David Regal Approaching Magic

roac •

a IC DAVID REGAL

,

Photographs

by

Leslie Davis Regal

Layout Design

by

Jonathan Levit

Contents Foreword Introduction

1

5

A DECK OF CARDS Flight Attendants The 5280 Opener

Context Off Beat Aces Stand-Up Showdown Going and Gone Never There Aces The Automatic Computerized Deck with Spell-Check

11 16 20 22

26 35 42

48

Goodwill

53

Getting to Know You Hidden Powers Right & Wrong King Back

55 60 63

CONDITIONS & IMPACT

77

Copyright e 2008 by David Regal

COCOA

83

Cover design by Steve Mitchell

LUCK

97

All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Blue Bikes Productions, Inc. Manufacturing rights for all effects in this book are reserved by David Regal Printed in the United States of America. First Edition

654321

A HOOKUP Not Quite Dead The Haunted Pack

68

111 116

124

REMUNERATION

Visual Magic Consolidation An Attractive Vanish A Quiet Good-Bye Brass-Ackwards Restored Credit The Money Cup Strolling Abroad Laptop Printer Paper Money

129 131

136 142 147

154 159 165 173

176

MORE THAN A DECK OF CARDS

l/lLlsioll vs. Reality Scratched Ad Space

Character The Curiously Strong Nest of Boxes A Card at a Number The Fifty-Fifty Deck Doubly Stuck Satan's Sandwich Sanitized for Your Deception

A CONVERSATION WITH ARMANDO LUCERO

SELF-WORKING MAGIC 185 188 193 197 200 203 203 207 209 213

Hotel 52 Simpatico 312 312.5 The Impossible Envelope Porn in Your Pants Special Bulletin The Harlequin Book Test

233 238 243 246 254 259 261 265 271 279 288 294 299 306

FINDING MOMENTS

315

Window Replacement Thinking Ahead Medicinal Value Will the Socks Match? Equiv-O-Cash

Olle Thing Happens

PACKET MAGIC

Packet Tricks Royal Jazz Quartet Jewel Thief The No-Extra-Card Version The Eye Exam A Progressive Swindle Oil Slick . Not My Last Trick

Raising Kane

LIQUID REFRESHMENT Amstel Heavy A Drinking Problem The World's Greatest Invention

323 324 329 334 339 344 349 356 362

377 381 387

OUR SECRET

Storytelling and Magic Change For a Five Exhibit A See-Through Monte

399 400 405 409

SCRIPTING

419

The Puppy Trick

432

221

MENTALISM

369

THREE-PIECE BAND

Fear The Power of Love A Distant Ring In Darkness

Method and Effect

445 447 453 461 467

SLEIGHTS WITH CARDS A Control A One-Hand Half Pass The One-Hand Turnover Half Pass The Toss Pass A Double Change An Isolated Change A Double Isolated Change An Oil & Water The Follow the Leader Switch The Galileo Switch The No-Switch Switch A Fan of Herrmann's Doing Nothing Ninety Degrees in the Shade Pulling a One-Eighty In Conclusion

471 473 473 476 477 480

481 482 488

490 493 496 498 498

501 503

foreword David Regal had a nice collection of columns in Genii Magazine wherein he and o th ers would share their favorltL' magic effects which were hidden in print. David has con tributed a nice colil'ctlon of these kinds of hidden treasures himself. Regn l's first book Slnr Qllnltly hnd no introduction, but it offered two forewords,

for Leslie, jake and Salltnl/titn, who were there when the cards fell al/d tile beer spilled.

one by th e lege nd ary I larry I.orayne, the other by David Regal. What are the actual ljunlities of a s tnr? It IS a body made up of hot, burning gas, and the brightness \'1'>Ible today IS i:lctui:llly the ghost of a faLling li g ht which hi:lS taken (i:lr too long to trav'el close enough to Ei:lr th for human s to see By the time the glimmer reaches us, the origina l source of th e light IS long gone Star QUi:llity, indeed In thiS 1987 book you will find "A n) Card - Any umber" on page 37; presaging the current fi xa tion by two decndes, hiS four piece, Signed card restoration " Piece by Piece" on page 151 which predated the developments of Guy Hollingsworth and " Dave's Move -A Card" on pi:lge 170, an un -ga ffed , sti:lck free, non -memory wrs ion of Moe's mlfilcle that came long after the original but remi:lIl1S \\ay ahead of Its lime The year 1990 brought the Stephen 1\1l11ch collection Sper/nell', It too had no intro ductlon On page 27 is Di:lvid's effect "Ba by Pace" it is essentii:lll\' Dan Harli:ln'!, Cn rdTonn utilIZIng photogmphs, Regal Just happenl'd to CrL'i:lte It betllfl~ CardToon wns born Ill9l) was the year

01

[)nvld's next book, Clo~c-LIp t,.".(

PCNlIItll.

It hnd n preface b •

"-en "-renzel nnd an Introduction b~ ~tax tvtn\'l~n. It oifl'rs sevwal grl'at tricb that hnvc not vl.'l bL'en dlswvwed and rev'i:lmpl'd by othl'r modern magic greats: "Ten Second Poker," "TherL' & Back," "Got A Light? " and "Gambit in a Box. N

Get mov IIlg, guys. Then, in 2002, Regnl rL'ic.1sl'd Cmlslmll Fooling. Two volumes, a pre -preface by Stephen Minch, ,]Ilother prl'lace by R. Pnul Wilson nnd Regal wrote his own introduction . If nny of these writers had read what others wrote in David's earlier books tvtinch might not haw lound it neCl'ssary to rehash David's improv work with

1

FOREWORD

Chicago City Limits, his "discovery" by Harry Lorayne, or his work as a p~ofessio~~ al television writer Wilson would have probably name-dropped Jen nings name matter what. If "Cups & Balls & Cups & Balls" was the only effect in these books, it would have been more than enough for me. David wJII someday regret he shared thiS with the Fraternity if he does not already. Those who don't learn, contJllue to

4) David Regal

teach.

7) David Regal seems to be a good father.

And so we come to 2008 and this, most recent collection of David's magical thlllking-Approachillg Magic. It offers way too many card tricks (some very good ones) several thought-provoking essays and some flat-out great magic. Look at the transformational bill change "Paper Money" which turns your fingers JIlto a fl esh and bone Adam's Money Maker Check out his new takes on Move-A-Ca rd and ACAAN-"Scratched" and "A Card at a Number." "Will the Socks Match?" is pleaslllg for personal reasons, and "Hotel 52" will be skipped over by all those who do not see David perform it-their loss.

So that 15 what I think of the material-you spent your money well. You bought a good book. Good for you, well done. What do I think of the writer? Harder to say. Because ... I have never seen him perform for a lay audience. I have never seen him do a full show. I have never seen him lecture or work at a convention or at the Magic Castle. In all, David and I have spent a total of fewer than twenty-four hours together spr~ad ~ut across many years. But in this brief amount of time here are the feel ' ' which linger: JIlgs 1) David Regal appears to be a nice guy.

2) David Regal LOVES magic.

DavId Regal is a good storyteller.

a talented performer.

5) David Regal LOVES magic. 6) David Regal is an intelligent and clever creator of magic effects and methods.

8) And David Regal LOVES magic. If you want to know more about the material or the guy who created it, you're gomg to have to break down and actually read the book for yourself.

Michael Weber 2008

But for me, the star of this book is "The Impossible Envelope." I've sa id too much already

IS

INTRODUCTION

introduction If, when J was twelve years old and excitedly performing magic tricks, you told me that I'd be doing the same thing as a middle-aged man I'd have stared at you in disbelIef. Magic was my enthusiasm, my love, and I naturally assumed it was the sort of lrivial thing one was expected to stop doing once one "grew up." As it turns out I never grew up and magic is something I cou ldn't stop doing. I had It all backwards. The episodes of television that I've had something to do with are transitory, and my love, magic, is my rock. Twenty years from now It IS unlikely that many will be watching TV shows dating from the turn of the millenn ium, but there's a chance that a twelve yea r old boy will open up a magic book of mine and excitedly perform a trick found within.

The first collection of my magic, written by Harry Lorayne, was published over twenty yea rs ago. That seems unlikely, and ternfYIng, but I am resigned to It. In the six years since my last book of magic effects was released much has occurred. Video instruction, by and large, has become the way one passes along magic methods. This quick, inexpensive form of distribution has released an enormous amount of material to the marketplace. Why, then, write a book? As it turns out, while video instruction is a good way to learn many things, there are some things better communicated in other ways. There IS more to magic than the technical underpinnings used to bring about an effect or the details of a move. The secret is not The Secret. We all approach magic with our unique strengths and obJectives, and this book's aim is to put forward a process that will allow you to inject more of yourself into your magic, making both you and your presentations more memorable to audiences and increasing your own pleasure of performing. This is a book of tricks, yes, but it IS also a pathway that can guide you to performing magic not more like me, but more like you, with the attendant rewards and satisfactions that come with personal expression . Magic is misunderstood . Although seldom awarded this stature, it is one of our performing arts and, like the word "music," is an umbrella that covers an infinitely wide spectrum of potential approaches, moods, comment and tone. Magic has given me some of the most creatively satisfying experiences of my life, and whatever successes I've had arc due to approaching it in the manner described in the pieces

APPROACH NG MAG r

shpped In between the effects. As for the effects themselves, the} are the result of an itch 1 can't stop scratching. 1, like man} others, have "the bug" whIch leads me to occasionally hammer In the early morning hours and destroy useful household utensils. I cannot explain the compulsIon. [feel at this late date It'S best to succumb and continue As Infants, before we can talk we are tossed on our backs and tIckled That sensation of glee IS pure, unfiltered, and taken away from us at an carl} age. It is qualified as soon as we begin to apply logic and reason to those things we wish to enjoy. Magic does away wIth logic, skews or punctures it. I think that IS why, when done well, it can reach people in a special way. It can toss an entire audience onto its back and tickle them, bypaSSing a II reasoning. None of us can perform real magic. All we can do is approach magic, and commUnIcate a sensatIon of It to our audiences. On those days when we come close, I beheve that we perform a unique and benefiCIal service. David Regal March,2008

Approaching Magic

ADEC OF CAPOS

FLIGHT ATTE EFFECT: The transportation of a card or cards, depending on one 's pomt of \ ew

With this effect I\'e push the mock duplicate concept to Its hmlb, te"ting It:' boundaries. Due to the nature of the method, I magnify one element of the ettect while minimizing another. By doing this it is possible that some people in the audience Will perceh'e a slightly different effect than others. EEDED: A deck of cards. A marker. THE SETUP: At the face of the deck IS an mdifferent card, followed b\' two Queens •

of opposite colors, reversed . It's easy to get into this pOSition from a shuffled deck. Spread the cards, cutting any Queen secretly to the face. Openly upjog two Queens of different colors. and in the process secretly slip the remaining Queen to the face. Toss the upjogged Queens to the table. Tum the deck face down Reverse the two Queens at the face (half pass. Christ Twist, etc.) while pattering, then overhand shuft1e one card to the bottom To describe this trick, we'll assume the deck has been pre-set, and two Queens of diffe rent colors are tabled face up, in a loose pile. STEP 1) Point to the tabled Queens.

Those are more than just Queens, they are flight attendants. Don't call them stewardesses-it's not politIcally correct. I made that mistake ollce and the woman handed me my nuts in a bag. Let me show you ({lhy Queens are called "the flight attendallts of the deck." For this wc'llllced a passenger. Pick one. Spread the cards face down for a selection. Do not spread so far as to expose the reversed Queens.

You can show it to me-I promise I won't try to find it. We're way past those cheap theatrics. Square the cards into the left hand. As you make the above remark. drop the deck to your side and reverse the top card by levering it against your left leg. Several effects

- - - - --- ---

In

( r

ADEC~ OF CARDS

want the spectator to aimlessly fiddle with the cards in his hands, possibly exposIng the switch. By giving the spectator a task, he wIll be paying attention to what is reqUIred of him instead of being left to his own deVIces.! '0 worries-this is audi-

thIs btJok gIVe tl~tlm{Jny tn thl' fact that /love thIS old chestnut

IJ( a mlJV

ence management, and it works.

()kIlY IIII' CjI'VI'tl of f}tamond , lor whah·VI'rl· '[ hI' Srven of [Jia mil/it;:} WIll iI(' our pa,.,rnXl'r loday. Hul every plalJe has row! of '('111 ,lind 1'1Jl'ry H'ol IIssig1WlI'nl ha) a tl/Jmiler and a le/ler. Is otlr r)(f'i ,1'nKI'r hI 61'111 J I-IF 32 /)? YUII 11'11 ml' " Sf f.f' 2) I he nght hond r 'al ht:~ (Of th'

Take the flight attendant on top and turn her over, so she can nap. Indicate this by picking up the top card of the deck (the selection) for a moment, then replacing it.

~clt!ctl{Jn, As you speak,

tllt'leit haml rt~CS with the dl'(k, tilting It so the audIence can not., the rever I'd top card IHg. 1), '/ he right hand places th,I' 61,II'cllon (aci' up onto the dl'(k J" the dl'ck is tilted to the audl t i l l ' ·I, ml·d PfoPl'r1y, thl" is iJ very bold and dl'crptlve proce

Now slide out the flIght attendant on the bottom, and turn her face down, too. Slide out the bottom card of the deck, by way of demonstration, and reinsert it into the center of the deck. This leaves two reversed Queens at the bottom of the deck.

duff' (I igs. 2 tl :3). (Jkll1/, 11'1', ~lVe lillIl ~('{/I 11IImiJI'r loollr pUN'l1!<er l

I Ill' right II,md I'rodw I'S a mMh'f I hi' movcml'nts ~hlJuld be or dll'\ tr"tl'd ~(I t!l.Jl tht' hand goes (or tht' mJfkl'f the mom!'nt afler til ~r. "·dion hiJ~ bl'lm pl.'(f'd onto thl' dl'ck, IJst!'nsibly to (ree III' till' hand Writ,· the ~I 'il t numbl:r on thl' self 'clion (Fig. 4). If dl'~lf('d, you r.m h~Vl'.1 ~ rl! ·ttiJ tof initial thl' ca fd, as a "ticket conhrmation," but In thi s c,,~r.1 dlln't fl)t:i it is nl'(('~sary.

Figure 2

Figule 5

And we all know that every tllne you try to sleep all a plane there's turbulence, so give the cards a nllX. The left first finger applies pressure to the outer right comer of the bottommost Queen, so that it breaks at the inner right comer (Fig. 6) Slip the left little finger into the break. You wIll now demonstrate a "mix" of the cards without looking at the deck:

STEP 3) You ar(' w.IY alH'i1d of tIll' "utiil'nn', as undl'f th!' (are up s 'I('clion is a (i1ll' up IIltiiffl'r!'nt lard,

Let's go on a trip, Pleas!' pllk lip Imr flixhl attl'ndants, lIave the Mpectator hold the Queens face up. Per(orm a doublp turnover. I apply downward pressure on the sc\ecl1on at the outer left corner with my left thumb, causing thl' doubk' card to rise at the Inner right corner (Fig. 5). making the turnover sure and Iwlft.lmmedlately deal the top card (an indifferent card) into the right hand. The right hand inserts Its face down card between the Mfllght attendants" In the spectator's hand,

STEP 4) The spectator is now holding three face-down cards. You will use a little time misdirection so that the precise Identities of the Queens are forgot ten, were they ever known.

Figule 3

Figule 6

Figu/e 4

Figure 7

ThiI will bt a "red tyt"... It'. impottut to armt the attention of the spectator the moment the indiffIrent card hu been added to his Queens. You don't

The left thumb is placed on the top card of the deck (the selectIOn) as the right hand pulls all but the top and bottom cards to the right. The selection will fall onto what was the bottommost Queen The right hand slaps its cards onto the two cards in the left hand, jogged slightly to the right. Because the Queen is reversed, you will want to provide cover for this cut with the right hand, holding the deck deeper than is normal (Fig. 7). Of course, you need not procure the left little-finger break if you choose to simply "milk" the top and bottom cards with the left thumb and fingers while performing the cut.

APPROACH~G MAGIC

ADECK OF CARD-.:... S_ _ _ __

the cards In the left hand . See to It that the spectator's packet is left protruuing from the left hand's cards (Fig. 12). The right hand rises and slaps Its cards onto the cards In the left hand . Immediately sq ua re the cards and riffle the deck as a magica l gesture. I~elllelllber

Figure 12 flgule 8

how we wrote the seat number right on the passenger? There was a reason for that ... so you'd recogI1Ize hilll when he came back fro 111 his vacation ! STEP 6) For the first time, look over at the packet you secretly deposited on the right side of the table. Extend a finger of the e mpty rIght hand a nd use it to sp read the Queens, revealing the selected marked card to end (Fig. 13).

figure 11

figure 10

While squaring the deck, the left little finger sldejogs the bottom ca rd of the right hand's portion, the remaining Queen (Fig. 8). The left little finger contacts the sidejogged Queen and pulls down (Fig. 9), securing a break above it as the card is squared with the deck. During the above, your attention should be on the cards in the spectator's hands. STEP SI The right hand takes the deck from above, the right thumb taking over the break. Kick over half the deck with the right first finger (Fig. 10). The left hand takes the kicked-over cards and opens a large gap in the half deck with the thumb (Fig. 11).

Okay, place them all into the airport. Let's go on our trip. Extend the left hand toward the spectator. As you focus on the spectator's insertion of the packet, turning the body slightly to the left, allow the right hand to fall to the table top and secretly deposit all the cards below the break (the selection surlOUIIded by two diffolelll flight attendants). You will feel guilty doing this at first. CaDlltr* on iJd.eiltly watching the spectator's actions. Never take your eyes off

Figure 13

The clearly defined effect is th e transportation of the "passenger." The implied effect IS the transportation of the Queens as well. I do not stress their importance to the effect, as the method requires that they receive little heat. As I saId earlier, the effect might be different for different people in the audience. The script, however, a llows viewers to perceive the effect in their own way. Max Maven pointed out th at the discrepancy could be eliminated by simply havIng the selec tion slart off between two red Queens and appear between two black Queens, an open change of the sa ndWich ca rd s. Alternatively, one could start off with the card sa ndWi ched between red and black Queens, and end with it sandwiched between red and black Kings, concluding on a theme of "political correctness." Finally, although I describe secretly depOSiting the sandwich on the table, the sandWich can be deposited wherever opportunity dictates. That concept was the starting pOint for thiS effect. The further away the "selection sandwich" can be discovered from the selection's alleged position, the better. In impromptu situations I've been known to place the sandwich onto a bookshelf and walk several steps away before causing the out jogged selection to vanish.

APPROAlH'NG MAG (

ADECK OF CARDS

Down Undel Double, a move that has been exrlored rn a ll my books .

THE 5280 OPENER

hd~

many application s and

The left hand II ~es as the Ace IS dlsrlayed (I-rg naudiencl' view). Th IS positron is Importa nt, as It set ~ up for a later rereal which wi ll covel a move.

I ca ll thi s si mple effect the 5280 Opener because the magician is a .ml~e ahead of the

audience. It utilizes one of my favorite principles of magiC: Plot Misdirection .

Thill's Ace 1//I/llbrr Oll l! ••

EFFECT: The Aces are produced from the deck, then turn into the four Kings.

Figule 4 NEEDED: A deck of ca rds. THE SET-UP: Two red Aces are at the bottom of the deck. At the

top of the deck is the Ace of Spades, followed by the face-up Ace of Clubs and the four face-up Kings (five cards are face up under the facedown Ace of Spades) STEP 1) False shuffle and cut, if desired . Spread the deck be-

tween the hands, first pushing over a group to hide the reversed cards (Fig. 1) Figure 1

STEP 3) The left hand lowers as the little finger pulls down on a ll the cards below the break. The right hand slides the outer left corner of Its cards Into the break and the right first finger clamps down on the double card (Pig. 7) . Move the rrght hand forward, carry ing the double card, untrl the Inner Jeft corner of th e double res ts on the outer rrght corner of the left hand's cards (Pig. 8). The left second fi ngertlr conlacts the underside of the double and hold s the bottom card in rlace as the two hands make a snapping acllon, vIsibly "splitting" the single red Ace into two red Aces (Fig. 9)

Figure 5

Thill's two ...

When I was a c1l1ld of SIX I learned I had Ihe ability to find the fOllr Aces in any deck of cards. Square the deck into the left hand, securing a left little-finger break above the bottom two cards.

I'm not sure if I remember how I did it, but I'll give it a try ... STEP 2) Grasp the deck from above with the right hand, the thumb taking over the break. The right first finger kicks half the deck to the left (Fig. 2). The left hand grasps the kicked-off portion and the hands turn sharply at the wrists as the deck is cut. You want to produce a bit of sound as the two packets are separated (Fig. 3). The right hand places its cards onto the left hand's cards, but out jogged about ninety percent of their length, so that the left thumb and second finger can grasp the red A£es below the break at their inner left and right corners hand omitted). The right hand moves back, pivot
Figure 2

Figure 6

figure 3

Figure 8

4-: .-1Ik

Frgure 7

APP~~A(

It GMAGI'

--

ADECK OF CARDS

The left little finger secures a break under the five cards. The right hand scoops up the tabled Aces and places them onto the deck in an unstudied manner (Fig. 13).

The hands move together, tabling the red Aces about four inches apart (Fig. 10). STEP 4) The hands come back toward the body, and on the way the left little finger secures a break under the top card of Its portion The right hand places its cards onto the left hand's cards, the thumb picking up the top card and holding a break between It and the right hand's packet. The hands "snap" the halves of the deck apart in the same manner as Figure 3.

Yes, J learned to find the Aces when J was SIX.

Flgule 10

Figule 12

Perform a block push-off of all the cards above the break as the Aces are turned face down. Immediately spread off the top four cards (Kings) and table them in a horizontal row (Fig. 14).

When J was seven J learned how to find the Kings ....

Position check: The top card of the left hand's portion should be the face up Ace of Clubs, and the bottom card of the right hand's portion should be the Ace of Spades, a thumb break above it.

Riffle the deck toward the table, then turn over the tabled cards to reveal their transformation (Fig. 15).

Raise the left hand to display the face of the Ace of Clubs to the audience At the same time, the right hand lowers to the table, depositing the face-down Ace of Spades between the two face-up red Aces (Fig. ll-audlence view).

That's three .. Figure 13

All your attention must be on the displayed Ace of Clubs. The hands come together as the right hand places its cards beneath the left hand's cards. The deck is now in left·hand dealing position. Take a step back and riffle the deck toward the table. Look at the tabled Aces for the first time-the audience will suddenly become aware of the face-down card. ThiS is a very magical moment. Lower the left-hand packet to keep the Ace of Clubs in view as the rig~t hand turns the Ace of Spades face up, displaying all four Aces (Flg.12-audience view).

Figure 14

And that's four!

s-r: :n

5) The discovery of the Aces is over. The aUdience relaxes ey assume they've viewed the conclusion of a pretty effect' you are set up to do an extremely clean packet switch Th' left thumb presses dow th . e Ii the n on e outer left corner of its cards QlI ng reversed cards to lift up at the inner right corner. '

Figure 11

Figure 15

Of course the final climax can be omitted, and thiS sequence can become a secret maneuver. Instead of placing four face-up Kings under the Ace of Clubs at the start, place three indifferent cards. After the block turnover in Step 5 you will in a perfect position for an Ace Assembly, as three of the four Aces will have been sWitched ·out.

APPROACH NG "MG ~

CONTEXT We've all seen performances of magic that are exercises In confusion. We may not und~rstand how this or that was accomplished, but we also don't care. Effective performances of magic share a common element, a context for the effect that gives the audience just the nght am~un~ of 1Oformation to allow both to enjoy the proceedings and to be hit in the gut by the effect s chmax.

If we consider a magic effect to be something like watching a short film, we can seek those elements that make a film work: • • • •

The audience understands the objective of a main character. The audience wants to follow the main character on a journey to attain that goal. Obstacles arise that present a challenge for the main character. The objective is reached in a satisfying and/or surprising manner.

In the context of a maglC performance, the main character is most likely you or a chosen spectator. Here's an example of what can occur during a bad performance of magic that might otherwise be technically correct: • The audience Isn't sure why the performer is doing what he's doing. • The audience isn't interested in the actions of the performer, as they are busy trying to understand the meaning of what is being said or done. • The audience isn't sure who or what is important in the body of the presentation. • The audience sees the climax, and realizes that they have been fooled. In the first scenario, the well-made film, the audience is fascinated from beginning to end. In the second scenario, the bad performance of magic, the audience is alienated until the final moment which arrives ~ith litt~e effect because the audience has not inserted themselves into the journe; that .. ledIvup to It. Even In the mystery genre, where facts are intentionally held back' th e au d'lence IS mvo ed, desperate to know the meaning of events, hooked by information that has been parceled out. In fact, one can ~eigh the success of a mystery story or film by just how much the audi. I 't ence wants to unravel the nddle. If the audience is confused and doesn't care the fil work. So 't . ·th . m simp y won I IS WI magic. Here are two examples of story beats laid out in slightly different ways:

NOT SO INTERESTING: -I< on the street reads 9:55. A man walks down the sidewalk with a bag H . . e IS

ADECK OF CARDS

stopped by an old friend from his college days who engages him 10 conversatlon. He quickly tnes to end the conversation, becomes rude and hurries off INTERESTING:

• We see a sweating man hold 109 a random note. It reads "We have her Place one milhon dollars into the trash can at First and MalO by ten o'clock. Tell no one." A clock on the street reads 9:55. The man walks down the sidewalk with a bag. He is stopped by an old friend from his college days who engages him in conversation. He qUIckly tries to end the conversation, becomes rude and hurries off in order to save the woman before time runs out. In the first example an apparently busy and unpleasa nt man won't speak to an old acquaintance, but in the second example we are involved with a character's need, and sense urgency \\'e are on his side as he seeks to fulfi ll an objective. When he meets an obstacle we feel his predicament, and we cheer inwardly when he hurdles past th e impediment. Both scenarios might eventually tell the same story, but in the first example we are supplied with a context for all that follows, so we, as an audience, are involved with the proceedmgs as they happen. Caring about something retroactively doesn't work-that IS why puzzle elements in a film cannot sustain themselves wi thout eventually providing some context for the viewer. In the case of a magic effec t, we have to compress the story we tell into a matter of a few minutes, so we do not have the lu xury to leave an audience confused or uninvolved. Too often, the entire context of a magic trick comes down to: Is this your card [display the wrong card]. No? How about this [change the wrong card to the correct card]? The above is an example of the barest possible context for an effect .. but sometimes even less is offered to the audience:

Look-now it's all Americall COill, now it's a Chillese coill. Now it's all Amt'ricall coi'l again, now it's a Chinese coin. W h ile it's possible for people to watch magic that is free of context, how much can they watch before it all becomes a wash? A presentation of allythillg without context will not be as involving as a presentation that includes context. Magic falls into the category of "anything," so magic can benefit from a context.

------------------

ADECK OF CARDS

OFF BEAT ACES [ love the Spectator-Cuts-the-Aces plot, and collect methods. Ver) often, the per former must find a way to rid himself of unwanted cards In his hand s. The solution offered here has an atypical and beneficial rhythm to it, as the neceSSil1\ mOVC5 fa ll on "off beats."

Figure 3

EFFECT: A spectator cuts to the Aces. NEEDED: A deck of cards. TO PREPARE: Set the Aces atop the deck In alternating color order. Remember the

lowermost Ace. For simplicity's sake I always make sure it is the Ace of Spades. The Aces are crimped, at the inner end only, in any manner that will make them easy to pick up as a block later (Fig. 1). STEP 1) Place the deck on the table toward your left. Have the deck cut Into four

Figure 6

Figure 5

packets, ending with the former top portion of the deck on the right.

I want to see how good you are at estilllating. Clit abollt threequarters of the deck from here to here. Nice. Now CIIt six-eighths of the deck from here to here. Interesting. Let's shake it lip now. Cut twelve-sixteenths of the cards from here to here. That's twelve-sixteentlls-don't get that confused with three-qllarters or six-eighths. Now if you were perfect we should have four piles, each exactly the same height. Oh well, at least this proves I didn't control your actions ... dammit. You cut to four different spots in the deck.

have cut exactl y four cards. If you see an II1different card, you hilvc cut morc thun four cards-as you ' ll see, that 's no problem

Figure 1

STEP 2) Point to the packets. The left hand goes to the pile second from the right and, an instant later, the right hand goes to the pile at ~he ~ar right. The left hand starts to pick up the top card from Its pile at the inner end, then a half a beat later the right ~d picks up the block of Aces-actually four or more cards IS fine, but try and get just the Aces (Fig. 2).

In a continurng action the cards arc placed 111 a rrght hand fun Thc block of four goes into the right thumb crotch (thc thumb rtself slidcs off thc cnd of the block and goes behind It) as the single indifferent card in the Icft hund i~ plilced behll1d thc block, srde)ogged to the left to hide the thick edge Figure::l shows the mugician's view, Figure 4 shows the iludience view. The left hilnd contll1ues b ' pICkll1g up the top card of the pile second from the left ilnd adding it to till' rCur 01 the fan. followed by the top card of the leftmost pile (fig. 5). You appcilr to hilVL' picked lip four single cards and placed them mto the right hand.

Was tilere allY rraSOl1 wily .'1011 wi ('xactly wilerI' .'lOll did? STEP 3) The left hilnd takes the filn as, in il continuing action, the right hand counts the "four" cards into the right hand, starting with the block (Fig. 6). This count does not have to be hurried. The easy but constant motion of the hands masks the block. The count can be performed absently, or motivated by an urge to look again at the cards' faces. In addition, the cards need not be perfectly squared

Ashnthe cards are raised you have a natural checkpoint. If you s14'R the Aa! of Spades at the face of the right hand block you Figure 2

ADECK OF CARDS

th ards are lowered into leftin the nght hand after the count. After the chou~t' eecnd The nght hand comes .. th ·mp agaIn at t e Inner . . th t the left little finger can hand dealing pOSItIOn, e en over the packet to square it, lifting up at the cnmp so a secure a break under the Aces. In the event that you initially pICked up extra cards in addItion to the Aces, it is her: as you get a break under the crimp that the "correctIOn" is made. All the unwante cards will be disposed of in the procedure that follows. You are read} to perform a slow and convincing turnover of the Aces, and apparently nothing more.

figU/e 10

figure 11

figU/el 2

figure 13

1'111 JlISt slirprised by what lzappened here. YOli see, one of tile cards YOll C/lt to was all Ace ... The right hand turns over the top card of the packet stud style, reveali ng an Ace, and returns it to the packet, sidelogged to the right about half Its width (Fig. 7). The left hand travels to the leftmost packet and deposits the Ace onto that pile (Fig. 8) STEP 4)

The Ilext card was oftell.

nil

Ace, too. You dOIl't see that happell too

The right hand turns over the new top card stud style, revealing a second Ace, which is placed atop the left hand's cards, sidejogged but not released. Instead, as the Ace is displayed between the thumb and first finger, the tIps of the right first and second fingers clip the inner right corners of the cards above the break (the remaining face-down Aces). Figure 9 shows this position exposed with the face up Ace removed-in practice the clip is completely hidden by the Ace (Fig. lO-audience view). Contrive to have the hands slightly to the right of the pile second from the left.

figure 7

figure B

figure 14

It is as this second Ace is placed onto the tabled packet second from the left that the secret move is accomplished. The move produces a perfect illusion of the face-up Ace sliding over the facedown cards of the in-hand packet as it is placed onto a tabled

along with the indifferent face-down cards squared beneath it. Figures 11 & 12 show the moments before and after the im;sible move takes place. As the left hand's cards are placed onto the pile second from the left, the right hand moves the two cards it holds toward the pile second from the right. the thumb pushing the top card of the pair forward as the first finger is brought under the packet. The outer end of the top Ace is paced just behind the inner end of the pile (Fig. 13) and the Ace is levered face up onto the packet (Fig. 14). The timing is important: The left hand cards are deposited on the tabled pile as the Ace is being levered with the right hand. It is the levering of this card that provides misdirection for the " killing" of the left hand 's packet. This must not be rushed, but kept at a slow, natural tempo.

Of COllrse, this aile is all Acc, and the last one is all Ace, too. YOIl did pretty ll'CI/!

pl1e.

ITEP 5) The left thumb slides the Ace to the left, flushing it with the packet. The instant the Ace is flush, the left hand, still movJag to the left (there is no pause), carries away the face-up Ace

figU/e 9

figure 15

STEP 6) You are left with a single face-down card in the right hand. Snap it over and cleanly drop it onto the far right pile to end (Fig. 15). You are clean.

--

ADECK OF CARDS

... r,~ ( r

r

Jy ?

df

lefor:)!,)!; jc ,!, .eat:'1 f,n' -:19

, P llrl .-

r JU 1'"If <."1d

W"Q IfIf

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1€

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at

pr

he

~t.K;

culling th e rema ining three Aces to th e face. J spread left to right, so J first alig n th e ca rd to the left of th e Ace J wa nt to cull wi th th e Ace Itself. The ri g ht fin ge rlips contact th e ri ght edge of the alig ned ca rd as th e thumb pulls th e left edge of th e Ace to the left, to d ise ngage It from th e spread (Fig. 1). The thumb th en pushes th e Ace to th e ri ght, whe re it rid es ove r th e spread cards to th e face of th e pac k (Fig. 2).

r

t

t

1'"

tl-je

~'-r:l~

'IIQ\\ CO'-

rlue.(1~

S.arf P9 ~

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........

4.

figure 1 " cr

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tr'P b .,pre,,~ ng f;)\ er

pf (' 1oe:.r rg
') r c...

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del>'" .r..;~

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ga 6 er rea under f

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'

Of course, gamblers and magicwns don 't duel with pistols... we duel with a deck of cards. This gambler took the four Kings oul of the deck and decided to brag a little bit. Could you hold Ollt your hand for me? Thanks.

I

Place the four Kings face up onto the spectator's open palm .

r

t>t?':: 4.

He told me to shuffle the cards and put the Kmgs into four different spots in the deck. He told me that he could cut to the Kings no matter where they were placed 111 the pack.

D- P SH

DO g am

il .~w_ "~nd I ~ I!f{~t li ~ gned /.<) l:w j)l;'noflnf.'d .... ~, ..... mglinoss fromaspeciAt<)f who ,A M(ut 1 a <; -~p routme bI! dlJfk' with 8 /x)f(l)wed ~k ng the Aces ) that can

figure 2

STEP 2) Spread the cards face down between the hands and

close the spread, securing a left little-finger break above the bottom four cards (the Aces). Reverse the Aces as the spread is closed. I perform Henry Christ's Christ Twist. In brief: The deck is held in left hand dealing position . The right hand grasps the deck from above and starts to rotate the deck 180 degrees clockwise (the inner end becoming the outer end and vice-versa). As this action is taking place, the left little finger lowers and levers the cards above the break over, then brings them back flush with the deck (Figs. 3-6, next page). The turning of the pack masks the secret reversal of the cards. J sard, "[ call shuffle allY way [want, right7" He sard, "SlIre," so [

HE OED; A deck of card~

decided to toss him a Clln.le. OPlIfO&M:

I' Spread the deck tau. tuward yourielf and cut any Aa! to the face of the

PICk II you ptturC!.

I"", • """.", 1#tU,,,,,, hi ~ me to II dud.

...." Id the deck, upjoqI"I the klnp

II you

come to them, at the same time

You will now perform a very clever Tenkai maneuver. The right hand grasps the upper half of the deck from above. The hand now turns palm up as the left hand turns palm down, slapping its cards on the right hand's portion, sidejogged for half their length (Fig. 7, next page). This is a subtle swindle. It appears that half the cards are face up and half are face down, but in reality all the cards are face up with the exception of the four Aces atop the left hand's portion of cards .

AD[CKOF CARDS

- --- -

I

lis1/1'1 '"

I rIII/ld

/11 l1 k l'

IIIIIIS'

1111, ' /1

,l illS III/ ,1I1/JlIIIIS III,' (IIn/ , jOtl' "I'

IIl/ n /tl n' dO e/l1/

'1I w 1l'1I III1gl'I S sqlldll' llH' It' ll hdl1d I"'l kl'l, 11ll'l1llll' IIghl holl1d dnSl'S li s Idn nnlllL' 1I111L'I l'l1d III IIll' 1l'1I h,lllll \ ( dllk IIll' IIghl hdl1d \ ("lid , d'l' pldll'd illjllggL'd linin Ihl ' ll'1I hdl1d \ r,ml s, dlld IIll' Il'lI hdnd hold , ,III .I S VllU I,' glll'llH' IWll'"lli(ll h lit IIll' dl'c k 111 1'1 l'1',lldllllllIlli .I Idlll shlllllL' S'III' 3) 1',lIll 11lL' IWIl h,1I1 dl'c ks IlIgl'lhl'l, so 11lL' Wl',I\'(' 1t'.lll'

" llllUI SI L,lId s Illlm IIll' Ilghl h.1I1d \ lolCl' 111'1'"111011 ,llul' 11ll' kit h,lIld ' l',lId s (I 'ig, ll l. I Ill' L' .ILl I1I11nbL'1 dUL's n't m,lt IL'I, .I s Y"U will SL'L' ,1Ild onl \' till' IUllI 1.ll ' dUWI1 J\'" nl'vel II1tl'II.IL L' I'L' dL'eth 1 1,1111 ,hu II It, 11I11l1 till' tup d(1\\'I1 , h'l\" ing ""\lIlL'd till' hulIlL' 110m I I,ll I \' 1.111 ilY 1lL''s Uo , ,' laId "' /n~ It' bu t ,I ny lolIll IV Ii I du

fiUUlo4 flgUID

3

"I'

.'>0 I 1I11\1'd IIII' CIII'I /, 10SI'l/Il'I , S(l1I1I' SOIllS

(l/It' !I'1lI1 sOll1,' S";IIS

lilt, 01111'1 ,

SqU illL' thl' dL'Lk, tlll'Il sl'lL'old It lw ll\'L'L'n till' h,lmb. III,t pll',hlng (1ll'l .1 blllck uf th"'L' 01 loul l..lId s, I'Ill' IlIlIlII\lI1g I'" It'L'du IL' 1\111 Lh,lngl' ,I "tt ll' bit L'Il'I\' tlllll' VUU PL' I tll! m 1 llLl hill l' t WI lubJl'l'I Ill'S: FIQUIDS

ONF: l OU \\',ln t till' I,KL' up l'oll d th 'lt is tll till' It'll II till' til,t 1,ILl' down All' (tilL'

An' tlusL's l to till' liln') til bl' ,1Iu\\' numhl'll'd spllt l,lId , ulh "s il t h IL'L' "'UI 01 III L' The right hand grips Doth h,lll'L's ot till' dl'ck lor a monll'nl, allowlI1g thl' kit hand to take the "facL' down" half in dL'o1"ng position. USlI1g thL' lell thumb, splL'ad (l1'L'1 two or three cards, bL'ing L'
.011d

,

TWO: VVh il tl'IL'1 th 'l t nllmbL' IL'd sl'ot l .ud I ~, '(Ill 1\'olnt tIl ,ltid

tL'IIL'1 imlitll'll' nt (',lIlb lln tLlp lIt It (lw lll\\' th.lt I" "t 1,1lc' dlll\' n .\ CL').

11Ilt'

Figuro9

\I thi S ~llllI1d ~ clIl1lplic,ltL'd, It is till' 1ll'l'llSltl'. I kll' 's ,'11 l'

.1 111 I'll'

uSing till' 1,1I1dUI1l l'i1Jds ,1S thl'\' al'l'l\ 1J in tlw dL'ck (' uHl'nth In Illlnt lit 11lL' Sl'l' hgllll' Ill. Nlltl' till' 1,lll' lip II1diltl'll'nt l'ards that Ii,' tll till' Il,1t III tlw 1,ll'L' dO\\,11 l'Md .. (An's) , l)( till' llptilll1S avail ,1 bit', till' ILlllI "pot IS till' Illlist dl'slr.lbll'. A .. Vllll t,llk about the 1,1l'L' lip, 1,ln' dll\\'n clinditll1J1 III till' l'.utis, thL' It'lt hand takes the Spll\ld cis till' right h,1I1d H'111OVl'S thl' lour spot and the face down l"lId (,111 At'l') to its light bv Wily 01 e planation,

FlgurD 8

Figure 10

ADECKOF CARDS

11/1' '{I/IJ//Jln /11 'It ,mrlr'd Ilr' handf'd rlU' thr YmX of Clubs, and 1 put 11 III/I! /1/1' dr'( k, nllxmflll m WIth thr fac('-up and faff-down cards. f did the ,({mr' Ihmy WIth till' Ymx of flr'arts, thrn thr King of Spades, and finally 1//1' rlllX (if /)f(fmrmd"

Ar 'In 111f' ~IJfI'df1 (hg II) I II (( IIII' 111'1"'Ir1II1~1 (~G' IlIwn lu 1'1. (( Ihl'l',iIr II> I IC rig , I,' 'It. (11111 ~1'l>1 ( 1,lnlT1"I1II' • II II III d.. k I' IIIIIlf' ,lldl hllJ" (lfIgl'l hI ',I'" ,Il IIIV! 11 ''I ' " I I II ,I I' k 1111111111)' "f1'l\'Ilh,lIld ,hll(lIl', IIII' Ilghl 1i,IIl111'II king III' Ihl' (,III ,I ,OVI (f II "1'1 'II Illh': y, II Iw ,yq Tlifl 0 I>'1f' ''', 101 1.(1 lill ,( 1,,,,1 , ,md 111~ ,Ing Ih' II' I "ll I"I" (, " , , '

I

f1lllnl,,'1 I,f Ih' '1',,1!"lrilholIIG 1111 111' I"fl r,( Ihr' 1I1'1'l'rrnl ,41 (,III' dowlI Ar ()fl! 11; I wIIII'1 I~I 11 b,.1I1I'1 wllh 111f' (1,1/11,11 IIV!'lh,1I1r1 "hllffl,'. I 01'1 Illy In"VI' 1111 ell",lrl'( 1,'11111"" "f 1,I'c III'

(
f,1'01

(oIld

,I~ If I'm

'1111' King" gu IIltr, I hI' dr·( r rn ( lubs, I I"arts, Spaul's, IJlclme}nuc; e}ruer (ClfaS(·[) I/lf' in"r'llirlll prurr,ullf!' will b( ur'strlb(:d in dr·tiJiI, but kne}w that It hiJppens 111 a

,.llfll'ly ,nlxlllg

'1111(

111' 11Jf' .lId II bll"",n'

k ndluri" tr'mpe)

ilS

yr,u SPl'aY: '[ah' thr· King (,( ( lubs (rt}m the spectator and

III'-,!'rt II (dC!' dl)wn IIllo thr· bn·ak (rom thr· rear (unul'r the face uown Ace), leaveIn); rl injoggr'rI f(,r hillf liS Ir·ngth As !'!}on as thr' King enters the break, the break IS

( " 111\11,(', 111.IIIY IIIIWG" eI'''.II·d 111,1 (,lid will ,dr ·,lI lyl"·I,, 1111' I,·ft ,,11/11 111'1'1'1 ifl ll I " I' . d"wrll\,(' 111 11111111 IM11 ,.~ wllI'lI' 1III'It'1 TIll d,' ,1I"hl,. I dId I" 1111' I,·(t "( .IIIV III Ihl' AI (:1, I,,' ,r 1I1I"' lgiJ 11 11' f.1I t'

111'

Il1dlf/l'1I'111

("lriG

Wll"hl'd. I<elilx th('ll'ft hand and r'pl'n thr! fingers fl}r ulspliJY, c1arifylllg the fact that till' r.ing I" going int!} thr· middll'!}f th!' deck,

"I 1111' I,ll,' ,,( 1111' ",H k

Idl'lIlrf y d d" ~ llI'dl"w V, d'I1 ' '1'"1 (,Ird, 1111'11111,111 " 1"'II IWII 1i,IIIf I"i1 (, II" III' "mtx IlIg" 1'1111 ·r/1II 1', 1.,,1' IIII' d" '.III·d ~ 1'"1 1' lId b,·IIIW 1111' (, II I' "I' II Hlif ft' II'l1 l ldrrl lh,lt II ". I ~ II/'IIIW II", fll .1 f,II" dllwlI A" , III Ihll ( 01 '.1', ,11111 IWII f, 'W," 1I1I 11ff"II'111 (" Id"

.[ 111' IIghl hlmd (I)m"li owr thl' cJe'ck from "boY!', the right thumb pu~hing tht· in

(I WIJ II" I~ IIi,/l1 tlil' V,dlll ,,( II,,' <,1",1 r.lld) """'W Ih, ' fl, ~1 (,H" d" wlI A'l ', I>lIlhl ',

ci o\lb/e· II IHlr·rr Ijt to tl1l' bn'ak, bringi ng the facl' d(}wn King to the' top. T he illUSion

elllll' l

"1'I'I1I y, III

VIol

Joggl'd Vlng flush, ,mel sl'luring (wd lr·rI I ~

till " VI' rlroll1d IlIlffllllg I1l1'lh"rI ,Ill dl"I II.',('d

!. l' tI'd ri

YIIII Will

Ilf'VI' I

h,IV,' III IIIIIK

ill

1111' blJd y 01 tl1I' r/"I k

fI,1 , I

1,lI gl'l

(oIld ,

hl'l "II ~I ' I(

Id( ('

1111

III'

(J I ll'

il

thumb bn'iJk abovc It In a c{Jntrnuing action,

of ru t l ing t h!' King dr·l'p into a face-up, face-down deck. As you talk,

(,vl'r "hrJl lt IWl'lw' (arc/ s. Agilin thl' lipe·ctatms

C;CI'

a "rilnuom" w Jlcc tion of

dl1ft fde (. c/r ,w n (Mck Square thl' dl'ck, ~t'currng iJ left li tt le finger break un -

low V,IIIII·d 1,1,"/1 ,lid 1'1holl1d y Y"1111l1I II l' I1I,Hk, (,/111'1: 11"1 KlI1g, ,lI1d /,111 I hl" '11 thl' fllfd 'q 11,11111' 11'111'1 by 11'111'1 1,,1111'/ Ih,II11 Ollllt dllWII II .. y,JlIII '. 111 Ihl'l l 01 ',1', " 1,1/ k III

ci ('r 1111' !J('wnd ("(( ' down (did from th l! facl', As before, the rrght thu mb takes aver

KIf1~ wouldllf' h,lIl1l1l'd

h,llf II H' (d rd" to th!· top, und till' !t·ft httle finger re o:;ecurec; the brea k ,

Irk · ,I flllll

tl H' bWdk ,1<; 11ll' right hil nd grasps thl' deck frr>m ubove 'Ihe left hand undercuts

~ I'0l, /lnd Ih, VIII'I 'II wOllld hl'

Irt'oh'd like n (1Vl' ~I'0l. I"k(, tlw Kin g o( IIt'ilIt s from th e spectil tor i1 nd repea t th e ac tions ju st performed (Iuh ~

If y"u run Ihroul\h Ih,' ,lhoV!' n h'w tlml'~ with I ilfd ~ in Ihlnd, YOIl

With IIH' Krn g

wllllleC! jU"1 how Hlmrlt'lhi ~ I~ 10 l1((omrli~h, .lnd, mort' impor tanl, how hapho~ord IIIlPPt'M".

hllnglng II to til(' 1,,1', You flOW n('!'" ,1 breilk under th e third card from th e top (the

(J(

~ l'(f)lld fdU' d"wll (drd) , Spreild over h'llf

"11(1 (,I(!' dowll (Md" pt) Spread th upper qUllrl'r o( Ihe deck betw(,l'n Ihl! hllndH.

A. lhe f. e up, fa down 0 rd~ do nul 81rktly all 'rnatl', you htY • very convincing dl' pllY of a d ck In dltlorroy (Pig. 12).

lqulrt the c.rd" H euring. lefl lillie finger break und 'r Ihe ..,rlClltftct down Ace The rlghllhumb lemporarlly lake. the rtp,t hand ..... ptlhe deck from above. dIrl:utt half the card. to the top, Ihe lefl little break u the deck I. t.ken Into left h.nd ,_il4clthe Kin" to the deck one.1 deck, the audlenee will He

ill!>I'rt It f,!C!' dow n Into th e bre<Jk i1nd double under cut,

In"

n dozen cilfds.. [ his will display face-up

(il sual Wily, ilnd eni.lble you to get the break quickly, Again,

Ilw I ighl thllrnh tilk/'s owr the brl'ilk ilS the right hilnd grasps the deck from above. '1111' I('ft 11,II1d

11l1(il-rC

IIts hillf thl' cOlrd s, and the left little finger re -secures the break,

f IIJUIO 11 '1,00' Ill!' King of Spildl'!> from the spectator, insert it into the break and carry out

""taka

1111' ",.1111' IIndl'rrutting pron'durc, bringing it to the top. Get a break under the third clml from thl' top, as bdore, The right thumb takes over the break as the deck is IIndl'rcut, thl·ll'ft little finger once again re -securing the break.

."""'Itt",

I nSl'rt the King of Diamonds into the break and double undercut, bringing it to the top. Conclude by double undercutting the bottom face- down Ace to the top. Ipt'"

V".Ii1r• • a quarter-Inch. Undercut ".11.1'1

the Dick Koester technique published in Allan Ackerman's La all but the bottom card forward about

lowing what was the bottom card to remain Injogged (it

Figure 12

now ....til

APP~OA(HING MAGIC

ADECK OF CARDS

The top two ca rds of the deck are face down, enabling the ri ght thumb to easily secure a break benea th them as the deck IS grasped from above and a sma rt two-bea t double undercut is performed du ring the coun t. Aga in, there will be a face- up Ace hidden below the King. Perform a double turnover and dea l the top face- down ca rd onto the ca rd already In the spectator's hand .

center of the deck). The right thumb presses the Injogged card flush, breakIng the deck above It as the cards are undercut, bringIng the card that started at the bottom to the top. STEP 5) Spread over the top two cards, then take the deck from above with the right hand as the left fingers slIde the boltom dozen or so cards to the left in an uneven spread-another display of a deck In a face up, face-down condition (Fig. 13).

STEP 7) You now need to d is pl ace th e top ca rd . I accompli sh this openl y:

He was really showing off now. He smd, "Okay, the next one I'm gomg to find is Ihe King of Heart s, and to make II harder... " "Walt a second!" I said, because rwas /lobody's fool . "Bury the top card of the deck, like they do when you play in a casino."

flgule 13

I smd, "Yoll're really gOing to filld all the Kings In tillS mess? " He smd "Not only am I gOing to find the Kings, I'll name each one before Ifind it and tell YOll exactly hOlV long it's going to take me." "What do you mean-'how long II will take?" He just smiled and smd, "Tile King of Dwmonds I'll find at the COWlt of three. One ... two .. .three!"

Take the top card (a Kin g) a nd Insert It into the deck. Do not flash its face ..

Okay- now show me Ihe bot/olll card of the deck.

Square the deck and turn it over. Since face-down cards are seen on both sides, it Simply appears that you are displaying the nature of the deck, but you are now In position to find each KIng In a slIghtly different manner. The right hand grasps the deck from above as you secure a thumb break above the two bottom cards. Their reversed condition makes this easy. After you mention the "count of three," you reveal the KIng of Diamonds using a three-beat revelation. Note: The Kings wIll be revealed in the opposite order than they were inserted.

Pick lip the deck from above with the right hand and slowly rotate the Wrist to diSplay the bottom indifferent card to the audience. Reverse the action to replace the deck Into the left hand .

The gambler Just sorl ofgrinned. He went, "And to make it even tougher I'll do it on the count of one. One!"

The deck is held from above by the right hand. Place the tip of the left first finger at the inner end of the deck. As you say "one," perform a SWivel cut, cutti ng the top half of the deck into the left hand. On "two," crisply slide the right hand's cards flush onto the left hand's cards, retaining the thumb break. On "three," cut at the break and co~plete t~e cut, bringing the face-up King of Diamonds to the top of the d~ck. The audience will not be aware that there is a face-up Ace directly beneath the Kmg. Ask the spectator to hold out his hand as you perform a double turnovereasy due to the reversed nature of the cards-and deal the top face down card Into the spectator's palm.

As no breaks are needed for this revelation, take advantage of this fact by allowing the deck to lIe flat on the open left palm for a beat. The right hand grasps half the deck from above as the left thu mb contacts the top card, and a fast slip cut is performed. The left thumb Simply holds back the top card as the right hand pulls av,;ay the top half of the deck and slaps it on top of the held back card with a "thwack!" (Figs. 14 & 15) This slmplc~ reveal is very effective. Of course, the King also has a face -up Ace beneath it. Perform a double turnover and again deal the top facedown card onto the cards already in the spectator's hand.

s~p 6) ~on~inue speaking, immediately going on to the production of the next King. thiS Will keep the audience's attention focused on what is about to ha en, rather than on the face-down card in the spectator's hand. pp

The gambler lItIid, "Now I'U find the King of Spades, and to make it hatrkr, l'U do it on the count of two. One... two!"

figure 14

f9n15

APf

~A(H~0

MAGI(

- -

ADECK OF CARDS

lhe sl1l'Cli1lor's hand

. f' K' s the same kicker as STEP 8) The final dlsco\'er) 0 a Ing use Vernon's "Cutting the Aces."

STE P 9) Im medii1tely conlrnue the story, as there are two more errecl~

He said "The lasl KilJg IS Ihe Kmg of C1l1bs, and 10 make II exira diffiCill1 /'111 gOlllg 10 locale it all the COllnt of zero." Just as I was abolll 10 ask how II's possible 10 do allythlllg on Ihe counl of zero, he Ihrew half llle cards frolll aile hand to Ihe other Hold the deck In left-hand dealing position and secure a break in about the center of the pack With the left little finger. Allow the left thumb to contact the top card at the outer left corner (Fig. 16), holding It back, as you toss all the cards above the break (exceptIng the top card) into the right hand, which catches them (Fig. 17). The cards should be tossed eight to twelve inches through the air, and when caught In the right hand, the half deck must be square, or the reversed King could be unintentionally flashed.

figure 16

Flgule 20

lo corne, i1nd th ey will happen Withou t m(JVl'~ .

The ga il/bier Ilnl1e/ed IIII' Ihl! deck alld wel1l, "U lllli' see whal YOII can do." I snJd, "Well, 1'111 a IIlnXICia II , 1101 a ga il/bier. I call'l do allylhinx wllh cards Ihal are face lip alld face dOWIl ." So I sl1apped Illy fillgers alld iliadI' evel'll card face Ihl' sallie way. Snap and spread the deck, clearly showing that the deck has magically rr ghled Itselr (Fig. 20)

Theil I said, "Lei 's see

if I call do YOll 0111' belfer "

Dribble the ca rds rrom hand to hand.

/ said "/ dOIl'1see a KlIlg." He told me 10 tllrn over the card he clIl 10. Figure 17

Use the left first finger to Indicate the top card of the right hand's portion.

Figure 21

"I did II. YOII fO llnd Ihe Killgs, bill I fall lid the Aces!" III! looked allhe deck alld said, "Where arl! Ihey?" I lold /11111 , "They're 1101 over here .Ihcl/re over hne." Snap your fingers over the cMds In the specti1tor's hi1nd, then turn them over (or allow him to), revea ling the four Aces (Fig. 21).

I tllmed It over... mld il was a Four!

Turn the card face up on the packet (Fig. 18). The card will be whatever low-valued spot card was set in Step 3.

I knw he wasn't as good as he was making himself alit to be. But he just smiled again and said, "I didn't say I'd cut to the last King...1 said I'd locate it. That's a Four. What do you say we count to the fourth card down and see what we find? One ... two ...three .. four.

Figure 16

GOING AND GONE This is a two phase Ace Assembly with a kicker. Thl' plot, ,all~ kicker, is a staple of card nli1gic, and thiS version has an attractive simplicity to it. The effect is brought i1bout pi1rtly by moves, but equally by the trick's structure.

The right hand places its half deck onto the left hand's half d k

'l\un over the four spot and place it to the bottom of the d:~k' Ceanly spread off the top t~ree cards as you count, revealing th~ them In the face, in fourth position (Fig. 19). the counted-off cards to the bottom of the deck. This King, ~ others, has a face-up Aa beneath it. Perform a double deal the top face-down card onto the other cards in

EFFECT: The Aces gathl'r... tlll'n go away. NEEDED: A deck of eMds.

Figure 19

ADECK OF CARDS

At the face of the deck are any nine number cards, followed by the four Kings. This can be preset or done on the fly, as the Aces are removed from the deck. SET-UP:

TO PERFORM:

Openly remove the Aces from the deck and table them in a loose face-up pile, the Ace of Spades lowermost.

STEP 1)

Ever sillce the first deck of cards was created, It became apparellt that the Aces were special.

flgule I

figure 3

figure 4

figure 2

figure 5

figure 6

Tilt the deck faces toward the body and remove the twelve cards at the face (simpl)' take all the cards up to and including the Kings). Place the balance of the deck aside.

Of all the cards ill the deck, the Aces took all all alll/ost mystical fascillatlOll, which is why they were qllickly consIdered the "Il/ost valllable." As you speak, spread the twelve cards, faces toward the body, and secure a left little-finger break above the four Kings as the spread is closed. Lower the left hand. The right hand grasps the packet from above, the right thumb takIng over the break as the left thumb draws the top card of the packet into the left hand (Fig. 1). Repeat with the next two cards. As the fourth card is drawn into the left hand, the cards below the break are released and secretly added under the drawn card (Fig. 2). Continue peeling the remaining cards Into the left hand. ThiS display is done absently as you talk, Without looking at the hands. The number of cards apparently shown is unimportant-you are simply displaying a handful of cards that are not Aces.

STEP 2) You will now perform an add-on move. Any add-on, such as the Braue, will work, but I prefer the following, a Chris Kenner handling of a John Mendoza move: The right hand will apparently simply turn the Aces face down onto the packet, but in that instant the add-on occurs. The right hand picks up the face-up Aces, spreading then between the hands and staggering them a bit to afford more cover (Fig. 3). The left thumb moves to the side of the packet as the right hand places the left edge of the spread Aces against the thumb (Fig. 4). The left hand turne; slightly clockwise at the wrist, turning the palm toward the right, as the cards above the break are levered over by the left tlllrd and little fingers (Fig. 5-exposed view). The levered cards are concealed by the Aces. In a continuing action, the right hand flips the Aces face down, the levered cards coalescing on top of them (Figs. 6 & 7).

With the help of a few other cards, I'm going to show you exactly why Aces are held in such high regard.

Immediately deal the top four cards of the packet (supposedly the Aces) onto the table in a left to right row.

Flip the packet face down. in the left hand. Spread over the top three cards and square the packet, the left httle finger securing a break beneath them I do 't d over cards so much as allow th t d' . n sprea way. th . e~ 0 sprea , holdmg the cards very loosely. This and'the7nsa;:d~~n;:hd~mcal achons aSSOciated with getting the necessary brea k I n mg renders the moment invisible. '

I bet YOIl know the Ace that's considered the most pow-

erflll of all. That's right, the Ace of Spades ...

figure 7

APPROAC HING MAGIC

ADECK OF CARDS

be seen to have vanished, but we have hidden a King as well. During this count, allow the final three (non-King) cards to remain un -squared. The left hand tables them in this state, adding

d (h A fSpades) to the audl The right hand flashes the face of the rightmost car t e ce 0 ence and returns it to position (Fig. 8). .

STEP 3) S read over three cards, at the same time secu

to the casualness of the count (Fig. 11).

r"ng a left little-finger I

break und~r the fourth card of the packet. The right hand takes the three car~s and squares them against the thumb, adding the card above the break. Drop t e packet onto the face-down Aces of Spades.

.. .also knolVn as "The Big BlIlIet," "The Spade-a-reeno," and "The Cobbler's Doormat." Okay, I made lip that last Olle, but I think it's gomg to

Figure II

catch on. The above "joke"-or any joke-affords a bit of misdirection as the packet is tabled onto the Ace.

Let's move the Ace of Spades pile over a little bit, so YOH can keep YOHr eye 011 it. Slide the rightmost pile a bit further to the right. You will now add cards onto the three remaining cards: Deal the top card of the in-hand packet onto the tabled card that lies third from the left. I drop the card from a few inches up, giving the procedure an airy no-moves feel. The left thumb then spreads over two cards. The right hand takes the top card of the pair and drops it onto the card second from the left as the left hand drops the lower card of the two on the leftmost card (Fig. 9). This streamlines the dealing process. Repeat this dealing procedure with the remaining cards of the packet.

Look, yuu can almost see it go ... and it's gone. Let's try that again ...

Figure 8

Figure 12

Repeat the above squiggle maneuver and Elmsley vanish with the remaining two piles. Each time the Elmsley count is completed, add the un-squared cards to those already tabled. After three piles have been dealt with, there will be a nice display of indifferent cards on the table (Fig. 12). All Kings are hidden. Pick up the face-down Ace of Spades pile with the right hand and place it into the left. Stud deal the first three Aces onto the table in an un-squared condition. You are left with a double card in the left hand, the Ace of Spades with a King behind it. You can stud deal the double in the same manner as the other cards or perform the following sequence: Grasp the double at the right edge with the right hand as the left thumb snaps the outer left corner (Fig. 13). Carry the double to the table with the right hand, laying its left edge just to the right of the tabled Aces, and lever it face up so it lands atop the other Aces (Fig. 14 & 15).

.. .alld over here we now have one, two, three,follr Aces. All the Aces have joined The Cobble,s Doormat! The Aces have assembled. End of Phase One. STEP 5) You have conditioned the audience, and by way of an

effect explained the concept of an Assembly. IOU are leading them down the garden path toward a very surprising kicker.

figure 9

Figure 13

STEP 4) Pick up the leftmost packet and spread it between the hands. Exchange the two center cards as a "squiggle flourish" is performed (Fig. 10). Square the cards, the right hand's cards going onto the left's. This has displaced the King to second from the top. Flick the outer left comer of the packet with the left thumb. With your eyes, follow the invisible path of a card over to i;be At!e of Spades packet Flip the packet face up in the left hand immediately perforn, an Elmsley count. Four number cards The audience will be looking for an Ace, which wiJJ

Figure 10

Figure 14

. . 15

---

-

ADECK OF CARDS

--- --

Pick up the face up ,\Cl'S and plilCl' thei11 In the lell hand, sqUill mg thl'm IOU willnt1\\ pl'iloli11 f...ll'n/l'i\ 1'1 essul l' Ilideout I he c,lILh die grasped frOI11 above, thumb ,It the Innel light. sl'cond lingertlp at the OUtl'l light COlnt'I, the fllst f1ngl'l cuded on top (Fig. 16). In a 1'1 essu II.' lannlng atllon, the light hand "wc b " till' packet to the left ,1Ild spre,lds thl' cards In a clrcul,ll ciockwlSl' dl fl'C tlon ,1' the left til st ,lnd second Ii ngl'rs hold bile k the rca I thIl'e CMtb of the packet one aftI.'I the othef (hg. 17) rhe upper card 01 the fan will be an aligned doublt' rhe light hdnd can lelease thl' lan, a... everythll1g CJn safel} be held bv the lelt hdnd Now IIInl 1/011 IIm'c nl/ Him Ofj1lS111'11II111/(' An's n,.c cnpn/JIc (if, tlli' 1I'ords of [11'(///(1" Rooscl'elt,/el's kick t1l11lgs 1111 n I/olcll

WI"ill/lakl' 1'1'1'11/11/1/1,'\ a III/ 1IIIl/l' rlrj!11 1//1

Oil,

Ilrl' l'cI,'\I' PI/I yll/ll //lI.v.I'1

11/1 1111'

II/ II,,' I"h' W,.iI

rlOIl/' /11'11' w,' so

flUUIO 16

YIlIl w ril I1IlW 111' IfOI 111 ,rilllll~ I II 11' ~.r /11,' V. 1111 ~11<" .I ~ I" fill' I'll f III' 1111' I,' IIlllo!, I I'ri,' wllh IIll' Ilghl hdl1t1.rnd 1,I,III'I II.ru' dllWl1ll1l1l 1111' I< II "1',,',1d Ih,' "nd51".lw, 1'\1 IIll' h,1I1d, I Ill' Ilgill h.r nil 1,1 kl " IIll' I Ill' I Wll C.II .I" "n" 1111' 11'1 t h.r nil 111<' hili Io III t WIl (l1lL' /I'ntl'l /,11'11" .III' !llli ~wl ltl1<'d 1111', 1 11111') d', 111<' "qlllgg ll' flllllll~h I~ pClfr lltn,'d (Fig ?()) 1'1 ,1(1' I Ill' Ilghl h.rl1ti \ I ,lid" Ill1ti"1 IIll' II'" h.rl1d ',. I ,lI d ~ ,11111 fill' till' 1',1/ k"1 Idll'UPIIlI() till' Iell hdl1d l't'1I11I1ll11H' 1111 squ.II,'d 11111·,II'Y UHIIlI .'" h,'fll"', .. how 111 g 111l' d I" IJ 'I'" .I I.I III I' IJ I ,I n 1\ I I', .r III I I, rill I' t 111' I' iI C f", " UI' .I" hI' f' II , •

II/

Rl'Wfse count the fan of Aces Into ,1 squdled facl' up packet In the right hand The first Ace counted will be a double cJrd (\org. IH) Imml'tliatl'iv nip the packetlacl' down Into the left hdnd and deal the top card to the table, lace down, nn the light This card, sup posl'dly an Ace, Will be a King. Continue by dealing the next lard to its Ielt, startmg a nght to left /Ow You are nnw holdrng three cards In the left hand Grasp them from abovc by the light hand ilS the lefl lingers slide off the bottom card of the packet If de sired, you can tla,h the cards' lan's 10 the audlt'nee (hg. 19 ·au dience' view). The righl hand drops lis double cilrd to the table to the left of the Itrst two as the left h,lIld drops Its card beSide It, to complete' the row.

1/I 'IIIr / '/1/ 1/(11/1,'\ 11/1

I Ill' '('(OIlLi p'(d,l' t hd" dl1 "xtld I dId 111 It , hul yllu wril ,1I11lriolll' 1111' !;.rIT1" pTOn',itl"', Sp"'.rd IlV\'1 Ihll'l' (.lIds, Il'''plllg lilt' hottll/ll Iwo ,llrglll'd.r, Oil!' 111t' Ilghl h,lld f,lkl'S IIll' tllplWIJ ldld., .I" I Ill' "qulggIl' I, 1\'1'\'.111'\1.1111 h(1ll1l1lllwo 1.lId~ 1"llhril1ll1g dllglll'd, ,111 I\S[d11111 11'/ hllJ(IU" I Ill' Ilghl h,II1<1 I'ld(('~ lis I.llds 1I11t1"1 Ih,' Il'It h,lnd'!; (dlds ,111t1 IIH' pd,J...1'1 I ~ flll'l1L'Li lolli' III' 1't'1Ioll11 ,111 1111 "'Ilinted l'lm"l"y (,IlUIlI, d" Wllh Ihl filq 1',1/ KI'I 1111' Ii"" (,lId~ Will (01/111 d" IOUI ,Ind 1111 An' will 11(' ~l','n I,rill<' IIH' loin' "I' (".lIds 1111 Ih,' fll sl l'iI\'

fIUUIO 1/

/ ) II /yo/l./I'd II IIIIIPC'

This is an ultra-convincing lay-down of the Aces, made j1osslbiL' by the fact that they will nevcr assemble',

II IW/IISI'

1/111/1'1

1/01/1

Nil' I ('/'

II !I

liSa ;/1 , , ,rI irl

1/0/1

sri

./11 lSI' I ? Oklll/, 11,,'/(/ 111111'"

11lL' 11110011'0IIK\'I, I\Tl'oIt tlH' V.11l1 h Sl'q\l Ill!' \10,1'<1 With the f",1 1',11 ~"t. l/(',lllllg 01 Idlgl' pil,' (11 f,lIl' III' 1I1t!llfl'l 'nt lard>; on 1111' I"bl" I )ill'L1 oIltl'nli(111 t(1 1111' pih' llI1dt'1 till' ~pl[t.ltur' ftngl'r 1-111

STEP 61 The palm-down left hand picks up the pile of indifferent cards from above and turns palm up, squaring them. Deal till' face-down cards onto the tabled Aces, working from the right to the left. Spread over two cards as the hands work together: The right hand takes the top card of the pair and drops it on the rightmost tabled card as the left hand drops the remaining card of the pair on the tabled card to its left. Spread over another two cards The right hand drops the top card of the pair on the

figure 18

[IUUIO 20

Willi I tio Ilf/ll IIIII/k 11'1"" fllltl IlIItier Ilf/llr flllSt'r IThe "'P('lI,ltor will !oo.IY "till' 1\( l's"l No, II',~ till' Ki",~'! ''/rll/\ IIII' II/Ir/ of /lti~ /1/111,,\ 111111'1'1/1'//0 {is"rl' [lil/.

'\'\11IlI1V/'1 till' \ .1IdH 111 tl1\' Il'ildl'r pill', or allow thl' lip tator to, to I'nd ("'g. 21)

: .. dlllcarci",wthat • lies second from the left as the left hand drops •• card of the pair onto the leftmost tabled card. As t:t~>~~".lVPJ the Kings will all fall onto the rightmost pile, the Flgule 19

Figule 71

ADECK OF CARDS

My vision isn't great-I can see things neither near nor far. For this reason I'll sometimes end up performing an out-faro instead of an in-faro. If this happens to you,

NEVER THERE ACES

spread the face-down deck and say:

Believe it or not, J now know where every Ace in the deck is positioned! This assembly has the same plot, and plot misdirection, as "Down Under Ace~" from Close-lip & Persol1al. This version of the effect has a nIce econom, to It. r.t IS particularly easy to vanish and transport Aces that were never there In the first

Remove any card from the center of the deck, as if you've located an Ace, and dramatical ly snap it face up, displaying an indifferent card Shrug and say:

place.

Trust me, I do. EFFECT: A demonstration of card tracking is performed, followed by a demon-

Turn the indifferent card face down, and place it on top of the deck as the cards are squared. You are now in position. This moment plays very well and helps sell the "fact" that th e Aces are lost-you may want to intentionally do an out-faro just to include th is sequence.

stration of invisible palming. NEEDED: A deck of cards. TO PERFORM:

STEP 2) Perform a false cut. STEP 1) Openly remove the four Aces.

if I was following the cards properly, by C/ltting the deck at the twentyWhen a person stlldles to be a card cheat, there are lessons he leaTlls that he continlles to practice for the remainder of his life, whIch, if he's any good at his craft, S110Uld be a long time. One of the first things a cheat stud,es is somethhlg called "Card Tracking." That simply means following the location of certain cards when they are placed into the deck.

first position I should find all Ace. NOTE: If desired, you can memorize the order of the Aces at

the beginning of the effect, and name each Ace before it IS produced.

As you talk, clearly show the faces of the Aces as you insert them into four different parts of the deck. Perform any multiple shift, bringing them to the top of the deck. If you do not know a multiple shift, a basic one is described at the conclusion of these instructions. Do not talk about how you are placing the Aces into different parts of the deck-let It be self-evident.

Perform a double turnover, reveali ng an Ace. \'\Then performing a double turnover I always catch the double with the heel of the left thumb, the Altman Trap (Fig. 1). If the double you like to perform requires a get-ready, you have motivation to get the necessary break as you pretend to examine the state of the deck. Figure 1

When the deck is cut, it's the job of the cheat to keep track of where the Aces go, and where they lie relative to each other.

Flip the double face down and deal the top (indifferent) card to the right. See Figure 2. By catching the double in the Altman Trap, this second double turnover can be done with disarming smoothness, as with practice one can use the heel of the thumb to push over the double in perfect alignment.

~ut the deck ~n half and perform an in-faro. Bridge-spring the cards at its conclu81OI\,

to magnify the completion of the shuffle. Ewn if the cards

lie.

RTt shuffled,

the cheat can approximate where the Aces

STEP 3) Double or triple undercut the top card, an Ace, to the bottom. While you do this, pretend you are making precise cuts at specific places in the deck.

now lie 2nd, 4th, 6th, and 8th from the top of the deck. Figure 2

ADECK OF CARDS

In left hand dealing position

Seve/ltee/l, twelve, cigllt.. 1 slrould Iral'e allotllcr Ace at tire top rrglrt /lOW.

You arc now set up for a very clean Ace Assembly, as three of the four Aces are not where the audience thinks they are. Due to plot misdirection, the feeling of the Aces being on the table is profound It's worth taking a moment to look at why plot misdirection works as well as It does

Perform a double turnover, reveahng an Ace. Fltp the double face down and deal the top card to the left of the first. Once again, double or triple undercut the top card to the bottom.

An audience wants very much to understand the purpose behind a magician's actions. Here, we give them a premise: The locating of the four Aces. They follow this slim plot as the Aces are discovered, and as each Ace IS found, they internally say, "There's another Ace." By saying this to themselves, they are conVincing themselves. They deeply feel that the Aces are resting on the table as they can't participate in the effect of locating the Aces without belieVing that the Aces are on the table.

Add one, IIl11lfrply by two. I tlrillk Ilravc mlOtlrer Ace figure 3

Perform another double turnover, revealtng a third Ace. Fhp It face down and deal the top card to the left of the row. STEP 4) The final Ace Ites under the top two cards of the deck. Double or triple cut the top card to the bottom

STEP 5) Spread the face-down deck between the hands and square It, procuring a left little-finger break above the bottom three cards (Aces).

DIPlde, conquer, square root oj pi. . Dam-l Jorgot tile square root oj pI Tlris IS II0t gOllIg to be an Ace ' Turn the top Indifferent card face up then insert it into the center of the deck. This simple element should not be omitted, as it aids in making the final location of an Ace appear to be more challengIng. I'II1Jape to re-compute tlris

III

Of course, now that we've found the Aces III the deck [this line justifies the spreading of the deck]. I might as well try and show you how a gambler call palm thelll durlllg the course of actual game play.

figure 4

Push over four groups of three and flip the cards face up. Spread them bnefly and square them again, leaVing them face up.

base elglrt. Ti,e last Ace should

be ... here.

To do that, we'll add sOllie /IIore cards-if doesn't matfer what they are.

The final Ace, now on top of the deck, can be produced in a variety of ways. I am partial to thiS sequence by Piet Forton Place the deck on the table as if for shuffling, thumbs at the inner edge, second fingers at the outer edge, first fingers resting on top (Fig. 3). The right hand turns palm outward and SWIftly undercuts about half the deck. The left hand brings its cards to the table ~op a~ the left first. finger contacts the top card of its packet and ptvo~ It outw~rd (FIg. 4). The right hand brings the inner left comer of I~ cards In contact with the swiveled-out card (the final A£e). The nght hand moves down and slightly inward as the left hand moves up and slightly outward, flipping the Ace face up ~ between the ~ts (Fig. 5). The hands move to the lef; Ji1 :" deposIt the Ace to position (Fig. 6). The left hand .... onto the right hand's cards, and the deck is taken

figure 5

figure 7

The left thumb spreads over three cards. The palm-down right hand takes the three cards and deals them stud-sn·le face down onto the "Ace" on the nght end of the row (Figs. 7 & 8). Allow the three cards to loosely square as they are laid on the "Ace." Repeat twice more, modng left, dealing three cards face down onto the next two cards of the row. This procedure avoids excess turning of cards face up and face down.

By putting some cards on fop of each Ace, we'll more cIoschl simulate a card game in process.

a:!

figure 6

figule 8

M ) llA( H jr, MAGIC

--

OPTION 2) Graceful Deception

It IS Important to say something like the above to clarify the start Ing position' The Aces are in different places with cards on top of them . If the audience IS not absolutely clear about the starting pusition, there will be no effect.

Look at the audience and say:

Okay, I shouldn't be doillg this, bUll'll show you the move.

STEP 6) You will now switch the three face-up cards atop the

deck for the Aces at the bottom. Remember, all this time you've been holding a little Rnger break above the Aces. As before, the left thumb pushes over three face up cards and they are taken by the right hand Act as if you are about to deal the cards studstyle onto the leftmost Ace (Fig 9), then heSitate, as If you are Just now noticing that the last Ace has been accidentally left face up. Don't verbalize thiS-Just act it The right hand casu ally places the three cards it holds face down onto the deck, then goes to the Ace and turns It face down (Fig. 10). The right hand returns to the deck as the left hand moves forward. The right hand grasps the deck from above, taking all but the cards below the break (the Aces), and moves the deck to the right, out of pIa" where It IS tabled (Fig. 11) As this occurs, the left hand spreads ItS cards to the right and lays them on the last Ace. This IS a handling of the Jinx Switch. It is wildly discrepant, and for that reason might RII one with dread if one has never used it, but it's one of those things that plays exceptionally well in the right context.

Slowly place your hands on top of different piles, allOWing the hands to come together at least once, as if palming and performing a change-over, and including the leader pile at least once. Now turn over the piles as above. figure 9 OPTION 3) Hard Labor

Deal with each pile as a separate event. Pick up the rightmost pile, give it a snap (as if doing a "move" or magical gesture), then turn each card face up one at a time-no Ace is seen. Move to the next packet and do the same thing, eventually displaying the collected Aces in the final packet. OPTION 4) Faster & Furiouser

figure 10

Immediately turn over the leftmost packet to display the gathered Aces, then, as an afterthought, turn the remaining piles face up.

The above options have nothing to do to With the method, but each results in a slightly different effect.

Square the piles. You are done With the technical demands of the effect, and have many options, as the Aces have already assembled. Here are a couple of possible avenues:

And that's why you should Ilever gamble .. except with me, ill the back after the show.

OPTION 1) Fast &t Furious

figure 11

Look at the audience and say:

Did you see the move? Because 1 did it. Look no Aces h h here... they're all over here. , e r e , ere, or

::e:.

Thrn over three piles work' leftmost pile, revealing the

ADECK OF CARDS

. h 1g t to left, displaying indifferent cards, then the

_ - - - - - -- -- -----AP-NOACH Nt MAGIC

ADECK OF CARDS

THE AUTOMATIC COMPUTERIZED DECK WITH SPELL-CHECK

Would you help me out? Creat. In a minute I'm going to have you pick a card. Now how about you ... Form a second pile by milking the top and bottom cards, followed by ten more cards in sma ll groups. You will have a pile of twelve cards with the Ace of Hearts at the bottom . Table this pile face down to the left of the first.

Four spectators select cards, which are lost in the deck The magician demonstrates the unique qualities of his "computerized" deck by spellmg to each of the four Aces The Aces change places with the selections, then the Aces make EFFECT:

Excellent. I appreciate your willingness to jump in! Form a third pile by performmg the same shuffle sequence as the second pile. You will have another pile of twelve cards, this time with the Ace of Spades at the bot-

an lOstant reappearance.

tom . Table the pile face down to the left of the second.

A deck of fifty-two cards. So if the Jokers are in the deck-take them out Give the (face-down) deck a convex bend along Its length . This will help out

NEEDED:

The more the merrier. Do you want to join your peer group?

later 10 the routme. The four Aces are at the bottom of the deck 10 CHaSeD order, the Ace of Clubs at the face.

Take the remaining cards and perform an overhand shuffle without disturbing the bottom card (the Ace of Diamonds) . Table this final pile face down to the left of the third . There are now four face-down piles on the table. At the bottom of each is an

TO PERFORM:

Ace.

SETUP:

In this step you will divide the deck into four piles, setting specific numbers Of. cards atop the Aces. I will outline two different procedures for this, one that utilizes an overhand shuffle sequence and one that requires a bottom deal.

The Bottom Deal Approach: This procedure is more direct. Holding the deck In left-hand dealing position, spread over a small group of cards and perform a covered bottom deal to set an Ace to the bottom of the packet as it is taken by the right hand (Fig. 2) and tabled. Spread over additional small groups of cards and add them to the tabled packet until the desired number of cards is reached. To recap: The first pile must have thirteen cards atop the Ace of Clubs, the second pile must have eleven cards atop the Ace of Hearts, and the third pile must have eleven cards atop the Ace of Spades. You will automatically be left with thirteen cards atop the Ace of Diamonds.

The Overhand Shuffle Approach:

STEP 3) Starting with the first pile (the rightmost), spread the pile for the first

STEP 1)

Shuffle the deck without disturbing the four Aces at the bottom.

[ know this appears to be nil ordinary deck of cards, but it's actually all Automatic ComputerIZed Deck WIth Spell-Check. [need afew of you to help me out in order to show you what it can do. STEP 2)

spectator to make a selection. He can take any card but the bottom card of the packet (the Ace). The following instructions are

As you solicit volunteers to help with the demonstration start a overhand milk shuffle, taking the top and bottom cards on thn count ~f one (Fig. 1), then continue to shuffle off thirteen mor: cards, In small groups. For example, after milking the top and bottom cards you might shuffle off two groups of five then a group of two. The reason for breaking up the count is to make the rwmber of cards'In the pi'1e appear to be random The pile how

important:

Take allY card you'd like, but dOll't look at it until I turn away!

ewr, must be .........nrl~ " the bot -~'Y'''''''' of fourteen cards with the Ace of Oubs tooL As you shuffle, speak to the spectators:

After the spectator removes a card, you must do something sneaky. After experimenting with many methods. including halfFigure 1

Figure 2

•

) Rl

ADECK OF CARDS

packd i:lnd drop it onto the packd tll its light. ,lnd linally ti:lh' all the lelt hand 's cards and dmp them onto till' I,lst IL' maining pile Take card not to e'pose lale-up cards liUJIng thl~ PflKl'SS . \s the selections \\'ele not squall' With the cards bl'lll\\' them , a compelh ng Image of a lace dO\\ n deck is cll'ated (Fig. h) . SqUall' the delk and lea\'e It on the table lo! a beat. '1hiS I'> a WI y dL'an leplacement of four selectIOns .

Figure 4

figure 3

)0/1 /111711 tlllllk Illere s 110 way for lilt' 10 Icll YOII YOllr cards, /1111 as I SllId, IllIs IS flll Alltolllalic COlllplilcri:cd Deck WIlli Spell-Clleck. TillS is till' kllld older!.. /lftldCI II

figure 7

galllblers

IN',

11 IIell's IIIelll clleal.

STEP 5) Now comes my favonte SWIndle in till' fllutll1e. The right

hand grasps the deck from abo\'e (Fig, 7) and tUlns palm up as the Idt thumb goes Into a bJld merhand shuffle. shuffling 011 JLlst two ca rds (Fig. 8)
Figure 6

passes and secret "flops," the most deceptive approach turned out to be the most straightforward. With the packet squared in the left hand, turn away to the left to give the spectator a moment of privacy to look at the selected card 'a nd show it ar~und. Raise your right hand to your eyes as if to prevent you from seeing anythmg. As you are turned away the left fingers flip the packet face up, then the left thumb pushes over the Ace and levers it against the body (Fig. 3) so that it lands face down atop the face-up packet. This is the work of a second. When you turn b.ack around, all will look exactly the same. Have the spectator table his card to the nght, and place the pa~ket in front of it. Repeat this procedure with the remainm workmg to the left. You will be left w'Ith 'Lour face- down cards m . ga three spectators, . h ' onzo~tal row, with four apparently face-down packets behind them (Fig 4) E h packet IS actually comprised of a face-down Ace atop face-up cards. "ac

Now all ~ have to do is remember the card you took. That's why 1h d you show It around to some peop1e cl ' case you panic. a ose to you-m STEP " Starting with the rightmost '1 d

pile behind it The selections shoUld) e, rop the face-down selections onto the 5). This will create a nice ill . ~ot fall perfectly square with the packets .1eft hand and drop it m ~ moment. Pick up the leftmost packet

on::

e pac et to its right, then take the combined

Figure 8

Perform a false cut to the table if desired, taking calC not to l' pose the face up pam; that rest in the lkck. I simply break thl' deck V\ ith m) left thumb a bit prior to the false cut, tll catch a ghmpse and ensure that a face down card will be e'posed

If till' gnlttbler wattls OttC of lire Aces, all ittstattcr, wlral

Ill'

lias 10 do j, spell In II. rOI

if he 1I'Iltrts till' Acc of Clttbs?

Pilk up the deck. Starting at a spot on the light, qUickly deal cJrds llnlll the table as you spell ACE- 0 r C L U RS, dealing one card fOl l'ach IctlL'!. Attl'r thl' last letter IS spelled, the Ace of Clubs Will appear face -up on the lett hand's l'