Liam Montier - Shazam
Liam Montier - Shazam
Liam Montier - Shazam
It’s
been
about
a
year
since
we
last
did
this,
with
the
‘THUNK’
booklet.
This
contains
more
of
the
same
–
strong,
practical
card
magic
with
a
hopefully
efficient
approach
to
the
moves
and
construction.
Many
thanks
to
Ade
Gower,
who
gave
the
front
cover
the
SHAZAM
it
needed,
and
to
Darren
McQuade
(Tricktastic.com
CEO)
for
helping
me
take
the
photos,
and
only
moaning
frequently.
Thanks also to John Bannon, Owen Packard and Cameron Francis for the constant inspiration.
Cheers
to
you
guys
for
supporting
the
written
word
–
it
seems
like
everyone
is
doing
DVDs
and
video
downloads
these
days,
me
included.
However,
I
still
LOVE
sitting
down,
book
(or
tablet)
in
hand,
and
learning
card
tricks.
So,
while
I
continue
to
enjoy
and
admire
those
who
put
the
work
in
for
me
to
enjoy
their
booklets,
I
will
continue
to
do
the
same
for
anyone
who,
like
me,
still
enjoys
a
bit
of
a
read
J
All the best, and who knows? Maybe I’ll see you again next year!
Liam Montier
www.tricktastic.com
liam@tricktastic.com
Contents
Giobbi Aces
Cheese Melt
Sneak
One Across
Over Eat
Mambo #5
Pinch
Disburse
Remix
Diamond Cutter
Staple
Diet
Giobbi
Aces
In
his
book
‘Secret
Agenda’,
Roberto
Giobbi
lays
out
an
ambitious
card
problem,
and
points
out
that
it
would
make
a
great
lead
in
to
an
assembly
routine.
Here
is
my
simple
solution
that
now
serves
as
the
opening
trick
for
any
four
Ace
sequences.
Effect
‘Let
me
show
you
something
pretty
strange
with
a
pack
of
cards,
and
one
card
in
particular.
First
of
all
though,
let’s
give
the
cards
a
mix
up,
and
cut
them
into
three
piles
for
me.’
A
spectator
cuts
the
deck
into
three
packets.
You
flip
over
the
top
card
of
the
first
packet
to
reveal
the
Ace
of
Spades.
You
bury
the
card
into
the
centre,
but
with
a
click
of
the
fingers,
it
rises
back
to
the
top.
‘Pretty strange! I’ll try it again – even though – you didn’t ask. Check it out!’
You
place
the
first
packet
down,
and
repeat
the
same
effect
with
the
second
and
third
packets.
Each
time,
the
Ace
of
Spades
jumps
to
the
top.
‘And
that’s
the
easy
part.
The
cool
part
is
that
when
the
Ace
of
Spades
jumps
up
to
the
top,
it
brings
another
card
with
it
each
time...’
The top card of each packet is turned over to reveal the other three Aces!
Handling
Start
off
with
the
Aces
on
top
of
the
deck,
Ace
of
Spades
the
top
one,
through
either
pre-‐
arrangement
or
culling.
‘Let
me
show
you
something
pretty
strange
with
a
pack
of
cards,
and
one
card
in
particular.
First
of
all
though,
let’s
give
the
cards
a
mix
up,
and
cut
them
into
three
piles
for
me.’
Throw
everyone
off
the
scent
with
a
false
shuffle
that
retains
the
top
stock,
and
then
table
the
deck
off
to
your
right
hand
side.
Have
the
spectator
cut
the
deck
into
three
packets,
going
from
your
right
to
your
left.
This
way,
the
top
packet
will
be
at
your
left.
(Another
way
to
get
into
this
position
is
to
use
John
Carey’s
‘Shuffled
Ose’
idea.
Start
by
false
shuffling,
and
hand
them
the
deck.
Direct
the
spectator
to
cut
off
a
packet,
and
place
it
to
your
left,
and
then
have
them
shuffle
the
remainder.
Then
have
them
cut
another
packet,
placing
it
your
right
of
the
first
one.
Finally,
they
shuffle
the
remainder
and
set
those
down
to
the
right
of
the
other
two.
This
makes
your
row,
and
also
gives
the
impression
that
the
spectator
shuffled
and
cut
each
packet.)
Pick
up
the
left
hand
packet,
and
flip
the
top
card
face
up
to
reveal
the
Ace
of
Spades.
Get
a
little
finger
break
above
the
bottom
card
(either
a
buckle
or
a
pull
down
will
work).
You
are
now
set
for
the
Tip
Over
Change
which
we
are
going
to
use
for
the
ambitious
sequence.
Start
by
taking
the
packet
from
above
with
the
right
hand,
with
the
right
thumb
taking
over
the
break,
and
swing
cut
the
top
half
of
the
packet
into
your
left
hand.
Your
left
thumb
now
pushes
the
face
up
Ace
of
Spades
to
the
right,
so
that
it
overlaps.
Then,
your
right
hand
moves
its
packet
up
and
over
to
the
right,
which
causes
the
face
up
Ace
to
flip
face
down
onto
the
left
hand
packet,
and
positions
the
right
hand
directly
over
the
left.
It
is
now
that
you
allow
the
card
below
your
thumb
break
to
drop
imperceptibly
onto
the
Ace
After
the
change,
separate
the
hands
again,
and
push
the
top
card
of
the
left
hand
packet
back
onto
the
top
of
the
right
hand
cards,
but
up-‐jogged
(your
right
forefinger
clips
the
card
in
place
on
top
of
the
packet)
and
then
slip
the
left
hand
cards
on
top,
apparently
burying
the
Ace
in
the
centre.
Square
everything
up,
click
your
fingers,
and
flip
the
top
card
face
up
to
reveal
that
the
Ace
of
Spades
has
jumped
up
to
the
top!
Spread
the
packet
between
the
hands
to
display,
and
as
you
square
up,
take
a
break
below
the
top
three
cards.
Phase Two
‘Pretty strange! I’ll try it again – even though – you didn’t ask. Check it out!’
Lift
the
three
cards
above
your
break
with
the
right
hand
as
one,
and
set
them
onto
the
middle
packet.
Then
the
right
hand
tables
the
rest
of
the
packet
in
your
left
hand
back
onto
the
table.
Now
pick
up
the
middle
packet,
and
repeat
the
Tip
Over
Change,
and
get
your
little
finger
break
as
before,
but
this
time
under
just
two
cards
–
the
face
up
Ace
of
Spades
and
one
face
down
card.
Phase
Three
Again
lift
off
the
cards
above
the
break
with
your
right
hand,
and
set
them
onto
the
last
packet,
before
using
the
right
hand
to
table
the
left
hand
cards
back
into
the
middle
of
the
row.
Pick
up
the
last
packet,
and
repeat
the
same
actions
again,
or
mix
things
up
a
bit
by
using
the
Wesley
James
Add
On
rather
than
the
Tip
Over
Change.
Either
way,
show
the
Ace
has
jumped
back
to
the
top,
lift
it
off
with
the
right
hand
in
the
same
manner,
and
table
the
packet
back
down.
The Kicker
‘And
that’s
the
easy
part.
The
cool
part
is
that
when
the
Ace
of
Spades
jumps
up
to
the
top,
it
brings
another
card
with
it
each
time...’
Comment
that
the
Ace
of
Spades
rising
is
the
easy
part
–
bringing
the
other
Aces
with
it
is
the
cool
part.
Conclude
by
turning
over
the
top
card
of
each
tabled
pile
to
reveal
the
other
Aces!
Credits
John
Carey’s
‘Shuffled
Ose’
idea
comes
from
his
DVD
‘Keep
Calm
and
Carry
On’,
where
it
features
in
the
scarily
titled
‘Take
Her
Home
and
Poker!’.
Cheese
Melt
This
card
effect
is
essentially
a
hybrid
of
an
efficient
‘Twisting’
sequence
I
had
stumbled
upon,
and
a
variation
of
‘Sly
Cheese’
by
Cameron
Francis.
The
two
parts
sit
great
together.
Effect
‘Now
we
have
the
four
Aces,
we
should
use
them
for
a
trick.
Let’s
have
a
couple
of
other
cards
chosen
as
well’
The
four
Aces
are
tabled,
and
two
cards
are
freely
chosen
and
signed,
if
you
like,
before
going
back
into
the
deck,
where
they
are
left
slightly
out-‐jogged.
You
comment
that
you
will
‘come
back
to
them
later.’
‘There
are
a
couple
of
cool
things
that
the
Aces
can
do.
Firstly,
they
can
flip
over
by
themselves.
Let
me
show
you
what
I
mean.’
The Aces start off face down, and one at a time, turn face up.
‘The red Aces are particularly cool. They can find chosen cards! Watch this...’
Having
demonstrated
the
magical
powers
of
the
Aces,
the
two
red
ones
are
shown
and
placed
on
top
of
the
deck.
The
selections
are
pushed
square,
and
then
the
deck
is
cut
and
spread
to
reveal
two
cards
caught
between
the
red
Aces
–
but
they
are
the
two
black
Aces!
‘Oh wait, if those are the black Aces, then that must mean that over here...’
The
black
Aces
that
were
on
the
table
are
snapped
face
up
to
reveal
that
they
are
now
the
two
selected
cards!
Handling
Start
off
by
producing
or
removing
the
four
Aces,
and
then
table
them
face
down
in
alternating
order.
‘Now
we
have
the
four
Aces,
we
should
use
them
for
a
trick.
Let’s
have
a
couple
of
other
cards
chosen
as
well’
Next
up,
spread
the
deck
between
your
hands
as
you
comment
that
you
need
some
cards
chosen,
and
take
the
opportunity
to
secure
a
little
finger
break
above
the
bottom
two
cards
of
the
pack,
and
then
take
the
deck
in
the
right
hand,
taking
over
the
break
with
the
right
thumb.
Swing
cut
about
half
of
the
deck
into
your
left
hand,
and
then
slide
cards
across
one
at
a
time,
from
the
right
hand
packet
to
the
left
hand,
until
a
spectator
calls
stop.
Flip
the
top
two
cards
of
the
left
hand
packet
over,
using
the
right
hand
cards
to
lever
them
face
up.
Have
both
cards
remembered,
and
then
flip
them
face
down
again,
doing
the
Merlin
‘Tip
Over
Change’
as
you
do
so.
Basically,
this
involves
the
right
thumb
dropping
the
two
cards
below
its
break
onto
the
selections
as
they
are
turned
face
down.
Immediately
push
off
the
top
card
of
the
left
hand
packet,
and
insert
it
into
about
the
centre
of
the
right
hand
cards,
angle
jogged
to
the
left.
Then,
push
off
the
new
top
card
of
the
left
hand
packet
onto
the
right
hand
cards,
up-‐
jogged,
and
slip
the
left
hand
packet
on
top.
Now,
you
can
spread
the
pack
between
your
hands
to
display
the
selections
apparently
in
different
parts
of
the
pack.
In
reality,
both
cards
are
on
top.
As
you
close
up
the
spread,
grab
a
break
below
the
top
two
cards
of
the
deck.
This
John
G
sequence
(see
‘Whispering
Jokers’
on
page
87
of
One
Degree
by
John
Guastaferro)
leaves
both
selections
secretly
on
top
of
the
deck,
when
they
appear
to
be
in
two
different
parts
of
the
pack
entirely,
and
out-‐jogged.
Take
the
pack
into
your
left
hand
dealing
grip,
leaving
the
up-‐jogged
cards
in
position.
Reach
for
the
Aces
with
the
right
hand,
and
pick
them
up
as
you
secure
a
left
little
finger
break
underneath
the
top
two
cards
of
the
deck.
Flip
the
right
hand
Aces
face
up
onto
the
deck
for
a
moment,
and
then
immediately
lift
off
all
the
cards
above
the
break.
Table
the
deck
off
to
one
side.
With
the
Aces
in
Biddle
Grip,
slide
them
one
at
a
time
into
the
left
hand,
taking
three
and
then
placing
the
remaining
double
on
top.
Flip
the
packet
face
down,
and
Elmsley
Count
as
you
point
out
that
the
idea
is
that
all
the
Aces
start
off
facing
the
same
way
–
face
down.
‘There
are
a
couple
of
cool
things
that
the
Aces
can
do.
Firstly,
they
can
flip
over
by
themselves.
Let
me
show
you
what
I
mean.’
Reverse
the
packet
with
the
Vernon
Through
the
Fist
Flourish,
and
Elmsley
Count
revealing
the
first
Ace
has
turned
face
up.
Up-‐jog
the
Ace
as
you
come
to
it,
and
name
it,
before
flipping
it
face
down
onto
the
packet.
Hold
the
packet
in
the
left
hand
in
a
kind
of
dealing
grip,
but
with
the
forefinger
on
the
side,
rather
than
around
the
front
of
the
pack
as
you
might
normally
hold
it.
See
the
pictures
below.
Then,
as
a
magic
gesture,
the
left
hand
turns
palm
down,
and
pushes
the
packet
through
the
hand
using
the
left
thumb,
so
the
packet
protrudes
from
the
back
of
your
fist.
The
right
hand
then
grips
the
now
secretly
reversed
packet,
and
places
it
back
into
your
left
hand
dealing
grip.
You
can
also
use
an
identical
looking
technique
that
doesn’t
reverse
the
packet,
which
you
will
use
for
the
remaining
steps.
All
that
happens
is
that
the
packet
starts
off
resting
flat
on
the
left
fingers,
rather
than
in
dealing
grip.
Then,
the
actions
don’t
reverse
the
packet.
Use
a
non-‐reversing
Through
the
Fist
Flourish,
and
Elmsley
Count
to
show
the
second
Ace,
and
flip
it
face
down
onto
the
packet
as
before.
Repeat the step above twice more, producing all four Aces.
OPEC
count
(The
OPEC
count
is
the
same
technique
as
the
Elmsley
Count,
but
you
take
the
bottom
card
of
the
packet,
openly,
on
the
count
of
one.
The
rest
of
the
move
is
identical
to
the
Elmsley
Count)
casually
as
you
mention
that
the
Aces
can
do
another
trick,
but
that
you
won’t
need
to
use
all
four.
Take
the
top
card
into
the
right
hand,
and
then
block
push
off
everything
above
the
bottom
card,
and
flip
all
the
cards
face
up,
bringing
an
Ace
into
view.
Push
it
into
the
right
hand,
to
reveal
another
Ace
of
the
same
colour
underneath,
and
comment
that
you
will
put
these
Aces
aside
for
the
moment.
Repeat
the
actions
to
flip
the
cards
face
down,
and
deal
the
top
two
cards
onto
the
table.
The
pictures
above
show
the
block
turnover
sequence.
Flip
the
Ace
packet
face
up,
and
back
spread
one
card
to
show
apparently
just
two
cards,
the
Aces
of
the
opposite
colour,
and
state
that
these
are
the
ones
you
will
use
to
‘capture’
the
selected
cards.
‘The
red
Aces
are
particularly
cool.
They
can
find
chosen
cards!
Watch
this...’
Drop
the
Ace
packet
face
up
onto
the
deck,
then
square
everything
(including
the
out-‐
jogged
‘selections’)
and
cut
the
pack
at
the
centre.
Lead
the
spectators
to
believe
that
the
idea
is
for
the
Aces
to
trap
the
chosen
cards,
then
spread
the
deck
across
the
table,
instead
revealing
all
four
Aces
in
the
centre!
‘Oh wait, if those are the black Aces, then that must mean that over here...’
Direct
attention
to
the
tabled
‘Aces’
and
flip
them
face
up,
completing
the
transposition
by
revealing
that
they
are
the
chosen
cards!
Credits
‘Sly
Cheese’
by
Cameron
Francis
from
his
‘Ultimate
Impromptu
Card
Magic’
DVD,
and
also
from
his
‘Moment’s
Notice
4’
eBook,
Sneak
One
of
the
more
technical
routines
I
do,
but
this
one
is
worth
it.
It’s
a
kind
of
Ace
Assembly/Invisible
Palm
Aces,
inspired
by
a
Richard
Kaufman
routine
from
‘Cardworks’.
Effect
Have
you
ever
played
a
magician
at
cards?
Normally
we
never
get
to
–
the
first
thing
people
say
when
meeting
us
is
‘I
wouldn’t
like
to
play
cards
with
you’.
Understandable
–
although
people
say
it
to
me
before
they
even
see
a
card
trick…’
Four
Aces
are
removed
as
you
tell
a
story
about
being
involved
in
a
cheats
card
game,
where
everybody
starts
with
an
Ace
up
their
sleeve.
The
Aces
are
dealt
out
face
down
in
the
‘T’
formation,
and
some
indifferent
cards
are
added
to
other
players
Aces
to
make
poker
hands.
I
am
good
though.
Let’s
say
I
am
playing
three
other
cheats.
They
all
start
with
an
Ace
up
their
sleeve,
and
me
too.
However,
I
am
going
to
ONLY
play
my
Ace.
No
other
cards!
And
I’ll
still
win!
Covering
both
the
first
players
hand
and
your
own
single
Ace
with
your
palms,
you
remove
your
hands
and
show
that
the
first
players
Ace
has
vanished,
and
joined
yours
on
the
table!
Boom!
That’s
a
pair!
However,
you
wouldn’t
get
away
with
that
in
a
proper
game.
You
can
hardly
cover
both
your
opponents
cards
and
your
own
without
raising
a
modicum
of
suspicion
and
taking
a
bit
of
a
beating.
So
let’s
try
this
next
one
one
handed…
Commenting
that
using
both
hands
to
cheat
in
a
game
of
poker
would
be
suspicious,
but
using
just
one
hand
is
easier
to
cover.
As
you
push
the
second
players
hand
of
cards
towards
him,
you
‘palm’
his
Ace,
but
completely
invisibly,
showing
your
hand
on
both
sides.
However,
just
touching
your
hand
to
your
pair
of
Aces
produces
a
third
card!
The
second
players
hand
is
checked,
and
the
Ace
is
missing.
Turning
over
your
three
cards
reveals
three
Aces!
One’s
lonely,
two’s
company,
but
three’s
better!
Three
Aces
would
win
me
almost
any
game
of
Poker.
But
that’s
not
all
you
can
do
–
let’s
try
something
even
harder…
Finally,
you
propose
the
most
difficult
of
all
cheating
actions
–
stealing
a
card
and
loading
it
into
somebody
else’s
hand
–
while
they
are
holding
it!
A
spectator
is
coerced
into
holding
onto
your
three
Aces.
You
vanish
the
Ace
from
the
final
hand,
and
slap
the
spectators
packet.
Three
cards
fall
to
the
table,
leaving
the
last
face
staring
the
spectator
right
in
the
face!
Handling
Have
you
ever
played
a
magician
at
cards?
Normally
we
never
get
to
–
the
first
thing
people
say
when
meeting
us
is
‘I
wouldn’t
like
to
play
cards
with
you’.
Understandable
–
although
people
say
it
to
me
before
they
even
see
a
card
trick…’
Begin
by
removing
or
producing
the
Aces,
and
hold
them
fanned
in
the
right
hand,
faces
towards
the
spectators
(I
also
arrange
things
so
that
the
Ace
of
Spades
is
the
top
face
down
card
of
the
packet)
and
then
place
them
onto
the
top
of
the
deck
in
the
left
hand,
taking
the
opportunity
to
secure
a
little
finger
break
below
the
top
three
Aces
as
you
do
so.
Flip
the
top
Ace
(the
Ace
of
Spades
in
my
case)
face
up
as
you
comment
that
you
always
keep
an
Ace
up
your
sleeve,
and
so
do
the
other
guys
you
play
cards
with.
With
the
right
hand,
lift
off
all
the
cards
above
your
break,
apparently
just
taking
your
Ace
of
Spades.
In
reality,
you
are
also
holding
two
face
down
Aces
beneath
it.
With
the
left
hand,
deal
the
top
three
cards
to
the
table
one
at
a
time,
into
a
pile,
and
then
return
the
right
hand
card(s)
to
the
top
of
the
deck.
The
motivation
for
this
is
to
free
the
right
hand,
which
slides
the
top
card
of
the
tabled
pile
to
the
right,
and
the
next
one
to
the
left.
Position check
The
three
cards
on
the
table
are
apparently
Aces,
but
actually
read
indifferent
card,
Ace,
indifferent
card.
On
top
of
the
deck
is
a
face
up
Ace
of
Spades,
and
two
other
Aces
beneath.
Refer
to
the
Ace
of
Spades
as
your
card,
and
then
flip
it
face
down,
taking
a
break
beneath
the
top
two
cards
as
you
do
so.
Lift
off
the
double,
and
set
it
down
behind
the
centre
card
of
the
row,
making
the
classic
‘T’
formation.
I
am
good
though.
Let’s
say
I
am
playing
three
other
cheats.
They
all
start
with
an
Ace
up
their
sleeve,
and
me
too.
However,
I
am
going
to
ONLY
play
my
Ace.
No
other
cards!
And
I’ll
still
win!
Then
turn
the
deck
face
up,
and
take
some
indifferent
cards
to
drop
onto
each
Ace
in
the
row.
I
take
3
cards
for
the
left
Ace,
4
cards
for
the
middle
Ace,
and
3
for
the
right
Ace.
No
reference
or
importance
is
given
to
the
exact
number
–
I
simply
say
‘The
other
guys
get
some
other
cards,
to
make
up
their
hand’
and
add
the
cards.
Turn
the
left
hand
palm
down,
and
table
the
deck
face
up
off
to
your
left,
so
that
you
can
easily
pick
it
up
again
momentarily.
To
make
the
first
Ace
travel,
simply
cover
the
left
hand
Ace
with
your
left
hand,
and
your
leader
Ace
with
your
right
hand,
spreading
the
double
as
you
do
so,
in
classic
‘Invisible
Palm’
fashion.
Lift
both
hands,
disclosing
that
a
card
has
joined
your
leader
Ace,
as
seen
in
the
pictures
below.
Confirm
its
identity
by
first
picking
up
the
left
hand
packet,
and
simulating
an
Elmsley
style
count,
count
the
cards
face
down
first,
and
then
face
up,
calling
out
the
values
of
the
cards
as
you
do
so,
before
doing
an
Ascanio
Spread
with
the
four
cards
to
again
display
them.
End
up
with
the
cards
face
down
in
the
right
hand,
and
pick
up
the
deck
with
the
left
hand,
and
tuck
the
right
hand
cards
into
centre
of
the
deck,
leaving
them
out-‐jogged
slightly.
As
you
square
them
in,
do
the
Marlo
Misdirection
Palm
to
steal
the
Ace
from
the
top
of
the
pack.
This
basically
consists
of
the
right
hand
coming
over
the
pack,
and
palming
the
top
card
of
the
deck
as
you
push
the
others
square.
Table
the
deck
in
the
left
hand
spot,
where
the
first
Ace
was.
Pick
up
your
spread
Aces,
adding
the
palmed
card
onto
the
top
of
them
as
you
do
so,
and
square
them
in
your
left
hand,
before
turning
the
packet
face
up
and
pushing
over
the
top
Ace,
displaying
two.
The
first
Ace
has
apparently
travelled,
and
in
showing
this
is
the
case,
you
have
set
up
for
the
second
one.
Boom!
That’s
a
pair!
However,
you
wouldn’t
get
away
with
that
in
a
proper
game.
You
can
hardly
cover
both
your
opponents
cards
and
your
own
without
raising
a
modicum
of
suspicion
and
taking
a
bit
of
a
beating.
So
let’s
try
this
next
one
one
handed…
Flip
the
packet
face
down,
hold
it
in
Biddle
Grip,
and
use
the
left
fingers
to
pull
the
bottom
Ace
out
a
little,
effectively
back
spreading
it,
before
tabling
the
packet
again.
This
Ace
is
going
to
be
handled
in
a
similar
way
to
the
first,
but
in
order
to
make
the
routine
build,
we
add
the
condition
that
using
both
hands
to
cheat
attracts
suspicion,
and
so
this
time
we
will
attempt
it
with
just
one
hand.
Push
the
centre
packet
towards
the
spectators
slightly,
and
explain
that
in
this
natural
action
on
a
card
table,
you
have
palmed
the
Ace.
Cleanly
show
both
sides
of
your
hand,
and
then
place
it
palm
down
onto
your
leader
packet,
and
again
spread
the
double
card
as
before.
When
you
lift
off
your
hand,
there
are
now
three
cards
in
the
leader
packet!
Pick
up
the
centre
packet,
and
Elmsley
Count,
showing
four
cards,
and
then
flip
the
packet
face
up
and
use
this
Elmsley
Count
variation.
Take
a
single,
another
single,
and
then
do
the
block
push
off
taking
a
double,
and
then
place
the
final
single
on
top.
This
variation
allows
you
to
call
attention
to
the
values
of
the
cards,
calling
them
out
as
they
go
past,
and
commenting
on
their
value
in
a
poker
hand.
Ascanio
spread,
showing
four
cards,
and
slip
the
double
to
the
back
of
the
packet
as
you
square
up.
Turn
the
packet
face
down,
and
palm
the
top
card
in
your
right
hand
as
you
drop
the
rest
of
the
packet
onto
the
deck
that
is
off
to
the
left.
As
before,
pick
up
the
leader
packet,
adding
the
palmed
card
onto
the
back
as
you
do
so,
and
let
them
square
face
up
into
your
left
hand.
This
time,
push
over
the
top
two
cards
to
display
three
Aces
that
have
travelled,
and
call
attention
to
the
suit
that
is
missing,
as
this
will
be
the
last
Ace
to
travel.
One’s
lonely,
two’s
company,
but
three’s
better!
Three
Aces
would
win
me
almost
any
game
of
Poker.
But
that’s
not
all
you
can
do
–
let’s
try
something
even
harder…
The
last
Ace
is
already
taken
care
of
in
terms
of
method,
so
why
not
build
it
up
and
make
the
most
of
the
clean
ending?
I
do
this
by
commenting
that
even
harder
is
sneaking
cards
out
of
one
person’s
hand,
and
into
another
persons,
while
they
are
still
holding
the
cards!
Pick
up
the
leader
packet,
square
it,
and
place
it
face
up
in
the
spectators
hand
in
position
for
the
old
‘Slap’
revelation.
This
basically
means
that
they
are
holding
the
packet
at
a
short
edge,
between
their
finger
tips
on
the
bottom,
and
thumb
on
top.
They
don’t
have
to
hold
the
packet
with
all
their
fingers
underneath,
so
a
good
phrase
to
get
them
into
position
is
to
ask
them
to
‘pinch’
the
packet.
With
that
done,
pick
up
the
last
packet
of
cards
on
the
table,
and
use
any
false
count
to
count
it
as
five
cards.
Then,
with
all
the
showmanship
you
can
muster,
apparently
vanish
the
Ace
and
show
the
four
remaining
indifferent
cards
cleanly,
before
dropping
them
onto
the
top
of
the
deck.
Show
both
hands
totally
empty,
and
then
firmly
slap
downwards
on
the
spectators
packet.
This
will
knock
the
top
three
Aces
out
of
their
hands
and
onto
the
table
or
floor,
and
leave
the
final
Ace
face
up
for
a
nice
visual
finish.
Credits
Ed Marlo’s ‘Bold Substitution Laydown’ is from Marlo’s Magazine Volume 2, page 108.
Ed Marlo’s ‘Misdirection Palm’ is from Revolutionary Card Magic, page 33.
‘Etheral Poker’ by Richard Kaufman, published in Card Works on page 122.
One
Across
Here,
the
cards
across
plot
is
stripped
back
to
a
single
card
that
travels,
but
using
a
clever
John
Bannon
ruse,
it
is
a
mentally
selected
card
that
is
only
named
after
it
has
jumped.
Also,
having
the
selection
jump
from
one
small
packet
to
between
the
face
up
jokers
in
the
deck
cuts
the
amount
of
counting
in
half,
and
gives
the
selection
a
proper
‘arrival’,
rather
than
it
simply
appearing
in
amongst
some
other
cards.
Effect
Let’s
start
off
by
having
you
shuffle
up
the
pack.
Now,
rather
than
just
pick
one
card,
which
would
be
easy
for
me
to
keep
track
of,
let’s
complicate
things
-‐
touch
any
FIVE
cards!
Don’t
worry
though,
you
will
still
only
have
to
remember
one
of
them!
From
a
shuffled
deck,
you
have
a
spectator
remove
five
cards
and
they
think
of
one
and
shuffle
it
back
into
the
packet
themselves.
After
examining
the
card
box,
the
packet
is
sealed
inside
and
left
with
the
spectator.
Keep
hold
of
the
cards
in
the
box,
and
don’t
forget
your
card.
At
the
moment,
you
are
the
only
person
in
the
world
who
knows
what
it
is!
Spreading
back
through
the
pack,
you
remove
the
two
Jokers,
and
cut
them
together,
face
up,
into
the
centre
of
the
pack.
So
here’s
the
cool
part.
While
your
card
is
actually
visible,
your
thought
isn’t.
So
I’m
going
to
try
to
move
your
thought.
Pretty
crazy
huh?
And
if
that
moves,
hopefully
the
actual
card
will
follow…
A
magic
gesture
is
made,
and
when
you
spread
the
deck
again,
a
face
down
card
has
appeared
between
the
Jokers!
Only
now
do
they
name
their
card.
Check
out
the
card
box.
There
should
be
only
four
cards
in
there!
Perfect!
And
are
any
of
them
your
card?
The
spectator
examines
the
card
case
they
have
been
holding,
and
inside
they
find
just
four
cards
–
their
thought
of
card
is
missing!
You display the card between the Jokers. It is, of course, the spectators thought of card.
Handling
Let’s
start
off
by
having
you
shuffle
up
the
pack.
Now,
rather
than
just
pick
one
card,
which
would
be
easy
for
me
to
keep
track
of,
let’s
complicate
things
-‐
touch
any
FIVE
cards!
Don’t
worry
though,
you
will
still
only
have
to
remember
one
of
them!
Start
off
by
making
sure
the
card
case
is
off
to
your
right
hand
side,
and
shuffle
the
deck.
Then
spread
through,
slightly
down-‐jogging
the
fifth
card
that
you
pass,
and
continue
spreading
and
have
the
spectator
touch
any
five
cards.
Up-‐jog
their
choices
as
you
go.
When
you
have
five
cards
out-‐jogged,
square
the
pack
back
into
left
hand
dealing
grip,
and
push
down
on
the
in-‐jog,
securing
a
little
finger
break
below
the
top
four
cards
as
you
do
so.
Remove
the
five
out-‐jogged
cards
with
the
right
hand,
and
have
the
spectator
remove
any
one,
remember
it,
and
then
return
it
to
the
packet.
Hand
them
the
packet
to
then
shuffle,
and
then
take
it
back
in
right
hand
Biddle
Grip.
Direct
attention
to
the
card
case
off
to
your
right,
and
reach
for
it
with
your
left
hand,
which
is
holding
the
deck,
and
still
holding
the
little
finger
break.
This
is
the
perfect
opportunity
to
use
the
Multiple
Top
Change
to
secretly
exchange
packets.
This
packet
switch
is
rarely
seen,
but
it’s
a
great
move,
and
perfectly
suited
to
this
situation.
If
you
hold
the
right
hand
packet
from
above,
between
the
thumb
at
the
inner
end,
and
second
finger
at
the
outer
end
(and
near
the
right
hand
side),
you
can
make
the
switch
fast
and
practically
identical
to
the
one
used
in
the
Hamman
Count.
As
the
left
hand
moves
past
the
right
hand,
the
right
hand
packet
goes
onto
the
top
of
the
deck,
and
the
second
finger
of
the
right
hand
releases
its
grip
at
the
same
time
as
the
third
finger
grabs
the
four
card
packet
underneath
(the
one
between
the
deck
and
the
top
packet),
and
then
the
right
hand
keeps
moving,
turning
palm
down
to
pick
up
the
card
case
underneath
the
deck.
Keep
hold
of
the
cards
in
the
box,
and
don’t
forget
your
card.
At
the
moment,
you
are
the
only
person
in
the
world
who
knows
what
it
is!
Slip
the
right
hand
packet
into
the
card
box,
and
hand
it
to
a
spectator
to
close
up
and
keep
hold
of.
False
shuffle
the
pack,
retaining
the
top
stock,
just
to
put
some
distance
between
the
switch,
and
then
make
a
fan
with
the
faces
of
the
cards
towards
yourself,
as
you
comment
that
you
need
two
more
cards.
Take
this
opportunity
to
take
a
look
at
the
top
five
cards.
These
are
the
possible
selections.
You
need
to
memorise
their
identities,
but
only
briefly,
and
assuming
that
the
values
are
different,
you
can
just
remember
the
values
of
the
second,
third,
fourth
and
fifth
cards.
So,
you
would
just
be
thinking
Eight,
King,
Three,
Ten
or
whatever
your
combination
is.
If
you
have
two
or
more
cards
of
the
same
value,
you
can
remember
the
suit
instead.
So,
for
example,
say
your
cards
read
2,
3,
3,
4,
5,
remember
the
suit
of
the
second
mate,
you
might
be
thinking
Three,
Club,
Four,
and
Five.
For more information on this system, consult Dear Mr Fantasy by John Bannon, page 100.
Once
you
have
memorised
your
four
numbers,
scan
the
rest
of
the
deck
for
any
two
mates.
I
normally
use
the
Jokers
if
they
are
both
present
(bearing
in
mind
that
one
or
both
of
them
could
have
been
on
top
of
the
deck
when
you
did
the
Multiple
Top
Change,
and
so
might
be
in
the
card
box)
and
remove
them
from
the
fan
with
the
right
hand,
while
squaring
the
rest
of
the
deck
into
face
down
left
hand
dealing
grip.
Get
a
little
finger
break
below
the
top
card
of
the
deck,
and
then
flip
the
Jokers
(or
mates)
face
up
on
to
the
top
of
the
pack.
Lift
them
back
off
for
a
moment
with
the
right
hand
from
above,
and
use
the
left
thumb
to
pull
the
top
one
onto
the
top
of
the
deck,
before
placing
the
right
hand
double
on
top
in
typical
sandwich
load
fashion.
Having
apparently
displayed
both
Jokers
(and
secretly
loaded
the
top
card
between
them),
further
isolate
them
by
cutting
the
pack
and
completing
the
cut.
So
here’s
the
cool
part.
While
your
card
is
actually
visible,
your
thought
isn’t.
So
I’m
going
to
try
to
move
your
thought.
Pretty
crazy
huh?
And
if
that
moves,
hopefully
the
actual
card
will
follow…
Even
though
you’ve
only
just
set
the
scene,
you
are
pretty
much
done
work
wise.
Make
the
magic
happen
with
a
gesture
or
however
you
do
it,
and
then
spread
the
pack
between
your
hands
to
show
the
Jokers
now
have
a
single
face
down
card
between
them.
Square
the
pack
and
place
it
down
again.
Check
out
the
card
box.
There
should
be
only
four
cards
in
there!
Perfect!
And
are
any
of
them
your
card?
Now
have
the
spectator
name
their
card,
and
check
out
the
packet
in
the
box
they’ve
been
holding.
They
will
now
find
there
are
only
four
cards,
and
their
selection
is
missing!
Pick
up
the
deck
again,
and
spread
through,
up-‐jogging
the
face
down
card
between
the
Jokers.
Now,
when
the
spectator
named
their
selection,
it
will
either
be
one
of
the
four
cards
you
are
remembering,
or
something
else.
If
it’s
not
one
of
the
cards
you
are
remembering,
then
your
work
is
already
done,
and
the
spectators
selection
is
already
between
the
Jokers!
However,
if
the
card
is
one
that
you
are
remembering,
you
need
to
get
a
little
finger
break
below
it.
So,
if
they
name
the
first
card
in
your
sequence,
grab
a
break
below
the
card
under
the
Jokers,
or
two
cards
under
the
Jokers
if
they
name
the
second
card
in
your
sequence,
and
so
on.
To
reveal
the
selection,
we
are
going
to
use
Gary
Oulette’s
Touch
Force.
(Using
the
force
as
a
way
of
producing
a
card
from
an
impromptu
index
is
John
Bannon’s
awesome
idea).
Square
the
pack,
leaving
the
out-‐jogged
card
in
position,
and
then
come
over
with
the
right
hand
from
above.
You
then
push
the
out-‐jogged
card
flush
with
the
deck
at
the
same
moment
as
you
lift
all
the
cards
above
the
break
with
the
right
hand
and
display
the
card
on
the
face
of
the
right
hand
packet.
It
will
be
the
spectators’
selection.
Drop
everything
square,
and
then
right
the
reversed
Jokers
in
the
middle
of
the
pack
at
your
leisure.
Clean
Up
Here’s
a
cool
way
to
clean
up
if
you
want
to
carry
on
with
some
other
tricks.
Simply
give
the
deck
a
couple
of
riffle
shuffles
as
you
are
getting
ready
for
the
next
trick,
then
‘remember’
the
Jokers
and
spread
through.
They
will
be
face
up,
separated
out
in
the
deck.
Simply
flip
them
face
down
in
position
and
carry
on.
Credits
John
Bannon
‘Out
of
Touch’
from
Dear
Mr
Fantasy,
page
100
details
John’s
crafty
idea
of
using
the
Touch
Force
as
an
‘Out’
system.
‘Party
of
One’,
John’s
un-‐gaffed
handling
of
Gordon
Bean’s
‘Entourage’
is
where
John
combines
the
‘Out
of
Touch’
mechanics
with
the
Jokers
sandwiching
an
isolated
selection,
and
is
a
bonus
trick
on
the
Duplicity
DVD.
Over
Eat
The
Cannibal
Kings
is
one
of
most
commercial
plots
for
me,
despite
not
being
initially
a
fan
of
it,
but
it
just
plays
too
well
to
not
use.
This
handling
is
pretty
straightforward,
consistent,
and
allows
for
a
Roy
Walton
kicker
finish
that
is
hugely
unexpected.
Effect
Have
you
ever
carefully
looked
at
the
Kings
from
a
deck
of
cards?
They
are
CANNIBALS!
With
weapons!
Nobody
ever
believes
me.
Still,
thanks
for
not
calling
the
authorities.
They’ve
had
quite
enough
of
me…
From
a
shuffled
deck,
the
four
Kings
are
removed,
and
the
spectators
are
warned
that
they
are
cannibals!
A
demonstration
is
proposed.
They are always hungry! We’ll grab them a starters, main course and dessert!
The
deck
is
cut
into
three
packets,
and
the
top
card
of
each
is
turned
face
up
to
represent
the
three
courses.
Here’s
what
happens
–
first,
they
surround
their
victim.
Then,
they
crunch
them
up,
chew
their
bones!
Then,
after
the
burp,
the
victim
is
gone!
Totally
digested!
One
at
a
time,
the
cannibal
Kings
‘surround’
the
victims,
and
then
eat
them,
each
time
leaving
only
the
four
Kings!
Sometimes
though,
if
they
eat
too
much,
they
don’t
feel
well.
In
fact,
they
can
break
out
into
spots!
However,
eating
that
last
one
was
too
much,
and
brings
the
cannibals
out
in
spots
–
they
all
change
into
Tens!
Handling
Have
you
ever
carefully
looked
at
the
Kings
from
a
deck
of
cards?
They
are
CANNIBALS!
With
weapons!
Nobody
ever
believes
me.
Still,
thanks
for
not
calling
the
authorities.
They’ve
had
quite
enough
of
me…
If
you
are
starting
from
a
shuffled
pack,
spread
through
and
up-‐jog
the
four
Kings
as
you
come
to
them,
culling
the
Tens
to
the
back
of
the
deck
as
you
do
so,
or
you
can
start
with
the
Tens
in
position
if
you
prefer.
As
you
spread
through,
you
can
comment
on
the
Kings
and
the
weapons
that
they
seem
to
be
holding,
which
makes
a
nice
bit
of
presentation
if
it
fits
your
style.
Once
all
four
Kings
are
up-‐jogged,
and
the
Tens
are
set,
you
are
going
to
remove
them
and
switch
them
out
for
the
Tens
using
Dai
Vernon’s
Strip
Out
Addition.
It’s
a
classic
move,
and
has
a
great
casual
vibe,
which
fits
in
great
here,
as
we
are
looking
to
get
the
switch
out
of
the
way
before
the
spectators
really
think
the
trick
has
even
started.
With
the
deck
face
up,
four
Kings
out-‐jogged,
and
the
Tens
at
the
back
of
the
pack,
you
need
to
get
a
little
finger
break
above
the
bottom
five
cards.
However,
as
the
exact
number
isn’t
too
important,
you
can
just
use
the
left
little
finger
to
pull
down
what
you
estimate
to
be
five
cards
–
just
make
sure
you
guess
big.
Once
you
have
the
break,
take
hold
of
the
pack
with
the
right
hand
at
the
inner
right
hand
corner,
with
the
thumb
on
top
and
the
fingers
underneath,
but
make
sure
your
right
fingers
go
into
the
left
finger
break,
so
you
are
holding
the
deck
but
not
the
packet
beneath.
Now,
freeze
the
right
hand
in
place.
The
left
hand
now
moves
away
from
you,
to
take
the
up-‐jogged
Kings
from
underneath,
carrying
the
packet
below
the
deck
with
it.
You
don’t
have
to
keep
a
break,
just
let
the
Kings
fall
flush
onto
the
secret
left
hand
packet,
and
then
drop
the
deck
onto
the
Kings,
and
take
everything
into
face
down
left
hand
dealing
grip.
Complete
the
switch
by
thumbing
the
top
four
cards
over
to
the
right
hand,
which
takes
them
as
the
left
hand
tables
the
face
down
pack.
They
are
always
hungry!
We’ll
grab
them
a
starters,
main
course
and
dessert!
Cut
the
deck
into
three
packets,
and
turn
the
top
card
of
each
packet
face
up.
(This
is
why
you
needed
a
break
beneath
five
cards
earlier
–
because
otherwise,
a
King
would
turn
up
here.
That
would
be
difficult
to
explain!)
The
Eating
This is the sequence for vanishing the cards, and it’s the same for all three.
Here’s
what
happens
–
first,
they
surround
their
victim.
Then,
they
crunch
them
up,
chew
their
bones!
Then,
after
the
burp,
the
victim
is
gone!
Totally
digested!
Take
the
packet
of
‘Kings’
in
the
left
hand,
and
get
a
little
finger
break
beneath
the
top
card.
Use
the
right
hand
to
lift
off
the
first
face
up
indifferent
card
(it
is
best
to
lift
the
card
off
in
Biddle
Grip,
as
this
establishes
uniformity
of
action
that
we
can
exploit
later
on)
and
place
it
on
top
of
the
left
hand
packet.
Cut
the
cards
at
the
break,
as
the
Kings
‘surround’
the
first
card.
Make
your
gesture
(or
the
classic
eating
noises
and
‘burp’
by
clicking
the
cards)
and
then
Elmsley
Count
the
packet
to
show
that
the
face
up
card
has
vanished.
Keep
a
little
finger
break
below
the
last
card
counted.
Repeat this sequence for the next two cards as well.
One
important
point
is
to
ensure
that
you
refer
to
the
cards
in
your
hand
as
the
Kings
at
every
natural
opportunity.
This
continually
reinforces
the
identity
of
the
packet,
and
when
combined
with
the
fact
that
the
switch
happened
so
early
on,
the
change
at
the
end
will
come
as
a
big
shock.
After
all
three
cards
have
apparently
been
eaten,
casually
display
the
cards
again
as
apparently
four
by
taking
the
packet
in
the
right
hand
Biddle
Grip,
and
slipping
the
top
three
cards
into
the
left
hand
one
at
a
time,
before
placing
the
last
four
cards
as
one
on
top.
This
sequence
is
done
casually,
but
with
everything
in
motion,
so
the
thickness
of
the
last
card
is
not
noticed.
Sometimes
though,
if
they
eat
too
much,
they
don’t
feel
well.
In
fact,
they
can
break
out
into
spots!
Finally, declare that the Kings have eaten too much, and it has bought them out in spots.
Flip
the
packet
face
up,
revealing
a
Ten,
and
lift
it
off
with
the
right
hand,
which
then
drops
it
onto
one
of
the
face
down
packets.
Use
this
as
cover
to
get
a
finger
break
above
the
bottom
card
(I
usually
use
a
buckle,
but
a
pull
down
will
work
just
as
well).
Take
the
second
Ten
in
the
same
way,
dropping
it
onto
a
second
face
down
packet,
and
then
take
apparently
the
third
Ten
and
do
the
same
again.
Instead,
the
right
hand
takes
all
the
cards
above
the
break,
and
places
them
onto
the
last
face
down
tabled
packet.
Snap
the
last
Ten,
and
sail
it
to
the
table
in
front
of
the
tabled
packets,
to
complete
the
routine.
Credits
‘Return of the Cannibals’ by Roy Walton, The Complete Walton Volume 1, page 225.
Mambo
#5
This
is
a
variation
of
a
trick
called
‘Mambo
Jack’
by
Aldo
Colombini.
Aldo
was
a
great
magician,
and
that
trick
really
caught
my
attention.
Like
a
lot
of
Aldo’s
material,
it
packs
a
lot
of
magic
in
with
very
little
work,
and
it’s
included
here
because
when
I
perform
it,
it
reminds
me
of
Aldo,
whose
magic
was
always
an
inspiration.
Effect
You
know
how
these
tricks
start
by
now.
You
have
to
choose
a
card,
and
I
have
to
work
out
what
it
is.
A spectator chooses a card, which is left face down on the table.
So,
I
am
going
to
start
off
by
removing
the
Jacks.
This
tells
me,
that
you
didn’t
choose
a
Jack,
as
all
four
of
them
are
here!
Look
what
happens
when
I
give
them
a
little
rub
on
my
sleeve…
You
remove
the
four
Jacks,
and
say
that
they
will
help
you
find
out
the
name
of
the
selection.
They
start
off
by
changing
into
four
Jokers
–
because
Jokers
are
wild.
Jokers
are
wild
–
especially
this
one!
I’ll
put
it
the
wrong
way
up
with
the
others,
so
you
can
keep
your
eye
on
it.
But,
when
we
give
it
a
snap,
it
changes!
That’s
why
they
are
called
wild!
Check
it
out!
One
of
the
Jokers
is
turned
face
up,
and
then
changes
into
an
Ace
–
which
is
the
mate
of
spectators
card!
Then, suddenly, the other Jokers change into the other Aces, to make a full set of four!
Handling
This
trick
needs
a
slightly
more
complicated
set
up.
You
can
still
get
into
it
on
the
fly,
but
to
be
honest,
I
normally
arrange
the
cards
in
advance.
For
the
amount
of
magic
you
get
from
this
routine,
it
is
worth
it!
Start
off
by
getting
an
Ace
on
top
of
the
deck,
and
the
other
three
Aces
between
two
Jokers
on
the
bottom
of
the
deck.
So
here’s
the
set
up,
from
the
top
down.
• Ace
• Rest
of
Deck
• Joker
• Ace
• Ace
• Ace
• Joker
You
know
how
these
tricks
start
by
now.
You
have
to
choose
a
card,
and
I
have
to
work
out
what
it
is.
Start
off
by
forcing
the
top
card
of
the
deck
with
whatever
method
you
like,
and
leave
it
face
down
on
the
table.
Don’t
let
the
spectator
look
at
it
just
yet.
So,
I
am
going
to
start
off
by
removing
the
Jacks.
This
tells
me,
that
you
didn’t
choose
a
Jack,
as
all
four
of
them
are
here!
Look
what
happens
when
I
give
them
a
little
rub
on
my
sleeve…
Turn
the
deck
with
the
faces
towards
you,
spread
through
and
down-‐jog
the
Joker
fifth
from
face
slightly,
and
openly
up-‐jog
all
the
Jacks
for
at
least
half
their
length.
Settle
the
deck
into
face
down
dealing
grip,
remove
the
four
Jacks
and
flip
them
face
up
onto
the
top,
and
as
you
square
up,
push
down
on
your
in-‐jog
and
get
a
break
above
the
in-‐
jog.
Spread
the
Jacks
into
your
right
hand
as
you
comment
that
at
least
you
now
know
they
didn’t
choose
a
Jack,
and
direct
them
to
take
a
peek
at
their
card,
but
be
careful
not
to
show
you.
Use
this
misdirection
to
do
the
Jinx
Switch
–
an
old
and
bold
move
(like
all
the
best
ones!).
The
Jinx
Switch
This
is
a
very
bold
technique,
and
discrepant,
and
as
a
result,
is
huge
fun
to
get
away
with.
Simply
flip
the
Jacks
face
down
on
the
top
of
the
deck,
flush,
and
then
lift
all
the
cards
above
the
break
(nearly
the
whole
deck)
with
the
right
hand,
and
table
it
off
to
the
left,
and
make
a
ribbon
spread.
The
packet
in
your
left
hand
is
the
Joker/Ace
packet.
Despite
the
ease
and
boldness
of
this
switch,
it
is
extremely
deceptive
when
covered
with
even
the
slightest
of
misdirection,
let
alone
all
the
cover
provided
by
the
spectator
checking
and
showing
around
their
selection.
Of
course,
you
can
substitute
a
different
switch
if
you
like,
but
the
reason
I
like
this
one
is
because
it
is
fast,
deceptive
and
switches
packets
of
different
quantities
with
a
minimum
of
handling
and
fuss.
State
that
the
Jacks
will
help
you
find
out
the
name
of
the
card,
and
then
change
them
into
Jokers
one
at
a
time
using
this
lovely
Bernard
Billis
sequence.
Take
the
packet
in
right
hand
Biddle
Grip.
Take
the
top
three
cards
into
the
left
hand,
one
at
a
time,
by
pulling
them
over
with
the
left
thumb.
The
right
hand
will
be
left
holding
a
double.
Rub
the
double
on
your
sleeve,
or
whatever
magical
gesture
you
like,
and
turn
the
double
face
up
to
reveal
it
has
changed
into
a
Joker.
Flip
the
double
face
down,
and
deal
the
top
card
to
the
table.
Repeat
the
sequence
again,
this
time
just
taking
the
top
two
cards
into
the
left
hand,
and
then
again,
just
taking
one.
Stop
this
sequence
once
you
have
turned
the
double
face
up,
and
then
lift
the
double
off
with
the
right
hand,
and
use
it
to
flip
over
the
last
card
in
the
left
hand
to
show
two
face
up
Jokers.
Casually
show
both
sides
of
both
cards
in
your
hands.
Jokers
are
wild
–
especially
this
one!
I’ll
put
it
the
wrong
way
up
with
the
others,
so
you
can
keep
your
eye
on
it.
But,
when
we
give
it
a
snap,
it
changes!
That’s
why
they
are
called
wild!
Check
it
out!
Comment
that
Jokers
are
wild,
and
you
will
demonstrate
with
a
face
up
Joker.
Drop
the
double
in
the
right
hand
face
up
onto
the
two
tabled
cards,
and
then
place
the
remaining
joker
in
the
left
hand
face
down
on
top
of
all.
Time
for
a
killer
display
–
John
Bannon’s
Bullet
Party
Display.
This
cunning
move
will
apparently
reinforce
the
fact
that
one
Joker
is
face
up
and
the
others
are
face
down,
however,
it
will
also
establish
beyond
any
doubt
that
all
the
other
cards
are
Jokers
as
well.
Begin
an
Elmsley
Count
with
the
packet,
by
taking
the
top
card
into
your
left
hand.
Turn
it
over
briefly
to
flash
the
face
of
the
Joker,
and
then
turn
the
hand
back
again.
Do
the
second
‘count’
of
the
Elmsley
Count,
and
this
time
turn
the
right
hand
over
to
flash
apparently
another
Joker.
Turn
the
hand
back
over,
and
do
the
third
count,
taking
the
top
face
down
card
of
the
right
hand
pair
onto
the
left
hand
packet.
On
the
count
of
four,
turn
over
the
right
hand
again
to
show
apparently
yet
another
Joker.
Take
this
on
top
of
all.
Make
a
magic
gesture
of
some
kind,
and
then
do
an
OPEC
count
to
show
that
the
reversed
Joker
has
changed
into
an
Ace.
Put
the
last
card
of
the
count
to
the
bottom.
(An
OPEC
count
is
the
same
technique
as
an
Elmsley
Count
,
except
you
take
the
first
card
counted
from
the
bottom
of
the
packet,
openly.)
At
the
end,
your
Ace
will
be
face
up
on
the
packet.
Explain
that
as
the
Joker
changed
into
an
Ace,
that
must
mean
that
the
spectator
selected
an
Ace.
Ask
them
to
turn
the
card
face
up.
As
they
do
so,
pick
up
a
double
from
your
packet
(an
Ace
and
one
of
the
Jokers)
and
drop
the
double
onto
the
right
hand
side
of
your
tabled
spread.
Finish
up
by
flipping
the
packet
in
hand
face
up,
and
buckling
the
bottom
card
with
your
left
forefinger
to
get
a
break
above
it.
Lift
off
the
top
double
(easy
due
to
the
break)
and
drop
the
double
onto
the
middle
of
the
ribbon
spread,
and
then
dropping
the
last
face
up
Ace
onto
the
left
hand
side
of
the
spread,
to
show
all
four.
Credits
John
Bannon’s
‘Bullet
Party
Display’
comes
from
his
DVD
set
‘Bullet
Party’,
and
also
features
in
a
book
of
the
same
name,
as
well
as
Triabolical
and
Fractalicious.
Aldo Colombini’s ‘Mambo Jack’ is in The Close Up Magic of Aldo Colombini on page 36.
Pinch
Sandwich
tricks
are
always
popular,
and
I
saved
this
sequence
from
an
old
routine.
It’s
similar
to
Alex
Elmsley’s
‘Double
Finders’
but
just
uses
one
selection
and
a
quirky
handling.
Try
it
out,
it
might
fit
into
your
sandwich
routine
somewhere.
Effect
Two
Jokers
are
removed
from
the
deck,
and
a
card
is
chosen,
signed,
and
left
out-‐jogged
in
the
centre
of
the
pack
so
that
the
spectator
can
keep
an
eye
on
it.
The
deck
is
cut
into
three
packets,
with
the
selection
in
the
centre
one.
The Jokers are dropped onto the left and right hand packets, and both cut in.
You
take
a
moment
to
point
out
that
all
three
cards
are
isolated
in
separate
thirds
of
the
pack.
Then,
you
stack
all
three
packets,
one
on
top
of
the
other,
and
make
a
magic
gesture.
Immediately,
you
spread
the
pack
again
to
reveal
the
Jokers
face
up,
in
the
centre,
with
a
single
card
between
them.
It
is,
naturally,
the
selection.
Handling
Produce or remove the Jokers, setting them off to one side.
Next
up,
have
a
card
selected
and
signed
if
required,
and
then
spread
the
pack
for
the
return
of
the
card.
Aim
to
have
it
replaced
about
a
third
of
the
way
down,
or
half
way
at
the
lowest.
Use
the
convincing
control
to
take
it
to
the
bottom
of
the
deck,
whilst
leaving
an
indifferent
card
out-‐jogged
in
its
place.
With
the
pack
spread
between
your
hands,
break
the
spread
at
about
1/3
to
½
way
down,
and
have
the
card
replaced.
Give
everyone
another
chance
to
see
the
card
by
taking
the
selection
under
the
spread
in
the
right
hand,
lined
up
with
the
card
now
directly
above
it,
and
bring
the
right
hand
up,
showing
the
faces
of
the
cards
to
the
spectators.
Bring
the
left
hand
up
as
well,
placing
its
spread
underneath
and
slightly
down-‐jogged.
The
left
thumb
now
contacts
the
back
of
the
card
that
is
to
the
right
(almost
squared)
of
the
selection.
As
both
hands
lower
the
spread
back
down
to
waist
height,
the
left
thumb
pulls
its
card
past
the
selection,
while
the
right
fingers
curl
underneath,
culling
the
selection
underneath
the
spread.
The
right
hand
then
lowers
the
cards
it
holds
(all
the
cards
to
the
right
of
the
indifferent
card
the
left
thumb
is
holding)
so
they
are
level
with
the
left
hand
spread.
Square
the
pack
together,
leaving
the
indifferent
card
up-‐jogged,
culling
the
selection
to
the
bottom
of
the
pack.
Table
the
deck
to
our
left,
and
then
cut
about
half
the
pack
to
the
right
(make
sure
the
indifferent
card
ends
up
in
this
packet)
and
then
cut
another
portion
from
this
packet
to
the
right
again,
leaving
the
apparent
selection
now
in
the
middle
packet
and
still
visible.
Show
the
two
Jokers
and
drop
them
face
up
onto
the
end
packets.
Start
from
the
left
hand
side,
and
pick
up
the
first
packet.
Apparently
lose
the
Joker
by
double
cutting
the
bottom
card
to
the
top
of
the
packet.
Drop
the
packet
back
into
place.
Finally,
pick
up
the
right
hand
packet,
and
double
cut
the
top
Joker
the
bottom
of
the
packet
and
table
the
packet
to
the
right.
Pick
up
the
right
hand
packet
from
above
in
right
hand
Biddle
Grip,
and
apparently
place
it
onto
the
middle
packet.
In
reality,
you
use
the
Kelly
/
Ovette
Master
Move
to
separate
the
Joker
from
the
bottom
of
the
packet,
and
slip
it
underneath
the
middle
packet
as
you
drop
the
rest
of
the
right
hand
cards
onto
the
middle
packet.
The
second
picture
shows
the
Master
Move
in
action.
Basically,
the
right
fingers
‘smear’
the
lowermost
card
of
the
packet
(the
face
up
Joker)
to
the
right,
so
that
it
comes
free
of
the
right
thumb,
which
then
pulls
up
as
the
right
fingers
relax,
which
results
in
the
separation
as
shown
in
the
second
picture.
You
will
probably
need
to
hold
the
middle
packet
in
place
with
the
left
hand,
just
for
a
moment.
Once
you
have
picked
up
the
combined
packets
with
the
right
hand,
drop
it
onto
the
left
hand
packet.
Then,
make
a
magic
gesture,
and
spread
the
pack
wide
across
the
table
to
reveal
the
sandwich!
Credits
Alex
Elmsley’s
‘Double
Finders’
is
in
The
Collected
Works
of
Alex
Elmsley
Volume
1,
page
234
Disburse
This
is
a
kind
of
reverse
‘Collectors’
plot,
and
actually
makes
a
great
follow
on
from
your
favourite
version
of
that
plot.
It’s
a
kind
of
combination
of
Interlaced
Vanish,
and
the
Biddle
Trick.
Effect
After
your
Collectors
routine,
your
spectators
help
you
trap
the
selections
back
between
the
four
of
a
kind
you
are
using
(assume
Kings).
When
all
three
are
back
between
the
four
Kings,
the
packet
is
counted
to
show
seven
cards,
and
then
immediately
the
selections
vanish
without
a
trace.
Commenting
that
the
trick
happened
in
reverse
this
time,
you
say
that
the
cards
have
jumped
back
into
the
deck.
Picking
up
the
deck,
you
spread
it
across
the
table
to
reveal
the
three
selections
are
now
face
up
–
in
different
parts
of
the
deck!
Handling
Start
with
three
selections
on
the
table,
and
the
deck
face
down
to
your
right,
with
the
four
Kings
openly
dropped
on
top.
This
situation
is
obviously
easy
to
get
into
after
a
Collectors
routine.
The
deck
needs
to
be
positioned
quite
precisely
–
it
should
be
pretty
central,
near
where
your
right
hand
naturally
rests.
With
the
right
hand,
cut
off
around
three
quarters
of
the
deck
in
Biddle
Grip,
just
grabbing
them
quickly.
Use
the
left
hand
thumb
to
pull
the
first
King
into
your
left
hand
dealing
grip,
and
then
extend
your
left
hand
towards
your
spectators
as
your
right
hand
hovers
back
over
the
deck,
where
it
naturally
rests.
Have
a
spectator
place
a
selection
face
up
onto
your
King,
and
then
bring
the
right
hand
over.
As
this
happens,
secure
a
left
little
finger
break
below
the
selection,
and
Biddle
Steal
the
selection
underneath
the
right
hand
packet
as
you
pull
the
second
King
into
your
left
hand.
Immediately
after
the
steal,
the
right
hand
relaxes
again,
hovering
over
the
deck,
while
the
left
hand
extends
towards
the
next
spectator.
As
they
pick
up
the
second
selection
to
place
it
onto
your
left
hand
packet,
allow
a
bunch
of
cards
to
quietly
drop
onto
the
tabled
cards
–
about
ten
or
so.
This
is
completely
covered
by
misdirection,
and
note
that
you
don’t
need
to
actually
drop
the
cards
from
any
height
-‐
they
are
really
just
‘placed’
there.
Repeat
the
whole
sequence
twice
more,
each
time
stealing
and
burying
the
selection
in
the
ever
growing
tabled
pile
of
cards.
Once
you
have
finished
the
last
Biddle
Steal,
the
right
hand
drops
the
remainder
of
its
cards
onto
the
deck,
which
you
now
ignore.
Turn
the
packet
of
Kings
face
down,
call
all
attention
onto
them,
and
then
false
count
them
as
seven
cards
however
you
like.
I
use
a
Hamman
Count,
switching
on
the
count
of
four.
Then,
make
the
fabled
magic
gesture,
and
snap
the
packet
face
up
to
reveal
just
the
four
Kings.
Conclude
by
turning
attention
back
to
the
deck,
and
ribbon
spread
it
face
down
across
the
table
to
reveal
the
face
up
selections
in
different
parts
of
the
pack.
Remix
Bob
King’s
Rematch
effect
is
one
of
the
best
self
working
tricks
I’ve
ever
seen,
and
if
you
see
it
available,
pick
it
up.
I
promise
you
will
love
it.
In
the
mean
time,
here’s
my
version.
It’s
not
as
clean
as
Bob’s
original,
but
it’s
pretty
close,
and
has
the
advantage
that
is
uses
a
regular,
shuffled
deck.
Effect
You
start
off
by
taking
a
shuffled
deck,
and
removing
two
sets
of
5
cards.
The
first
packet
consists
of
four
red
cards
and
a
Joker.
The
other
packet
is
all
black
cards
and
a
Joker.
Attention
is
drawn
to
the
fact
that
the
Jokers
are
the
only
cards
that
match
in
each
packet.
One
of
the
packets
is
tabled
face
down,
the
other
is
left
face
up.
You
now
spell
‘Will’
‘The’
‘Joker’
‘Match’,
one
word
at
a
time,
by
taking
a
card
from
the
top
of
a
packet
and
placing
it
to
the
bottom
for
each
letter.
At
any
point
during
any
of
the
words,
the
spectator
can
call
‘Switch’
and
you
swap
packets
and
continue
spelling.
At
the
end
of
each
word,
the
two
cards
on
top
of
each
packet
are
put
together
as
a
pair.
Despite
all
the
complete
and
fair
freedom
the
spectator
has,
you
turn
over
the
Joker
pair
to
show
that
the
spectator
somehow
managed
to
place
them
together.
Then,
as
a
kicker,
you
wave
the
Jokers
over
all
the
other
tabled
pairs
–
now
all
of
them
match
as
well!
Handling
Spread
through
the
deck
and
find
any
four
cards
of
the
same
colour,
that
don’t
include
any
mates.
You
will
easily
find
this
situation
a
couple
of
times
through
any
shuffled
deck,
but
if
the
odds
really
are
against
you,
you
can
easily
just
slip
a
card
or
two
into
position.
Remember
the
values
of
these
cards,
starting
with
the
one
at
the
face
of
the
packet,
and
working
your
way
back.
Let’s
say,
for
example,
you
find
a
red
Eight,
King,
Three
and
Ten.
You
remember
them
in
that
sequence,
and
then
cut
them
to
the
back
of
the
pack.
Just
to
be
totally
clear,
if
you
were
to
turn
the
deck
face
down,
and
look
at
the
top
card,
it
would
be
the
Eight
in
this
example.
Spread
through
again,
and
table
a
face
down
Joker,
followed
by
the
mates
of
the
cards
now
on
top
of
the
deck.
Table
them
on
top
of
the
Joker,
in
the
order
you
remember.
So
in
our
example,
you
would
remove
the
other
red
Eight,
placing
it
onto
the
Joker,
and
then
the
King,
etc.
Once
you
have
a
packet
of
five
cards,
it
occurs
to
you
that
the
spectators
haven’t
seen
the
cards,
so
you
turn
the
packet
face
up,
and
spread
them
out
to
show.
Spread
through
the
pack
again,
this
time
up-‐jogging
any
four
black
cards,
followed
by
the
other
Joker
which
should
be
rearmost
of
the
up-‐jogged
cards.
Spread
to
display,
call
attention
to
the
fact
that
only
the
Jokers
match,
and
as
you
close
up,
get
a
little
finger
break
above
the
back
four
cards.
Do
the
Vernon
Strip
Out
Addition
as
described
before,
secretly
adding
the
four
cards
below
your
break
to
the
back
of
the
five
card
packet
as
they
are
removed.
Drop
the
face
up
deck
on
top,
and
then
flip
everything
face
down.
Spread
off
the
top
five
cards,
taking
them
into
the
right
hand
(note
that
you
don’t
want
to
reverse
their
order
here)
and
square
them
up,
taking
the
opportunity
to
casually
flash
the
Joker
at
the
bottom.
This
is
actually
discrepant,
as
the
Joker
should
be
on
top,
but
nobody
will
keep
track
as
the
cards
are
turned
over,
and
flashing
the
Joker
reaffirms
that
everything
is
as
it
should
be.
Table
the
packet
face
down,
and
square
up
the
face
up
packet
too.
You
are
now
ready
for
the
spelling
shenanigans.
The
spelling
procedure
is
much
more
complicated
to
explain
than
it
is
to
actually
do,
and
this
is
true
both
verbally
and
in
print.
So
the
best
thing
to
do
is
to
follow
along.
Start
off
by
asking
the
spectator
to
choose
whichever
packet
they
want
you
to
start
with.
Spell
‘Will’,
moving
one
card
from
the
top
to
the
bottom
for
each
letter,
and
tell
them
to
say
‘Switch’
at
any
point.
When
they
do,
table
the
packet
you
are
holding
and
pick
up
the
other
packet,
until
you
finish
spelling.
When
the
word
is
finished,
table
both
packets,
and
lift
off
the
top
card
of
each
one
(one
will
be
face
up
and
the
other
will
be
face
down)
and
set
them
off
to
one
side,
as
a
pair.
Continue
on,
spelling
each
word
in
the
same
way,
with
your
spectators
saying
‘Switch’
whenever
they
like
(they
can
even
switch
you
more
than
once
during
a
word).
Make
a
pair
each
time
you
finish
spelling
word.
Ideally,
the
Jokers
will
be
the
last
pair,
but
obviously,
this
doesn’t
always
happen.
If
it
doesn’t,
and
the
Jokers
are
paired
up
before,
just
comment
that
you
will
finish
the
spelling
for
fun,
and
carry
on.
Call
attention
to
the
Joker
pair,
and
dramatically
turn
the
face
down
card
face
up
to
reveal
that
the
spectator
has
managed
to
match
both
the
Jokers.
Try
to
up-‐sell
this
as
much
as
possible.
The
truth
is,
the
spectators
will
be
relatively
impressed,
but
ultimately
underwhelmed
by
this
climax,
and
the
more
you
try
to
ham
it
up,
the
better
you
are
setting
them
up
for
the
kicker.
When
you
have
made
the
most
of
it,
wave
the
Jokers
over
the
other
pairs
and
then
turn
over
all
the
face
down
cards
to
show
that
now
all
the
pairs
match!
Credits
Bob
King’s
‘Rematch’
was
a
marketed
trick
from
some
years
back
–
a
Google
search
doesn’t
throw
much
up,
but
keep
your
eyes
peeled
–
it’s
a
killer!
Birthday
Card
This
is
a
totally
self
working
trick
that
cunningly
uses
a
piece
of
information
from
the
spectator
to
produce
a
(admittedly
modest)
prediction
effect.
But,
unknown
to
the
spectators,
along
the
way,
you
have
also
learnt
the
secret
information.
Check
it
out.
Effect
‘Did
you
realise
that
the
term
‘birthday
card’
comes
from
a
deck
of
cards?
A
deck
of
cards
has
many
ties
to
a
calendar
–
there
are
four
suits,
one
for
each
season,
and
52
cards,
one
for
each
week
of
the
year.
If
you
add
up
all
the
values
of
the
cards
as
well,
they
add
up
to
365,
the
number
of
days
in
a
year.
I’m
full
of
exciting
factual
information!’
‘So
let
me
show
you
how
you
work
out
your
Birthday
card.
Take
the
pack,
I
will
turn
away.
First
of
all,
you
think
of
the
month
you
were
born
in,
and
take
that
number
of
cards
off
of
the
deck.
So
for
January,
take
1
card,
for
February
take
2,
etc.’
The
spectator
spreads
off
the
number
of
cards
that
represents
their
month,
and
is
directed
to
drop
the
packet
onto
the
table.
‘Now
do
the
same
again
but
with
the
actual
numerical
date,
and
drop
that
packet
onto
the
tabled
cards,
making
one
bigger
pile’
Turning
back,
you
discard
the
bulk
of
the
deck,
and
hand
the
spectator
the
tabled
packet
of
cards.
‘Oh!
Before
we
go
on,
I
should
write
something
down.’
You
scribble
a
line
onto
a
business
card,
and
table
it
face
down.
‘Now,
here’s
how
it
works
–
you
deal
the
cards
into
two
packets
onto
the
table.
One
of
the
packets
represents
the
value
of
your
birthday
card,
and
the
other
one
represents
the
suit.
I
will
show
you
what
I
mean.’
The
spectator
deals
the
cards
into
two
packets,
and
then
turns
over
the
top
card
of
each
pile.
The
first
one
represents
the
value
of
their
Birthday
Card,
for
example
a
Six,
and
the
second
one
represents
the
suit,
for
example
Clubs.
‘So
that
means
that
your
real,
actual
Birthday
Card
is
the
Six
of
Clubs!
Here’s
your
Birthday
Card…’
You turn the business card over to reveal its message – ‘Happy Six of Clubs Day!’
‘You
can
take
that
home
with
you.
But
don’t
open
it
until
June
the
7th!’
June
the
7th,
is
of
course,
the
spectators
actual
birthday
date.
Handling
Remove
the
odd
Heart
cards,
and
even
Clubs,
and
stack
them
like
this
from
the
top
of
the
deck.
AH, 2C, 3H, 4C, 5H, 6C, 7H, 8C, 9H, 10C, JH, QC, KH, Rest of deck.
You will also need a scrap of paper (or a business card you can write on) and a pen.
Performance
‘Did
you
realise
that
the
term
‘birthday
card’
comes
from
a
deck
of
cards?
A
deck
of
cards
has
many
ties
to
a
calendar
–
there
are
four
suits,
one
for
each
season,
and
52
cards,
one
for
each
week
of
the
year.
If
you
add
up
all
the
values
of
the
cards
as
well,
they
add
up
to
365,
the
number
of
days
in
a
year.
I’m
full
of
exciting
factual
information!’
Start
off
with
any
false
shuffles
and
or
cuts
you
know,
and
then
hand
the
deck
to
the
spectator
that
you
want
to
perform
for.
‘So
let
me
show
you
how
you
work
out
your
Birthday
card.
Take
the
pack,
I
will
turn
away.
First
of
all,
you
think
of
the
month
you
were
born
in,
and
take
that
number
of
cards
off
of
the
deck.
So
for
January,
take
1
card,
for
February
take
2,
etc.’
Make
sure
the
spectator
understands
your
instructions.
I
often
demonstrate
first,
being
sure
to
spread
cards
off
(note
that
you
don’t
want
the
spectator
dealing
the
cards,
which
would
reverse
the
order.
Laypeople
would
rarely
count
cards
that
way
anyway,
but
if
you
are
showing
this
to
a
magician,
just
be
aware.
You
can
always
say
‘spread
the
cards
and
count
them
silently,
rather
than
dealing
them,
as
I
don’t
want
you
to
think
I
can
just
hear…’
So,
following
along
with
the
example,
let’s
say
the
spectator’s
birthday
is
June.
They
spread
over
6
cards
and
then
drop
them
to
the
table.
Now
do
the
same
again
but
with
the
actual
numerical
date,
and
drop
that
packet
onto
the
tabled
cards,
making
one
bigger
pile’
So
your
spectator
does
the
same
thing
again,
this
time
with
the
date,
and
then
drops
the
new
packet
on
top
of
the
old
one.
Let’s
follow
the
example
again
and
take
seven
cards,
dropping
them
onto
the
tabled
packet.
Turn
back
towards
your
spectator,
and
take
the
cards
from
their
hand,
immediately
dropping
them
into
a
pocket,
or
somewhere
else
out
of
the
way.
Then
pick
up
the
tabled
packet
and
hand
it
to
them,
taking
the
opportunity
to
peek
at
and
remember
the
card
on
the
face
of
the
packet.
In
this
case,
it
would
be
the
Six
of
Clubs.
This
now
gives
you
all
the
information
that
you
need
to
work
out
the
spectator’s
card
and
birthday
month,
which
will
also
give
you
the
date
shortly.
Bring
out
the
business
card
or
paper,
and
write
a
prediction
message
with
the
Birthday
card.
It
is
going
to
be
the
same
value
as
the
card
you
glimpsed,
so
in
this
case
a
Six,
and
it
will
be
the
opposite
suit
to
what
you
peeked.
As
you
saw
a
Club
this
time,
it
means
the
Birthday
Card
will
be
the
Six
of
Hearts.
Write
this
down
and
table
it.
Now,
the
value
of
the
glimpsed
card
also
gives
you
the
month
of
the
spectator’s
birthday,
so
you
know
the
sixth
month
is
June.
If
you
had
peeked
a
10,
then
you’d
know
it
was
October…
etc.
‘Now,
here’s
how
it
works
–
you
deal
the
cards
into
two
packets
onto
the
table.
One
of
the
packets
represents
the
value
of
your
birthday
card,
and
the
other
one
represents
the
suit.
I
will
show
you
what
I
mean.’
This
is
going
to
be
difficult
to
articulate,
but
is
very
simple
in
practice.
Have
your
spectator
deal
two
packets
of
cards,
back
and
forth
as
if
dealing
in
a
card
game.
Keep
count
as
they
go,
and
when
they
reach
the
numerical
value
of
their
month,
start
your
count
again.
When
they
finish
dealing,
whatever
number
you
counted
will
be
the
spectator’s
birthdate.
So,
in
our
example,
we
know
the
birthday
month
is
June,
and
that
June
is
the
sixth
month.
So,
as
the
spectator
deals,
we
keep
count.
When
we
get
to
Six,
we
disregard
those
and
start
counting
again,
so
the
7th
card
you
count
as
1.
Continue
until
they
run
out
of
cards.
In
our
example,
you
will
count
7
cards,
telling
you
that
the
spectator’s
birthday
is
the
7th
of
June.
Finally,
pay
attention
to
where
the
last
card
falls,
either
to
the
left
packet
or
the
right
packet.
Let’s
assume
it
finishes
on
your
left.
State
that
the
top
card
of
the
left
hand
packet
will
reveal
the
value
of
the
birthday
card,
and
the
top
card
of
the
right
hand
packet
will
show
the
suit
of
the
birthday
card.
Note
that
the
value
packet
is
always
the
one
that
the
spectator
finished
the
deal
on,
and
being
able
to
say
this
in
advance
makes
the
trick
feel
much
cleaner.
Now
have
both
cards
turned
over,
and
deduce
that
the
spectator’s
birthday
card
must
be
the
Six
of
Hearts.
When
they
agree,
introduce
the
business
card
or
prediction,
and
show
that
it
matches!
This
will
generate
a
decent
reaction
–
although
the
effect
is
procedure
heavy,
it
is
justified
on
some
level
by
the
Birthday
presentation.
Then,
conclude
by
revealing
the
spectators
birthday
verbally,
or
in
some
other
fashion
that
suits
you
for
the
kicker
finish!
Diamond
Cutter
Alex
Elmsley’s
Diamond
Cut
Diamond
is
a
classic
card
plot
that
sees
relatively
little
variation
compared
to
some
of
the
others.
Here
is
my
version,
which
sort
of
combines
a
‘Sympathetic
Cards’
plot
with
the
transposition
of
the
original
trick.
Effect
You
remove
a
full
suit
of
cards,
for
example
the
Hearts,
and
arrange
them
in
numerical
order.
You
give
the
spectator
the
chance
to
make
the
trick
as
easy
or
hard
as
they
like
for
you,
as
you
either
deal
or
‘switch’
cards,
mixing
them
up
as
the
spectator
requests.
Once
they
have
been
mixed,
you
have
one
of
the
Heart
cards
chosen
(for
example,
the
Seven
of
Hearts),
and
the
mixed
up
packet
is
tabled.
Spreading
through
the
remainder
of
the
pack,
you
find
a
Joker,
which
you
state
will
help
you
discover
the
identity
of
the
chosen
card.
Touching
the
Joker
to
the
tabled
Hearts,
you
immediately
spread
them
to
reveal
that
somehow
the
Joker
has
re-‐arranged
them
back
into
numerical
order,
and
reversed
one
of
them
in
position
that
is
the
selection!
Or
at
least,
it
appears
to
be.
However,
when
the
spectator
removes
the
reversed
card
and
turns
it
face
up,
it
is
the
JOKER!
Now,
the
card
you
are
holding
turns
out
to
have
changed
into
the
Seven
of
Hearts,
completing
the
transposition.
Handling
Start
off
with
a
deck
that
has
two
identical
Jokers,
and
secretly
cut
or
cull
one
of
them
to
the
back
of
the
pack
as
you
remove
all
of
the
Heart
cards,
and
arrange
them
into
numerical
order.
Table
the
remainder
of
the
pack
face
up,
and
then
hold
the
Heart
cards
face
down
in
the
left
hand
dealing
grip.
Demonstrate
that
you
will
either
‘deal’
or
‘switch’
cards
on
the
spectators
request,
by
first
dealing
a
card
or
two
face
up
onto
the
table
to
demonstrate
a
deal,
and
then
demonstrate
a
‘switch’
by
spreading
off
the
top
card
into
the
right
hand,
and
then
taking
the
next
card
on
top
of
it,
and
turning
them
face
up
as
a
pair
onto
the
tabled
packet.
You
can
demonstrate
as
many
examples
of
this
as
you
like
to
show
that
the
cards
get
a
little
mixed
up,
and
say
that
the
more
the
spectator
switches,
the
harder
the
trick
becomes,
so
they
can
choose
how
impressive
the
trick
is!
Pick
the
Heart
cards
face
up
again,
and
arrange
them
back
into
numerical
order,
and
this
time
say
that
you
will
also
keep
the
cards
face
down
to
make
it
difficult
for
you
to
keep
track.
Now,
either
‘Deal’
or
‘switch’
as
the
spectator
wishes
all
the
way
through
the
packet,
dealing
the
cards
face
down
onto
the
face
up
deck.
Because
of
the
Mix
Swindle,
all
of
the
Heart
cards
will
simply
be
in
reverse
order,
but
still
run
from
Ace
to
King.
This
is
a
very
deceptive
ploy!
The Selection
Pick
up
the
entire
deck,
square
it
into
left
hand
dealing
grip,
and
take
the
opportunity
to
secure
a
little
finger
break
above
the
bottom
card
of
the
pack,
with
either
a
buckle
or
pull-‐
down.
Take
the
pack
from
above
in
right
hand
Biddle
Grip,
with
the
right
thumb
taking
over
the
break.
You
now
drag
cards
from
the
right
hand
packet
into
the
left
hand,
one
at
a
time,
using
the
left
thumb,
and
ask
a
spectator
to
call
stop
as
you
do
so
to
select
one
of
the
hearts.
When
they
stop
you,
gesture
with
the
right
hand
to
clarify
that
they
stopped
on
the
right
hand
card,
and
then
apparently
take
it
onto
the
left
hand
packet.
In
reality,
several
things
happen.
Firstly,
as
your
hands
come
together,
your
right
thumb
releases
the
card
below
its
break
onto
the
left
hand
packet.
Secondly,
the
left
thumb
drags
the
top
card
of
the
right
hand
packet
onto
the
left
hand
packet,
which
covers
the
loaded
face
up
Joker.
Turn
the
left
hand
palm
down,
and
turn
your
head
away
as
your
left
thumb
pushes
the
selection
across
to
reveal
it,
so
that
the
card
can
be
remembered.
(The
left
hand
is
turned
palm
down
first,
so
that
you
don’t
expose
the
face
up
Joker
when
pushing
over
the
chosen
card)
As
you
pull
the
selection
flush
again
with
the
left
hand
packet,
get
a
little
finger
break
between
the
selection
and
the
rest
of
the
packet,
and
then
turn
the
left
hand
palm
up
again.
As
you
continue
to
count
the
Heart
cards
across
from
the
right
hand
packet,
Biddle
Steal
the
selection
underneath
the
deck
on
the
first
card
counted.
When
all
of
the
Heart
cards
are
in
your
left
hand,
table
the
packet
face
up.
Recap
the
situation
so
far
–
from
the
spectators
viewpoint,
you
have
removed
the
Hearts,
had
them
choose
how
much
to
mix
them
up,
and
then
they
have
selected
one.
In
reality,
the
Heart
cards
are
all
in
numerical
order,
with
a
face-‐down
Joker
secretly
loaded
in
where
the
selection
should
be.
The
actual
selection
is
face
down
at
the
rear
of
the
face
up
deck.
Now,
comment
that
you
need
a
card
which
will
act
as
a
magic
wand
(or
whatever
presentation
you
like)
and
spread
through,
up-‐jogging
the
Joker
as
you
come
to
it.
Remove
it
from
the
spread,
turn
it
face
down,
and
slip
it
under
the
pack,
and
then
flip
the
whole
pack
face
up,
again
bringing
the
Joker
into
view.
Do
a
double
turnover,
apparently
flipping
the
Joker
face
down,
and
lift
off
the
top
card,
using
it
as
a
magic
wand
to
just
touch
the
packet
of
Hearts,
before
leaving
it
off
to
one
side.
Casually
pocket
or
table
the
remainder
of
the
deck
to
clear
it
out
of
the
way
of
the
climax.
Explain
that
the
magic
wand
card
put
all
the
Hearts
back
in
order,
and
also
helped
you
identify
the
selection.
Spread
the
packet
face
up
as
wide
as
you
can,
to
reveal
all
the
Hearts
in
order,
with
a
reversed
card
where
the
selection
should
be.
Call
all
attention
to
it
as
you
are
apparently
wrapping
the
trick
up,
and
remove
the
face
down
card
from
the
spread,
flipping
it
over
to
reveal
it
has
changed
into
the
Joker!
Then,
call
attention
back
to
the
apparent
tabled
Joker
from
before,
and
slowly
flip
it
face
up
to
reveal
the
selection,
to
complete
the
transposition
and
the
routine.
Credits
‘A Swindle of Sorts’ is by Paul Curry, can be found on page 245 of ‘Worlds Beyond’.
Alex
Elmsley’s
‘Diamond
Cut
Diamond’
is
published
in
The
Complete
Works
of
Alex
Elmsley
Volume
2
on
page
186.
Staple
Diet
This
is
a
personal
variation
of
a
John
Scarne
classic.
A
breather
crimp
tightens
up
the
handling
and
also
adds
a
crafty
subtlety
to
the
classic
Cross
Cut
Force,
and
the
introduction
of
an
extra
phase
makes
the
finish
totally
unexpected.
Effect
A deck of cards is shown, and a spectator shuffles and cuts the pack.
You introduce two Jokers that have been stapled back to back, and have them examined.
The
card
the
spectator
cut
to
is
shown
around,
and
then
they
shuffle
the
card
back
into
the
deck,
which
is
cut,
and
then
dropped
into
your
jacket
pocket
so
that
you
can’t
see
or
feel
for
any
clues.
You then show the stapled Jokers and push them into the centre of the pack in your pocket.
The
deck
is
removed
and
spread
to
show
the
Jokers
in
the
centre,
and
you
remove
them
and
the
card
below
them.
You
have
successfully
stabbed
the
Jokers
next
to
the
chosen
card!
Taking
the
effect
one
step
further,
the
Stapled
Jokers
are
placed
on
top
of
the
selection
and
the
packet
flexed
to
produce
a
loud
‘click’.
Suddenly,
the
selected
card
has
turned
into
a
Joker,
complete
with
staple
holes!
Turning
the
Stapled
Jokers
over
reveals
that
the
selection
is
now
firmly
and
completely
stapled
in
place,
and
everything
can
be
examined.
Set Up
Start
off
by
grabbing
a
deck
of
cards
complete
with
Jokers.
Staple
the
Jokers
back
to
back,
and
place
them
in
your
right
hand
pocket.
Then
grab
an
indifferent
card
(say
the
Three
of
Spades)
and
Breather
Crimp
it
so
that
it
cuts
to
the
top.
Mark
the
back
of
it
however
you
like,
just
so
that
you
can
check
you
haven’t
missed
the
crimp
when
you
cut.
Next
up,
grab
a
duplicate
card
of
the
Three
of
Spades,
and
two
extra
Jokers.
Staple
the
duplicate
Three
back
to
back
with
one
of
the
Jokers.
Finally,
put
a
staple
in
the
middle
of
the
remaining
Joker,
and
then
remove
it,
leaving
staple
holes.
This
makes
for
a
lovely
moment
at
the
end
of
the
trick.
Put
the
Joker/Three
of
Spades
and
the
holey
Joker
together,
so
a
Joker
shows
on
each
side,
and
place
them
into
your
pocket
with
the
stapled
Joker
closest
to
your
body.
Handling
Start off by having the deck shuffled, and then take it back and table it.
Comment
that
you
want
the
spectator
to
cut
the
deck,
and
place
the
lower
half
on
top
at
an
angle.
Helpfully
demonstrate
this
by
cutting
the
pack
at
the
Breather
Crimp,
and
picking
up
the
lower
portion
and
putting
it
on
at
an
angle.
Then
square
the
pack.
These
actions
have
bought
the
Three
of
Spades
to
the
top
of
the
deck,
and
now
you
can
sit
back
and
watch
as
the
spectator
uses
the
Cross
Cut
Force
to
force
the
card
on
themselves.
Bring
out
the
stapled
Jokers
to
act
as
time
misdirection,
and
have
them
examined,
before
taking
them
back
and
leaving
them
in
view.
Lift
off
the
upper
section
of
the
pack
and
lift
off
the
top
card
of
the
lower
packet
(which
will
be
your
force
card,
the
Three
of
Spades)
and
show
it
around,
before
replacing
it
back
into
the
deck
and
having
the
spectator
shuffle
the
card
back
into
the
pack.
Take
the
deck
back,
and
casually
cut
the
pack
at
the
Breather
Crimp
bringing
the
selection
back
to
the
top
of
the
deck.
Comment
that
you
are
going
to
try
to
stab
the
Jokers
next
to
the
chosen
card,
but
that
people
might
think
you
are
somehow
tracking
the
selection
through
the
shuffles.
So
instead,
you
are
going
to
put
the
deck
in
your
pocket
so
that
you
can’t
see
or
feel
the
pack.
Hold
the
deck
in
your
left
hand,
face
down,
and
put
the
pack
into
your
pocket,
but
so
that
the
cards
already
in
there
are
centralised
in
the
pack.
Take
the
tabled
and
stapled
Jokers,
show
them
both
sides
casually,
and
say
that
you
will
stab
them
into
the
deck
in
your
pocket.
In
reality,
place
them
on
top
of
the
deck,
and
then
bring
the
pack
out,
thumbing
the
top
two
cards
back
into
your
pocket.
Spread
the
pack
between
your
hands,
and
remove
the
stapled
Jokers
and
the
card
below
them.
The
rest
of
the
deck
can
be
spread
face
up
across
the
table
to
reveal
that
there
are
no
Three
of
Spades.
MONTE MOVE
Here’s
where
we
depart
from
the
original
structure
of
the
trick
and
show
that
you
have
actually
done
as
you
claimed.
Holding
the
pair
of
cards
in
the
right
hand,
thumb
on
top,
fingers
beneath
with
the
stapled
Jokers
off
to
the
right.
Turn
the
right
hand
palm
down
to
show
the
underside
of
the
pair,
and
as
you
do
so,
under
cover
of
the
larger
action,
your
right
thumb
pushes
left,
and
your
fingers
pull
right
ever
so
slightly,
secretly
exchanging
the
positions
of
the
cards.
The
illusion
is
perfect,
providing
you
keep
the
staple
covered
on
the
face
of
the
Three
of
Spades
as
it
comes
into
view.
Reverse the move as you turn your right hand palm up again, and then square the packet.
THE KICKER!
You are now ready to bust out a KILLER transposition to end.
With
the
packet
square,
hold
it
by
your
thumb
and
fingertips
on
both
sides,
and
flex
the
packet,
making
as
loud
a
‘snap’
sound
as
you
can
manage.
This
is
the
same
action
as
the
‘burp’
gag
in
the
Cannibal
Kings
routine,
but
taken
to
the
extreme,
and
makes
a
passable
kind
of
‘staple’
noise.
This
moment
really
makes
the
trick,
and
it
was
Ryan
Schlutz
that
suggested
it,
so
thanks
rocker!
After
the
snap,
slowly
remove
the
face
down
card
and
flip
it
face
up
to
show
that
it
is
now,
somehow,
a
Joker.
Let
a
spectator
examine
it
to
discover
the
little
staple
holes,
and
then
direct
attention
to
the
stapled
pair,
and
flip
them
face
up
to
conclude.
Credits
‘The
Stapled
Card’
by
Joseph
Prieto
and
John
Scarne,
appears
in
Scarne
on
Card
Tricks,
page
110.