch and the Drop Switch permits a very straightforward
transposition. Hold the deck from above with the right hand and rapidly pull off cards
with the left thumb. Have a spectator call stop at any point. Lever the last card pulled off
face up. Assume it is the Ace of Spades. Lever it face down, performing the Catch Switch.

Pull off one more card and lever it face up. Assume it is the King of Hearts. Prepare for
the Drop Switch and perform it as the King of Hearts is levered face down. Thumb off
the supposed King onto the table. Thumb off the next card, calling it the Ace of Spades.
Finally, show that the two cards have changed places.

Swing Slip Cut

This move is an elaboration of the Marlo Slip Cut designed to duplicate a fair cutting
procedure. The deck is held loosely in the left hand, thumb across the top. Arch the right
hand over the deck, and with the forefinger lift up the upper half in standard Swing Cut
fashion. Swing this portion to the left and into the left thumb crotch. The left fingers
retain their grip on the lower portion and the right forefinger on the upper.

Separate the hands, the left hand drawing the lower portion to the left, the left thumb
simultaneously pulling onto it the top card of the deck. The cards align properly
automatically, and the action is completed by carrying the section in the left hand below
that in the right to reassemble the deck. As in the standard Swing Cut, the right hand
remains virtually stationary, with the left hand responsible for most of the motion.

Packet Palm

This move provides an undetectable means of palming one or more cards from a small
packet in the act of turning it over. Assume that you are using a six card packet. It is
necessary to palm the top two cards. Start with the packet face up in the left hand.

Grip the packet at the right corners with the right hand from above - second finger at the
outer corner, thumb at the inner corner. Riffle off the two lowermost cards with the
right thumb. Hold a break above them with the left little finger while the right forefinger

20
replaces the second finger at the outer right corner. Maintaining the break with the right
thumbtip, release the grip of the left hand. Scissor the packet at the center of its left edge
between the tips of the left forefinger and second finger.

These fingers revolve the packet face down by swinging the left side down and up, the
right forefinger and thumb acting as pivot points. When the packet arrives face down, it
will rest in more or less normal position in the left hand. Additionally, the two
uppermost cards have been jogged automatically at the inner corners. The right thumb
will still be making contact with the inner left corners of both the packet proper and the
jogged cards.

Release contact with the latter by bending the thumb at the first joint and pressing down
the corner of the packet proper. The upper two cards will automatically assume palming
position. (See Figure 5) Clench the right hand slightly to grip these two cards in a full
palm. Without pause, slide the right hand to the right until it again contacts the packet
proper at the right corners.

The automatic jogging feature can also be applied to regain a break after turning over a
packet. Start with the packet face up in the left hand. Assume that it is necessary to turn
it over and follow immediately with a Double Lift. Take the packet at the right corners as
before and obtain a break over the lowermost two cards.

Pivot the packet face down as described above, In this case, simply retake it in the left
hand, the little finger easily obtaining a break beneath the automatically jogged cards in
readiness for the required Double Lift.

Turnover Glide

The purpose of this elemental maneuver is to perform a standard Glide but to end up
with the deck held in a regulation position. Start with the deck face up in the left hand,
the left side raised and held by the thumb. Call attention to the face card. Turn the hand
palm down performing the Glide as usual as the hand turns.

Grip the outer end of the deck with the right hand - thumb on top, first and second
fingers beneath contacting the bottom and second from bottom cards. Holding the deck
thus with the right hand, rotate the left hand palm up beneath it. Retake it with that
hand in dealing position as the right fingers withdraw the second from bottom card.
Press inward with the left forefinger against the outer end to square the deck with the
glided card.

21
Friction Jog

The following is a simple means of performing the diagonal jog without any obvious
angling as the card is pushed square. As such, it has a similarity to Jerry Andrus'
Diagonal Jog (Andrus Deals You In, p. 46), although the actual mechanics are different.

With the deck in the left hand, insert a card into it for two thirds of its length. The left
thumb is alongside the left side of the deck, the end of the thumb extending past the
outer end so that it is actually next to the protruding card. Because of the natural
outward curve of the thumb, it does not actually make contact (or only makes light
contact) with the edge of that card. The left forefinger presses against the outer right
corner of the deck and also against the edge of the protruding card.

Extend the right hand over the deck, thumb at the inner end, fingers at the outer edge of
the protruding card. Push the card into the deck without trying to angle it. At the same
time, tighten the grip of the left forefinger and relax the grip of the other fingers.

Because of the friction provided by the forefinger which is not counterbalanced at the
opposite edge, the card will angle as it goes into the deck and will be jogged at its inner
right corner. Conclude the action as usual by establishing a break either above or below
it with the little finger.

Knuckle Jog

This move is a very simple maneuver designed to accommodate the formation of a break
above the bottom card of the deck. It is thus useful as an occasional substitute for a
buckle or Pull Down. Begin with the deck in the left hand nearer the fingertips than
usual, more or less in Charlier cut position. Curl the forefinger beneath it, its first
section bent flush against the face card.

Bring the right hand over the deck to take it by the ends, the forefinger curled on top. At
the same time, move the left forefinger very slightly inward to injog the bottom card for
about half the width of its white border. Push down on the injog with the right thumb to
obtain a break above it. The right hand thus holds the deck in proper position for a
Reverse Biddle, a Reverse Double Undercut, a Drop Switch (after a Swing Cut), etc.

Plunger Top Shift

The plunger principle, of course, has been applied before to the multiple shift, both to
control cards to the top or the bottom (Simple Shift, The Cardician, Edward Marlo, 1st
edit., p. 55) and to a specific position from the top or bottom (variation #9, The Multiple
Shift, Edward Marlo, p. 38). The former applications requires some type of secondary
cutting action. The following move utilizes the principle to shift cards to the top or
bottom without this additional step. The hand positions more nearly approximate those
used in connection with the traditional Vernon shift and its variants rather than the
somewhat more natural grip of the Simple Shift.

22
With the specific cards involved on the table (e.g. the four Aces), thumb fan or pressure
fan the deck face down in the left hand. Insert the Aces at various separate points in the
fan for two thirds of their lengths. Make sure that at least ten or twelve cards are
beneath the lowermost Ace (on the left). Close the fan from right to left.

Making a slight body turn to the left, square the deck momentarily between both hands:
the back of the cards angling toward the spectators, left thumb at the upper long side
close to the far end, left second and third fingers opposite it at the lower long side,
forefinger at the ends of the protruding cards; right thumb at the center of the upper
long side, fingers together along the opposite long side. (See Figure 6)

Release the grip of the left hand and adjust its position by sliding the thumb and second
fingers along their respective sides until they contact the jogged cards rather than the
deck proper. Curl the left third finger behind the Aces, its nail touching the face of the
lowermost Ace and its tip the upper edge of the block of card: beneath the Aces. (See
Figure 7)

Pull back lightly on the uppermost Ace with the left forefinger to very slightly compress
the ends of the Aces together. Push them square by moving the left hand, fingers frozen,
toward the right hand, the same action causing the left third finger to propel the block of
cards below the Aces and activating the plunger principle to propel the blocks of cards
between the Aces.

When the Aces are almost flush, again change the position of the hands. The left
forefinger stays in place. The left thumb and second finger slide along their respective
sides to grip the block of cards above the Aces. The third finger curls inward to
accommodate the action and then presses against the face of the lowermost block. Exert
sufficient pressure so that the right hand can release its hold, the thumb and second
finger sliding along their respective sides to grip the "plunged" blocks. (See Figure 8)

23
This change in position is virtually instantaneous, and without discernible pause the left
forefinger finishes the action of pushing the Aces square with the upper block.
Simultaneously, the right thumb and second finger strip out the remaining blocks as an
entity, placing them on top of the balance of the deck in a cutting action. The Aces have
been controlled to the bottom.

Incidentally, it may not be a generally appreciated fact that the Simple Shift or its
variants can be used to control cards to a specific position either from the top or the
bottom regardless of whether the deck is face up or face down. For example, if it is
necessary to control four Aces to the third position from the bottom of the deck with the
deck face down, insert the lowermost one just above the third from bottom card and
perform the Simple Shift as usual.

If it is necessary to control the Aces to a position third from the top with the deck face
down, insert the uppermost Ace below the third from top card. Perform the Simple Shift
and hold a break between the sections as the strip-out cut is completed. Cut or double
cut to the break and the Aces are positioned as desired.

New Wave Change

Hold the deck face up in the left hand, the thumb along the left side. Arch the right hand
over it, the forefinger curled on the face card. Bend up the inner end and riffle off about
one third of the deck. Establishing a break with the left little finger at that point, riffle off
five or ten additional cards and remove the remainder. By glancing down as you riffle,
try to arrange cards of opposite colors at each stopping point.

Making a body turn to the left, raise the section in the left hand (Section 1) to a vertical
position, the face card toward the spectators. Perform a one hand fan with the section in
the right hand (Section 2). Call attention to the face card of Section 1 by tapping it with
Section 2.

Extend the right second, third, and fourth fingers behind the fan and move Section 2 in
front of Section 1 to cover it, the first joints of the right fingers striking its lower edge.
(See Figure 9) Twist Section 2 to a horizontal position in a fanning or waving action to
again expose Section 1. (See Figure 10) In the same way raise and lower Section 2 a
second time.

24
Raise Section 2 again. When the right fingers strike the lower edge of Section 1, allow the
left fingers to release the block in front of the break. When the right hand is lowered,
this block falls with it, the right fingers clasping it against the back of Section 2.

The face card of Section 1 appears to have changed, presumably as a result of the
fanning actions which are performed rapidly and without pauses. Conclude by lowering
both hands and allowing Section 2 to collapse into the left hand in front of Section 1. The
concealed block will thus be buried and lost in the middle of the deck.

Bluff Cull

As will be obvious, this idea is applicable to a limited number of situations, generally

connected with an opening trick. Assume that it is necessary for this purpose to cull the
four Aces to the top of the deck. Have the deck shuffled by a spectator. Take it back and
start to run through it with the faces toward you.

Comment, as you do so, "Instead of using 52 cards, I am going to use just four which I
had better make sure are in the deck and reasonably well separated." When you come to
the first Ace, separate the deck with the Ace as the face card of the section in the left
hand and, as is natural, slightly spread.

Slip the cards in the right hand, spread, behind the Ace upjogged for about half their
lengths, the rear card of the group aligned with the Ace. Lower all but that card, keeping
them behind the Ace and squaring them with it. An indifferent card is thus upjogged
and the Ace is at the face of the deck.

Continue the spread until you reach the second Ace. Perform the identical series of
actions to bring it to the face of the deck and upjog a second indifferent card. Repeat the
sequence with the third and fourth Aces. Make some comment to indicate that you are
satisfied ("That will do") and close the spread.

Meticulously push the four upjogged cards square. Now proceed with your introductory
routine, which might be something on the order of "Ace Chaser" (Packet Magic, p. 47),
"Cut-ups" (Packet Magic, p. 40), "Overskill II", or "A Common Mistake" (the latter two
described in later pages).

25
 PART II: ENDS
Chapter I: More With Four
A La Card

Assume that the four Queens are face up on the table following a preceding routine. The
deck is held in the left hand. Obtain a break under the top card. Begin by saying that you
are going to portray a little dinner party "...in which the four Queens play the part of the
guests..." As the remark is made, scoop up the Queens. With the right thumb, spread
them onto the deck from right to left (thus exposing the inner indices), outjogged by
about half their lengths.

Shift the lower Queen Con the right of the spread) as is necessary to feed its inner left
corner into the break. Release the break. Extending the left thumb along the side of the
deck, square the Queens against it, still outjogged. Arch the right hand over the packet
and move it forward. At the same time, contact the outer end of the lowermost Queen
with the left forefinger and push it square with the deck.

Follow through with the action of the right hand and place the Queen packet face up on
the table. (The sequence is an offshoot of techniques in Karl Fulves' Packet Switches.)
Turn the top card end-for-end face up on the deck, tilting the outer end upward in the
process to avoid exposing the face up Queen under it. Assume that the card thus
exposed is the Two of Clubs, continue your patter by saying, "...and the Two of Clubs
plays the part of the dinner!"

Turn the double card face down and deal the top card to the table. Place the rest of the
deck aside. Pick up the Queen packet, turn it face down, and hold it in Elmsley Count
position, by the fingertips of both hands at opposite long sides. Saying, "One-two-three-
four guests," perform the standard Elmsley Count moves, in this case false counting the
three cards as four. (Twisting the Aces, Dai Vernon’s More Inner Secrets of Card Magic,
Ganson, p. 5).

Without pause, begin the count again by taking off the first card. Use it to scoop up the
tabled card. Count the second card on top of it. As the third card is counted, steal back
the lowermost card (Jordan style), and deposit it on top of all as the fourth Queen.
During these actions, say, "One...two, three, four big appetites..." Pause for a moment,
then deal the cards face up on the table to show that the "dinner" has been devoured -
plate and all! (The plot is derived from Lin Searles' classic "Cannibal Cards.")

Four Downs

The following is an application of an idea utilized in an original transposition routine

entitled "Free Trade" (Card Cavalcade, Jerry Mentzer, p. 20). The approach given below
is somewhat easier for lay spectators to follow and therefore probably stronger in effect.

26
Begin with four Aces face up on the table. Cut the remainder of the deck in half. Leaving
one half face down on the table, take the other in the left hand face up and thumb fan or
pressure fan it. Insert the Aces face down at separate points in the fan but bunched
towards the center.

Close the fan and push the Aces square. Hold the section face up with the right hand
from above and place it on top of the section on the table, lifting the latter beneath it.
Rest the combined deck in the left hand and lift up on the inner end of the uppermost
two or three cards with the right thumb. Extend the deck and deposit it on the table in
front of a spectator, at the same time executing a half pass at the thumbtip break.

As you do so, request him to press down on the uppermost face up card, naming it.
Cleanly lift off the face up half via the natural break between sections. Ribbon spread it
on the table to show that the Aces are no longer there. Ribbon spread the face down half
to show the Aces reversed in it.

PersuACEive

With the Aces face up on the table, hold the deck face down in the left hand and obtain a
break beneath the top three cards. Scoop up the Aces face up, square them against the
top of the deck, and lift the entire block above the break with the right hand from above.

Using the Flourish Count Add-On (Secret Subtraction, p. 5) or any similar technique,
transfer each Ace face down beneath the packet. As you do so, call attention to the name
and position of the Ace by saying, for example, "The first Ace is the Ace of Hearts, the
second Ace is the Ace of Diamonds, the third Ace is the Ace of Clubs, the fourth and
most important Ace is the Ace of Spades." Deposit the packet on top of the deck,
obtaining a break beneath it.

Slide off the top card and insert it for half its length near the bottom of the deck. Insert
the next for half its length somewhat below the middle, the third somewhat above the
middle. As you do so, say, "The first three Aces go into the deck separate from each
other..." Push the outjogged cards squarely into the deck and perform a quadruple
turnover at the break, completing your sentence by saying, "...and separate from the
fourth Ace, the Ace of Spades."

Continue, "This one also goes into the center of the deck, but face up". Give the deck a
cut and place it on the table. State that the Ace of Spades exerts a special influence on
the other Aces, attracting them to it. Not only that, since the Ace of Spades is face up, the
others will turn face up as well. Concluding, "It all works out like this", ribbon spread
the deck on the table to show four Aces face up and together in the center.

Four For All

The classic Four Ace Trick is still a very strong spectator effect, almost more so because
many laymen are acquainted with elemental versions of it. There is thus some
justification for adding to the innumerable versions that have been developed through

27
the years. Begin with the four Aces on the table and the deck in the left hand. Turn the
Aces face down and distribute them in a horizontal row. Make sure that the spectators
have no doubt that they are, in fact, the Aces.

Saying, "We need three other cards...", push off the first three cards of the deck, taking
them with the right hand in a spread. Flip them face up onto the deck and respread
them between the hands saying, "...these three..." At the same time, give the deck a
pronounced bevel, enabling the right second finger to reach under the spread and lift the
first face down card along the right edge so that the left little finger can obtain a break
under it.

Square up all the cards and lift off the Block over the break. Complete your sentence by
saying, "...which go on this Ace", and place the packet squarely on one of the Aces. As
you say, "Another set of three... these three...go on this Ace", perform the identical series
of actions, placing the packet on a second Ace. Repeat the same sequence in conjunction
with the two remaining Aces.

Set the deck on the table. Ask a spectator to point to one of the packets. Pick up the one
designated with the right hand from above. Pull off each of the face up cards with the left
thumb. Place the remaining face down double card on top of all. As these actions take
place, say, "Three odd cards and an Ace." Turn the packet over.

Buckle the lowermost card with the left fingers and withdraw the card above it at the
inner right corner. It is an Ace as it should be, but do not call attention to its suit.
Revolve it face down and slide it back onto the bottom of the packet. At the same time,
say, "The only difference between this packet and the other three is that this is the one
you chose." Place the packet on the table to one side, making sure not to expose the
reversed card second from bottom.

Take the deck face down in the left hand. Pick up one of the undesignated Ace packets
with the right hand from above. Saying, "This packet consists of an Ace...", turn the hand
palm up to expose the Ace, positioning the hand so that the packet will be directly over
the deck when the hand is turned palm down. Continue, "...and three odd cards". As you
speak, turn the hand palm down, depositing the packet onto the deck, and spread the
three face up cards. Flip the face up cards face down.

Push off the uppermost four cards in a spread, taking it with the right hand. Hold the
spread apart from the deck momentarily so that the spectators can clearly see that it
consists of four cards. As these actions take place, say, "All four cards..." Make an
opening with the left thumb at around the middle of the deck and insert the four cards
in it. Push them square, completing your sentence by saying, "...into the center of the
deck."

Repeat the identical actions and patter with each of the other two undesignated packets.
After the last packet is inserted in the deck, obtain a break below the top three cards.
Pick up the chosen packet and place it on the deck, outjogged for one third of its length,
pointing out that it is the packet selected by the spectator at the outset. With the left

28
forefinger, push the packet square. Snap its back and turn over the entire block above
the break, depositing it squarely onto the deck.

Without hesitation, push off the four face up cards into the right hand to show them as
the four Aces. A face down card appears next, concealing three face up cards beneath it
which must be secretly righted. (The "wrong" Ace appears on top at the finale, but the
fact goes unobserved. At no time, however, should any mention be made of the suits of
the Aces as they are handled.)

One Good Turn

The following was inspired by a routine described in private correspondence with Karl
Fulves entitled "Aces Over". Another approach is his "Illusion Aces" (Epilogue #14, p.
6), The handling given below eliminates the need for any extra cards and provides a
change in procedure to serve as a climax.

This routine makes use of a "Fake Insertion" which will be described first. By way of
example, hold two Jokers in the left hand, the bottom one face up. Both are assumed to
be face down. The grip of the left hand should be such that the ball of the left thumb can
comfortably fall on the outer left corner of the upper card.

With the right hand, pick up another card face down at its inner right corner. With the
left thumb, draw back the upper Joker just enough to expose about as much white on
the lower card as equals the margin on the backs of the cards. The position of the thumb
hides any portion of the index of the lower card which might be inadvertently
uncovered.

If the card in the right hand were actually to be inserted between the Jokers, a natural
method is to place its outer right corner under the injogged end of the upper Joker, lift
up, and slide it forward. In this case, place the outer right corner of the card in the right
hand under the inner ends of both Jokers, lift up slightly, and slide it forward, squaring
it and all the cards at the same time. From the spectators' perspective, the actions look
exactly the same.

Assume that four Aces are face up on the table to begin the routine. Remove the Jokers
(or the two red Deuces) from the deck without as yet exposing their faces, dropping
them face down on the table. Set the rest of the deck aside. Pick up the face down Jokers
with the right hand and use them to scoop up the face up Aces. Turn the packet over into
the left hand.

With the right hand from above, lift the Jokers and, secretly taking with them the first
face down card. Apparently to display the two cards you just removed, pull off the first
Joker with the left thumb, maintaining a break beneath it. Place the double card now in
the right hand on top of all. Turn over the three cards above the break as two.

Again arch the right hand above the packet, forefinger curled on top. Lift up the inner
end of the top card and swing this end slightly to the right, again to expose about as

29
much white as resembles a back margin. In this position, remove the top two cards with
the right hand - apparently two face down Jokers. With the left hand, thumb off the
other four cards one at a time in a pile on the table. Transfer the "Jokers" to the left
hand, squaring them.

Pick up the first card from the Ace pile at its inner right corner without exposing its face.
Comment that all the action takes place between the Jokers. Perform the Fake Insertion
described above as you point out that this Ace faces the same way as the Jokers. Snap
the packet and draw back the top card for half its length to show that the Ace has turned
face up. Transfer the top card to the bottom of the packet and deal the Ace to the table.

Announce that the process will work from the other direction as well. Turn the "Jokers"
face up in the left hand, keeping them square. Pick up the second card from the Ace pile,
holding it face down. Perform the Fake Insertion, calling attention to the fact that now
the Ace is facing opposite to the Jokers. Snap the packet and draw back the upper card
to show the face of the Ace. Transfer the upper card beneath the packet. Turn the packet
face down. Slide out the Ace just shown from the bottom and deposit it face up on the
table.

Say that you will do it again the first way. Pick up the next card from the Ace pile,
holding it face down, and perform the Fake Insertion. Tap the packet and draw back the
top card to show the face up Ace. Transfer the top card to the bottom of the packet and
deal the Ace to the table.

Announce that you will do it one more time in a somewhat different manner. Pick up the
last "Ace", holding it face down. Perform the actions of the Fake Insertion, but in this
case actually insert the card between the two "Jokers". Obtain a break below this middle
card as it is pushed square. Point out that the Ace is facing the same way as the Jokers.

Say, "...but if I turn this Joker over..." Perform a Double Turnover. Take the packet with
the right hand from above. Slide out the lowermost card. Lever it face up, and slide it
back on the bottom, continuing, "...and this Joker over..." Place the packet on the table,
tap it, and spread it as you conclude, "...the Ace turns over too".

About Face I

The following two routines represent a somewhat different approach to a traditional

Hofzinser theme. A related predecessor is "A Curious Problem" (Packet Switches, Karl
Fulves, p. 6)

The Aces lay in a face up pile on the table with the Ace of Diamonds uppermost. The
deck is in the left hand with the four Twos on top, the Two of Diamonds uppermost.
Force the Two of Diamonds, allowing the spectator to retain the card. Reassemble the
deck so that the remaining Twos are back on top.

Spread the top few cards of the deck as you point out that the spectator might have
selected any of them. Resquare the cards, obtaining a break under the third from top.

30
Pick up the Ace packet with the right hand from above as you say, "But you could not
have selected one of the Aces." Continue, "Yet one of the Aces has the same suit as your
card. It could be..." Call the suits as you show each Ace as follows.

Move the Ace packet over the deck to allow the left thumb to pull off the first. At the
same time, engage the block over the break with the right thumb, carrying it with the
Ace packet but maintaining a break between them. As the first Ace is pulled off, obtain a
break under it with the left little finger.

Pull off the second Ace, simultaneously releasing beneath it the block below the right
thumbtip break. Follow by pulling off the third and fourth Aces. Turn over all the cards
above the break as you apparently turn the Aces face down. Without hesitation, lift the
top four cards with the right hand from above, the reversed cards making the action
automatic.

Set the deck aside. Ask the spectator to think of the Ace with the suit of his selection.
Execute the Vernon Thru the Fist move, presumably a magical flourish, to secretly
reverse the packet. Spread the packet on the table to show the face up Ace of Diamonds.
When the spectator agrees that Diamonds is the right suit, ask him to turn his chosen
card face up to show which Diamond it is. Finally, tell him he concentrated so well that
something else happened. Turn over the three face down "Aces" to show that they now
match the value of his selection.

About Face II

The four Aces lay on the table in a face up pile with the Ace of Diamonds uppermost.
Four Twos are on top of the deck, the Two of Diamonds fourth from top and face up.
With the deck in the left hand, riffle the outer left corner (starting below the reversed
card), asking a spectator to call 'stop'. At the point so indicated, turn the upper section
face up onto the balance of the deck.

Begin spreading the face up cards from left hand to right, pointing out that the spectator
might have chosen any of these cards. Break the deck when the first face down card
appears on top of the section in the left hand, taking care not to spread it too. Saying,
"And this is the one you did choose, "tilt the section in the left hand to a vertical position
and push the top card to the right to allow the spectator to note it.

Pull it square and lower the section back to a horizontal position. Square the face up
cards in the right hand on top of the section in the left. Without pause, lift up below the
lowest face up card with the right hand from above, and revolve all the cards in the
upper section over onto the balance. The reversed cards make the action virtually
automatic. The selected card apparently has been left in place in the middle of the deck,
but the order is actually the same as at the outset.

As the actions take place, say, "The one thing we are sure of is that it is not an Ace." Lift
up on the reversed card fourth from top and obtain a break beneath it with the left little
finger. Pick up the Ace packet with the right hand from above. Continue, "Yet one of the

31
Aces has the same suit as your card. It could be..." Call the suits as you show each Ace as
follows.

Move the Aces over the deck to allow the left thumb to pull off the first. At the same
time, engage the block above the break with the right thumb, carrying it with the Ace
packet but maintaining a break between them. As the first Ace is pulled off, obtain a
break under it with the left little finger.

Pull off the second Ace, simultaneously releasing beneath it the block below the right
thumbtip break. Follow by pulling off the third and fourth Aces. Turn over all the cards
above the break as you apparently turn the Aces face down. Without hesitation, lift the
top five cards with the right hand from above, the reversed cards again making the
action automatic.

Set the deck aside. Ask the spectator to think of the Ace with the suit of his selection.
Perform the Vernon Thru the Fist move, presumably a magical flourish, to secretly
reverse the packet. Count the cards in a spread from left hand to right without reversing
their order, executing a buckle or block push-off on the third count. The last card shows
as the face up Ace of Diamonds.

When the spectator agrees that Diamonds is the right suit, ask him to think of the
Diamond he actually selected. Square the packet, snap it, and again count the cards, on
this occasion counting the first three and holding the last two squared as one. The Two
of Diamonds now appears face up. Finally, tell the spectator he concentrated so well that
something else happened. Turn the three face down cards face up onto the double card,
spreading them to show four Twos.

A Common Mistake

This idea is a simple extension of Milton Kort's "Kortially Yours" (Kort Is Now in
Session, p. 7) which, incidentally, is an extremely effective routine for laymen. As the
basis for the mechanics, a double lift has been substituted for a pre-reversed card.
Curiously, subsequent to the development of this "improvement", a rereading of the Jinx
file turned up the identical solution to a similar problem entitled "Spurious Pelf" by Kent
Arthur (Jinx #60, p. 429) which was performed with dollar bills rather than playing
cards!

If the routine is to be used as an opener, secretly cull four Aces to the top of the deck.
Otherwise, openly insert the Aces separately and execute a multiple shift to control them
to the top. Explaining that you are going to play a card game with the spectators in
which everyone gets a poker hand, deal out five hands, the fifth to yourself. Direct the
spectators to follow your actions exactly.

So saying, pick up your hand and square it carefully. Perform a double turnover and
transfer the two cards as one face up to the bottom, the spectators obviously copying the
action with a single card. Turn the next card face up and transfer it to the bottom. Turn
the third card face up and transfer it to the bottom. Turn over the entire packet. Slide

32
out the bottom (face up) card, revolve it face down, and slide it back beneath the packet.
Transfer the top card to the bottom without turning it over. Turn over the entire packet
and place it on the table.

Continue, "If you have been following me properly, you should have five face up cards."
Spread your hand on the table to show that it is so constituted. When the spectators
spread their hands, however, a single card is face down in the middle. After ribbing
them about their inability to follow your instructions, have them turn the face down
cards over to reveal the four Aces.

Invisible Cut

This routine is essentially Al Leech's "Lost and Found Aces" (Close-Up Card Magic,
Harry Lorayne, p. 195) in a new setting. The major changes are in plot rather than in
technical handling.

With the four Aces on the table and the deck face up In your hands, your introductory
patter runs along these lines: "Many people associate this kind of sleight of hand with
cheating - with the legendary ability of gamblers to win through digital dexterity.
Actually, the techniques used by gamblers and the techniques used by magicians are
entirely different. A gambler does things like dealing cards from the bottom, stacking
cards, cutting to cards that have been shuffled in the deck such as the four Aces. A
magician does things like making cards appear and disappear, and making them visible
and invisible. To show you what I mean, I will combine the techniques. I will cut to four
invisible Aces."

During the last sentence or two, thumb fan or pressure fan the deck face up and insert
the Aces separately, the first above the rear card. Close up the deck and perform the
Simple Shift or a similar sleight to position them under the top card when the deck is
turned face down. Spread the top few cards rapidly from left hand to right as you
continue, "As you have seen, the first step is to distribute the Aces as they might be in an
ordinarily shuffled deck."

Close the spread, obtaining a break below the fifth card from top. "The next step is to
make them invisible. To do that, we'll use this card as a kind of magic wand." With this
remark, flip the top indifferent card face up, take it with the right hand, and fan the deck
a few times with it. Replace it face up on top.

Say, "Now, believe it or not, if I show you the faces of all the cards, you won't see the
Aces." Lift the packet above the break with the right hand from above as if it were a
single card, pivot the remainder of the deck face up, and slide the quintuple card
beneath it. You have apparently righted your "magic wand" and turned the deck face up
at the same time as is consistent with your patter.

Saying, "I'll show you just a few cards at a time so that you can make absolutely sure,"
spread ten or twelve cards slowly into the right hand. Square their left long side against

33
the table, pivot the packet face down, and slide it beneath the deck. Repeat this sequence
several times until your single "magic wand" is the only face up card.

Point out that it is the card you started with and ask whether the spectators saw any of
the Aces. Whey they agree that they did not, flip the face up card over and state, "They're
there - but they're invisible. And now the problem is to cut to them." Execute any form
of slip cut, losing the top card somewhere in the center.

Holding the deck with the right hand from above, riffle off 10 or 12 cards onto the table
and return the balance to the left hand. Sweep up the packet on the table, turning it face
up. Simultaneously, push the top card of the deck slightly to the right and obtain a break
under it as it is resquared.

As part of a continuing movement, place the packet on the deck sidejogged to the right
and hold it in place with the left thumb, the right hand loosely maintaining its grasp.
Pause for a moment as you say, "There's the first one", referring to the face card of the
packet. Flip the packet face down, lift all the cards above the break, and deposit them on
the table.

Repeat the exact sequence a second time, saying, "There's the second one". Go through
the moves for a third time. Comment, "Of course you can’t see the Aces because they're
invisible." As you repeat for the final time, say, "I can tell you don't believe me, but
fortunately I can play the magician again and make them visible."

At this point, there are four face down packets on the table and the balance of the deck is
in the left hand. Take the latter in the right, perform a one hand fan, and wave it over
the packets. Close up the fan and retake the cards in the left hand. With the right, in
rapid succession, turn each packet face up to show the reappearance of the Aces.

Over and Over

An alternative method to Dai Vernon's "Twisting the Aces" is Ralph Giranda's

"Reversing Aces" (Epilogue #6, p. 7). The following very similar routine, which was
created independently, uses less sophisticated but easier handling. The primary
justification for its inclusion, however, is the follow—up, which exploits the extra card to
provide an effective climax.

Assume that the Aces are in a face up pile in Clubs, Diamonds, Hearts, and Spades order
from face to back. Hold the deck face down in the left hand with a break under the top
card. Turn the left hand palm down and pick up the Ace packet - the forefinger hooking
under its left side, the thumb on its face - twisting it face up on top of the deck as the
hand turns palm up. Take the block above the break with the right hand from above and
set the rest of the deck aside.

With the left thumb, pull off the Ace of Clubs, Pull off the Ace of Diamonds, spread to
the right. Pull off the Ace of Hearts, spread to the right. Take the remaining double card

34
under the left thumb, spread to the right. The count is made rapidly as you remark,
"Four face up Aces."

Note and remember the Ace second to the left - in this case the Ace of Diamonds and
square the packet. Saying, "If I wanted to turn one of the Aces face down, I would do it
this way," slide out the lowermost Ace (the Ace of Clubs). Revolve it face down on top of
the packet, outjogged. Continue, "If I wanted to turn it face up, I would do it this way."
Revolve the Ace face up squarely on top of the packet. "The idea is to do all this without
you seeing me - to do it invisibly. Let's start with the Ace of Diamonds", (naming the Ace
noted previously).

Pantomime the actions of pulling out a card, turning it over, and inserting it back into
the packet. Count the cards exactly as before, receiving them in a spread with the left
hand. The third card will be face down, the fourth two face up Aces held as one.

Pause for a moment to allow the spectators to deduce by process of elimination that the
face down card is the Ace of Diamonds. Note the Ace at the left of the spread - in this
example, the Ace of Clubs - and square the packet. Say, "Now I'll turn the Ace of
Diamonds the right way and reverse the Ace of Clubs".

Go through the pantomime and repeat the count. The third card will again appear face
down and the face of the Ace of Clubs will not be seen. Note the Ace now at the left of the
spread - the Ace of Hearts — and square the packet. Perform the same series of actions
to show that the Ace of Hearts has turned face down.

Repeat the sequence a final time to show that the remaining Ace - the Ace of Spades -
also has been reversed invisibly. Continue, "This time the Ace of Spades will turn the
right way in slow motion." Close the spread, obtaining a break below the face down card.
Draw the uppermost Ace inward and off the packet, sliding it beneath the packet,
revealing the Ace of Spades face up.

Gripping the two cards above the break as one at the inner right corner with the right
hand, spread the three cards beneath them with the left. Hold the spread in place with
the left thumb, releasing the grip of the right hand, to display four face up Aces. As these
actions take place, say "And now we're back where we started."

Square the packet and turn it face down. Count the cards from left hand to right without
reversing their order, executing a buckle or a block push-off on the third count. Give the
fourth card a gentle flick and replace it on top of the packet. At the same time, comment,
"So far we have been dealing with the Aces one at a time. Let me show you something a
little harder."

Take the packet from above with the right hand in preparation for the Faced Deck
Turnover (Expert Card Technique, 1st edit, p. 112) - second fingertip at the outer left
corner, thumb at the inner left corner, forefinger extended, third finger curled near the
right edge. Tap the deck with the forefinger and instruct the spectator, "Cut off

35
approximately half the deck - and place it here", tapping a spot on the table adjacent to
the deck.

Withdraw the right hand, performing the Faced Deck Turnover: press down on the right
side of the packet with the third finger and pull up on the left side with the forefinger to
pivot the packet over as it is carried to the left hand which assists to complete the
reverse. (The rapid larger movement of withdrawing the right hand and the centering of
attention on the deck provide complete cover and misdirection.)

Place the packet cleanly on the original top half. Tell the spectator to complete the cut,
burying the Aces. When he has done so, square the deck with the right hand and ribbon
spread it from right to left, saying, "All four at once." The Aces appear face up for the
climax.

Four-gone Delusion III

The following is a third approach to a routine described in Odd Lifts, p. 20, with a
second variation in Packet Magic, p. 60. All three are offshoots of Frank Garcia's "The
Apex Ace" (Close Up Card Magic, Harry Lorayne, p.88).

The four Kings are face up on the table in Spades, Hearts, Diamonds, Clubs order from
face to back. The deck is prearranged with the Queen of Diamonds on top, the Queen of
Hearts second, the Queen of Spades third, and the Queen of Clubs on the bottom. Hold
the deck face down in the left hand and obtain a break below the top three cards. Scoop
up the Kings face up with the right hand, square them on top of the deck, and lift the
block over the break with the right hand from above.

Pull off the King of Spades onto the deck so that it overhangs the right side. Take it
below the packet and push it square with the left thumbtip. Drop the packet onto the
deck and snap or tap it. Push off the uppermost three Kings into the right hand in a
spread. The King of Spades has apparently vanished. Emphasize the fact by pushing the
next two face down cards to the right and turning the right hand palm down to show
that the missing King is nowhere in sight.

Turn the right hand palm up and pull back the top two cards of the deck, obtaining a
break beneath them as they are squared. Square the remaining three Kings on top of the
deck and again lift the entire block over the break with the right hand from above. Pull
off the King of Hearts, pick it up beneath the packet, and square it. Drop the packet onto
the deck, snap it, and push off the two face up Kings into the right hand. The King of
Hearts has vanished.

Push the top card of the deck to the right and turn the right hand palm down as
previously. Pull back the top card, obtaining a break beneath it. Turn the right hand
palm up, square the remaining Kings on top of the deck, and lift the packet above the
break with the right hand. Pull off the King of Diamonds, pick it up beneath the packet,
and square it.

36
Place the packet onto the deck and maintain a break beneath it. Snap the deck and push
off the single face up card into the right hand. The King of Diamonds has vanished. Turn
the right hand palm down and push the top two cards of the deck as one to the right.
Draw back the double card, still maintaining a break beneath it. Place the remaining
King face up on top of the deck.

State that since just one King is remaining, you will use another card as a cover. So
saying, perform the Bottom Double Lift (Odd Lifts, p. 1), draw out the double card from
beneath the deck, and slide it (face down) back onto the top of the deck for half its
length. Remove the right hand to fully expose the action, and push the double card
square with the left forefinger.

Snap the top of the deck and draw off the top card. The fourth King has apparently
vanished. Flip the single card held by the right hand face up squarely on top of the deck
to show that it is not the missing King. Turn over the five card block above the break as
if it were a single card, apparently turning face down the indifferent card just displayed.
Give the deck a false cut without exposing any of the face up cards (e.g., swing cut half
the deck into the left hand, complete the cut maintaining a break between sections, and
double cut to the break).

Comment that the problem now is to find the missing Kings, and to do so you are going
to receive a little help. With the deck in the left hand, riffle the outer left corner to about
the mid-point as you go through the motions of listening intently to the riffle. Revolve
all the cards above the stopping point face up onto the balance.

Comment that you get the feeling that there are no Kings in this group of cards. So
saying, run through all the face up cards until you reach the first face down card to show
that such is the case. Roughly square the face up section, making sure that one or two
indices of the lowermost cards are visible, and place this section on the table.

Point to the top card of the remainder of the deck, stating that you are not too sure
about that one. Lift off two cards as one with the right hand from above, the natural
break aiding the action, and place the double card squarely on the tabled packet. The
visible indices act as a reminder to the spectators of the state of affairs - one face down
card on top of a face up packet.

Riffle to about the mid-point of the balance of the deck and repeat the identical patter
and series of actions. Do so a third time, with one change: after the face up section has
been placed on the table, lift off three cards as one at the natural break. Place this triple
card squarely on the third packet. Repeat the sequence a final time, lifting off two cards
as one as in the first two instances.

Set the rest of the deck aside. Say, "That leaves us with these four face down cards."
Raise the left side of one of the piles with the right hand - thumb digging under the left
side, remaining fingers on top. Revolve the pile to the right and over, sliding out the now
lowermost card with the fingers before releasing the packet face down onto the table.
The card thus displayed is one of the Kings. Place it face up in front of its pile.

37
Repeat the same actions with the remaining three piles to produce each of the missing
Kings. Conclude by saying, "The four missing Kings, and as I told you, I had some help
in finding them. Where else would they be but right next to the Queens!" So saying, turn
each of the packets face up to show a Queen on the face corresponding in suit to the
King in front of it.

Overskill II

The original handling of this routine appeared in Packet Magic (p. 39). As indicated
there, it is an extension of a Marlo approach to "The Spectator Cuts the Aces" (A
Problem Posed", 38th Method, The New Tops March 1965, p. 24). The following offers a
variation in the initial stages and, more importantly, a follow-up routine exploiting (and
disposing of) the reversed card. It makes use of Lin Searles' Half Passed Turnover.

Begin with the Aces on the table after some preceding routine. Insert them in various
parts of the face up deck, and via the Simple Shift or a similar sleight, bring them
together directly above the rear card. Your patter during these actions should make
reference to the innate skills that everyone possesses even though they are unaware of
them.

Hold the deck face up and double cut the face card to the back of the deck. As you do so,
say, "If I were to cut the deck, I might do it like this." Turn the deck face down. Perform
a Double Turnover, using an end-for-end technique for later consistency. Continue, "In
so doing, I would have cut to this card." Tilting the outer end of the deck upward, turn
the single top card face down end-for-end.

It is now necessary to give the deck a false cut which preserves the top stock but which
changes the bottom card. As an easy method, swing cut half the deck into the left hand.
Establishing the break above this section, swing cut half the remainder on top of it.
Place the balance on top of all. Cut or double cut to the break.

Turn the deck face up. Ask a spectator to cut off about a quarter and place it face down
on the table. Have him cut off another quarter and place it face down next to the first
pile. Have him cut off a third quarter and place it next to the others. Turn the section
remaining in your hands face down as you say, "And this is the fourth quarter."

Grasp the top two cards of this section by the ends and move this double card to the
right. At the same time, quickly and casually spread the next four cards with the left
thumb, saying, "You might have cut to any of these cards..." Close the spread, at the
same time obtaining a break under the four cards below the double card - i.e., under the
sixth from top card.

Complete your sentence by saying, "...but you have cut to this card, this card, this card,
and this card." Each time you say "this card", in turn tap the top card of the packet in
hand, then pick off the top card of each pile and place it on the packet in hand, spread to
the right. Say, "Let's see how you did." Square the cards and turn over the entire block

38
above the break, re-establishing a break beneath it. Deal the four face up cards onto the
table in an overlapping row - they are the four Aces.

Proceed by congratulating the spectator and saying, "Now let me show you something a
little bit harder. Let's go back to where we were." Scoop up the four Aces and square
them on top of the packet in hand. Turn over all the cards above the break. Deal a card
to the top of each of the other piles.

Place the packet in hand on one of the others, place the combined packet on another,
and all on top of the remaining pile. Give the deck a complete cut. Perform these actions
quickly, somewhat carelessly, and without concern. Square the deck, pick it up, and hold
it in Charlier Cut position.

Say, "What I will try to do is to cut all four Aces at the same time and with just one
hand." So saying, perform a Charlier Cut, the deck automatically opening below the
reversed card in the usual way. Deal four cards face up on the table in a forward row. As
the fourth is dealt and attention is centered on it, turn the left hand palm down to
reverse the deck.

The misdirection is strong and the action need not be performed selfconsciously: the
right hand moves to place the Ace at the farthest end of the row and the left hand falls
inward just past the near end of the table, the forefinger extending to land on the table
in a perfectly natural action.

Manipulate the deck to a normal dealing position, the uppermost card face down, the
balance face up. Patter by saying, "As long as I am showing off, let me show you
something else. It’s the sort of thing cardmen challenge each other with, although it has
no remote usefulness." As you speak, insert each of the Aces face down at various
separate points in the deck.

Press them slowly and carefully into the deck as you continue, "The idea is to turn the
entire deck over with the exception of the Aces - that is, to leave them facing exactly the
same way as they are now." Square the deck cleanly at the fingertips. Now execute the
Half Passed Turnover as follows.

Starting with the deck back in normal position in the left hand, arch the right hand over
it. Lift the uppermost card at the inner end. You will now perform a half pass while
turning over the deck. Curl the left forefinger under the deck and begin the normal half
pass action by pivoting the block below the top card face down. At the same time, with
both hands raise the deck to a vertical position as the first movement in the turnover.
(See Figure 11)

When the bottom card is facing the spectators, the top card should be falling back in
place onto the deck, clamped by the left thumb, the left forefinger withdrawing to join
the other fingers at the face of the deck. Continue the turnover action by rotating the left
wrist inward to bring the deck to a horizontal position and face down.

39
It is held by the left hand - fingers on top, thumb beneath. The right hand, which more
or less hovers above the deck during the turnover action, now grasps it at the near end -
fingers above, thumb beneath. Holding the deck thus with the right hand, release the
grasp of the left and retake it in that hand in normal dealing position.

In the case of this routine, any suspicious sights and sounds are acceptable since you
have told your audience that you are going to attempt a difficult sleight of hand
maneuver. Follow immediately by ribbon spreading the deck face up on the table. Four
cards are face down - they prove to be the four Aces.

Note that the changes in handling at the very outset of the routine are designed to
eliminate (a) the necessity of pre-reversing a card, (b) the possibility of the spectator
exposing the reversed card when cutting, and (c) the somewhat unnatural action of
picking up one of the piles after the cuts. The initial demonstration procedure - cutting
the deck while it is held face up and then showing the top card as the one to which you
have cut - is consistent with the manner in which the spectator is later asked to cut to
the four cards.

40
 Chapter II: The Witchcraft of Discoveries
Finders Leapers

In effect, a spectator selects a card which is then lost in the deck, The performer selects
two cards the faces of which are shown and which are placed together in the deck. On
spreading the cards, the performer’s selections have turned face up and a single face
down card has come between them, the latter proving to be the spectator's selection.

Have a card selected and control it to the top of the deck. Announce that you will select
two cards. Perform an end-for-end double turnover, allowing the double card to
overhang the outer end of the deck in preparation for the Underturn. Call attention to
the name of the card thus displayed and say that it will represent one of your selections.

Apparently turn the card face down, actually performing the Underturn to leave the card
just shown face up second from the top. At the same time, ask the spectator whether you
have selected his card by accident. Perform a Bottom Double Lift (Odd Lifts, p. 1),
revolving the double card face up on top of the deck overhanging the outer end in
preparation for the Underturn.

Say that this card is your second selection. Apparently turn it face down, again
performing the Underturn to leave the card just shown face up second from the top. Ask
the spectator whether you have selected his card by accident. Emphasizing that your
cards remain together, give the deck a single cut and place it on the table.

Ask the spectator to tap the deck and announce that three things have happened.
Ribbon spread it from right to left, saying, "That's two of them." Have the spectator
name his selection and turn up the face down card between your cards as you conclude
"And that's the third!"

Uprising

The following 'instant' rising card routine was triggered by the suggestion in The
Impromptu Close-Up Card Rise (Joseph K. Schmidt) that the plunger principle could be
combined with the diagonal jog.

With the deck in the left hand, riffle the outer left corner and request a spectator to call
"stop" at any time. Cut off the section above the indicated point. Turn the lower section
upright and push the uppermost card sufficiently to the right to expose its index, asking
the spectator to note its name. In so doing, do not extend the left thumb for its full
length.

While the spectator is noting his card, curl the first joints of the right second and third
fingers around the outer end of the upper section and pivot the bottom card to the right,
jogging it at the inner right corner. When the spectator has noted his card, lower the left
hand. As you do so, rapidly extend the left thumb so that the second card in the section

41
is also moved to the right and obtain a break under it as both cards are pulled back
square. Reassemble the deck, taking care not to disturb the corner jog.

Kick out the card above the break at the inner right corner with the left little fingertip,
aligning it with the other diagonally jogged card. The two jogged cards now sandwich
the selected card which is square with the deck proper.

Move the left little finger so that the side of its first joint contacts the inner edge of the
jogged corners. At the same time, with the left thumb feel for the outer left corners of
these cards which protrude fractionally from the left edge of the deck near the outer
corner. Maintaining these points of contact and as part of an apparent squaring action,
draw the left hand inward, carrying the two jogged cards with it for about an inch.

Move the left hand forward to complete the squaring action, but leave the jogged cards
behind by relaxing the thumb and dipping the little finger. With the left fingers, square
the jogged cards with the rest of the deck, raising the right thumb to accommodate the
action. The diagonal jog has thus been converted to an injog.

Take the deck with the right hand at the inner right corner - thumb above, fingers curled
below, the corner more or less in the right thumb crotch. Square the deck by striking its
left edge against the table, the jog hidden by the right hand. This squaring action is
disarming and gives assurance that the selected card is indeed lost somewhere in the
middle.

Return the deck to a position forward in the left hand, the little finger contacting the
jogged cards. Making a body turn to the right, carry it to an upright "rising card"
position, the back of the hand and the face of the deck toward the spectators. Grip the
deck with the right hand near the upper end, the thumb at one side, the first finger
across the upper edge, the remaining fingers along the other side. With the forefinger,
bevel the upper end downward from back to front.

Bend the sides of the deck outward by pressing inward with the forefinger against the
beveled upper end. With the left little finger holding the jogged cards in place and the
left hand concealing them, move the deck upward with the right hand, the grip assuring
that the selected card come with it. Enlarge the injog to about half the length of the
cards.

Slide the right hand downward, the right fingers gliding over the left fingers, so that the
little finger can be positioned under the lower edge of the jogged cards. In the usual
"plunger" fashion, slowly raise these cards with the little finger to propel the selection
from the upper end of the deck. The bevel makes it clear that the card emerges from the
center.

42
A Choice Trick

The following is a method for Dai Vernon's "One, Two, Three" (Phoenix #129, p. 517)
designed (a) to permit identical handlings regardless which of the three is chosen and
(b) to assure that the two most frequent choices produce the strongest endings.

Have a card selected and control it to the bottom of the deck. Run through the deck with
the faces toward yourself, stating that you will select three cards. Transfer the Ace, Two,
and Three of a suit and color different from the selection to the bottom of the deck. Still
keeping the deck upright arrange the three cards in Ace, Two, Three order from face to
back. In so doing, obtain a break behind the selected card and square all the cards.

Lift off the block in front of the break and manipulate the deck to a normal face down
position as you lower both hands. Display your three cards by pulling off the Ace onto
the deck and maintaining a break beneath it. Pull off the Two. Place the remaining
double card on top of all.

Revolve the packet above the break face down, holding it by the sides between the
extended left thumb and second and third fingers. As you do so, explain the nature of
your trick to the spectator, telling him that whichever of your three cards he decides on
will turn into his earlier selection. Arch the right hand over the packet, forefinger curled
on top, as you await his decision.

The most likely choice is the Three since it was the last in view. If the Three is chosen,
riffle off the lowermost card of the packet with the right thumb. Holding a break above it
momentarily with the left third fingertip, re-assume the break cleanly with the right
thumb tip. Release the grip of the left hand on the packet. During these actions, echo the
spectator by repeating the chosen value.

Pull off the uppermost card onto the deck, at the same time releasing beneath it the card
below the break. Use the packet to lever the card just pulled off face up as you say, "You
didn’t choose the Ace, and we have the Ace." Pull off the next card, lever it face up, and
spread it to the right as you say, "You didn’t choose the Two and we have the Two."

Place the remaining card face down on top of the others, spread to the right, as you say,
"You did choose the Three." Take the three card spread in the right hand. Ask the
spectator the name of his original selection and have him remove the face down card to
show that it is his.

If the Two is selected, the next most common choice, riffle off two cards with the right
thumb. Holding a break above them momentarily with the left third fingertip, reassume
it cleanly with the right thumbtip. Release the grip of the left hand on the packet.
Ostensibly to allow the first card to be pulled off, slide the packet under the left thumb
which is slightly raised off the deck. When about one third of the packet still overhangs
the right side of the deck, release the two cards below the break onto the deck. Continue
to move the upper two to the left until they are square with the deck.

43
Hold them in place along their left side with pressure from the first joint of the left
thumb. Immediately move the right hand back to the right, taking with it the two
sidejogged cards, and lever the top card of the deck face up. Say, "You didn't choose the
Ace and we have the Ace."

Pull off the next card and spread it to the right as you say, "You did choose the Two."
Flip the next card face up and take it under the left thumb, spread to the right, as you
say, "You didn't choose the Three and we have the Three." Take the three card spread in
the right hand. Ask the spectator to name his original selection and to remove the face
down card to show that it is his.

If the Ace is selected, sidejog the lowermost card of the packet about a half-inch to the
right with the left fingers. Pull off the uppermost card onto the deck as you say, "You
chose the Ace." Take the next two cards as one squarely onto the deck - a process made
easy by the jogged position of the bottom card.

Immediately use the remaining card to lever over the top card of the deck. Spread it to
the right as you say, "You didn't choose the Two and we have the Two." Flip over the last
card and take it on top of all, spread to the right, as you say, "You didn't choose the
Three and we have the Three." Take the top three cards in a spread with the right hand
and conclude as in the previous handlings.

Note that the Multiple Count Change (Packet Magic, p. 4) can be worked into the
handling of the Two. In this case, the procedure suggested seems smoother and more
direct.

Three-D

The following is nothing more than three classic discoveries each of which makes a
strong impression on laymen. The combination not only provides an effective setting but
also produces its own surprise ending. The items involved are "The Two-Hand Plunger
Rising Cards" (Expert Card Technique Hugard & Braue, 1st. edit., p. 211); "Card
Elimination" (Blackstone's Card Tricks, p. 89); "Double Deuces" (For Cardmen Only, Al
Leech, p. 26).

Have three cards selected, controlling the first to the fourth position from the top, the
second to third position, and the third to the top of the deck. An indifferent card is thus
second from top. (A shuffle control or the A-D Control can be used here.) Shuffle the
deck by undercutting half the deck, running one card in an injogged position, and
shuffling off. Undercut below the injog, run two cards, injog the next, run one more,
injog the next, and shuffle off.

Hold the deck in "rising card" position, enlarge the injog as in "Uprising" (see p. 31). Ask
for the name of the first selection and perform the standard McMillen plunger action to
make the selection rise from the deck. Lower the left hand to turn the deck face down.

44
Grasp the first selection at the outer right corner with the right thumbtip above and first
and second fingertips, slightly spread, below. Tighten the grip of these fingers to stiffen
the card and push up slightly with the second fingertip. This action will raise the upper
section of the deck along the right side. Obtain a break at this opening as the selection is
withdrawn and deposited face up to one side on the table. Double cut to the break.

Slide out the bottom card and revolve it face up on top as you ask if you have
accidentally cut the second spectator’s selection to the bottom. Push the card to the right
so that the right hand can take it, at the same time slightly spreading the two face down
cards below it. Deal the face up card to the table face down. Pull back the next two cards
of the deck and obtain a break beneath them.

Perform a double turnover and ask whether you have accidentally cut the second
spectator's selection to the top. Turn the double card face down and deal the top card
onto the tabled card. Spread the deck quickly from left hand to right and outjog any card
near the bottom. Close the deck, withdraw the outjogged card, and revolve it face up on
top. Ask whether this card happens to be the second spectator's selection. Flip the card
face down and deal it onto the other two.

Again run through the cards quickly and outjog any card near the top. Close the deck,
remove the outjogged card, and revolve it face up on top. Ask the same question about
it. Flip it face down. Push it to the right so that the right hand can take it, at the same
time very slightly spreading the next card as well. Place the top card face down on the
pile on the table.

Grasp the deck with the right hand from above, the curled forefinger holding the slightly
sidejogged top card in place. Set the deck face down on the table without disturbing the
sidejog. Pick up the four card packet by the sides with the left hand from above in Glide
position.

Turn the hand palm up and ask whether the spectator is sure the face card is not his
selection. Turn the hand palm down, performing the Glide. Draw out the second from
bottom card and place it on the table. Draw out the glided card and drop it on top of the
deck square with the deck proper.

Turn the hand palm up to show the face card of the packet. Turn the hand palm down
and deal the card to the right of the first. Drop the last card on the deck square with the
deck proper. Allow the spectator a "magician's choice" of the two cards on the table,
forcing the selection.

Pick up the other with the right hand from above and set it on the deck, lifting the deck
in the same motion. Obtain a break beneath the sidejogged card as it is squared and
double cut to the break. As these actions are performed, ask the spectator to name his
card and have him turn over the single card remaining on the table.

Apparently forgetting about the third spectator, patter to Spectators One and Two to the
effect that selected cards develop a peculiar attraction towards each other. Ask Spectator

45
One to pick up his card and hold it face down. Turn the deck face up and begin a Hindu
shuffle. Ask the spectator to deposit his face down card in the face up deck at any point
he wishes, gesticulating with the section in the left hand. When his card has been
deposited there, drop the remainder of the deck on top of it.

Turn the deck face down and run through the cards to show Spectator One that his card
is now face up in the face down deck. Close up the deck, obtaining a break one below his
card. Ask Spectator Two to hold his card face up and to similarly drop it in the deck at
any point he wishes. Begin the Hindu Shuffle by lifting just the cards above the break
with the right hand as the left draws off a few of the uppermost cards.

Continue shuffling as usual. When the spectator drops his card on the section in the left
hand, drop the remainder of the deck on top of it. Set the deck face down on the table.
Explain to the spectators that despite the fact that their cards were placed separately
and at random in the deck, the attraction you spoke of earlier will draw them right
together.

Confidently ribbon spread the deck from right to left and act somewhat dismayed that a
single face down card is now between the two face up cards. You will be reminded, or
recall yourself, that a third card was selected. Say, "That explains it!" Ask the name of
Spectator Three’s selection and have him remove the sandwiched card. It is his.

(In connection with the second selection, the technique using the Bottom Double Lift
described in Odd Lifts, p. 2 can be substituted for the Glide handling.)

Cross-Spell

Stating that both you and a spectator will make selections, run through the cards with
faces toward yourself. Note the fourteenth card from the bottom of the deck. Separate
the spread with that card on the face of the section in the left hand and expose it to
Spectator One for purposes of later verification. Reassemble the deck and hold it face
down.

Cut the necessary cards from bottom to top or from top to bottom in order to move your
selection to a position from the bottom equal to one more than the number of cards
required to spell its name. For example, if your card is the Ace of Clubs, you would cut
three cards from bottom to top to move it to a position eleven from the bottom. If no
such cuts are required, perform a false cut, in either case calling attention to the fact that
you are losing your card somewhere in the deck.

Allow Spectator Two to select a card by calling stop as you riffle the outer end of the
deck with the right fingers from bottom to top. Make sure that at least 10 or 15 cards
have passed before the selection is made. Separate the deck at the point so indicated and
in displaying the face card of the upper section, perform the R. S. Key Glimpse (p. 2).
Lower the hands as you begin to reassemble the deck. In so doing, allow the face card of
the upper section - the spectator's selection - to scrape against the left fingertips, jogging

46
that card at the inner right corner. Hook the left little finger above the jogged card and
form a break above it as all the cards are squared.

Cut off half the cards above the break and place them on the table. Cut off the remaining
cards above the break and place them on the first packet. Cut off five or six cards of
those remaining and place them on the tabled cards. Place the balance on top of all.
Explain that you and Spectator Two will attempt to discover the identity of each other's
card. So saying, begin to run through the deck with the cards held face up.

Say that you are both to study the faces of the cards to see if you can come up with the
other's selection. Watch for your key card and note the name of the next card - the
spectator's selection. Continue running through the cards without hesitation. When
your selection appears, starting with the card following it silently spell the name of the
spectator's selection, counting a card for each letter.

When the spell is completed, separate the spread slightly and look up at Spectator Two.
Ask if by this time he has any idea of the identity of your selection. Admit that you have
been equally unsuccessful and say that you will discover the other's card in a different
way. Close up the deck, establishing a break between sections. Turn it face down,
performing a Turnover Pass at the break (Expert Card Technique, 1st edit., p. 37). Place
the deck on the table.

If the silent spell exceeds the number of cards remaining in the left hand, square the
deck and double cut the necessary remaining cards from face to back. If only two or
three cards remain after the spell, continue running through the deck. Square it, turn it
face down, and double cut the extra cards from top to bottom. In either case, place the
deck face down on the table.

Tell the spectator that you want him to spell the full name of his card, removing a card
from the top of the deck for each letter. The card next on top of the deck after
completion of the spell is to be dealt separately to the table. Have Spectator One call
aloud the name of your card which you allowed him to see at the outset. The card
arrived at by Spectator Two is turned over and it is yours.

Leaving all dealt cards on the table, instruct him to spell the name of your card, as just
revealed, again removing a card from the top of the deck for each letter. The card next
on top at the conclusion of the spell is to be dealt separately to the table. Eventually
show that this card is the spectator's selection.

Drop Stop

Control a selected card to the bottom of the deck. Hold the deck from above with the
right hand, establishing a break above the bottom card at the inner end with the
thumbtip. Pull off cards from the top of the deck with the left thumb, asking the
spectator to call stop at any point.

47
When he does so, indicate the uppermost card of the section in the left hand and state
that that is the card at which you were stopped. Say, "I will give you another chance. If
you want me to, I will deal one more card." If the spectator wishes, take one more card.
Then say, "Are you satisfied now, or would you like me to deal one more card?"

Continue in exactly the same way until the spectator indicates he is satisfied - which may
occur the first time he is given a choice. Proceed by saying, "If you had wanted me to
deal one more card, you would have stopped me at the __________." As you speak,
pull off the top card from the section in the right hand, at the same time releasing
beneath it the bottom card of that section via the Reverse Biddle. Lever the card just
pulled off face up and call its name to complete your sentence.

Continue, "Is that your card?" When the spectator says that it isn't, set the section in the
right hand on the table. Take the face up card and the card below it with the right hand
and use them to lever the next card face up. Say, "If you had stopped me one card
earlier, it would have been on the ___________," naming the card just exposed.

Replace the two cards on top of it, keeping them spread, sandwiching the card on which
the spectator apparently did stop between the face up cards. Finally, ask the spectator
the name of his original selection and turn up the sandwiched card for the climax.

Two Strikes

Hold the deck face down from above with the right hand. Pull off the top card into the
left hand, pause for a moment, and use the deck to lever it face up. Pull off the next card,
pause, and lever it face up. Continue in this manner, instructing the spectator to call
stop at any point after you have pulled a card off but before you have flipped it face up.

When you are stopped, raise the section in the left hand, pushing the face down card
halfway to the right so that the spectator can note it. Lower the left hand, the selection
still sidejogged. Pick it up beneath the upper section, now sidejogged to the left, forming
a break above it at the inner end with the right thumb tip.

You will now apparently square the selection with the upper section, revolve the lower
section face down, and slide it beneath the rest of the deck. Actually, push the selection
square by striking its left edge against the left thumb which straightens alongside the
lower section.

As soon as the upper section is directly over the lower, release the chosen card, and
without hesitation pivot the lower section face down. Slide it beneath the rest of the
deck, the selected card now face up on the bottom of the deck. Follow immediately with
a false cut or a Hindu shuffle, pulling the first group from the middle of the deck.

Patter as you do so, "We are now going to try to disprove the old saying that lightning
never strikes twice in the same way. I am going to do exactly what I did before and I
want you to tell me to stop exactly as you did before." Hold the deck with the right hand

48
from above, obtaining a break above the bottom card at the inner end with the
thumbtip.

Proceed as you did previously by pulling off each card with the left thumb, pausing, and
levering it face up. Make sure that the spectator calls stop after you have pulled a card
off but before you have levered it face up. When he does so, ask him to name his
selection. Lever the card at which he stopped over, at the same time executing the Drop
Switch. The card thus exposed is his selected card.

The "wrong" card will not be flashed if you perform a rapid and "tight" Drop Switch -
that is, if the upper section hugs as close as possible to the card being turned over as it
revolves and as it lands. It seems to provide greater cover if the levering action consists
more of the lower section moving to the right and under the upper section rather than
the upper section moving to the left and over the lower.

Psychic Backstop

The following is an "out" for the standard psychological stop trick ("The Psychic Stop",
Expert Card Technique, 1st edit., p. 330; "Out of My Control", My Favorite Card Tricks,
Lorayne, p. 12), which provides a reasonably strong effect of its own.

Control a selected card seven from the top of the deck. Give the deck to the spectator
and explain the usual "Psychic Stop" dealing instructions. If he stops at the sixth or
seventh card, the force is successful. If he stops at the eighth, pick up the packet and
perform a double lift.

If he stops on the ninth, tell him to place the deck aside and pick up the packet. Give him
Under-Down dealing instructions (a card to the bottom of the packet, a card to the table,
etc.) and he will come out with the selected card. If he deals ten cards, give him Down-
Under dealing instructions (a card to the table, a card to the bottom of the packet, etc.)
and he will end up with the selected card.

If he deals a number from eleven through sixteen, subtract ten from that number to get
a key. Pick up the dealt packet and obtain a break above the key number, counting from
the bottom. If 13 cards are dealt, the key number is three and a break would be obtained
above the bottom three cards.

Inform the spectator you would like him to eliminate all but one card "....by dealing a
card to the table..." So saying, take the top card with the right hand and pantomime
placing it on the table. Return it to the top of the packet but continue to hold onto it with
the right hand. Continue, "...and a card to the bottom." As you speak, transfer the top
card to the bottom of the packet, leaving it outjogged for about an inch.

Repeat the identical series of actions with the next card on top, saying, "A card to the
table....a card to the bottom." Leave it on the bottom of the packet, also outjogged about
an inch. Make sure that the spectator understands your instructions.

49
Apparently transfer the two outjogged cards back to the top of the packet. Actually,
perform the Bototo Switch (Packet Magic, p. 8), transferring all the cards beneath the
break to the top of the deck. Hand the packet to the spectator and give him Down-Under
dealing instructions to arrive at his selection.

Thought Over

The following is a variation of a strong standard effect ("Turnover Divination", For

Cardmen Only, Leech, p. 24; "Mental Reverse", The Cardician, Marlo, p. 122) in which
the true "mental" approach has been sacrificed for efficiency and clean handling.

With the deck face down in the left hand, riffle the outer left corner and request a
spectator to call stop. Cut the deck at the indicated point and raise the section in the
right hand so the spectator can note the face card. At the same time, prepare for the R.
S. Switch (p. 1) and execute that sleight as the selection is apparently dealt to the table.
Reassemble the deck, obtaining a break above the actual selection (as explained p. 2).

State that you will use four additional cards, selected at random. Run the cards face
down from left hand to right. Stopping at various points prior to reaching the break,
drop any three cards on top of the tabled card by separating the hands and releasing the
lowermost of those in the right hand. Finally, separate the hands at the break and
release the lowermost card of the upper section as before. Replace that section below
that in the left and square the deck. The actual selection has thus been unobtrusively
controlled to the top.

Set the deck aside. Pick up the five cards and mix them between the hands as you
comment that the spectator must not know which is his. Give them to the spectator to
mix in the same way "...so that I don't know which is yours either." Take them back and
drop them face down on the table.

Pick up the deck and perform a face up thumb fan or pressure fan. Tilt the outer ends
upward in the process to make sure that the index of the rear card is not exposed. Adjust
the card if necessary before lowering the fan to a horizontal position.

Pick up the five cards one by one and insert each face down for half its length separately
in the face up deck, the first going just above the rear card. (Swing it slightly to the right
behind the fan to obscure its actual position, a useful dodge introduced in LePaul's "The
Hand Picked Aces", The Card Magic of LePaul, 2nd edit., p. 200).

Close the fan from right to left. Push the outjogged cards square, executing the Simple
Shift or a similar sleight to control them to a position above the rear card. Arch the right
hand over the deck to square it. Form a break above the lowermost six cards, the natural
separation accommodating the action, and hold it with the left little finger.

Cut off half the deck and place it on the table. Complete the cut by placing the other half
on top of it, in the process performing a half pass at the break. Inform the spectator that
the idea is now for you to turn over the four cards which he is not thinking of, and to do

50
so without being seen. Rapidly slide the deck from side to side (or perform some similar
action) and ribbon spread it from right to left. A single card remains reversed. It proves
to be the selection.

51
 Chapter III: The Discovery of (Sand)Witchcraft
Sandwich To Go

Begin to run through the cards with their faces toward you, downjogging the second
from face card. Saying that you will use any pair - the black Jacks, the red Aces, etc., ask
a spectator to name one. Assuming he says the black Jacks, find them and transfer them
to the face of the deck. As all cards are squared and the deck lowered to a horizontal
position, obtain a break beneath the injog. Make sure that none except the face card is
exposed before lowering the left hand.

Push the uppermost Jack to the right and call the names of the two black Jacks. Pull it
back and turn over all four cards above the break. With the right hand from above, pick
off the uppermost card by the ends. Move it a half-inch to the right and begin to pick off
the next card beneath it. At the same time, turn the left hand palm down to avoid
exposing the extra reversed cards.

Follow through naturally with the left hand by depositing the lower half of the deck onto
the table and then coming back with the other half as the hand turns palm up. Point out
that the deck has been divided in pairs as well and that the black Jacks are to be placed
reversed in the section you hold. So saying, insert the two cards face down in the center
of the face up section, obtaining a break beneath them. Double cut to the break and set
the section on the table.

Pick up the other section and state that you would like the spectator to select a third
card. It is now necessary to position whatever card is selected between the reversed
Jacks. One easy method is as follows. Hold the deck with the right hand from above.
Swing cut small groups into the left hand with the right forefinger, asking a spectator to
call stop at any point.

When he does so, turn the section in the left hand to a vertical position and push off the
uppermost card for half its width to expose its index. Lower the left hand, the card still
sidejogged to the right. At the same time, with the right hand, Side Glide the face card of
its section, pivoting it to the right. Slide that packet onto the other to reassemble the
deck, the selected card working easily above the Glided card. (The action is akin to the
Reverse Glide, Sleightly Sensational, Bill Simon, p. 31.)

After whatever method is used, center the reversed cards with a cut if necessary and set
the section on the table. Pick up the other (face up) section, recalling that it contains the
reversed black Jacks. Place it squarely on top of the face down packet and press or tap it.
Cleanly lift off the face up section alone at the natural break and ribbon spread it to
show that the Jacks have vanished. Ribbon spread the other half, showing that the
missing Jacks are there, and, finally, that the selected card is between them.

52
Holy Sandwich

The following is based on an idea of Father Cyprian. Remove two cards of the same
value and color - for example, the two red Aces, dropping them on the table face up. In
so doing, bring a picture card to a position second from the top - for example, the Queen
of Spades. Hold the deck face down in the left hand.

Pick up the two face up Aces with the right hand from above. Place them on top of the
deck, lowering the latter into Tilt position (Tilt, Marlo, p. 4). Slide off the first Ace,
revolve it face down, and insert it into the Tilt opening, apparently the center of the
deck. Arch the right hand over it to square it with the thumbtip. At the same time, lift it
and the card beneath it at their inner ends so that they are aligned with the uppermost
Ace, the Tilt opening thus now beneath the top three cards.

Slide off the Ace now on top, revolve it face down, and insert it into the Tilt opening. As
it is pushed square, lift up on the next card and establish a normal break beneath it with
the left little finger. Both Aces have apparently been placed face down in the center of
the deck. Using an end-for-end technique for later consistency, perform a quadruple
turnover at the break to expose the Queen of Spades. Maintain a break beneath the four
cards.

Arch the right hand over the Queen in a squaring action. With the thumbtip, release one
card from the face up block, shifting the break above it. Turn three cards as one face
down end-for-end, tilting the outer end of the deck upward in the process to avoid
flashing the remaining face up card.

Take the top card, supposedly the Queen of Spades, with the right hand. Say that you
will place this card in the deck at any point indicated. Riffle the outer left corner
(starting the riffle somewhere beneath the reversed card third from top) and ask a
spectator to call stop. Insert the "Queen" into the deck at the designated point and push
it square.

Extend the deck toward a spectator and ask him to press down on the top card. Turn
that card face up squarely onto the deck to show one of the red Aces, Again extend the
deck toward a spectator and ask him to press on the center pip of the face up Ace.
Immediately spread the top two cards to show both Aces face up with a face down card
between them. Ask the spectator to recall the name of the third card placed in the center
of the deck. Finally, show the face down card between the Aces to be the Queen of
Spades.

Sandwichmaker

The following is more of a device than a complete routine itself. A few alternative
applications will be given.

Begin with the deck face down in the left hand and two matching cards on the table - for
example, the two red Aces. Pick up one of the Aces, holding it face up with the right

53
hand along the right edge near the outer corner. Riffle the outer left corner of the deck,
requesting a spectator to call stop. Bend down the corner with the left thumb at the
indicated point.

Flick the Ace several times with the right second finger as noisily as possible and say,
"This Ace will go above the card you stopped me at." So saying, insert the Ace face up for
half its length into the opening. Tilt the outer left corner of the deck upward so that the
outjogged Ace no longer obscures it from view and openly allow one card to escape from
the left thumb, again as noisily as possible. As you do so, say, "This is your card."

Return the deck to a horizontal position and pick up the second red Ace as you did the
first. Flick it several times as before, and at the same time secretly riffle off another card
with the left thumb, now doing so as silently as possibly. In any event, the flicking of the
Ace will cover an inadvertent sound. During these actions, say, "This Ace goes below
your card." Insert the Ace into the opening for half its length and release the opening.

Make sure that the Aces are perfectly aligned. Then grip them along the left side at the
precise point they emerge from the deck with the right thumb above and first and
second fingers below. Maintaining a tight grip, draw out the Aces fractionally, the cards
between them moving also. Adjust the right thumb and fingers inward, again to the
point the Aces emerge from the deck. With a firm grip, withdraw the Aces completely.
They will take with them the two cards between them squared as one.

Turn the combined packet to an upright position, asking the spectator to note his card.
Place the packet on top of the deck, the Aces square with the deck proper. Apparently
remove the spectator's card, actually performing the Push-In Change (Expert Card
Technique, 1st. edit., p. 87) and removing the card above it.

At this point, the procedure can vary. For example, perform a Charlier Cut, sending the
Aces to the middle of the deck. Place the supposed selection on top of the deck in
position for Larry Jennings variation of Dai Vernon's Tent Vanish: right edge flush with
the right edge of the deck, left edge raised and held in place with the left thumb (Expert
Card Mysteries, Sharpe, p. 42).

Execute that move by cupping the right hand over the card and apparently carrying it
off, actually releasing it squarely on top of the deck. Rub the right fingers together in a
vanishing gesture and then show that the card has disappeared. Finally, ribbon spread
the deck to reveal the Aces with a card between them. It turns out to be the missing
selected card.

As another possibility after the Push-In Change, drop the supposed selection onto the
table. Place the deck squarely on top of it. Immediately lift off the uppermost three cards
via the natural break and spread them on the table. You have apparently accomplished
an instant penetration as the face down card between the Aces is revealed to be the
selection.

54
Bread & Butter

The following is about as direct and "obvious" a sandwich-type routine as possible, but it
is nonetheless surprising and deceptive to laymen. There is one particular aspect to the
working which is the key to its success.

Start with the two red Aces on the table. Control a selected card to the top of the deck
with a double undercut and obtain a break beneath it. Slide out the bottom card and
revolve it face up on top. As you do so, ask, "Did I accidentally cut your card to the
bottom?" When the spectator replies, flip the card face down and transfer the top two
cards as one to the bottom. You are apparently replacing the card just shown.

Flip the top card face up as you ask whether you have accidentally cut his card to the
top. Turn it face down as you comment that his card must therefore be somewhere in
the middle of the deck. Pick up the Aces and drop them face up cleanly on top of the
deck. Arch the right hand over the deck, thumb at the inner right corner, second finger
at the outer right corner, forefinger curled on top near the right edge.

Obtain a break under the inner end of the uppermost Ace with the thumb. Cut off half
the deck. Buckle the bottom card of the section in the left hand with the forefinger, the
other fingers dropping and straightening to accommodate the following action. Begin to
complete the cut. As the section in the right hand slides under the section in the left,
allow the inner right corner of the buckled card to slip into the break under the
uppermost Ace. At this stage, the packets more or less describe a "V".

Perform these actions very slowly and deliberately as you comment, "If I give the deck a
cut, like this, note that the Aces go to the middle of the deck but remain right together."
In other words, you are demonstrating the ramifications of the cut so that it is natural to
move slowly.

It is this slow and deliberate pace which allows you to look studiously at what you are
doing, taking aim carefully and without fumbling. Finally, release the thumbtip break,
slide the packets together, and square the deck. Ribbon spread it on the table from right
to left to show the two face up Aces with a card between them, which proves to the card
selected earlier.

Hip Switch

Have three cards selected, controlling the first to the top of the deck, the second and
third to the bottom of the deck in any order (via, e.g., the A-D Control, p. 6). Hold the
deck with faces towards yourself and begin to run through it as you comment that you
will select two cards. In so doing, downjog the second from face card. Transfer any
matching pair to the face of the deck - for example, the red Jacks, Obviously, neither can
be one of the selected cards.

Close up the deck, keeping it upright. Arch the right hand over the face and by means of
the jogged card, lift off the four face cards - supposedly the two you just transferred.

55
Lower both hands, manipulating the deck to a face down dealing position and moving
the packet in the right hand above it.

With the right thumb, engage the first face down card in preparation for the Atfus move
(Edward Marlo, The New Tops, April 1964, p. 35). Carry this card away with the packet,
maintaining a break above it, as the left thumb pulls off the uppermost Jack.

Perform the Atfus move by picking up this Jack below the packet and apparently
pushing it square, actually releasing both cards beneath the thumbtip break. Place the
packet on the deck overhanging the right side and clasp it in place momentarily with the
left thumb. You have apparently shown the two cards you removed earlier.

Flip the packet face down squarely on top of the deck and deal the top two cards to the
table to be taken as the red Jacks. Give the deck a quick false cut (e.g., swing cut half
into the left hand, complete the cut but maintain a break between sections, and double
cut to the break.) Ask the first spectator to name the card he selected. Have him press
the back of the top card of the deck.

Turn the card face up squarely on top to show that it is a red Jack. Spread the top three
cards, revealing the other red Jack face up and a face down card between the two. Pull it
out and show that it is the first selection. Continue, "If the red Jacks are here, I wonder
what these are," pointing to the two cards on the table. Ask the name of the other two
selections and turn over the tabled cards for the climax.

More or Less(or) Optical

This handling of Karl Fulves' "Optical Aces" (Book of Numbers, Fulves, p. 15) is based
on a variation by Fred Lessor ("Simple Optics", Epilogue #13, p. 3).

The four Aces lay on the table. The deck is in the left hand, and a break is obtained
under the top two cards. Pick up a red Ace and place it face up on top of the deck.
Double cut to the break. Pick up the second red Ace and place it on top of the deck, at
the same time obtaining a break above the bottom card via a buckle or Pull-down.
Reverse Double Undercut (Expert Card Conjuring, Sharpe, p. 5) to the break. You have
apparently cut the red Aces at random into the deck.

Obtain a break beneath the top card. With the right hand, pick up a black Ace from
above. Pick up the other black Ace beneath it. Carry them over the deck and lay the left
thumb across them. Holding the uppermost Ace in place, withdraw the other two cards
above the break as if it were a single card. In the process, maintain a break beneath the
first Ace as it lands on the deck. Place the double card on top of all. You have apparently
counted the black Aces onto the deck.

Without pause, lift off the single uppermost Ace and place it under your close-up pad, a
handy magazine, a handkerchief, etc., the left hand aiding if necessary. It appears as if
you are handling both black Aces since the back of a card now shows on top of the deck.

56
Still maintaining the break, turn the top card face up, using an end-for-end handling
and tilting the outer end of the deck upward to avoid flashing the exposed black Ace.

Call attention to the name of the card now in view - e.g., the Eight of Clubs. Turn the two
cards above the break face down as one end-for-end, again tilting the outer end of the
deck upward in the process. Remove the single top card and place it under your close-up
pad, supposedly to join the black Aces already there, twisting it face up when it is no
longer in view.

Cut off the top half of the deck and apparently transfer it to the bottom to complete the
cut. Actually, buckle or Pull Down the bottom card and slip the original top half above it.
After whatever magical gestures are desired, show by way of finale that the black Aces
are all by themselves under the close-up pad and that the Eight of Clubs is now face
down between the face up red Aces in the center of the deck.

Switch On A Switch

Start with the deck face down in the left hand and four of a kind (e.g., four Jacks) in a
face up pile on the table, reds above the blacks. Pick up the Jacks with the right hand
from above. Place them on the deck directly in Tilt position. Release the two lowermost
(black) Jacks, retaining them in Tilt position, and lift off the red Jacks.

Perform a one-hand fan with these two cards. Apparently insert them face up into the
middle of the deck, actually in the Tilt break at the inner end. (It is useful here to use the
psychological dodge credited to Charles Aste, Jr.: Jam them first against the inner end
of the deck at the true center, forcing a protrusion at the outer end. Resquare, and then
insert them into the Tilt break.)

Push the red Jacks square and release all breaks. At the same time, point out that the
red Jacks go face up into the center of the deck. Spread the uppermost black Jack, taking
care not to spread the next one. Commenting, "The black Jacks go on the table," square
the uppermost Jack and turn over the top four cards as two using the natural break
beneath them and maintaining a break under them.

With the right hand from above, lift up the inner end of the card below the break and
shift the break beneath it. In the same motion, pick off the top card and drop it on the
table. Pick off the next card and drop it on the first, spread to the left. You have
apparently suited your actions to your words, placing the black Jacks on the table.

State that you need another card and perform a triple turnover by means of the break.
Call attention to the card thus exposed - e.g., the Ace of Spades. Lift it off the deck at the
inner right corner. Simultaneously, turn the left hand palm down and use the exended
first and second fingers to help spread the tabled cards, assisting the right hand which
slides its card face down between them. Using both hands, square the packet. These
actions make it natural for the left hand to turn palm down.

57
Manipulate the deck to a normal face up position in the left hand, the right hand aiding
from above. Give the deck a cut and place it on the table face up as you reiterate that the
red Jacks are somewhere in the middle and the black Jacks on the table with the Ace of
Spades between them. State that the point of the trick is to make the Ace of Spades move
from the black Jacks to the red Jacks.

Snap your fingers or mumble magical incantations, and confidently ribbon spread the
deck face up. When the two face down cards show up without anything between them,
appear dismayed; appear the same as you spread the packet on the table, the Ace still in
place. Then comment, "But all I said was, that the Ace of Spades would move from the
black Jacks..." Slide out the reversed cards from the deck and turn them face up. "...to
the red Jacks". Reverse the three card spread for the climax.

Sandwhichever

In effect, the performer places the two red Aces face up on top of the deck and the two
black Aces face up on the bottom. Stating that both he and a spectator will select cards,
he cuts off a portion of the deck, exhibits the card cut to, and reassembles the deck. He
then cuts at a point indicated by a spectator, shows him the card cut to, and reassembles
the deck. He says, "If my card were to appear between the red Aces on top of the deck,
your card between the Black Aces on the bottom, that would be a pretty good trick,
wouldn't it?"

He continues, "And if my card appeared between the black Aces on the bottom and
yours between the red Aces on top, that would be a good trick too." He goes on, "But this
trick goes one better. You will have a choice of whose card will appear where." And that
is what happens: if the spectator wants his card to appear between the black Aces and
yours between the red, such is the case. If he chooses the opposite conditions, they will
prevail.

To perform, start with the Aces face up on the table, the colors together, and the deck
face down in the left hand. Obtain a break under the top card. Pick up the red Aces with
the right hand from above. Square them against the top of the deck.

Steal the top card beneath them as the left thumb pulls off the uppermost Ace onto the
deck. Place the remaining double card on top of all. You ostensibly have counted the red
Aces onto the deck. With the right hand, place the deck on the black Aces and pick them
up beneath it. Square the cards as you point out that the black Aces go on the bottom.

Obtain a break beneath the second from top card. Stating that you will select a card,
begin to cut off the two cards over the break with the right hand from above, the fingers
completely concealing the outer end of the deck. At the same time, roll over both hands
to the right and separate them, the left forefinger extending to point to the exposed face
card of the "section" in the right hand.

58
Name the card, saying that it is yours, and, without pause, reverse the action by rolling
over the hands to the left to reassemble the deck. Performed quickly, it appears that you
have cut haphazardly to the middle of the deck, the action akin to the Mock Pass.

Ask. the spectator to choose a card by calling stop as you riffle the outer left corner of the
deck. Cut the deck when so instructed and tilt the upper section to show the card
selected. Perform the Bottom Replacement as you reassemble the deck, controlling the
selected card to the bottom. Patter as indicated above to explain the nature of the trick,
all the while holding the deck with both hands, the right hand arched above it.

Assume the spectator decides that your card is to appear between the red Aces on top
and his between the black Aces on the bottom. Withdraw the left hand and perform a
Side Glide with the right fingers. Pinch out the second from bottom card (a black Ace)
with the left fingers and thumb, and place it on the table. Pinch out the actual bottom
(face down) card and place it on the Ace, spread to the left. Take the bottom card (a
black Ace) and place it on the other two to complete the spread.

Point out that the black Aces do indeed have another card between them. Take the deck
in the left hand and push off the top three cards in a spread and set them on the table.
Point out that the red Aces now have another card between them. Finally, turn over the
face down cards between the face up Aces.

Assume the spectator decides that your card is to appear between the black Aces on the
bottom and his between the red Aces on top. Obtain a break above the bottom card with
the right thumbtip. Stating that the red Aces do indeed have a card between them, pull
off the uppermost Ace with the left thumb.

Pull off the next (face down) card, at the same time releasing the bottom card beneath it
and obtaining a break under the card just pulled off. Pull off the other red Ace,
simultaneously stealing back the second card onto the bottom of the deck via the Biddle
move. Spread the three cards in the left hand and drop them on the table.

Perform a side glide with the right fingers. Pinch out the second from bottom card (a
face up black Ace) and drop it on the table. Pinch out the actual bottom (face down) card
and drop it on the Ace, spread to the left. Take the bottom card (a face up black Ace) and
drop it on the other two to complete the spread. Point out that the black Aces have a
card between them as well. Finally turn over the face down cards between the Aces.

Changemaker

This routine uses the foregoing switch sequence for a "Black Widow" transposition (Alan
Brown, The Pallbearers Review, May 1969, p. 255). With the Aces face up on the table,
the colors together, remove two other cards with like values but opposite colors - for
example, the Three of Hearts and Three of Spades. Arrange the Three of Hearts face
down between the face up red Aces and the Three of Spades face down between the face
up black Aces, separating the two groups.

59
Hold the deck face down in the left hand. Saying that the black "sandwich" goes on the
bottom of the deck, pick up the uppermost black Ace and slide it under the deck. Pick up
the face down Three, flash its face, and slide it on the bottom. Pick up the remaining
black Ace and apparently slide it on the bottom - actually, second from bottom via a
buckle or Pull Down.

Saying that the red "sandwich" goes on top, pick up the uppermost red Ace and place it
on the deck. Pick up the face down Three, flash its face, and place it on top. Pick up the
remaining red Ace and place it on top of all. Review the positions of the Threes: the red
one face down between the red Aces on top of the deck, the black one face down between
the black Aces on the bottom.

Give the cards a snap or riffle. Arch the right hand over the deck and obtain a break
above the bottom card with the thumbtip. With the left thumb, pull off the uppermost
red Ace. Pull off the next (face down) card, at the same time releasing the bottom card
beneath it and obtaining a break under the card just pulled off. Pull off the other red
Ace, simultaneously stealing back the second card onto the bottom of the deck via the
Biddle move.

Spread the three cards in the left hand as you say, "The red Aces still have a card
between them." Drop the spread on the table. Perform a Side Glide with the right
fingers. Pinch out the second from bottom card (a face up black Ace) and drop it on the
table. Pinch out the actual bottom (face down) card and drop it on the Ace, spread to the
left.

Take the bottom card (a face up black Ace) and drop it on the other two to complete the
spread. Say, "The black Aces still have a card between them." Continue, "But now
something's changed". As the remark is made, turn over the cards between the Aces to
show the transposition.

Search Flight

The first part of the following routine is a novel approach to Father Cyprian's "Searching
Bottom Collectors" (The Bottom Collectors, Father Cyprian, p. 10). The "alternating"
Atfus handling used in it might be compared to the techniques used in Edward Marlo's
"All You Had To Do Was Watch and Still You're Not Happy" (Hierophant #5-6, p. 234)
and Father Cyprian's "Lever Atfus Collectors" (The Bottom Collectors, p. 39-43) and can
be substituted for them.

The second part of the routine is derived from Marlo's "Flight For 3" (Kabbala #10, p.
78), permitting the performance of that effect without prearrangement. Either part can
be presented as a separate routine, or the second as a follow-up to any of the variations
of Roy Walton's "Collectors" theme.

I. With the four Aces face up on the table, the deck face down in the left hand, obtain a
break below the uppermost three cards. Pick up the Aces with the right hand from
above. Move them over the deck for the left thumb to pull off the first Ace. At the same

60
time, steal the block above the break beneath the Ace packet and engage the next card
on top at the inner end, carrying it with the packet but maintaining a thumbtip break
above it.

After the first Ace has been pulled squarely onto the deck, push it to the right for half its
width, the left thumb also moving the first face down card slightly to the right, trailing
after the Ace. Pick up the first Ace below the packet in regular Atfus fashion. As you do
so, pull back the top card of the deck, obtaining a break beneath it.

Without pause, square the first Ace with the packet by striking its left edge against the
left thumb which has straightened alongside the deck. In the process, steal beneath it
the top card of the deck. The moves blend together easily and naturally. All the while,
the right thumbtip maintains its break.

Repeat the identical sequence as you pull off and retake the second Ace, also stealing an
extra card beneath it. Pull off the third Ace. As it is apparently retaken beneath the
packet and squared, actually release all cards beneath the right thumbtip break as in the
regular Atfus move. Place the packet on the table to be taken as the four Aces. It consists
of a face up Ace above three face down indifferent cards.

Announce that you will use three other cards in addition to the Aces. Arch the right hand
over the deck and obtain a break with the thumbtip below the uppermost three cards.
Maintaining the grip of both hands tilt the deck to a vertical position. Say to Spectator
One, "Will you remember this card." At the same time, double cut to the break while the
deck is in a vertical position, the spectator noting the card arriving on the face of the
deck.

When he does so, obtain a break with the right thumbtip below the uppermost two
cards. Maintaining the vertical position of the deck, face it towards Spectator Two.
Double cut to the break, showing him the new bottom card; say, "Will you remember
this card." Finally, move to Spectator Three again obtaining a break below the
uppermost two cards. Double cut to the break and ask him to think of the card then on
the bottom.

A face down card is now on top of the deck, so it can be safely lowered to a horizontal
position. Immediately perform a false cut, apparently losing the third selection in the
middle. (A consistent procedure is to swing cut half the deck into the left hand, complete
the cut maintaining a break between sections, and double cut to the break.)

Now the ending is clean and fast: set the deck on the table, pick up the "Ace" packet, and
place it on top of the deck. Give the deck a cut. Ribbon spread it from right to left to
show face down cards alternating between the Aces. They prove to be the three noted
cards.

II. Leave the three selections and the four Aces in separate piles on the table. Remove
another set of four - for example, the four Queens - dropping each face up on top of the

61
Ace pile. Square the deck and hold it face down in the left hand. Pick up the Ace-Queen
packet with the right hand from above.

Pull off the uppermost Queen onto the deck and maintain a break beneath it. Pull off the
second Queen, then the third. As the fourth Queen is pulled off, steal back the first three
via the Biddle move. Announcing that the Queens are to go face up in the middle of the
deck, perform a Charlier cut. Follow immediately with a second Charlier cut, the deck
opening beneath the reversed card in the usual automatic way. The face up Queen has
thus been cut to the bottom of the deck (a one-hand double undercut!).

Place the rest of the packet on top of the deck, making reference to the four Aces. Spread
the first three Aces taking care not to expose the Queens beneath them, then resquare
the packet. Turn the entire face up block face down, maintaining a break beneath it with
the left little finger.

Spread the uppermost four, apparently the Aces, and hold the spread on the deck. All
the while retain the little finger break. Insert each of the three selections face up
between these four cards outjogged for half their length as you point out that you are
returning to the position you just ended up with. Close the spread, the selected cards
still in an outjogged position. Turn over the entire block above the break. All still
appears as it should, but hold the position only momentarily.

Follow by pushing the selected cards square with the deck and lifting off just the four
uppermost face up cards at the natural break. They are the four Aces which are assumed
to have the selected cards reversed between them. Place the Ace packet face up on the
table. Give the deck a cut and place it on the table. Finally, separate the Aces to show
that the selections are no longer there. Ribbon spread the deck to show face down cards
between the Queens which turn out to be the selections.

Caught Red Handed

The following, like its "sister" routine "For (Embarrassed) Collectors Only" (Packet
Magic, p. 18), is an alternative method for an effect suggested by Father Cyprian's
"Embarrassed Collectors" (The Bottom Collectors, p. 28).

A blue backed deck is prearragned with a blue backed Ace of Spades on top, followed by
a face up red backed Ace of Clubs, a face up red backed Ace of Diamonds, and a face up
red backed Ace of Hearts. The red backed Ace of Spades is face down somewhat above
the middle of the deck. The remaining blue backed Aces are face down and spaced out in
the lower half in Hearts, Diamonds, Clubs order from top down. (The exact suit order is
given for purposes of example. It is only important that the arrangement of the blue
backed Aces from the bottom up is the same as the arrangement of the face up red
backed Aces from the top down.)

To perform, take the deck out of its blue case. Quickly and casually, spread it between
the hands face down, exposing the lower half only. Turn it face up and announce that
you will use the Aces. Run through the cards until you come to the first Ace - the Ace of

62
Clubs. Separate the hands so that it is the lowermost card in the right hand. Turn that
hand palm down, thus exhibiting the backs of the cards it holds, and deposit the Ace of
Clubs face down on the table.

Reassemble the deck and continue running through it as you look for the other Aces.
Handle the next two in the same way, depositing each of them on top of the first Ace.
Reassemble the deck and pause momentarily as you hold it, still semi-spread, in the left
hand. Ask as if thinking aloud, "What Ace am I missing?" As you speak, turn the Aces on
the table face up and spread them. Say, "The Ace of Spades", and run through the cards
to locate the last Ace which you drop face up on top of the others.

Reassemble the deck. Neaten up the Ace packet and turn it face down on the table. Turn
the deck face down, spread it between the hands without exposing the face up Aces, and
have three cards selected and removed. Square the deck as you say, "The cards you have
chosen might be any cards except, of course, one of these over here - the four Aces". So
saying, turn the Ace packet face up with the right hand and transfer the Aces one by one
into a new pile, thus reversing their order.

Riffle to about the mid-point of the deck with the left thumb, cut off the upper section,
and have the first selected card replaced. Hold a break above it as the deck is
reassembled. Using the technique of the standard riffle force to imply a random cut,
again lift off the upper section and have the second card replaced. Repeat the sequence
for the replacement of the third selection, and hold a break above it as the deck is
reassembled. Cut off the cards above the break, the right hand in position for a Faro
shuffle, and perform one out-shuffle.

With the deck back in normal position in the left hand, obtain a break below the
lowermost reversed card, using the natural separation to do so. Holding the top card in
place with the left thumb, slide out the portion remaining above the break with the right
hand from above. Make sure to obtain a break below the top card as it slips onto the
balance of the deck. Replace the cards held by the right hand to complete the simulated
cut.

Pick up the Ace packet from the table with the right hand from above. Carry it over the
deck to enable the left thumb to pull off the uppermost Ace, at the same time stealing
beneath the packet the cards above the break. The first Ace - the Ace of Hearts - is pulled
off flush onto the deck. Pull off the next Ace onto the first, spread to the right. Pull off
the third Ace onto the second, spread to the right.

Hold the remaining block momentarily against the third Ace, spread to the right, as if it
were the single Ace of Spades, and then slide it to the left, squaring all the cards with the
deck proper. (By keeping the right hand in more of a "low wrist" position with the
thumb parallel to the inner end, the fingers can give greater cover to the outer end of the
packet and the extra thickness will not be noticed.)

Snap or riffle the deck. Then spread the top seven cards to show three face down cards
alternating with the face up Aces. Take the seven card spread in the right hand and place

63
it on the table, making sure not to spread the next card inadvertently. Ask. each
spectator to call out the name of his selection and instruct him to turn over the
appropriate face down card (the first selection will be on the left, the third on the right).

Finally, comment that the Aces are embarrassed about what they have done and turn
them over to reveal the red backs. The blue backed Aces, meanwhile, are neatly
packaged on top of the deck with a natural break under them for purposes of ditching
them in whatever way is convenient.

Change Collectors

The following is a method for Larry Jennings' approach to the Collectors effect ("Trinary
Metastasis", Epilogue #14, p. 3) Remove four like cards, e. g., the four Kings, and drop
them face up on the table. Ask a spectator to shuffle the balance of the deck, place it face
down on the table, and cut it into three piles. Perform the following actions with the
right hand exclusively.

Pick off the top card of the pile on the left from above and show it to Spectator One.
Allow Spectators Two and Three to see it as well. Retaining this card in hand, apparently
pick off the top card of the middle pile beneath it. Actually, lift off two cards as one. Tilt
the packet upright so that Spectator Two can note the face card. Allow Spectator One
and Spectator Three to see it at the same time. Retaining these cards in hand, apparently
pick up beneath them the top card of the third pile, but actually release one card onto
the pile.

Tilt the packet so that Spectator Three can note the face card, allowing Spectators One
and Two to see it as well. It is a different card than appeared before, so all seems well.
Drop the cards held by the right hand directly on the table, face down to one side. They
are assumed to be the three selected cards, a convincing impression particularly since
they have been kept separate from the rest of the deck.

One of the selected cards is actually on top of the pile on the right. Reassemble the deck
with this pile going on top and then request a spectator to cut it in two piles. Pick up the
four Kings and place them face up on top of the former bottom section. State that you
are going to form a little package by alternating odd cards between the kings - "like this".
So saying, perform the following actions with the right hand exclusively.

Pick off the uppermost King from above. Pick up beneath it the top card of the other
pile, the lower card protruding a bit along its left side so that the spectators can see what
you are doing. Move the right hand back to the King pile, squaring the two cards it holds
by straddling them with forefinger and little finger. Pick up the second King beneath
them. Move back to the other pile and apparently pick up the top card, actually just
feigning the action and picking up nothing.

Move the right hand back to the King pile and pick up the third King. Move to the other
pile, actually pick up the top card, again allowing a portion of its left edge to be visible
and also maintaining a break at the inner end between it and the cards above it. Move

64
the right hand back to the King pile, squaring the sides of the cards it holds but retaining
the break above the lowermost card.

Apparently pick up the last King, but actually release the bottom card of the packet on
top of it. When the right hand is withdrawn, the King is thus no longer visible. Set the
packet on the table. Pick up the selected cards without spreading them and place them
on the pile which does not have the face up King concealed second from top.

Reassemble the deck by picking up the pile containing that King and placing it on the
other, stepping it to the left. Lift the entire deck and as it is transferred to the left hand,
obtain a break between the sections. Cut off the section above the break in Faro Shuffle
position and perform one Out-Faro. Square the deck and execute a slip cut to lose the
top card. As these actions take place, point out that the selected cards are being lost in
the deck.

Obtain a break below the third from top card. Stating that the Kings act as "collectors",
pick up the King packet from above with the right hand and set it on the deck. Snap or
tap it, and lift off the entire block above the break. Deposit the rest of the deck to one
side. Rest the packet in the left hand and obtain a break above the third from bottom
card (i.e., below the two face up Kings together in the center of the packet).

Say, "As you remember, we have odd cards face down between the Kings..." As an idle
action to accompany the remark, lift off the top King with the right hand from above.
Lift the next (face down) card beneath it. Lift the next two face up cards (above the
break) as one. A face down card shows next as it should.

Replace the cards in the right hand, at the same time executing a Bottom Replacement.
Complete your sentence by saying, "...but now something has changed." Spread the
packet on the table, face down cards properly alternating with the Kings. Ask each
spectator to call the name of his card, and turn up the face down cards for the climax.

65
 Chapter IV: Psychosomagic
Predictable Prediction

The following constitute some solutions to a Paul Curry problem now known as the
"Open Prediction" ("A Currious Prediction", More Card Manipulations #3, Hugard, p.
47). They do not conform to the strict standards pursued by Edward Marlo in his
thinking on this subject (The Cardician, 1st edit., p. 147, The Hierophant #1, p. 1) with
the result that their effect on laymen may not be as strong. These methods are straight
forward and relatively easy, however, and the impression generated has proved perfectly
satisfying.

(a) Perform an end-for-end double turnover, allowing the double card to overhang the
outer end of the deck in preparation for the Underturn move (p. 10). Announce that the
card thus displayed - the Ace of Spades, for example - represents a prediction.
Apparently turn the card face down, actually performing the Underturn to leave the Ace
of Spades face up under the top card. Perform a false cut or shuffle.

Hold the deck face down in the left hand and invite a spectator to select a card by lifting
off a packet anywhere he wishes and shifting it toward you for about half its length.
Demonstrate the action by lifting up about one third of the deck and moving it inward
for half its length. When the spectator has followed your instructions, indicate the top
card of the lower section and point out that it is the card to which he has cut. Ask if he is
satisfied that it represents a free choice - if not, the whole procedure can be repeated.

Assuming that he is content, say, "It is possible that this card is the Ace of Spades - but
the odds are heavily against it. It is more likely that the Ace of Spades is among these
cards below your card..." (tap the outer edge of the lower section) "...or among these
cards above your card..." (tap the upper section). "Let's look first through the cards
above your card. Tell me if you see the Ace of Spades."

With the latter remark, turn the upper section face up on top of the lower, establishing a
break between them and maintaining it throughout the next sequence. Spread the face
up cards from left hand to right, stopping when the first face down card appears and
taking care not to expose the face up card below it. The spectator of course, does not see
the Ace of Spades.

Close up the face up section, allowing it to overhang the right side of the lower packet.
Hold it in place temporarily with the left thumb so that the right hand can regrasp it
from above. Lift the packet and reposition the right hand so that the second fingertip
contacts the top card of the lower section - the selected card - somewhat forward of its
center.

Push that card outward by moving the hand in that direction until the right thumbtip
contacts the inner end of the next (face up) card below which the break has been
maintained. Continue moving the upper packet forward for about an inch or so, the

66
thumbtip carrying that card with it and the second fingertip pushing the selected card.
As these actions take place, say "This next card, of course, is the one you selected".

Release the grip of the right hand and withdraw the outjogged selected card. Grasp the
face up section beneath it and place them both on the table, the selected card on top.
Continue, "Now let's look through the cards that were below your card." Turn the
remaining cards face up and run through them to show that the Ace of Spades is not
there either.

Square this section and place it face up on the tabled portion. Ribbon spread the cards,
requesting the spectator to look again for the Ace of Spades. Finally, remove the face
down selected card to show that it is the missing card.

(b) This method simplifies the first, but at the expense of introducing a discrepancy.
Perform an end-for-end double turnover, allowing the double card to overhang the outer
end of the deck in preparation for the Underturn move. Announce that the card thus
displayed - the Ace of Spades for example - represents a prediction. Apparently turn the
card face down, actually performing the Underturn to leave the Ace of Spades face up
under the top card.

Perform a false cut or shuffle. Holding the deck face down in the left hand, invite a
spectator to select a card by lifting off a packet anywhere he wishes and shifting it
towards you for about half its length. Demonstrate the action by lifting up a third of the
deck and moving it inward for half its length.

When the spectator has performed this action, point to the top card of the lower section
and point out that it is the card to which he has cut. Say, "It is possible that this card is
the Ace of Spades - but the odds are against it. It is more likely that the Ace of Spades is
among these cards below your card..." (tap the outer edge of the lower section) "...or
among these cards above your card..." (tap the upper section). "Let's look first through
the cards above your card. Tell me if you see the Ace of Spades."

With the latter remark, turn the upper section face up on top of the lower, maintaining a
break between them. Spread the face up cards from left hand to right, stopping when the
first face down card appears and taking care not to expose the face up card below it. The
spectator, of course, does not see the Ace of Spades.

Close up the face up cards and take them with the right hand without squaring them
completely, the indices of one or two of the lowermost cards still visible. Set this section
on the table. Lift off the next two cards as one with the right hand from above - a process
made easy because of the break under them - and place them squarely on the tabled
portion. As you do so, point out that this card is the selected card.

Turn the remaining cards face up and run through them to look for the Ace of Spades.
Square them and place them face up on the rest of the deck. Ribbon spread the deck,
requesting the spectator to look again for the Ace of Spades. When he doesn't find it,
turn up the face down selected card for the climax. (Note that the card below it changes

67
identity in the course of the routine, but this fact is unlikely to be noticed even by an
observant spectator.)

(c) This handling follows (b) part of the way and provides a good application for the K-M
move (The K-M Move, Edward Marlo, p. 2). Proceed as described through the
placement of the face up section on the table. Grasp the top two cards of the section in
hand along their right edge between the right thumb above and first and second fingers
below.

Say, "And now let’s look through the cards below your card." At the same time, perform
the K-M move, carrying the selected card away with the right hand and depositing it on
the tabled section. The cards in hand, meanwhile, have been automatically turned face
up so that they can be displayed as demanded by the effect. Finish as described above.

(d) The identical patter approach can be used in conjunction with the Underturn Force
(p. 11). In this case, begin by showing the top card as your prediction, e. g., the Ace of
Spades. Apparently lose it in the middle of the deck, actually controlling it to the top.
Have a spectator shift a portion of the deck outward to make his selection.

Using the patter outlines suggested above, turn the upper section face up, executing the
Underturn Force. Run through the face up cards, square them, and place them on the
table. Deal the first face down card onto the face up cards. Show the faces of the
remaining cards and finish as above.

(d) Finally, the identical patter approach can also be combined with an original force
labeled "Not So Simple Force" (Card Cavalcade, Mentzer, p. 114). Show the Ace of
Spades as your prediction and control it to the top of the deck while apparently losing it
in the middle. Have a spectator shift a portion of the deck inward to select a card.

Following the patter outline, turn the upper section face up onto the lower. Arch the
right hand over the deck and with the thumbtip lift up on the inner end of the
uppermost two or three cards. Move both hands toward the table to ribbon spread the
deck from right to left, executing a Half-Pass at the thumbtip break in the process.

Request the spectator to look through the face up cards for the Ace of Spades. Push the
first face down card, the selected card, out of the spread. Flip over the other face down
cards and have the spectator look through them for the Ace. When he doesn't find it,
turn up the selected card for the climax.

Under The Influence

Assume that a blue deck is in use and a red deck face down to one side on the table or in
its case. At some point in the course of previous routines, glimpse the top card of the red
deck. Secretly transfer the duplicate of this card to the bottom of the blue deck.

When you are ready to begin, false shuffle the blue deck and hold it from above with the
right hand. Then state that you would like a spectator to select a card, but to assure that

68
the selection is completely a matter of luck, you want him to use some unrelated object
to do so. So saying, look around; as if by chance, come upon the red deck and lift off the
top card, holding it face down.

"Here", you say, "Why don't you use this. Just stick it into the side of the deck anywhere
you like." Insert the card in the left side of the deck by way of example and then give it to
the spectator. When he inserts it into the side of the deck, adjust its position if necessary
with the left hand and apparently remove the red backed card and all cards under it.
Actually, perform a Side Glide handling of the Thompson Glide Force (Card Party,
Thompson & Rutledge, pp. 17-18), as follows.

Approach the protruding card with the left hand, the thumb resting on it at the point it
emerges from the deck, fingers lightly contacting the bottom card of the deck.
Simultaneously, pivot the bottom card to the right with the curled right fingertips as in
the Side Glide.

With the left hand, which now contacts the second from bottom card, withdraw the red
backed card and the block below it with the exception of the glided card, the latter
automatically coalescing with the upper half of the deck. Square the upper half by
straddling its long sides with the right forefinger and little finger.

At the same time, turn the right hand palm up and call attention to the face card of its
section. Ask the spectator if he is sure that this card represents a completely free choice.
Finally, tell him that strange as it may seem he was operating under an outside
influence. Reassemble the deck and retake it in the right hand, the red card again
protruding from the left side. Ask the spectator to remove it and have him turn it over to
prove your point.

Twocast

A routine entitled "Twin Force" by J. G. Thompson, Jr. (The Pallbearers Review 6th
Folio, 1972, p. 491) utilizes the Side Glide Indicator Force in conjunction with the slip
cut to achieve a dual prediction. The following constitute two methods for a very similar
effect, the first using two Side Glide Forces, the second, one part force and one part
bluff.

(a) Shuffle the deck and glimpse the top and bottom cards. Assume that the bottom card
is the Ace of Spades and the top card the King of Hearts.

Remove a business card and write in small letters the name of one card on each side.
Give the business card to a spectator, the side with the name of the bottom card
uppermost (the Ace of Spades). Holding the deck from above with the right hand, ask
the spectator to insert the card somewhere into the left side. Hurry him a bit so that he
won’t read what you have written. Allow him to change his mind and insert the card at
another point if he wishes. When he is satisfied, say that you now want him to see what
you wrote "...on this side of the card". At the same time, apparently lift off the section
above the business card, actually performing the Side Glide Force in the process.

69
Extend the left hand to the spectator and have him read what is on the business card -
"The Ace of Spades". Turn the right hand palm up to show that the card above the
business card is the Ace of Spades. Reassemble the deck, again sandwiching the
business card. Pointing out that you also wrote something on the other side, revolve the
deck (end-for-end) face up into the left hand.

Say that you want the spectator to read what you wrote there. Apparently lift off the
section above the business card, again performing the Side Glide Force. Extend the left
hand and ask him to read your second prediction - "the King of Hearts". Turn the right
hand palm up and have the spectator slide off and turn over the uppermost card. It is
the King of Hearts.

(b) Again begin by shuffling the deck and glimpsing the top and bottom cards. Assume
that the Ace of Spades is on the bottom and the King of Hearts on top. Remove a
business card and write in small letters Ace of Spades on one side and King of Hearts on
the other. Give the business card to a spectator, the side with the name of the bottom
card uppermost (the Ace of Spades).

Hold the deck from above with the right hand and ask him to insert it into the left side
anywhere he wishes. Allow him to change his mind and insert the business card at
another point if he wishes. When he is satisfied, say that you want him to read what you
wrote "...on this side of the card." At the same time, apparently cut off the section above
the business card, actually executing the Side Glide Force in the process.

Extend the left hand so that the spectator can read your writing - "the Ace of Spades".
Revolve the section in the right hand face up end-for-end, depositing it on top of the
section in the left. Do not grip it with the left thumb - just allow it to rest in place by
holding the left hand steady. The card thus exposed is the Ace of Spades.

Pick off the Ace of Spades and drop it on the table. With the right hand, hold the two
sections in place and square them, the left thumb changing its position to grip the entire
deck securely. Pointing out that you also wrote something on the other side of the
business card, revolve the entire deck over into the left hand end-for-end.

Saying that you want the spectator to read what you wrote there, legitimately lift off the
section above the business card and place it face down on the table to one side. Extend
the left hand and the spectator will read "the King of Hearts". Cleanly slide out the face
down card under the business card and turn it up to show the King of Hearts.
Apparently the business card has been placed right between the cards you predicted.

Compulsive Thinker

Without exposing their faces, remove the Two through Ten of Diamonds and the Queen
of Spades, taking the latter first or last. Drop them in a face down pile on the table. Place
the rest of the deck aside. Shuffle the packet, retaining the Queen on the bottom. Take
the packet with the right hand from above, at the same time obtaining a thumbtip break
above the bottom card (see Knuckle Jog, p. 13).

70
During these initial actions, explain to a spectator that you would like him to think of
one of the ten cards. Since you are not going to show their faces, he is to think of one by
position: the first card, the second card, the third card, or whichever he wishes. Now ask
him if he is thinking of the first card.

If not, pull it off with the left thumb, and lever it face up with the edge of the packet.
Move the packet directly above that card, the left thumb across its back in position to
pull off the next card, and ask whether the spectator is thinking of the second card. If
not, pull it off and flip it face up.

Move the packet over that card and ask if he is thinking of the third card. Assume that
he is. Pull it off, and at the same time release beneath it the bottom card, obtaining a
little finger break between them - i.e., directly below the selected card.

Continuing, "Your card stays face down and the rest go face up", place the remaining
cards on the section in the left hand overhanging its right side, momentarily holding
them in place with the left thumb. Flip them face up and immediately lift all the cards
over the break with the right hand from above. Still without missing a beat, thumb off
the visible face down card onto the table. Slide the cards in the left hand on top of those
in the right and retake the packet in the left.

Tell the spectator that you want him to see if there are certain characteristics that these
face up cards - the cards he did not think of - have in common. To display them, one by
one take each with the right hand, revolve it face down, and slide it on the bottom of the
packet. When the face up cards have been exhausted, again turn the packet face up and
spread it on the table. The spectator, with your help if necessary, will conclude that all of
them are diamond spot cards. Have him turn over the single face down card selected
earlier. It is the Queen of Spades.

Hickory Dickory Deck

This routine is a non-mathematical approach to the "Clock Effect", developed by

applying the restraints of a particularly backward level of mathematical competence to
the challenges of the various routines compiled in Jon Racherbaumer's On The Clock
Effect.

Ask a spectator to shuffle the deck thoroughly, emphasizing that it is important for you
to be unaware of the position of any card. Take back the deck in left hand dealing
position, handling it at all times so as not to arouse suspicion of a glimpse. Ask the
spectator to think of a number between 1 and 12.

With the right hand from above, pick off the top two cards as one and place the double
card face down on the table near the inner right corner. Pick off the next card by the
ends and set it to the left of the double card. Continue in this fashion, laying out twelve
cards. Curve the row toward the spectator at around the ninth or tenth card. Place the
balance of the deck aside.

71
During these actions, comment that you are about to show a variation of a classic
routine known as the Clock Trick. Point out that each card represents an hour and
explain that you have constructed a somewhat surrealistic clock to save space. Finally,
remind the spectator that he is thinking of a number and ask that he now consider that
number to be an hour.

Tell the spectator that you will tap each card as you count the hours and ask that he
remember the card positioned at the hour of his choice. So saying, tap each card in the
order in which you laid them out and count aloud from one to twelve. Take care not to
disturb the double card. Turn your back and ask the spectator to peek at the face of the
proper card.

Facing front, pick up the double card by the ends, place it on top of the second card,
picking it up beneath it, similarly pick up the third, and continue until all twelve have
been collected. As you do so, say, "You might be thinking of the card at 1 o'clock, or 2
o'clock, or 3 o'clock..." etc. Transfer the packet to the left hand, at all times continuing to
handle the cards so as to preclude the possibility of a glimpse.

Point out that there is no way for you to know the name of the card of which the
spectator is thinking. Continue, "As a matter of fact, even if you were to tell me the hour
you thought of, there is no way I could know the name of your card without looking at it
since at no time have I seen any of the faces."

Ask the spectator whether his hour is 1 o'clock. When he replies that it isn't, turn the top
card of the packet face up. Lift it by the ends and place it on the table in 1 o'clock
position. Ask if his hour is 2 o'clock. If he again says that it isn't, turn the card face up.
Lift it by the ends and place it in 2 o'clock position.

Continue in this fashion until he indicates that the hour just mentioned is the hour he is
thinking of. Do not turn the card at that point face up. With the left thumb, push it to the
right, at the same time moving the next two cards slightly to the right as well. Ask the
spectator to remove the uppermost card - presumably his - and to place it face down on
the table in the proper position. Caution him to do so with care so that you cannot see its
face.

When he has taken his card, draw back the next two with the left thumb and obtain a
break beneath them. Follow immediately by turning the top two cards face up as one.
Lift them from above and place the double card in its proper clock position on the table.
At the same time, and as a distracting action, turn the left hand palm down and thumb
off the remaining cards face up in their appropriate clock positions. Comment, as these
actions take place, "And the rest of the cards all go face up".

At this point, the spectator sees one face down card and eleven face up cards. Since none
of the latter is his, the picture is most convincing that the single face down card, which
from this point is never moved, must be. With the right hand from above, pick up the
card at 12 o'clock by the ends, place it on top of the card at 11 o'clock, picking up the
latter beneath it.

72
In the same fashion, continue picking up cards in reverse clock order, stopping after you
have picked up the double card. As these actions take place, patter by saying, "You are
not thinking of the Three of Clubs, or the Two of Spades, or the Five of Hearts...",
naming the card picked up in each case.

Transfer the collected packet to the left hand and follow without pause by picking up by
the ends the card to the right of the face down card, then the next card to the right, and
continue until the remaining face up cards have been collected. Place them on top of
those in the left hand. Simultaneously, buckle the lowermost card of the combined
packet to expose its inner right corner, and glimpse it.

Flip the packet face down and obtain a break under the top card. Continue, "But you are
thinking of this card which I have not touched or looked at." Begin to slide the card
towards you, holding the packet past the near end of the table in waiting. Conclude,
"You are thinking of the King of Hearts" (naming the card previously glimpsed). The
remark should be completed just before the card slides off the table and onto the packet.
Bring the packet forward and perform a double turnover as if by way of verification.

The reason for suggesting the "curve to the left" formation rather than a circular dial-
type layout is to accommodate the distracting action of the left hand as the right hand is
depositing the face up double card on the table. (The formation allows some patter
reference to Salvador Dali-style clocks.)

The reason for requesting the spectator to think of a number between one and twelve
prior to any mention of the clock analogy is to assure that the eventual hour chosen is in
fact between one and twelve. The method will not operate properly if either one or
twelve is selected. It seems somewhat less logical to give the analogy first and then offer
a selection of an hour between 1 o'clock and 12 o'clock.

Thinking Spell

This routine materialized after correspondence with Joseph K. Schmidt. The original
source was a routine by Dai Vernon entitled "The Magic Spell" (Hugard's Magic
Monthly, October 1946, p. 281). A virtually identical routine appeared in The Magic
World of Stewart Judah, p. 68, with the effective addition of a "computer" patter line.
These various handlings involved the revelation of a mentally selected card via spelling
and/or a Down-Under deal.

Vernon later was able to eliminate the Down Under feature, but at the expense of
introducing multiple alternative conclusions ("Mental Speller", Dai Vernon's Book of
Magic, Ganson, p. 177; Dai Vernon's Ultimate Card Secrets, Ganson, p. 41) Joseph
Schmidt took a different approach to produce a more certain ending: cards are mentally
selected by two spectators, the first discovered by spelling and the second by a
combination of spelling and the Down Under deal.

The following handling was directly inspired by the Schmidt approach. In it, the Down-
Under deal is eliminated as a means of discovering one of the selections. Both cards are

73
revealed through spelling in an identical fashion without alternatives, so that all spelling
instructions can be given in advance. Through most of the routine, the spectators handle
the cards exclusively.

A prearrangement of 10 cards is required. They are, from top down, 7C, 9D, 6H, QD, 8S,
8D, 5D, 7S, JH, 4C. (The first set of five are the key ones and must be the cards
suggested; for the second five, any cards that spell with a comparable number of letters
can be used.) With this stack secretly brought to the top of the deck, perform false
shuffles as desired.

With the deck in the left hand, push off the top five into the right in a spread without
reversing their order. Tilt them up so that Spectator One can think of one of them.
Square them and drop them on the table. Push off the next five and have Spectator Two
think of one of them. Place the rest of the deck aside. Use Packet #2 to scoop up Packet
#1, or simply pick up Packet #1 and place it on Packet #2.

Introduce the computer idea and state that you will now computerize the faces. As you
speak, shuffle them as follows. Holding the combined packet from above with the right
hand, with the left simultaneously slip off the top and bottom cards together and drop
them on the table. Slip off the new top and bottom cards and drop them on the first pair.
Continue thus through the packet, dropping the final two on top of all. From here on,
you do not touch the cards.

Tell Spectator One that it is necessary to program the cards. Have him pick them up and
give him Under-Down deal instructions (not Down-Under). He is to drop the last card
on top of all. Give him the usual spelling instructions, telling him to transfer one card
from the top to the bottom of the packet for each letter as he spells to himself the card he
is thinking of.

He is to deal the card that falls on the final letter face down to the table. Finally, have
him name his card and ask him to turn up the tabled card to show that it is the same.

That card is not replaced in the packet. Have the packet given to Spectator Two and say
that it is now necessary for him to reprogram the cards. To do so, call attention to the
numerical value of the first selection, and have Spectator Two transfer that number of
cards from bottom to top. Give Spectator Two the same spelling instructions as you gave
Spectator One. The card that turns up on his final letter is the card of which he is
thinking.

There is one exception to the "reprogramming" instructions. If the first selection is the
Queen of Diamonds, have Spectator One replace it face down on the bottom of the
packet. He is then to give the packet directly to Spectator Two for spelling. In this
instance, there is thus no "reprogramming".

The following mnemonic was worked out by Joseph Schmidt to assist in memorizing the
set up: Seldom Can (7C) Non Dimensional (9D) Size Hearts (6H) Quickly Deter (QD)

74
ArterieS (8S). Eight Days (8D) Fine Diet (5D) SaveS (7S) Junior's Heart (JH) For
Certain (4C).

Mentalias

This routine was evolved from Paul Curry's "The Whispering Joker" (The Phoenix #131,
p. 528). It is all gall, but works.

Have a spectator shuffle the deck thoroughly and place it face down on the table. Move
away from the table if possible to emphasize that at no point do you touch the cards. Ask
him to deal cards from the top of the deck into a second pile, stopping on any card he
wishes. Make no allusion to number in your instructions. Do not say, "Deal as many
cards as you like" or even "Stop whenever you like," both of which attach importance to
the number of cards.

Count to yourself the number of cards he deals and remember it as a key. When he
stops, indicate the last card dealt, pointing out that it is the card on which he decided.
Say that you want him to look at the card and that you will turn your back so that you
will not see it.

When your back is turned, instruct him to turn it face up on its pile and remember it.
Additionally, ask him to write his initials on its face, and state that it will now be
referred to as his "initialed card". Have him turn the card face down in place. Then ask
him to cut off a group of cards from the balance of the deck and set them on top of the
initialed card, burying it.

Keep your back turned during the rest of the routine. Have him pick up the balance of
the deck, fan it towards himself, and think of any card he sees. State that it will be
referred to as his "thought card". He is then to set that portion of the deck aside and turn
the other packet face up, leaving it on the table.

Proceed by giving him the following instructions. He is to call the name of the
uppermost card of the face up pile, and then deal it into another pile. He is to call the
name of the next card, and deal it off to the second pile. He is to continue in this
manner, right through the packet, but on reaching his "initialed card", he is to mis-call it
by the name of his "thought card". Caution him not to pause in the calling and dealing
process, or, instead, to pause at various places to mislead you.

Simply count to yourself the key number remembered earlier and keep in mind the
name of the card falling on that number. When he has exhausted the packet, ask him to
leave the "initialed card" face up on the table and to place all the other cards face down
to one side. Turn around and stare at the initialed card for a few seconds and then say,
"Your initialed card is the Ace of Spades (e.g.), which means that your thought card
must be the King of Hearts (e.g.)", naming the card remembered a few moments earlier.

75
Think Twice

Have a pencil handy. Hold the face up deck from above with the right hand. Pull off
cards with the left thumb and ask a spectator to think of any one that he sees. Continue
thus through twelve or fifteen cards. At that point, ask the spectator whether he has
thought of one. If so, return the dealt cards to the face of the deck. Turn the deck face
down and Double Undercut two or three cards from the top to the bottom.

Set the deck face down on the table. Deal cards into a second pile, requesting the
spectator to say stop whenever he wishes. Pointing to the last card dealt, ask the
spectator to make some sort of identifiable mark in its margin with the pencil - a
number, a letter, a geometric figure - anything which you could not have predicted
ahead of time.

When he has done so, pick up the dealt packet and place it in your left hand. Pick up the
balance of the deck and place it on top, maintaining a break between sections. Lift the
deck with the right hand from above, the thumbtip maintaining the break.

Swing cut a small portion from the top of the deck into the left hand and pick it up
beneath the rest of the deck. Swing cut another small portion into the left hand and
place the balance of the deck on top of it. Turn the deck face up, executing a Turnover
Pass at the break. (Alternatively, turn the deck face up without losing the break, and cut
or double cut to it.)

Hold the face up deck with the right hand from above, obtaining a thumbtip break above
the lowermost card. Ask the spectator to name for the first time the card of which he
thought earlier. Pull off cards from the face of the deck into the left hand. In doing so,
keep your attention on the face of the deck so that you can be prepared when the named
card shows up.

When it does, say, "Here is the card you are thinking of". Pull it off into the left hand, at
the same time releasing beneath it the card below the break in Reverse Biddle fashion. If
you can do so neatly (it is not absolutely essential), obtain a break with the left little
finger under the released card in the process. Set the section held by the right hand
aside. Call attention to the fact that the spectator also selected another card earlier by
marking its back. Turn over the two face cards of the packet as one, asking the spectator
to see what he finds on the back of his thought card. He will see his mark.

Rub out the mark with your right forefinger or the eraser of the pencil. Turn the two
cards face up as one. Turn the left hand palm down and thumb off the thought card face
down on the table. Immediately start rubbing on its back with your forefinger at the
position the mark would have occupied as if to make sure it is erased. Leave the card
face down for the spectator to look at it if he wishes. Conclude by saying, "The face you
thought of and the back you selected were of the same card."

76
Teleapathy

Ribbon spread the deck face down on the table and ask a spectator to pull any card out
of line. Scoop up the deck, square it, and turn it face up. Pick up the lone face down card,
insert it in the middle of the face up deck obtaining a break beneath it. Double cut to the
break to bring the reversed card lowermost.

Take the deck with the right hand from above, obtaining a break with the thumbtip over
the lowermost card in the process. Request the spectator to think of a number between
one and twelve and to note the card that falls at that number as you count off the face of
the deck. So saying, begin to pull off cards with the left thumb, counting aloud from one
to twelve.

When you have counted off twelve cards, lever the dealt packet face down with the left
edge of the deck, at the same time releasing onto the packet the card beneath the break
in Drop Switch fashion. Set the rest of the deck aside face up.

Ask the spectator to announce the number that he thought of earlier. Deal one less than
that number from the packet to a pile on the table, placing the card falling on that
number directly in front of the spectator. As that card is removed from the packet, allow
the left thumb to push the next card slightly to the right as well. Form a break under the
latter card as it is pulled back square.

Pick up the dealt pile and flip it face up on top of those in hand. As you do so, say, "You
might have thought of one of these cards." Take the block above the break with the right
hand from above. Revolve the remaining cards face up and onto the rest of the packet
which is then retaken in the left hand. As you do so, say, "And you might have thought of
one of these."

Continue, "But you could not have thought of one of these cards." As this remark is
made, reach for the deck with the right hand, taking it face up at the inner right corner -
thumb on top, fingers curled beneath. With the left, buckle the lowermost card of the
packet it holds and prepare for the Covered Cop Transfer (Packet Magic, p. 9).

Perform this sleight as the deck is transferred to the left hand and the packet to the
right. Drop the packet onto the table and give the deck a cut as you continue, "And, more
particularly, you could not have thought of the one that we reversed at the outset."

Place the deck on the table face down. Have the spectator turn up the card in front of
him and ask whether it is his. He will reply that it isn't. Spread the cards in the packet
and ask whether his card is among them. He will again reply in the negative. Have him
name his card and ribbon spread the deck to show that the reversed card is his for an
"impossible coincidence."

77
Crossed Thoughts

Give the deck to a spectator for shuffling and take it back. It is now necessary to note the
name of the bottom card and to obtain a break above a known number of cards from the
bottom in the range of thirteen or fourteen. The following is an easy and logical method.

Upon receiving the deck, announce that you will shuffle it as well. So saying, prepare for
a Faro shuffle, at the same time glimpsing the bottom card - e.g., the Ace of Spades.
Break the deck so that the left hand retains the original bottom half, and in executing
the Faro retain the Ace on the bottom. Only the lower portion of each half need be
properly entwined.

Push the packets together until around a half-inch remains in Incomplete Faro
condition. Lower the deck to normal position in the left palm and arch the right hand
over it. With the right thumbtip, riffle count 6 cards from the bottom and push down on
them as the sections are squeezed square.

Assume the break with the left little finger. Thirteen cards will be below it. As will be
seen, riffle counting in an Incomplete Faro condition is simple, sure, and speedy. During
the Faro, comment that you will not only both shuffle the deck, but you will both
perform certain other similar actions as well.

Explain that you would like the spectator to cut off a packet, note the card at its face
without letting you see it, and hold it against his chest. Demonstrate these actions with a
third of the deck, then replacing it. Extend your left hand toward the spectator so that he
can follow your instructions, but neither expose nor lose the little finger break.

After the spectator has cut off a portion, say that you will do the same thing. Cut off all
the cards above the break, pretend to note the face card, and hold the packet against
your chest. Extend the balance toward the spectator and ask him to return his section.
Have him square the deck carefully as it lays loosely in your left palm. Drop your section
squarely and cleanly on top of all. Say that to confuse the position of both cards, you will
give the deck several cuts. Reverse Double Undercut the bottom card to the top.

You now explain to the spectator that you are each going to discover the other's card. To
do so, you are each going to think of a number - the spectator a number from one to ten,
and you a number from ten to twenty.

Continue, "I will use my number to count from the bottom of the deck and you will use
your number to count from the top of the deck. To make sure that I don't cheat, I will
name my number and my card before you name yours."

When you are sure the spectator understands these advance instructions, announce that
you are thinking of the number thirteen (the position of the original break) and that
your card is the Ace of Spades (the original bottom card). Ask the spectator for his
number and card. Assume he says seven and the King of Hearts. Turn the deck face up
and hold it from above with the right hand.

78
To yourself, subtract the number he gives you from your number to arrive at a key - in
this case, six. Begin to pull off cards from the face of the deck with the left thumb,
counting aloud. When you have pulled off the card at the key number - the sixth card -
insert the left little fingertip above it to form a break. When you pull off the 13th card -
your number - steal back Biddle style all the cards above the break.

In the meantime, you have counted aloud through from one to twelve and when you pull
off the 13th say, "And the thirteenth card is your card, the King of Hearts." Pause for a
moment, then thumb off the King onto the table. Replace the cards held by the left hand
onto the face of the deck. Turn it face down and give it to the spectator. Remind him that
he is to use his number to count from the top. When he does he will find your card, the
Ace of Spades.

Thought Thrust

For this routine, you require a toothpick-type object generally used for impaling hors
d'oeuvres or sandwiches, in this case shaped like a small sword about three inches long.
It is available in most Five & Tens, gift shops, or notion stores.

With the sword in your handkerchief or shirt pocket, give the deck to a spectator for
shuffling. Take it back and hold it upright, faces toward the spectator. Begin to run the
cards from left hand to right and ask the spectator to point to any Club as you come to it.
Upjog it for half its length.

Continue running the cards, asking him to point to any Diamond which you also upjog,
then any Heart, then any Spade, and finally, a card of any suit. Explain that these cards
do not have to be the first to appear of the designated suit, and they can either be next to
each other or apart in the deck. Make a point of not being able to see their faces yourself.

When the five cards have been upjogged, keep the deck upright and spread it so that the
faces of the five protruding cards are visible to the spectator. Ask him to think of one of
them. Close the spread and perform a multiple shift to control the five cards to the
bottom. Hold the deck with the left hand in the position naturally assumed at the end of
the shift - raised near the fingertips, forefinger at the outer end. Remove the sword with
the right hand, at the same time squaring the deck with the left by striking its inner end
against the table top, bottom card facing you. Glimpse it.

Inform the spectator that you would like him to insert the sword in the deck anywhere
he wishes as you riffle it. By way of example, riffle the outer corner about two thirds of
the way down and insert the sword. Arch the right hand over the deck, the second and
third fingers on either side of the protruding sword. Lift off the upper portion together
with the sword.

Extend the right hand toward the spectator, asking him to take the sword. Reassemble
the deck by sliding the section held by the right hand below that held by the left and
maintaining a break between them. Riffle the outer left corner to permit the spectator to
insert the sword, making sure he does so at some point below the break.

79
Follow by arching the right hand over the deck as before, forefinger curled on top, the
sword between the second and third fingers. With the right thumb, bend up slightly the
inner ends of the cards above the break. At the same time, ask the spectator to name for
the first time the card of which he is thinking.

If it is a Club (and not the glimpsed card), release four cards with the right thumbtip, re-
establishing the break above them; if a Diamond, release three cards; if a Heart, release
two cards; if a Spade, release one card; if the glimpsed card, release no cards. The
appropriate thumb count is performed as you echo the name of the card just revealed.

Apparently lift off the section above the sword. Actually, move the right hand forward,
carrying with it the block above the break and the sword. As soon as the sword is pulled
free of the deck, turn the right hand palm up, the fingers holding the sword tight against
the face card which proves to be the card just named.

This method of performing the indicator force is adapted from the technique used in
"Matching the Cards" (Dai Vernon's Inner Secrets of Card Magic, Ganson, p. 22), and is
an extremely deceptive version. The suit order suggested can, of course, vary with
individual preferences. The order given is the priority of suits in the game of Bridge and
is easy to remember for this reason.

Poker Face-Off

The following routine will read like many similar items in print. There are important
differences and the routine is uniquely effective.

In the course of your performance, identify a spectator who shuffles in such a way as to
allow you a glimpse of the bottom card. Use that spectator for this routine, giving him
the deck to shuffle and glimpsing the bottom card as a key. After the shuffle, ask him to
place the deck face down on the table and square it. He is to cut it into three
approximately equal piles. Remember which is the original bottom section.

You now give him a series of instructions which must sound as if they are definite and
repeated by rote but which actually vary from occasion to occasion. Ask him to pick up
one of the piles and fan it so that he can see the the faces and you can’t "...as if it were a
bridge hand." Assume he picks up a pile other than the original bottom section. Ask him
to think of any card he sees, remove it, and place it face down on either of the other
piles.

If he places it on the original bottom section, have him give that pile a cut. If he drops it
on the other pile, have him place the third section on top of his card. Finally, have him
reassemble the deck any way he wishes. He is then to square the deck carefully and leave
it face down on the table.

If he initially picks up the original bottom section, again have him fan it so he alone can
see the faces. Ask him to think of a card, remove it, and place it on top of either of the
other two sections. He is then to square up the cards in his hands and place them on top

80
of his card. Finally, he is to reassemble the deck any he wishes. In any case, you have
established a key above his card without ever touching the deck.

You now state that just as the spectator was previously asked to cut the deck into three
approximately even piles, you now would like him to cut it into four approximately equal
piles. Continue, "I am going to show you the faces of the cards in each pile and I would
like you to note which pile your card is in. If it happens to be in the first or second pile I
show you, don't tell me - let me go right on through showing you the other piles."

Starting with the original top section and moving toward the original bottom section,
pick up each pile in turn, and spread the cards face up from left to right to suit your
actions to your words. As you do so, count to yourself from the face of each pile to
ascertain both the whereabouts of your key card and its position from the bottom of its
pile.

Once you have established this number, it is no longer necessary to count as you display
the piles. After showing each one, square it, and return it face down on the table. (If the
key card appears on the face of a pile, the spectator's card is the top card of the next pile.
In this case, count instead the next pile to ascertain the position of the spectator's card
and remember that number.)

When this process has been completed and the spectator knows which pile his card is in,
announce that you are going to give a demonstration of the difficulty of maintaining a
poker face. Explain that the demonstration is in two parts, the first a little easier than
the second.

In the first part, you are going to tap each pile in succession. The spectator is to watch
your finger and you will watch his face. Each time you tap the pile containing his card,
he is to think to himself, "That's it". Caution him to try to avoid revealing anything in his
expression or manner.

So saying, tap the piles with a fairly rapid pace, moving back and forth the line several
times. Keep your attention on the spectator in accordance with your patter. Finally,
hesitate on one pile, come back to it, tap it a few times, and announce that it is the
correct one. When the spectator admits that you are right, say that you will proceed with
the second and harder part of the demonstration.

Pick up the correct pile with the right hand from above, tilt it upright with the faces
toward the spectator, and hand it to the spectator in that position, guiding his hands so
he takes it and holds it properly. Ask him now to transfer cards from the face to the back
of the pile. When you say "face", tap the face card and when you say "back", tap the top
card.

Tell him to keep transferring cards from face to back, but when he sees his card in front
of him, he is again to think to himself, "That's it". He is not to stop transferring cards at
that point, nor should he hesitate or change his expression. When you are sure the

81
instructions are understood, allow him to proceed, keeping your gaze fastened on his
face.

As he transfers cards, count them. When he has transferred two less than your
remembered number, shout, "Stop! You are looking at your card!" The only exception
here is in the one instance where the key card was on the face of one pile so that the
number you remembered was the position of the spectator's card. In this case, count to
one less than the remembered number before calling stop.

82
 Chapter V: Odd Ends
Unfair Exchange

This routine was triggered by the suggestion of a non-symmetrical transposition implicit

in Karl Fulves's "Optical Aces" (Book of Numbers, p. 15).

Begin with the deck in normal position in the left hand. Assume for purposes of
explanation that the second from top card is the Ace of Spades and the third and fourth
cards are the Seven of Clubs and the Seven of Diamonds. (No prearrangement is actually
necessary.) Perform a double turnover, calling attention to the name of the card thus
exposed - in this case the Ace of Spades.

Turn the double card face down and remove the single top card. Pivot the rest of the
deck into face up dealing position. As you point out that the Ace of Spades is being
placed reversed into the deck, apparently insert it at random into the inner end. Actually
buckle the lowermost card and insert the face down card above it.

Arch the right hand over the deck and with the thumb tip push the card square,
obtaining a break above it. In the same motion, tilt the deck upright so that it is evident
that the card has not been placed on the back of the deck. Lower the deck again into the
left hand. Release two more cards with the right thumbtip (the break is now above the
lowermost four) and Reverse Double Undercut to the break.

State that you will use two other cards. Name the bottom card - here, a seven. With the
right hand from above, move it for half its width to the right and name the next card -
the other seven. At the same time, gently riffle up the inner ends of the uppermost few
cards until three cards are held back by the right thumb (four cards counting the side-
jogged face card).

Maintain the break at this point with the left little finger and slide back the face card
square with the rest of the deck. Tilt the outer end of the deck upward as the right hand
moves the block above the break slightly forward. Regrip this block at the outer end and
turn it face down as the deck is returned to a horizontal position.

At the same time, say, "The Seven of Clubs and the Seven of Diamonds also go face
down, but I’ll put them over here." With the right hand from above, remove the single
top card and place it under your close up pad, or a handy newspaper, ashtray, etc. Give
the deck a cut and place it face down on the table. Eventually show that the Ace of
Spades has changed places with the two Sevens.

Post-Hypnotic Card

This routine is a variation of Edward Marlo's "The Hypnotic Card" (The Universal Card,
Jon Racherbaumer, p. 7). It makes use of his Diminishing Lift Switch ("Rub Away Spots"
- 2nd method - Ibidem #22, p. 4), and, unlike the original handling, is designed to end
up with a single card in hand.

83
The routine can be performed with selected cards or with four like cards. The original
"hypnotic" patter can be used or the routine can simply be presented as a series of
changes. If four like cards are to be used, for example, the four Queens - arrange them
on top of the deck with the Ace of Spades fifth from top.

If selected cards are to be used, begin with the Ace of Spades on top and control the
selections above the Ace in two, four, one, three order from top down. A method has
already been described utilizing the A-D Control (variation F, p. 7). An alternative
means is Vernon’s Spread-Add-and- Subtract technique from his version of the
Blindfold Poker Deal (Dai Vernon's Further Inner Secrets of Card Magic, Ganson, p. 9),
as follows.

After the cards have been removed, execute a swing cut and hold a break between
sections. Spread the cards between the hands and separate the spread at the break. Have
the first selection replaced on the lower portion. Obtain a break above this card as the
deck is reassembled and squared.

Again spread the cards between the hands, separating the spread at the break. Have the
second selection replaced on the lower portion. Maintain a break over it as the deck is
reassembled and squared. Spread the cards a third time, separating the spread two
cards below the break, and have the third selection replaced on the lower portion.
Maintain a break above it as the deck is reassembled.

Finally, spread the cards and separate the deck one card above the break for the
replacement of the fourth selection. In the course of reassembling the deck, allow the
bottom card of the upper section to settle on the lower portion and obtain a break above
it as the deck is squared.

Double cut to the break and the necessary arrangement is complete. Since four
replacements are involved, it adds to the deception to shift the break on one or two
occasions by cutting a small packet or packets below the break from bottom to top
and/or swing cutting a small packet or packets above the break from top to bottom.

Obtain a break below the fifth from top card as you announce you will demonstrate the
power of positive thinking. Stating that you can use any card for the experiment,
perform a quintuple turnover. Use an end-for-end technique for later consistency and
maintain a break below the five face up cards. Call attention to the card thus displayed -
the Ace of Spades.

Arch the right hand over the deck as if to square it, and with the thumbtip release two
cards from the face up block, maintaining a break above them. Turn the three cards
above the break face down as one, using an end-for-end technique and tilting the outer
end of the deck upward to avoid flashing the exposed card.

Lay the left thumb across the top card. Insert the right forefinger under it along the right
edge somewhat forward of the inner corner and grasp it there between forefinger and
thumb. Audibly snap it off the deck by turning the left hand palm down with a sharp

84
wrist turn to the right. If you have used selected cards, ask for the name of the first
selection. If you are using four Queens, make a comment about the Ace of Spades as a
female impersonator.

Spin the card in your right hand face up by poking the second finger above it and
pressing down, the card ending up grasped between forefinger on top and second finger
below. At the same time, turn the left hand palm up and the deck face down so that the
card can be dropped squarely on top of it. It appears that the Ace has turned into the
first selection.

Form a break under the top five cards, using the natural separation, and turn over the
block as one. Snap off the card now on top in exactly the same fashion as you did the
first. Spin it face up. Turn the deck face down and place the second card squarely on top,
showing it to be the second selection. Turn over four cards as one. Snap off the card now
on top and show it to be the third selection. Place it on the deck and turn over three
cards as one.

Snap off the card now on top, making sure that the Ace of Spades reversed beneath it is
not exposed. In this case, do not spin the card face up, instead sliding it face down
beneath the face up deck. Turn the left hand palm up showing the fourth selection. Turn
over two cards as one. Snap off the card now on top and show it to be what it started out
as - the Ace of Spades.

Descardes I

The following is a variation of a method suggested by Robert Parrish (The Pallbearers

Review, January 1967, p. 155) for Karl Fulves' "By Any Other Name" (The Pallbearers
Review, 1st Folio 1967, p. 135), which is a rare example of a perfectly logical and
consistent application of the Mexican Turnover.

Begin by removing the Ace of Spades from the deck, showing its face, and placing it face
down to one side on the table. Reassemble the deck, in the process glimpsing the bottom
card - for example the Two of Hearts. Turn the deck face down and hold it from above
with the right hand. Via a buckle or Pull-Down, establish a break above the bottom card
with the thumbtip.

Announce in advance that you are going to have three cards selected by stopping your
deal at any point designated by one spectator and using the next three cards. So saying,
rapidly pull off cards one by one into the left hand, asking Spectator One to call stop
whenever he chooses. Stop the deal when directed. Pull off the next card, at the same
time releasing beneath it the card below the break in Reverse Biddle fashion.

As this action takes place, state that the card just dealt will be Spectator One's card.
Push it half-way off the packet and tilt the latter upright so that the card can be noted.
Lower the packet and square the selection. Pull off the next card and in the same
manner, allow Spectator Two to see its face. Square it and pull off the next card. Show it
to Spectator Three. As it is pulled square, obtain a break below it.

85
Continue your patter by saying, "It really doesn't make any difference which cards you
selected. The important point is that all of them look quite different. As the remark Is
made, rotate the section in the right hand face up and squarely on top of the section in
the left. Spread a few of the face up cards rapidly from left hand to right - apparently a
gesture emphasizing the sense of your remark. Close the spread and lift off all the cards
above the break with the right hand from above.

Your patter and accompanying actions proceed without interruption. "Your card looks
different from your card, and they both look different from your card." As you say the
first "your", push off the top card of the lower section onto the table in front of Spectator
Three. As you say the second "your", push off the next card in front of Spectator Two. As
you say the third "your", push off the next card in front of Spectator One.

"And all three look different from my card." As this remark is made, place the cards in
the right hand directly on top of the face down Ace of Spades and lift it up beneath them.
Revolve the entire section over and onto the balance of the deck. The Ace of Spades
shows as it should, face up on top. Actually, Spectator Three's card is face up beneath it.
Turn the double card face down and remove the single top card in Mexican Turnover
position.

Continue by saying, "And yet with proper concentration, the Ace of Spades will take on
the appearance of each of your cards." Request Spectator Three to concentrate on the
name of his card. Slowly raise and lower the card in your hand and he will, of course,
admit that it looks like his. Flip the card on the table in front of him face up, executing
the Mexican Turnover. Repeat the same series of actions with Spectator Two and then
with Spectator One.

Continue, "Let's try it again with all of you concentrating at the same time. I want all of
you to think of..." As if to supply at random the name of a card, turn the deck, still
facedown, so that its right long side (and the backs of your fingers) are facing the
spectators.

Perform the Initial actions of the standard Flourish Count: push off the top card slightly,
poke the forefinger under it, and extend all of the fingers just far enough to lift the card
to a vertical position, its back to the spectators. Look at the card thus exposed and
miscall it the Two of Hearts, the card glimpsed at the outset, to complete your sentence.

Fold the card back onto the deck and shove it off face down onto the table. At the same
time slowly raise and lower the card still held in your right hand. The spectators will
admit that it looks like the Two of Hearts. Just as you have done previously, flip over the
face down card by way of confirmation, again executing the Mexican Turnover. The Two
of Hearts appears face up as it should. Finally, ask your spectators to concentrate on the
image of the Ace of Spades and turn up the card in hand to show that it now looks like it
is supposed to.

(b) For this handling, secretly load a blank faced card onto the bottom of the deck.
Remove the Ace of Spades without exposing the blank card, show it, and place it face

86
down to one side on the table. Now proceed exactly as described above through the
execution of the third Mexican Turnover. At this stage, the blank card will be held by the
right hand.

Ask your spectators, "Of course, this card does not really look like any of your cards - it
is just an illusion. Do you remember what it actually is?" When they reply, conclude by
saying, "No - that was an illusion too. It is really no card at all." Show the blank face for
the climax.

Descardes II

This method is a further development, substituting a different approach for the Mexican
Turnover.

Begin by removing the Ace of Spades from the deck, showing its face, and placing it face
down on the table. Reassemble the deck, turn it face down, and hold it from above with
the right hand. Announce in advance that you are going to have three cards selected by
stopping your deal at any point designated by one spectator and using the next three
cards. So saying, rapidly pull off cards one by one into the left hand, asking Spectator
One to call stop whenever he chooses. Stop the deal when directed.

Pull off the next card, stating that it will be Spectator One's card. Push it half-way off the
packet and tilt the latter upright so that the card can be noted. Lower the packet and
square the selection. Pull off the next card and in the same manner, allow Spectator Two
to see its face. Square it and pull off the next card. Show it to Spectator Three. As it is
pulled square, obtain a break below it.

Continue your patter by saying, "It really doesn't make any difference which cards you
selected. The important point is that all of them look quite different." As the remark is
made, rotate the section in the right hand face up and squarely on top of the section in
the left. Spread a few of the face up cards rapidly from left hand to right - apparently a
gesture emphasizing the sense of your remark. Close the spread and lift off all the cards
above the break with the right hand from above.

Your patter and accompanying actions proceed without interruption. "Your card looks
different from your card, and they both look different from your card." As you say the
first "your", push off the top card of the lower section onto the table in front of Spectator
Three. As you say the second "your", push off the next card in front of Spectator Two. As
you say the third "your", push off the next card in front of Spectator One.

"And all three look different from my card." As this remark is made, place the cards in
the right hand directly on top of the face down Ace of Spades and lift it up beneath them.
Revolve the entire section over and onto the balance of the deck. The Ace of Spades
shows as it should, face up on top. Actually, Spectator Three's card is face up beneath it.

Lift the double card from above with the right hand and with the same hand set the rest
of the deck aside to your right. Place the double card face up in the left hand, hooking

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the forefinger around the outer end to make sure that the cards are kept square. As these
actions take place, say "And yet with proper concentration this card will take on the
appearance of each of your cards."

So saying, pick up the card in front of Spectator Three at its inner right corner. At the
same time, buckle the lower card in the left hand very slightly and obtain a break above
it with the little finger. Instructing Spectator Three to think of the name of his card, slide
the face down card into the break at the inner end of the double card, pushing it square.

Comment, "The next time you see the Ace of Spades, it will look like your card." As the
remark is made, retake the packet from above with the right hand. Slide off the Ace with
the left thumb and slide it back squarely beneath the packet. Without hesitation, slide
off the uppermost (face down) card with the left thumb and slide it back beneath the
packet, holding a break above it, as the left hand retakes the packet.

Spectator Three's card is now in view. Turn the top two cards face down as one and say,
"It looks like the Four of Spades (for example). Is that your card?" As the spectator
replies, again take the packet with the right hand from above. Slide off the top card with
the left thumb and slide it back beneath the packet. Retake the packet in the left hand
and turn the next card face up by way of confirmation. Deal it face up in front of
Spectator Three.

Carefully turn the double card face up in the left hand to once again display the Ace of
Spades. Reach for Spectator Two's card as you obtain a break between the two held in
the left hand and repeat the identical series of actions. Repeat them again in their
entirety with Spectator One's card. At their conclusion, instead of dealing Spectator
One's card onto the table, leave it in place face up above the double card in the left hand.

Scoop up the other two selections and drop them on the other cards. Lift the packet with
the right hand from above and buckle away the lowermost card with the left fingers. As
you pivot the card in the left hand face up to show that it once again looks like it is
supposed to, drop the packet squarely on top of the deck to lose the extra card.

(b) Secretly load a blank faced card onto the bottom of the deck. Begin by removing the
Ace of Spades, showing it, and placing it face down on the table to one side. Do not
expose the blank card. Turn the deck face down and hold it with the right hand from
above. Via a buckle or Pull-down, obtain a break above the bottom card with the
thumbtip.

Explain and begin the selection process as described above, stopping the deal when
instructed. In this case, when the first selection is pulled off, release beneath it the card
below the break in Reverse Biddle fashion. Now proceed exactly as described above
through the revelation of all three selected cards.

At that point, the first selection is face up in the left hand above a face down double card
consisting of the blank over the Ace of Spades. Scoop up the other two selections and

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place them on top of the packet. Buckle the lowermost card with the left fingers and
withdraw the card above it at the inner right corner.

Toss the single face down card on the table and eventually have a spectator turn it over
to show that the Ace of Spades now has no face at all. As he does so, take the packet with
the right hand from above and drop it squarely on top of the deck to lose the extra face
down card.

Halt One Two

With the deck face down in the left hand, allow a spectator to call stop as you riffle the
outer left corner. Separate the deck at the indicated point and use the upper section to
lever over the top card of the lower section. State that that card will be your card and all
can help remember it. Prepare the face card of the upper section for the Drop Switch
and execute that sleight as your card is levered face down.

Thumb off your supposed selection onto the table in front of you. Turn the upper section
to show the bottom card to the spectator, informing him that it will be his card. In so
doing, make ready for the R. S. Switch (p. 1), and execute the move as the spectator's
selection is apparently dealt on the table in front of him.

Establish a break above his selection as the deck is reassembled and double cut to the
break. The apparent selections should lay vertically on the table, the spectator's card
directly forward of yours by several inches. Set the deck down just to the left of the
spectator's card. Ask him to cut off half and place it next to your card.

Point out that each of you now has a section of the deck and that each of you will replace
the other's card "...like this." So saying, cut off half the spectator's section with the right
hand from above. Pick up his supposed selection beneath it and replace it to reassemble
his section, his card apparently somewhere in the middle. Neaten up the sides and ends.
Have him perform the same actions apparently to lose your selection in your section of
the deck.

Ask him to pick up his section and shuffle it. You do the same with yours by
undercutting, running 4 cards, injogging the next, and shuffling off. Undercut below the
injog and throw on top. Set your section back on the table in its original position and
have the spectator do the same.

Begin to deal cards from your section one by one into a pile to its right. Explain that you
are going to stop whenever you get the impulse to do so. Deal six cards and then stop,
squaring up the dealt cards. Ask the spectator to deal from his section in the same way,
stopping whenever he wishes.

Review what has taken place thus far by pointing out that each of you is thinking of a
card lost in his half of the deck by the other, and the cards were shuffled. Each of you
then dealt from his section and stopped at a point dictated completely by chance or
whim.

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Recall the name of your card and have the spectator name his. Saying, "I stopped on this
card...", apparently lift off the top card of the smaller pile in front of you with the right
hand from above. Actually, riffle up the inner end of the packet with the thumb and pick
off two cards.

Without hesitation move the hand forward and over the comparable packet in front of
the spectator. Continuing, "...and you stopped on this card...", go through the same
motions of lifting off the top card, apparently taking it beneath the one you hold.
Actually, lift off nothing. Immediately turn the right hand palm up, one-hand fanning
the two cards it holds face up, and complete your sentence by saying, "...and we both
stopped on the right card."

Truth Detector

Run through a shuffled deck with faces toward you and remove the Joker, depositing it
on the table. At the same time secretly bring to the top of the deck one card whose suit
matches that of the bottom card and whose value matches that of the second from
bottom card. If two cards of the same suit are at the face of the deck, give it a cut prior to
finding the Joker. For example, assume that the Two of Spades is the bottom card and
the Jack of Hearts second from bottom card. The Jack of Spades must be moved to the
top.

Square the deck and turn it face down. Cut off slightly less than half and place it on the
table. Explain that you are about to demonstrate a new development in lie detectors and
that the section of the deck you hold represents the machine itself. Thumb fan or
pressure fan it in the left hand.

Continue by saying that the Joker is the key to the lie detector. Pick it up and insert it
face down above the second from bottom card (second from the left). Swing it more to
the right beneath the fan so that its exact position is obscured. Close the fan and push
the Joker square. Place these cards on the table.

Pick up the other section, and grasp it with the right hand at the inner end - fingers
above, thumb below. Say that the card representing the criminal will come from this
section. At the same time, perform a one-hand fan, turning the hand palm up and the
fan face up momentarily, and glimpse the second from face card as a key. Immediately
turn the fan face down, closing it with the left hand. The whole action takes no more
than a moment and is passed off as an incidental demonstrative gesture.

Arch the right hand over the section and form a break under the top card with the
thumb. Undercut half the section to shift the break to about the middle. Via a Riffle
Force, (see p.4) force the card above the break - the Jack of Spades. Reassemble the
deck, leaving the force card in place. Give this section to the spectator, asking him to
square it.

Pick up the other section, holding it in dealing position, and obtain a break above the
bottom four cards. Give the spectator the following instructions on the working of the lie

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detector. He is to peek at the top card of those he holds, call its name, and deal it face
down to the table. You deal the corresponding card from your section face up, starting
another pile.

The spectator repeats his action with his second card and you repeat your action with
your second card. After each of your deals, arch the right hand over your section to
square it. Continuing in this manner, when he arrives at the selected card - the criminal
- he is to lie about its name, calling it something entirely different. Accordingly, caution
him to move at a slow pace and to hem, haw and hesitate at various points to throw you
off the track. You nonetheless hope that the lie detector will do its job.

Proceed as explained until the spectator calls the name of your key card. Deal the
corresponding card from your section. As he is peeking at and dealing the next card (and
the attention of the other spectators is solidly on him), perform a regular two handed
Pass at the break. Deal your corresponding card face up. After he calls and deals again,
your deal turns up the Joker.

Say that obviously he has just told a lie and he will admit that such is the case. Before he
can reveal the actual name of his card, say that the special characteristic of this lie
detector is that it not only points up a lie, it also tells the truth. Deal the next card from
your section face up, saying, "A Jack." Deal the following card face up, saying, "A Spade.
The real name of your card must be the Jack of Spades." Now allow him to turn over his
card for the climax.

Hope For the Best

The traditional self-stacking poker deal is still an effective demonstration for laymen. In
it, the winning hand is culled to the top of the deck. The first five-handed deal sets it up
to fall to the dealer in the second five-handed deal. The problem has been to find a good
excuse for the first deal. A presentational approach is generally used ("Gardner-Marlo
Poker Routine", Let's See The Deck, Marlo, p. 26; "Lorayne's Poker Deal", Close-Up
Card Magic, Harry Lorayne, p. 153). The following is a somewhat different solution. The
patter outline and effect will be described first, from which the workings will be clear.

The performer shuffles the deck and deals out five hands of Poker in a line from left to
right. As he does so, he introduces the subject of gambling and goes on to say, "Most
people think of gamblers as hard boiled cheaters who live by their wits and skills.
Actually, most of them are a superstitious lot and insist that hexes and charms are
important to their work - the success of the legendary Evil Eye Finkle is a case in point.

"Some gamblers, in fact, go so far as to believe that they can 'think' themselves a good
hand. Let's try to test this theory." At this stage, the five hands have been dealt. The
performer continues, "A strong winning hand of poker, as you probably know, is Four of
a Kind. Four of any kind is generally good enough to win, but the higher the value, the
better the hand."

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Addressing a specific spectator, he says, "What I would like you to do is pick up any of
these hands without letting me see it and note whatever happens to be the highest value
in it - the value you would most like to have four of." The performer then turns over one
hand and spreads it, saying, "For example, in this hand the highest value would be the
______________."

The spectator picks up one of the other hands and does as instructed. He is then asked
to replace the hand on the table, the performer calling attention to its position - first,
second, third, etc. The cards are gathered up by the performer and the deck again
shuffled. Once again five poker hands are dealt out. The spectator is asked to picture in
his mind a poker hand consisting of four of the value of which he is thinking.

Finally, the performer requests the spectator to reveal this imagined hand. The reply, for
example, is "Four Queens". The performer continues, "You picked up the fourth hand
before. Take a look at it now." He pushes the appropriate hand toward the spectator who
turns it over to find four Queens.

At the outset, stack four Queens on top of the deck, making sure that there are no Aces
or Kings in the upper half. False shuffle and deal five hands from left to right in an arc
on the table, using the introductory patter suggested. Turn over the fifth hand for
purposes of demonstrating the selection of the highest value, pointing to whatever
happens to be such in that hand. After the spectator has followed your instructions, and
you have called attention to the position of the selected hand, gather all the hands in any
order, placing them on top of the deck.

False shuffle so that the Queens will fall to the hand in the same position on the second
deal as was selected by the spectator on the first. The key is simply to subtract the
position of the hand from five and in the course of a shuffle to lose the difference from
the top of the deck. If the fourth hand (from the left) was selected on the first deal,
subtract four from five to get one. In shuffling, lose one card from the top of the deck.
Deal out a second time and conclude as explained.

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