Ed Marlo Magazine Vol 1

TABLE OF CONTENTS

Solomon's Mind Foreword - Edward Mario 1-3 4-6 7 -11

11-4

SECRET MOVES

Mario's Deal Switch Mario Technique For Minus Multiple No Break. Marlo-Curry Change The Related Deal

15-25 25-32 32-36 36-38

Card Substitution Unit Upjog Addition Filling The Hand The Choice Elevator

DISSERTATIONS, DISCUSSIONS AND ASSERTIONS Dissertation on K.M. Move 39-40 K.M. Move - With Reverse Fingering Action 6 l Exchanging Four Of Eight 4l-43 Single Card Exchanges 6l-64 Surprise Transposition 43-45 Double Card Exchanges 6465 Direct Transposition 45-11 Exchanging Two Of Four 65 67 Mental Card Across 51-58 Exchanging Three Of Four 67-71 Packet For Packet Transpositions 58- 59 As Applied To Devilish Miracle 71-72 Sandwich Approach 59- 61 This Is A Four King Trick Succession Aces 7172 Introduction 72-75 Ace Puzzle D.F. Solution 75-80 Double Index Solution 80-89 First Method 90-01 Duck And Pull 02-97 Second Method 97-^9 Ace Problem

99*103 Simple Handling Suggestions 103-112 Mario's Third Method 113-120 Forth Method 121-130 Technicolor Succession Aces 131-137 Technicolor S.A. Revisions 137- 138 Succession Aces Pure Method 138- 143 Scoop Up Palm

Dissertation On Oil And Water 143-146 Introduction 14 6 -156 Oil And Water Plus Climaxes 156-158 Cutcsey Climax 158-160 Conditioned Oil And Water

160 -165 Further Dissertation On Oil And 16 5 - 166 Third Phase (Oil And Water)

Wate

166- 171 Oil And Water 171-173 Additional Comments

PLOT EFFECTS 173-175 The Synchronized Clock 176- 177Synchronized Clock Set Up Version 17 7 - 180 The Piano Duet ' 180-183 The Repeat 183-187 The Pellet Classic 187-191 Deep Dunbury ' 19 1-19 2 Quick Deep Dunbury 192-193 Logical Faced Triumph - 193-194 Simple Right Handed Triumph . i<)4-L95 Double Barrel R.H. Triumph 195-197 Right Handed Triumph _ 197-200 Improved Procedure Invisible Toss 201-204 Gaffed Mental Trap * 204-207 The Mental Secret

208- 209 Think As I Think 209- 213 No Palm Climax 213-219 My Best Number 219-222 Hofzinser Would Have Loved This 222-225 Notes On Packet Switches 226-232 New Sandwich Switches 232- 233 Favorite Switch Procedure 233- 234 The Vanish 234- 241 Devils To Witches 241-244 Sandwich Switchout (Off The Face) 245-263 The Motel Mystery .i" 264-269 The Prodigal Card 269-270 No Doubt About It

OLD BUSINESS

271-27^ 27U-27S 275-278 278-281 281-285 285-288 288- 289 289- 290 290- 291 291- 295 295-296 297 298

Mario Strip Cuts Top And Bottom Transfers Multiple Card Transfers The Tabled Cover Up Cut The Tabled Block Slip Cut A Switch On The Ten Hand Poker Stack Additional Ten Hand Stacks Second Method (One Riffle Shuffle) Third Method (One Riffle Shuffle) Double And Triple Peek Controls The Secret Incomplete Faro The Contois Second Method

298-30I For Hie Fingertip Peek 301- 302 Two Card Control 302 Three Card Control 302- 303 Double Fingertip Peek 303-305 Triple Fingertip Peek 305-307 Combination Controls 307-308 Removal Combination Control 309-313 The Marloesque Peek 313-315 Lapping Moves 3l6 As An Exchange

BONUS 316-322 Mario Card Secrets 322-323 Which One Was Brighter? 32^-325 Cheat To Cheat Poker

SOLOMON'S MIND

By trade I am not a "Bookmaker", although I do not find it to be much of a gamble. The reason for my optimism is not the quality of the print job, but the quality of the creativity and variety of interesting magic discussion. Regardless of all last few years,if on Edward Mario. works and current up card magic, or

the rumors and all the non-sense that has distracted us in the an unemotional vote was cast no one would put their thumbs down You may disagree with his point of view, at times, but his past endevours are the greatest single efforts in the history.of close possibly all of magic.

It has been my privilege being associated with Mario since leaving the Army in 1970 . I have found over the years that he has shared his secrets generously with me and by and large with anyone who had an interest in card magic or who bought one of his exclusive manuscripts. Of course his contributions to such magazines as Tops, The Linking Ring, Pabular, MUM, Kabbalah, Hierophant, and books like A1 Sharpe's and Eddie Field's, etc. show his unselfish generousity toward the people in magic including the dealers and publishers. Ed Mario is a gentleman whose word and honor is of the highest esteem. I feel it an honor to have him as my friend. In this magazine, I have worked with Mario on several of the effects. Our sessions together have been some of the most interesting hours of iny life. Neither one of us trying to top the other, but sharing our ideas, stimulating the other to explore other avenues for the evolution of the thinking. Mario is really something special and I will not be the last to say that his creativity is limitless, his enthusiasm is never ending, his skill with cards both dexterity wise and presentation will probably never be surpassed. 1 invite you to share the discussions he had with me over the past six months an well as his thinking over the past several yearn in Mar.Lo's Magazine. Don't try to top him, he is not interested and it proves nothing. Be creative and think about you magic on your own and if you decide to share it with others, please try to give you inspirational source for the record.

FOREWORD

The first thing you will probably notice is that the word "Magic" does not precede "Magazine". This was done on purpose to make this volume distinctly different from other magazines that normally feature the prefix "Magic" within its major title or as a supplementary heading. To foresee the waggings of those who upon reading their xerox copy, may consider this omission an apt one, let it be noted that it was herein already predicted and that in no way has anyone told me or in some way did I find out about it. Since you will find only card effects and related sleights, this is as good a reason as any for simply calling this a magazine because among many magicians card effects are not looked upon as magic unless they happen to be done with five ESP symbols or the more childish ones with pictures of rabbits, gnomes, dwarfs, then graduating into the more adult ones with sketches of guns, blood dripping-knives, devils, witches and whatever else has been done to desecrate the classic pasteboard. Why not title this like other books that contain only card items rather than calling it a magazine? Well, the reason is that besides pasteboard prestidigitation, I wanted to say something'. In the chapter "Dissertations, Discussions and Assertions", I have tried to make editorial points through giving examples and following them to their logical conclusions. The idea of calling this an "Uncensored Magazine" entered my mind especially in view of the rumor concerning the unsolicited editing of the "Kabbala" and pressured omission of articles like "Lost in the Shuffle" and "You Can't Count on Jordan" for which articles there will be room in the next volume of this magazine. On this subject of articles I did not intend to make comments, outside of those already within the text on "Succession Aces"; however, in view of what has been said by the editor of Pallbearers, stating that since two card men in the East had already thought of all the possible methods for this plot, which for some unexplained reason they are not as yet releasing, all other card men may as well forget about coming up with or submitting methods. This means, in essence, that any method you may devise, they, the two Eastern card men, can claim they already thought of it. Having read carefully their initial efforts on solving this problem, I will state here and now that if any of the ideas and approaches, that are within the various "Succession Aces" routines in this magazine, appear under either of these two card mens' names without proper credit, I will definitely consider them as having been "ripped-off". On the subject of being "ripped-off", this probably strikes a familiar chord to many magazine subscribers who suddenly after sending their money for a renewal of their subscription find that the magazine has folded and the balance of their money is not refunded. The subscriber is stuck once again hopefully awaiting a resurrection that doesn't happen. The editors or owners of these folded magazines vanish like magic and never bother to compensate the subscriber for issues he has not received. At present I can only think of one that is still trying to make good his commitments. The subscriber himself is partly to blame since should he inadvertently meet the publisher of an extinct magazine, instead of bluntly asking for his money back he usually indulges in pleasant conversation during which time the subscriber tells the publisher what a great magazine he used to have and is there ever a chance that perhaps he may start it again. To this query he gets a smile and an "I dunno". It has always been an idea of mine that if one were to put out a magazine it would first have all twelve issues completed and bound into a volume and then only that one volume would be sold with no subscriptions taken for any future volumes. This would mean owing nothing to anyone and taking as much time as necessary to publish the next volume . Unlike other magazines that exist from contributions of other magicians, this one will accept none, except those directly related, such as those in "Oil and Water" and "Succession Aces" routines with David Solomon. In this magazine, I have come close to what originally I had in mind with the exception that it is not numbered, as regards issues, but simply Volume No. I.

As always these things do not get done by one individual but with the help of friends. The illustrations were practically a joint effort with Dave Bendix doing the major portion of them as well as Joe Hartel. In case you want to know who of the two did which drawings, all I can tell you is that those which show the ring, the wrist watch, and perhaps even the time of day were done by Joe Hartel. A few were done by Muriel and any out of proportion drawings you may spot are probably mine. The layout, assembling, and editing of the pages, the index, plus a lot of leg work were all done by Dave Solomon. All this, by those mentioned, without getting any monetary compensation except a big thank you. If there is any magic in magic that has to be it. When will the next volume be out? That depends on how successful financially this first volume will b e . And, in magic, a successful financial venture means "breaking even" so that you can use the original means to start another end. For the present it is hoped that the contents of this first volume will amply repay your pecuniary investment in that you may find many items that will please you, stimulate your own thinking and that you can actually ur " _ _ " bewilder your fellow cardicians, but to entertain the layman as well—

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KARLO'S DEAL SWITCH This is the kind of technique that should immediately excite experts, especially when it comes to applying it to impossible-type effects. The object of the Deal Switch is to exchange a card in the process of dealing cards. THE EFFECT: Two Jokers are placed face-up on the table. A spectator thinks of a card. A card is made to appear between the two Jokers. It is the mentally selected card. This effect and technique will be described together. be described.

later, another version will

WORKING 1) This requires a regular deck containing two Jokers. Joker, Ace of Spades, and the other Joker.

On top of the deck is a

2) Remove the deck from its case. Turn over the top Joker, simultaneously picking up the AS below it. With these two cards flip over the next Joker, taking it under the two already in your right hand. Place the cards face-up onto the table as supposedly two Jokers. 3) Have a spectator think of any card, eventually naming it. If he names the AS you have a real miracle; however, let's suppose he names the 4C. 4) Say, "From this deck you remember I removed two Jokers.." As you deliver this line quickly run through the cards until you come to the named card. Take it with the cards in your right hand as your right hand gestures towards the tabled Jokers on your left. Patter: "Prior to your thinking of a card I placed those two Jokers on the table." Your right hand casually replaces its cards under those in your left hand. The deck is turned face-down and squared. The named card is on top. Place the deck face-down onto the table, positioning it just below or slightly behind the tabled Jokers. 5) Direct attention to the tabled Jokers as you say, "Watch!" Snap your right fingers and thumb over the Jokers. Your right hand then spreads the Jokers to reveal a face-down card between them. During this spreading action your right hand palm will automatically be above the tabled deck as shown in the Figure 1. Under the misdirection of spreading the Joker sandwich your right hand Table Palms the top card of the deck either into a Tenkai Palm position or a Mario Palm position. The Figure 1_ shows the top card of deck being palmed. (Also see Chapter of R.C.T. on "Tabled Palms".)

FIGURE 1

6 ) Your right hand moves back and'relaxes near therear edgeof the table as your left hand picks up the spread of three cards. The patter line to be used during the Deal Switch is: "We have a Joker, a face-down card, and a Joker". During this the following actions take place: Your right hand deals the 1st Joker face-up onto the table as shown in Figure 2, taking it near its upper left corner.

7) As your right hand comes over to deal the next card, the right fingers will naturally move inwards towards the palm slightly. During this your right 1 st and 2nd fingers clip the outer left corner of the palmed card as shown in Figure

8 ) Without hesitation the face down card is taken under the right thumb as in the Figure A where you will note that the clipped card goes under the last Joker.

.9) The right, thumb keeps its card in the Tenkai Palm as the tip of the right thumb moves onto the exchanged card while t.he right 1 st and 2nd fingers move underneath the card. This card ends up being dealt or dropped down onto the first face up Joker as shown in the Figure jj. Continuing in a rhythmic action the right fingers take the remaining Joker to deal it onto the tabled cards as shown in the Figure 6 , thus concluding the switching action.

FIGURE $

FIGURE 6

10) The right hand can now move back and merely hold its card and later add it to the deck in the inverse manner that it was picked up; or you can touch and further spread the three tabled cards as your right hand simultaneously lets its palmed card fall back onto the deck. The conclusion of the effect should be obvious. The Deal Switch can be applied to any effect that gives you an excuse to deal the cards, e.g., ‘ 'The Mindreading Queen". Another ideal application would be to Elmsley's 'Diamond Cut Diamond" effect. In this event you would first remove the Ace through Ten of Spades, arranging them in ascending order from face to back, spreading them in a line from left to right on the table. A selected card is then controlled to the top of the deck, followed by placing the deck in a proper position for a subsequent palm-off as in the original Deal Switch effect. As your right hand touches or points to the face-up spread of Spade cards, ask a spectator to think of one, your right hand palms the top card of the tabled deck. Meanwhile your left hand turns the spectator's chosen Spade card face-down, leaving it in its same position in the spread. Now your left hand scoops up the packet and the deal is made by dealing each card one-ata-time face-up onto the table as you say: "You could have chosen the Ace, Two, Three, Four, etc." until you reach the face-down card, vihen it is reached you merely execute the Deal Switch and finish up by dealing the rest of the cards. The exchanged card can be lappod or added to the tabled deck as already outlined. Conclude the effect as required. Another effect which would give you less problems than a "mental approach" would be to cause a signed card to appear between the Jokers. This would mean that only a control of the actual signed selection is necessary. Also one could openly place any card between the Jokers, this card later turning out to be the signed card or mental selection. The above applications are only a few. It is a wise policy to restrict the use of the Deal Switch. In other words, don't overdo it and apply it to everything. Make the ultimate effect worth applying the technique.

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MARLO TECHNIQUE FOR MINUS MULTIPLE The following technique, for Ackerman's "Minus One" or second deal from (see Magic Mafia Effect), will be found more flexible of application as one to not only deal the second card from the bottom but even the 3rd with practice, the 5th. First will be described the technique followed application to an effect, of the "Minus Multiple". l) Hold deck in the "Master Grip Position" as in Figure

the bottom, it enables 4th and, by an

Study this position.

2) The left 3rd fingertip pulls down on the right side of the bottom card as in Figure 2, an exposed right side view normally covered by right hand from above as it apparently squares deck. 3) The left 2nd and 3rd fingers now push inwards on this pulled down card causing it to move to the left to the position shown in Figure ^ which is a top view with the bottom card angled and exaggerated for clarity. Deck is still in the Mario Master Grip.

4) The bottom view, of the angled card, is shown in the Figure 4 with the left fingers purposely pulled out of the way to expose the condition. Again this is an exaggeration. 5) All that is required, in order to move back additional cards is to repeat the identical actions, of pulling down and pushing to the left, for each card required. This may read complicated but in practice takes very little time. Besides the effect, to be described, will give you plenty of opportunity to get ready for the Minus Multiple Deal.

6 ) With the required cards pulled back the left 2nd, 3rd, and 4th fingers are converged at upper end of deck as in Figure 5* The top card has also been angled over for cover. In actual one hand dealing it will be well over the side.

7) To do the deal left thumb pushes over the top card, at an angle, as in Figure very slightly, as at same time the left fingers, at about 3rd joint, press up against the exposed corner of the required card. Left fingers still pressing against the needed card, move as a unit in order to ease out the bottom card as seen in Figure 6 , an exposed bottom view of the action.

8 ) The right 1st fingertip contacts nail of the left 1st finger while the right 2nd fingertip contacts the face of the eased out card as right thumb falls on top of the card. The Figure 7 shows the bottom view again with an AD, which is 4th from the bottom coming out-This action can also be done using only the left hand to deal.

9) Without hesitation this card is dealt face down to the table. (For more details of the action of left fingers, moving as a unit, to ease out the bottom card see "Second-Centers-Bottoins").

FIG URL 7 10) The above steps are the basic details of the "Minus Multiple Deal" and the following effect will show its application. MENTAL MINUS MULTIPLE (HARLO) EFFECT: Performer asks spectator to think of any Ace. He is then asked to think of any number. The thought of number is dealt to and the thought of Ace is at that number. Without replacing the dealt off packet onto deck another Ace and number are thought of. Again the thought of Ace appears at the thought of number. This is repeated for the 3rd Ace. Performer then states that he knew which Ace the spectator would avoid thinking of and for this reason he kept that Ace in his pocket. This Ace is. then produced from the pocket. You can use a two hand deal, on each Ace, or use only a one hand deal on each Ace that is dealt to the table.

-b-

1) The four Aces are secretly on bottom of deck in a known order, from face to back, such as C-H-S-D. False shuffle and cut to retain the Aces, at bottom, either with Riffle or Overhand shuffles. 2) Have spectator think of any Ace first. Have him name it. Suppose he says "The Ace of Diamonds". Now ask him to think of any number. This gives you plenty of time to do the Pull Down and Push Back actions on the bottom J3 cards which readies the AD for the "Minus Multiple Deal". 3) The spectator will usually name a number under tan. If he does not ask him to restrict his choice from one to ten and that the reason for this is that you intend to do this more than once and that the dealt off cards will not be replaced onto the dock. k) Suppose he calls "Five". Deal four cards fairly dealing the AD on the 5th deal. Turn it face up and show it is AD. At this point your left hand can re-square the 3 bottom angle-jogged cards with rest of deck. Again the Ace can be dealt using one hand only or both if you prefer.

5) Have him think of and name one of the three remaining Aces. Depending on which Ace he names you proceed to Pull Down and Push Back the required number of bottom cards. For the AS you would have to Pull Down and Push Back two cards, the AH and AC, in order to make the AS available. Have him think of and call out another number. Regardless your procedure of dealing to the thought of number and turning up the thought of Ace is the same as before. 6 ) Repeat by having him think of one of the two remaining Aces. proceed according to the Ace called in this example AC or AH.

Here you again

7) Deal to and turn up the 3rd thought of Ace. At this point your left hand, which has deck in dealing position, easily does the Card Cheats Cop as right hand takes the deck. Left, hand then reproduces the last Ace from pocket as you conclude with, "I knew you were going to avoid the (Here name the Ace produced from pocket) so I kept that Ace out of the deck, here in my pocket". You will find the above effect puzzling not only to laymen but magicians as well. Mario Notes On Minus Multiple: It will be found of help if the left 1st finger, which is at upper right corner of deck, presses inwards on this corner causing the bottom card to buckle away from the deck. This makes it easier for the left 3rd fingertip to engage the single card for the Pull Down and Push Back. Repeat the left 1 st finger pressure against right corner, to buckle away the next card for the left 3rd fingertip to Pull Down and Push Back this second card. Repeat the identical actions for each additional card. Also using the suggested Master Grip and described technique the Minus Multiple Deal can be done using only one hand. Another combination is to deal with two hands until you reach the named number. At this point left thumb deals over top card half-way off deck. • This top card is now apparently dealt face down with left hand only to the right of the performer. Actually the desired card is-dealt instead to the table. Right hand now turns this card face up to show the proper Ace. Turning each Ace face up, on the right, gives good misdirection for the palm off of the last Ace. Remember the Aces are dealt out, inwards and to the right of the performer, using only the left hand. Once the Ace is free of the deck and face down on the table the right hand then turns it face up. Meantime the left hand has moved again towards the front in order to re­ peat the deal, as required, for each additional Ace that is called for.

NO BREAK MARLO-CURRY CHANGE

In this method of the Mario Curry Change there aren't any of the usual breaks held, on the card or cards to be exchanged, as in the previous method. This enables the performer to make the change much more slowly and deliberately and properly per­ formed can be done with practically no tip-off even from the back-end, usually the vulnerable spot when a break is held. 1) Assume you have a card face down on the table and wish to exchange it for the top card of the deck. The tabled card should lie lengthwise with its short end towards performer. See IF i g . 2^. 2) The left hand holds deck in the usual Mechanics Grip with 1st finger around front end of deck. The left hand reaches to apparently turn the tabled card face up as shown in Figure 1 the starting action. The left 1st finger digs in under the upper left corner of the tabled card while left thumb presses down on the tabled card in order to keep it in place as left 1 st finger digs in under the card. The Fig. 1 is as seen by the spectator.

3) Now as the left hand reaches for the tabled card the following action is made on the top card of deck. The left thumb pushes over the top card as left 2nd and 3rd fingertips drop below top of deck to enable top card to move over their tips. The left Ath finger remains in place at side of deck. The left 1 st finger presses down on top card to also aid in keeping it in place at this time. The Figure 2 shows the position of all left fingers at the time the top card is angled off slightly, then kept in place basically by left 1 st finger at around the second crease and left Ath fingertip while left 2nd and 3rd fingertips just touch the face of the top card. Btudy the Figure 2 carefully and keep in mind that this get-ready, with no break, is made as_ the left hand turns palm down for the tabled card. A) You are now in position of Figure 1_ ready to turn the tabled card over. Note that back of left hand is to the left and not facing front. Continue the turning action bringing the tabled card to the position shown in Figure where the top left side of tabled card is even with top left side of deck. This position is attained by left hand moving down towards the tabled card rather than lifting the tabled card. In fact the tabled cards bottom right side is always pressing against the table top. Figure ^ shows the back end or performer's view and at this stage the top card as yet is still kept in place.

FIGURE 3

FIGURE 4

5) The left hand continues moving downwards on the tabled card until the tabled cards upper left side is past the deck's upper left side as shown in Figure 4, an exaggeration of the action, also still the performer's view. O As the 13y-Pass action is made the left hand at same time moves closer to the tables surface with left hand practically palm down against table. Actually there is still space between left palm and table. Also the left 1st finger is still between the tabled card and rest of deck. The Figure 5 shows how the left hand appears to performer at this stage. Note how the tabled card has bypassed left side of the deck.

7) At the precise moment, when the left hand is in the position shown in Figure the left 1st finger moves out from between the tabled card and the deck. Also the left thumb moves to the extreme upper left cornerof deck and keeps the By-Passed tabled card in place as left hand moves away to the right leaving the top card of deck in view as in Figure 6 which shows the top card coming out. In order for top card to come out as in Figure Z it is only necessary for the left 4th fingertip to move upwards very slightly thus releasing the top card from its grip. There should be no movement or extension of the left fingers as the exchange is made. All left fingers remain practically immobile except for the secret actions, made during the exchange, i.e., that of the left thumb moving to extreme upper left corner and left 4th fingertip moving upward. 8 ) The action shown in Figure 6 is continued, left hand moving to the right, until the card is clear of the deck. Whenthe card is_ clear of deck the left hand can then move towards performer in a natural follow through action as seen in Figure 7. Remember, the action is first to the right, then towards yourself.

9) The change has now been completed; however, the Figure 8 is to show what happens during the exchange. The tabled card has By-Passed the left side of deck and is kept in place by left thumb as left fingers release top card of deck letting it fall out face up to table. 10) When it is required to exchange a number of cards, then it is necessary to pre­ position the top cards of deck as follows: Get the usual left 4th fingertip break under the desired number of cards. Assume it is four. 11) The left thumb, at upper left corner, does a Block Push-Off of the top 4 cards as the left 4th, 3rd, and 2nd fingers drop down to permit passage of the four cards so they angle slightly off deck. The left 1st finger is around top end of deck. The left 4th fingertip moves upwards to engage the right side of the four cards. The situation now is similar to that shown in Figure 2; however, the left thumb, at upper left corner, hides the fact that the top cards are angled off and the result is that shown in Figure 9.*

12) With cards in position of Figure £ remember that left 1st and 4th fingers keep these cards anchored in place. The left 2nd and 3rd fingertips are below the block of cards lightly touching the face but not pushing up on them so as not to cause a break or separation between the top block and top of deck. Once the position has been attained the rest is just like for a single card; however, do not move left thumb until left hand is palm down and reaching for the tabled cards. In other words do not expose the angling of top cards at upper left corner. 13) The above will take a bit of experimentation and practice on the performer's part to get the feel of the change. Remember the close to the table action. In fact the decks lower right corner, when change is actually made, should brush against the top of table in order to insure the held back tabled card being pressed flush against top of deck and preventing this back corner from moving downwards away from deck. 14) The Angling Technique of Figures 2 and £, which can be used on single or multiple top cards, can be applied to the Visual Retention Change also. My favorite procedure for getting into the multiple exchange, via the "No Break MarlOCurry Change", is using apparently an "All Around Square Up" then at once going into the change. Briefly the details are as follows:

1) Assume you have a packet of four cards face down on the table. On top of the deck are four cards that are to be exchanged for those on the table. For this example suppose you have four Deuces on the table and four Aces on the top of the deck. 2) During the course of an effect, that may depend on just such a multiple exchange, you will have some excuse for spreading out the top few cards between both hands. When you re-square the cards the left 4th fingertip obtains a break, at the lower right corner, beneath the top four cards. The right hand at this time is above the deck as if squaring the ends and during this time the left 4th fingertip presses against the right side of the four cards that are above the break. This causes the top four cards to angle and step to the left as in the exposed view of Figure 10. This angling takes place mostly at the inner end of the cards.

3) Once the 4 cards are angled and stepped to the left, as in the Figure JLO, the right hand alone now holds the deck from above by the ends and also maintains the angled condition of the top four cards. The right hand turns clockwise to bring the lower end of tiie deck to the front and then the left hand starts to move in, plam downwards, to take the deck more or less into a dealing position. The Figure 11_ shows the turning action of the practically palm up right hand with left hand moving in palm downwards to retake the deck. 4) It is important that when the left hand retakes the deck it does so by keeping the left hand palm downwards as in Figure 12. This is practically an automatic action which is continued from that shown originally in the Figure 11. Note that the right hand is still close by the deck and palm up. View is from above.

5) In the Figure 12 the right hand is still close to the deck; however, when this hand moves away the left hand 2nd and 3rd fingertips will be positioned under the projecting step of the top four cards at the upper right corner. The left ^th fingertip will be pressing against the side of the cards to maintain this step. The left thumb will be across the top of the deck and the left 1st finger is around the front end of the deck. The Figure 2 shows a similar situation except in this case four cards are thus positioned. If for some reason the left hand would have to be turned palm upward then the left thumb would move over onto the upper left corner to cover the angled cards as already shown in the Figure 9* 6 ) Anyway with the top four cards angled and trapped in a manner similar to the Figure 2 you are all set to go into the No Break Marlo-Curry Change which are .identical to that done with a single card. Once the packets are exchanged the cards now on the table are spread out using the tip of the left 1st finger. The combination of a seeming All Around Square Up then at once going into the No Break M.C. Change is very disarming.

ONCE YOU START TO MASTER THE MOVE These are the few technical points you will automatically come into using once you have gained proficiency with the No Break M.C. Change. 1) You will be able to get the angling of the card, using one hand only, as already shown in the Figure 2; however, this angling is done at the time the left hand turns palm down to start turning the tabled card over either face up or face down. The Figure _1, shows a tabled card about to be turned over and face up. 2) Your left hand will quickly get the tabled card into the position shown in the Figure The top side edge of the card will not by pass the card as much as that shown in Figure A. Instead the left thumb merely moves over to the extreme upper ]eft corner just enough to press onto the top card at this corner. Since the under or second card from the top is already angled at this corner the left thumb will not be pressing on the card that is below the top card. Thus the second or under card will move out freely. 3) If the positioning of the left thumb, at the extreme upper left corner, is correct on the top card there is practically a neglible by pass action and in fact the sequence as depicted in Figures 1_ - 2 ~ §. anc* Z is that the spectator will be aware of. Properly executed the move really looks as if you merely turned the tabled card or cards face up. There isn't any flashing or extending of the left fingers at any time. The No Break technique makes the exchange effective from any angle. Study the Figures £ - 6 7 to impress on you the fact that the left hand moves the deck close to the table top with its left side, as left hand is palm down, actually touching and scraping along the table top. THE RELATED DEAL This is a Second Deal variation, plus some other applications of the technique, of the Mario California Second Deal from "Seconds-Centers-Bottoms". I will begin by detailing the basic technique of the deal then its variants and applications.

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1) Begin by holding the deck in the left hand dealing position, with the left 1st finger curled around the upper end, which is like the Mechanics Grip; however, the lower left corner of the deck can be in the crease of the palm, near the wrist, or in a "High Grip" with the deck's lower left corner pressing in against the palm but above the crease of the palm. Choose whichever gives best results for you. The illustrations are with the lower left, corner coming into the crease of the palm as for the standard Mechanics Grip. 2) With the deck in left hand dealing position the left thumb cocks back towards the upper left corner of the deck as shown in Figure 1_. The underside of the cocked left thumb presses against the top card. The left second, third, and fourth fingertips press against the right side of the deck.

FIGURF 1 3) The left thumb now pushes the top card off towards the right until the left thumb is completely extended and the top card is well over the side of the deck as shown in the Figure 2. During the time that the left thumb pushes over the top card the left third fingertip is actually the controlling factor that permits only the top card to move past the left fingers. The left second and fourth fingers merely press up against the right side of the deck. b) With the left thumb extended, as far as it can and the top card dealt over, the left thumb keeps pressing down onto the deck so that the left thumb can contact the next or the second card. This contact, of the second card, is made with the underside of the left thumb at its second joint. Keep pushing slightly to the right when the second card will also move to the right as shown in the Figure 2 where, at the same time, the right hand approaches the deck as if about to take the top card.

5) During the action shown in the Figure 1 the left second and third fingertips will press up against the underside of the second card which will project slightly past the right side of the deck. When the right hand comes over, as in Figure 2% to take the top forward care), actually the left thumb pulls the top card quickly to the left and flush with tho deck. The pressure of t.he left second and third fingertips, against the underside of the second card, will keep the second card projecting to the right and slightly past the right side of the deck. When the left thumb quickly pulls back the original top card the right hand follows along, to the left, until its thumb and secondfinger gripthe upper right corner of the projecting second

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card as seen in the Figure 4. All four right fingers are extended to give greater cover for when the top card is pulled back. The Figure 4 shows the performer's view. From the front the spectator will see the front end and the edge of the dealt over card more than the top of the dock; however, in any case the illusion will be good. 6 ) Once the right thumb and second l'ingers have grasped the projecting second card "it is quickly dealt to the right. The Figure jj shows this action where note how the right hand is turning palm down ready to deal the card to the table. The right 1st fingertip is along the top edge, at the upper right corner, of the card. While the card in this case is dealt straight down to the table it can be sailed, if desired, to any other position on the table. The rest of the deck is flush after dealing the card.

7) While the Figure 2_ shows the left thumb having dealt over the top card for more than half its width, almost two thirds of its width, some may prefer to deal over the top card for only about a third or less of its width. This starting position Is shown in the Figure 6 . From here your left thumb must now contact the second card so that both cards are in a position similar to that required for the deal to be executed as already depicted in the Figures 4 and jj. In this case the left thumb does not have to pull back the top card as far to the left. Each procedure has its advantages for certain conditions. <° ) Probably the best way to show the various procedures for handling this "Related Deal" is to apply it to a "Stop" effect. Briefly the selected card is controlled to the top. The top card is dealt over and the spectator is asked the question, "Do you want this card?". On each negative reply you do the required Second Deal to hold back the top card until the time the spectator decides to stop the deal on the card of supposedly his choice. How you deal out the Second Card takes on several approaches as follows: 9) The Second Deal action can be made directly front or made as the left hand moves inward and towards the right hand which seemingly takes the top card, to deal it face down on your right, actually taking the second card instead. The left thumb has pulled the original top card back flush with top of the deck.by the time the left hand comes back to the front. The left thumb again pushes over the top card, supposedly the next card of the deck, to the right side of the deck as you repeat the question of, "Do you want this card?". Each time the answer is,"No", the left hand always moves inwards and towards the right hand which seemingly takes the forward card hut actually the second card. The back of the left hand will be towards the spectator thus lie will be unable to actually see the top of the deck but the pushing over, to the right, of the top card gives a mental retention that this card was dealt off especially since the left hand then moves back, to the front, with the cards flush before left thumb again deals over another(?) card.

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\k-

10 ) Step 9 above is a two hand approach, 'l'ho following uses basically the same technique of dealing over the card, as well as pulling it back, already depicted in Figures 2 to inclusive except in this case the deal is done using only the left hand. In other words the left hand, having dealt over the top card, moves inward and to the right. The left thumb pulls back the top card while the left 2nd and 3rd fingertips, pressing upwards against the second card, will cause this second card to project beyond the top care! and. slightly past the right side of the deck. The left thumb will be pressing onto the upper left corner of the top card but not on the second card. This leaves the second card more or less free to slide or move out in a manner similar to that in the Figure j? except the right hand is not used. The movement of the left hand, inward and towards the right, with a slight upward tossing motion isenough to move the second card out from under the top card and face down to the table. Jo not extend the left fingers in any way to aid in the moving out of the second card. It is all done by the motion of the left hand as explained. Obviously' this fits in exceedingly well with any type of dealing effect.

tt) The Mechanics of the actions depicted in the Figures _1 to 2. can be used to actually deal down two cards as one. Begin by fairly dealing over one card as in Figures _1 to ji. As the right hand moves to get this single card the left thumb pulls it back but only as far back as the second card and in line with this second card. The right hand fingers and thumb by this time are grasping both cards, at the upper right corner, as one. The Figure 7 shows the action at this stage. The right hand deals the two cards, as apparently one, onto some cards that may have been previously dealt facedown. Any misalignment that may occur will be covered by these two cards joining those already dealt to the table.

12) The aligning process, which is concluded in the Figure 7, can be used to go into a Double lift Turnover. The right fingers and thumb flip the cards face up and flush onto the deck or preferably into the "Altman Trap" which aids in aligning the face up cards as one. From here you can easily go into any preferred action of turning the face up curds, as one, back face down onto the top of the deck. lor other uses of this aligning technique see the section on Double Lifts and or Pushoffs.

FLEXIBLE SWITCH OUT

Object: To directly exchange one card for another or a card that may be sandwiched between cards. 1) For clarity assume you have a 3 card sandwich of KS, 10D, KC from face to back all face up in the center of the face up deck. 2) Straddle the face up deck in the left hand as you spread it between both hands with the faces toward yourself till you reach the sandwi ched;cards» 3) The left thumb keeps the KC, 10D in place as the left second and third fingers push the card that is to the left of the KC to under the KC, 10D. The X card is push­ ed far enough to the right so its right side edge is just a quarter inch short of coinsiding with the right side of the 10D. (Continued on Page 291) CARD SUBSTITUTION Object: To substitute a card or cards for a known up-jogged card or cards. The u nderlying technique for this substitution can take on combinations in that say of four known cards, such as Aces, only one, two, or three of them can be substituted for other cards which can be indifferent cards or specific cards depending on the effect you intend using it for. As an example the 1st Method of the "Card Substitution" will consist in not only substituting the 4 Aces for j4 Kings but also contain the added feature of using the top X. card as a pointing clincher that the 4 tabled cards are the Aces when in fact they will be the Kings.' 1st Method

- Substituting 4 Aces for 4 Kings.

1) Begin by secretly arranging, on top of the deck, the 4 Kings followed by any 2X cards and then the Ace of Diam o n d s as the 7th card from the top. The other 3 Aces are d i s t r i b u t e d ,,in various parts of the deck, anywhere below the AD or the top seven card set­ up of deck. Assume you have the deck arranged and in your card case; however, the simple seven card arrangement can easily be made during the course of other effects. 2) Hold deck face up in left hand dealing position with left 1st finger curled around the upper end. Spread the deck between both hands as left thumb spreads the cards towards the right hand. The right hand has all four fingers beneath the spreading cards w i t h the right thumb across the faces. 3) Continue spreading the cards until you reach the first Ace. The left hand moves upwards to upjog the Ace. The tips of right 1st and 2nd fingers keep the Ace in place as left hand lowers to once more keep spreading the cards till you reach the second Ace/ By this time the spread of cards, below the 1st upjogged Ace, will keep the 1st Ace in place. This again leaves the right 1st and 2nd fingers free to momentarily keeD the 2nd Ace, that is up-jogged by the left hand, in place while left hand lowers and again spreads cards to reach the 3rd Ace. The spread of cards below the 2nd Ace keep it in place while cards are being spread to look for the 3rd Ace.

4) When the 3rd Ace is reached the left hand up-jogs this Ace and the right 1st and 2nd fingers, pressing up against its lower right corner as with the previous Aces, keep it in place as left hand again lowers in order to spread the cards looking for the 4th Ace. As the left thumb spreads the cards it is n o w important that the left fingers press firmly against the right side of the cards as well as the top side to insure that w h e n you reach the AD the packet of 7 cards will be quite square. At this stage the situation is as in the Figure _1 and p e r h a p s the next move may appear, to another magician, like 'old hat' but he is in for a surprise.

FIGURE 1

FIGURE 2

5) The left hand moves up w i t h its block of cards in order to upjog the AD along with the o t h e r three Aces. The left thumb actually pushes over only the AD, as in the Figure 2, which is then held in place by the right 1st and 2nd fingertips for the moment. The Aces should be up-jogged for about two-thirds their length. 6) Once the left thumb has dealt over the AD it moves down w i t h the rest of its cards, as apparently a single card, to alongside the fairly converged spread as in the Figure 3. The right 2nd and 3rd fingers extend far enough to press up against the block of 6 cards.

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7) At the point of Figure 3 the right 2nd - 3rd - 4th fingers have extended far enough to the left so that their tips will press against the 6 card block to keep it in place w h i c h in turn keeps the 4th Ace up-jogged. Also the left hand is now free to position its 1st fingertip on the upper edge of the upper left corner with left thumb on the face, near left side at upper left corner. The left 2nd - 3rd - 4th fingertips press against the left side edge of the block of cards. As soon as this position is attained the left three fingers push the block of 5 cards to the right while left thumb nulls the face card slightly to the left. The Figure 4 shows the spectators v i e w while the Figure 5^ shows the underside of the cards showing the secret stepping, at left end of the spread, of the block of five cards.

FIG L’ iLi 5 8) The position of the left fingers, as in Figure 4, is only for a few seconds or just long enough to execute the pushing actions to form the step as shown in Figure 5. At once the left hand moves to strip out the up-jogged Aces by Dressing downwards onto the face of the Ace with left thumb as left 1st finger presses upwards against the backs or under the top ends of the Aces. Once the left

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hand strips out the 4 Aces they are kept fanner1 or spread. The two hands come together so that the deck, still in a fanned or spread condition, is placed onto the face Ace to the right. The Figure 6 shows the four Aces, still fanned or spread, plus the rest of d e ck all held in the hands. At this stage the stepped c o n d ition under the deck is actually covered by the four Aces. In other words the stepped block rests on the face Ace.

FIGURE 6

FIGURE ?

9) When the Acas are rested under the right hand cards, as in F igure 6, the right 3rd and 4th extend far enough to the left so that they can press up against the four spread Aces. The cards are n o w held by right hand alone as you say, "For this we use a deck of cards", n o w the right hand turns palm downward in order to show the backs of the cards as in Figure 7 where note that the backs of the fanned four Aces clearly show that these cards are on top of the rest of the cards.

10) The right hand turns palm upwards again. The left hand grasps the still fanned four Aces and moves them to the left as you continue with, "And the four Aces". The Figure 8 shows the view from face of the cards. As left hand moves its. Aces to the left you will feel a slight click as the face Ace clears the hidden b l o c k step of the five cards. The Figure 9 shows the underside v i e w of Figure 8 where note how the four Aces have just cleared the stepped block. You may even hear the click as the fanned Aces clear the stepped cards.

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11) From the position of Figure 9 the left hand at once moves its four Aces to the right anc1 above the stepped block but only far e n o u g h for the four Aces lower right corners to go above the stepped block at the lower end. From the face the situation appears as shown in the Figure _10 while Figure JA shows the actual situation where the lower right corners of the fanned Aces are now above the stepped block of 5_ cards at its lower left corner.

12) Right hand alone now holds the deck w i t h the cards still spread and the four Aces still fanned. Right hand now starts to turn its cards face down into the left hand as shown in the Figure 1 2 .

13) As the action of Figure _12 is continuer’the care’ s will start to converge, as shown in the Figure 1 3 , when the right hand lets its care's fall downwards against the nalm up left hanf.

figurf

13

FIG'JRF 1 h

14) In a c o ntinuing action the right hanf flips its cards face down into the left hand. The cards will still be askew but do not square up the deck. Instead at once left thumb pushes over the top four cards, as in Figure 1_4, where right hand is about to take these four cards. 15) The right hand places the four cards faces down to the table. The right hand takes the next top card, Stud Deal fashion in order to turn it face uo, then uses it to tao the four face down cards as you say, "KeeD your eye on the Aces". This action is shown in F i gure I S where note that a similar color and value card is used to the one originally side-jogged to the left. In other words the 5th and 6th cards, of the top original 7 card packet, could be such cards as 7H - 7D or any other two such values preferably in Red as these colors, in a deck of cards, are more subdued and thus less apt to actually be remembered.

l6) The card from right hand can be returned to top of deck or placed into center of deck. Anyway the four Kings are on the table and the four Aces on top of deck to be used as you may wish. When it is desired to substitute the four Aces for any four X cards then it is simply a matter making sure there aren't any Aces near the top of the deck then simply note and re­ member the 5th card from the top of the deck. When you reach the key card just keep these cards squared as left hand now at once does the step­ jogging actions as in the Figures k and then from here the rest of the actions, to affect the substitution, are as already described. Some may prefer to get an Ace to 6th position from the top and then just simply follow all the actions as per Figures !l to lk inclusive. Since you may not have any duplicated value - color pair you play safe by merely doing the hX card substitution for the 4 Aces and leaving out the subtlety indicated at the Figure ljj. The following methods are really not such in the true sense but rather different techniques for getting the required block-step condition. 2nd Technique l) This technique can be used when there isn't any previous arrangement re­ quired. Begin by making sure there isn't any Ace near the top of deck or at least among the top 8 cards or more. Also note and remember the 5th card from the top of the deck. Assume this card is the j?S. All this takes only seconds as you casually glance over the deck just before you start to upjog the four Aces. 2) Spread the deck and up-jog each Ace, with left hand, until you have all four Aces up-jogged; however, continue spreading the cards as you remark about there being only four Aces in the deck. ’ When the key card is reached this block is held square. The situation would be similar to Figure 1 except here the jjS would be the face card of the block. At this point the left thumb moves over onto the index of the at the upper left corner. The left l'st fingertip, under cover of the spread of cards, presses onto the top edge of the cards and moves a block of cards downwards, to the right at an angle as left thumb keeps the face card, the j>S, in place. The Figure l6 shows an exposed view of the left hand action that happens under cover of the spread cards above it.

FIGURE 16

3) As the left 1st finger moves the block of cards, anglewise, to the right the right 1 st fingertip contacts the upper right corner of the block in order to keep it in place as in the Figure 17 which is the underside view with left hand omitted for clarity. The Figure 18 shows what the spectators view is which shows both hands in position at each end of the spread.

At the Figure 18 note that the left thumb is on the upper index of the single and it is actually pinched, by the upper left corner, between the left thumb and base of the left 1st finger. The right fingertips now rest lightly on the right side of the angled block. The left and right hands pivot outwards or away from each other at the lower ends only. This action is very slight or just enough so that the pinched j5S, between left thumb and base of 1 st finger at upper left corner, will move only at the lower end thus straightening out to the left. This leaves the block of ^ cards stepped to the right in a manner identical to that already shown in Figure jj. 5) Right hand holds onto the cards as the left hand strips out the four Aces to rest them under the cards in righthand as shown in Figure 6 . ;<_(The Figure £ shows the back view.) The action of Figure 7 is covered by the patter line, "For this we use a deck of cards". 6 ) When the right hand turns palm up again execute the actions depicted in the Figures 8 to lTf inclusive to complete the substitution of the h Aces for the four X cards which are placed to the table.

Third Technique l) In this procedure all you have to do ismake sure no Ace is near the top half a dozen cards or so. There isn't any need to note any key card for this procedure. Spread the cards between both hands and up-jog each Ace, as you come to it, in the manner already described. When all four Aces are up-jogged keep spreading the cards down to the very end especially the last four cards as shown in Figure 1£. This further spreading i3 excused by the comment and observation that the deck con­ tains only four Aces.

-'<15-

2) In Figure 1£ the four X cards to the left are purposely widely spread for clarity. The right bth fingertip now moves in onto the fourth X card from the top in order to separate it from the cards above it. The left hand now moves to the left to converge the four X cards into a fairly squared packet which is kept separated, at the lower end, by the right ^-th finger between the packet and those cards above it. The Figure 20 shows how the left hand has moved to the left and converged the four 1 cards which have the right bth finger above it as seen in the exposed view of Figure 21_ a back end view.

3) With the base of the left palm, at the base of the left hth finger, push inwards on the lower left corner of the block of cards causing the lower end to swing to the right and further under the spread of cards above it. The right ^th finger still is between the block and the cards above it. The Figure 22 shows a back end view of the base of palm, at the hth finger, pushing the block to the right. The Figure 2j3 shows how the block is angled, from t.he underside view, with right wth finger still betweon the cards, loft hand is omitted for clarity.

FIGURE 22

FIGURE 23

4-) An important point is that when the cards are as shown in Figure 20 and 21 the lower left corner of the block is more at the center of the left palm; therefore, in order for the cards to arrive in the position shown in Figure 22 the right hand must grasp the cards and move the lower end of deck outward and towards the base of loft fingers. This way the block of cards will come in contact, at the lower right corner, with the base of left bth finger. The block can now be easily angled into the position shown in the Figure 23» 5) The loft hand now grasps the deck in order that the right hand can re­ move thor i q h t -Ith finger from between the cards. The left hand grasps the cards at the upper ends with thumb on the face and left fingers beneath which enables right hand to remove itself from the lower end as seen in the back view of Figure 2b.

FIGURE ?Jv d) The right hand now grasps the dock which loaves the left hand free to strip out tho four Aces to place them up under the spread of cards as shown in Figure 6 . The right hand can then turn the cards as in Figure £ as you deliver the line, "For this we use a deck of cards". As you say, "And the Four Aces" execute the actions depicted in Figures 8 and £ except in this case the block of k X cards will still be angled and the lower right and left corners will be the tip-off point of where the stepped cards are and the point where the four Aces will go above the four X cards.

At any rate just follow through with the identical actions depicted in Figures 10 to 14 inclusive to affect the substitution of the four Aces for the four X cards. 7) While in every case four cards were substituted for b cards again a re­ minder that combinations can be used. As an example the up-jogged cards can consist of eight cards but only four of them may be substituted. In fact arlY number of cards that you may up-jog can be affected.

UNIT UPJOG ADDITION OBJECT: In the process of up-jogging say four Aces, which are in different parts of the deck, to secretly add a card or cards behind each of three Aces. When the out-jogged b Aces are stripped out there will secretly be an intervening card or cards between the second and third Ace, from face of the Aces, with the required card or cards secretly on top of the fourth Ace from the face. Before going into the mechanics of the above I want to mention that in an article dealing with the up-jogging of cards, from a deck spread between both hands, I made mention of the fact that right o n left hand could move downward, grasp an Ace at lower right corner, then the right hand would up-jog the Ace. At the time several card men thought this was rather a ridiculous suggestion but I had my reasons for this as will be evident in the following "Unit Up-Jog Addition". 1) For the sake of clarity place the four Aces in different portions of the deck so that they are fairly well separated. Assume your order of Aces, from face to back, is Spades - Hearts - Clubs and Diamonds. 2) Hold the deck faces up in left hand dealing position in Mechanics Grip with the left 1st finger curled around the upper end. The left thumb starts to spread the cards towards the right hand which takes a similar position, at the right end of the spread, to that of the left hand. Continue spreading the cards between both hands until you reach the first ace. In this case the Ace of Spades and the Figure 1_ shows the situation at this stage. Note that the left thumb contacts the Ace of Spades.

FIGURE 1

3) The left thumb keeps the AS in place as right hand moves downward in order that the right 1 st and 2nd fingertips can press up, from below, on the lower right corner of the AS while the right thumb, pressing down on the face of its spread of cards, will insure holding the AS in place. The Figure 2 shows the right hand position at this time.

4) Right hand fingers keep its upward pressure against the lower right corner of the AS, in order to keep this Ace in place, while right thumb maintains its downward pressure on the face of the spread cards in right hand. The right hand, now moves upward to up-jog the Ace of Spades as in Figure 2» 5) Leaving the AS up-jogged keep spreading the cards between both hands until you reach the second Ace or in this example the Ace of Hearts, //hen you reach the AH the left thumb contacts its left side. An X card to the left of the AH should be quite close to the AH. In other words the closer the left side of the X card is to the left side of the AH the better. The left 2nd and 3rd fingertips will contact the X card, from beneath, at its right side. For the present the situation is as shown in the Figure 4 where the AS is out-jogged with the AH in the spread and note the X card to the left of the Ace of Hearts. Remember that the left thumb contacts the face of the All near its left side. The left 2nd and 3rd fingertips are contacting the X card from below near its

FIGURE 4

6 ) I-Iow the importance of the right hand moving downwards is about to be pointed out. As the right hand moves downwards it will also take along its spread cards plus the still up-jogged AS. At the tine the’ .right hand moves downwards it also moves its cards to the left so that the left side of the up-jogged AS will move across the face of the AH. Simultaneously the left thumb pulls the AH to the left and past the X card. The left 2nd and 3rd fingertips, from below, aid in this by further pushing the X card to the right and just under the AH. The Figure 5 shows haw the AH has been pulled over past the X card that~as to its left. The Figure 6 shows the position of the X card, below the AH, with the right hand spread of cards away from the left hand to expose" the condition. Note that the X card is not only past the AH, on the right side, but also very slightly down-jogged to insure a single upper end on the AH. This down-jogging action is practically automatic and part of the side-jogging movement of the X card plus the slight upward pulling, of the AH by left thumb as it also pulls AH to the left. The left 1st finger around the upper end of the cards also insures that the X card will not project beyond the upper end of the AH. The Figure 6 jog has been exaggerated for clarity.

7) As the left thumb and finger actions are made on the AH and the X card, during the position of cards as in Figure jj, the right hand, with its cards, continues on downwards until the right 1 st and 2nd fingertips come in contact with the AH, plus the secret X card, at the lower right corner from under­ neath. The right thumb presses onto the face of the spread cards and the situation, as viewed by the spectators, is as shown in Figure 7*

8 ) The right hand, having grasped the AH plus its secretly added X card, now moves uoward again, as in Figure 8, to continue spreading the cards to look for the third Ace in this example the AC. The Figure 8 you will notice shows you having reached the Ace of Clubs while the Figure 9 shows the back view of the cards where you will note how the X card is hinder. behind the second

A ce

fr o m

th e

fa c e

or

th e

A ce

of

H ea rts

in

th is

case.

9) When the AC is reached the right hand again moves downward. As before the left thumb, which contacts the face of the AC, pulls the AC to the left as at the same time the left 2nd and 3rd fingertips contact the X. card, that is to the left of the AC, to push it to the right and past the left side of the AC. The right hand is shown holding its spread alongside the visible AC with the A3 and AH up-jogged, as in Figure _10; however, the AC already has its X card under the AC in a condition similar to that already shown in Figure 6. - .

10) Without really pausing the right hand continues moving downwards until the right hand can grasp the lower right corner of the AC plus its hidden added X card. The Figure 1_1shows the state of affairs at this point.1 11) The right hand now moves upward to up-jog a front view while Figure 13shows the actual note how the X cards are added and hidden by 12 the spread was continued until last Ace -

the AC as condition the AH and the Ace of

shown in Figure _12 at the back where AC. Also in Figure Diamonds - is reached.

12) A'ith the three Aces up-jogged the spread is continued until the last Ace, the Ace of Diamonds, is reached as already shown in Figure 12 above. Once more the left thumb positions itself onto the face of the AD while the left 2nd and 3^d fingertips contact the bottom of the X card pressing up from beneath, at its right side. Once more, as the right hand spread moves downward, along the AD, the left thumb pulls the AD to the left as the left fingertips push the X card, which is to the left of the AD, to under the AD into the position already shorn in the exposed Figure 6. Remember that the downward movement of the right hand, with its spread of cards, is made at the same time that left thumb and fingers execute the very slight movement required to push the X card to past the left side of the AD. The Figure lk shows the right hand having moved downward in readiness to grasp the lower right corner of the AD plus the hidden X card.

FIGURE lk 13) The right hand now moves upwards with its AC, plus X secret card, to thus end up with four Aces out-jogged in the face up spread as in the Figure 15. The Figure l6 shows the back view of the up-jogged cards which show the ^X cards secretly added onto the Aces of Hearts - Clubs and Diamonds.

lh) The right hand alone now holds the still slightly fanned or spread deck while left hand moves up to grasp the four fanned up-jogged (or out-jogged Aces depending on how the cards are held - upright or parallel to the floor) Aces with left thumb on the face and fingers beneath. The Figure 17 shows the left hand about to strip out the Aces by pressing them outwards or away from the spread.

15) The outward or downward stripping action of the Aces is continued until the lower ends of the Aces clear the upper end of the spread or fan of cards held by right hand. It is important that as the four Aces are stripped out their lower ends will automatically be covered by the upper end of the spread. The Figure l£3 shows the Aces stripped out and their lower ends behind the upper end of the spread of cards held by right hand.

FIGURE 18 l6) The action of Figure l£3 is to cover any X. cards thatmay have been downjogged too much during the pushing of the X card behind each Ace; however, if you have done your work properly the lower ends of the fan of four Aces will show only white borders and because the stripping out action and the placing of the Aces, to under the cards in the right hand, takes place rather quickly the spectators eyes will only have time to look at the upper end of the Aces where the indexes are. At any rate the Figure JL9 is an exposed view of the Aces, with X cards properly added, where you will note that since only the white borders show you really do not have time to actually note any extra cards other than the four Aces.

FIGUlUi 19 17) The left hand having stripped its Aces out the right hand at once moves its spread of cards onto the Aces as shown in the Figure 20. This action is continued with the Aces going under the cards in right hand in such an obvious manner as to clearly convey that the Aces will be on top of the assembled deck when it is turned face down into the left hand.

18) With the deck face down and squared in left hand dealing position to all appearances the four Aces have been out-jogged, stripped out then placed to the top of the dock. The actual situation, from top down, is X card _ M) - X card - AC - X carl - AH - AS. There is an X card preceding each of the top three Aces. Uses of this "Unit Upjog Addition" will be found in the effects section. 19) .ifhile all illustrations show the left first finger curled around the top end. of the cards, this because for some it will insure better control and prevent any inadvertent up-jogging of an X card. My personal technical preferance is with all four left fingers on the back or under side of the cards during the spreading, up-jogging of the Aces plus the secret addition of the X card behind each Ace as may be required for the effects. 20) While the description has been for the adding of a single >C card behind each Ace you can also add more than one card such as two cards behind each Ace and even three cards behind each Ace. In these cases the X cards must be as close together as possible when secretly moving them, almost as a unit, to behind the Ace you wi.'.l up-jog. In this case using the left first finger curled around the upper end of the spread is of help. The left thumb, as before, pulls the desired Ace to the left but the left fingers must contact the last card to the left of the Ace. In other words if adding secretly two X cards the left fingertips must contact the second X card to the left of the Ace. For three cards the left fingertips would contact the third X card to the loft nf th- Voe. l)o not make the mistako of squaring up the Ace plus the _X cards in order to do this Upjog Addition as you will definitely lose the casualness of the whole thing and tip off that you are up to some­ thing. oven though having say gSX car ls behind each of three Aces may, on

reading,seem like quite a few cards actually they will appear as simply four single Aces if you have taken the precaution of having the single sides and top ends of each Ace beyond the hidden X cards. 21) A trite effect, after seemingly placing the 4 Aces on top of the deck, is to deal out four cards as you apparently give each player an Ace for a hole card. Continue the deal but on the Uth round you deal Seconds for three counts and deal the Vth Ace to yourself. Finish by dealing each player one more card for a total of five cards. Use your top card to scoop up your hand and squaring it turn it face up. Ask the otherplayers if they bettered their Ace or hole card. They will be surprised to find they do not have the Ace. Spread your hand to show you'bettered your hand by getting all four Aces. 22) Another approach, after seemingly placing the Aces on top, is' to thumb over the top four cards, square them, flash the Ace at the face of this packet then replace the packet face down back on top of the deck. Give the deck one In Faro Shuffle as you ask your brother magician where this would place the Aces. He will reply, "Every second card". Next very slowly deal the top eight cards, one at a time between your­ self and your spectator. Here you must get them distracted from the fact that you deal to yourself first. When eight cards have been thus dealt ask, "Who has the Aces?" He should say that you do.With this you add, "You missed my Second Deal". Show your cards are not Aces and leave them face up on the table. Use the top card of his packet to scoop up his cards. Square them up, flash the Ace as you add, "You have them". Place the supposed ^ Aces face down onto the top of the deck. Onto this place the remaining k cards, (if you wish you can show his packet first, as having Aces, then later yours). Once more deal out the 8 cards but this time do the deal normally by starting with the spectator getting the first card. When each of you have four cards apiece again ask who has the Aces''& Regardless of the answer pick up your four cards and drop them onto his. Turn the packet face up and say, "None of us has the Aces -they are gone". During this you deal the first six cards, one at a time, face down to the table and deal the last two, as one, onto the others. It looks, with the added patter line, as if you showed all the cards. The top card of the tabled packet is an Ace. Use it to scoop up the other seven cards then replace them faces down onto the top of the deck. With the first 3 Aces every 8th card you can deal out 8 hands of Poker dealing Seconds to hold back the ^-th Ace, to end up with the four Aces. If you prefer, through the use of Riffle Shuffles, with Block Transfers to retain the position of the other Aces, set an Ace into a spelling position. For each Ace you would repeat the Riffle Shuffle as you add the required amount of cards in order to spell the next Ace. Continue until all have been spelled out or perhaps simply relocated by using Riffle Shuffles with Blocking Off, Block Transfers plus Strip-Outs--Push Throughs— Shank, Zarrow or Spade Shuffi^«-

FILLING THE HAND E F F E C T : Performer removes four Aces and places them onto top of the deck. He then deals, one card at a time, the top four Aces between the spectator and himself. With each having two Aces, cardician now deals three more cards to each, hand, again one at a time to make a hand of five cards. Both magician and spectator pick up their hands to see if they bettered their pair of Aces. Cardman say, "I got two p a i r — two pair of Aces!" With this he shows four Aces while spectator has none. Effect is repeated this time clearly showing each pair of Aces just before dealing them between cardician and specta­ tor. As before each gets three addition cards to see if the Aces have been bettered. W h e n spectator turns over his (Continued on next page. Note asterik for Step 22)

‘‘
This places 2 Aces, that are still in deck, at 8th and 12th from top. After showing no Aces among the two four card hands and replacing to top of deck as per instructions, table deck for Riffle Shuffle. Using only one Riffle Shuffle, get 8^ cards onto top Ace of deck being sure you do not mix in any other cards into those Aces already set. Deal out 8 hands as follows: On 1st round do a Second Deal on 8th card to get first Ace. On 2nd and 3rd rounds deal fairly. On 4th round start second dealing on 4th card to hold back last Ace so it falls into 8th hand. Incidentally, at Step 21 you can avoid the Second Deal by starting the dealing to yourself first.

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hand he has the four Aces to which the surprised card man utters, "Huh?". Regaining his composure he turns his cards over to show he has a Straight Flush which according to Hoyle, beats four Aces. The first part of the effect, dealing only with the four Aces, I originally performed, at the Knoxville Convention in 19^3, for a group of lobbying magicians. There were two methods for this effect neither of which was easy, but both practical. One method, the harder one, was sent to Jack Avis while the other method I later gave to Piet Forton. Both methods in essence depended on the Mario Two Card Throw and Multiple Throws «Probably the one that should be credited with the basic effect is Ron Ferris since he did publicly record a very easy and practical method in A1 Sharpe's "Expert Card Mysteries" - 1969 - under the title of "Royal Aces" on page 82 of that book. The underlying secret move used was the "Braue Addition Move" to set-up the Aces for the deal. Ilmention this because many of the effects are similar but the underlying method or approach is what makes the difference. The one to be described will take in even a sophisticated card man because of its direct approach and the subleties of the repeat will make it difficult for him to reconstruct any part of the routine. 1) Begin by secretly getting the 3-if-5-6of Diamonds - any x card and the 7D on top of the deck. Also make sure that the last three Aces of the deck, as it is spread between both hands, will be separated from each other by a few cards before you start the routine. 2) Assuming you have checked the deck and do have the required situation as in Step 1_ above hold the deck face up as you start to spread it between both hands. As you come to each Ace you up-jog it; however, on the 2nd 3rd - Ath Aces you execute the "Unit Upjog Addition" thus secretly placing an & card behind the 2nd _ 3rd and Ath Aces. To all appearances you have merely up-jogged A Aces which the left hand cleanly strips out while the right hand holds onto the still slightly spread deck. The left hand places the four Aces, which are held still fanned, to under the face up deck and thus to the top of the deck. If preferred the right hand can sort of toss the face up deck onto the face up fanned Aces in the left hand. 3) Turn the deck face down, squaring up the deck between both hands, then hold it in left hand dealing position. On the top of the deck you have the order of cards as X - Ace - X - Ace - X - Ace - Ace. Say, "I will deal us two Xces each". Here deal the top four cards, one at a time, between spectator and yourself. You will have two Aces and the spectator will get two X cards. Two Aces are still on top of the deck with an X card on top of them. “ — k) Deal the top

X card to spectator and the next top card, an Ace, to your­ self. When thespectator's hand has three cards this is your tip-off that his next or Ath card must be Second Dealt thus giving him another' X card while you retain the Ath Ace which you deal fairly to yourself. If you wish you aan use your hand as the tip-off for the Second Deal. In other words when you have three cards in your hand you know the next card must be Second Dealt to the spectator to retain the Ath Ace for your hand. This is easier than trying to remember at what number to deal the Second. Finish the deal normally until each of you have five cards.

5) Place deck aside. Use top card of your hand to scoop up the four Aces. The packet is squared and placed face up on the table as you ask, "See if you bettered your Aces". Without too much pause say, "I did - two pair two pair of Aces". Here you spread your five cards downward and to the left which will expose the indexes of all the five cards properly no matter where the other spectators may be sitting or standing. 6 ) .Then both hands have been turned face up you will note that your hand will have one of the Diamond cards, of the required straight flush, while the spectators hand will have two of these Diamond flush cards. Casually place your Diamond card on top of the deck which left hand has picked up and is holding in a dealing position. Pick up the spectator's two Diamond cards, of the required straight flush, to place these face down onto the top of the deck; however, the left 4th fingertip moves in, at the extreme lower right corner, in order to hold a break below these two Diamond cards. Pick up the spectators remaining three X cards and insert them, from the front end of the deck, into the center of the deck. The left 4th fingertip still main­ tains its break below the top two Diamond cards.

7) The right hand picks up the four Aces and holding them face up between both hands and sort of against the top of deck, arrange them so that the two Red Aces are at the face while the AC and AS are next, in that order from face to top. The right hand holds the fanned face up Aces, with thumb on the face and fingers beneath, then flips the still fanned Aces faces down onto the top of the deck. As the Aces converge and fall flush onto the top of the deck the right hand follows through by at once picking up all the cards, above the left 4th fingertip break, from above by the ends carrying them upwards above the deck and up to the left thumb and fingertips which now square the sides of the packet. Thus the packet is being squared between both hands which hold the packet well above the deck. Now comes a subtle and direct add on sequence. 8 ) The right hand alone holds the packet from above by the ends. The left thumb peels off the top two Black face down Aces, one at a time, onto the top of the deck but in a fanned condition off to the right side of the deck. The left hand now turns palm downward to bring into view the fanned AS and AC. The left hand turns palm up again as right hand deposits its cards, really four, onto the top of the fanned Aces. Right hand pushes all cards flush with the top of the deck but the left 4th fingertip obtains a break below these six cards. At once the left thumb deals over the top two cards, the Red Aces, which are taken by right hand, one card under the other in a fanned condition, with right thumb on top at the lower right corners and 1 st - 2nd fingers below or on the face of the Aces. The right hand turns inwards to show the face of the two fanned Red Aces. All these actions are done during the simple patter line of, " Two Black Aces - and -Two Red Aces". Right hand now places its two Red Aces onto the top of the deck.

9) The order of cards, from the top down, is two Red Aces, two Diamond cards, AC - AD and three Diamond cards. Deal top card fairly to spectator but do a Second Deal into your hand. This Second Deal is made while the left 4th fingertip holds a break and is not as difficult as it would seem. The spectator has one Ace and you have one of the Diamond cards. Your patter is, "One Red Ace for you and one Red Ace for me".

10) Here the right hand positions the cards above the break so they are held by the sides'^ above the deck, with the left fingers and thumb. The right hand can now easily do the D'Amico Spread or the Mario Pivot Spread to show the two Black Aces with AS as the big face Ace. The right hand flips both cards, really four as a spread of two Aces, onto the top of the deck. Deal the top two cards fairly between the spectator and yourself as you patter, "One Black Ace for you and one Black Ace for me - two Aces each". 11) At this stage the spectator has two Red Aces and you have two Diamond cards. On top of the deck are two Black Aces followed by the three Diamond cards. Deal the top card fairly to the spectator. Re has three cards and this is your tip-off that you must Second Deal into your hand which will give you another Diamond card and retain the 4th Ace for the spectator. At any rate a^ter the Second Deal into your hand the rest of the deal is fair until each of you have five cards. 12) As before you can square up and turn your hand face up as you say, "See if you bettered your pair of Aces". When he shows that he has four Aces act surprised as you grunt, "Huh!". Spread out your cards. It will be evident that you have all Diamonds; however, since the values are mixed at first glance it will not be obvious that you have a straight flush. You take advantage of this by first saying, "Well I got a Diamond Flush but that doesn't beat four Aces". By this time you also have picked up your hand and are holding the five cards facing you. Now add, "If I remember correctly a three - four - five - six - seven of Diamonds is a straight flush and according to Hoyle that does beat four Aces". As these lines are delivered the right hand removes each card, in order, from among the five, to place them face up in a row from your right to left to properly display the sequence of cards to the spectator across the table. Note: In one of the methods I devised a procedure which was quite logical and eliminated the Second Deal in the opening part of the routine. The set­ up of Diamond cards on top of the deck is the same. In up-jogging the four Aces you do the "Unit Upjog Addition" only on the 3rd and 4th Aces. After the placing of the four Aces, really six cards, onto top of the deck you will have, from top down, X - Ace - X - Ace - Ace _ Ace then the five Diamond cards. Deal the top four cards, one at a time, between the spectator and yourself as supposedly two Aces each. Actually you have two Aces and the spectator has two X cards. Now table the deck for a riffle shuffle. Cut off the top half, with right hand, to the right. Riffle Shuffle so you will hold back two cards on top of each section. Also make sure you do not mix any cards into the five Diamonds cards. Next simply lower the held back pairs of cards so that the two X cards from left hand section -weave in one X card above each Ace. This results in the top four cards in X - Ace - X Ace order. The Riffle Shuffle just before you deal out three more cards each is logical enough. All you need to do is finish the deal fairly giving three cards, one at a time, to the spectator and yourself. The spectator and you will have only one of the required Diamond cards among the other cards. Begin by placing the three cards, from spectator's hand into center of the deck. Next pick up the two Diamond Cards placing them on top but getting your break beneath them. From here show the four Aces as already explained for the repeat of the effect; however, the Second Deal at the very beginning can be eliminated as follows: When it comes time to show the top two Red Aces you also deal over the third card, about a quarter inch or less, over the right side of the deck. The right hand is displaying its two fanned Aces. The face Ace is returned face down to the top of the deck, side-jogged forhalf its width to the right side of the deck,

covering also the under third card which has its right side projecting a quarter inch over the right side of the deck. There is no break held. The right hand moves up to show the face of the single Red Ace then places this Ace face down apparently under the side-jogged top Ace. Actually the lower left corner of the face down Ace is turned under the projecting quarter inch of the card that is just below the top side-jogged Ace. Once this stepped second card is thus engaged the second Ace is simply slid in below this quarter inch stepped card the action being covered by the side-jogged Ace above it. All that remains is for the cards to be squared. This results in Ace - X - Ace from top down with the X card in this case being one of the required-Diamond cards. These two supposed top Red Aces are dealt between the top Red Aces are dealt between the spectator and yourself. He will get a Red Ace and you get the Diamond card. Go into the D'Amico Spread to show the two Black Aces. Flip them face down and apparently deal one each of the Black Aces between spectator and yourself. So far he has two Red Aces and you have two Diamond cards. Table the deck, as you did before, for the Riffle Shuffle during which you place an X card to precede each of the remaining two Black Aces; however, you do this with a Block Transfer. Briefly - Undercut the deck with right hand to the right. Riffle Shuffle using either a Shank Shuffle or a Strip-Out Shuffle with a Block Transfer of the two Black Aces from the left hand portion onto the top of the right hand section. This leaves the three Diamond cards on top of the left hand section. During your next shuffle you stack a Diamond card above each of the two Black Aces. Now conclude the deal fairly until each have five cards. Climax the effect as outlined. (Note - See Bob Veesers letter of 195& for details on the dis­ placement move used here on the two Red Aces. You can eliminate the False Riffle Shuffle with Block Transfer by simply getting a break, with left thumb, under the top two Aces. The right hand now simply cuts out half the deck from under these two Aces. With two Aces on top of the left hand section and three Diamond cards on top of right hand portion you can go directly into the stacking.

THE CHOICE ELEVATOR EFFECT: Four Kings are removed from the deck and dealt face down, to the table, in a row from left to right. The spectator is handed the deck and told no matter onto which King he drops the deck you will cause that King to travel to the top of the deck. From this point on the spectator is given other free choices and alternatives to conclude the Elevator Effect. 1) For this you up-jog the Kings as you come to them; however, it will pay to make sure they are separated by a few cards between each. In other words just as two Kings are not together and at least a half dozen or so cards separate them. 2) During the up-jogging of the R Kings use the Mario "Unit Upjog Addition" to get an X card behind the 2nd and 3rd Kings from the face of deck. Right hand holds deck as left hand strips out the up-jogged Kings, really 6 cards, to place them under the still face up deck and thus on top of deck. 3) Turn deck face down into left hand dealing position. The order of the top six cards is K-X-K-X—K-K. Deal out the top four cards, face down, from your left to right resulting in a K-X-K-X situation. The remaining two Kings are on top of deck. Do not worry about the order of the Kings being re­ membered especially if you originally up-jogged them in an alternate color sequence.

4) Hand the deck to the spectator and tell him that he can drop it onto any­ one of the Kings and you will cause that King to take the Magic Elevator to the top. Since there are several possible combinations depending on whether he drops the deck onto an X card or a King. I will describe each starting with the simplest. 1st Combination 1) Spectator drops the deck on an X card. Riffle sides of deck and turn over top card to show a King has travelled to the top. Place King face up in its original position. 2) Again hand deck to spectator and state that he can drop the deck again on aiy of the 2 remaining Kings and you will cause that King to also travel to the top. Assume he drops the deck on the other or remaining X card. Here you say, "The first time you dropped the deck onto the King of (naming suit) and he travelled to the top. This time you could have dropped it onto the King of (naming suit)", as you turn a King face up in its original position. Repeat this same line on the^ema i n i n_g face down King. You have 2 Kings face up. At this stage point to the deck and ask, "But you dropped the deck on what King?" When he answers you repeat the name of the King as you say, "Yes - The King of naming suit was your choice and he will travel to the top. Slowly turn the King face up leaving it on top of the deck to conclude. 2nd Conbination1 1) Spectator drops the deck onto an actual King. Have the King come to top and place it face up in its original position. At this stage the deck has a King on top and a King on the bottom of the deck. 2) This time you can state that no matter which of the 2 remaining Kings he chooses you will cause that King to go either to the top or bottom of deck, thus giving him a sort of double choice. 3) To keep it simple for now assume he has you drop the deck on another King. Have the King come to the top. This leaves two face down X cards on the table and two Kings on the bottom of deck. h) Casually cut the bottom King to top, using any form of a Reverse Double Undercut to leave you rath a King at top and bottom. Here again you can give him a choice of any of the supposed 2 remaining Kings and also whether they should travel down thru the deck or up to top of deck. 5) Assume he chooses one of the 2 X cards and wants it to go to the bottom. Place the X card on top. Do a down riffle, with left thumb, at upper left corner as right hand holds deck only by lower right corner. Turn over top card to show apparently the King is not there. Turn deck face up to show the King. Deal it face up into its original position in the row. 6 ) Turn deck face down into left hand. Turn the face up X card face down and get a left hth fingertip break below it. Cut deck and maintain the break above it. Cut deck and maintain the break above the remaining Xing. Point to the last supposed King, really last X card, as you ask if they want the last King to go to top or bottom.

7) If he says "To top", then cut deck at the break dropping those cards above the break to the table. Drop X card onto this portion then drop rest of deck, from left hand., onto the tabled cards. You can now show the last King on top as requested.

8 ) If spectator should want the King to go to the bottom of deck then the right thumb, at back end, must cut at the break plus pick up the card, a King, that is below the break so it will become the bottom card of the cards dropped to the table. The tabled X card, supposed King, is placed on top of the tabled half then rest of deck, from left hand, is taken by right hand and dribbled onto the supposed King to lose it in center of deck. Square up deck, pick it up, hold bjr lower right corner with right hand, thumb on top fingers beneath, as left thumb down riffles the upper left corner of deck for effect. Eventually turn deck face up to show the final King having arrived.

3rd Combination 1) Spectator has dropped deck on X card which results in a King coming to top but deck has only one King on top. The next time the spectator is given the same choice of which King is to come to top. This time he drops the deck onto an actual King. 2) You naturally show the King has travelled to top. This leaves you with a King on bottom of deck while on table are an X card and King still face down. This time you can give him a choice as to which King he wants to travel down thru the deck. .If he chooses a King you can naturally now conclude as per the 2nd Combination as per Steps 7 and 8 on the final King. 3) Should he choose the X card you then point out to him how he had choices of the other face up Kings on table. This time you say, "You could have chosen this King", as you turn the actual 3rd King face up on table. Point to the three face up Kings, calling their suits, as you finish with "But you chose the King of naming suit". All that remains is to show the chosen (?) King as having travelled from top to bottom.

The above 2 Combinations are about all you will encounter with perhaps a slight variation in procedure. As an example in the 2nd Combination you have, at one point, two face up Kings on table which have travelled to top. In the deck you have a King on bottom and top, after a Reverse Double Undercut. The two X cards are the two supposed remaining Kings. This time spectator decides a King should, travel u£ to top of deck. This means he will drop deck onto an X card thus making the bottom King second from bottom. This time you can riffle deck and show the King is no longer on the bottom. Turn deck face down and turn over top card, the King, to deal it face up to table. Here cut the deck holding a break, with left 4th fingertip, between the halves. With tip of left 4th finger angle out the bottom card then this same left 4th fingertip pulls down on this card to keep a break above it. Now depending on whether the spectator decides the final King to appear on the top or bottom decides your procedure. If ho says, "Top", then you use the same "Kick Out Count", with left 4th fingertip, in order that left 4th fingertip can pull down and in on the King, so it comes flush with the cards below the break, then cut and bury the remaining !X card as already detailed in the climax of the 2nd Combination. If the choice is to the bottom then naturally you leave the King above the break as you cut the deck, then bury X card, to again conclude as per the 2nd Combinationa

K. M. MOVE - WITH REVERSE FINGERING ACTION Since reference is made, in the following effects, to the K. M. Move, a brief description of this sleight will come first. Once the idea is grasped the reader should have little difficulty in understanding the procedure whenever use of this move is suggested. 1.

While the top card can be either face up or face down, for this description assume the top card, an Ace, is face up on top of deck. Deck is held in left hand dealing position in Mechanic’ s Grip. The right 1st finger does a Hit Double Lift, at lower right corner, of 2 cards back to back in this case. The right 1st and 2nd fingers move up along under these 2 cards until they reach about the center of right side. The right 1st and 2nd fingers are still under the 2 cards while right thumb is on top or face of the Ace. The cards, thus tightly pinched, are moved off to the right until the posi­ tions shown in Fig. 1 is reached.

2.

The left hand now starts to turn palm downward, and thus momentarily the deck actually obscures the cards held by right hand. At this moment the right thumb pushes the face card to the left, or under the deck, as at same time the right 1st and 2nd fingers pull the under or face down card to the right. These Reverse Finger Actions result in the original face up card going face down onto deck while a face down card, presumably still the Ace, is held by right hand. Fig. 2 shows the right hand moving out, with a face down X card, while left hand is still palm downward.

Flc.2

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Once right hand places its card face down to the table, the left hand turns palm upward again. Everything looks normal, as there is a face down card on top of deck. If the move was started with both cards face down, then the same moves would leave the original top card reversed or face up on top of deck while an X card would be face down, held by right hand. There may be times when this may be called for in the effects to be described. The K. M. Move with Reverse Finger Actions can also be used with both cards secretly r* face up, or cards face to face, as well as with blocks of cards; all this depending on the purpose for which it will be used. I An added touch is used when you want to simulate the effect of the card in right hand apparently being changed to another card. This is for the left thumb to sort of downstroke the card held by right hand as it moves out from under the deck. In most cases this change is a sort of delayed one in that a face down card is stroked, then turned face up to show the change having taken place; however, on occasion a back of a card is changed from one color l to another, plus an apparent change or vanish of the original face of the card to another. By having 2 cards face up, as apparently one, on top of deck the use of this approach seems to magically and visually change one card to another. As an example, suppose you have 2 cards turned face up on f top of deck as apparently a single Ace. Go through the mechanics required to get you into the situation already shown in Fig. 1. At this stage when left hand turns palm down the right fingers and thumb do the Reverse Finger ( Actions. The single face up card remaining in right hand now remains still as left hand, with left thumb sort of extended, moves downward so that left thumb, pressing downward on the face up changed card, brushes off the face of card as in Fig. 3, where you will note the downward bend of the now changed* c a r d } h o w e v e r , in this case the card would be face up to show a visual change. {

Fig. 3 5.

The stroking action of Fig. 3 is continued until left thumb brushes past the card’ s upper left corner. This will cause the card to snap back up to its normal straight condition. The left hand can now turn palm upward as all cards will be face down. The change actions of Fig. 3 can be used on a face down card. In this case the face down card is turned face up first and then left hand turns palm upward to show everything normal on top of deck.

Single Card Exchanges 1) Face up to face down exchange is made as follows: You wish to excha n ge the top card of deck for the second card of the deck. Push over the top two cards w i t h the second card going just far enough so that the left 4th fingertip can obtain a break below it when iett thumb pulls back this second card. The right thumb and fingers meantime have grasped the lower right corner of top card. 2) H o l d i n g the card in right hand, w i t h thumb on top the 1st and 2nd fingers beneath, the left thumb and 2nd - 3rd fingeis help snap the left side-edge of the card to convey its single­ ness. The right fingers no w lever the card face up and flush onto top of the deck. The left 4th fingertip now has a break b e n eath the back to back cards. 3) The right hand at once grasps the two cards, as one, by the lower right corner with thumb on top and 1st and 2nd fingers below. The left thumb moves to the left side of deck, near upper left corner, for a simulated pushoff of the face card. Actually the right thumb and fingers, holding firmly onto the two cards as one face up card, move to the right as the left thumb merely follows t hrough in a simulated pushoff action as shown in

Fig. 2 -

4) N o w the right hand starts to turn its card(s) over onto deck or so it appears as actually the left hand starts to turn d o w n ­ wards onto the face up card(s). Both hands have also moved slightly to the right so that the left hand downward turn is also inward towards the body as seen in Figure 2 where the left thumb has moved to left side of deck.

5) The right 1st and 2nd fingers aid in completing the action of t u r n i n g the card(s) onto the deck with the left 2nd- 3rd- 4th fingertips also helping in folding the card(s) against top of deck. As the turn over action is completed the left will be p a l m d o w n . In a continuous rhythmic action the left thumb deals the n e w top card face down to the table as in Figure 3.

Fig. 3

6) Once the new card has been dealt off to the table the left hand turns p a l m upward. Since there is no face up card showing on top of deck it adds to the inference that the original face up card is the one on the table. The real situation is an X card on the table while the original card is face down on top of deck. 7) Here the Single Card Exchange is slightly varied but is actually logical in its mechanics. The idea is to show the single top card, turn it face down onto top of deck, apparently turn it face down onto deck from where it seems to be dealt face down to the table but in reality an X card while the original selection is n o w face up on top of deck. The mechanics are identical to that just described; however, due to the previous actions the end result is different. 8) Assume the desired card is second from top of deck. In p u shing over the top card the left thumb also advances the second card far enough for the left 4th fingertip to obtain a break b e n e a t h it, at the lower right corner, when left thumb pulls back this second card. The left 2nd and 3rd fingers can also aid in pulling the second card back flush with the deck as right hand takes only the single top card. The top card is snapped, by left fingers and thumb, on its left side edge. Right hand flips this card face up onto deck. The left thumb at once pushes o n l y the face up card back towards the right hand which takes it again. The face up card is now snapped as before, to infer its apparent singleness, then flipped face down flush onto top of deck. In a follow through action the right thumb and fingers g r a s p the two cards, as one, above the break. The left thumb does a simulated pushoff as right hand actually moves off the card(s) to the right as already shown in the Figure 1 except here the card (s) will be face d o w n .

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10) Next you start to turn the card(s) apparently face up as you e x ecute the identical moves depicted in the Figure 2 again bearing in mind that in this case the card(s) is face down. Follow through by the thumbing off of the n e w top card face down to the table as previously depicted at the Figure 3 . On dealing the card face down remember the original card is now face up on top of deck so be sure to keep the left hand palm down in this case. I say, “In this case", because there will be instances when you will turn your hand palm up to actually show a face up card or cards. 11) While I have mentioned the use of the Simulated Pushoff you can use any type o f regular pushoff technique. My personal preference is the "Spade" book pushoff technique used for double or multiple cards pushed over as apparently one card. D o u b l e Card Exchanges 1) Here you exchange two single face up cards for the next two X cards on top of deck. For clarity assume the two Red Aces are to be exchanged for two Black Aces. The Red Aces are top cards with Black Aces 3rd and 4th from top of deck. 2) Casually spread top four cards and in resquaring get a left 4th fingertip break beneath them at the lower right corner. Left thumb deals over the top two cards, one under the other, which are taken, in a fanned or spread condition, by right thumb on top and 1st and 2nd fingers below. 3) Right-hand flips its two Red Aces face up and flush onto top of deck. The left thumb now pushes over only the face Ace thus showing two Red Aces. The right thumb and fingers grasp all those cards above the break at the lower right corner. Holding the cards firmly the right hand moves the cards, as seemingly only two face up Red Aces, to the right side of the deck as shown in Figure _4.

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4) The two banc’ s move to the right and inward towards the body. At the same time the left hand turns palm downwards, towards the Red Aces, while right hand also is following through with its t u r nover or flipping of the Aces as in Figure 5. Note left thumb has tncved to left side of deck permitting the flipover.

5) O n c e the two Red Aces, plus the secretly added two Black Aces, have been flipped over up against top of the deck the left thumb deals off the now two Black Aces face down to the table. The action is shown in the Figure 6 where one card is al ready face down on the table with che second card about to be dealt.

6) O n c e the two cards have been thumbed off the left hand can turn palm up again since the Red Aces, now on top of deck, are face down. The following will briefly explain how the face down two Re Aces will be exchanged so that the Black Aces will go face down to the table but the Red Aces will be face up on top of deck. 7) Get a break, with left 4th fingertip, beneath the top four Aces Left thumb deals over top two Aces, one under each other in a fanned condition, which are taken by right hand. Right hand flips the two Red Aces face up onto top of deck. Left thumb deals the face up Aces, again one under the other in a fanned condition, towards the right hand which takes them, still fanned, to hold faces up as left thumb, with aid of left 2nd and 3rd fingertips, sort of flick or snap the left side edges of the cards to indirectly indicate only two cards being held. 8) Right hand flips its cards face down and flush onto top of deck. Left thumb pushes over only one card as right thumb and fingers g rasp all those cards, four of them, above the break at the lower right corner. Holding these cards firmly the right hand moves these cards, as apparently two fanned face down Red Acus, to the right side of deck in a manner identical to that shown in Figure £ except here the cards will be face down. 9) The supposed two fanned cards, really four cards, are now flipped over onto deck as left hand turns p a l m downwards to meet these turning cards. Again the Figure 5 shows this action except here the cards are face down. 1C) Continue the action of Figure J5 until the cards from right hand have been flipped over up against the top of deck as left hand turns palm downward then immediately thumbs off the now Black Aces face down to the table. The previous Figure 6 shows this action. Once the two Black Aces have been dealt face down to the table be sure to keep the left hand palm down as you n o w have the two Red Aces face up on top of deck. exchanging Two of Four 1st P r o c e d u r e : 1) This enables you to show say Four Aces and exchange two of them. Begin by having the four Aces so that they are face to face w i t h the two Red Aces face up and the top two Black Aces face down. The right hand, which has first arranged the required condition into a four card fan, holds these. During the time the arrangement is thumbed over by left thumb the 5th and 6th cards of the deck are also pushed forward so that in dragging these two cards back, towards top of deck, the left 4th fingertip holds a break beneath them. The right hand holds its cards, still fanned, against top of deck*.

2) Under cover of the fanned four Aces the right 1st and 2nd fingertips enter the break, at lower right corner, to grasp all those cards above the break or the two X cards just below the lowermost Red Ace. The right hand h o w moves i t ’ s fan of four Aces, plus the secretly acdec 2 X cards, to the right ,Fig .7 ,as if to flip the four cards over onto the deck. Naturally b o t h hands move slightly to the right and the left hand starts to turn inwards and p a l m downward in order to meet the fan of four Aces as right hand also continues with its turning or flipping action. The Figure 8 shows the performers v i e w of the turning action. Left thumb has moved to left side of the deck.

3) Once the right hand has turned its four Aces up against the top of the deck the left thumb at once thumbs out, one card at a time, the two face down cards as you say "Two Black Aces". With the left hand still palm down thumb or deal off the next two cards which will be the face up Red Aces. The action is shown in the Figure 9 where the fourth card, a face up Red Ace, is about to be thumbed off alongside the first face up Red Ace. Figure 9 shows the performer's view.

4) Keep the left hand palm down to conceal the n o w face up B l a c k Aces on top of deck. A change of procedure can be made at S b e p 8 by dealing only the supposed two B l a c k Aces face down to table. N o w turn left hand palm up as two face down Red Aces will be covering two face up Bl a c k Aces. 5) The left hand is held so that the top of d e c k is towards yourself. The left thumb can n o w thumb over the top two cards, one under the other in a fanned condition, w h i c h are taken by right harid and shown to spectators as you add, "And two Red Aces". 6) Since you have the two B l a c k Aces secretly face up on top of deck you are set to exchange the Red Aces for the Black ones as follows; Flip this Red Aces face up onto the face up Black Aces. Lower the deck. Right hand squares the ends of deck during w h i c h you find the natural back to back separation and obtain a break, at the lower right corner, with tip of left 4th finger. Left thumb pushes over only the face Red Ace. Right thumb and fingers g rasp all those cards above the b r e a k bo carry them off to the right side of deck as apparently only two spread Red Aces. These are flipped over and face down onto deck. Left thumb at once pushes over the top two cards, really Black Aces, W h i c h right hand takes to place them faces down, to the table, as apparently two Red Aces. 7) W i t h the two Red Aces actually on top of deck get a left 4th fingertip b r e a k beneath them in readiness for a transposition effect. Right hand picks up the supposed two Black Aces, but really two X cards, to place them on top of deck but get a left 3rd fingertip break b e l o w them. Thus you have two breaks each m a r k i n g off two cards.

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8) The left thumb does a two card pushoff, of those cards above the 3rd fingertip break, as apparently one card w h i c h is taken, at the upper right corner, w i t h right thumb on top and 1st and 2nd fingers below. The two cards above the left 4th fingertip break are n o w also pushed over, by left thumb, as one card. This card(s) held by right hand by right hand sliding its card(s) to under the card(s) p ushed over by left thumb. This action is shown in Figure _10 during w h i c h you merely say, "Two Black Aces".

9) The fanned cards of Figure 10 are replaced square onto top of d e c k then almost at o n c e you repeat the identical actions, of sliding top card to under the second card, with just two single cards as you ask, "What color Aces are these?" When they say, "Black", you say, "Those are over here" as right hand, w h i c h has left its fanned cards on top of d e c k but off to the right side of deck, turns the supposed tabled Red Aces to show they are n o w the B l a c k Aces. The right hand comes b a c k to the deck, takes the top two fanned cards, turns them face up to show they are the Red Aces w i t h the line, "These are the Red Aces", thus completing the "Transposition Untitled" which incidentally can be repeated, t h r o u g h combinations of K.M. Move handlings, to completely lose any magician. Exchan g i n g Two of Four 2nd Procedure; 1) The e x c hange mecha n i c s are the same as before except here the A c e s are back to back with the Black Aces face up on top of the face down Red Aces. The four Aces are fanned and held against top of deck. The left 4th fingertip has a break beneath the top two cards of deck. The situation is identical to Figure 7 except B l a c k Aces will be face up on top of two face down Red Aces.

2) Right tr.umb and fingers grasp all those cards above the break to carry them, as apparently four fanned Aces, to the right side of deck. The same actions, already depicted in the Figure 8, of turning the four Aces onto top of the d e c k are now made. The left thumb deals off two cards face down as you say, "Two Black Aces". This time the left hand turns palm up, w h i c h shows the Red Aces face u p , then left thumb deals over the Red Aces to be­ taken by right hand, at lower right corner. Left thumb sort of brushes down the left side of the Aces, letting them escape from under the left thumb, as you add, "And two Red Aces". The completed action, is shown in Figure JJ. where the face down tabled cards are two X cards with the actual Black Aces on top of deck.

Fig.11

3) The above handling, with the addition of the "Buffaloed" idea, is that of David Solomon of Chicago. Briefly - having displayed both sides of the four Aces they are finally r es t ed against the deck. Since the Black Aces are face up you start by saying, "Two Black Aces", as at same time you do the t u r n ­ over and the thumbing off of the now two X cards face down to the table. Turn left hand p a l m up and deal over the face up Red Aces, which are taken by right hand, as you conclude with "And two Red Aces". The "Buffaloed" idea fits in q u i t e well w i t h this second procedure. No need to men t i o n that this can n o w be used to effect a transposition not only once but several times depending on how many times you intend doing the c o mbinations of K.M. Move plus the Fanned Two Card Turnover when in reality four cards are being turned down onto deck thus bringing either the Aces of opposite color to top of deck or the two X cards to top of deck which are dealt off as the supposed two Aces just shown.

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E x c h a n q i n q Two of Four 3rd P r o c e d u r e ; 1) While the four Aces can be face to face or back to back for this d escription it will be with the Black Aces face up on top of two face down Red Aces. The right hand holds the fan of four Aces. The left 4th fingertip has obtained its break below the top two cards of deck. 2) The fan of four Aces are rested against top of d e c k as in the Figure 7 except the two uppermost Aces will be face up while the lower two, which rest against top of deck, will be the face down Red Aces. The right hand grasps all those cards above the break, a total of 6 cards passed off as four fanned Aces, to carry them off to the right side of deck. The right 2nd and 3rd fingertips n o w flip over onto top of deck, only the two face down Red Aces (actually four cards as two) as shown in the Figure _1J? where note how right hand is holding onto the two face up Black Aces. Left thumb has moved to left side of deck to permit completion of this turnover.

Fig.12

3) The left hand, which is palm down now, deals off the supposed two Red Aces face down to the table. Left hand remains palm down as the two Red Aces are face up on top of deck while- right hand holds two face up Black Aces.

4) If you start with the four Aces face to face, w i t h Black. Aces face down on top of the face up Red Aces, then when you execute the moves as per Figure 7 and 12 you will end up with the Red Aces face down on top of deck. The Black Aces are at once turned face up, using the right hand only, to result in the situation in Figure 13. The tabled cards are 2 X cards.

5) The three procedures of exchanging two cards of four can be used to exchange one card of t w o . In other words me r e l y hold two fanned cards either back to back or face to face. You only need a break under one top card. N o w go through the K.M. Move procedures as already outlined for exchanging two of four cards except in this case one card will be thumbed off face down to the table. The other card, depending on how you started, will be either face up with the original 1st card face down below it or a face down card with the original 1st card face up below it. Here again transposition effects seem the most obvious use of changing two X cards, one at a time, to two selected cards can be worked out. 6) It also becomes obvious that if you have both cards face u p , in a fanned condition, rested against top of deck, where left 4th fingertip has a break below the top two cards, that by doing the K.M. Move to turn the two face up cards face down onto deck, actually four cards as two, then thumbing the X cards face down to the table you will have exchanged two for two. Because you started with the original two cards face up they will now be face down, on top of deck, on completion of the K.M. Move. If you flip the original cards face down onto the deck and then do the K.M. Move actions, with supposedly two face down fanned cards but really four, you will end up with the 2 X cards face down on the table but the original two cards will now be face up on top of deck. Which condition you want will depend on the effect you may wish to get. Exchanging Three of Four 1st P r o c e d u r e : 1) You will exchange three of four Aces for three X cards. Begin by removing the four Aces and tossing them face up to the table. Turn the deck face down and in squaring it up get a break, beneath the top three cards, with tip of left 4th finger at the lower right corner.

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2) Right hand picks up the four Aces and rests them face up against top of deck as the fingers and thumbs of b o t h hands arrange the Aces so that 3 Aces will be face up in R-B-R o r d e r w i t h the Ace of Spades face down beneath the 3 face up Aces. The four Aces are held, in a fanned condition, against top of deck. 3) The right 1st and 2nd fingers enter into the break, at lower right corner, w i t h right thumb going on top. All the cards above the break are n o w moved to the right as apparently only four fanned Aces, three face up and one face down as the leader Ace. The hands now move into position for the turning process of the K.M. Move, as in Figure 1_4, w i t h left hand moving d o w n ­ ward to meet the four Aces w h i c h right hand is flipping over t o wards top of deck.

Fig.lU

4) O n c e the Aces are turned over against top of d e c k the left thumb, w i t h left hand n o w p a l m down, qui c k l y thumbs off three face down cards, one at a time, in a long face downward row. Once the three X cards are dealt faces down to the table the left hand turns palm upward w h i c h shows a face up Ace of Spades. This Ace is dealt over and taken face up into right hand. Left thumb strokes the upper left corner of the Ace downwards, as in Figure 1 5 , letting the Ace escape from under the left thumb with an audible snap. This snap can be made quite distinct, by the right 1st and 2nd fingers pressing upwards on its lower right corner. At same time the right thumb presses down on its lower right corner as the upper left corner escapes from the downward brushing of the left thumb.

5) The natter line, for all the actions from the turninq over of the Aces, dealinq three cards face down, turning left hand palm up, snapping of the face up Ace of Spades, is simply, "Four Aceso n e - t w o - t h ree Aces and this Ace is the leader Ace". 6) You can get a situation, if so desired, where the three Aces will end face up on top of deck. In this case start with the lovyermost Ace of Spades face up while above-it are the three Aces face down. All four Aces are held in fan formation. The left 4th fingertip has its break under the top three X cards. Rest the fan of four Aces against top of deck as right thumb and fingers secretly grasp those cards above the break. Move all seven cards, as apparently only four fanned Aces, to the right and go into the K.M. Move turnover actions. This is identical to that shown in Figure T4 except here the AS is face up while the three Aces above it are face down. 7) With left hand palm down, the left thumb deals off, one at a time, three cards face down to table as you say, "One-two-three Aces". Now with left hand still palm down deal also the AS w hich will fall face up to the table as you add, "And the Ace of Spades is the leader Ace". Since the AS was face up below the three face down Aces the sequence is illogical- In other words this wouldn't be the situation if you did turnover only the actual four Aces and thumbed them off to the table. The real state of cards is three X cards faces down on the table with a face up AS as the leader Ace. On top of the deck are the three Aces face up with left hand remaininq palm down to conceal this condition.f n essence you have used the Buffaloed idea, 8) It becomes quite obvious that an Ace Assembly would be the next use of the above 3 for 4 exchange. Under the standard p rocedures of such Ace assemblies there is no reason for any details; however, the following subtlety of seemingly showing and placing three; indifferent cards on each Ace is worth recording. This one starts with the ^ X cards faces down, on the table, supposedly 3 Aces. The AS is face up in leader position on the table. The actual ^ Aces are secretly face up on top of deck. The left hand remains palm down.

9) The right hanr1 grasps the outer end of the deck with right thumb on the face of deck, at upper right corner, with right 1st and 2nd fingers below. The deck is thus held face up which leaves left hand free to turn palm upward and retake the deck, faces up, back into left hand dealing position. 10) State that you will need twelve cards that contain no picture cards. Here you count and up-jog twelve spot cards only. The up-jogged cards are removed by placing right fingers on the faces w i t h thumb beneath. Pull these cards downwards bending them out and free of the deck. This also automatically turns the JJ2 cards faces down. Follow through by right hand placing the 12 face down cards under the face up deck. Turn deck over to bring the 12 cards uppermost. Right hand squares the ends of deck, from above, w i t h right thumb locating the natural back to back separation. The tip of left 4th finger presses in to hold a break, at the lower right corner, beneath the n o w 1_5 face up cards the extra 3 cards being the face up Aces now at 13-14-15 positions from the top of face up packet on top of the face down deck. 11) The face _3 cards are thumbed over, one under each other in a fanned condition, take them by right hand with thumb on the face fingers beneath at the upper right corners. Turn right hand palm down thus placing _3 cards faced down onto the supposed Ace on the left of first Ace. Repeat w i t h the next 3- cards placing them onto the second Ace(?). Repeat w i t h the next 3^ cards p l acing them onto the third Ace (?). N o w thumb over only two of the face up cards showing three X cards. These cards remain on deck as you say, "The leader Ace must be face down". Here right hand turns AS face down. The right hand now grasps all those cards above the break, at the lower right corner, w i t h right thumb on the face and 1st and 2nd fingers below. The three fanned X cards are turned face down, actually 5 cards as three, onto top of deck. The top three cards are now the Aces. W i t h ­ out any stall the left thumb fans over the top three face down Aces w h i c h are taken by right hand, thumb on top the fingers beneath, to be placed onto the leader AS. From this point conclude the assembly as you may wish. E x c h a n g i ng Four For Four 1) H e r e you will exchange either four face up Aces or face down Aces. In the case of exchanging four face up Aces the end result will be a packet of four face down X cards on the table w h i l e on top of deck will be the four Aces faces down. When you e x c h a n g e four face down Aces the result will be four face down X cards on the table but the Aces will end up secretly faces up on top of the deck. With these two end results understood the next thing is how the exchange can be accomplished as a unit or packet for packet rather than using the process of thumbing them off, one at a time, to the table. I have tried several methods, including an ou t j o g g i n g method which enabled the left 1st finger to drop off the four X cards, as a unit, faces down to the table. F i nally settled for an injogging method which is now to be described.

2) Assume you have four Aces face up on top of deck. In spreading out the Aces, between both hands, also push over the next 4 face down cards. In resquaring get a break below these cards, with tip of left 4th finger, at the lower right corner. Refan the four Aces and downjog the lowermost Ace for about a quarter inch or more. This is dona as follows: The right hand holds the fan of four Aces. S h ow both sides of the Aces then place the lowermost Ace face up, on top of deck, but in a down-jogged condition for about a q u arter inch. Show the back and faces of the 3 Aces. The next lowermost Ace is placed flush and even with the top of deck. Sh o w back and front of the 2 Aces. Place the lowermost one alongside and even with the Ace on top of deck. Conclude by showing back and front of last Ace and place this alongside the fanned two Aces to result in only 3 Aces showing while the lowermost Ace shows an index due to its being injogged. 3) The right but actually moved off to deck as left in Figure 16

hand seems to grasp and move off only the four Aces all the cards above the break, 8 cards in all, are the right in readiness to be flipped over onto the hand also moves downwards to meet the Aces as shown where note the in-jogged Ace.

4) As the turnover is completed the left hand will be with p&lm towards performer. The right hand, from performers side, moves to g rasp the cards by the e n d s . The right thumb comes in contact w i t h the original in-jogged Ace as shown in Figure 17.

5) The right thumb presses on the in-jogged Ace. This will cause the Ace to go flush w i t h the deck and also lever the four X cards away from top of deck up to the ball of right thumb. The right thumb and fingers will now have a firm grip on the 4 X cards. The right hand at once moves these cards forward, at outer end of deck, w i t h left thumb contacting upper sides and left 2nd - 3rd fingertips contacting lower sides. Left 1st finger has moved to curl against top of this packet. The Figure JJ3 shows this forward moving action from performers view. Right 1st finger curled against face of its packet.

Fig.18

6) The moving out of the 4^ X cards, as shown in Figure 18, is continued until the 4 X cards are moved to the right far enough for the left thumb to hold this packet at the lower side left corner with left 2nd fingertip holding outer side left corner. The left hand, which still has the deck, now places its cards or packet face down to the table as shown in Figure J^9 an audience view.

7) The actual Aces are face down on top of deck; therefore, the left hand can turn palm upward. To end up with the 4 X cards on the table and the 4_ Aces face up on top of deck all you have to do is start with the four Aces faces down. Now go through the identical actions of showing each Ace, injogging the first Ace placed face down onto deck, then moving the fanned face down Aces off to the right as in Figure 16. Follow through w i t h the actions depicted in Figures 17-18-19 uo result in the 4_ X cards going face down to the table while the Aces will now secretly be face up on top of deck. The left hand is held p a l m down until you are ready to utilize them in one way or another. For an obvious quickie effect you can cut- the deck to bring the Aces to center. The tabled X cards are inserted face down into the face down deck. This can be into different parts of the deck or as a unit into center of deck. In either case show the Aces have t urned face up. 8) There will be times when you will not want to go through the process of showing the Aces one at a time. In this case proceed as follows: Assume the four Aces are face up on top of deck. Spread deck between both hands so that the top 8 cards are fanned or spread over. In resquaring the 8 cards you do two things. The loft 4th fingertip gets a break beneath the 8th card. The right hand moves inward just enough to in-jog the lowermost Ace then follows through by squaring the upper 3 Aces even w i t h rest of deck. At once the left thumb pushes over only two of the face up Aces resulting in 3 Aces showing with the lowermost Ace being in-jogged. From here go into the same mechanics as already depicted in Figures 1_6 to _19 inclusive. This results in the £ X cards faces down on the table and £ Aces face down on top of deck.

—1.M— 9) If you wish to end up with the four Aces face up on top of the deck proceed as follows: The Aces are face up on top of deck. Spread d e c k between both hands so that 8 cards will be fanned over under the guise of fanning the Aces. In reaquaring the left 4th fingertip gets a break beneath the 8th card but the four Aces remain fanned and the right thumb downjogs the face Ace as in F igure 2 0 .

10) The fanned face up Aces are now flipped over and face down onto the deck. The injogged Ace remains injogged. The left thumb at once thumbs over only two of the face down Aces. The right thumb and fingers grasp all those cards above the break to carry the apparent four Aces, really plus the 4 X cards, off to the rigiit in readiness for the filp over actions as shown in Figure L6 except here the Aces will be face down. Follow through w i th the actions as depicted in Figures Jd7 to JL9 inclusive. The end result will be four X cards face down on the table and the 4 Aces face up on top of deck. Use as required. B efore going into on extension of the "Two of Four Exchange", I will briefly describe a couple of applications of some of the moves so far described. As Applied To Devi l i s h Miracle 1) Control two selections to the 5th and 6th positions from the top of deck. Spread deck between both hands as you thumb over 5 cards and state you will use the top five cards. In resquarinq the deck obtain a left 4th fingertip break below the 6th card from top. Make another statement of showing the five cards one at a time. 2) Left thumb pushes over the top card and right hand grasps this card, at its right side, with thumb on top fingers beneath. Right fingers flip this card face up and flush onto top of deck as left thumb moves to left side of deck in order to permit the turnover. The face up card is called by its name. Left hand turns palm d o w n w a r d s as left thumb deals out this card face down to the table. Repeat this, one at a time, with the next 3 cards for a total of 4^ cards faces down, one on top of the other, on the table.

3) D u r i n g the above the left 4th finger has maintained its break •which is now below the two selected cards. Fo l l o w closely. Turn the top selection face UP onto top of deck. Call its name. Thumb over the card and flip it back face downwards onto top of deck. Right hand spreads the four tabled cards as you say, "Four cards". N o w your left thumb pushes over two cards as one. These are turned over, against top of deck, as already shown in Figures 1^ and 2 except here the card(s) will be face down. The left hand thumbs off the face card onto the tabled cards. This is now the face down selection that was 6th from the top or the other selection. The original selection remains face up on top of the deck. The left hand remains palm down to conceal this situation. As the apparent 5th or shown selection is dealt onto the tabled cards you say, "And the (here name the card you originally showed or the 5th card) makes five cards". 4) The left hand remains p a l m down. The right hand grasps the right end of deck by the sides. Left hand now moves to the o p p o s i t e end to grasp the sides. Right hand casually undercuts half the deck, while it's still face up, to gesture towards the tabled cards as you ask, "Did anyone by chance happen to see his card among the five cards". The right hand n o w places its half of cards onto those in left hand. Left hand turns palm up bringing backs of deck uppermost. Right hand takes deck, from above by the ends, to place it face down to the left of the performer. You are now all set to go into "The D e v i l i s h Miracle". This Is A Four King Trick EFFECT: Four Aces are shown, in an apparent transposition effect of the four Aces they turn out to be four Kings. For the first version of this effect see the Mario Parade in the "Linking Ring" for S e p t ember - 1959 w h i c h also mentions the inspirational starting point as being an idea of Arthur Hastings that appeared in IBIDEM. As I mentioned in the "Linking Ring" compare my method or methods, if you count this up-coming one, w i t h the original Arthur Hastings approach. As in the "Linking Ring", for September 1959, I insist on the comparison. 1) From top of deck down you have two Red Kings and two B l a c k Kings These are secretly c u l l e d to t o P ° f deck while openly removing the four Aces w h i c h you toss, as you come to each, face up to the table. Turn the deck face down into left hand. In squaring up the deck get a left 4th fingertip break below the top two Red Kings 2) Right hand picks up the four Aces. Using both hands and resting the Aces against the top of deck you openly arrange the Aces so that two Black Aces are face up on top of two face down Red Aces. The Aces are in a fanned condition held by right hand. Show both sides of the fan then rest it against top of deck, w i t h Black Aces face up, in readiness for the "Two of Four Exchange" 2nd Procedure using the K.M. Moves as per Figures 1_ and 8 except here the uppermost Black Aces are face up.

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3) On completion of the turning action of Figure 8 the left thumb deals off two face down cards to table. These are supposedly B l a c k Aces but actually two Red Kings. The left hand turns palm u p wards and left thumb at onee deals over the two face up Red Aces w h i c h are taken by right hand. At same time left thumb advances the next two cards of deck then pulls these back as left 4th f i n g ertip gets a break beneath what are actually the two Black Aces. The patter line for these actions is simply, "Two B l a c k Aces", as left hand thumbs off the two face down cards, really Red Kings, as supposedly Black Aces. As right hand turns p a l m up you add, " And two Red Aces", as left thumb fans over thte two Red Aces whic h are taken, faces up, with right hand thumb on face, at lower r i g h t ’ corner and fingers beneath. 4) Remem b e r you have a br e a k under the top two cards, the Black Aces, of the deck. Right hand holds two fanned face up Red Aces. Right fingers flip the Red Aces face down and flush onto the top of deck. At once the right hand grasps all the cards, from above, by the ends, that are above the left 4th fingertip break. The four card packet is raised up above the deck and squared between the thumbs and fingers of both hands. Ask what color Aces you have. If the spectator gets cute and says "Black" your right fingers and thumb can merely peel off the top card of the packet to show it is a Red Ace as you add, "No - two Red Aces". Ask again what color Aces you have and he will have to say 'Red1. 5) Before the spectator actually answers the four card squared packet is held by right hand alone in readiness for the D'Amico Spread. The right thumb is on the face of the packet. The right 1st fingertip is pressing down on the upper side edge of the cards. The right 2nd and 3rd fingertips touch the back of the cards. The right 4th fingertip does not touch the back of the cards but comes at a point just below the inner end of the packet. While right hand is holding the squared packet the left 4th fingertip releases two top cards, at the lower right corner, then moves in to obtain a break beneath these top two cards whic h are the two Black Kings. The left 4th fingertip count can be covered by merely holding left hand so that backs of deck are towards p erformers body. 6) When spectator answers that you have the two Red Aces you say, "Watch", as you do the D'Amico Spread with right thumb pushing or fanning the face Ace past the tip of right 1st finger ­ tip w h i c h continues to press down on the top side edge of the remaining three cards thus k eeping these squared as if they were one card. Once the right hand has fanned or spread the cards they are turned face up and rested against top of deck to show two Black Aces. 7) The right thumb and fingers at once grasp also those cards above the break. Right hand moves off to the right side of the deck seemingly with two face up Black Aces but actually a total of 6 cards, four face up Aces and two face down B l a c k Kings. The situation, to the spectator is similar to that shown in Figure except here two Black Aces are the face up cards shown. The 6 cards, as apparently two face up Black Aces, are turned over onto the top of deck in a manner identical to that shown in Figure j>. The p a l m down left hand at once thumbs off the supposed B l a c k Aces face down to the table. Actually the Black Kings go face down to

the table. The action here is similar to that in Figure 6. line here is, "No - these are the two Black Aces".

The

8) The four Aces are face down on top of deck and left hand is palm down with the deck in hand. Your left hand reaches for the supposed two Red Aces as you say, " These are the Red ____ , " stopping short when left hand has turned over two Red Kings instead. C on t i n u e by adding, "Kings?", in a q u e s t ioning or puzzled tone. N o w add, "I forgot to tell you - this is a four King trick", as right hand turns the tabled Black Kings face up and tosses them alongside the face up Red Kings. The left hand casually turns palm up as the Aces are face down on top of deck. The effect has been concluded unless you want to overdo things and change the Kings back to Aces via the "Exchanging Four For Four" method as per the Figures JL6 to inclusive. I don't recommend this since you already have reached a good surprise ending. E xchanging Four of Eight - (D. Solomon) This is an extension of the "Two of Four Exchange" and basically is handled with either four Aces face up on top of four Kings face down or with four Aces face down on top 6f four face up Kings. A left 4th finger break is held beneath the top four cards which can be X cards or as in the case of David Solomon's routine the four Deuces. It will be best to describe the "Four of Eight Exchange" as used in the "Surprise

T r a n s p o s i t i o n " - David Solomon.

EFFECT: Eight cards, the four Aces and four Kings, are shown in a fanned condition. The spectator gets a choice of either the Aces or Kings, Assume he chooses the Kings. These are dealt face down in front of him. The four face up Aces are now placed face down in front of performer. Spectator is asked what cards he has. His reply is, "The Kings". Performer makes a magic pass and shows that his face down cards are the Kings. The Aces are shown face up in center of deck. The spectator now w o n d e r s what cards he has. Performer says, "You were double crossed - you have the four Deuces". With this the four cards in front of spectator are turned face up to disclose the four Deuces. 1) In removing the four Aces and Kings from t.he d e c k you will find it a simple matter to also get the four Deuces secretly to top of the deck. In squaring the deck get a left 4th fingertip b r e a k beneath the top four Deuces of the deck. Maintain break during all actions. 2) W i t h right hand pick up the tabled Aces and Kings. Using both hands, resting the 8 cards against top of deck, arrange the Aces and Kings so that they are back to back. At this stage you can give the spectator a choice of either the Aces or Kings. For this example suppose he decides on the four Kings.

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3) Turn the 8 card packet so that the chosen four cards, in this case the Kings, are face up while the four Aces are face down. The 8 cards are in a spread or fanned condition. Rest the 8 card fan against top of deck as you say "You want the Kings". Here the right fingers and thumb take all the cards above the break and move them, as apparently only a fan of 8 cards, off to the right side of deck and do the turnover with the 8 fanned cards plus the secret four D e u c e s onto top of deck as left hand moves palm downward to meet the turning fan of cards. The action here is identical to that shown in Figures 7 and 8 except here you have a 8 card fan w i t h the 4 Kings face up and 4 Aces face down. 4) W i t h the left hand palm down your left thumb qui c k l y thumbs off, one at a time, four face down cards, one onto the other, to the table. The left hand turns palm upwards and both hands spread the top cards to show 4 face up Aces. During the spreading of the 4 Aces you actually spread down to the eight card from top of d e ck and in resquaring the deck only the left 4th finger ­ tip o b t a i n s a break b e l o w these four cards. The 4 Aces remain fanned against top of the deck. The patter line, as you thumb off the supposed four Kings face down to table, is, "One-twot h r e e - f o u r Kings for you". Left hand turns palm up showing the four Aces as you add, "And I have the four Aces". 5) The real situation, at this stage, is that the 4 D e u c e s are face down in front of the spectator. The 4 Kings are face down on top of deck and you have a break below them. The 4^ Aces are face up, in a fanned condition, held against top of deck. You will n o w do the exchange of four cards for four. The right thumb first down-jogs the face Ace. Right hand flips over the Aces faces down onto the deck. The in-jogged Ace is now 4th card from top. The left thumb deals over only the top two cards. The right fingers and thumb now g r a s p all those cards above the b r e a k to move them off to the right side of deck and into the eventual turning over of these cards against top of deck. These K.M. Move actions are similar to that shown in the Figures _15 to 19 inclusive except here the Aces will be face down when the K.M. Move is started. The eventual exchange as per Figures 18 19 will result in the 4_ Kings going face down to the table while the 4_ Aces will be face up on top of deck. Keep left hand p a l m down. 6) W i t h right hand casually undercut half of the still face up deck that is in left hand. W i t h this right hand portion you g e s t u r e towards the 4 tabled cards near you as you ask "What cards do I have". The spectator will say, "Four Aces", w i t h this you turn your cards over, to show 4 Kings, adding the line "No-I have the Kings". Continue with, "The four Aces are in the deck". (By this time you have placed the half of deck from right hand onto the cards in left hand, centralizing the four face up Aces.) Turn the deck face down into the right h a n d .

Do a R e v e r s e Pressure Fan with left hand fanning the cards front right to l e f t . All cards will appear to be face down due to Litereverse fan. Close the fan. Not having seen the Aces the spectator will look ques t i o n i n g l y at you. Patter as follow:;: "You don't believe the Aces are in the deck. Tell you what- I will make them turn face up to save time." Do a regular pressure fan iri left hand as right hand does the fanning from left to right thus clearly showing the four Aces face up and together in center of deck. 7) Point to the four face down cards in front of spectator with the comment, "You were d o u b l e - c r o s s e d , really, you have the four Deuces", as your right hand turns the four Deuces face up to c o n c l u d e the effect. S o m e times the addition of another bit to a routine could bog it down. In the event that the addition of the Reverse Pressure Fan at Step 6 above could do just that you can put the blame on me. If you wish to avoid the one at a time thumbing off of the cards, (those given to the spectator) at Step j4 of Solom o n ' s routine you can use a similar four for four exchange even though you are handling an 0 card fan. The following technique makes for a packet exchange of four cards of the original 8 card fan. 1. You have a break w i t h tip of left 4th fingertip, at lower right corner, below the top four Deuces. 2. The 8 card fan can have four Kings face up and four Aces face down or four Aces face up and four Kings face down. 3. For clarity of illustration the four Aces are face up with four Kings face down. All 8 cards are in a fanned condition more or less held between the thumbs on top and fingers below. 4. D u r i n g the time the 8 card fan is thus held by both hands the left 2nd and 3rd fingertips press against the face of the lowermost King and move it downward t o injog it for about a half inch. The left thumb presses onto the top of the second and third King in order to keep any other Kings from being injogged. 5. O n c e the lowermost King, the 8 th card from top in the fan, is injogged the right hand moves the fan towards top of the deck so that the injogged card and the third King will be actually on top of the deck but the second and first King will remain fanned or spread. 6. The right thumb and fingers now grasp all the cards above the b r e a k and move them off to the right side of the deck as appare ntly only the 8 card spread. The Figure _21 shows this situation at this stage.

Fir; .; ’ I

7. Do the K.M. Move turning of the spread cards up against top of deck. The injogged King will remain injogged. All that is required is for right thumb to press cut the injogged card which will lever up only the n e w cards or in this case the four Deuces. These actions are identical to that already shown in Figures _17 to JL9 inclusive to comp l e t e the exchange. The four D e u c e s are now face down on the table. Left hand can turn p a lm up to now show the four face up Aces. From here proceed with the rest of Dave Solomon's routine as outlined. Let me m e ntion the obvious observation that using the techniques of the "Four For Four Exchange" you can exch a n g e say a complete fanned packet of say ten Red cards for ten Black cards or for that matter any number of cards. Thus a shuffled mixed packet of ten cards could be substituted for ten cards that may be in a p r e -arranged order. As to whether the original cards end up face down or face up, on top of the deck, will depend on how you start or what your purpose or effect is to be. As an example here are a couple of 'cheeky' uses for the above suggestions. Direct Transposition EFFECT:

Four Aces transpose w i t h four Kings.

1) A r r a n g e four Aces on top of four Kings. The Aces and Kings should be back to back. The 8 card fan is shown both sides as you ask which four cards the spectator wants. Assume he wants the Aces. 2) The 8 card spread is turned so the chosen Aces are face up. N o w say, "You don't want the Kings". Op e n l y place the four face down Kings onto top of deck and in squaring them, in line with top of deck, the left -lth fingertip obtains a break beneath them. 3) The four Aces are held face up and fanned. Fingers and thumbs of both hands sort of hold onto each side of the fanned Aces. The left 2nd and 3rd fingertips downjog the lowermost Ace or the one fourth from the face. Here execute the exchange actions of the K.M. Move as per the Figures 1_G to _19 inclusive. Your patter during this exchange action is, "You want the four Aces." (He gets the Kings)

4) Turn left hand palm up and at once thumb over the cards as you add, "And I will take the four Kings". fan of four cards in right hand as you say, "Watch". the upper left corner of deck as you hold deck, with p a l m down, above the fan of four cards held by right 5) Turn your 4^ cards face up as you say, "Now I Point to spectators tabled packet saying, "And Kings". The performer or spectator turns over to disclose the Kings and the transposition is

top four Hold the Here ruffle left hand hand.

have the Aces". you have the the tabled cards completed.

Another bold approach, using the above exchange moves, is to apply it to a mental transposition effect originally devised by E.G. Brown. The details of the original (?) Brown effect can be found in "The Card Magic of Edward G. B r o w n " on page J39 under the title of "The Twelve Card Thought Transition". The reader will notice that I put a question m a r k next to the word "original". The reason is that it seems the routine was up­ dated w i t h what appears like a Vernon Pushoff count that got very rapid world wide attention almost on the heels of Vernon's v e r y first lecture. Suspecting "updating" is pretty valid w h e n one considers the original E.G. Brown version of "Three Guesses" that appeared in the "Sphinx" for 1943 and the obviously updated version that was published in the "Pentagram" by Peter W a r l o c k w h o apparently did the updating without mentioning the fact;. This mislead the reader to assume that it was the same as that w h i c h appeared in the "Sphinx". And how many of the present day up-coming magicians have a file of the "Sphinx" magazine? I myself got a copy of the original routine in the "Sphinx", from John Braun. But this is digressing from the method to be described for the thought card transition effect. It is not o f f ered as an improvement btit rather to show how the K.M. Move can be applied to get a similar effect under close-up conditions. Mental Card Across EFFECT: Same as that by E.G. Brown where a card thought of in a six card packet transposes itself to the performers six card packet. The spectator has only five cards and the performer seven cards when the effect is concluded. 1) Remove any twelve cards of mixed suits and values. Turn six of the cards face up onto the remaining six face down cards. The left hand has the deck in dealing position. Both hands spread or fan out the twelve cards. 2) Right hand holds and shows both sides of the fanned cards as you tell spectator, "I want you to think of one of six cards but w hi c h six do you want to use. These six or these six." During these lines you show both sides of the twelve card fan. 3) Whichever six cards the spectator chooses you turn the packet so that these are faces up. The twelve cards are rested against top of deck. The face down six cards are pushed so they are flush and square on top of deck; however, during this the left 4th fingertip gets a break below the top five cards.- You now hold only the six face up cards spread cr fanned between both hands.

4) W h e n the six face down cards are pushed onto deck you say, "You don't want these six cards - you want these. Would you please t h i n k of any one of these six cards." During these patter lines the left 2nd and 3rd fingertips have injogged the lowermost face up card*' the 6th card from the face, for about a half inch, spectator thinks of a card. 5) The six cards are moved onto the deck so that the injogged card and the 5th card from face are even w i t h the deck w i t h the 1st 2nd - 3rd - 4th cards remaining fanned over. The right hand grasps all those cards above the b r e a k and moves t h e m off to the right side of the deck inreadiness for the K.M. Move exchange that is similar to that shown in Figures _lf> to _19 inclusive except here you will be turning over six face up cards and exchanging them for only five face down cards. Spectator can place his hand on the tabled packet ifyou wish. 6) Turn left hand p a l m up asyou say, "I will use the other six cards". Here thumb over six cards towards the right but in resquaring them you steal an extra or 7th card in under the* six cards. Right hand holds the packet of cards as left hand p l a c e s the deck aside. 7) The seven cards are placed faces down into left hand. Tell the s p e c tator to concentrate on his card and you will cause his thought to travel through space in among your cards. Wait a few seconds then say, "Let's see if it has happened". Count your seven cards as six this first time. Comment about more concen t r a t ion required. Replace cards back into left hand. 8) After a few more seconds of ' m u m b o - j u m b o ' count your cards as seven as you then add, "You may not believe that a card has traveled over. I have seven ao you should have only five now". H e r e you spread out the tabled cards, w i t h right fingertips, to show only five cards remaining. 9) C o n t i n u e with, "Well one card did arrive but is it the one you thought of. Would you name the card." Here you have fanned the cards with faces towards yourself. When the thought card is named you remove it to show its face to spectator. Toss the card face up to the table as the left hand, wh i c h has held the cards, tosses them faces down onto the tabled five cards. Casually pick up all of them, shuffle then spread them faces up to indirectly show that the thought card really cld leave his packet. 10) Probably the most interesting feature of the above method is the fact that you do not have to worry as to wh i c h of the six cards the spectator thinks of. The least effective part is that the 1_2 cards are handled in connection w i t h the deck; h o w ­ ever, the routine was devised only to show another application of the K.M. Move. For a really different and effective version of the E.G. Brown effect see "The Black Thought" by Edward Mario.

Most transpositions, in which only 4^ Kings an<^ 4 Aces are used and no deck, usually end up as a sort of "Follow The Leader" type transposition in that one value card, from each packet, is o penly transposed before showing that the other three of that value have followed their respective 'leaders'. In the following versions, which use the multiple K.M. Move exchange, the t r a nsposition occurs without having to openly transpose the two leader cards by using some subtle approaches to make them work. Since only 8 cards, 4 of each value, are used call them "Packet For Packet Transpositions"

(1st Method)

EFFECT: Four cards of one value change places with four cards of another value. 1) Remove the 4 Kings and 4 Aces from the deck. Place deck aside. The £ Kings should be alternated as to color w i t h a Black King at the face. The 4 Aces are also alternated in Black-Red order from face to top. The _4 Kings and 4 Aces are placed so that one set of values is face up and the other face down. 2) Spread the eight cards to show four are face face down. Turn the packet over and repeat the 8 cards to show this new side. During this you four cards the spectator prefers, the 4 Aces or

up and four are spread of the can ask which the 4 Kings.

3) Assume the spectator chooses the Aces. Turn the packet so the four Aces are uppermost and face up. Spread the packet then resquare it. Now thumb over the four Aces and in-jog the 4th Acc from the face during the process. The 4 Aces are still in a fanned condition. Right hand moves the four card spread to the left until the injogged is flush with the left side of the face down cards. Keep moving the right hand to the left until the 3rd Ace from the face is also flush w i t h the left side of the cards as well as in 1 ine with top end of the face down cards. 4) if the instructions in Step 3 above have been followed you will have visible a spread of _3 Aces with the 4th Ace, from the face, injogged. The face down cards at this point are not visible being covered by the fanned Aces above them. The left fingers very slightly buckle the bo t t o m card, a King in this case, in order that the right 1st and 2nd fingertips can enter above this buckled card, at the lower right corner, then right hand moves off apparently only the Aces but actually 3 face down Kings are beneath them. The right hand now starts to flip the fanned Aces face down in readiness for the K.M. Move Exchange in a m anner identical to that shown in Figure J L 6 . The single face down card in left hand is presumed to be a packet of 4^ cards, the Kings. 5) The turning action of Figure _16 is continued as left hand turns inwards to meet the turning Aces. The result is that the Aces are face down with one of them still in-jogged while 3 Kings are face up, facing performer only. The right hand now comes over above the Kings that face performer. The right thumb presses down on the in-jogged card which results in

the 3^ squared packet of Kings to be levered away from the rest of the cards as in the Figure 17. the Derformers view. 6) The squared .3 Kings are then moved forward, by right hand, as a l r eacy shown in Figure _18. The left thumb and left 2nd finger n o w hold the sides of the 3 Kings, at the inner end. The left h?nd n o w places the 3 Kings face down to the table in a manner identical to that shown in Figure J^9; however, in this case the packet that is still in left hand will show a Black King at the face thus adding to the illusion of having placed the Aces face down to the table. 7) L'he left hand turns palm up. The left thumb deals over the top card which is taken by right hand, at the upper right corner, w i t h right thumb on Lop and 1st and 2nd fingers below. The left, thumb deals over the next card which is taken onto the card in right hand in a reverse fan condition by jamming or forcing its upper right corner to under the right thumb. This action is similar to that shown in Figure _10. The left thumb n o w does a B l o c k Pushoff which results in two cards as one being dealt over. The upper right corner of this card (s) is also forced to under the right thumb as this 3rd card (s) is taken, in a fanned condition, onto the other two. The last single card is also treated the same way to result in a four card reverse type fan. The card (s) at third from top of the fan are really two Aces. 8) Your patter, during the above reverse fan count is, "And I have o n e - t w o - t h r e e - f o u r Kings". The left hand removes the card at the left end of the fan, an actual King, as you say, "I will place this King onto your Aces". Place the actual King face down onto the top of the supposed tabled Aces. Your right hand is holding a fan of _3 cards so all looks fair. The left hand comes p a l m up to under the fan then the left fingers and thumb, which go on each side of the fan, close up the _3 fanned cards to take them into left hand dealing position. Say, "The idea is to make the King come back to its brothers". Do what e v e r magical g e s t u r e or pass you wish. N o w do another reverse fan count to show a fan of four face down cards as you say, "The King has come b a c k - N o w the hard part. I will cause my Kings to change places w i th your Aces. Watch." Here flick the fan, with right hand wh i c h holds it, then turn it face up as you add, "Now I have the Aces". W i t h left hand point to the tabled cards as you say, "You have the Kings". Let the spectator turn the tabled cards face up but if he is too slow, causing a loss in tempo, then you turn them face up. In this case the still fanned Aces are placed face up into left hand w h i c h takes them and holds them still spread oi fanned while light hand turns the tabled cards face up and spreads them out. 2nd M e t h o d ; In this method the placing of one card into the tabled packet is dispensed with to result in a more straight forward transposition. This uses an extra card.

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1) In removing the Kings and Aces the J a c k of Clubs is also removed. The packet is held facing you. The JC is the top card. The four face cards are the Aces followed by 4 Kings. Deal off the ± Aces face up to the table. S h o w the four Kings holding the last two cards as one. Turn the packet face down. Right hand takes top card and using it as a pointer gestures towards the tabled Aces as you say, "For this we use the four Aces and four Kings". The right hand casually places the JC to under the packet in loft hand. 2) Right, hand picks up the tabled Aces and holds them face up and fanned against the top of the face down cards in left hand. As b e ­ fore injog the 4th Ace from the face in readiness for the K.M. Exchange Moves as per Figures _16 - _17 - ljl - ^L9 to result in the tabled cards being not the 4 Aces but 4. Kings while the left hand has the 4 Aces with the JC at the bottom because it was used to enable you to turn eight cards in seemingly turning only the 4 Aces. 3) The 5 face down cards in left hand are now reverse fan counted doing a two card pushover on the 3rd card(s). This brings the JC as top card of the fan. From here the fan is closed, a.magic word or pass used, the packet turned face up to show you have four Aces as left hand holds last two cards as one to hide the J C . The right hand now turns the four tabled cards to show the 4 Kings. 3rd M e t h o d : This uses only the original 8 cards with the spectator getting a choice of which four cards he wants. It uses a subtlety that I originally submitted to the New Phoenix in an effect called "The Open Travellers". The subtlety was a n e w approach to the original Ellis Stanyon False Count in that three cards of one value were shown as apparently all four cards of that value. Later I extended this approach to the Elmsley Count. 1) The four Kings and four Aces are arranged, from face to top, so that the two red suits are the first tv/o cards of each set. The Kings and Aces then are placed back to back as in the 1st Method to show a spread of four face up cards and four face down cards. Show both sides of the cards as you ask the spectator whether he wants the Aces or the Kings. 2) For illustrative purposes assume he chooses the four Aces. Here you fan the 4 Aces and in-jog the 4th Ace from the face. New you set-up, with a single buckle, to go into the K.M. Move Exchange as shown in Figures _16 - _17 - DB - _19 which puts three Kings face down to the table with a Red King at its face then the two Black Kings. The left hand, during the placing of the supposed Aces to the table, has flashed the bot t o m card a King. 3) Reverse fan count the cards from left hand into the right hand doing a two card pushoff on the 3rd card(s) of the fan. This puts the single Red King as top card of the fan. Close up the fan, and place this packet face down to the table. They are the supposed 4_ Kings. Make some magical gestures from packet to packet. Pick up the _3 card packet. Turn it face up doing a D'Amico Spread for an easy start of the Ellis Stanyon Count except here you show the _3 Kings as apparently 4 Kings. In other words the right hand peels off the face King into right hand dealing position while left fingers hold the left side of packet, at

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abuuL center, with thumb on top and fingers beneath. As right hand goes to peel off the next King the card in right hand is left under the c a n ’ in left hand. As soon as right hand moves away w i t h this second King the left fingers and thumb at once spread the remaining two cards. These are taken, one at a time, onto the card in right hand. To all appearances you have shown four Kings. Place these face up to the table. 4) Pick up the other packet. Turn it face up into left hand. Thumb over three cards, holding last two as one, to show four Aces. C l o s e up the Aces and toss t h e m face up onto the face up Kings. Pick up the assembled packet and do a one hand fan as you comment about the fact that only eight cards, four Aces and four Kings, were used. Everything looks q u i t e normal since each set of four cards has two Red cards apparently where they logically belong at the conclusion of the effect. 5) W h i l e m ultiple exchanges have been the theme there will be times when a combination of K.M. Move Exchanges using just two cards b a c k to back or face to face will be found useful in t r a n s p o s i t ion effects. As an example suppose you have two cards, the AD and AS, back to back w i t h the As as the uppermost face up card. The right hand holds the two Aces fanned while left hand holds the deck. You also have a left 4th fingertip b r e a k under the top X card. 6) Right hand tilts the fanned two cards to show the AD. The AD is then deposited flush onto top of the deck. Right hand shows both sides of the AS then rests it face up against top of deck but side-jogged off to the right. The right first and second fingers enter the break firmly grasping the two cards as one. The right hand now moves apparently a two card fan, one card face up andone (really two as one) face down. N o w do the K.M. Move of turning these two spread cards. This action is identical to that shown in Figures _4 and 5. 7) F ollow through by turning the left hand palm down and thumbing off the supposed AS face down to the table as in the Figure 3. Now turn left hand palm up and of course the AD will he the face up card adding a subtle convincer that the AS was dealt to the table on your left. 8) With the face up AD do the K.M. Move asper Figures l - 2 2 which will send the AS face down on your right while leaving the AD face down on top of the deck. Right hand takes the top card to hold it face down in readiness for the Mexican Turnover on the first card you turn over ther. cleanly turn over the remai n i n g card or whether you do a bona-fide turning of a card first and then use the Mexican Turnover on the remaining card is up to you. This will depend largely on your own experience as to which procedure is best for you.

0) t’ he patter must stress the position of the supposed Aces. Thus as you turn the two fanned back to back cards you say, "The Ace of Spades over here. That leaves the Act' of Diamonds which we place over here." With top card point again to the suoposed a d as you ask "What Ace is that?" Since you just named or called it the AD it is still fresh in the spectators memory anc the answer will be the AD. With this use the card in right hand to cleanly turn over the AS as you say, "No - this is the Ace of Spades". Under the misdirection of the surprise at seeing the AS the right hand, with its card the AD, travels at once to the left and does the Mexican Turnover on the remaining card as you conclude with, "And over here is the Are of Diamonds". As the reader has surmised this is my favorite procedure because it keeps the position p i cture of the Aces quite clear. The following is the eight method of a mental effect which b a s i c a l l y is a different approach to the R.W. Hull effect. The other seven methods were given to Jon Racherbaumer in a m a n u ­ script with photos, in May of 1970 under the title of "A S a n dwich A p p r o a c h " EFFECT: A previously tabled card is placed or sandwiched between two face up black or red fours. The sandwiched card turns out to be one that spectator mentally selected. 1) For this you will need a Do u b l e Back card to match the deck in use. This is the card that is placed to the table before the spectator is asked to think of a card. One Black Four is on ton of the deck. 2) Ask the spectator to think of any card but not the two Black Fours as you will use these. When he has thought of a card casually ask him what card he thought. Soon as he names it you quickly, "Good - as long as it wasn't a Black Four". 3) W i t h faces of cards towards you start to look for the card the spectator thought of; however, do remove a Black Four should you get to it before you get to the s p e c t a t o r ’s thought of card. In any cue.: when y h roe h the spectator's card cut the deck at. that point to bring the card to top of deck then look for and remove the remaining Black Four. Personally my favorite procedure is to run the mental selection under the spread as the cards are lowered so that spectator can see the faces. This way, when you reach the top Black Four the spectator can indirectly note that his card is not the top card or near the top. In closing up the spread the selection will naturally go to top of the deck. 4) The deck is held face down in left hand dealing position. The right hand picks up and holds the two Black Fours, face down but in a fanned condition, by the lower right corners with thumb on top 1st and 2nd fingers beneath, while right hand is displayi n g the Black Fours the left 4th fingertip has obtained a break below the top card of the deck.

5) Right hand, showing the Black Fours, now deposits the lower card of the fan flush on top of the deck. The right hand casually shows the remaining Black Four then rests it face down onto the deck hut side jogged to the right for half its width. Your patter is, "For this I use two Black Fours - the Four of ________ , and the Four of __________ ", naming each four as right hand leaves each card in turn onto deck. 6) Right hand picks up the tabled card to place it onto the side jogged card but also in a side jogged condition to form a fan of three cards when right hand starts to move all those cards above the break to the right. The three cards are face down and right hand starts to turn them over as left hand moves inward to meet the cards for the K.M. Move Exchange. The left hand, w h i c h is palm down now, thumbs off a face down card then at once turns palm up to display the two Black Fours. Your continuing patter line, after n a m i n g the two Black Fours, is, "Besides the two Fours remember this tabled card which has been on the table before this started". 7) The right hand takes the face up Black Fours as left hand casual drops the deck to the table so its top cards sort of slide to clearly show no reversed cards. The left hand picks up the tabled card lo insert it face down between the face up Black Fours. Again point out that the face down card has been on the table long before the spectator thought of a card and that now, through the m a g netic influence of the Black Fours you will cause it to be the spectators thought of card. S) The left hand now grasps the upper left corner of the face down card with thumb on top fingers beneath. Swing this card to the left but keep its lower end, about half of the cards length, still between the face up Black Fours held by right hand. Keep the face down card stationary but the right hand briskly moves its cards back and forth thus the sandwiched card is being rubbed. D u r i n g this rubbing action you comment on the fact that this is causing static electricity w h i c h will affect the face down card. 9) Do not overdo the rubbing motions but after a reasonable d e m o n s t r j tion tell the spectator that the face down card should now be the card he thought of. Ask him again, as if for the first time, what card he thought of. On getting its name remove the face down card to place it to the table. Have the spectator turn it over. If you wish you can let the spectator remove it from between the sandwich cards to reveal his card. Again you m a y wish simply to turn over all three cards to reveal the spectators card face up between the now two face down cards. H o w you handle this final part will depend mostly on what you feel is the most effective disclosure but avoid any fancy flip-outs since this is supposedly a mental effect.

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SUCCESSION ACES EFFECT - Four Aces dealt face down or face up to table. On each Ace 3 X cards are shown and placed on each Ace. The Aces are in a direct line from left to right. The plot now is for the Ace to vanish from the first packet on the left and to travel to the next or adjacent packet. Thus the second packet now has two Aces and 2 X cards. The two Aces now vanish from this second packet leaving 4 X cards. The next packet is shown to contain three Aces and one X card. The three Aces vanish from this packet leaving 4 X cards. The last or 4th packet is now shown to contain all Four Aces. The effect as stated above is that of Ken Krenzel and while, as of this writing he has not published his method, he did have several discussions on this effect with Dai Vernon. The Vernon version, which was worked out around 1955, was sent to me at that time by Bill Simon. Hie first recorded version, apparently thought of and worked out independently, appeared in "Necromancer" Vol. I, No. 1, Page 6 under the title of "Progressive Four Aces," by Roger Smith, for August 1970. Later in "Necromancer" for January, 1971 in Vol. I, No. 6 Roy Walton gave his solution for the same plot under the title of "Assembly In Reverse." In 1972 the problem was restated in Epilogue for November, 1972 (although it didn’ t appear until late 1973) under the title of "A 4 Ace Problem" by Ken Krenzel. In the same issue Wesley James contributed a solution under the title of " L .S .D .Aces ." All the above solutions had several faults that obviously did not really con­ vince let alone clarify the effect. Some of the worst approaches I would con­ sider those in which for one reason or another the packets are brought together. It certainly, in this plot, became quite obvious that the vanished Ace or Aces were transferred to the other packet as they were brought together. Another was that the appearance of the supposed additional Ace or Aces was inferred - the faces of the Aces were not shown - only the supposed backs of the additional Aces, while this concept works very well in the thousands of Ace effects in existence it does not in this proposed plot. The plot, to be effective, must be executed so that at no time should any of the packets touch during a v a n i sh and appearance of each Ace. The Aces must: bo shown as actually being in the packet just before you vanish them. Under such conditions an "0. Henry" finish would be a disappointment since in­ stead of 3 Aces vanishing and appearing in the 4th or final packet they would appear In tlie 3rd packet thus only one Ace would join the _3 Aces just shown. The methods that follow range from those in which you have to use your own cards to those with a borrowed deck. Nothing is ultimate but these routines are a step in the correct direction without the other obvious solution of "over-palming" from packet to packet. Before reading any of these routines the reader should acquaint himself with "The Scoop Up Palm" and "Duck and Pull" described elsewhere in this manuscript. The various approaches just noted I discussed with David Solomon, of Chicago, although I had no definite method for the effect. Dave Solomon worked out the version using the three Double Face Aces which stayed within the premise of the

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packets not coming together. It was then, Dave Solomon's method that; inspired whutovei' versions I evolved as I built and used ideas from each preceding version to try and arrive at the best; however, I am not assured, as yet, that they are the best but at least better than those recorded by others as of this writing. Within the routines themselves you will find much that can be used for other effects plus various suggestions from which you can form a routine of your own liking, however, you will find that you can forget any routine that violates these two prime rules. One - The packets must not come together. Two - The arrived Aces must be shown in packets 2 - 3 and 4. With these two rules adhered to you should have an effect that is startingly puzzling yet at the same time clear in plot. The first routine, using Double Face cards, was worked out by David Solomon of Chicago. He calls it "Ace Puzzle D. F. Solution." (David Solomon) EFFECT - As stated in introduction to "Succession Aces." 1.

Required are four regular Aces and three Double Face Aces of Clubs - Hearts and Diamonds. A total of 13 cards only are used. Six of these are regular X cards however, make sure that these six cards do not duplicate the cards that are on the other side of the Double Face Aces.

2.

The set-up, from face to top, is as follows: Regular AH, Double Face A D , regular AS, Double Face AC, five regular X cards, Double Face AH with opposite side showing as apparently an X card, regular X card, regular AD and AC. Double check the above set-up carefully before proceeding any further. Place this packet on bottom of deck; however, crimp the face card of deck first to mark off the 13 card packet. Case the deck until needed for performance. Obviously you will cut off the required cards up to the crimp; however, some may prefer the following opening handling as per Mario.

3.

With the deck face up you start to spread it between both hands. Spread only the four Aces plus about only two or three of the X cards as you say, "For this I will use the four Aces plus some other cards." With this the four Aces are sort of squared towards the deck. The right hand is palm upwards and cupped around the cards so as to prevent any of the Double Face cards from showing inadvertently on the underside. The hands are raised with faces of cards towards performer. Continue the spread until you see the last two regular Aces of D and C. Right hand pushes the 13 card packet back towards face of deck as at same time the left 4th fingertip gets a break below the 13_ face cards. At once the right hand grasps these cards above the break, from above by the ends, as left hand places its deck face up to one side of the table.

4.

The 13 card packet is placed face up into left hand dealing position in readiness for the layout of the cards. Left thumb deals over the face AH which is taken by right hand, thumb on the face fingers below, at the lower right hand corner. Do the "Olram Subtlety" to show the backs of the two Red Aces. Briefly this consists in left thumb raising the left side of its

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squared packet so it will end up being held at the tips of left fingers and thumb with left 1st finger curled against the underside of the still face up packet. Now both hands at once turn palm downwards to flash the backs of cards. Both hands turn palm up bringing faces of cards upper­ most. Right hand drops the AH face up to the right and at same time left thumb deals off the AD face up to the left leaving a space between the two Red Aecs. Repeat flic identical "Olrain Subtlety" with the two Black Aeon. The .left hand deals the AC between the two Red Aces forming a Line of three face up Aces. The right hand places the AS face up, below the .'lino of 3 Aces, into the classical leader position. In Step 4 above, through the use of the "Olrarn Subtlety," you have appar­ ently shown the backs and faces of the four Aces. The four Ace layout actually consists of a face up Double Face AD, Double Face AC, regular AH and regular AS in leader position. The 9 remaining cards, of the packet in left hand, from face to top are 5 X cards, Double Face AH with its opposite X card side showing, a regular X card and two regular Aces of D and H last. Via a Double Buckle or Pull Down Move the left 4th fingertip obtains a break, at lower right corner, on the lowermost two regular Aces. You will now go into one of the techniques used for the "Veeser Concept" in which you will exchange two X cards of three for the two regular Aces. With the break held, above the lowermost two Aces, by left 4th fingertip the right hand grasps the packet, from above, by the ends. The left thumb peels off the face X card at same time secretly taking along the 2 Aces with left fingers. As the face card is peeled off it covers the fact that the bottom two Aces are taken along with it. As the face card comes clear of the major packet the tip of the left 4th finger must move in to keep a break below this X curd thus separating it, at lower right corner only, from the two Aces. Both hands move towards each other until the cards in right hand cover the face card in left hand. The left 4th fingertip now has a break below two X cards. Both hands again move towards each other in order for left thumb to peel off the third X card. As the hands come together, to peel off this third X card, the right fingers and thumb pick up, to under the right hand packet, the two X cards that are above the left 4th fingertip in left hand. The end result will be that a face up X card will cover two regular Aces in left hand. The original two X cards are under the packet held by right hand. The three cards in left hand, supposedly 3iX cards but really one X card and two regular Aces, are turned face down using left hand only. Simply place the left thumb under the still squared packet and lever it over and face down. Left thumb can casually spread the three cards then place them, still face down, onto the face up AH, on your right, so it covers the face of the Ace. Left hand peels off the next 3 cards, one at a time, off the face of right band packet. Lett hand turns the cards over and face down. Left thumb casual l.y pushes over one card only to show backs. Hie third card down is the Double I'acc AH. This packet is placed face down onto the AC so it is covered. Although you now have only 3^ X cards remaining go through the

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peel off actions, into left hand, as before. Left hand turns these cards face down, casually spreading them to show _3 backs, then place them face down onto the AD on the left. The situation now is that the Double Face AD has _3 X cards face down on it, the Double Face AC has two X cards with a Double Face AH on it, a regular AH with regular AC - AD - X card on it, the AS is face up in leader position. 9.

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You are ready for the 1st Vanish of the AD. Pick up the packet and in showing or spreading the packet between both hands use the Mario Step Pro­ cedure (See "Oil and Water" routines for details) to step the 3rd face down card under the top two. The AD is then loaded above this stepped card as the packet is squared up. The AD is now face up and 3rd from top in the packet. Do the Cl.msley Count to show four cards as face down thus appar­ ently the face AD is gone. Turn the packet face up and spread it to show the AD is gone; however, the Double Face AD, its opposite side showing an X card, is the face card of the four fanned or spread cards.

10.

The appearance of the Ace is now shown in the second packet or the one with the AC. This is to simply down spread the second packet to reveal the AH and AC with two face down X cards above them. There is a discrepancy here but no one will notice this if you took the trouble to merely refer to the original AD as a "Red Ace."

11.

The 2nd Vanish is now handled as follows: Right hand picks up the two face down cards, turns them face up, then usesthem to scoop up the two face up Aces. Square the packet, faces up, in left hand. Do a Single Buckle turning over three cards, as one, onto the face of card in left hand. Place the packet back into its original position on the table. Snap your finger over the packet then downspread it to show Z face up X cards.One Ace has van­ ished and the still face down card is presumed to be the other Ace. Snap your fingers over the face down card then turn it face up to show four face up X cards. The two Double face cards are between the two regular cards.

12.

Spread the cards on the right or the regular AH packet to show three face down cards. Turn these cards face up, one at a time, onto the face up AH to now show a spread of three Aces with an X card at the face. Leave this packet alone for the time being. Pick up the four X cards on the left from which AD was vanished. Place this packet face up in your left hand at same time getting a left 4th fingertip break under the face card which is the Double Face card. Right hand picks up only 3 cards off the face of the second packet to place these onto the cards in left hand. You seem to have missed one c a r d . Right hand takes the face card of the packet and uses it to scoop up the remaining X card. These two cards, held by upper right corners, are squared and placed under the packet from the front end or they can be inserted below the break from the back end. The above is Mario's handling to retain the break while placing other cards either to the bottom, from either end, or into the packet but actually below the break you main­ tained .

13. With the left 4th finger holding a break beneath the face three Double Face . cards the right hand reaches for the third packet.

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The right hand picks up the ace packet saying, "Three aces and the x card," Immediately place the right hand ace packet face down onto the packet held in the left hand. Quickly turn over the entire seven card packet above the break as if you made a mistake. Deal off the three aces onto the table, show the same x card and deal it face down onto the aces with the left hand doing a wrist turn to kill the AH at the face of its packet. 14. After the ace exchange you have eight cards remaining in the left hand. The bottom three cards are the regular Aces. Thumb over in a spread,or fan,the top five x cards. Take these into the right hand still fanned. Flash'their faces as you say, "I will place three of these cards onto the Ace of Spades," as you gesture, with cards in the right hand, to the face up AS. Right hand places its cards under those in the left hand. The right hand turns AS face down. Deal the top three cards, ivalJy three Aces face down onto the AS. Left hand places its remaining five cards face up, in a spread, to the table. lb. Pink up the ace packet with the x card face down on top. To make the aces vanish do the E.Lmsley count, allowing two aces face up and apparantly two indifferent cards face down. State,"Now only two aces." Immediately turn your left hand palm down and thumb off the four cards one at a time face up showing four x cards. This is a startling immediate transition. Conclude by turning the last packet face up to show the four aces. 16 . Since the Double Face Aces are at the face of the tabled cards,you will find the complete thirteen cards can be reset easily for a repeat.

The next solution by myself makes use of the Double Indexed Cards and Aces. The Double Indexed Aces, while not a new idea, were made use of by Don Tanner, as well as Dr. Daley and Horowitz, in Ace routines; however, the best routine and one that had the most impact on magicians was that devised by Bro. John Hammon titled the "Pinal Ace Routine." The routine that follows requires 9 Double In­ dexed cards as compared to the 6 used in the "Final Ace Routine." If you pur­ chase two sets of the "Final Ace Routine" you will have enough cards to do the routine of "Succession Aces"; however, I have specified certain cards only for clarity in explanation. "Get Together Aces" - Double Index Solution (Edward Mario) EFFECT - Same as that already stated in the opening description of "Succession Aces."1 1.

Required will be 16 cards, 9 of which are Double Indexed. The following list of _9 Double Indexed cards is used only as a sample list of those I have

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but- you cun subst it.ul o others if necessary. Mine are, M) with 4_L) index, AC with 3C index, All with 2J_[ index. These three cards are what those I call Major Aces in that they, along with a regular AS at the face, can bo widely spread out to show the center pips of each Ace as only the fake indexes need be concealed. The remaining 6 Double Indexed cards are DD with AD index, 6S with AH index, 7D with AD index, 4D with AD index, 411 with AH index, 5C with AC index. These 6 Doubled Indexed cards are regular cards except for the Ace index at one corner. This way these cards can be displayed full face except for the Ace index which is covered, in various ways, during the course of the routine. Also remember that 7 cards are strictly regular cards.

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The 16 cards are arranged, from face to top, as follows: Regular AS - _5C with AC index showing -- 4H with AH index showing - 4D with AD index showing. Thus these four face cards when spread, in a sort of tight fan, show four Aces in S-C-H-D order from face to top. The next 12 cards show as appar­ ently all indifferent cards but their arrangement, from face to top, not counting the supposed Aces preceding them, is 1) Regular AC; 2) 7D with AD index hidden (at lower end of fan); 3) 6S with AH index hidden; 4) 9D with AD index hidden. Cards at J5-6-7-8-_9 are regular cards among the supposed twelve indifferent cards. At 10 is AD with 4D index showing. 11 is AC with 3C index showing. 12 is AH with 2H index showing. Thus the last three cards of the fan are the Major Aces with the indifferent card indexes showing. From a regular _52 card deck remove the same cards as duplicated by your packet of 16 cards. The regular 16 cards, with the cards arranged into the same order that will be arrived at after the effect, are placed, with faces towards the body, into the left side coat pocket on their lower sides. The remaining cards are placed into the card case. Onto the face of the cards place your 3J5 card arrangement. The card case can be placed into the right side coat pocket until needed for performance. When ready to perform you take out the cased deck. Remove the deck and place the card case back into your ri g h t coat pocket. With deck face up carefully j spread it, between both hands, to thumb or fan over apparently 4 Aces plus 12 indifferent cards but getting your 1J5 prearranged cards. The left hand places the rest of the deck into the left coat pocket, with faces towards the body and on top of the 16 regular cards already in that pocket. 5.

6.

Make a tight fan of the 16 cards. Hold 12 cards of the fan with left hand as right hand takes the face four Aces. Left hand places its fan of _12 cards faces up to the table. Right hand shows both sides of the 4 Aces then turns them over sidewise, to the left, faces down into left hand. Deal the Aces, faces down, in a row from left to right. These tabled Aces are, from left to right, the 4_D with AD index at upper right corner -- 4H with AH index at upper right corner -- _5C with AC index at upper right corner. The reijulur AS is picked up, shown again, then placed below the other three in Leader position. All Aces are faces down.

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Pick up the 12 cards and fan them only far enough to show the cards fairly yet do not inadvertently expose that some of them have hidden Ace indexes i at lower end of the spread or fan. The 12 card fan is now held by right hand

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alone, with right thumb across the faces and fingers beneath. The left hand takes the lowermost three cards of the fan (the 10t h , 11t h , 12th cards that are the Major Aces with 4D - 3C - 2H indexes showing) with left thumb on the faces at upper left corner with fingers below. The left hand turns palm down thus swinging the three cards outwards and face down onto the Leader Ace of Spades. This outward turning action, done directly away from the fan, will not flash the face of the uppermost AD.In other words you do not move the cards to the side at this timebut turnthem faces down directly from the fan. The fan helps conceal the face of the card that comes away from the fan.(See book "Mar.lo On The Acrobatic Card" for this handling as used on individual cards one at a time..) This action is most important' on those _3 cards you place onto the AS since they are only indexed Act's. The next cards, because they are actually spot cards with only an Ace index, can be handled more freely. 7.

The next three lowermost cards can be handled quite freely since they are regular cards. These three cards go face down onto the supposed AD on the left. Be sure you use the same outward and downward turn of these three cards as you place them face down onto the Ace on the left. The next three lowermost cards consist of two regular cards and a spot card, j3D in this instance, with an AD index. You can handle these cards also quite freely as long as you do not expose the AD index of the face card of these three. To conceal the AD index again execute the outward and downward deal as left hand places these three cards onto the center card or supposed AH. The re­ maining three cards consist of a regular QC at the face with 2 spot cards that have the AD - AH index at lower right corners. These three cards can be handled quite freely as long as the Ace indexes are not exposed. Again left hand does the outward and downward deal of these three cards face down onto the card on the right or AC. Pick up the Leader packet, by its left side with left hand, then turn it over sidewise to the right. Do a tight spread of this packet to again show an Ace of Spades with apparently 3X cards. Turn the packet sidewise to the left returning it face down to either the classic Leader position or along side the 3rd packet on the right to form a four packet row of cards.

8.

If all has been done correctly the 1st packet on the left has three X cards on top of a 4D with AD index at upper right corner. The 2nd packet has, from top down, 2X cards then a 9D and 4H with AD and AH indexes at the upper right corner. The third packet was, from top down, £S - _7D with AH - AD indexes, a regular CiC, a _5C with an AC index. All the Ace indexes are at the upper right corner. The 4th packet has, from top down, the three Major Aces of H - C - D with _2H - 3C - 4D indexes at the upper right corner. The bottom card is the Leader Ace of Spades. We are now ready for the vanishes and successive appearances.

9.

The 1st Packet on the left. Use top card to scoop up the packet and place it face down into left hand. Thumb over top card off to the right side. The right hand takes this card, by the upper right corner, with right thumb from below so it will cover the index at this corner, with right 1st and 2nd fingers on top at this corner. Turn this card face up, stud fashion, by simply turning right hand palm upwards. Snap the right side of this card • by left thumb pressing down and left 2nd and 3rd fingertips pressing upward

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as the cards right side edge escapes, from under tip of left thumb, with an audible snap. Right hand places this card face up into the position original]y occupied by the 1st packet. Repeat the turning action with the next card placing it onto the face of the card at position #.] . The next caid, the 40 with AD index, is turned as the others to show it is a 4 U . The right thumb, which is now at lower right corner duo to the turning action, covers the AD index. Use the face up 4D to rub it against the remaining card in left hand. Left thumb levers the card face up to show it is no longer an Ace. This card is slid onto the 4D card and to the right past the right side of the 4D. The result is a two card fan during which you have not exposed the AD index. Right hand tosses these two cards face up onto the 2 cards already face up at position number one. 10.

The 2nd packet on the left is next. Again right hand picks off the top card and uses it to scoop up the packet. The packet is turned over, sidewise to the left, bringing it faces up. Do a fairly tight spread to show apparently the AH and AD between the two X cards. Again turn them over sidewise to the left hand and face down into left hand. To vanish the two Aces, deal over the top card taking it by the upper right corner, with right thumb on top and right 1st and 2nd fingers below. Onto this deal the next card, pushing it under the right thumb, to form a sort of reversed two card fan. The third card is also dealt over onto the two cards in right hand to form a fan of three cards. The last or 4th card is likewise taken into right hand, onto the other three, to form a fan of four cards whose upper right corners are jammed under the right thumb with 1st and 2nd fingers beneath. The left hand snaps its fingers over the four card reversed fan held in right hand. Right hand turns palm downward to now display a fan of 4X cards as you say, "IWo Aces have gone." Toss the cards face up back into its original second position.

11.

The third packet is now handled as follows: Pick up the third packet and spread it between both hands. During this spreading action the 3rd X card from top is displaced to the bottom. This displacement action is fully described in the "Oil and Water" routines; however, here is a brief des­ cription. The first two top cards are spread and kept fanned. The 3rd X card from top is pushed under the two fanned cards past the right side of the second card from top. This forms a step, at right side, of the cards in right hand. The last or 4th card is fed into this step so the 4th card will go above the 3rd X card. Square up the packet and you will have the X card at the face of the packet. Turn the packet face up, sidewise to the left, then do a fairly tight spread to show a regular face X card followed by the indexes of the three Aces in C-H-D order from face to top.

12.

To vanish the 3 Aces again first turn the fanned cards faces down, sidewise to the left , into left hand dealing position. Push ov’ er the top card and with aid of right hand turn this card at right angles with its outer end to tho right . The card still rests on the cards in left hand but its outer end projects to the right with the Ace index at the lower right corner. Grasp this card l>y the; outer ends with right thumb at the side near lower right corner, the second finger at outer side near upper right corner. 'Hie right 1st linger is curled on Lop. The right fingers snap this card face up by

letting it escape from under the tip of right 2nd fingertip, aided by downward pressure of right 1st finger on the top of the card, causing it to revolve, with a snap, face up and end up being held with right thumb on the face, concealing also the Ace index, with right 1st and 2nd fingers below the card at the same corner. The full face of this card is seen as an X card while right thumb naturally conceals the Ace index. Right hand turns palm down to toss its card face down to the table in such a manner that it lies lengthwise with the Ace index still at the lower right corner. Repeat this snap over vanish with the next card. Toss it face down onto the first tabled card. Repeat the snap over vanish with the 3rd card. Toss it face down onto the other two tabled cards. Repeat the snap over vanish with the last card even though it is a regular X card. Right hand revolves this card face down and scoops up the tabled cards by coming in from the outer sides of the tabled cards. Right hand ends up holding the right side of these cards. Turn them over, sidewise to the left, faces up into the left hand. You can spread these cards very widely and fairly as long as the Ace indexes are not exposed. With cards still fanned right hand or left hand can place them face up back into its original 3rd position 13.

The Climax - The Leader packet is picked up, with right hand, by taking it by the upper ends and turning the packet, end for end, face up into left hand. Since this packet contains the 3 Major Aces with only the X card indexes the four Aces can be widely spread out as long as you d o n ’ t expose the hidden X card indexes. Right hand or left hand places the Aces face up to the table. You can now spread them even more if you wish and conclude with the patter line, "Slow but sure the Aces succeeded in getting together.

14.

The Cleanup - Place the Aces onto the 3rd packet. Place both onto the 2nd packet. Place all three assembled packets onto the 1st packet as you pick them up from right to left. The assembled 16 cards are held face up in left hand. Both hands now go into their respective side pockets. The right hand removes the card case from therightside coat pocket. During this the •left: hand has sort of clipped the 16 card packet between the extended left 1st and 2nd fingers. In the pocket the 16 card packet will be separated from the deck proper by the left 1st finger. The left 1st finger and thumb are also free to get hold of the deck. The left hand leaves the 16 cards behind as the left 1st finger and thumb easily remove the deck. You can place the deck into the card case but not close it. This is in the event you may want to do another effect with the cards. On the other hand you can go into any card effect which may use the card case. Either way you now have a regular deck of cards that can be used for other effects.

In working out various routines for "Succession Aces", I wanted to keep the approach of the packets not coming together as well as being able to do the effect with a borrowed deck and yet not fall into the obvious solution of over use of palming and capping from packet to packet. The methods that follow per­ mit the use of a borrowed deck yet the palm off and capping is restricted. In fact, the palm off and capping method used is that described under, "Scoop Up Palm." It should be read first before going any further; however, the reader should know that is used only one in the routines that are about to be described Also read the "Duck and Pull" section, but first the reader will note that in David Solomon’ s version under "Ace Puzzle - D. F. Solution" the Aces are appar­

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ently vanished one at a time from each packet. In my version under "The Get Together Aces - Double Indexes Solution", the Aces vanish all at once from each packet. Whether the one at a time or all at once vanish of the Aces should be used in the versions that follow is up to the individual. Personally I feel that the sudden vanish of all the Aces, especially when three Aces vanish, is not only more startling but less time consuming and more important the spectators don't conclude the end result before you even get to it. Still I have included, at the end of these routines, one at a time vanishes in the event the student wishes to substitute them for those all at once vanishes. "Succession Aces" - First Method *1 EFFECT - As already stated.

A borrowed deck can be used.

1.

Required, on performer's part, is a Double Face card, in Poker and Bridge size, with AC on one side and Ah on the other side. This Double Face AD/AC card is placed into the left side coat pocket with the AD face towards the body. That is all the previous preparation required outside of the borrowed deck of cards, the size of which you have previously ascertained.

2.

On getting the deck, first get a 3H-3D to face of deck. Next get the four Aces to face of the deck. Now from face of deck thumb over a total of 16 cards which include the Aces and 3H-3D. All this is with faces of cards towards yourself. The right hand holds onto the 16_ card packet as left hand places rest of the deck into the left side coat pocket with faces against the Double Face Ace already there.

3.

Spreading the 16 card packet, between both hands, you make an arrangement of these cards as right hand removes and places cards face down to the table, one onto the other, in the following order: Holding the fanned cards mostly with left hand the right hand removes the AH to toss it face down to the table. This is followed by the AS-3H-3X cards, AC-AD-4X cards, 3D-3X cards. Pick up the tabled packet to spread it between both hands, with faces still toward yourself, to first double check your arrangement. Square up the packet but push the AH off to the right side just enough to expose the AS below it. Place the packet face up to the table, using the right hand, as you say, "I missed a card." The left hand goes to the inside left coat pocket to remove the deck plus the Double Face AD/AC which will be the face card of the deck with the AD side showing. Take the AD of the face of the deck placing it onto the face of the tabled 16 card packet. Place rest of deck back into the side left coat pocket.

4.

Pick up the tabled packet holding it faces towards yourself. Cup the right hand around the right side of the packet, in order not to expose the other side of the Double Face Ace, as left hand thumbs over the face four cards into the right hand. Left hand places remainder of its packet faces down to the table. Right hand, which has the four cards consisting of Double Face AD/AC - AH - AS - 3H, now holds its cards squared and in dealing posi­ tion. Transfer the four cards, still squared and faces up, into left hand dealing position.

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5.

There are now several ways of showing the cards as apparently four Aces. The following makes use of the "Duck and Pull" procedure which you should become familiar with before going any further. (See item "Duck and Pull" elsewhere in this book.) Left thumb pushes over the face two Aces, one under the other, as you say, "IVo Red Aces." Right hand takes the now two squared Red Aces by upper right corner to turn them over Stud Deal fashion. These are placed under the cards in left hand as you do the "Duck and Pull" moves by leaving the Double Face AD/AC card under the cards•in left hand as right hand comes out with regular AH to flash its face then places it also under the cards in left hand. This has subtly shown backs on both cards during your patter line which is in full, "Two Red Aces - the Ace of Diamonds and the Ace of Hearts." In play now will be the other side of the Double Face card or the AC side just below the 3H. The AS is now the face card. Get a break under the two face cards, i.e. the AS and 2TI> so that these can be either moved over to right side by right hand which is holding cards from above by the ends or by left thumb pushing over two cards as one. Right fingers grasp the AS card(s) at upper right corner with thumb on the face and 1st and 2nd fingers beneath. Left thumb pushes over, only about a half inch, the now showing AC (Double Face card). The right hand moves its AS card(s) to under the AC until the cards are in line. Right hand turns these cards face down and left thumb and fingers grasp the sides of these cards holding them well above the card in left hand. Right hand can now change position as follows: Right hand turns palm up and grasps the right side of the supposed Black Aces. The right 1st fingertip is positioned against the right edge of the cards at about center. The right thumb is on the back of the cards near the right edge. The right second finger is beneath the cards pressing up against the face of the packet. The right 3rd finger is pressing, with its nail side, up against the lower end of the cards. This position is sort of a ’ lock grip’as you do the D ’ Amico Spread by pressing with right thumb on the top card and moving it to the right past the tip of the 1st finger which keeps the other two cards from spreading. You have thus shown the faces of the Aces and then the backs as your complete patter line delivered is, "The Ace of Spades and the Ace of Clubs - TV/o Black Aces." Conclude by placing the spread cards face down onto the card in left hand. You have completed showing the four Aces and now are ready for the layout of them.

6.

Turn the packet faces up into left hand using right hand to do this. IF Step _5 has been done correctly the order of the four card packet, from face to top, should be AH - Double Face card with AC showing - AS-3H. Right hand grasps the packet from above, by the ends. Left fingers Buckle the bottom card and left thumb presses onto the face AH. Left thumb and fingers now peel both top and bottom cards together and in line as right hand retains the two central cards. (This central removal is not a new idea let alone a new principle.) You will find the move easier if the right 2nd and 3rd fingers are at the upper end by the upper right corner with right thumb, at the lower end, by the lower right corner. The right 1st finger is curled on the face of packet. The two Black Aces from right hand are grasped by the free fingers and thumb of left hand, thumb on face fingers beneath, by their left side. The left thumb pushes the face card, AC, to the right to display two Black Aces. Your patter for all the actions of this Step _6 is

/

simply, "TWo Red Aces and two Black Aces." Resquare the two Black Aces and turn them over to show a back. Now you change your mind and turn them over, again end tor end by right hand, face up to be held by left fingers and thumb, by the sides, above those cards in left hand. Take the Black Aces with right hand by right side. Hie left thumb and fingers grasp the left side. Separate the Black Aces taking the AS with right hand and AC with left hand. Both Aces are placed face up, alongside each other, face up to the table. The supposed Red Aces are now grasped by the upper right corners with right thumb on the face fingers beneath. The left hand takes an identical position at the upper left corner. Both hands turn palm down­ wards, bringing the backs of the cards into view, as the hands separate with right hand taking the AH and left hand taking the 3H. Both cards are dropped face down to the left of the face up Black Aces as you conclude with, "And the two Red Aces face down." The order of cards, from left to right, is the 3H face down, AH face down, Double Face card with AC side showing and face up AS. You are now ready to deal supposedly 3X cards onto each Ace. 7.

Pick up the remaining packet and spread it, with faces towards yourself, between both hands. In resquaring get a break below the 5th card or regular A D . This five card block is now angled off in readiness for "Mario’ s Tech­ nical Variation of Veeser Concept" described in another section of this book. Here you will now only thumb over two cards to show 3 X cards angled over. T h e ’ left hand thumb and fingers now hold the left side of the packet as right hand thumb peels off, one at a time the first two X. cards into left hand dealing position. As the right hand comes to the packet, in order to take the third X card, the two cards in right hand go under the packet, where*the left fingers retain them, as right hand nips off the block of 3 cards or an X card with the AC and AD behind it. Right thumb enters under the right side of these cards to turn them face down then right thumb and fingers spread out these 3 cards face down. The left hand meantime has pulled in the thumb and fingers against the palm in order to get the packet into left hand dealing position. The three fanned cards in right hand can now be squared, still face down, with the aid of both left and right fingers. The left hand holds the 3 cards by the sides. Right hand grasps the inner end, of these three squared cards, with fingers on top and thumb below. Tarn right hand so the cards will be face up with the new inner end towards body. An X card shows on the face of the cards. Using the inner end of these cards scoop up the tabled AS by coming in under its outer end. Having scooped up the AS onto the face of the 3 cards in right hand the right hand turns the packet face down into its original position. This Leader packet now has, from top down, the AD-AC-X card-A S . You are ready to deal 3 cards onto the AC which is the Double Face card. s

8.

Left thumb deals over three cards, one at a time, which are taken one onto the other by right hand. Right hand thumb flips the 3 cards face down to fan them. Left fingers and thumb grasp the sides of these 3 cards in order that right hand can take them, by the lower ends, with thumb beneath and fingers on top. Right hand turns palm up to bring the faces of the 3 cards uppermost. The _3 cards are still slightly fanned as right hand uses their inner ends to move in under the upper end of the face up AC thus scooping

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it up onto the face up 3_ cards. Right hand turns palm downward turning the packet face down into its original position. 'Die 3 fanned or slightly spread cards effectively conceal the other side of this Double Face Ace. 9.

During the actions of Step 8 above the left thumb has very slightly pushed over the two face cards then as they are pulled back, flush with rest of the packet, the left 4th fingertip gets a break, at lower right corner, beneath these two face cards. The 3D is the card above the break covered by an X card. Left thumb pushes over two cards as one which are taken, by upper right corner, with thumb on the face or index with 1st and 2nd fingers beneath. Hie next card is pushed over by left thumb and this card is taken onto the card in right hand but so its upper right corner is jammed or pushed under the right thumb. The cards form a sort of two card reverse fan. Repeat the same dealing and taking actions with the next card to form a reverse fan of supposedly three face up cards but really four as the 3D is hidden. Right hand turns palm downward and left fingers and thumb press on the sides of the 3 card fan to converge it into a packet. Right hand places these cards onto the face down AH which is the second card from the left in the row of 4 Aces.

10.

Repeat the reverse fan counting actions of Step 9 except here only 3X cards are handled. Turn these faces down and place them onto the supposed Ace in the first position from the left. To again review the actual situation at this stage you have 3X cards on top of a 3H in the first position. The 2nd packet contains, from top down, the 3D-3X cards - AH for a total of _5 cards. The third packet has 3X cards covering the Double Face Ace. The fourth packet consists of, from top down, the AD-AC-X card - AS for a total of 4 cards. You are now ready to vanish the Aces and make them appear in suecession.1

11.

Right hand picks up the first packet, from above, by the ends with fingers at front end and thumb at back end. Position its lower end so that the extended left 1st and 2nd fingers are across the lower pip of the 3H. Pivot or turn the packet towards yourself. The right four fingertips will auto­ matically cover the upper pip and index of the 3H thus as the packet is tilted faces towards spectator he will see only the center pip and assume this card is the AH. You strengthen this by saying the line, "Three cards and the Ace of Hearts." Flash the face card briefly then turn the packet back face down. Spread the packet faces down between both hands, taking two cards in each hand, as you say, "Four cards all together." Transfer the two cards from right hand to under those in left hand and square up the packet holding it face down in left hand. Snap right fingers over the packet. Right hand grasps the packet by left side to turn it face up and do a D'Amico Spread to easily go into an Elmsley Count to show the supposed AH Ls gone. The 3H card will not show during the Elmsley Count thus adding to the illusion lhat the AH was there. Turn the packet face down into left hand dealing position. The right hand deals the top 3 cards, one onto the other, laces down to the table. The right hand uses its last card to scoop up the _3 tabled cards to toss all 4 cards face down into its original position. The first Ace has vanished.

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12.

13.

You will now show apparently two Aces in the second packet. Right hand picks up the second packet to place it face up into left hand dealing position. Thumb over the face AH taking it with right thumb on face, fingers beneath, at the upper right corner. Right hand moves down in order that the right 1st, and 2nd fingers can take the next face card, which is dealt over', to under the AH but in an up-jogged condition for about twothirds its length. Right hand moves these two jogged cards upward until the lower X cards lower end is on the face upper end of the second X card. The left thumb keeps the 1st X card up-jogged as right hand moves the AH downwards until its upper end reaches the lower end of the next face X card. Here the left fingers do a single buckle so that the right fingers can press upwards against the cards above the buckled card. Right fingers and thumb move the two card(s), as apparently one X card, downwards. This moves the AH and the two X cards, as seemingly one card, down far enough to expose the center pip only of the 3D as seen in Fig. 1. Your patter for these up and down jogging actions is, "The Ace of Hearts, two other cards and the other Red Ace."

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Converge the elongated spread by moving right hand upwards so that the two X cards, seemingly only one, move under the up-jogged X card which left thumb pulls downward. The right hand makes the AH again the face card of the packet. Turn the packet face down into left hand. Thumb over the top l three cards one under the other taking them still fanned into right hand. Place the 3 cards from right hand to under the card(s) in left hand as you say, "Four cards - two Aces - watch." Right hand fingers and thumb grasp \ the packet, by its left side, with thumb on face and fingers on top positioned for the D ’ Amico Spread which is used to easily start an Elmsley Count to show apparently four X cards. Turn the packet face down into left hand. Casually . thumb over top card, take it with right hand, snap the upper left corner with

left thumb then transfer this card to under the packet as you say, "The two Aces are gone." Continue with, "That leaves us one-two-three-four indifferent cards." During this patter line your right hand takes cards from left hand, one at a time, to deal them face down, one onto the other to the table; however, on the count of "Three" your left'thumb pushes- over two cards as one which are taken by right hand and dealt onto the tabled cards. On the last card, really the AH, you do the "Scoop Up Palm" to palm the AH and secretly add it on top of the next or third packet as right hand scoops it off the table into the left hand. 14.

You will now actually show that the third packet contains the two Red Aces and the AC as follows: The face card will be the Double Face AD/AC card with AC side showing. Right hand is above the packet squaring it by the ends. The right thumb at back end secretly lifts two cards as left 4th fingertip obtains a break beneath them. Left thumb now pushes over the face two card as one. The right takes the card(s) at the upper right corner, with right thumb underneath, 1st-2nd fingers on top with 3rd finger pressing against edge of top end. Right hand turns palm up thus the card(s) Stud Turn face down. Without any hesitation the right hand places its face down card(s) to under the face up cards in left hand as you do the "Duck and Pull" moves, i.e. left fingers retain the Double Face card under the packet as the right hand pulls out the single face down card supposedly stiJl the AC just shown. Left thumb and fingers press and snap the left side of -this face down card as you say, " One Ace - the Ace of Clubs." Place the face down card back under the packet in left hand. The actions of "Duck and Pull" have shown not only a back on the supposed AC but have placed the Double Face Ace into correct position for showing two Red Aces. First do a Double Lift and push off, with left thumb, the face two cards as one X card. You continue with, "One indifferent card," then stud deal the card(s) face down and place them under the cards in left hand. The next card is the single AH followed by the Double Face Ace with the AD side now showing. Left thumb deals over the AH which is taken by right hand. Left thumb deals the Double Face Ace onto the AH thus showing the AH and AD which is accompanied by the lines, "IWo Aces - the Red Aces." Right and left fingers and thumbs slide the Aces flush. The left thumb holds the squared Red Aces against the top of the packet. Right hand can now stud deal the still squared Red Aces to under the cards in left hand. A regular back, of the AH, will naturally cover the Double Face Ace. The left thumb can now fan over the top three cards, holding the last cards as one, to show four fanned face down cards. You are ready to now vanish the _3 Aces.

ID.

With the four cards fanned over the right hand takes the top two fanned cards. The left thumb pulls back the uppermost card of its two flush and square with the rest. With the aid of the still fanned two cards in right hand the squared cards in left hand are flipped face up. The left thumb pushes over the face Ace to again show two Red Aces. The fanned cards in right hand are rested, still faces down, alongside or onto the face A D . (Double Face Ace.) This displays a fan of four cards, with two Red Aces face up and two fanned face down cards, held between both hands. The left thumb and fingers momentarily hold the fan as right hand changes position to come above the cards as shown in the Fig. 2.

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16.

The right' hand moves to the left to square the fan of cards. During this the left 4th fingertip obtains a break below the Double Face Ace. At once the right hand lifts off all those cards above the break. The left hand turns inwards and palm down while right hand turns palm upwards. This results in the face AH of left hand being hidden while right hand is showing the AC, other side of the Double Face Ace, as the face card of its packet. The Fig. 3 shows how the fan "is converged before going into the showing of the AC as shown in Fig. 4, spectator view.

17.

Having shown the AC, the right hand moves to meet the turning left hand to result, for the moment, with the condition shown in Fig. 3. Both hands now fan the cards to result in the situation as shown in Fig. 2 except that right hand will be holding the two face down cards with thumb on top and fingers below. Right hand holds onto the two fanned face down cards and with the aid of the left side of these cards helps flip the fanned two Red Aces face down, into a squared packet, into left hand dealing position. The left thumb and fingers flick the left side edge of. the face down card of the supposed A C . It then is placed to under the cards in left hand. The remaining card from right hand is also now placed to under the cards in left hand. The steps 15 to 17 inclusive are all covered by the patter lines, "Don’ t forget - we have two Red Aces - and the Black Ace of Clubs. I will take these two Red Aces and place the Ace of Clubs with them. All three Aces are together - watch." Snap your fingers or whatever over the packet. Go into a D'Amico Spread for an easy start of the Elmsley Count to show only

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four X eaixis. The sudden vanish of three Aces is unexpected and startling. Place this packet face down onto the other assembled packets to the left. The top card is the regular AH while below it is the Double Face Ace. 18.

You are now ready to show all four Aces in the Leader packet. The right hand uses the top card to scoop up the others. This packet is squared between both hands with right hand holding the ends from above while left hand holds the sides. The left hand alone holds the sides of the packet as right hand positions itself for the D ’ Amico Spread and into the Elmsley Count to apparently show four Aces. Actually the AD will show twice and the X card will not show at all. At the conclusion of the Elmsley Count the top card will be the X card. The right thumb enters under the right side of the face up packet, to turn it face down, then thumb and fingers spread out the packet to show four cards. In the meantime the left hand has picked up the 13 card'packet and the left 4th fingertip has obtained a break below the top card or the AH. Since the Double Face Ace is below this top card be sure left 4th fingertip releases or counts off the top card, in order for left 4th fingertip to obtain its break, rather than pushing over the top card to get the break.

19.

Both hands come together as right hand deposits its four cards onto top of the cards in left hand. At once the right hand comes over the packet to grasp those cards above the break by the ends. Both hands raise upwards to bring the faces of the cards towards spectators.. You now do the Mario Slip Cut secretly by left thumb holding or pressing onto the top X card as the right hand moves out the remaining four cards, all Aces, above the break. This action is shown in Fig. 5 from operator’ s view. Without any stall the right hand carries its four Aces towards the table to toss them face up as you remark, "Your four Aces."

20.

The left hand is still holding the cards with faces towards the spectator. Right hand comes back, grasps the packet from above by the ends in order that left thumb can peel off the top X card and casually transfer it to the face of the packet. This brings the Double Face Ace to the top facing you. The right hand grasps the top end of the packet with all four fingers on the face and thumb at the back on the Double Face Ace. The left thumb pulls up the Double Face Ace for about a half inch as shown in Fig. 6, the performer’ s view. The left four fingers at top end conceal this up-jogged card.

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21.

22.

The right hand turns the packet face up end for end. As this is done the outer end will fall across the left 1st finger and the in-jogged Double Face Ace not contacting the left 1st finger will automatically lower itself into the cupped left hand. The right hand at once comes over to grasp the face up packet from above by the ends; however, the right thumb will press down on the in-jogged Double Face Ace to force or push it further into the cupped left hand as shown in the Fig. 7.

^ ; f‘ j

Without hesitation the right hand takes the face up cards, to spread them rface up to the table, while left hand with its palmed card, as shown in Fig. 8 moves to the left side coat pocket. While there the Double Face Ace is trans-— ferred to between the left 1st and 2nd fingers. This leaves the left 1st .1 finger and thumb to pick out the deck as you leave the Double Face Ace in the pocket. The right hand takes the deck from left hand to ribbon spread _ it face up on the table as you conclude with, "And your cards." |

25.

A few thoughts here -- At Step 12 of the above routine, I also used only the AH and not the 3D. By using the Elmsley Count the AH was shown twice as apparently two Red Aces. The use of the 3D to pass it off as an A D , as in t:ho Fig. !! of Step 1_2, was found to be bettor. Also onto the AS or Loader Arc, I actually placed only the _AD and AC. Later, using an Idea that I originally submitted to the "New Phoenix" J375 - December, 1962 under the title of "The Open Travelers", I was able to show the 3 Aces as 4 Aces. This was done by using a new approach to the Ellis Stanyon Count. The Stanyon Count was done with the cards face down and three cards were counted as four by reloading the first card taken back to under the two cards held by the other hand in the process or under cover of taking the next or second card. The count then finished normally on the count of "four." The Stanyon Count was done by holding the side of the packet with one hand, at the fingertips and thumb of this hand, while the other hand pinched or pulled each card, from the other side, with the fingertips and thumb. Besides changing the taking action, so that the cards ended up in a dealing position in that hand, I also turned the 3 cards face up. This way, with a Red Ace (or King as in the original "Open Travelers") at the face and doing the Stanyon Count it seemed that I had four Aces when actually there were only the AD-AS-AC. Later, by adding an X card to the three cards of one value and applying the Elmsley Count, now I was able to hide the X card while showing 3 cards of one value as apparently 4 cards of that value. The final touch, that there were actually four cards, was the final convincer. This idea, besides being used in "Swindle Aces", was also applied to other counts such as the Kardyro-Biddle Move and were published long before they started to be re­ discovered .

My next version of "Succession Aces" is the result of a suggestion by David Solomon of Chicago in which he felt that as long as a card, Ace, has to be moved from the second packet to the third it might- as well be the Double Face Ace. In this way, using the Double Face Ace, you could actually show two different Aces in the second packet. It was a problem which took several roads but finally I decided on the present version mainly because while the opening set-up and Ace layout differ, most of the routine proceeds as did the First Method of "Success­ ion Aces."

DUCK AND P U L L

OBJECT: In a packet of cards, that may be either face up or face down, to conceal the opposite side of either a double face card, d ouble back card or the back of a stranger card. The card in q u es t i o n is placed to under the packet, for a second or two, then seemingly removed to snap the card to show its single­ ness and actually end up with a regular single card in the hand. The m o v e is used in several of the "Succession Aces" routines. For this reason it will be explained as if holding a packet of cards face up in left hand. 1) Assume you have 4 cards face up in left hand. The face card is a D o u b l e Face AD-AC. You want to show the AD as having a back yet still have its other side, the AC, come into play as the 4th card. 2) Do a D o u b l e Buckle or Pull Down at inner right corner in order to obtain a break, with tip of left 4th finger, at this corner, do a Two Card Pushoff w i t h left thumb and take the two cards, as one, by the upper right corner with the right 1st and 2nd fingers on the face of the card with the 3rd finger along the upper edge at this corner. The right thumb is b e ­ n e a t h the cards at this corner thus the right hand is palm down ready to Stud Deal or turn the card(s) face up to show a back on the AD. The Figure 1 shows the right hand, p a l m up, having completed the Stud Turn of the two cards as one.

3) Right hand places its card (s) co m p l e t e l y under the face up packet as in the Figure 2 but right fingers and thumb still have a grip on these cards. 4) Without too m u c h hesitation the right thumb and fingers pull out the single face down card as left fingers hold back the D o u b l e Face card. The actual technique, when two or more cards are placed under the face up packet, is for right 1st and 2nd fingertips to push the Double Face card to the left and further in towards the base of the left 1st finger and thumb which pinch the card or cards, to be held back, by the upper left corner. The right thumb aids in this by pulling the top face down single card to the right and clear of the face up packet. This single card is now snapped, on its left side edge, with left t humb and 2nd finger as shown in the Figure 3_^

•

P

i

F i r . -

2

5) The single face down card from right hand is n o w replaced to under the packet. The wh ole action of Figure 2 and 3 are tagged w i t h the line, "Remember, the Ace of Diamonds". The displacement action has shown a back on a D o u b l e Face card and yet will bring the other side, in this case the AC, into play later as needed for say "Succession Aces". 6) The next two face up X cards are Stud Turned face down and placed, one at a time, under the packet. This now brings into v i e w the AC side of the Double F&ce AD-AC card. Three X cards are face down underneath it. This time right fingers take the AC, with thumb on face and 1st and 2nd fingers beneath. The face down cards in left hand are now turned face up by left hand alone, using left thumb to go under left side of packet in order to lever it over. They can also be flipped or levered over with aid of the right fingers, w h i c h go under the right side of the packet, bookwise to the left thus turning these cards over and face up. Right fingers mere ly follow through by placing the AC it held onto the face of the packet. 7) While the above bears a relation to Norman Osbornes* Double Count idea from "Unlimited" here the approach is that four cards are actually counted as four and not five. This is made possible thru the use of the initial D o u b l e Turnover and "Duck And Pull" sequence. Thus if you had 6 or 7 cards, the Do u b l e Face Card at the face of the packet, you could start with the Do u b l e T u r n ­ over "Duck And Pull" sequence. On your next supposed single card turno v e r you would actually do a Multiple Turnover. H o w many cards this second turnover would entail depends on h o w many cards you started with. In the case of 6 cards a Triple Stud Turn­ over to under the packet would be used while for 7 cards a Four Card Stud Turnover, in each case as apparently one card, to under the packet would be made. The resulting count would then end on "Four" and the opposite side of the D o u b l e Face cards will come into play. 8) While D ouble Face cards were used in this example there are p o s s i b i l i t ies with Double Back cards of either same color and design on both sides or of different color and design on each of two sides.

-9 2 -

Succession Aces - Second Method (Mario) EFFECT - As pr'oviously noted. 1.

A borrowed deck can be used. The perlormer requires a Double Face AD/AC card. 'Jhis Double Face Ace is in the left side coat; pocket with the AM side towards the body. From the borrowed deck you get the four Aces arid a 50 to the face of deck. From face of deck thumb over ljj cards which includes the four Aces and the 3C. Place rest of deck into the left side coat pocket with the faces towards the body and against the Double Face Ace already there.

2.

With the 15 cards facing you, spread them between both hands. Arrange these cards, from face to top, in AS-AH-3C-3X cards-AC-AD-7X cards. Square up the packet and place it face up to the table. The AS is the face card and if you wish you can slightly thumb over the AS so as to expose the AH below. As in the previous version you mention something about a card missing. Your left hand removes the deck, plus the Double Face Ace, with AC side showing. Deal the AC onto the AS of the tabled packet then left hand replaces the rest of deck back into the left side coat pocket with faces of the deck towards the body.

3.

Right hand picks up the tabled packet to place it faces up into left hand. Tire packet is now spread, between both hands, with faces towards yourself. The right hand must be cupped around the right side in order to conceal the opposite side of the AC. The left thumb fans over, quite close together, the AC-AS-AH to the right hand. Both hands separate slightly or just enough for left thumb and fingers to push the 3C under the AC in a down-jogged position. The right hand then squares the left side of its four cards against the face of the left hand packet which has been tilted, with faces towards the right, for this purpose. The 3C remains in-jogged just under the AC. Right hand retains its four cards, still towards performer, while left hand places its cards face down to the table. The cards from right hand are placed into the left hand with faces of these cards still facing performer. Right hand comes over the packet, from above by the ends, during which time the right thumb pulls up on the in-jogged card so that as the ends of the packet are squared the left 4th fingertip can move in to hold a break beneath the two face cards or AC (Double Face Ace) and the 3 C .

i

4.

The left hand can now be lowered so that spectators can clearly see the AC at the face of the packet. You now do a two card pushover and stud deal the two cards as one doing the "Duck and Pull" moves; however, your approach in this case is slow and deliberate. In other words you say, "We have the Ace of Clubs," then the ojrd(s) are stud turned and placed under the face up cards in left hand. Do not let go of the card(s) you turned with right hand. Instead hesitate slightly then right hand pulls out only the face down card, the 30, as you snap the left side of this card, with left thumb and fingers at same time adding, "Oh - the Ace of Clubs goes here." The right hand deals its card face down to the left of the table. Now spread out the remaining cards, between both hands, to clearly show three Aces in S-H-D order from face to top. Take the Aces one at a time into right hand reversing their order so the Double Face Ace is on the face of the cards. Square up the

-M i-

packet placing it face up into the left hand. The right hand now grasps the left side of the packet, the fingers on the face thumb on the back, then when right hand turns palm up do the D'Amico Spread. This shows two backs of cards fanned. The left hand grasps the left side of the cards with thumb on top fingers beneath. The right hand takes the top card, the AS, turning it face up as you say, "The Ace of Spades, a black Ace, goes face down." Here right hand places the AS face down to the right being sure to leave space, between the two Black Aces, for the Red Aces. The two squared cards are turned face up. The left fingers hold onto the AD (Double Face Ace) while right hand takes the AH. The Red Aces are dropped face up between the supposed face down Black Aces. The row of cards, from left to right, is a face down 3C as apparently the AC, a face up AD (Double Face card), a face up AH, a face down AS. Your patter line for the Red Aces is simply, "The Red Aces face up." 5.

The left hand scoops up the balance of the packet to hold it and spread it, with faces of cards towards performer, between both hands. In re-squaring the packet get a break, with tip of left 4th finger, below the 5th card from the face or under the regular AD-AC cards. The right hand angles the five cards, as a unit, in readiness for left thumb to slightly fan the face two X cards in readiness for the Veeser Concept. Right hand peels off, one at a time, the first two face cards into right hand. On the third take the right hand nips off the block containing two Aces, AD-AC, with a cover­ ing X card. Right hand thumb flips these cards face down then the thumb and fingers spread them to show three face down cards. The _3 cards are squared, using fingers and thumbs of both hands, then right hand places these cards onto the AS. This packet actually consists of, from top down, the AD-AC-X card-AS.

6.

Tiie cards in left hand are held with faces towards yourself during the placing of the cards with right hand onto the leader AS. With packet still facing you the left thumb pushes over the face card which is taken into right hand. Push over the next face card and pretend to take it into right hand as you do a false count by merely pulling back, with left thumb, this second card. This time, as left thumb again pushes over the face card, lower both hands so that the spectators can see you taking this card, on the count of "Three," onto the card already in right hand. The illusion of having taken three cards is aided by the vocal count accompanying same. Square these two cards, apparently three, then right hand grasps the outer ends, thumb on face fingers beneath, to use their inner end to scoop under the outer end of the tabled face up AH then turn the packet over and face down. This packet has only 3 cards, from top down, two X cards and the A H .

7.

Do a fan inverse count of the next three cards, square them up, then place these face down onto the first card on the left, supposed AC but really 3 C . Do a fan reverse count of the last four cards as apparently three cards by left thumb pushing over two cards as one on the count of two. The last card is single taken onto the other fanned two cards, as its upper right corner is jammed under the right thumb, to form a reversed fan of three cards. Use the fan to scoop up the face up AD (Double Face Ace) then square up the cards before you turn the packet face down back into its original position in the row.

-y 4 -

8.

You are ready to vanish the Ace from the first packet on the left. Pick it up and flash the bottom card as apparently the AC by the usual covering of the upper and lower pips, with left and right fingers respectively, as both hands tilt the packet face towards spectator. Spread the cards faces down between both hands. Take two cards in each hand then place the 2 cards from the right' hand to under the cards in left hand. Wi.th packet lace down in left hand the right, hand grasps the left side of the packet in position for the D'Amico Spread as right hand turns the packet face up. At: once go into the b.lms Ley fount, taking each card into right hand dealing position, to show the AC is gone. The 3C will not show. Turn the packet face down into left hand dealing position. Deal the cards with right hand, face down one at a time onto each other, counting them audibly. Right hand uses last card to scoop up the three tabled cards, simulating the same action as is used for the "Scoop Up Palm," then tosses this packet almost into its orig­ inal position.

9.

To show the arrival of the AC in the second packet, along with the AD that was seen there, proceed as follows: Pick up the packet with right hand placing it face down into left hand. Left thumb deals or fans over the top 3 cards holding the last two as one saying, "Four cards," as you resquare the packet and get a left 4th fingertip break below the top _3 cards. The right hand moves to above the packet, squaring the ends, during the squaring up of the four cards shown. Right hand, still grasping the ends ° f r p a c k e t with right thumb at lower left corner ancright 2nd fingertip at upper left corner, turns the packet over sidewise to the right. This brings the packet face up to show the AD but most important to you is the fact that due to lhe left 4th fingertip break you held, during the turnover, the two face cards will be angled, at the lower end, to the left leaving a step on the right side which is basically covered by the right hand which is above the packet. The right hand keeps holding the ends of the face up packet as left hand moves back to under the packet where the left 4th fingertip pulls down on the step, formed at lower right corner, so that as the packet is squared the left 4th fingertip obtains a break beneath the two face cards, i.e. the AD and X card. You will find it an easy matter now to push over two cards as apparently one AD. Right hand stud deals this card(s) face down to under the cards in left hand as you do the "Duck and Pull" moves and left fingers snap the now single face down card as apparently still the A D , but really an X card, as the AD (Double Face Ace) remains under the cards in left hand. The single face down X card is replaced to under the cards in left hand. Here the right hand is still above the packet as if squaring the ends. Right thumb at back end secretly engages the face 3 cards as left hand lowers slightly in order that the left 4th fingertip can move in to obtain a break below the face _3 cards. Remember that the "Duck and Pull." actions have brought the AC side into play now. The left thumb pushes over the face card which is taken by right hand, at upper right corner, with thumb on the face and 1st-2nd fingers beneath. You will be doing a reverse fan count as left thumb now pushes over two cards as one, the upper right corner(o) of which are jammed under the right thumb and held fanwiso between thumb and fingers. The AC (Double Face Ace) is now dealt over by left thumb and taken, by upper right corner, onto the other two fanned cards held by right hand. This forms a fan of three cards wherein the indexes are at the lower end thus being plainly discernable to the spec­

-9 5 -

tators in front. A single face down card is still in left hand but this will not prevent: the left fingers and thumb from pressing on the sides of the fan in order to converge or square it. Left hand holds sides of the 3 cards as right hand changes position to grasp cards at upper right corner, with thumb below and 1st-2nd fingers on the face, to stud deal the 3 squared cards face down to under the single face down card in left hand. You have shown two Aces, Diamonds and Clubs, all during the patter lines of, "Here I have four cards. One Ace - the Ace of Diamonds - two indifferent cards and the Ace of Clubs." The Double Face Ace, AC side in play, is on the bottom of the packet. IQ.

You are now ready to vanish the two Aces from this second packet. Left thumb fans over top _3 cards and right hand takes two of them. Make a for­ ward gesture with the two cards in left hand saying, "Two Aces." Actually left hand has _3 cards, held as two fanned cards, by holding last two cards as one. The bottom card is the Double Face Ace. Place the two fanned cards from right hand to under the cards in left hand. Square the packet then grasp the left side of it, with right thumb on face fingers on top, in read­ iness to turn the packet face up, do the D'Amico Spread, then at once go into the Elmsley Count to show four X cards. Replace the cards face down into left hand. Now you must transfer the top two cards, an X card and the Double Face Ace, to the bottom of the packet. You can do this by simply holding the packet with right hand, from above by the ends, as the left fingers merely pull or peel out the bottom three cards to place them onto the top of the card(s) held in right hand. You can also do this using a Triple Buckle Spread then merely placing the card(s) from right hand to under the three cards spread by left fingers. Simply cutting the top two cards to the bottom is another procedure you can adopt. With the Double Face Ace on the bottom and the packet in left hand push over the top card which is taken by right hand and dealt to the table face down. Repeat with the next two cards, one at a time onto the first tabled card. The last card or 4th card is really two cards or an X card covering the Double Face Ace. The right hand takes the last card(s), as one, and using the Straddle Grip during the Scoop Up Palm gives good control of the two cards. Right hand tosses only 3 cards onto the first packet and palms the X card and Double Face Ace as per the Scoop Up Palm. Right hand travels over to the 3rd packet, secretly adding the palmed cards, as this 3rd packet is scooped off the table into the waiting left hand.1

11.

You are now ready to show three Aces in this third packet. With the packet face down in left hand and right hand squaring the ends, from above, get a break, via a Triple Buckle or a Pull Down of bottom three cards, with left 4th fingertip below the two top cards. Left thumb pushes over the top two cards as one and these are taken into the right. Count the next three cards, one at a time, taking them onto the cards in right hand. The patter is simply, "This packet lias one-two-three-four cards; however, it should now contain three Aces." The right hand flips the packet faces up by placing right: thumb under right side of the packet to lever it over, sidewise to the left, then place it faces up into left hand dealing position. Left thumb deals over the face AC which is taken by right hand, at right side with thumb on face fingers beneath, as you say, "Here’ s the first Ace - the Ace of Clubs." Right hand rests the left side of the AC onto the right side

of the cards in left hand. This brings the right second fingertip in contact with the under right side of these cards in left: hand. Use the right second fingertip to flip or turn over, the cards .in left hand, side­ wise to the .Left, and face down into left hand. During this the right hand retains the face up AC. With the AC lightly tap the top of the [jacket in left hand as at same time left thumb pushes over the top card slightly during the patter line, "There are two more Aces which I will show you but first let's get rid of the one indifferent card." During the last part of the patter you will have done the following actions: The right hand places the AC still face up on top of the face down packet. When right hand comes over the packet, to square it by the ends, the left 4th fingertip easily gets a break under the original card that was dealt over thus you have a break below the upper two cards. The right hand, still holding the ends with second fingertip at upper left corner, turns or pivots the cards sidewise to the right. Due to the left 4th fingertip being maintained a step or angling of the cards will be formed at the lower right corner. You will see the AH index if you have done the actions correctly. Right hand still holds onto the ends of the now face up packet as left hand now moves in under the packet in order that the left fourth fingertip can engage the step, at lower right corner, in order to obtain a break below the three face X cards. Right hand, still grasping the cards from above by the ends, moves the three cards above the break, as apparently one, off to the right about half their width and left thumb presses on the face of these card(s) to hold them in place. This leaves right hand free to stud deal the 3 cards as one face down to under the cards in left hand. Left thumb freely pushes over the next two cards to show an AH and AD as you conclude with, "And these two Red Aces make three Aces." Here take the regular AH face up onto the fingers and thumb of right hand. Onto the AH deal the AD (Double Face Ace.) Square up the two Red Aces and now right hand can stud deal these face down to under the cards in left hand. The Steps 1 to 11 inclusive of this Second Method of "Succession Aces" are basically the only radical changes from the First Method as from here on the remainder is handled exactly as already described in the Steps 15 to 23 inclusive with Figs. 2 to 8 inclusive. Just start by holding the packet you now have and thumbing over three cards, holding the last cards as one, to show four fanned face down cards. Now just proceed from Step 15 to 23 of the "First Method" of "Succession Aces" to con­ clude the effect. In case you may remember the procedure here is only a brief memory jogger of Steps 15 to 23. A. B. C. D.

E.

TWo fanned cards in left hand are turned face up and shown as two Red Aces. The 2 ouiHs in right hand, in being squared, steal the Double Face Ace so that, when right hand turns palm up the AC will be as face card. Bring both hands together spreading out four cards. Two Red Aces will show face up in left hand and right hand has two face down cards. Left hand Red Aces flipped over face down. Supposed AC or face down card in right hand is placed under cards in right hand. Follow by placing last card to under left hand cards to bring all three Aces together. Do a D'Amico Spread followed by Elmsley Count to show the 3 Aces have vanished. Place this packet onto the other face down assembled packets.

F. G. H.

I. J. K.

L. M.

Right hand uses top card of last or 4th packet to scoop it up. Again D’ Amico Spread and into the Elmsley Count to apparently show four Aces. Right hand turns packet face down spreading it to show four cards. Meantime left hand has picked up the _3 assembled packets and obtained a break under top card, the regular A H . Place 4 cards from right hand onto top of packet in left hand. Raise both hands doing Mario Slip Cut, to hold back top X card, as right hand takes all 4 cards above the break, by the ends, to turn the now actual 4 Aces face up to the table. Left thumb slips top X card to the bottom of the packet while right hand holds packet from above by the ends. Right hand fingers cover upper end, on face, of packet while right thumb up-jogs the Double Face Ace facing you. Turn packet over, end for end, face up into left hand. The in-jogged caixl will not contact the extended left 1st finger. Instead it will by pass it thus the Double Face Ace will automatically be lowered into a Rear Palm. Right hand takes all cards except in-jogged or Rear Palmed Double Face Card as right thumb presses down on the in-jogged card to further press it down towards the palm of left hand. Right hand spreads its cards face up on the table while left hand goes to pocket. There the Double Face Ace is disposed of as left hand re­ moves the balance of the borrowed deck. All is now clean for any in­ spection which you can almost be sure will not take place since its their deck.

Taking a cue from the routines using the one Double Face Ace, David Solomon of Chicago, worked out the following version which uses two duplicate Aces and your own deck of cards. He titled it -"Ace Problem" (IWo extra Aces - Your Own Deck) EFFECT - Same as stated under ’ ’ Succession Aces". .1.

Set-up your deck, from face to top, in AS-AD-AC-3H-X card-AH-8X cardsduplicate AC-AH_x_ card. This total of 17 cards is at the face or bottom of deck which is in its card case. When ready to perform remove the deck from card case. Place the card case in the right side coat pocket. Thumb over the face 17 cards, holding the deck facing you, into the right hand not reversing their original order. Left hand places remainder of deck into left side coat pocket with faces towards the body.

2.

Spread the 17 card packet, with the faces still facing you, between both hands. Re-square the packet and get a left 4th fingertip break below the five face cards. Lower the left hand so that spectators can see the faces. Left thumb deals over the AS-AD block of _3 cards as apparently the AC, but leave AH flush on face of packet. The right hand naturally supports the fanned over Aces at the right side. Raise the packet as both hands re-square the Aces. Now left thumb merely thumbs over the face four cards, which will be the AS-AD-AC-3H, which are taken squared into right hand. Both hands lower. The face X card on left hand packet adds to the illusion of the four Aces having been taken by right hand. Left hand places its packet face down to the table. Place the four cards from right hand face down into left h 1.

Deal them, one at a time, face down in a row, from left to right, turning the AS face up. Order of cards, from left to right, is 3H-AC-AD-AS. 3.

Pick up the tabled packet holding it faces towards you. Get a break under the face two cards with left 4th fingertip. Do a two card pushoff taking the two cards as one into right hand. Onto these take two more cards, one at a time, into right hand as apparently 3X cards. Actually the Ah is top card of reaL.ly a 4_ card packet. Place this packet face down onto the tabled AO or the Pud card from the left.

4.

Reverse count throe cards taking them into right hand. Turn these face down and place them onto the supposed first Ace on the left but really the 311.

5.

Get set now for the Mario Technical Variation of The Veeser Concept except in this case only two X cards will be fanned over to display three X cards. Right hand takes the first two face cards, one onto the other, fairly; how­ ever, as right hand goes to take the third X card you execute the Veeser Concept leaving the two X cards under the cards in left hand as right hand pinches off three cards, i.e. a face X card plus the duplicate AC-AH behind ■ it. Right hand places these cards onto the AS by using the face up .packet, which is squared, to scoop up the face up AS then turn all cards face down. This packet now contains, from top down, the AH-AC-X-AS.

6.

Show remaining three cards in left hand then turn them face down placing them onto the third Ace from the left or the AD.

7.

Pick up the first packet on the left. Using the pip covering technique, at top and bottom ends, flash the face 3H as apparently an AH. Fan out four cards and casually transfer two cards to under the packet. Do a D'Amico Spread followed by an Elmsley Count to show only 4X cards. Count them, one at a time, face down to the table onto each other using the 4th card to scoop up the cards and toss all four faces down to the left in almost its original position.

8.

You now will show an AC and AH in the second packet on the left as follows: Turn second packet face up to show AC. Do a two card pushoff and Stud Deal them as one face down to under the cards in left hand doing "The Duck and Pull" moves to leave AC under the packet as left fingers snap the now single face down card then right hand replaces it to under the packet. The next 3 face up cards are reverse counted, one at a time, into right hand to dis­ play two X cards and the AH becomes the face card. Turn these 3 cards face down onto the card(s) in left hand. The order of the packet, from top down, is now 2X cards, the AH-AC and X card.

9.

You arc ready to vanish the two Aces. The packet is face down in left hand. Left fingers do a Single Buckle as right hand lifts up, from above by the ends, the block of 4 cards up to the left fingers and thumb which hold the cards by the sides. Right hand grasps left side of the 4 card block, thumb on face fingers on top, then do a D ’ Amico Spread to show the AC-AH. Turn the Aces back face down onto the card in left hand. Deal off the top two cards face down to the table. These are really 2X cards but spectators assume they are the two Aces. Right fingers remove the bottom card of the

-9 9 -

cards in left hand. Use this card to tap the two tabled cards. Return the card from right hand on top of the cards in left hand. Turn the tabled cards face up to show they are no longer Aces. Place these face down onto top of cards in left hand. Count the top three cards, one at a time onto each other, face down to the table. Use the last two cards, Aces, as apparently one card to scoop up the three tabled cards doing the Mario Scoop Up Palm to cop the two Aces into right hand. Right hand adds the two palmed Aces to the next or third packet, with the AD, as if is gathered faces down into the .left hand. 10.

You now show that you have 3^ Aces in the 3rd packet. Turn the packet face up into left hand. Left thumb pushes over the face AD then left fingers do a Double Buckle to show an X card (really 3X cards as one) and the ACA H . Re-square the packet and turn it face down into left hand.

11.

With packet face down the left fingers can either do the Double Buckle or the Pull Down Move to obtain two cards and transfer them to top of the packet, as apparently only one card or supposed face Ace. Now go into the Mario handling for the vanish, i.e. the combination of the D ’ Amico Spread and going into the Elmsley Count to show 4X cards. Place this packet face down on top of the other two assembled packets. The top three cards of this packet are Aces with the AD on top.

12.

Use the top card of the 4th or leader packet to scoop it up. Turn packet face up doing the D'Amico Spread and going into the Elmsley Count to ap­ parently show four Aces. This packet, after the Elmsley Count, will have, from top down, the X card-AS-AC-AH. Turn packet face down placing it onto the assembled packet. Pick up the packet and spread the top four cards, between both hands, but in re-squaring get a break under the top cards and cut them to the bottom. The face four cards will now be the actual four Aces. Deal these face up to the table for spectators' inspection. You have ample misdirection to bottom palm the duplicate two Aces into left hand. Right hand spreads its remaining cards faces up as left hand goes to lefl side coat pocket to leave the duplicate Aces and come out with the rest of the deck. You can now go into any other routines.

Before going into other versions of "Succession Aces", here are some simpler handlings I came across during the performance of the 2nd Method of "Succession Aces." These are listed under the following "Suggestions." First Suggestion - This avoids having to in-jog the 3C and makes for a quick get ready for the initial Double Lift of the face AC (Double Face Ace) at Steps 3 and 4. Proceed by placing the 3C to below the face AC; however, do not in-jog it. Instead the four cards are squared into right hand as left hand places rest of packet to one side. Place the Ace packet face down into left hand. Thumb over only two cards as you say, "First I will deal with these Aces." In re­ squaring the packet get a break, with left 4th fingertip, below the top two cards. Holding this break, with left 4tli fingertip, the right hand grasps the packet, from above by the ends, to pivot it over sidewise to the right. This action causes those cards above the break to step and angle themselves to the right at the lower right corner. 'Hie right hand, which is still above the packet is now face up and held also near the tips, at left side, with the thumL

on faoe of the packet' with fingertips beneath. Right hand moves the packet further into the left hand as for dealing. This enables the left fingers to stretch over to the right side of the packet during which time the tip of left 4th finger pulls down on the angled step, at the lower right corner, then presses in to obtain a break below the now two face cards namely the AC (Double Face Ace) and the 3(2. From this point simply conclude the actions as described at Step 4 of the 2nd Method of "Succession Aces." "Second Suggestion" - At Step 10 of the 2nd Method of "Succession Aces", when dealing with the 3rd packet, you can avoid the Double Lift or the Spread or the Triple Buckle as follows: After secretly adding the two copped cards (Double Face Ace and X Card) from the 2nd packet onto top of the third packet simply turn this packet so it faces you. Now merely count the cards, one at a time onto each other, into right hand as you take the last two cards (Double Face Aceand covering X card) as one onto the other three. During this count you simply say, "Here we have one-two-three-four cards." The spectator plainly sees the backs of the cards during this reverse count. The packet is now in the same order of, from face to top, the Double Face Ace with AC showing - 3X cards and AH. From here just conclude as outlined at Step 10 of 2nd Method of "Succession Aces." 2nd Suggestion - (David Solomon) - This is an alternative Ace packet handling when doing the initial layout of the four Aces for the Second Method of "Succession Aces." In this case the Double Face Ace is with the AD showing on the face of the packet. The order of the four cards, from face to top, is AD-AH-3D-AS. Hold the four cards facing you and held between the two cupped hands to more or less conceal the backs. Push over the AD-AH but with left thumb pull back the AD leaving the AH projecting to the right. Pinch the AH to pull it out and trans­ fer it to the face of the packet. The order of the cards is now AH-AD (D.F.)_3D-AS. Turn packet face down doing Elmsley Count to show 4 backs. This also rearranges the cards so they are now AD-3D-AH-AS, from face to top. Do a Stud Deal of 2 cards as one AD doing Mario*s "Duck and Pull" displacement move to deal 3D face down to the left while the Double Face Ace is now on bottom of the cards in left hand with AC side uppermost. The next Ace - the AH is dealt face down to the right of the first tabled card so that a space is left between these two cards. Show two Black Aces remaining in left hand as you place the AS to under the AC. Turn the squared two cards face down showing a back. Turn the cards face up as you take the AS in right hand and AC in left hand. The AC (Double Face Ace) is placed face up between the two face down cards and the AS is placed face up to the right as the last Ace of the row. Because the AC side is in play after the above Dave Solomon’ s suggestion, there will have to perhaps be too many changes required for the rest of the routine of the Second Method of "Succession Aces." For this reason I have made the following revisions under the 3rd Suggestion - For Second Method of "Succession Aces." Begin with the whole major packet of required cards with the AS-AH-3C in that order from the face of the packet. Now add the AC onto the face of the packet, from the pocketed deck, as per the routine. Pick up the packet and hold it face up. Next openly trans­ fer the AC to under the AS. With packet faces towards yourself thumb over the four face cards and place the 3C in front of the AH thus between the AH and AC

-L O l-

(Double Face Card.) After placing rest of the packet to one side the order of your four cards, from face to top, will be AS-AC-3C-AH. Do the Elmsley Count to show four backs. This rearranges the cards so they will now be in order of AC-3C-AH-AS from face to top. From here go into the layout sequence already described in the Second Method of "Succession Aces" at Step 4. 4th Suggestion - Applied to any of the methods that use the Double Face Card. Make the Double Face Card a thick card or two cards rubber cemented back to back. You will find such a card of great help in easily and surely getting required breaks via Pull Down, Buckle or Touch methods. Sth Suggestion - This also can be applied to any of the methods. It consists in getting a required situation where the order, from face to top, is AS-AC30 reversed or 1 ace down-All. Now the AS is turned face down onto the face up cards in left hand. Right hand takes and places the AS face down to the ex­ treme right. Left fingers do a Single Buckle with right hand turning over, two cards as one, the AC onto the face Red Ace; however, you go into the K. M. Move, as described in the section on this revised approach, turning left hand palm downward as you apparently deal the AC, really the 2C, face down to the left. A back of a card will show when left hand is palm down. Wait a few seconds, as right hand adjusts the supposed face down AC, then turn left hand palm up. A Red Ace still shows and experience has shown no one actually noticed the orig­ inal face Ace suit. Spread the two Red Aces dealing the AD (Double Face Ace), into 2nd position from left, face up and the AH face up into 3rd position from left in the row. You are now in the required position for going into the 2nd Method of "Succession Aces." 6th Suggestion - For Second Method of "Succession Aces." This situation is very easy to get. The order of the four cards, from face to back, is AS-AC-3C-AH. This arrangement can be made using the opening procedure of the 3rd Suggestion. Hold the packet face up. Turn the AS face down onto the packet in left hand. Right hand deals this AS, to the extreme right, face down. Do a Single Buckle for right hand to turn the AC (really Double Face Ace and 3C) as one card face down onto the Red Ace in left hand. Now stall a few seconds as right hand picks up the AS, to show its face, as you say, "The Ace of Spades over here." Replace the AS face down to table. Right hand now takes the supposed face down AC from left hand packet to deal it face down to the left as you add, "And the Ace of Clubs over here." They will see a Red Ace as the face card and will not remem­ ber the original Red Ace. Spread the two Red Aces, then re-square them and turn them face down. Grasp the upper right corner of the cards with right thumb on top and fingers below. The upper left corner is grasped with left thumb on top and fingers beneath. Both hands now turn outwards, bringing the cards face up, then at the same time both hands separate with left hand taking the AD (Double Face Ace) while right hand takes the AH. Your remarks during this are, "Let’ s leave the Red Aces face up for the time being so you know which is which." The order of the row of four cards, from left to right, is 3C as supposedly a face down card AC-AD face up (Double Face Ace) AH face up- AS face down. You are now all set to go into the Second Method of "Succession Aces." Although a Single Buckle was mentioned as the sleight used for the turnover you can substitute a Push-Off technique or even a Pull Down Move. You can use the Elmsley Count to start and get into tlie above required situation. The arrangement, from face to top, of the tour cards, from face to top, is the same or AS-AC-3C-AH. Do the Elmsley

-

102 -

Count to show four barks. Hold the packet face down in .left hand. Thumb over the top two cards, one under the other, in a fanned condition. Place the cards from left hand between the two cards fanned in right hand as you square up the packet. Your patter for these actions is, "I will show you the Aces one at a time." Turn the packet face up and they will now be in the proper order of AS-AC-3C-AH to continue with the showing and dealing out of the Aces as already described in this 6th Suggestion. Frankly this has become one of my favorite procedures for the layout of the Aces. In the event there is anyone in back of you the two Red Aces, which are squared and face down in left hand, are subtly dealt face up by turning both hands palm down as each hand moves the face down Aces further apart. Keep left hand palm down as right hand removes the face up Red Aces from left hand. Both hands now take the proper Red Ace in each hand to deal them face up between the two face down Aces.. You are now all set to go into the Second Method of "Succession Aces." 7th Suggestion - Besides the Scoop Up Palm, to transfer a card or cards, as required, from one packet to another, the other recommended sleight, which also takes place during the counting of cards to the table, is Mario’ s variation of the Bensai’ s Cop. This variation is to cop the counted card (or cards) into a Flat Rear Palm position. For details see "Advanced Fingertip Control." At which point you do the Flat Palm Cop could make the difference. You may try this combination. First arrange a situation so that the Double Face Ace is second from the bottom in a face down _5 card packet. First thumb over the top 2 cards then position the packet so it is held at left side with thumb on top and fingertips below. In this position the two forward cards are easily taken, one at a time to the table onto each other, with right hand. On the count of, "Three," the left thumb pushes the Double Face Ace plus its covering card as apparently one card. Right hand takes these two cards, as one, to deal it onto the tabled cards; however, you actually do the Flat Palm Cop. Without any break in the counting rhythm the right hand taking the remaining single card, from left hand, to deal this card onto the tabled cards. Right hand, with Flat Palmed card which is in a Rear Palm position, can add its cards onto the next packet. In this case the Double Face AD-AC plus its covering card would be added onto the 3rd packet with AH. From here the rest of the routine can be continued as in 2nd Method of "Succession Aces." 8th Suggestion - This uses the Elmsley Count Concept with Mario Displacement Mechanics to get a required situation that normally would not show all four cards as having backs; however, more important the count can be repeated in the same identical manner and retain the original order at all times unless the mechanics at counts three and four are altered. After the addition of the Double Face Ace, with AC side showing, the order of the four face cards, from face to top, will be AC (Double Face Ace)-AS-AH-3C. With the major packet face up, openly transfer the AC to under the AS. Now with packet facing you and spread between the cupped hands take the four face cards into right hand without re­ versing their order. Left hand places rest of the packet to the table. The four cards, still facing yourself, are again spread between the cupped hands. The left fingers and thumb transfer the AH to the top of the packet. The order of these four cards, from face to top, is now AS-AC-^C-AH. With the squared packet face up in left hand lower it so spectators can see the face of packet. Right hand grasps the left side of the packet to turn it face down as top card moves to right. Go into the D ’ Amico Spread for an easy start of the following

count sequence. The right hand takes the top face down card into right hand dealing position while the left fingers and thumb hold onto the left side of the packet. The left thumb pushes over two cards, as one, while left fingers at same time pull the bottom or face card to the left. Right hand moves towards left hand to take the two forward cards, as one, into right hand. During this the card that is in right hand is left under the card in left hand as right hand takes the pushed over two cards into right hand dealing position. Tlius right hand now has two cards, the 3C and AC from top down, while left fingers have two cards, the AC and AH from top down. As right hand comes towards left hand, in order to take a 3rd card, the left fingers push forward, to the right, the hot tom card of the two, the Ah, which is taken by right hand onto the cards in right hand. Without any break in rhythm the right hand comes back to take the last card, the A S , to under the cards in right hand. The order of the cards, from face to top, is still the AS-AC-3C-A11. A repetition of the identical count actions will keep the same order, should you want to change the position of the top and bottom cards then on the count of three take the bottom card, of thetwo in left hand, to under the cards in right hand and the last or 4thcard onto top of the cards in right hand. Naturally a regular Elmsley Count will also change the complete order so it will be AC-3C-AS-AH from face to top. At any rate in this case you want to retain the order of AS-AC-3C-AH from face to top. You can now turn the AS face down onto the face up cards in left hand. Right hand deals off the face down AS to the right. Do a two card pushoff or a Single Buckle to turn the AC, really two cards AC-3C, as one face down onto the face up Red Ace. Leave it face down as right hand picks up AS, shows it, then places it back face down in its original position. Right hand deals off the face down card, supposed AC but really the 3C, face down to the left leaving a space between the two Black Aces. Left fingers can now spread its two cards to show the Red Aces. Square up, turn them face down, change your mind, turn the squared Aces face up, split the Aces with AD (Double Face Card) going to the left and AH going to the right between the two face down cards. I realize I have repeated these instructions before but it saves you the trouble of too much back tracking. The following method, inspired by Dave Solomon’ s which used the two duplicate Aces, was devised in order to still keep the idea of being able to do the effect with a borrowed deck. While duplicate Aces are used they are really so called Stranger Aces in that the back design or color of them do not have to match since, during the routine, the backs of them never show. There is an advantage to using Stranger Aces as compared to the Double Face AD-AC simply because while you may not always carry the Double Face card you will, in more instances, have a pack of your own. Then there are those times when the actual Stranger Aces will un­ knowingly be supplied by your audience, especially magicians, in that two decks may be in play. It will require no greateffort to secretly remove the AD and AC from one deck then later use the other deck for the routine. Having thus prefaced the routine the explanation will now follow of what is titled -SUCCESSION ACES - (EFFECT AS ALREADY STATED) MARLO’ S 3RD METHOD 1 1.

An AD and AC are placed, into left side coat pocket, on their sides, with face AD against body, then AC on top of AD. That is all the preparation you require except to mention that these two Stranger Aces should not be

-1 0 4 -

too new and yet not obviously worn or soiled. This way the faces will match the wear of the average deck and even a new one. 2.

When ready to perform take the borrowed deck and spread, between both hands, with faces towards youi'self. Quickly locate the 4 Aces and a 3JJ which you bring to the face of the deck. Next thumb over 113 cards being sure you do not include any other 3’ s among them, only the 3D. When you have the .1!) Cards, place rest of deck inside the left coat pocket with faces towards body and against the two Stranger Aces there.

3.

With the packet of 15 Cards still facing you, quickly place the AD into 2nd position from top and AC into 3rd position from top thus AD is above the AC from top to face. With right hand remove and toss the AS face down to table. Next toss the AH face down onto the AS, then follow by tossing the 3D face down onto the 2 tabled Aces, you toss your packet face down onto the three tabled cards. Pick up the whole packet. Run thru it in order to double check that AS is at face followed by AH and 3D. Also you can run to the top .3 cards to make sure the AC precedes the AD from face of packet plus an X card on top of packet. Saying something about an Ace being missing, place the packet face up to table with AS at face of packet.

4.

Left hand reaches into left side coat pocket in order to get the deck. While there the left thumb quickly pushes the two Stranger Aces forward just enough so that in pulling them back, square with face of deck, the left 4th finger­ tip can obtain a break beneath them before the deck is brought out of the pocket. When the deck is brought out of the pocket the AD will be the face card. This you seem to deal or toss onto the face of the tabled packet. Actually you do a one hand two card throw which is easy since you already have your break below the two face Stranger Aces. (The basic mechanics of the two card throw can be found in the "SPADE" Book while those off the face of a deck or packet can be found in "Expert Card Conjuring" and "Riffle Shuffle Finale.") Left hand places rest of deck back into the side left coat pocket with faces of deck towards body.

5.

Pick up the tabled packet. Hold packet in left hand dealing position with faces towards yourself. Cup your right hand along the right side of packet in order to prevent a flash of the backs of the Stranger Aces as left thumb pushes over the face 5 cards. Re-square with the left 4th fingertip getting a break below the 3D. You can now lower the hands as left thumb spreads out the 4 Aces but holds the last two cards, AH-3D, as one. You can move off the 4 Aces and expose the face card of packet in left hand. Left thumb can also push the face card of packet slightly to the right in order that the left 4th fingertip can obtain a break beneath it as left thumb again pulls face card back flush with rest of packet. All these actions take place while displaying the four Aces in AD-AC-AS-AH order from face to back as in Fig. 9.

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finger. State you will deal three cards on each Ace. Do a Ttoo Card Push Off of the face cards as one. These are taken by right thumb on face and fingers below at the upper right corner. The next face card is dealt over by left thumb and its upper right corner practically jammed or forced, between the right thumb and fingers, to under the card(s) in right: fingers. Repeat with the next card for a supposed total of 3> cards but actually 4 as the Stranger AD is secretly among them. Square up the packet between the thumb and fingers of both hands being sure you hold ■those cards well above the packet in left hand. Right hand, grasping the outer end of these cards, thumb on face and fingers below, turn the packet over inwards and face down onto the face down AH in the second position, from the left, among the row of 4 supposed Aces. 9.

Take the next _3 face cards in a similar manner, one under each other, then place these face down onto the supposed AD but really the 3D.

10.

You now will change position of the packet in left hand in readiness for the technical variation of the Veeser Concept. The left thumb casually pushes over, at an angle, the face two cards. Right hand grasps the right side of packet with thumb on face of cards and fingers below. Left hand touches the AC moving it forward slightly or about a half inch, no more. Left hand now retakes the packet by the center of left side, as in Fig. 10, while right fingertips touch or move the A S .1

11.

The above actions are excused by the lines, "That leaves us the Ace of Clubs and Spades." The packet at left fingers and thumb is in position for right hand to easily peel off or take the first two cards, one onto the other, into the right hand dealing position. As right hand is about to approach the1 left hand, for the purpose of taking a third card, the left thumb and fingers acting in opposite directions push forward a block of 3 cards as one. Right hand, with its two cards, slides in under the cards in left hand to leave behind the two cards from right hand at same time taking the block of 3 cards into the right hand dealing position. (See Technical Van i.abions of Vcesor Concept for more details.) The 3 cards in right hand arc turned over sidewise, to the left , with aid of right thumb and fingers. At once' the right thumb and fingers spread out the _3 cards face down as in I’ ig. if where left fingers and thumb in the meantime have pulled the remaining cards into left hand dealing position.

12.

Using the fingertips and thumbs of both hands square up the 3 cards and then turn them face up. An X card will show at the face. Secretly below this is the AC and AD in that order. Use this packet face up to scoop under the face up AS and then turn all four cards face down.

15.

Right hand takes the remaining 3 cards from left hand. Turn them face down and spread these in a manner similar to that shown in Fig. 1 1 . Left hand holds the spread as right hand changes position to re-grasp the _3 face down cards with thumb underneath and fingers on top. Turn right outward and palm up to bring the faces of the 3 spread cards into view. Still keeping them spread use them to scoop up, from right side, the face up AC. The spread cards will effectively hide the back of the Stranger AC as right hand now turns palm downward to place the still spread packet face down into left hand which takes it with thumb on top and fingers below. Both hands can now effectively square the packet without flashing the Stranger back. If you are apprehensive about this handling, then square the packet while it is still face up and then turn it face down to place it to the table in its original position.

14.

The disposition of the cards, starting with the packet on your left as the first packet, is as follows: First packet has a 3D plus 3X cards. Second packet has, from top down, 2X cards, Stranger AD-X card and AH. The total number of cards in 2nd packet is 5. The third packet has 3X cards covering a Stranger AC. The fourth packet, from top down, has AD-AC-X card-AS.

15.

Pick up the 1st packet on your left. Flash the bottom 22 as apparently A D . (See description of this in previous methods.) Hold packet face down. Do an Elmsley Count showing four face down cards. Grasp left side of packet, thumb below, 1st fingertip on edge, 2nd-3rd-4th fingertips on top. As right hand turns packet face up do the start of a D ’ Amico Spread. This is to easily start the Elmsley Count to show the faces of the cards and show the AD has seemingly vanished. The 3D will not show during this count. Turn packet face down. Deal the cards face down, one at a time onto each other,

to the table and use last card to scoop up the packet, then Loss or plane it off to the side on your left. The 3D will be .second from f a c e thus later hidden as required. Hi.

Pick up the I’ ud packet: to show that it. contains the AH and AD as follows: Turn packet face up into left hand to show AH. Do a Double Lift:, at inner right corner, so that left thumb can push over AH plus X card as one: which is taken by right hand at upper right corner with thumb on top or face arid fingers beneath. Tire left thumb pushes over AD which is taken onto the AH. The AD upper right corner is jammed between thumb and finger*:: ol right hand. The remaining two X cards are taken, one onto the other, onto the: 2 Aces to form a reverse fan formation as in Fig. 12.

r1 r1

i i i

17.

From Fig. 1 2 , first square up the packet, then turn it face down into left ' hand. Snap your fingers over the packet. Right hand turns packet face up, going into the start of D'Amico Spread and into the Elmsley Count but the last two X cards are taken under the cards in right hand. Thus, when the l packet is again turned face down, the order of cards, from top down, will be 2 X cards-AH-AD-X card. The regular back of AH will cover the Stranger back of AD. You count the cards to the table as in the first case; however, | the first card is taken off the bottom. This taking of the bottom card can be made as the right hand turns the packet face down into left hand. This is easily accomplished as follows: After the vanish of the two Aces via the Elmsley Count the packet is placed face up into left hand. Right hand 1 1st and 2nd fingertips go onto the face of the packet, at center of right side, while right, thumb goes beneath. As right hand turns palm up, bringing t he packet: face down, Lite right thumb pushes all Lite cards, except the bottom l owe, to t.hc left. The right 1st and 2nd fingers at same time pul.l to the right. This results in the block of cards, minus the bottom one, going face down into left hand dealing position as right fingers and thumb follow i through by dealing the bottom X card face down to the table. Without any stall the right hand comes back to now take the top card and deal it onto the tabled card. Repeat with the 3rd card but hold the last two, the AH-AD as one. Right hand takes these two cards as one to scoop up the tabled I packet. During this you execute the Scoop Up Palm or Cop using "Straddle Grip" and then secretly add the palmed two Aces onto the top of the third or AC packet. Left hand has already tossed its cards onto those assembled ^ cards on your left.

18.

The 3rd packet, after the secret addition of the AH-AD, has 6 cards in order, from top down, of AH-AD Stranger-3X cards-AC Stranger. To show 3 Aces in this packet proceed as follows: Turn packet face up and place it in left hand. Push over AC, then do a Double Buckle to move out the AH and AD which are taken and held for the moment by left hand. In re­ placing the AD and AH, place them above the block of the 3X cards or just under the face AC. Some may prefer to show the 3 Aces via the Ascanio Spread. In this case the right hand holds the face up packet from above by the ends. Move the packet upwards. The left first finger contacts under card as the right hand moves to the right, exposing AH, then down­ wards. Now the left 2nd finger contacts the AD as again right hand moves further to the right which exposes the AD. The right hand moves its cards upwards and in line with AH. This time the left thumb presses on face of AC to keep it in place as right hand again moves to the right, then down­ wards in line with AC. The up-jogged AC and the right 2nd and 3rd fingers at front end of the block of X. cards effectively conceal this thickness. The Fig. 13 shows the Ascanio Spread completed. Its application to hiding or screening a M o c k of cards is my own and titled "The Blocked Ascanio ."

19.

To displace the block of X cards to under the Aces merely separate the cards as shown in Fig. 14, then by either pressing upwards with the two Aces in left hand or downwards with the supposed two cards in the right hand a gap or space will be created between the AC and the block of X cards into which the AD and AH are easily slid as the packet is squared up. (Displacement techniques for the Ascanio1 Spread were first worked out by Jon Racherbaumer; however, they did not entail a Block Displacement.)

ri ri r r

r i 20.

Turn packet face down into left hand. Order of cards, from top down, is 3X cards, AH and Stranger AD and AC. Spread over the top 3_ cards, holding I last three as one, to show four cards. With aid of right 1st and 2nd fingers push 2 of the cards flush into left hand while right fingers and thumb hold onto the top single card. Holding onto the single card the l right 1st and 2nd fingers contact the bottom of the squared cards in left hand. With aid of right fingers the squared packet is flipped over, sidewise to the left, and face up into left hand. The left thumb deals over . two Aces, i.e., the AC-AD and holds the last AH as one card. The right ' fingers and thumb also aid in the spreading of the cards to result in 3^ face up Aces with one face down X card being displayed between both hands. The patter line here is merely, "Remember the Ace of Clubs and two Red Aces." 1

21.

Re-square the 3 Aces, then flip them face down, again with aid of right 1st and 2nd fingers from below, into left hand. At once left thumb deals over | the top card of its packet which is taken to under the card in right hand. Right hand thus has two cards fanned or spread. The left thumb and 3rd fingertip now flick the left side edge of the supposed AC as you say, "The Ace of Clubs goes with the two Red Aces." Here right hand openly places ' the supposed AC to underneath the left hand cards, the left fingers dropping or moving down to permit this. Right hand also places its remaining X card to under the packet as you finish with, "All three Aces -- together -- Watch."i Here snap your right fingers over the packet. Right thumb and fingers grasp the left side of packet at center, thumb beneath, 1st finger on edge, 2nd3rd-4Lh fingers on top. Right hand turns palm upward as right fingers and thumb start a D ’ Amico Spread. The left side of the packet is at once taken by left hand, thumb on face and four fingers beneath, in readiness for an easy starting Elmsley Count which shows only 4 X cards, the 3 Aces appar­ ently having vanished. Turn the packet face down and place it on top of the tabled cards on your left. The top 3 cards, of these assembled packets, are AH and Stranger AD-AC. Pick up this packet and turn it face up. Now as if suddenly remembering about the last packet you replace the assembled packet face up, to the table, on your left.

22.

Remember the 4th packet has, from top down, the AD-AC-X-AS for a total of four cards. Use the top card, AD, of this packet to scoop up the other three cards ,

This places AD at the face of packet. Now go into the easy beginning for the Elmsley Count which will show this packet as having apparently four Aces. Merely say, during the Elmsley face up count, "And here we now have One-Two-Three-Four Aces." Turn the packet face down and hold it in right hand. The four cards are sort of spread so that the cards spread left to right. The right fingers are under the packet and thumb on top. The right fingers from beneath keep three of the Aces apread and right thumb pushes top X card to x'iglit so it will be covered by the 3 Aces from below when this packet is .later raised with faces towards spectator when it has to approach Lite cards that left hand scoops off the table. 23.

Right hand is holding its Ace packet as above. Left hand in the scooping off of the face up tabled packet also gets a break, with left 4th fingertip, under top card or regular AH. The cards from right hand are placed onto those in left hand. Right hand changes position to grasp all cards above the break from above by the ends. At same time both hands raise upwards so faces of cards are toward spectator. Right hand transfers the cards above the break to the face of the packet. Since a Red Ace still shows all will look fair even if spectator should inadvertently get a glimpse of the Red AD of the Ace packet originally held in right hand.

24.

With packet still facing the spectators the right thumb, at lower end, quickly, obtains or lifts up on the two Stranger AD-AC. Right hand moves these two cards, as one, upward for about a half inch as at same time the four right fingertips curl over thier top and in order to conceal the upjogged condition thus also the two stranger Aces. Keeping the right four fingers curled over the up-jogged Aces, the right thumb now moves up to the top end to grasp the upper end of packet and turn it face up into left hand. This brings the two in-jogged Aces into an automatic Gambler's Cop position similar to that described and illustrated with the Double Face AD-AC. (See Fig. 6 to 7 °f Mario's 1st Method of "Succession Aces.")

25.

Right hand grasps the remaining cards, from above by the ends, during which time the tip of right thumb can press down on the in-jogged Aces to force them down into the left palm. Right hand spreads its cards, from left to right, face up. Meantime left hand with the two copped Aces goes to left side coat pocket to dump the two Stranger Aces and remove rest of deck. The easiest way to do this is for left hand to hold its Aces until the left 1st finger and thumb grasp the deck. Now extend the left 2nd-3rd-4th fingers letting the Stranger Aces drop into the pocket as left 1st finger and thumb move out the deck itself, Once the deck is out of the pocket the right hand takes it, from above by the ends, to spread it face up directly below the other spread. Push all cards together as you hand the deck to the spectator w i t h 'the casual remark, "Your deck, isn’ t it?"

That concludes the methods but by no means the variations -possible with each method us is evidenced by the following ideas in which the Aces can be vanished in other ways not only all at once but one at a time. Peruse them and decide for yourself us to whether you may wish to substitute them for those in the described routines.

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Before going into the "One At A Time Ace Vanishes", some may like the following handling of the 2nd packet as a substitute for that described at Step 16^ and 17 of the 3rd Method of "Succession Aces." This 2nd packet lias, from top down, 2X Cards-a Stranger AD-X card and regular All. To show the Aces turn packet, face up. Double lift and deal off AH plus X card as one card into right hand. Onto the AH deal and take the AD Stranger card. The remaining two X cards are spread by left hand fingers and thumb. Replace the two X cards to under the Aces in right hand. Turn packet face down. Order from top down is now 3X cardsAH-AD Stranger. Spread to show 4 cards holding last 2 as one. The Stranger back of AD is hidden. As you re-square apparently take the top two X cards, from above by the ends, really taking only one as you transfer it to under packet Right hand at once takes packet from above, by the ends, to turn palm up and show face of X card as you say, "IWo indifferent cards." Place packet face down into left hand. Single Buckle taking four cards with right hand, from above by ends, to place it into left fingers and thumb which hold the cards by the sides well above the card in left hand. Right hand can now do the D ’ Amico Spread to show the faces of the AD-AH. Do not inadverently flash the back of the Stranger AD. Turn the 2 Aces face down onto top of packet. Do an Open Double Deal (top and bottom cards apparently coming off top of packet,) face down to table. Use top card of packet to tap the tabled cards. Show two tabled cards are no longer Aces as you return each to top of packet. Order is now 3X cards with regular AH on top of Stranger AD. Do the dealing of 3X cards face down to table. Last two cards, held 'as one, are copped using the "Scoop Up Palm" action. The AH-AD Stranger-3X cards-AC Stranger. Turn packet face up. Push over AC-Double Buckle and spread cards to show AC-X card-AD-AH. If you wish you can do the Ascanion Spread. In either case the AH-AD are displaced so they go under the AC while the 3X cards-regular AH and Stranger AD-AC. You can spread the cards as four face down cards holding the last 3 cards as one. From here conclude the effect as already described in 3rd Method of "Succession Aces."

"One At A Time Ace Vanishes" - The following one at a time Ace vanishes, from each of the packets, uses the Double Face AD/AC card and were inspired by those from David Solomon’ s "Double Face Aces" routine which uses three Double Face Aces. What follows is applicable to 2nd Method "Succession Aces." 1st Packet - Since this has only the 3 spot, passed off as an Ace, the vanish here can be as in any of the methods using the subterfuge. 2nd Packet - Show as this packet having two Aces, the AD-AC. (Double Face Ace handled as per 2nd Method of "Succession Aces.") Leave an X card covering the AC side of Double Face Ace. Hold packet face up and do an Elmsley Count. Only the AC will show and the AD is apparently gone. The AC has also become the third card from the face of the packet. Do another Elmsley Count and the AC will not show thus two Aces have vanished one at a time. From this point handle the packet as per the 2nd Method of "Succession Aces" to get an X card and the Double Face Ace across to the 3rd packet. 3rd Packet - Show this packet as having 3 Aces, AC-AH-AD, as per the 2nd Method of the "Succession Aces" up to the point where you seemingly have placed all 3 Aces together in the middle of packet. Actual situation, from face to top, is two X cards-Double Face AD-AC with AD side showing-AH and final X card for a total of a secret 5 cards. Turn the packet face up. Show the AC is gone by simply thumbing over the face _3 cards and holding the last two as one. The AC is gone and only 2X cards and two Red Aces, the AD-AH, show. Re-square the packet still holding it face up. To cause the AH to vanish thumb over two cards, single buckle, hold last card against the others to form a fan of four cards. The fan can now be shown back and front. The regular AH back hides to other side of the Double Face AD-AC card. To vanish the last AD, re-square the cards then do a face up Elmsley Count to show 4X cards and the last Ace has vanished. Your arrangement for this packet is now exactly as required for the 2nd Method of "Succession Aces." From this point on conclude as already detailed for this me thod. Whether the "One At A Time Ace Vanishes" from packets two and three is worth the extra time element and manipulation involved or whether it adds anything more, from the standpoint of effectiveness, to this particular plot will depend en­ tirely on the individual’ s tastes and preferences. Actual performance, before various audiences, will be the deciding factor as to the procedure eventually adopted.I I will conclude this treatise with a "Discard Method". One may wonder why bother listing it at all. There are several reasons. One is that there may be within it some elements that may appeal to the reader. The other is that perhaps others may feel this 4th Method, which uses two Stranger Aces, is to their liking. Here then is my — 4th Method - "Succession Aces" (Discard) EFFECT - As already stated.

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1.

The AC-AD Stranger Aees in left side coat pocket with AD as the face Ace. From the borrowed deck get all 4 Aees and 3D to face of deck. Thumb over 15 cards without reversing their order. Toss AH face down to table then AS then 3D. Place rent of packet onto these and pick up the packet no faces are towards you. Place the AC into 7th position and the AD into 8i.li pos­ ition from the face. Keep thumbing through the cards and in-jog the 12 th card from the face of the packet of 1_5 cards.

2.

Replace the packet face up to the table. You can thumb over the face AH to subtly expose the next Ace the AS. Remember to keep that 12th card, from face of the packet, in-jogged. Hie rest of deck, which was placed into left side coat pocket to join the Stranger Aces, is now removed. The two Stranger Aces at face of deck are thumbed off, onto the tabled packet, as apparently only one Ace, the A D .

3.

Place rest of deck back into left side coat pocket. Pick up the tabled packet and get a break, with tip of left 4th finger, under the in-jogged card as right hand squares the ends of the packet. With right hand still holding the ends of the packet move off all those cards above the break to the right, however, the left thumb peels off the Stranger AD onto the 3X cards in left hand thus bringing the AD Stranger to 4th from the top yet not expose its back while cards are still held facing you.

4.

Off the face of the packet thumb over the AC (Stranger Ace)-AH-AS-3D doing it so the cupped hands hide the back of the Stranger AC. Order of the four cards, from face to top, is AC-AH-AS-3D. Turn the packet face down and do the Elmsley Count Concept using the Jordan Mechanics or in other words taking the first two cards singly, one onto the other, then executing the taking of the actual bottom card, from those in right hand, as right hand takes the two cards, from left hand, as one. The left fingers have stolen the bottom card of the two from right hand during the count of ’ 'Three" so that the single card now in left hand is taken on the count of "Four."

5.

Turn packet face up. Then spread face two Aces, the AS-AC. The AH will also show. Say, "The black Aces will be face u p ," as you deal the AS to the right hand and AC to left of AS. Turn the remaining two cards, still squared, face down then with left fingers spread them so that the bottom AH projects to the right. Right hand deals AH face down to left of AC and left hand deals the supposed AD, but really the 3D, face down to the left. Order of cards, from left to right, is face down 3D as supposed AD - face down AH - face up stranger AC - face up regular AS. Transpose the positions of the face down jUJ with the face up stranger AC which will now be in the second position from the left among the row of four cards.

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With packet facing you get set by angling over the face 5 cards and setting up for the "Mar.lo Technical Variation of the Veeser Concept." The supposed fluvo X curds, really a regular AD-AC-X card, arc used to scoop up the AS and turn (ho packet taco down. Total of 4 cards.

7.

Reverse count the next two cards as three face up into right hand. Use these to turn them face down onto the face down regular AH. This packet has 2X cards and AH for a total of 3 cards.

8.

You have 8 cards remaining in your left hand. Turn these face down . Thumb over the top three cards. Right hand holds them fanned and shows their faces. Place these onto the first card on the left, the supposed AD. This packet has 4 cards, the 3D and 3X cards on top of it.

8.

The left thumb deals over only one card of those i.n left hand then do a Single Buckle. This shows three backs belonging to borrowed deck. Turn packet face up and do a Double Buckle t;o show 3X cards. The Stranger AD has been hidden both from the backs and faces. Square the packet, face up and use it to scoop up the Stranger AD. Be sure the packet is squared before turning it face down. The order of this packet, from top down, is 2X cards, Stranger AD, 2X cards and Stranger AC. This is a total of 15 cards.

10.

Pick up first packet on left. Flash the 3D as supposedly the AD. Spread four cards and place top two cards under the packet. Do an Elmsley Count faces up to show the AD is gone. Count the cards face down, one at a time onto each other, to the table. Right hand uses last card to scoop up the three tabled cards and tosses all four cards face down to the left.

11.

Pick up 'the second packet. This one has two of the Stranger Aces. Do a Triple Stud Deal, packet is face up now, of the AC to turn it face down and place under the packet in left hand as apparently a single AC. Take the AD face up into right hand while left hand turns its packet over to bring AC uppermost. Place the AD face up onto the face up AC as you say, "TWo Aces Clubs and Diamonds." Turn packet over again. Deal over the two face X cards as you say, "And two indifferent cards." Flip these face down and place under the face down cards in left hand. The order of this packet, from top down is 2X cards, Stranger'AC,AD,2X cards. When the two X cards from right hand are placed to under those in left hand they should be in-jogged so that in squaring up you can easily get a left 4th fingertip break above these two X cards.

12.

Do a D ’ Amico Spread, of the four cards above the break, to again show the faces of the AD and the AC; however, be sure you do not flash the back of the Stranger AD. Square the two card spread before flipping them back face down onto top of the left hand cards. Next do Mario’ s Open Double Deal, of top and bottom cards, as you spread them out on the table. This Open Double Deal gives the impression of having dealt off the top two Aces they just saw yet at the same time prevents exposing the backs of the actual Stranger Aces. Right fingers remove bottom card of those in left hand. Use this to magically tap the two supposed tabled Aces. Right hand returns its card to top of those in left hand. Right hand picks up the tabled cards, ohe at a time, to show they no longer are the Aces. These two cards are placed face down onto top of those in left hand.'

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14.

15.

You now have 4 regular cards from the borrowed deck preceding the Stranger Aces. Deal the supposed four cards, one at a time onto each other, to the table; however, right hand holds the last three cards as one using it to scoop up the tabled 3. X cards. Execute the Scoop Up Palm, using the "Straddle Grip Method" for good control. Thus right hand tosses 3X cards face down to the left and secretly adds its 3 palmed cards onto the 3rd packet with the AH. This packet is scooped off into the waiting left hand. The AH packet is now handled as follows: Originally the AH packet contained only 3 cards. With the secret addition of the Stranger AD/AG card and the covering X card this 3rd packet now has six cards in order, from top down, of X card, AC-AD, 2X cards and regular AH. Right hand holds the packet from above by the ends. With tips of left fingers the bottom _3 cards are peeled or moved out, to the left, in a spread to show four cards as you say, "Four cards here." In re-squaring the cards, get a left 4th fingertip break above the bottom 3 cards. Holding this break pivot the packet face up, to the right with right hand which holds the ends of the packet during the turnover, The action causes the 3 face cards to step themselves to the left so that a step or ledge is formed on the right side at lower right corner. Right hand quickly repositions itself by moving in again to re-grasp the cards, still from above by the ends, further towards the center of the packet’ s width. Right hand curns the packet clockwise so right thumb will now be on outer end now.with the angle jogged face cards stepped over at the upper right corner. Left hand has retaken the face up packet into a dealing position. Right thumb pinches the 3 angles cards, by their upper right corners, against the base of the right 1st finger. Right hand takes the 3 cards, as appar­ ently a single AH, deep into right hand dealing position. At once follow by taking the next: two Aces, one onto the other, into right hand. Last card can be snapped and placed back under the packet. The 3 Aces are at face of the packet now. You can show them again via a Single Buckle as only _3 Aces and one X card. Turn packet face down.Thumb over 3 cards holding last 3 cards as one. This shows borrowed decks backs. Transfer 2 cards openly to under the packet. Turn packet face up. Do an Elmsley Count, using a D ’ Amico Spread action for an easy start of the count, showing the 3 Aces have vanished. Drop the packet face down onto the other assembled packets on the left. The AH card from borrowed deck covers the backs of the two Stranger Aces. From here you can conclude as in the previous version by showing apparently 4 Aces in the 4th or final packet. Left hand picks up assembled packet getting left 4th fingertip break under top AH. Right hand squares its four fanned face down cards (after the showing of them as 4 Aces via the Elmsley Count,) to square them onto top of cards in left hand. Right hand takes all cards up to the break, 5 cards now, to place or cut them to bottom of the packet as it faces the spectators. The two Stranger Aces backs are facing you.

IF’ . With right thumb quickly lift up the two Stranger Aces at back end. Right hand now moves these two cards upwards to out-jog them for a half inch; however, he sure the right four fingers, at top end, curl in at same time to cover these .jogged cards at upper end. You now have a situation where

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the packet: can ho turned over inward and face up so that the in-jogged Stranger Aces can be easily Rear Copped into the left hand while right hand carries rest of the packet to the table in order to spread it face up. The left hand, with the two Stranger Aces palmed, goes to the left side coat pocket. While there, left hand disposes of the Stranger Aces and removes the rest of the borrowed deck. If there is one thing in the "Succession Aces" that I feel is overdone, it is the use of the Elmsley Count on the various packets to either salve a guilt by showing all four backs or to vanish the Aces from each of the packets. Perhaps it would be better to make up a combination of vanishes so that the Aces in each succeeding packet could be vanished in an entirely different and direct manner. Tims the "Bluff Ascanion Spread" to show an Ace vanish in the 1st packet. The use of Che D'Amico Spread, to vanish two Aces, has already been described in a couple of the methods. The Elmsley Count can be used on the vanish of 3 Aces from the third packet. For the Leader Ace packet you could use the "Swindle Aces" idea, from the "Cardician," tossing each shown Ace face down onto the face down assembled packets. The above approaches would cut down on the monotony of using the same count all the time and even make it more difficult to reconstruct your routine by another card man. Still this is only a suggestion - you do as you please. Keeping in mind that as you do the various routines there will be changes made here and there; therefore, have decided to make a few revisions in handling of the 3rd Method (Mario) of "Succession Aces" using two Stranger Aces. 1st Revision - IF you find the one hand IWo Card Throw a bit tricky for you, because of one reason or another, then substitute any two card push off method, with left thumb, with right hand dealing the two Stranger Aces, as one, onto the face of the tabled packet. Try to avoid, if at all possible, handling these Stranger Aces from above by the ends. 2nd Revision - At Step 7 of 3rd Method of "Succession Aces" the squared and face up supposed two Red Aces are handled as follows: Right hand grasps the left side at center, the squared face up Red Aces (?) with 1st and 2nd fingers on the face and thumb below. Right hand turns palm up bringing the backs of the two cards into view. At the same time the left fingers pull the lowermost card to the right and left thumb pushes top card to the left. At once the left hand takes top card while right hand retains the bottom card, the AH. Both hands drop their respective cards to the table, faces down, to the left of the two Black Aces already face up on the table. 3rd Revision - At Step 16 of the 3rd Method of "Succession Aces" the second packet contains, from top down, 2X cards - Stranger AD - X card - regular AH. This packet is now handled as follows: Right hand picks Up the packet to place it face down into left hand dealing position. Left thumb pushes over a single top card, left fingers do'a Double Buckle, right hand naturally grasps the right side, of the spread out four cards that show the same backs, with thumb on top fingers beneath. Left hand holds onto the two spread bottom cards while right hand holds two of the top spread cards, really 3 as two with Stranger AD covered

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by the back of regular X card. Right hand places its two fanned cards between I the two cards in left hand then the packet is squared. These actions are covered by the patter line, "Over here there are four cards." Turn the packet face up, j with right hand, into left: hand dealing position. Say, "TWo Red Aces, Ace of Hearts, Ace of Diamonds and two cards." During these patter lines you thumb over the AH to lake it. at upper right corner, with right thumb on top and .1st and 2nd fingers beneath. Left thumb pushes over next. AD to take it onto the AH ^ as you go into a reverse fan count by jamming the upper right corner of AD under the right; thumb. Left thumb now does a two card pushoff, easy since there are only 3 cards remaining, onto the Red Aces as their upper right corners are jammed,f as one card, to under right thumb. The last single card likewise goes onto the face of the 3 fanned cards in right hand. The result is similar to that shown in the Fig. 12. Left hand takes the face X card to place it under the _3 cards still held by right hand as you say, ""Let's place the two Red Aces in the center.* Square up the packet and turn it face down into left hand dealing position. From this point on you can continue into Step 17 of 3rd Method of "Succession Aces." For those who may shy away from the Double Buckle Method the easier Ascanion i Spread can be substituted. The order of the 2nd packet remember is, from top down, 2X cards-Stranger AD-X card-AH. .Right hand picks up the packet holding it from above by the ends, with 1st finger curled on top, 2nd and 3rd fingers at J top end of upper right corner with 4th finger not touching the cards but close to 3rd finger. Right thumb is at back end near lower right corner. The left hand approaches the packet palm upward. Right hand moves its packet upward so , that left 1st finger can contact the bottom or face card at the lower end. Right hand moves to the right as left 1st finger presses on bottom card so it will move out to the left, for about two thirds of its width. Right hand moves its cards downwards, as left IsL finger keeps its card up-jogged, for about two thirds of i the length of the card or cards. Hie left 2nd fingertip contacts the new face card of those in right hand. The left 2nd fingertip presses on the face of the bottom card as right hand again moves to the right thus leaving the card pro| jecting to the left and down-jogged. At once right hand now again moves upward alongside the up-jogged card. This time the left thumb presses onto the top card of those in right hand. The right hand again moves to the right as left thumb holds back top card. Right hand moves its remaining two squared cards, as one, downward alongside the in-jogged card. The two cards as one are covered from the front end by the right hand holding the ends of the cards plus these cards are still more or less covered by the up-jogged top card. The two cards, as one, held by right hand are displaced so that they go above the AH at the bottom of the spread. This displacement is done in a manner similar to Fig. 14 except here the four cards, showing all the same backs, will be face down and . the card(s) that are held by the ends goes between the two cards in left hand or above the regular AH. The displacement technique used is to merely separate the four cards, as in Fig. 14, then by either pressing upwards with the two cards in left or downwards with the supposed two cards, really in the right hand a gap or space will be created between the cards in right hand. Now right hand moves back towards the left, just far enough for the lower left corner, of the two cards held as o n e , to go under and engage the lower right corner of the top | down-jogged card held in left hand. Again, by either pressing down slightly with left hand or upward with the right hand, a space will now becreated between the two cards held in left hand. Into this space or slight separation the right hand , easily loads the Double Card as the cards are squared. If things have been

followed correctly the order of the packet, from top down, is now 3X cardsAD Stranger-A H . Turn packet face up into left hand dealing position. Do the Reverse Fan Count pushing over the AH onto this the AD, then Block Pushoff two cards as one and finally a single card. The result is similar to that already shown in Fig. 12, the spectator’ s view. Transfer face card to under the fan of cards, "In order to sandwich the two Red Aces," you say as the packet is squared. From this point continue with Step 17 of 3rd Method of "Succession Aces." 4th Revision - At Slop 24_ of the 3rd Method of "Succession Aces" you were in­ structed to up-jog the two Stranger Aces, facing you on top of the major packet, as in Fig. L> for later copping of them as in Fig. 6. With a Double Face Ace card, especially a thick one as recommended, this is not only quite easy but necessary since you do not want to bend the card(s) too much. In the case of Stranger Aces you will be dealing with two loose cards; therefore, after the initial transfer of those cards, the 4 Aces plus X card, to the face of the packet just follow through by turning the packet, end for end, towards yourself, face up into the left hand. The right hand for a moment comes over the packet to grasp itby the ends. The left 4th fingertip quickly pulls down the lower­ most two Stranger Aces then moves in to obtain a break above them. The left thumb now deals over the Aces which are taken, one at a time, by right hand which deals each Ace, one at a time, towards the spectator or to the center of the table as you remark, "Perhaps you would care to look over your four Aces." With the 4 Aces face up on the table and attention directed to them you have ample opportunity for right hand to come back and again grasp the packet from above by the ends. The left hand remains stationary but the right hand (which lias 1st finger curled on top, 2nd-3rd-4th fingers across front end and thumb extended across the back end of the packet,) moves the outer end of the packet very slightly to the left. This causes the bottom two cards, which are held back by the tip of left 4th finger, to be angled slightly so that their outer left corner presses against the tip of right 2nd finger. The outer right corner is angled, at the upper end, to the right and covered by the right hand at this point. The left thumb moves to the left side of the packet. Right hand alone now supports the angled Stranger cards by pressure between right 2nd fingertip at outer left corner and extended’right thumb along the back end. Right hand now moves its packet forward as ball of left thumb slides along the left side of the packet in an apparent squaring action. Right hand now slides the packet back towards performer. The left hand, which is almost flat with fingers more or less normally extended, will palm the bottom cards, with practically no finger move­ ment at all, as follows: When the right hand slides the packet backwards, (the left thumb still apparently squaring off the left side of packet), it does so until the outer right corner of the bottom angled cards contact the tip of the left 3rd fingertip. At this point do not grab or close the left fingers around those cards. Instead the left 3rd fingertip merely keeps the bottom cards back as right hand again moves these cards above the Stranger Aces forward. Not until the left thumb comes in contact with the lower left corner of the packet does left 3rd fingertip press in, on the outer right corner, to more or less gently squeeze the cards into a full palm. The forwaixl packet also helps hide any possible finger movement of the left fingers. Remember do not bend or curl in the fingers of left hand during the palming action. Hie palmed cards lie gently in what would be considered almost an open hand. IF you are worried about

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any spectator in back of you, during the above palming action, only a very slight change is required. This is when the packet is moved back and the left 3rd fingertip engages the upper right corner of the angled cards. Here do not move the packet forward. Instead gently squeeze the left 3rd fingertip against the upper right corner of the angled cards and at the same time the right hand moves its packet counter-clockwise, to the left, then further inward. The left thumb moves over across the face of the packet with the tip of left thumb pointing at or even near the upper end at about the center. from the top the packet will completely hide the palmed cards; however, to make sure of all angles bring the left hand towards the body turning the left hand so that the lower right: corner of the visible packet is practically touching your wearing. Again remember - the left hand does not grab the cards to be palmed - the hand palming the cards is not closed like a fist. Basically the left 3rd and 4th fingers are slightly curled inward, to help bring the cards to be palmed down towards the palm; however, the left 1st and 2nd fingers are ex tend ed with 1st finger extended slightly more than 2nd finger.While it took many words to describe this palming action correctly it is done in a matter of seconds. These same basic forward and backwards sliding movements, in order to palm out a card from the center of deck by left 3rd fingertip is similar to that of "The Diagonal Steal", in Chapter Four, of "Revolutionary Card Technique," "The Side Steal"1957. If you ever wish to do this "Diagonal Steal", on Page 45 of "The Side Steal", then the Fig. 87 is an exageration. Actually the inserted card is pushed into deck, very quickly, so it projects from outer end of the deck for only about a quarter of an inch and not more than three eighths of an inch. You will be practically assured of this by right thumb and 1st fingertip holding the outer end of the card, about to be inserted from front end of the deck, by the extreme white border. New insert the card casually until the tips of the right thumb and first linger hit the front end of the deck and prevent it from going in any further. Right hand comes over the deck to push the card flush; however, the right 2nd fingertip, in seeming to push the card in straight, actually angles it to the right so that its upper right corner is angled out, at right side of the deck, near the upper right corner. From here go into the forward and back­ ward actions, with right hand moving the deck, as left thumb seemingly squares the left side of the deck. On the backward movement the left 3rd fingertip en­ gages the angled cards outer right corner and holds it back as right hand moves rest of deck forward and to the table. The right hand, during the forward and backward movement has its first finger curled on top and naturally right hand still holds deck, from above by the ends, as the left hand palms out the center card, then places it to the table. Anyway I have digressed slightly from the actual subject matter of this Chapter which is "Succession Aces." At this point, I will describe a problem that I posed under the title of "Technicolored Suc­ cession Aces." The Effect was to be that the performer would deal out 4 Red Backed Aces and onto each 3 Blue Backed cards would be dealt. So far those jumping to conclusions would think of Lin Searles "Ultimate Aces" effect; how­ ever, this is a bit more complex. You see the Red Back Ace not only has to apparently vanish to leave all Blue Backed cards but also their faces must show 4X cards. Now the second packet is shown to contain two Red Backed Cards and they ai'o shown to be two Aces. These now vanish leaving again all Blue Backed cards and the faces show 4X cards. The third packet is now shown having three Red Backed cards and these are shown to be the _3 Aces and naturally only one Blue Backed X card. Here all three Aces vanish leaving all Blue Backed X cards.

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Tho final or Loader packet now is shown to have four Red Backed cards arid they are the Aces. The final condition was that all the above be accomplished with borrowed decks. Sounds like an impossibility; however, I had some ideas and David Solomon of Chicago had some. Between us we came up with the following: "TECHNICOLOR" SUCCESSION ACES" Edward Mario - David Solomon EFFECT - As I already described above. All that is required are two decks of the same size but different in color and even design. Assume your host has two such decks on hand. 1.

On getting Red deck, hold it facing you. ' Quickly get the 4 Aces, a 3D and QC to face of the deck. Arrange these £ cards in order, from face to top, of AD-AC-AS-AH-3D-QC. The deck is still facing you. Thumb over four Aces, without reversing their order, and in re-squaring get a left 4th fingertip break below the face £ cards. Right hand lifts, from above by the ends, the £ cards above the break as right hand places the deck aside. Place the £ cards face up into left hand dealing position. Spread the face 3 Aces, be­ tween both hands, with left fingers pressing in, against right side of the packet,.to hold the last three cards as one. Re-square the Aces, then place this Red Backed packet face down to the table.

2.

Pick up the Blue Backed Deck and hold it with faces towards yourself. Quickly locate the AC and bring it to the face of the deck. Again spreading deck between both.hands locate the AD. Separate the spread of cards then i transfer AD to the face ofadeck. From face of the deck thumb over eleven cards. This includes the AD and AC but also see that among the remaining 9X. cards there aren’ t any three spot value cards and no £C because one is already among the Red Backed £ cards on the table.

3.

When you have the eleven Blue Backed cards in right hand the left hand places rest of deck aside. Both the Blue Backed Deck and Red Backed Deck should be face u p ; however, try to remember which is the Red Backed deck. With the eleven cards faces towards yourself transfer the face £ cards, without re­ versing their order, to top of the packet. The order, from top down, to face, is X card-AC-AD-8X cards. Turn the packet face down and false count them as twelve being sure you do not reverse their order during the false count which should be of the type where you take each card under the other. Turn the packet face up, spread the cards slightly so you can spot the card in front or preceding the two Aces. This remembered as your key for the moment. With the packet face up in left hand dealing position comment, "As you can see I have removed cards of varied suits and values." During this patter line you are counting the cards, one under the other and taken by fingers and thumb of right hand, thumb on face of cards fingers beneath. Watch for your noted key card and when you see it the left thumb does a Block Pushoff of £ cards as one to under the cards in the right hand. The last card can be snapped by left fingers and placed onto the face of the

-1 2 2 -

paeket. The count, is not an audible one but merely inferential an you show the face:*, of the supposed twelve cards you already counted when they were face down. Later they will remember you showed 12 cards but not how they were shown. Drop this Blue Backed packet face down onto the tabled Red Backed packet. 4.

Pick up the tabled major packet. Hold it with faces towards yourself. Left thumb pushes over, one at a time under each other, the 4 Red Backed Aces which are taken with right thumb on face, at lower right corners, with right fingers beneath. The fanned four Aces still touch or rest against the face of the major packet. The spectators from their side see only 4 Red Backed cards. Re-square the four Aces at same time getting a left 4th fingertip break beneath them. Right hand comes over the deck to grasp it from above by the ends. During this time the right thumb, at back end, lifts up the card that is below the break or the 3JD so that it joins the four Aces. The left 4th fingertip now has a break below the face _5 cards - 4 Aces and 3 D .

5.

Lower the left hand so that face of the packet is visible to spectators. Left thumb deals or fans over 3 of the face Aces towards right hand which supports the right side of the fanned Aces. This shows only the 4 Aces to the spectators. Re-square the Aces as right hand again moves to grasp the ends of the major packet from above. The right thumb at the back end now also helps to maintain the break on the face _5 cards. This now leaves the left 4th fingertip free to pull down and obtain a break on the lower­ most Blue Backed AC. Thus the right thumb maintains a break at the back end, near lower right corner, on the five face cards and the left 4th finger­ tip has a break, at lower right corner, above the lowermost card or Blue Backed AC. Right hand naturally holds the ends of the major packet.

6.

You will now do an original version of the Veeser Concept that I originally had in the December 1959 M.U.M. issue. The left thumb peels off the face AD and at same time the left fingers secretly also take the bottom AC. The left 4th fingertip gets a break between these two Aces apparently handled as one A D . Left hand moves towards the packet, held by right hand from above by the ends, in order to peel off the face AC onto the AD in left hand. The left 4th fingertip now has a break below two Aces-AD-AC. When left hand thumb is about to peel off the face AS the cards in left hand naturally go under the packet held by right hand. During this time the two Aces, above the break in left hand, are picked up flush to under the packet in right hand as left thumb peels off the face AS onto the AC in left hand. Since an AC was the face card of the left hand cards it will be even to your ad­ vantage if the A C , now in left hand, is slightly exposed when you peel the AS onto it. The next card, the AH on face of deck, is really two cards above a break or AH and 3D. These two cards can be swung over, by right 2nd fingertip, to the left so that these two cards, as one, are more or less pinched, by the left thumb, at upper left corner, against the base of left 1st finger, onto the Aces in left hand. In the event you find this final action difficult, because the cards are flush at upper end, then you can solve this by merely beveling the packet forward with right thumb. This

will cause right thumb to automatically force the cards above the break to project slightly at top end where the right 2nd fingertip can feel and engage these cards for the eventual swing cut action. Another alternative is to openly have a V type separation all along the right side of those _5 cards, as one, when it comes time. The best procedure is to originally get a break, with tip of right 3rd finger, at the outer right corner below the face _5 cards. This will keep the cards flush all around except a slight break at the upper right corner covered by right 2nd and 3rd fingers at front end. When it comes time to get the two cards, as one, a slight relaxing of the right 2nd finger will cause a slight lift of the two cards, at outer end, which right 2nd f Lngcr can swing over to the left to be taken onto the Aces in left inind. (I'or more details of this technique see "Black Thought" which is in V o l . II of the Magazine.) 7.

Right hand places the major packet face up to the table. The supposed Red Back Aces in left hand are now actually, from face to top, Red Back AH-Red Back 3D Red Back AS-Blue Back AC. Right hand pulls out the lowermost AC to place it face up to the table. Right hand grasps left side of the face up packet, fingers on face thumb below, to turn them over face down and do a D'Amico Spread which shows two Red Backs. Left hand grasps left side of the spread cards, thumb on top fingers beneath, while right hand takes AS, to turn it face up, then deal it to the right of the AC. Right hand turns the still 2 squared cards, in left hand, face up into left hand dealing position. Place right hand, at left side of the two cards, with fingers on the face thumb below. Right hand turns palm down to bring backs of cards into view. At the same time the right fingers pull the bottom AH to the right while the right thumb pushes top card to the left. The right hand takes the AH while left hand takes the 3D* Both cards are tossed face down to the table with 3D as first card on the left and AH in second position to the right. The AC and AS are in the 3rd and 4th positions respectively in the row of four cards. Your patter is simply that you will leave the Black Aces face up and Rod Aces face down for the present.

8,

The major packet, which is face up, has the cards in order of Red Back QC9X Blue Back cards-Bluc Back AD-Red Back AC and AD. You are now ready to apparently place 3 Blue Backed cards onto each Red Backed Ace. Pick up the major packet holding it face up in left hand. Thumb over the face 3 cards, without reversing their order, into right hand. Square up the 3 cards between the fingers and thumbs of both hands as you hold them well above the cards still in left hand. Left hand puts down major packet. Right hand takes the 3 cards, faces up, to scoop up the face up AC. Square this packet before turning it face down. A Blue Back will show. Right hand holds the packet from above by the ends. The left hand goes under the packet and with tip of left 4th finger pull down two cards at lower right corner. Next move out the bottom two cards as one which will show a Red Back. Leave this card(s) side-jogged to the left for about a third of its width. Right hand turns palm up to show that the side-jogged Red Back card is the AC. Right hand turns palm down. Left fingers, from below, push the AC only back to the right in line with the cards above the Red Back card. The left hand removes the side-jogged Red Back card as right hand holds onto its cards.

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With Red Back card face down in left hand say, "The Red Back Ace." Right hand places its cards on to the Red Back card. At once both hands spread or fan the four cards to show 3 Blue Backed cards on top of a Red Backed card. Your patter addition is, "And three Blue Backed cards onto the Red Back Ace." Square up the packet and place it face down into the 3rd position of the row. This 3rd packet has, from top down, 2X Blue Back cards-Blue Back AC-Red Back Q C . 9.

Right hand picks up the major packet to replace it face up into left hand dealing position. Thumb over the next _3 face cards into right hand. Turn these face down, spread them to show 3 Blue Backs, then place these face down onto the face down Red Back card in 1st position on your left or the 3D as a supposed A D .

10.

You have 7 cards remaining in your left hand. You now do the Veeser Concept as follows: The left 4th fingertip pulls down the lowermost Red Back Aces, to get a break above them, or you can use a Double Buckle to obtain the left 4th fingertip break at lower right corner. The right hand is above the packet holding it by the ends. The right 1st finger is curled against the face of the packet. The left thumb starts to peel off the face card as at same time the .lowermost two Red Back AD-AC are secretly taken along under cover of the face card. The left 4th fingertip keeps a break below this face card thus separating it from the two Aces at the lower right corner. The loft thumb peels off the next face card, from right hand packet, onto those in left hand. As left hand moves to peel off the next face card, the third one, the left hand naturally has to go under the packet in right hand. The too X cards above the left 4th fingertip break are picked up flush to under the right hand packet as left thumb peels off the face card, of right hand packet, onto the two Red Backed AC-AD in left hand. Obviously when peeling off the 3rd card, from right hand packet, this card must go onto the Aces in direct alignment so as not to expose an Ace in left hand cards.. Right hand can place its cards face up to the table then right hand grasps the right side of the face up cards in left hand with thumb on the face and fingers beneath. Place these face up onto the face up AS. Right hand picks up the squared packet, turns it over face down into left hand. The right 1st finger taps the back of the Red Back AS then grasps the packet from above by the ends. The left fingers pull out the single bottom card to show a Blue Back card then it is pushed back and the squared packet returned face down to the table. The patter and excuse for leaving the AS packet with its Red Back showing is, "I'll leave the Red Ace on top of the Blue Cards to distinguish the leader Ace from the others." 1

11.

You have four Blue Back cards remaining. Their order, from top down, is 2X cards-AD-IX card. Hold them face down in left hand. Thumb over two cards holding the last too as one. The right hand grasps the fan of three cards, fingers beneath thumb on top, then shows their faces. The AD will remain hidden by the bottom or fourth card from top. Square up the packet and place it face down onto the face down Red Back AH in the 2nd position from the left.

12.

Before going any further check the packets to see if you have followed the instructions this far. The 1st packet has _3 Blue Backed cards on top of a Red Backed 3D as supposedly an AD. The 2nd packet has 4 Blue Backed cards, as apparently 3, on top of a Red Back AH. A Blue Back AD is third from the top in this five card packet. The 3rd packet has 3 Blue Back cards on top of a Red Back card that in this case is the Q C . A Blue Back AC is third from top in this packet. The 4th or leader packet has 3 Red Backed cards, as apparently a single Red Back AS, on top of one Blue Back X card supposedly as 3^ Blue Back cards covered by a Red Back Ace. The order of the _3 Red Back Aces, from top down, in this packet is AS-AD-AC on top of one X Blue Back card. You are now set: for the various vanishes and also appearances from packet to packet.

13.

The Lst. Vanish is with the first packet on the left. Right hand picks up this packet and spreads it between both hands to show 3 Blue Backed cards on top of a Red Backed card. Square up the packet then flash the 3D as an AD by left lst and 2nd fingers covering the lower pip, only with the second and third joints of these fingers. This leaves a fair amount of white visible at the right of the card. The right lst-2nd-3rd fingers cover the upper pip. The right 4th finger is along the right side of the cards. This exposes a fair amount of white surface on the left side, at the upper end, of the card. The whole idea, during the flashing of the 3D is not to cover the top and bottom ends clear across these ends. Hold the packet face down in left hand and do the Elmsley Count Concept using the Jordan Mechanics which is to take the top card into right hand dealing position. (Or left hand if you start the count by holding onto the packet, at right side, with right fingers and thumb as left hand takes one card onto the other.) At any rate, having taken the top card into right hand, take the next card onto the one in right hand. On the count of "Three" both cards from right hand go under the two cards in left hand. Right hand takes all _3 cards on the count of "Three" except the bottom card, of those orig­ inally in right hand, which is taken by left fingers and thumb. Left 2nd finger snaps left side of this card on the count of "Four" then replaces this card to the bottom of the 3 cards in right hand. The Red Back card lias apparently vanished; however, it is the second card from the top in the face down packet. The right thumb goes under the packet, from the right side, in order to turn it face up. During this turn the right lst finger is along the top end of the packet while the 2nd-3rd-4th fingers press down firmly on top of the packet in order to keep it squared. As the packet comes face up the right lst fingertip presses against the right side, of the face up packet, at the upper right corner. The right thumb presses on the face card and pulls it to the right, at an angle, past the tip of the right lst finger. This results in a sort of D ’ Amico Spread all done with right hand alone and sets up the cards for an easy start of the Elmsley Count. The left fingers and thumb grasp the left side of the cards with right hand taking the cards, into dealing position, as' you do the standard mechanics of the Elmsley Count to shew 4X cards. On completion of the Elmsley Count placing-last card to the bottom. The supposed AD has not shown and neither has the 3D. The Red Back 3D is the third card of the face up packet. Place the packet face up to the. table. As an afterthought

the right hand takes off the face card of the packet to scoop up the other 3 cards. During this the left thumb can position itself at the back end of the packet, 1st finger on the face packet, 2nd-3rd-4th fingers at left side of packet. The right hand uses its card to come in from the front end during the scoop up and the position of left hand, on the tabled cards, keeps them squared. Once the right hand card is under and square with the tabled cards the right 1st and 4th fingers straddle the outer end of the packet. Right thumb presses against f a c e o f packet turning it ■face down.. Right hand places the packet, stil] squared, face clown to the left almost in its original position. This may appear as a lot of descrip­ tion to vanish a card from among the four cards; however, it is one thing to say, "Turn the packet face down," but quite something else when it comes to "How" to do this.

I

The 2nd packet will now be shown to contain two Red Back cards which will be the AH and AD. This packet has 5 cards. They are, from top down, 2X Blue Back cards-Blue Back AD-Blue Back X card-Red Back AH. Pick up the j^ packet and place it face down into left hand. Right fingers pull out the bottom Red Back card, at the lower right corner, to place it on top of the packet side jogged to the right for about half its width. Say, "We had one 1 Red card now we have two." Here right hand grasps right side of the cards l> as left thumb snaps downward the upper left corner of the packet. At once left hand retakes the packet, by the left- side with thumb on top and fingers j beneath. Right hand immediately peels off the Red Back card into right hand ( dealing position as you say, "One Red card." Go into the Elmsley Count taking the block of 3 Blue cards as one as at same time the Red Back card from right hand is secretly loaded to under the single Blue Back card in left hand. .1 The left thumb and fingers spread its two cards, showing a Blue Back and supposedly another Red Back card. The Blue Back card is taken onto the cards in right hand but the Red Backed card is snapped, by left fingers, \ then placed under the cards in right hand. Your complete patter line, for i the complete count of four cards is, "One Red card-two Blue cards-and the second Red Back card." Turn the packet face up into left hand dealing pos, ition. Left thumb fans over three cards, showing two Red Aces and two X j curds. 'Hie last two cards are held as one. Simply say, "And here are the two Red Aces." Hold the three fanned face cards, the AH-AD-X card, in right hand while the left hand places its card, really two as one, onto the face of the packet as you comment about sandwiching the Red Aces. Keep the packet : face up as left thumb deals over the face card just about a quarter inch. Here again use the magical gesture moves (Mario Sequence) of right hand holding packet, left thumb snapping upper left corner of packet, left hand ( retaking packet by left side, right hand taking cards, via the Elmsley Count, into right hand but the last two cards, ending up in left fingers, are placed under (or taken under one at a time) the cards in right hand. You have shown j four X cards and the two Red Aces are seemingly gone. To add further proof the right hand grasps the left side of the face up packet, with thumb on bottom the fingers on the face, then goes into the D ’ Amico Spread as the packet is turned over, to the right, face down. Left thumb and fingers grasp left side of the packet as you easily go into the standard Elmsley Count except the cards are taken into right hand dealing position. This I

time the Elmsley Count has arranged the packet, from top down, 3 Blue X cards, Blue Back AD covering Red Back AH. The packet is placed face down into left hand. The right hand deals the cards, one at a time onto each other, to the table until 3 cards have been dealt. The last card(s) are straddled, at the outer end, between right 1st and 4th fingers. Now do the "Scoop Up Palm" to toss three of the tabled cards onto the 1st packet on the left. Right hand, with its two palmed cards, secretly adds the Blue Back AD and Red Back AH onto the 3rd packet. IS.

The 3rd Packet, which has been scooped off the table by right: hand into the waiting loft hand, has 6 cards now. Their order, from top down, is Blue Back AD-Red Back All-2 Blue X oards-B.luc Back AC-Red Back QC. You will now show the appearance of 3 Red Back cards and the faces of 3 Aces. The pro­ cedure is as follows: Pick up packet with right hand and place it face down into left hand dealing position. Right fingers and thumb remove the bottom Red Back card, at lower right corner, to place it on top in a sidejogged condition to the right. Right hand grasps the right side of the packet, thumb on top fingers beneath, while left thumb flicks upper left corner of the packet downwards as you remark, "Remember - we had only one Red card in this packet." Left hand retakes the packet by the left side, thumb on top fingers below, while right hand peels off the side-jogged top Red Back card into right hand dealing position counting, "One Red card." Peel off the next top card, a Blue one, onto the card in right hand as you count, "One Blue card." On the next or third count the right hand takes all the cards, as supposedly a single Red Back card, from left hand, with you counting, "IWo Red cards." During this the left fingers and thumb have re-stolen the Red Back card from under the cards in right hand. Thus the loft hand holds a single Red Back card as you snap it and count, "Three Red cards-one Blue card." Right hand takes this Red card onto the cards in right hand. The Elmsley Count Concept, using the Jordan Mechanics, plus a bit of the Veeser Concept has arranged the packet, from top down, in Red Back QCRed Back AH-_2 Blue Back X cards-Blue Back AC and AD. Turn the packet face up, into left hand dealing position. Merely place the right thumb under the right side of the packet and turn it over sidewise to the left, face up into left hand. Do the Bill Simon Buckle Glide, by buckling bottom or lowermost card, with left fingers, while right 1st and 2nd fingertips enter the separa­ tion, at lower right corner, with right thumb on top of the packet. Right fingers pull out the second card from the bottom, the card above the buckled card, as right thumb pushes back on the top cards right edges to keep them squared. The right hand thus has removed the Red Back AH, flash its back, then place it to the face of packet alongside the AD as you say, "Two Red A c e s Square up the packet. Do a Double Buckle or a left 4th fingertip pull down to get a break above the two lowermost or bottom cards. Do not reverse the order of the packet as left thumb deals over the AH-AD then right hand fingers and thumb grasp the cards, above the break, as apparently a single card, the AC. Left hand retains last two car'ds as one X card. You are displaying a fan of four cards, from face to top, in AH-AD-AC and X card order. Left hand transfers its card(s) onto the face of the packet and squares it up into left hand dealing position. Get into a position for the Elmsley Count. (Again using the Mario approach for logically getting into

position by seemingly doing a magical gesture. As previous’described Left thumb shoves over face or top card. Right hand grasps right side of the packet with thumb on top fingers beneath. Left hand meantime is free to magically snap downward, with the left thumb, the upper left corner of the packet as you say, "All I have to do is this and the Aces will vanish." Left hand retakes the packet, at left side, with thumb on top the fingers below. Right hand at once easily takes the top side-jogged card or cards and goes into the Elmsley Count or the Jordan Count or the Veeser Concept or the Flexible Count.) In this case with the packet do the Elmsley Count but place the last two cards, that end up in left hand to under the cards in right hand. The _3 Aces do not show during the count and have seemingly vanished as only 4 X cards have been seen. Turn the packet face down into left hand. Thumb over only the top 3 cards, to show a fan of. 4 Blue Back cards, holding the last 3 cards as one. The Red Back cards are nowhere in sight thus adding credence to the vanish of the 3 Aces. IF you wish you can flash the faces of the top two cards, not the 3rd card, but also the last or bottom card being sure you hold these 3 cards very firmly as one card. Now hold 3 Blue Back cards fanned in right hand. The right lingers, from beneath, pull inward on the 3rd or lowermost card of the fan to in-jog it. As right hand goes to place its 3^ cards onto the card(s) in left hand, the left finger buckles the bottom card of its card(s) so that the 3rd card of the right hand fan goes into the open space, above the buckled, card, while the top two cards of the fan go on top. When the packet is squared the in-jogged card remains in-jogged. The right hand comes over the packet, to grasp it by the ends, then the right thumb presses down on the in-jogged card so that a break is obtained above it. The left hand at once cuts those cards below the break, a Blue Back card covering a Red Back card, to the top. The order of the packet is now, from top down, Blue Back AH-Red Back QC-2 Blue X cards-Blue Back AD-Red Back AH. This packet is placed face down to the table alongside the other two assembled packets. The assembled packets are now placed onto the 3rd packet from which the 3 Aces have just vanished. This leaves the Red Back AH on the bottom of this packet. Order of the 3 assembled packets total thirteen. Their order, from top down, is 5 Blue Back X cards-1 Red Back 3D-1 Blue X c.ard-1 Blue Back AC-1 Red Back QC-2 Blue Back X cards-1 Blue Back AD-1 Red Back AH on the bottom of the packet. You are now ready for the leader packet:. The Loader Packet: - You will now show the 4th packet as having all Red Back curds which are the 4 Aces. Right hand picks up the squared Leader packet , to place it face down into left hand. This packet has 3 Red Back Aces in order of AS-AD-AC, from top down, witli bottom card actually a Blue Back X card. Left thumb deals over only top two cards, without reversing their order, which are taken by right hand and placed to under the cards in left I hand. You have only shown 3 Red Back cards but your patter is, "All these cards are now Red." Right hand turns the packet face up, doing D ’ Amico Spread, to easily go into the Elmsley Count, with Mario approach to show 3 Aces as j apparently four Aces. Since the Red Ace was the face Ace to start, no one will notice its second appearance especially since the left fingers, which end up with two Aces before the count is finished, spread these last two l

cards to show an AC and AD. Left hand places these two Aces to the bottom or under Lite face up cards in right hand. Right hand again grasps the right side of the packet, thumb below and fingers on the face, then does the D ’ Amico Spread as right hand turns palm down to bring the backs of the Red Back cards into view. At once do the standard Elms ley Count to show the packet as apparently having 4 Red Back cards. The Blue Back X card will become the bottom cards of the now face down packet which is placed into left hand. Right hand picks up the major assembled packet to place it onto the packet in left hand. The left 4th fingertip keeps a break above the 4 cards in left hand. Release with the right thumb or use the left 4th fingertip kick-out, at lower right corner to angle out the card above the break, to pull the angled Red Back AH onto the cards below the break. The left hand at once cuts its cards to top. Left thumb deals off the top 4 Red Back cards, taken by right hand, as follows: Take the top two cards one under the other. The 3rd Red Back card is pushed between the two cards in right hand then take the 4th Red Back card to under the 3> cards in right h a n d . This alternates the colors of the Aces, with AC at the face, then right hand tosses these face up to the table for spectators to examine or look over if they wish.

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17.

The remaining cards in left hand are in order, from the top down, of 6 Blue X eards-1 Red Back 3D-1 Blue Back X card-1 Blue Back AC-1 Red Back QC-2 Blue Back X cards-1 Blue Back AD. The Red Back cards are 3D-7th and QC-lOth positions from the top of the packet. The Blue Back AC is 9th from top and the Blue Back AD at 13th or the bottom card of the packet.

18.

With the major packet face down in left hand the left fingers transfer: bottom AD to top. The right hand turns the packet face up and back into left hand. Note the face card as a key card. Right hand grasps the packet as for the Biddle Move. The left fingers now Buckle the lowermost card while left thumb presses on the face card. As left thumb peels off the face card the left fingers secretly carry along the lowermost AD in line so apparently you have peeled off only the one face car'd into left hand but actually X card covers AD. Left thumb peels off another card, from face of packet, onto those in left hand then left hand places these cards to under the face up cards held by right hand. The AD is top card of the packet. The peeling off moves are excused by the patter line, "I will show you these cards.”

19.

With packet face up in left hand and right hand squaring the ends get set for a Double Lift. Left thumb pushes over the two face cards, as one, into right hand dealing position. The next face card is thumbed over and taken under the card in right hand. The next card, which will be a 3D (Red Backed card) and is taken onto the cards in right hand. This brings the two Red Backed cards together at the face of the packet. Without any stalling the succeeding cards arc taken, one at a time, to under the cards in right hand. Continue till you come to your key card. Here two cards as one are placed to under the curds in right hand. No Aces have been seen. Right hand keeps the packet face up.

20.

Right thumb pushes over the face card of the major packet to use it as a scoop to scoop up the face up Red Deck. When you turn this deck face down,

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i I

f notice the thickness and say, "Wrong Deck." Now just thumb off all the Blue Pack cards until the Red Backs of Red Deck show. Place this Red Deck to the table, with left hand, while the right hand holds onto the Blue Back cards which incidentally were not reversed, as far their order is concerned, | during the thumbing of them from top of Red Deck. This packet contains eleven cards with AD on top and AC at the bottom. Place the packet into the left hand while right hand retains its hold above the packet by its r ends. In a simulated Slip Cut the left fingers and thumb peel both topand * bottom cards, the AD and AC, into left hand. When right hand places its cards onto these two Aces, the left 4th fingertip obtains a break above them. The packet is thus held faces down in left hand dealing position. I 21.

22.

Right hand turns tabled Blue Deck face down onto table. Pick it up, with right hand from above by the ends. Both hands approach each other, as if to place the packet from left hand onto the top of the Blue Deck. Actually only 9 cards of the left hand packet go on top while the two Aces, on which the left 4th fingertip break is held, go into the center of the deck from left side, at the lower left corner of deck. Everything is now cleaned up in the event that some spectator may wish to check the top twelve cards of the Blue Deck. Later you can place the four Red Back Aces face down onto top of deck but first cut the Red Deck to lose the 3D card into center of the deck.

£ . * f

Once the reader has taken the trouble to master the various combinations of j appearances and vanishes, the rest is to commit the sequence to memory then through repetition make it progress from stage to stage, to the final climax, without the obvious mental effort that the initial learning of this or any of the other routines will take. I can guarantee that while the experts will 5 be able to follow a phase here and there_,as you do the routinejin no way will they be able to re-construct it without their usual rush to their Xerox copies. j

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TEC1INIC0LQR S. A. REVISIONS (MARLO) In trying to get away from using the Biddle type grip during the Veeser Concept, I have decided to make the following opening Revisions of the packet handling. They are easily adapted as the opening procedure for the major packet and the other supposed four card packets. 1.

Bogin by removing, from the Red Deck, the identical cards as before. These also are, from face to top, in AD-AC-AS-AH-3D-QC order. Place these face down to table. When you place the deck face up put a red card at its face so that you can later identify it and a black card at face of blue deck.

2.

From Blue Deck remove the AC and AD plus _9 X cards making sure there is no 3D or QC among them and there are no Aces near bottom of deck. These cards are arranged, from top down, in AC-AD then 9 X cards. Place these face down onto the tabled Red packet of six squared cards that are supposedly only four Red Back Aces.

3.

Pick up the complete 17 card packet. Hold packet facing you with both hands cupped around it. Left hand has packet in dealing psoition while right hand is cupped around right side of the deck. Left thumb quickly thumbs over the face _5 ca r d s , without reversing their order, towards the cupped right hand. Re-square the _5 cards getting left 4th finger break below them at lower right corner. Turn left hand palm down and release those cards at the break from the bottom of the packet. The Red Back cards have been placed back face down to table with the excuse that you have to check the Blue Backed cards.

4.

With packet face up in left hand start to show the faces of the cards as you comment that you are using a varied assortment of cards. You can keep up a continuous patter line if you group count, both visually and mentally, in sets of three. When you have thus taken the cards, one under the other, in three sets of three hold the last card(s), really 3, as one in left hand. Left hand flexes this card(s) then places it under the cards in right hand. Turn the packet face down as you say, "You will note that there are no other Aces among these one-two-three-four-five-six-seven-eight-nine-ten-eleventwelve Blue cards." During this counting patter line you again take each card under the other but do a false count somewhere along the line or when­ ever you feel the time is just right. The count will end up on "twelve" with left hand holding last two cards, a Blue Back card covering a Red Back Q C , as one card which is placed to under the cards in right hand.

5.

Right hand casually takes top card, with thumb on top fingers below, by the right side as left thumb and fingers snap left side of this card. Remark, "TWclve single caivls," as right hand casually transfers this top card to under the packet. This card will be the Blue Backed AC. Right hand taker, the packet; by lower eight corner in order that left hand can change position by coming over and above the packet to grasp it: by the sides with left thumb going in under the packet from the 1el t side; anti the 2nd -3 rd-4 t:h fingers curled around the right side of tin: packet. The loft .1st finger is curled around what now has become the righL end of the face down packet.

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The left thumb, from beneath, pushes the bottom card outward at outer side of the packet. The left fingers pull back this card with the left 4th fingertip getting a break above it • Remember the packet is still face down and left hand is palm down. The left hand, still palm down, picks up the face down Red Back cards to under the packet in left hand. This is done with left thumb moving in under the tabled packet, from inner side, to scoop it up. The left 4th fingertip, which has maintained its original break, now has this break below the six face cards as left hand now turns palm up.

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Left hand thumbs over only 3^ of the face Aces, to show 4 Aces, as right hand grasps the fanned cards with thumb on the faces and the 1st and 2nd fingers entering the break at lower right corner. Grasp those cards above the break, 1 actually b cards, as seemingly only four fanned Aces. Right hand moves the m fan of Aces off to the right for about half the width of the face C^G card. The left thumb pushes the QC slightly to the right then pulls it back flush, with rest of left hand packet, but the left 4th fingertip at same time obtains’ a break below the QC at lower right corner. f

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Now follow closely for the Face Up Face Up Switch (FUFU). The fanned Aces are squared against the left thumb, which has moved to the left side of the deck, as right hand aids in this squaring process by moving the fanned Aces to the left. Right hand changes its position so it comes above the packet 1 to square the ends. During this squaring process of the Aces, the left 3rd fingertip holds a momentary break below the block of 6 cards and left 4th fingertip has a break below the C£C. Now as the right hand moves further to the left the right 4th fingertip (or rather the right 4th fingertips left 1 side) obtains a break, at the outer right corner, between the face 6^ cards and the QC. The left 4th fingertip and 3rd fingertip can release their breaks. Thus the QC is only separated at the outer right corner by the 1 right 4th fingertip. The 2nd-3rd-4th right fingers are also more or less extended across the outer end of the packet to later conceal the packets thickness. That is why, unless you have a large hand, the right 3rd fingertip is not used to hold the break in this case. The right hand keeps its packet 3 flusli with the cards below it. The left thumb now moves across the face of the packet onto the AD. The right hand moves its cards to the right, which secretly includes the QC, as left thumb holds back the face AD so it will remain in line with the cards in left hand so as not to expose the face card, of left hand cards, at this stage. As the AD comes clear of the cards from right hand and is about to fall flush, onto the cards in left hand, the left 4th fingertip gets an open break or separation at the lower right corner. 5 The right hand comes back, rests its packet onto the AD but off to the right for about half its width. The left thumb presses onto the face of the AC, to keep it in place onto the AD, as right hand again moves to the right. .i This leaves the AD and AC, side-jogged to the right for half its width, on the packet in left hand. Once more the right hand rests its packet, this time alongside the AC, for half its width as before. The left thumb presses ,i on the face of the AS, nearer the left side because of the fanned condition of the Aces, to again hold it back as right hand moves, to the right, but this time only far enough, about half its width, to expose about half the width of the last AH. The AS is still above the AH or actually the face

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c a r d o f t h e f a n n e d f o u r A c e s r e s t i n g a g a i n s t t h o s e c a r d s in l e f t h a n d . R i g h t h a n d n o w m o v e s to the l ef t , to s q u a r e up the f ou r f a n n e d A c e s . T h e . l e f t t h u m b m o v e s to t h e l e f t s i d e o f t h e p a c k e t d u r i n g t h e s q u a r i n g o f t h e fanned Aces. The r i ght 4th f i n g e r t i p also a u t o m a t i c a l l y en t e r s f u rther i n t o t h e b r e a k t hu s s e p a r a t i n g the f a c e f ou r c a r d s f r o m the r e s t of the packet. T h e QC ha s a l s o b e c o m e the f a c e c a r d of the p a c k e t t h u s a d d i n g to t h e i l l u s i o n t h a t t h e o r i g i n a l f o u r A c e s w e r e l i f t e d o f f a n d u p a b o v e t h e p a c k e t r e m a i n i n g in l e f t h a n d . T h e n o w 4 c a r d p a c k e t is f u r t h e r ” s q u a r e d by the left f i n g e r s and t h u m b at the side s. The right hand, still h o l d i n g the e n d s of the p a c k e t , n ow h o l d s the p a c k e t w h i l e l e ft h a n d p l a c e s i t s c a r d s f a c e u p to t h e t a b l e . A n o t h e r w a y o f h a n d l i n g t h e s w i t c h is t o a c t u a l l y take out the AH and h i d d e n c a r d s s t i l l h o l d i n g a b r e a k w i t h the r i g h t l i t t l e f i n g e r a n d r e s t i n g it o n t h e AS^ to p r e s e n t a c l e a r e r p i c t u r e o f 4_ A c e s . N o w p l a c e A H u n d e r A S a n d m a k e the s a m e s w i t c h as d e s c r i b e d .

9.

You are now ready for the revised layout of the Aces. Place the Ace packet face up into left hand. Right fingers remove the bottom AC. Left hand thumbs over AS and AC is placed below it. Square up the packet. You now do the "Olram Subtlety." Right hand takes AS then both hands turn palm downward to flash the backs of the card in right hand and the back of the squared packet in left hand. The left thumb should engage the left side of the squared packet, in order to raise it above the left palm, move up to the tips of thumb and fingers, when flashing the back of these cards. During this first flash of supposedly two Red Back Aces your patter is, "Two Black Aces go face up." Here both hands again turn palm up, to bring the face of Aces to view, with right hand tossing AS face up to the right and left hand thumbing off AC face up to the left of the AS.

10.

The left hand has two cards with an AH showing. Right hand grasps left side of the cards with fingers on the face and thumb on top. Right hand turns palm down, bringing backs of cards to view, then right fingers pull AH to the right, and right thumb pushes top card to the left. Left hand takes top card while right hand retains AH. Drop AH face down alongside the face up A C . Left hand drops Red Back 3D to the left as 1st card of the row of supposedly all Red Back Aces; however, the order, from left to right, is face down Red Back 3D-face down Red Back AH-Blue Back face up AC-Red Back face up AS.1

11.

Pick up the major packet and turn it face down into left hand. You want to indirectly show that there aren’ t any Red Back cards among the Blue cards. Actually there are 3 Red Back cards at the bottom of the packet. From the face they are QC-AC-AD. A Blue Back AD is on top of the packet. Any silently count the cards as you deal over, one card under the other, which are taken by right hand more or less at the fingertips and thumb of right hand. When the right hand has 9 cards the left hand holds the 10th card, really 4 cards, as one. Left hand places this card(s) to under the sort of spread cards in right hand. Both hands come together to square up the cards as right hand moves to above the packet in order to square the ends. The left 4th finger­ tip meant ime lias also obtained a break, at the lower right corner, above the bottom lour cards. 'Ihose cards consist of a covering Blue Back card on top ol the 3 Red Back cards.

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Right liand, still holding packet from above by the ends, swivels the packet sidewise to the right turning it face up. The left 4th fingertip, which ha held its break during the turning, will cause the cards that were above the break to angle off, to the right, at the lower right corner. The four face f cards are thus stepped to the left at this same lower right corner. The complete packet at this stage is more or less held with left fingers and thumb by the left side with right hand still above the packet covering the f angled condition. Right hand holds packet as left hand moves further under the packet in order that the left 4th fingertip can obtain a break by pulling_ down on those angled cards below the face 4 stepped cards.

13.

Hold the packet of faces facing yourself. With the left 4th fingertip having a break now beneat.h the 4 face cards the right hand does a Mario Slip Cut by pulling away aJ.l those cards above the break as left thumb keeps the face | card QC in place so that it falls onto the cards in left hand whi.le the right hand moves, to the right, with only a block of three cards. The AC will face you and a Blue Back card will show on audience side. Right hand brings jits three cards back onto face of the cards in left hand; however, the left 2nd and 3rd fingertips push the lowermost card of these 3 cards, the Blue Back card, to the right. The left thumb can extend clear across the face 'until its tip almost engages the right side of these three cards. This in­ r sures that left fingers will push out only the Blue Back card and not expose any Red. Back cards. The right hand now merely carries this single Blue Back card until it is clear of the packet and then places it onto the face of the i packet thus covering the A C .

14.

The above displacement moves take only seconds and have re-arranged the order . so that the face card is an X Blue card followed by Red Back AC-AD-QC then the remainder of the Blue Back cards. (The Blue Back AD is the top card of the packet). Lower the left hand, flashing the face card, then with right hand turn the packet face down into left hand. You are now ready for the l placing of Blue Backed cards onto the Red Back tabled Aces.

15.

Thumb over the top _3 cards, one at a time, taking them into the right hand, ■ one onto the other thus reversing their order, then spread them face down as if to place them onto the Red Back AH in 2nd position. Meantime left thumb has pushed over the top card of packet, dragged it back, then left 4th fingertip obtains a break beneath it. Right hand replaces its 3 cards back ! onto the top of packet. The right hand picks up the face down Red Back AH to look at it as you question, "Let's see-is this the AH?" Replace the AH face down in its original position. The left thumb deals over the top card I of packet. The right hand takes it at the lower right corner, thumb on top with 1st and 2nd fingers beneath. Right hand shows the face of this card. With card still in right hand and the next card is taken under it, in a | fanned condition then right hand shows both the cards. Again right hand comes down to take the third card. Actually the two cards above the break are picked off, at the lower right corner, to under the two cards in right hand to form a fan of three cards. Right hand can show the faces of these ^ cards as the AD is hidden at second from the face. Square the fanned cards, between the thumbs and fingers of both hands well above the remaining cards in left hand, then right hand places these cards onto the Red Back AH in the L 2nd position, from the left, in the row.

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16.

Right hand takes the next three cards, one at time under each other, each time flashing their faces. Only _3 fanned Blue Backed cards are actually shown, squared up as the first set of cards was, then right hand places these 3 Blue Back cards onto the Red Back card in the 1st position on the left, the supposed AD but in reality a 3D.

17.

Use the top card, of the cards remaining in left hand, by taking it into right hand and using it as a pointer towards the two packets that already have Blue Back cants covering the Rod Back cards you say, "The two Red Aces have been covered." The right hand returns its card to under the packet;. The right: hand grasps the packet at the lower left corner with fingers on top and thumb beneath. Right hand turns palm up thus turning the packet face up and back into left hand dealing position. At once the right fingers remove the lowermost or bottom card of the face up packet. This card is used to gesture towards the two face up Black Aces as you say, "That leaves the two Black Aces." During the right hands gesture the left thumb pushes over the face card of the packet so it becomes side -jogged to the right for about a quarter of an inch. The right hand returns its face up card onto the cards in left hand but so it also becomes side-jogged to the right for about a quarter of an inch. This results in a three card fan or spread in readiness for Mario's Technical Variation of the Veeser Concept. To logically get into position for the move, the right hand grasps the fanned packet by right side with thumb across the face fingers beneath. This leaves left hand free to touch and move slightly the AC. Left hand comes back to grasp left side of the fanned packet with tip of thumb on top or face of the packet and the fingertips beneath. Right hand moves towards AS to also move it slightly forward. Your lines for these actions are, "That leaves the AC and the AS."

IB.

You are now in position for the right hand to peel off the 1st face card into right hand dealing position. The next face card is peeled or taken onto the card already in right hand. Remember that during each peeling or taking action the right hand automatically goes beneath the cards held by the fingertips and thumb of left hand. This action is a very close sliding action with the cards of right hand practically touching those in left hand. There is no visible separation, between the two packets, from the front end and the right 1st finger curled around the front end of its packet practically insures this. With right hand now having two cards, it moves towards the left hand to take apparently the next or third face card. As right hand approaches the left hand cards the left thumb pushes forward, to the right, a block of cards. The left fingers can also pull back to further aid the left thumbs pushing action. The right hand, sliding in very close to under the cards in left hand, leaves behind its two cards under the now single card. It is important; that, when the two packets are practically in line, the right 1st fingertip engages the upper left corner of the block of cards that have been pushed to the right, as one card, by left thumb. The right 1st fingertips grip on this upper left corner insures perfect alignment not only of the cards now in right hand but also those left behind under the card in left hand. IF the exchange has been correctly made, your right hand will have a face X Blue Back card and the Red Backed AC-AD beneath it. All 3^ cards are face up. The left hand also has 3^ cards face up consisting of the QC-a Red Back card2 X Blue Back cards.

The left hand places its cards face up to the table. Right hand places its cards face up onto the face up AS. Pick up the packet and square it up. Turn it, with right hand, face down into left hand. With right hand grasp the packet from above by the ends. The left fingers pull out only the one Blue Backed bottom card as you say, "The AS will be on the Blue cards so that you can distinguish it as the Leader packet. Push the Blue card flush and place the Leader packet face down to the table. Right hand picks up the AC to place.it face up onto the _3 face up cards that remain. Pick up the packet and spread it faces up between both hands. In re-squaring get a break below the two face cards or below the CG which is a Red Back card. The right hand, which comes above the packet to grasp it by the ends, pivots the packet face down to the right. Due to the left 4th fingertip break the original, bottom or face two cards will angle to the right at the lower right corner and show a Red Backed card. You now do the "Mario Side-Jog Glide." It is explained elsewhere in this book but brieflyAftor the pivotal turn the cards will end up face down more or less at the fingertips and thumb holding the left side of the cards. The right 2nd and 3rd fingertips will be at the upper end at outer right corner with right thumb at the lower right corners of both angled portions (two cards each) with a Red Back card clearly seen to be angled out, to the right, at the lower right corner. The right hand maintains its grip, 1st finger curled on top of packet, as the left 4th and 3rd fingertips, at lower left corner, pull back the bottom card, the AC in this case, to the left in line with those cards above it. This leaves only the single Red Back card angled out at lower right corner. Left fingers and thumb hold the left side of the packet as the right hand takes the angled Red Back card, by the lower right corner, with thumb on toppand 1st and 2nd fingertips beneath, to pull it out and clear of the packet. Your comment is, "Don't forget-a single Red Back Ace of Clubs among the four cards." As you reach the last words of the above patter your right hand has replaced the Red Back card to under the cards in left hand. At once both hands spread out the 4 cards to show 3 Blue Back caixis on what is supposedly a Red Back AD but actually the C€ with the Blue Back AC just above it. Place this packet face down to the tabic into its original third spot in the row. From this point finish the effect exactly as already outlined, in "Technicolor - Succession Aces" from Stops I_2 to 20 inclusive. I feel the Revisions outlined are much better in many ways; however, you decide for yourself.

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In order to get away from the Biddle type handling there is one more revision.~"1 At Step lb of "Technicolor - Succession Aces", the order of the major packet t"-. is such that the Red Back 3D is 7th from the top and the Red Back QC is 10th from the top. The Blue Back AC is 9th from the top and the Blue Back AD is —j 13th or the bottom card of the packet. Now the Step 17 is revised as follows :f~. Hold the packet facing yourself. Left thumb deals over the face 3 cards, one ; at a time, which are taken into right hand one card onto the other. The _r right hand simply places these _3 cards to top of the packet. During this ij count off you should have noted the card that falls onto the AD as your key. The AD is now on top and the Red Back C^C at the face. Lower the packet. Get . a two card break under the face cards, the QC and the card below it in read1 iness for a two card push-off. Left thumb pushes over two cards as one into tj

right hand. The next card is taken under the C>C; however, the next card, the 3D, is taken onto the C€. The two Red Back cards are now together at the face of those in right hand. The left thumb pushes over succeeding_ but these are taken, one under the other, to under the cards in right hand. When you reach your noted key card the left hand places these last two cards, as one, to under those in right hand. IF you have a good sense q £ touch you can feel when you have only two cards remaining in left hand. This way you can dispense with the noting of a preceding key card. At any rate you now can go directly into Step 19 to clean up and get rid of the Red Back cards and the Blue Back AD-AC into the center of the Blue Deck. SUCCESSION ACES PURE METHOD - Mario & Solomon Set Up: Cull to the bottom of the deck in order from the face AS, AD, 3D, AC, AH. Now from the face of the deck count off a total of 17 cards including the Ace set up. If in these 17 cards there are other threes substitute another card in their place. Method: 1) Take the 17 card packet face down in dealing position. Fan from left hand to right hand get a break above;the bottom five cards. Transfer these five cards to the top of the packet and hold a left little finger break under the packet. 2) Lay out the aces as follows: Deal the AH face up in front of you followed by AC to the right of it. Lift the packet of 3 cards above the break D'Amico spread showing the AD and AS, rest these aces face up against the packet holding them spread with the left fingers below left thumb above. The right hand now turns the AH and AC face down on the table.Next do a D^Amico Spread 1 with Mario Displacement Move flipping the AD face down on the packet and thumb off the X card to the left of the AH. Right hand now drops the AS face up to the right of AC. Layout now is (from left to right) 3D, AH, AC, AS. Patter about red and black aces going face up and face down. 3) Turn the packet face up. Reverse count the face three cards into the right hand showing indifferent cards. With these cards scoop up the AS and turn the entire h card packet face down squared. Reverse count next 3 cards and place them apparently on the AD really the 3D. h) Spread the remaining cards showing only 6 cards by holding the last 2 as one - say, "Three for each Ace" as you put 3 cards on the AC and ^ cards on the AH. 5) First Vanish - do the handling described in Succession Aces - First Method Step 11. 6) Second Packet - show 2 aces by fanning over first 2 cards and single buckle last card. Transfer the AD to the face. When you square up the packet get a left little finger break under the bottom 2 cards. Transfer these 2 cards as one to the face of the packet. Make a magical gesture toward the first packet commanding the aces to go. Elmsley Count to show h indifferent cards although, place last 2 cards back on the bottom.

7) Turn the packet face down with the right fingers grasping the left long side of the packet. The right thumb and index finger pivot the bottom the right as the packet turns over. Immediately deal the bottom indifferent card face down to the table. Follow the deal with the next 3 cards and do the Scoop Up Palm 1 as previously described or do the Benzais cop to transfer the 2 aces to the 3rd pile.

8) Third Packet - Show AC fan to right double buckle showing AH, AD transfer these to the face. Get a left little finger break under the bottom 3 cards. Transfer these 3 as 1 indifferent card to face. Make the magical vanish again. Show 4 indifferent cards doing the Elmsly Count using the Jordan mechanics; VIZ. Take the 1st and 2nd cards on the count of 3 take the Wxiole block in the right hand and place the last card back on the bottom (from the face now is X card, 3A's and 2X cards). 9) Do the easy bottom deal into the right hand, deal the next two cards into the right hand one under the other flashing the faces. Do not show the 4th card. Square up the packet getting a break with the right thumb between the top 3 cards and the bottom 3 cards. Immediately do the deep gambler's cop of the bottom 3 aces. The left hand casually drops below the table as the right hand places its cards on the pile. Scoop up the 4th packet with the right hand and add the 3 aces using the "Tabled Bottom Replacement" page 38 hew Tops November 1975* 10) Hold 4th packet in biddle position. Peel off first 3 cards saying, "Remember 1, 2, 3, cards and AS". As you do this procedure propel lap the first 3 cards using Mario's screening action. Immediately the right fingers turn over AS. Then say, "But now we have the other 3 aces". 11) As the right hand tosses the aces to the table you have plenty of misdirection to pick up the deck and add the lapped cards then place the entire deck on the discards on the table.

SCOOP UP P A L M Object: To secretly palm a card or cards in the action of apparently using a card to scoop up some tabled cards to toss or place them all to one side. For the description assume you have a tabled packet of four face down cards, the bottom card of which is an Ace or any other desired card. 1 1) The tabled packet is either scooped up or picked off the table by right hand w h i c h places it into left hand dealing position.

2) As left thumb deals over top card the right hand takes it by the upper right corner w i t h thumb on top fingers beneath. The card is dealt face down to the table. At same time the right thumb and fingers bend the right side of the card uowards slightly in order to facilitate the later scooping action. 3) The cards are counted audibly as each card goes on top of the other cards but in a slightly stepped formation to the left. The last or 4th card is taken by right hand so that the thumb goes to the upper left corner and fingers beneath along the top end of the card. The card from right hand is used to scoop up the tabled cards as in Figure _L which shows the action from the p e r f o r m e r s view.

FIGURE 1

FIGURE 2

) Right hand follows through with the scooping action; however, the card in right hand is held back by right 1 st fingertip engaging upper left corner while the upper right corner presses against the palm at the base of right 4th and 3rd fingers. The right thumb also aids in holding onto the card, as the others are tossed off to the left, by pressing down on top of the upper left corner. The Figure 2 shows how the three bunched cards are tossed to the left while the last card is held back by right hand. 4

5) The right 1st finger n o w moves inward and slides along the right thumb causing the card to pivot under the hand and out of sight. The Figure 2! shows the exposed view of bhe cards' position in right hand at this stage.

) The right thumb now presses against left side of left corner while the uoper right corner is trapped of the right 4th finger. The right fingers can now the card is now clipped by the sides in a Rear Flat as in Figure 4_ again the exposed view. 6

card at upper by pressure be extended as Palm Position

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7) W i t h the card held as in Figure 4 it can n o w be indectably added to another packet or deck. D u r i n g this adding the right fingers can spread apart slightly to subliminally convey e m p t i n e s s of the hand. Also the hand adding the card should be p o s i t i o n ed so that the palmed card is directly above the tabled cards or even slightly past it. As the right hand is about to scoop up this packet or deck at this precise moment the right fingers are spread apart and then the packet is at o n c e scooped off the table into the w a i t i n g left hand. Thee Figure _5 shows the action of an actual addition of cards w i t h the fingers widely spread apart per the "Spider Return" which has o ther variants. 8 ) While in the above exa m p l e only one card and one hand were used the "Scoop Up Palm" can be done w i t h two or more cards held as aDpare n t ly one. Also it can be used, especially if angles are of concern to you, w i t h left hand holding the tabled cards in place, at left side, as right hand uses its supposedly single card to scoop or gather the tabled packet. In this case, because of the extra thickness of the cards held by right hand, be sure that the first tabled card, during the count to table, is bent upwards e n ough to enable the card(s) from right hand to e a s i l y 1 slide under the packet.

9) Assume you have a six card packet that you count as four. In this case the first three cards would be dealt faces down to the table w h i l e the last three would be held as one. These cards are taken as before with right hand by the upper left corner with thumb on top fingers below. N o w go into the scoop up action similar to Figure _1 except in this case the left 1st and 2nd fingertips position themselves at center of left side of packet w i t h left thumb at bottom end of packet. In this way the right hand can move in further to the left and closer to the right side of packet. Also the card(s) being held by right hand move further under the right palm.

10) The right hand, still holding onto its cards, can lift up the complete packet. This enables the left hand to grasp the left side of packet, near lower left corner, w i t h thumb on top fingers b e ­ neath. The right fingers and thumb can n o w pivot its cards to under the right palm while rest of packet conceals this action. This pivotal action is very easy if you merely move your right hand so its p a l m comes down flat against the table as at same time right hand moves to the right. The left hand me r e l y holds onto its - visible cards. The Figure 6 shows how left hand holds onto the packet and right hand has secretly pivoted its cards to under right palm.

I FIGURE 5 !

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11) Once the cards are safely under the right palm the rest of the action c o n sists in left hand tossing its cards'to the left as right hand moves to the right to add the cards secretly onto another packet or deck using the "Spider Return" actions already described and pictured in Figure 5^. Whe t h e r you use one hand or two hands to execute the Scoop Up Palm will depend on the effect and the possible existing situation during performance. In any case the action is natural, disarming and in a sense can be considered a type of Action Palm

- 12) The use of the "Straddle Grip", plus a different action during the scoop up, makes the "Scoop Up Palm" even easier, more angle - proof and the excess cards can be tossed aside w i t h the hand that ,| has the palmed card or cards. The Straddle Grip is especially good when palming more than one card since the grip gives control that p r e vents any undue spreading of the palmed cards. Assume i, you have a packet of six cards that you will count as four, using the card (s) on the 4th count to scoop up the packet, actually palming three cards in right hand. 13) Begin by holding the 6 card packet in left hand dealing position. The left thumb deals over the top card and right hand takes the card by the outer end. Right hand deals this card to the table and p r e s s e s u p wards on the outer end in order to bend this outer end for an easy scoop up the tabled packet. The next two cards are dealt o n e at a time, on top of the tabled card forming a fairly squared packet ot three cards. The right hand now takes the three re- m a ininq cards as one by straddling the outer end between the third joint of the 1st finger at left side while the right 4th finger is on the right side of outer end. The right thumb is -at the back

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end of the card. The Figure 7 shows the front v i e w which gives a clear p icture of the Straddle G r i p 1st and 4th finger positions around the outer end of the card (s).

14) The card(s) in right hand n o w move to scoop up the tabled cards by coming in form the front e n d . To do this the right thumb moves towards the right 1 st finger to touch it thus right thumb also is across the top of card. The left hand 1st - 2nd fingers;and thumb hold the lower left corner of the tabled cards in place. The Figure 8 shows the scooping action where note h o w the card(s) from right hand really travel along about a third of the tabled cards width or off to the right. 15) As the scoop up action of Figure 8 is made you will find that the straddled card(s) will automatically, due to curling the right 2nd and 3rd fingers against face of the card (s), will slip so that the outer right corner will now be near the base of palm but still straddled by right 4th finger pressing against the right side of the c a r d ( s ) . The Figure 9 shows the position of the card w i t h right hand palm up. This is the position the card(s) o c c u p y during the scoop up action of Figure 8 .

F IGURE 9

16) As the scoop up action continues the riqht 2nd and 3rd finqers press in on the outer end. This causes the card to pivot under the riqht palm with its outer left corner slippinq off of the straddle g r ip of right 1 st finger; however, the upper right corner is still straddled at the base of right 4th finger. The top v i e w would be similar to that already shown in Figure 6 except the left finqers do not hold the packet in this case only press on it to keeD it in place, as in the Figure 8 , until the right 1 st finger and thumb can actually g r a s p and hold the upper right c orner of the tabled cards. The Figure _10 shows an exposed b o t t o m v i e w of the cards palmed in right hand as well as holding onto the tabled cards. 17) The right hand tosses or places its vis i b l e cards off to the left. The right fingers at once extend w i t h the card (s) now in a Flat Rear Palm as per Figure _4. Right hand now moves towards another tabled packet or deck to deposit its palmed cards via the Spider R eturn as per Figure 5^. Again I must mention that this is only one method of a Spider Return approach that has many v a r i a t i o n s w hich at this time is not the chief purpose of this brief treatise written solely for its use in several methods of "Succession Aces" elsewhere in this book.

DISSERTATION ON OIL AND WATER

The editor of Pallbearers, in his notes dug up from the underground, q u o t e s - "In the 19th century H o f z inser performed (7) a trick where R e d s and Blacks were shown to be mixed. The deck was then divided into two parts. The Rad cards were shown to have m a g i c a l l y separated from the Blacks. (The original pro b l e m appeared in the German e d ition of H o f z i nser's Card P r o b l e m s . The first Eng l i s h translation was provided by Bill Miesel, Bob Woodward and Reinhard Muller in epilogue.) "In 1920 Will Goldston marketed a t r i c k of Edward V i c t o r ' s in w h i c h face up Red and face down Blacks were mixed. On command the Blacks turned face up and separated themselves from the Reds. Mere recently Ken Beale has pointed that the small packet handling of the basic effect was contributed by Wa l t e r Gibson to J i n x #91. The oil and water theme (applied to an elevator effect showed up in a 1948 issue of Huqard's Magic M o n t h l y . Sub s e q u e n t l y Ed Mario combined elements of the earlier tricks to produce the version wh i c h appeared in A1 Sharpe's M.U.M. column".

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The underl i ning of the worfs performer 1 (?) , divifed and problem ore mine ?s well as for the wort’ s "face-up- face flown- face-up". The H o f z i n s e r effect wns only a problem p o s e d . There is no record of H o f z i n s e r having performed the effect. No one in America was aware of this problem until the recent hindsight translation. The effect was supposed to have been done with a regular deck. How it was accomplished is only a guess. Since the word divided carries several connotations one could infer it was dealt into two packets and this procedure surely would not have made it very magical. If one assumes the deck was cut then one could guess a Strip-Out was used. But how was the Strip-Out situation arrived at? By shuffling, by injogging as you spread the pack between both hands, perhaps a stripper deck? In v i e w of this I could hardly have used any ele ments for my oil and water effect, from the above source e s p e c i a l l y since oil wasn't around in old Hoffy's day. Perhaps he could contact H o f z i n s e r in the spirit world and get him to say that my "Four Packet Oil and Water" routine in the Linking Ring - September, 1959 is really his method. The Edward Victor effect suggests that face up and face down cards righted themselves or were all one way. Surprising the editor of Pallbe a r e r s doesn't equate this w i t h Triumphi H o w about the Slop Shuffle, in which cards are mixed face up and face down then shown to have righted themselves, why doesn't he equate this with Triumph? Yet w i t h no d e finite procedure for the Victor effect given he not on l y has the hindsight of an animal with long ears in comparing it to oil and w ater but has the gall to assume I was even aware of the V i ctor effect. Actually I wasn't aware of its underlying method but will feel safe in saying that none of the Victor elements were used in my original "Oil and Water" routine. W h e n I used to p i t c h the S t r i p p e r D e c k one of the old and standard effects with this deck was t p intermix Red and Black cards, of the full deck, then later to show them as separated. Would any equate this w i t h the oil and water p r o c e d u r e s I established? Apparently he would. The editor of Pallbearers then refers to the Gi b s o n effect "Like Seeks Like" in J i n x #91. While this comes closer to the small packet idea of mixing the colors it is not referred to as oil and water being mixed. The Gi b s o n method uses only three Red cards and three Black cards w h i c h are intermixed and a Glide as the secret sleight. None of these elements are used in my oil and w ater routine. Also a much older effect, in w h i c h three X cards and three Jacks are intermixed then later the top three cards on l y are shown to be three Jacks, preceded the Gibson effect. The extra Jack, usually a Red one, was the b o t t o m card of the supposed three X cards. The three Jacks had a Red Jack as its top card. A deck also was used onto w h i c h the cards, alternately, starting w i t h an X card was dealt face down onto top of deck. The Red Jack was next - then the X card - another Jack - the supposed X card but really the Red Jack and finally the last J a c k onto all. Result was three Jacks could be dealt off of top of deck. I showed this v e rsion to Carmen D'A m i c o many years ago. It can be found in "Scarne On Card Tricks" page 155, if one is interested in all the details. Of course Red and Black cards are not used and there is no mention of Oil and Water although in IB I D E M 15 I did relate to it. The effect, like Gibson's, is done only o n c e . There are no follow up phases, with each one becoming more convincing, as in

"Oil and Water". The editor for some reason ignored Bill Simons "Diddled" effect in Phoenix #224, in which Red and Black cards were alternated then thru the use of the Biddle Move showed the Red and Black cards were separated. Here again there was no v mention of Oil and Water separation as an effect theme. Simon'u method naturally was used to do the separation effect only once. A careful study of all the above mentioned methods o b v i o u s l y show that I used no elements from them in my Oil and Water routines that always consisted of several phases with each phase being mo r e convi n c i n g and puzzling. The Pallbearer - Epilogue editor will do anything or go to any lengths to take away credits from me. As an example he infers that an oil and water effect w i t h an elevator theme appeared in a 1948 issue of "Hugards Magic M o n t h l y " . Well I looked several times thru that whole year of the maga z i n e and finally came across an effect titled, "What's Up?" by a Samuel Pavloff in a D e c e m b e r 1948 issue, of Hugards Magic M a g a z i n e , on page 4 9 4 . Those who have the file of this magazine can do themselves a favor and read this article then seriously consider just what kind of twisted thinking the Pallbearer is delivering. If you haven't the time or the magazine the article uses the presentational theme of how (1) A postage stamp weighs more if signed w i t h ink, (2) That cards with more spots weigh more than those w i t h less spots with the four lightest cards being the four Aces. You now remove the four Aces and the remainder of the deck is cut into four egual h e a p s . ( My underlining) You now place each Ace at the b o t t o m of each packet. You now request the spectator to name any number between three and ten. One of the packets is picked up and the number named is transferred from top to b o t t o m of the packet. The next three top cards are dealt one on e a c h of the other three packets. This same process, w i t h the number already named, is repeated for the next three packets in turn. N o w notice how the Pallbearer editor uses a strictly patter pres e n t a t i o n to give his readers the usual misinformation. The performer remarks now, as follows, to his spectator as per the quote from Hugards Magic Monthly for Dece m b e r 1 9 4 8 . 1. "If you were to m i x oil and water in a container which would rise to the top?" Whether he answers correctly or not you make it clear that the oil would rise to the top because oil is lighter than water. 2. If you were to mix milk and cream w h i c h would rise to the top? The answer is, of course, "The cream", because it's lighter than milk. Return to the four packets of cards on the table and say By now I hope you are convinced that when several substances are mixed together, the lightest will always rise to the top." At this point the obvious concluding effect of showing each Ace on the top of each of four packets is shown. G e n t l e m e n read that again - Note that there isn't any mi x i n g of Red and Black cards and that the patter presentation mentions several examples of light and heavy elements to later conform to what is really a quadruple ambitious card bit rather than an elevator theme. The elevator theme uses a deck of cards or a packet of cards and the cards travel up and down and from center to either up or down. But, you say, the effect in Hug a r d s could well have been my inspiration for the elevator effect w i t h four Aces. It could have been except for one thing the Epilogue editor didn't let you know. What is this? Simply this - "What's Up?" appeared in "Hugards Magic M o n t h l y " for D e c e m b e r 1948 while my

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effect, "Penetration" and later re-titled "The Elevator Effect", appeared in the Sph i n x Magazine in June 1 9 4 8 . All those above sources you have just read have elements which in no w a y represent the elements used for the "Oil and Water" that o r i g i n a l l y appeared in M.U.M. and later in "The Cardician" w i t h o t h e r versions of mine in other publications; however, the most important points are that it is my title m y premise my approaches my techniques from m y '-'Oil and Water" routines that inspired all existing routines and variat i o n s of "Oil and Water" made by o t h ers and not the sources dug up from the underground by an e ditor whose job it is to apparently bury first and then call the Pallbearers. Since the reader has patie n t l y read thro u g h what I feel he should start c o n c er n i n g himself about I will detail an "Oil and Water" routine in which not only is the original climax, of separated colors actually re-mixing retained, but w i t h two added anti-climaxes. Of these two some will use only the one so the effect will be d e s c ribed as such. For those who may wish to use the second ant i ­ c l i m a x a separate addition will be appended w h i c h will be quite easy to add to the routine and yet not change any of the first parts. But first - on the "What's Up?" effect by S a m Pavloff in H u q a r d s Magic Monthly - D e c e m b e r 1 9 4 8 . You just may be interested in the method. It uses four regular Aces plus twelve additional Aces - each one in triplicate. W i t h that Hitch c o c k ending lets go into OIL AND WATER PLUS CLIMAXES Effects: Red and Black cards intermixed keep separating. Black cards o p enly placed onto Red cards are caused to intermix. Finally all cards are shown to be all Black. 1) Set-up, from top down, is four Black cards, one Red card, two Black cards, two Red cards. Total of cards is nine, six of which are B lack and can consist of paired spot cards such as two Black nines, two Black sixes, and two Bl a c k fives. The thpee Red cards can be any three mixed value spot cards. The handling is designed to always c onform to a set pattern as far as showing of each set of four cards is concerned. 2) With the nine card packet set-up as in Step 1 above the packet is held face down in left hand dealing position. Left thumb pushes or deals over the top four cards which are taken by right hand, at lower right corner, with right thumb,on top and fingers beneath. The four cards are taken by right hand and then squared between the fingers and thumb of both hands, well above the re­ m a i n i n g cards in left hand, as in the Figure _1.

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3) The left thumb end fingers hold sides of the B l a c k cards w h i c h leaves right hand free to do a sort of D ' A m i c o Sproad. The loft aide of the spread is grasped b y loft thumb on faco and first and second fingors bolow. The right t h u m b at this stag© is o n tho face at right sido w i t h fingers beneath. The Figure 2 shows tho position b o t h hands at this stage. 4) A l t h o ugh you actually do have four B l a c k cards, at Figure 2 , what you do is go into an Blraoley Count anyway, as in Figure J3 w h o r e n o te that tho card is taken into right head dea l i n g posi t i o n as loft thumb and fingors already are pus h i n g o v o r two cards as one. H a v i n g done tho Elmoley Count, to chow four D l a c k cords, the right hand tosses its packat fcco u p to tho toblo. 5) The right hand n o w grasps thsleft side, of thooo c a r d s still faco down in loft hand, w i t h right t h u m b b o l o w and first and second fingers fconoath. Actually the t i g of left first finger preosos firmly cn tho up p e r loft side edgo of tho packot co that o n l y the faco card will bo pu o h o d past tho loft first fingerti p by tho loft thumb as you go into a D ' A m i c o Spread as in Figaro 2_. W i t h tho cards in a D'A m i c o Spread condition the loft thumb and fingers grasp the loft side of tho cards. Tho situation at this point is liho that shown in Piguro 3 ercopt that tho left hand does not hold a packet of cards h e r o but does g r a s p loft side of the packet.

6 ) Without any stall right hand is free to do the Elrasley Count, tahing each card in right hand dealing position. (See Notes of 1956 and later published in M.U.M. for D e c e m b e r 1959 for other n a t u r a l count actions.) The Elmsley Count will have shown four R e d cards. After the count turn the packet face down into left hand dealing position. W i t h loft thumb fan over the top three cards holding the last two as one. The ordor of theco cards, from top down, is actually two Black cards and three Red cards the last two held as one card. 7) The Black packet is still face up on the table m o r e or leas in a serai squared position. The right hand picks off the B l a c k cards, one at a time, to turn thorn face down and insert thorn botwGon tha fanned cards held in left hand. The first Black card is inserted between the 4th and 3rd c a r d from the bo t t o m and loft projecting for about two thirds to half its length. The second Bl a c k card is inserted between the 3rd and 2nd cards f r o m the b o t t o m and sort of slightly to the r i g h t , about a half inch, of tha left side of the third card of the fan. The neirt Black card is inserted between the 2nd and 1st card of the fan while the last B l a c k card is placed on top of the lot card. The F i g u r e 4 shows the situation where note especially h o w the p r o ­ jecting 3 lack card, in third position from top, is side-jogged to the right thus making an automatic step on the 2nd card of the fan in left hand. This is important for what is to follow.

8 ) W i t h the situation as in Figure 4 tha right hand grasps tha right aide of the cards, thumb on top fingers beneath. This gives left hand a chance to move into a position where it can similarly hold tha cards on the left side. The right hand holds onto a total of fiWo cards while left hand sort of holds a total of three (not counting the last two hold as o n e ) . Both hands sort of ooparato the cards, at their outer ends, as in Figure _5 until you fool that the third ’ out- jogged Dlock card from the top sort of clips off of tho third card at the lowor end of the elongatod fan. Once you fool tho o q t -jpggod third card has clearod tho stop both hendo movo inwnrJ with tho o u t jogged third card riding below or under tho third cord of the lower portion of tho fan and thus automatically going onto the 4th card of thoce up-jogged. The Figure 6 shows tho closing action where noto how everything still looks ns if it voro tho same. After squaring what has happened is that n o w tho top four cards will be Black. The remaining or lowor fivo cords will be in order of 1 R e d , •2 Blacks, 2 Reds from top down.

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9) H o l d i n g the packet face down in left hand dealing position thumb over the top four cards w h i c h are taken by right hand and squared up, between both hands w i l l above the cards still in loft hand. The situation is enactly as in Figure j L . H o w go into the D'A m i c o Spread action as shown in Figure 2 then at once into the Elrcaloy Count Mechanics to show four D l a c k cards. Right hand, w h i c h ha3 takon the four D l a e k cards face u p into a dealing position, places the Black cards face u p to table in a serai squared packet. 10) Right hand grasps tha loft side of those cards still face down in left hand and goes into a DsJAmico Spread, as in Figure Left hand is free to m o v e and g r a s p the left side of the spread” cards. O n c e the left hand fingers hold onto loft sido of the cards the right hand at once starts to take tha cards, into a dealing position, doing the Elmsloy Count to show the cards as appare n t l y four Rod cards. Actually, after tho Elrnnley Count, you will have tho five cards in ordor o f B-B-R-R-R from top down. 11) This second phase consists in turning the just shown Red cards b a c k faca down into loft hand. Left thumb doalo o v e r the top card w h i c h is taken, at the upper right c o m e r , w i t h right thumb on top and first and second fingers beneath. Tho nexrt card is dealt over and its upper right c o m e r jammed u n d o r tho right thumb likewise tho third card and the last two cards ns one. This results in a reverse fan formation os shown in F iguro 7. At this stage the five cards, because of being dealt o n e onto tho other, aro in ordor of 3 Reds and 2 Blacks. Notice that in F igure 7 the loft hand is palm u p undor tho fanned cards in ordor to close or square t h e n up back into the loft hand.

12) Left thumb n o w fans out the top three cards holding the last two as one. Right hand picks up a face Black card, from the tabled packet, to place it under the last card(s) of the fan. It is placed in direct line but up-jogged for about half its length. Also during this placement the right fingers momenta r i l y g r a s p the fan to move it outwards so that the lower e n d , of the two cards held as one, will be hidden by the p a l m of left hand. The out-jogged Black card being in direct line w i t h this card(s) covers the face of the lower jogged card of the fan. At this stage you can lift the left hand so that the faces of the cards are towards the spectator. H e will see three Red cards and on upjogged B l a c k card. Your patter here, is, "I want to show you the cards are really being mixed". By this time the right hand has p i cked up another Bl a c k card and is inserting it into a position third from the too of the fan or between the 3rd and 4th cards. This action, from the spectator's view, is seen in Figure 8.

13) O n c e the tabled four Black cards have been inserted, in an o ut-jogged position, between the fan of four Red cards the elongated fan is lowered. Right hand cornea over the elongated fan of cards, to p u s h the cards flush, as both hands squaro u p the cards which end up face down in left hand dealing position. The order or the cards, from top down, at thi3 stage is R-B-RB-R-B-B-B-B.

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14) You n o w will seem to take tho top four cards but actuall y w i l l displace the third card frora top into the fourth position f r o m top as follows: Loft thumb pushes o v e r top card w h i c h is taken w i t h right thumb on top and fingors benoath nt about tho center of the card. The next or second card is taken to undor t h e first card but stepped to tho left for about half its width. The third cferd is takorf dire c t l y under tho two spread cards in right hand so that tho second cards loft side goes beyond left aide of tho third card thus forming a stop, at left side, wi t h o u t any hesitation tho fourth card is fed directly undor this stop and automatically goes above the third card. Tho Fi g u r e 9 shows h o w the third cord is undor tho top fanned two cards as tho fourth card is being fed u n d o r tho stopped card and above the third card w h i c h is under o r past the stop.

15) O n ce tho right hand has its four cards and made its dis­ placement tho loft thumb pachas over the next o r fifth card v e r y slightly. When right hand squares its cards against the top of loft hand cards it secretly also picks u p tho fifth card to undor those in right hand. Raise the packet nbovo tho hands, for squaring it, as you did previously. Your patter line changes n o w as you say, “ Sometimes if one doesn't dig deep e n ough he doesn't get oil. Instood he goto water". H e r e you go into the D'Amico Spread action and into tho Elracloy Count, w i t h the othor cards still face down in loft hand, as you seemingly show four Rod cards. Right hand placos these aside face down. Right hand n o w goto the r e m a ining four cards set­ u p with the D'Amico Spread for an easy Elrasloy Count to chow four B lack cards as you remark, "The oil is just a ilttlo deeper". Right hand placos these B l a c k cards face u p to the table. You will n o w go into another original phono of mine wherein oil and water does mix. My vory first voroiono of this climax appeared in IB I D E M 6 , DecTiQSb. in the present ve r sion tharo are two subtleties one of w h i c h is a count that alternates the five card packot w h i c h for tho present consioto of, fren top down, 2B-3R-cards.

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16) The left hand scoops u p the face down Red packet, really five cards two Blacks and three Reds, to turn it face up into left hand dealing position. The left thumb pushes over the face card as left fingers, under cover of the forward face card, slightly buckle the bo t t o m card. The right thumb moves in under the face card, at lower right c o m e r , so that ball of thumb contacts the face of the second card. The right first and second fingers go above the buckled card to gr a s p the lower right c o m e r , of the three cards as one, from beneath. The Figure 10 shows the operators v i e w at this stage w h e r e right thumb and fingers are grasping the lower right c o m e r of the three cards as one.

17) C n e e your right thumb and fingers have a firm g r a s p on the three card3 the left thumb pulls back the face card flush w i t h rest of cards. Not until then does the right hand move out its cards as shown in Figure 1 1 . 18) O a c e the right hand cards are clear the right thumb moves only the face card to the right, using the D'Amico Spread Mechanics, to result in the Figure 12.

19) As soon as the right hand makes its spread the card(s) to the left are at once brought to under the cards in left hand as in F igure 1 3 .

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20) In F igure 1J* the two cards, as one, are left behind under the cards in left hand as right hand comes out w i t h o n l y a single Red card now. This single card is at o n c e pla c e d to under the cards in left hand. The whole sequence appears as if showing this packet has Red cards. You really have shown o n l y three Red cords but the reverse counting actions have alternated the five card packet so n o w the cards are, from top down, in R-B-R - B - R order. There is absolutely no n e w p r i n c i p l e involved in the count simply a varied technical handling to get away f r o m a Kardyro Biddle type count. For those w h o still m a y pro f o r to use the K.B. Cou n t to alternate the cards proceed os follows* 21) The packet is held face u p in left hand dealing position. As right hand comes over, to gr a s p the packet from abovo by the ends, the left fingers buckle the b o t t o m or lowermost B l a c k card. This enables the right thumb to obtain a break, at inner lower right corner, on the Black card. The loft thumb n o w peels off o n l y the face u p Red card into loft hand dealing position. As loft hand moves in to poel off the nesrt face Red card t h o left fingers also pull on and take along the under or b o t t o m B l a c k card on w h i c h right thumb hold the break. Thus, in apparently taking only the face Red card the Black card is secrotlv taken along w i t h it into left hand onto the Red card already in that hand. Right hand has two cards held as one, a face Red card and a secret Black card under same. Right hand me r o l y places those two cards, as one, onto the face of the cards in left hand. The five card packet is n o w alternated in R-B-R-B-R o r d e r f r o m top down. 22) W h ether you use tho procedure in the Step 20 or 21 above the w h o l e is merely done as you cay, MThe Rod c a r d s ”, aftor which, the alternated count pro c e s s having been complotod, tho packet is turned face down into the left hand as for dealing. You are n o w set for the 23) THIRD PHAS5 - The packet from left hand is pl a c e d faco down to the table. Right hand picks up the B l a c k cards and sort of spreads them. Note tho faco card and reme m b e r it. W i t h left hand lift off the top card of the tabled packet to flash it as a Red card then replace b a c k onto the tabled packet. The Black cards from right hand are placed on top of the supposed Red cards. Pick up tho assembled packet and hold it face down in left hand. Comment on the fact that tho o i l . Block cards, are on top of the water, Rod cards, and that they will not rain unions you do it magically. Squcoso and flex tho packet for effect. Turn it faco up, using right hand to do thi3, then replace the packet face up into left hand. H e r e you n o w do a v e r y bold and cheeky bit by dealing over each card and taking it, one onto the other, into the right hand dealing position. The colors will show alternated as R-B-R-B-R but on the 6 th count, a Black card, tho whole block of cards is taken onto those in right hand. Without hesitation the right hand turns the packet over, end for end, face down back into the left hand. This time, in tho process of again showing that tho B lack and Red cards alternate, you will actually do a subtle displacement. The packet at this stage is in order of R-3-R-B-R and 4 Blacks from top down. .

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24) Loft thumb deals over top card w h i c h io taken by right hand, at about center of card, w i t h right thumb on top and fingers beneath. Right hand moves upward and inward in o r d e r to flash the face of this Red card. Right hand c o m e 3 down to take the next card to under the card in right hand but stepped to the loft for about half its width. Right hand moves up with its two fanned or spread cards to show a Red and B l a c k card. Again right hand comes down to take the next or third card w h i c h left thumb has dealt over; however, this third card is taken so it goon completely under the two fanned cards t h u 3 leaving tho second card, of theca three, stepped to the left. Right hand again moves up to ohow the cards. The Figure 1_4 shows the actual condition, of the three cards as t h e y are flashed to the spectator, where note h o w the third card is actually stepped under the top two fanned or spread cards.

25) The situation of Figure _14 is m e r e l y flashed as at once right hand comes down to take tho next or fourth card from left hand. The left thumb has dealt over the fourth card and it is actually fed under the stop, formed by the second card of the fan in right hand, and above the third card that ia in right hand. The action is as if merely pic king up this fourth card to under those in right hand but it is in reality practically pushed in between the second and third cards in right hand. The right hand again moves up to show the faces of its cards. This again io only a flash so to speak but the Figure 1_5 shows the condition of the four cards at this moment. Note how the fourth card, a Black one, has been inserted oecrotly between the original second and third cards of those in right hand.

FIGURE 15

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26) Still without any hesitation the next or fifth card, a Red one, ia taken to under those in right hand w h i c h again raises to flash the faces of the cards. The next or sixth card is picked up to under the still more or less askew fan of cards in right hand as once more right hand flashes the fncon of its cards. N o w m e r e l y place these cards onto the card(a) in left hand and square up. The whole series of shewing the cards is merely to once more emphasize the fact that the colors really alternate and during this process you hove made a subtle displacement so that nov/ the order of cards, from top down, i3 R-B-B-R-R and 4 Blacks. 27) Thumb over the top four cards and secretly advance, vary slightly, the fifth card. In re-squaring get a left 4th finger­ tip break belov; the top five cards. Again patter about h o w if you don't drill deep enough you will only get water. Here lift the five cards up to the fingertips of both hand3 and go into the D ' Amico Spread as right hand turns the packet face up. Do the Slmsley Count to show apparently four Red cards. Remember the count is made while the left hand still has the remaining four cards in left hand dealing position. (Refer to Figures _12-3) Right hand places its cards face dovm to table. N o w chow the remaining cards in left hand as four Black cards as you again repeat the D'Amico Spread action and the EXmoloy Count. You have just completed the Fourth Phase of the routine and are n o w set to go into the Fifth and final phase. 23) Pick up the face down Red packet and hold it face down in left hand. Count as four cards, taking or.o onto the other into right hand, w i t h the last two cards, as one, taken into right hand. R e place the packet face dovm into loft hand. Thumb over the top three cards, one at a time under each other, as right hand takes each one and flashes its faco. The last two cards, held as one in left hand is not shown. Instead a fan of four card3, held by left hand only, is formed. Those cards are face down. The 4 Black card3 on the table are face up. Right hand picks up a Black card, turns it face dovm, then inserts it between the 4th and 3rd cards of the fan held in left hand. The inserted card is loft projecting for about half or more of its length. The next three Black cards are likewise inserted by being placed between 3rd and 2nd cords, 2nd and 1st cards and on top of tho fan respectively. The fan is closed and all up-jogged cards pushed flush and squared then held faces down in left hand dealing position. 29) The order of the cards, from top down, ia nov; B-R-B-R-B-R and 3^ Blacks. You will now seemingly thumb over the top four cards; however, during this you secretly displace the third card from top, a Black one, into the fourth position from top. The mechanics of displacement are identical to that already described at Steps 14 and JJj and shown in Figure 9. The whole action 3eem3 as if merely thumbing over four cards; however, the top four cards are now in order of B-R-R-B from top dovm. The four cards, from the top, appear as in Figure _16 where note that the third card from top has been purposoly in-jogged for your clarity. Also the loft thumb has pushed ovor tho rtoxt or fifth card very slightly. The hands are close together.

30) Prom Figure 16, a a you ro-square the card a, get a break, b e l o w the fifth card, w i t h loft 4th fingertip. N o w raise the squared five card packet up to the fingertips of both hand3 in readiness for the D'A m i c o Spread and then into the Elmsley Count to show that, "If you dig deep en o u g h you get oil separated from water". Right hand places its cards face down to the table. 31) The remaining four cards, still face down in left hand, are n o w counted, one under the other, v/ith the fourth or last card snapped and placed on top of the other three. The order of these three cards, from top down, is B-R-B-B. Remember that p r eviously each time the Black cards w a r e shown it later was indirectly shown that in fact there w ore four B l a c k cords. You have just shown four B l a c k cards, really five cords as four consisting of E-R-R-B-3 card3. The spectator o;rpoctn the remaining four cards to bo the Red onc3y howovor, go into the D ' Amico Spread and into the Elmsley Count to chex* four moro Black cords as you add, "Sometimes you get lucky end strike nothing but oil". Right hand turns its cards face down to deposit them onto the first tabled packet. All cards for the climax have haen shown as Black. The idoa of showing all the cards as Black, for the oil and water finish, is that of David Solomon!s of Chicago. Later on I will briefly describe Solomon's particular routine. For the present hero is what is a "Cutosey Climarr" for those who like such things. The added set-up in no way changes the oil and wator routina already described. " CUTESSY CLXXAX"

1) Place two cards face to face to make up an impromptu Double B b e k Card. From deck remove all the Red Jacks - Queens- Kings and Aces. The two Red Aces should be the faco cards of the face up packet which otherwise i3 in no particular order. 2) Place these Red cards face up on top of the face down deck. O n t o this place the Double Back card to cover the face up cards.

3) You can n o w place the required Red and Black cards to the b o t t o m or face of deck. Thus your deck is n o w cased and all set to go into the routine. 4) Begin by removing the deck. Thumb over the required nine cards, off the face of deck, into right hand. The deck faces you and spectators do not know how many cards or what kind you are taking. 5) Right hand holds onto the nine required cards as left hand tables deck so it is face u p . Now you can double check your n i n e cards to make sure they are in the correct o r d e r for the routine already explained. 6) At the conclusion of the routine, where you have shown the cards as all Black, these cards are face down on the table. Onto this you place the face up deck. N o w pick up all the cards turning left hand palm up. This n a t u r a l l y brings the face of the original table packet into v i e w with a Black card at the face. 7) W i t h right hand, squaring deck from above by the end3, the right thumb and fingers locate the natural separation of the b a c k to b a ck cards that are deep in the deck or actually at 19th f r o m top. In othar words not the first b a c k to back separation of the nine face up cards but the second separation of the eight Red face up cards that are covered by the impromptu D o u b l e Backer. Here casually flip over a whole block of cards back onto top of deck. It appears, or should, as if you m e r ely turned the Black cards face down onto the deck. S i n c e the effect is apparently over you will find these actions get little attention thus you need not feel that the large b l o c k will be noted. 8 ) Once the cards are turned over casu a l l y start to deal the top eight cards, one at a time onto each other, faces down to the table. You do this in a visual g r o u p count of four cards e a c h as you deliver the lines, "You know when you get rich you suddenly find unexpected friends - plus aojiva sharpies who are out to get your money". With this the lines have been timed so that the packet is turned face up, with right hand, then spread from right to left when you reach the words, "some sharpies out to get your money", the right; 1st and 2nd finger­ tips are placed one on each Red Ace then pushed forward slightly as the right 1st and 2nd fingers spread apart the two Red Aces. 9) As p r e v iously mentioned some like this type of a n t i - climax and it can be easily included aa well as qui c k l y reset as follows: L o w e r deck below table into lap. The top Double Back card is pushed aside. The next nine cards are transferred to the face of the deck. These are the cards required for the oil and water routine. Pick up the table Red cards, 30 Red Aces are at the face, then merely place these Red cards face u p under the Double Back card on top of deck. Case the deck and you are all set for the next time.

N o w here is the Oil and Water routine of D a v i d Solomons. Notice D a r t i c u l a r l y some of the subtle inferential bits such as showing o n l y four cards of one color and letting the spectator assume the other four must be of the other color. O b v i o u s l y these bit3 play best when the spectator, especi a l l y one havinq seen Oil and Water routines, has been conditioned to exoect certain results. For this reason I call S o l o m o n ’ s routine ’ 'CONDITIONED O I L AND WATER" Effect;

Oil and Water of course.

1) S e t - u p consists of seven Black cards and three Red cards. Use v alues of 6's - 7's and 8's. Arrange the cards, from top down, in r.he o rder of R-B-2 Reds and 6 Blacks. 2) To p e r f o r m turn packet face up. Fan o v e r three cards to show four B l a c k cards at bot t o m or face of packet as you say, ’ ’ Four O i l cards". Square up. 3) Turn e n t ire packet face down. Fan over four top cards saying, "Four Water cards". Right hand takes these four cards as left h a n d p l a c e s remainder of the packet face down to the table. 4) Right hand turns its four squared up cards face up and does E l m s l e y Count to show four Red cards. Turn the four cards face down and deal them face down, one at a time, to the table, from left to right, one card onto the other over lapping each, to the right, as well as slightly down-jogging each one. This is to create a p l easing picture or layout of the four face down cards. The top three cards are Red and the bo t t o m one is Black. 5) Pick u p the Black packet and turn it face up. S h o w as four B l a c k c ards by spreading or fanning the cards between both hands and h ol d i n g the last three cards as one. Squ a r e up the cards turning them face down into left hand. Again refan the card h o lding the last three cards as one. The fan of cards is held in left hand. 6 ) To m i x the cards the right hand picks up the top tabled Red card and c a sually flashes its face. Insert this Red card between the 1st and 2nd cards of the fan and leave it out-jogged. Repeat w i t h each of the next two. Red cards inserting these inturn b e tween the 2nd and 3rd and 3rd and 4th cards of the fan. As you pick up the final apparent Red card w i t h the right hand, the left hand turns its fan face up to actually show the mixture. Lower the fan aa right hand at once places its card, without showing the face, to under the last or bo t t o m card of the fan. S q u a r e up the packet pushing all o u t - j o g g e d cards flush. 7) Make the usual magical gestures with the packet stating, "Oil and Water do not mix". Turn the packet face up showing that the Black cards (oil) have qone to the bottom. Fan over the four B l a c k cards taking them into right hand. At once place them under the cards in left hand and in squaring up get a left 4th f i n g e r ­ tip break above the four Black cards.

9) With the pocket still face up in left hand the order of the cards, from face to back, at this stage is R-B-R-B-R-B and a b r e a k above four Black cards at bottom or below the face six alternated cards. You have shown four Black cards so the assumption is the remaining card3, which you have not shown, are all Red. 9) W i t h the packet face up in left hand make a mixing g e s t u r e saying, "Now to remix the oil and water". Here you go into the K a r d y r o Biddle Move as follows. Right hand holds packet from above by the ends. As left thumb peels off the face Red card it also secretly takes along the four Black cards below the break. As these card(s) clear the right hand packet the left 4th fingertip obtains a break below the Red card just peeled off. Thus a separation is still maintained above the four Black cards. Left thumb peels off the second card. Black, into left hand. The third card, Red, is also peeled off into left hand. 10) At this point you have a break, w i t h left 4th fingertip, b e l o w the three face cards or a total of seven cards counting the four Black cards on w h i c h you still maintain a break. This time as left hand goes to peel off the fourth card, a Black one, from right hand packet the right hand secretly picks up, to under its cards, the three cards that are above the break. This action results in no further breaks being held. There n o w are a c t a u l l y five Black cords in left hand and flve in right hand. The cards in right hand ore now peeled off, one at a time, showing R - B -R but the last two cards, the face card of which is Black, are placed onto left hand cards as apparently the final Black card. If you taka the trouble to count the cards audibly, as you show the alternated colors, you will have counted eight cards. 11) If steps 9 and _10 have been done corre c t l y the order of the packet, from face to top, is now B-R-R-3-R and !5 Black cards. Turn the packet face down into left hand. Fan over the top four cards, one under the other, saying, "Black - Red - B l a c k Red", but not showing them merely placing them face down to the table. 12) On the remaining cards in left hand you use the displacement technique p revio u s l y described. Briefly, in showing these cards as Black - Red - Black the thrid card is side-jogged, to the right, past the left side of the second card of the fanned cards, to form the step. Do not show the last card(s) but mer e l y bring the right hand card3 down so that the stepped second card will contact the right lov;er corner of the card(s) in left hand. By a slight Jovnwncd pressure of right hand the side-jogged card under the cards in right hand will easily go to the bo t t o m as the packet is squared up.

13) C l i m a x Phase - Turn cards in left hand face up. Do Elmsley Count showing four Black cards. Hold these face up in left hand. Right hand takes the face Black card and uses it to flip over the four tabled cards. Under the surprise that these four tabled cards are also Black the card from right hand is casually placed to under the cards in left hand. 14) Right hand picks up the tabled four Black cards to place them face up onto the face up cards in left hand. You will n o w do a casual re-showing of all the cards as Black. Deal over and take the cards, one at a time onto each other, into right hand. On the sixth card do a Block Pushoff onto the cards in right hand. S n a p the last card, with left fingers and thumb as you place it onto the face of the cards in right hand. All cards have been shown as Black q u i t e fairly. Toss them into center of d e c k w h i c h left hand cuts for that purpose. 15) Mario Note - I have only slightly changed the final handling of the B l a ck Packet from the original w h i c h made use of an immediate Bo t t o m Deal to actually show eight Black cards for the finish. On the surface this may read like a good finish but a c t u a l ly was not as it involved first showing the cards as a p p a r e n t l y all Black then placing the cards on top of the deck. The deck was then picked up and first card came off the bottom, a B l a c k card previously positioned there, with the next seven coming off the top. This sort of overprovinp; is just too much. As to the first routine, w i t h the "Cutesey Climax", on this one for a change d o n 't make a substitution using a lapping move. You would be better off "capping the deck" as you replace the supposed all Black cards onto top of the face down deck. Well I have detailed two Oil and Water routines for you so perhaps you can put up w i t h "FURTHER D I S S E R T A T I O N ON OIL AND WATER" Not w i l l i n g to settle for an assumption as regards the Edward V i c t o r effect m a r k e t e d by Will Gold s t o n in 1920 I went through the trouble of contacting several collectors to get the information. The following is the exact w o r d i n g of the advertisment that appeared in "The Magazine of Magic". - Edward Victor's "Reversed Cards" - A novel Card Trick equ a l l y suitable for the drawing room or stage. The c o n jurer shows the backs and faces of eight cards. He reverses the four alternate cards and closes up the packet. A WAVE OF THE HAND DOES THE TRICK. The Conj u r e r fans the cards again and shows that the four reversed cards have got back to their orlqInn 1 posit I o n s ; they now face the audience. Backs and Fronts of cards are again shown. S i m p l e to work - W o n d e r f u l l y effec t i v e and New. Price complete w i t h full instructions: 2/6, postage 2d. Will G o l d s t o n Ltd. Aladdin House, Green St., Leicester Sq. London, W.C.

That is the wording of the ad but not of course the layout which also includes three illustrations. The underlining of the words "original positions" is mine to later emphasize a point. For n o w if you read the advertisment carefully you will notice that n o w h e r e are there Red and Black cards mentioned or any kind of separation of c o l o r s . So how did the pseudo brilliant author of "Notes From Underground" dig up the idea that Red and Black cards were used? Well as mentioned the advertisement has three line drawings. Arrows indicate the sequence of events. The first illustration shows face down cards w i t h four face up Black cards alternated with them. Thus a face down card is first card on the right ending with a face up Black card at the left end of the fan. The left thumb is on top, at lower end, of fan and fingers below. The second illustration showB apparently the other side in that you see face up Red cards alternated w i t h what are o b v i o u s l y the face down B lack cards; however, this second illustration is puzzling since not only is the left thumb still on the top of the fan, it should show finqers if the fan w e r e simply turned over, but a discrepancy enters here since there should be a face down card as the first card of the fan no m atter to w h i c h side you turn the fan. The second illustration shows a face up Red card as the start or first card on the right of the fan. At any rata seems r.hat on looking at these two illustrations (am assuming he did see the advertisement) the author of U nderground notes q u i c k l y decided that this was like Oil and Water and thus added the words, "The Blacks turned face u p and separated themselves from the Reds". He completely ignored the third illustration wh i c h clearly shows all cards face up w i t h the Red and Blac k cards still a l t e r n a t e d . This also conforms to the underlined words, "original posit i o n s " as per the advertisement. So there my friends is another example of how he m isinforms you. If he had at least mentioned that the effect was similar to "All One Way" that appeared in I B I D E M #8 he would have made some sense. On the other hand let me q u o t e the introduction to "All One Way" from I B I D E M # 8 . First the effect was that a packet of eight card3 were inter­ mixed a l t e r nately face up and face down. Later they are shown to face all one way. The effect can be repeated. Note that the Victor advertisement does not mention a repeat. Also in "All O n e Way" no definite Red and Black cards were used thus I did not equate this with Oil and Water as the comments to "All One Way" will show. Comments: The original effect of the above h«3 always been c r e dited to Charles T. J o r d a n . R.W, Hull had several methods using double backed and double face cards. Besides Jordan, several o t hers have attempted to duplicate the effect with o r d i n a r y cards. As the reader can see I was unaware of the Edward Victor marketed version as there certainly would be a mention of him along with Jordan and R.W. Hull. I do not know, as of this writing, what Victor's method is and do not want to make any guesses; however, you can get a reasonable facsimile of the Victor effect, in which the turned cards get "back to their original p o s i t i o n s " using four Black Double Face cards that have the same card on both sides.

The other four Red curds are regular. Arrange the cards from face to top, in Bl ack - Red order. The face card is a Black D o u b l e Face card ending with a regular Red card on top. When about to present the effect you take the packet out apparently face down. Turn it face up and spread the packet face up calling attention to the alternated colors. Holding the packet face up deal the face Black card face up to the table. The Red card is dealt face down onto the Black card but so it is still visible for about half its length. Cont i n u e by dealing each Black card you come to face up and each Red card face down. This should result in a long downward line of vis i b l e Black cards alternated w i t h face down Red cards. A face down Red card is the last card of the row. Scoop up the row and hold it so a face down Red card is top card. Snap your fingers over it. Turn packet face up. ^he same Black card shows as face card, due to using a D o u b l e Face card same on both sides, then spread the packet between both hands showing that the cards are in their "original positions". You can repeat the effect. Since the Red and B l a c k cards do not separate your presentation can be a h u m o r o u s one of h o w you try but fail to separate the colors and apparently ignore that the cards k e e p righting themselves. For a title call it - "Oil and Water Failure". At thi.s time let's go back to some of the irresponsible references of the editor of Pallbearers. The following item appeared in his "Reference Shelf" in regards to - C r i s s -Cross (pg. 816); in P a llbearers R e v i e w for O c t o b e r - 1974 and which I was made aware of in J a n u a r y of 1975. (Note while this issue of Pallbearers is marked 1974-October it did not appear on the scene until January 1975. So if you thought of ,an idea in say November of 1974 on the surface, if a similar idea appeared in Pallbearers, it appears as if you were a month late when in truth you would be actually three months a h e a d . This could mean that someone read your idea in November but by putting it into a back dated P a l l bearers it appears you were second not first.) Sorry for the side tracking but here is the quote from the R e f e rence Shelf. "C r i s s - C r o s s (ng. 816); This Sands effect has been claimed by a number of people, most recently Ed Mario, When the Sands trick was being talked about in the 1950-51 period, Mario apparently found out about it, deduced the method and sent a v a r i a t i o n to Bruce Elliott for publication in The P h o e n i x . Knowing or suspect ing the actual origin of the trick, Elliott did not publish the Mario version". "Lately, when the Mario claim resurfaced, I told G e o r g e Sands about it. His reply in part was as follows: "22 years after my c o n t r i b u t i o n to Ccnii of 'Double Cross', also known as "CrissCross', and 'Unbeatable', as it was published in August 1951, Ed Mario now claims my brainchild. I created this idea in 1 9 4 8 . I babied it. In 1950 I did it for W i l l i a m Larsen, Sr. and Los Magicos, a magic club in California. I put pains taking thought and work into this effect. H o w dare anyone steal it". The p a r a g r a p h quoted above is only a small part of Mr. Sands letter. O t h e r sections deal with some of Mario's past deeds. In a separate c o mmunication George Sands menti o n e d that he once came across a v a guely related principle to that used in 'Criss-Cross' in a H o f f m a n book. It involved suit rotation and the secret removal of 4 cards from the deck to make the deal come out right".

T h e above paragraphs are the v e r b a t i m words from Pallbearers Review. All that remains, before going any further, is to bri e f l y state the effect of Criss-Cross. You show the spectator h o w to intermix R e d and B l a ck cards and then to simply deal them back into two heaps, a card at a time into e a c h heap, until you again have a packet of Red and Black cards. After such procedure is repeated so that everyone understands the idea you snap your fingers and n o w you apparently have made it impossible for h i m to separate the colors even though he follows the identical mixing and dealing procedure. To quote the Pallbearers editor, "nothing magical h a ppens w i t h the cards". I have underlined 1magical * because in "Oil and Water" something magical does happen. At any rate when I read the article in the Reference Shelf I wrote a letter to three addresses just to make sure that George Sands would be at one cf those. Two letters came back marked as left no forwarding address but the third one did not. I can't assume Sands got this letter so it is here reprinted where perhaps someone can give h i m a copy of its contents or perhaps the whole book. H e r e is the letter to G e o r g e Sands dated January 31, 1975. D e a r Mr. Sands R e c e n t l y a friend of mine showed me an article in the O c t o b er-197 4 issue of the "Pallbearers" in w h i c h you were apparently m i s i n form e d by the editor of said magazine and, merely on the basis of his c o nversation with you in turn wrote a letter w h i c h in part accused me of stealing your routine titled "Criss-Cross' or at least trying to claim same. Enclosed you will find a copy of the original letter sent to Bruce Elliott plus the 3rd Phase of what is an O i l and W a t e r effect. You will note that this 3rd Phase u s e s the Cross- O v e r procedure of mixing the cards and that I do not c l a i m the p r o c edure merely an application of same to an effect o b v i o u s l y different from yours. Since you and I have never formally met I am puzzled by the supposed balance of your letter, to the editor of "Pallbearers" to wit, "dealing w i t h Mario's past deed3". However, I do know a friend of yours by name of Al Keene. W e spent some time together in Chicago and later at a Abbott G e t - T o g e t h e r in Colon, Michigan around 1946. At this time I was most pleased w h e n Al told me that a routine of mine "The Magical Gambler" from "Deck Deception" - 1942 - was the inspirational start for your excellent "Super-optical Illusion". Was happy to see you later p u b l i s h it in "Hugards* Magic .Monthly" in v i e w of the fact that someone else was getting the credit that belonged to you. Anyway, am concerned about the accusations in the "Pallbearers", u n f o unded as usual, and w i s h to clear up the record. Please read carefully the attached copy of the letter to Bruce Elliott and the 3rd Phase of the "Oil and Water" routine. If this sets the record straight please inform the editor of "Pallbearers" and have a retraction printed. If though there is some other problem, not stated to date, please let me k n o w by February, 15, 1975. If there isn't a problem please send me a copy of your acknowledgment of the retraction.

W i t h best w ishes for an amaible settling of any differences Ed Mario N o w h e r e is the v e r b a t i m copy of words from the letter originally sent to Bruce Elliott. The reader will take note of the fact that Bill Simon showed me the Cross-Over mixing p r o c e d u r e in 1947 as it was used in a "Follow The Leader" effect by Vernon. The 1947 d a t e p r e c e d es by one year the starting c l a i m of 1948 by George Sands. Also only lately George Sands published or contributed, a C r o s s - O v e r procedure, in connection w i t h "Follow The Leader", to M artin G a r d n e r s column in "Scientific American". F e b r u a r y 19, 1951 Chicago 22, Illinois D e a r Bruce: E n c losed you will find a routine entitled "Oil and Water". I have had this routine for several years and only a few cardicians h a v e ever seen me p e r f o r m it and fewer still have ever been given the secret or complete routine. I remember, at the first Chicago Convention after the war, I did this routine for Bill Simon who at that time was just out of u n i ­ form. I b e lieve he attended the Chicago Convention as a demonstrator for Lou Tannen. As I had met Bill prev i o u s to this, it was only n a t ­ ural that he and I should get together. Up in his room, at the Morrisson Hotel, I did the "Oil and Water Routine" for h i m at the foot of his bed. At that time I did only two phases of the routine. When I had finished, Bill reminded himself of an idea that Dai Vernon had in connec t i on with "Follow The Leader". The opening of this routine w a s similar to the second phase of "Oil and Water"; however, the final effect was still "Follow The Leader". I pointed this out to Bill say­ ing that V e rnon's routine, although it started out along similar lines, had e n t irely a different climax. In Vernon's, the colors followed e a c h o t h e r — in Oil and Water, the colors w e r e seemingly mixed and then separated. Later, still intrigued by the fact that Vern o n ' s routine started out as the second phase of Oil and Water, I hit upon an idea. I n stead of transposing the two face-up packets, I simply pushed the f a ce-up red cards into that were supposed to be the face-down Bla c k cards and vice versa. Thus the third p h a s e of the routine came into being. That same convention year I did the routine for Martin Gardn e r and a small group of magicians in the w e e hours of the morning at the Triangle Restaurant. Stewart Judah and Paul Montgo m e r y of Akron also saw the routine that same year. I I said see, but not show, because among the first ones to ac t ­ ually get the details of the routine was Dai Vernon. That was the year V ernon came out for this fir3t lecture in Chicago. I did the routine for h i m then and he had never seen it before and it puzzled him. I showed him the working details but the next day Vernon, who had o t h e r things on his mind, had forgotten some of it. I then wrote it out for h i m on the back of a Deu t s c h Restaurant place-mat. He also asked me if I had any objections to his showing the routine to

Dr. Daley. As I always desired to get along w i t h Doc, I said I would be'raore than pleased if D a l e y were interested. F r o m this point on I "kept the routine out of print, practica l l y n e v e r doing the effect, simply because I wanted to feel I had given V ernon something the others didn't get. Finally about two years ago, I broke down and also gave the routine to Bert Fenn and Neal Elias. N e e d l e s s to say I am now sending it to you. I hope you will k e e p it to yourself and not let any part of it get into the Phoenix. Hoping we understand each other, I remain C o r d i a l l y yours, Ed Mario IMPORTANT NOTE: I met George Sands in the presence of Dave Solomon prior to his lecture in Chicago on Tuesday, April 6, 1976° I asked George it he received my letter. He acknowledged receipt and made an apology on the spot explaining that he was misinformed by the Eastern sources. He said he would write a formal apology in the near future. Until that time let the record stand corrected.

3RD PHASE (OIL AND WATER) 1) Pick u p the packet of b l a c k cards and hold them face up in the left hand. The packet of red cards is held face up in the right h m d . Turn to your spectator and say, "This time we will try to m i x them by the swirling motion". 2) Deal off a card, face up, from each packet onto the table. The b l a c k card from left hand is dealt off to left of table while the red card from right hand is dealt off to the right. N o w cross the hands and deal off a card of opposite color onto each of two cards. Bring the hands back to original position and again deal off a card f r o m each hand onto the cards below the hands. Again cross the h a n d s and deal off two cards into the opposite packets. Continue doing this until all cards are dealt out. 3) You n o w have two face up packets of mixed colors be f o r e you. Place the packet from the left on the one on the right. Turn the c o m p l e t e packet face down. 4) If you will examine the packet of twenty cards, you will find that for the first ten cards, the colors alternate, but for the next ten, they alternate in reverse. This gives you the same kind of set-up as in the second phase which used the "Displacement Si eight". 5) H o l d i n g packer of twenty cards face down, you are n o w going to show that the colors alternate. This you do in the following m a n n e r . 6 ) Deal a card face up to the left as you say "Red". Deal the next card, face up, to the right as you say "Black". Do this face-up d e a l i n g — first to left-then to right — for the'first eight cards. The remaining twelve cards are dealt, in the same manner, — left and r i g h t — but this time face down in a long row below the face up packet.

7) At this stage you have a situation as in Figure 1. The a u d i e n c e is under the impression that the face down cards below e a c h face up packet are of the same color.

Figure L

8 ) Turn over the first card of each face down row to again accent u a t e that in one row are red cards and in the other are b l a c k cards. 9) S c o o p up the five face up red cards, turn them face down, and m i x them into the face down cards on the right which are supposedly of the o p p osite color but actually are also red cards. Repeat the same p rocess with the same five face-up black cards mixing t h e m into the supposed face-down red cards on the left. 10) Place the two packets together, riffle the cards, spread them faces up and again you have proven that oil and water will not mix. N e e d l e s s to say I did not get any answer to the letter although the present rumors seem to point to the fact that the editor of P a l l b e a r e r s is well aware of all this. Will it be a case of-hit, run and ignore? As of this date it seems to be just that. Since the reader has patiently waded thru all this mire I hope t lie following Oil and W a t e r routine, worked out by D a v i d Solomon and myself will in some measure c o m p e n s a t e finally g e t t i n g to this point. The effect of Red and Black cards intermixing or h o m o g o n i z i n g is strictly mine and o r i g i n a l l y appeared in I B I D E M #8 p u b l ished in 1956 under the title of "Oil and Water Climax". O v e r the years others have published v a r i a t i o n s of the re-mixing c l imax with no mention of the original source and I have never w r i t t e n one word of complaint to the parties in question because I was sure they were well aware the effect was not theirs and they surely were entitled to their own particular variation. "OIL AND WATER" - Mario & Solomon This method was stimulated by wan t i n g to do the original Mario three phase effect with only one extra card like "Wild R o o 4:" in I B I D E M which obviously was inspired by the Mario methods, approa c h and procedures to "Oil and ’ Water" and not by any other unrelated source. 1st PHASE

Same as "Wild Root"

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S u m m a r y - 1st Phase 1) Set up from face to top is £ Red cards, preferably spot cards, £ Black spot cards and a Red spot card. W i t h the packet face up show you have four Red cards and four Black cards holding the last two cards as one. 2) Turn the packet face down. Deal the top four cards, one at a time onto each other, to the table thus reversing their order. The top three cards of this tabled packet are Black and the b o t t o m card is Red. Spectators assume they are all Black. 3) Turn the remaining cards face up. Thumb over the face three rards, holding the last two as one, to show four Red cards. S quare up the cards and turn them face down into left hand dealing position. Right hand picks off the top card of the tabled packet, flashes its Black face, then places it face down to the left of the tabled packet. Onto this the right hand deals t h e top card o f the cards in left hand, without showing its face, onto the card o n the table. Apparently you have placed a Red card but really B l a c k onto the tabled card wh i c h now actually consist of two Black cards. 4) The m ixing process is continued by right hand taking the next card of the tabled packet, flashing its B l a c k face, then dealing it onto the previous two cards. Right hand n o w takes top card of the packet, this time flashing its Red face, then dealing it onto the tabled three cards. Pick up the next card from top of the original tabled packet, flash its B l a c k face, then place it onto the supposed mixed packet. Right hand takes next card from left hand cards, flash its Red face, then deal it face down onto the "mixed packet". The remaining card, of the original packet, is placed onto the "mixed packet" being sure you do not flash its face since it is a Red and not Black card. Right hand takes the remaining two cards, from above by the ends, to show the face of these as apparently o n l y one card, then places it onto the top of the "mixed packet". 5) You will not go wrong w i t h the above mixing process if you just remember to start with the card from the tabled four cards and then go into the alternated mixing w i t h the flashing of the cards faces at the proper places. There are o n l y two places w h e r e you do not show the faces of the cards. The first time is when you take the first card from top of the cards in left hand since this is a B l a c k card not Red as supposed. The other is not showing the last card of the original tabled cards which is Red and not B l a c k as supposed. 6 ) W i t h Steps 5_ and 6 above understood the "mixed packet" actually consists of the top four cards being Red. The remaining five cards, supposedly four, are in B-R- and three Blacks order from top down. Thumb over the top four cards, holding them fanned in right hand, then toss these face up to the table to show they are Red. The remaining cards are turned face up into left hand. Thumb over the face two cards, taking them one under the other with-right hand thumb on face and first and second fingers beneath at lower right corner. On the third card do either a Single Buckle or Block Pushoff as left fingers snap the last card and places it onto the

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face of the cards.

Square up the packet.

2nd Phase - Face Up Mixture 1) W i t h the B l a c k cards just shown still face up in left hand thumb over the face three cards holding the last two as one. The left hand n o w holds a fan of four face up Black cards. You will n o w intermix the cards faces up as follows; The first Red card is inserted under the card(s) at the extreme left of the fan. The Red card remains up-jogged for about half its length. The second Red card is placed between the 4th and 3rd B l a c k cards of the fan. The third Red card is inserted b e ­ tween the 3rd and 2nd B l a c k cards. The last or fourth Red card is inserted between the 2nd and 1st B l a c k cards. C l o s e the e l o n g a t e d fan, p u s h the cards flush and square. 2) The o r d e r of the cards, from face to top, will be B-R-B-R-B-R- B 2 R . N o w during the showing that the cards are in B l a c k - Red m i x ture you will displace the fourth card from the face, a Red card, so it will travel under the spread and end up on top. Begin by t h u mbing over, in a sort of sliding not lifting action the face three cards so that they remain sort of fanned when the left thumb reaches the fourth or Red card it thumbs it over to the right. At same time right hand moves its fan of 3 cards to the left and over the Red card w h i c h is momentarily held in place by left fingers f r o m beneath. The left thumb also at once falls across the face of the 2nd and 3rd cards from the face of packet in order to k e e p these in p l a c e as left fingertips push the Red card further under the face three cards. Without any stall b o t h hands n o w separate from e a c h other until you feel the stepped condition, of the Red card, c l i c k off of the right side of the packet. Still without any pause in the rhythm of the spreading of the cards the next three cards are thumbed over to show an alternated color condition. D u r i n g this the Red card is n o w riding under the spread so that w h e n the packet is again squared up this Red card will automatically go to the top of the packet; however, be sure to first continue showing the rest of the mixture. 3) Turn the packet face down into left hand dealing position. The o r d e r of cards, from top down, is now _3 Reds - B-R- 2 Blacks - R-B. Y o u will n o w show the top four cards as Red using the Mario C o v e r e d S econd Deal as follows: Thumb over the top three cards, one at a time, one under each other taking them at upper right c orner b e tween thumb on top 1st finger on top edge w i t h 2nd - 3rd 4th fingers beneath. The right 2nd fingertip moves in a sort of taking action as each card is thumbed over. In thumbing over the 4th card the left thumb really pushes over two cards as close together as possible. The three cards from right hand will cover the left thumb and the thumbed over cards. Under cover of these cards the right 2nd fingertip contacts and quickly pulls the second card to the right as left thumb pulls b a c k the top card. To c o m p l e t e the Second Deal the hands move apart in the normal action of apparently taking each card under the other. The Second D e a l is c o m pletely covered by those cards above it and held by right hand. The right hand can n o w turn its cards face up to the table and spread them to show four Red cards. Raise the left hand so faces of the cards are towards spectator. Thumb over the top three cards, towards right hand, holding the last two as one. The fan of

four cards is firmly grasped at the lower ends with thumb on top fingers at face. Right hand thus displays Four Black Cards. 3rd Phase - Mixture Phase 1) S q u a r e up the Black cards and hold them faces down in left hand dealing position. The four tabled Red cards are picked up b y right hand and very openly placed onto top of the cards in left hand. T u ring the patter line of, "Remember - the Red cards are on top of the Black ones", you will run the 4th and 5th cards, a Red and Black card, together under the spread and to the bottom as the packet is re-squared. The technique for this is similar to that described in Step 2 of the Second Phase except here it is done with the cards faces down and two cards will be displaced to under the spread. Biiefly - you thumb over the top three cards keeping them fanned slightly by right hand. The 4t.h card is p u shed under these three cards as is the 5th card. The left, thumb will twice contact the top of the third card from top in order t.o k e e p the upper three cards in place as the left 2nd- 3rd- 4th finger tips push the 4th then the 5th card under the top three cards. Both hands separate slightly until you feel that the stepped condition of the under two cards c l i c k past the right side of the 6 th card and thus all succeeding cards that are thumbed over will go above the 4th and 5th cards riding beneath. Do not. attempt to hold the last two cards as one. Instead cleanly thumb down to the last card. No one will notice the number of cards. Square up the packet as the 4th and 5th cards automatically go to the bottom. 2) The packet is turned face up into left hand dealing position. The order of the cards, at this stage, from face to back or top is B - R - B - F - 2 B - 3 R . You are about to show that, the cards have m a g i c a l l y remixed themselves. Squeez packet for effect. Deal the first four cards one at a time, fairly and face up to the table. As you deal the 5th card, a Black one, tilt the left hand upwards slightly to kill the next Black card. The deal is made by taking each card, w ith right thumb and fingers, by its lower right corner O n the 6 th card you actually do an easy Bottom Deal as the left 2nd - 3rd - 4th fingers press against bo t t o m card w h i c h buckles it slightly and loosens it enough for the right 1st and 2nd fingers to move it cut as right thumb follows by falling onto the face of this R card. At same time left hand moves downwards so that spectators can again see the face of these cards. F o l l o w by dealing the next Black card onto the tabled cards w h i c h are in a downward overlapping row. The last two cards are held as one Red card. Riqht hand uses this card to scoop up the row of cards bringing two Red cards on top. 3) Place the packet face up into left hand. The right hand grasps the packet from above by the ends. The left fingers can either Buckle the b o t t o m card or do a Full Town in order to get a break above this lower most Red card. Right hand holds onto the car^s as left hand (thumb) oeels off the face card and also secretly tales the lowermost card with it. Drop the cards from right hand onto the c.ard(s) in left hand. Right hand now takes the

carets, straddling the slf'es at upper end between light. 1st and 4 1h fingers, then fnna them out to clearly show that all cards do alternate in color. No one will notice the extra card since they are m i s d i rected by the Red - Black situation of the cards. M l that remains is to close up the fan and deposit it onto the top of d e c k . In the event someone asks to again see the cards m e r e l y deal off only the top eight cards one at a time to the table faces down, reversing their order. The spectator can now examine to his satisfaction. S i nc e all the injected required details m a y give the reader that the above routine is long or involved the very brief outline will be given just to point out that it you are familiar w i t h the required sleights only, to quote G r e a t e r Magic, the bare b o n e s are necessary. 1st Phase 1) Set-up. From face to top, Four Red cards - Four Black cards O n e Red card. S h o w as Red and Black h o l d i n g last two as one. 2) Count

top £ Black cards to 1 able reversing their order.

3) S h o w four Red cards face up holding last two as one. 4) Mix cards by alternating Bl ack then Red and so on as you flash faces cf cards at proper times. Packet placed face down into left hand. 5) Thumb over top £ cards.

Turn them over to show £ Reds.

6 ) Packet in left hand is turned face up. S h o w as £ Black cards v i a S ingle Buckle or Pushoff placing last B l a c k card to face. 2nd Phase - Face Up Mixture 1) Hold B lack cards face up ho lding last two as one. 2) Insert Red cards between Black cards; last Red card becoming top card when packet is turned face down. From top down the order will he 2R-B-R-B-R-U-R-B. 3) SViow cards from face showing B-R-B-R on the 4th count or the Red card, do the under the spread move to displace Red card to top. C o n t i n u e spreading the cards to show all cards alternated except h o l d 1-nst two as one. 4) Turn packet face down. Thumb over top three cards; thumb over next two cants to enable you to do Mario Cov e r e d Second Deal. S h o w the four cards all Red. 5) R e m a i n i n g cards in left hand are held faces to spectator backs towards yourself. Thumb over three cards holding last two as one to show four Black cards.

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3rd Phase - Mixture Phase 1) Pick up tabled Red cards placing them onto the face down Black cards in left hand. 2) Remind spectators that Red cards are on top of the Black cards as you thumb over three cards doing the under the spread moves w i t h the 4th and 5th cards w h i c h will go to the bo t t o m of the packet as you square it up. (See "Additional Comments") 3) Turn packet face up. Deal cards face up. Deal B-R-B-R-BB o t t o m D e a l a Red card-B-then last two cards, held as one Red card, is used to scoop up the tabled cards. 4) P i c k up the packet placing it squared and face up in left hand. K a r d y r o - B i d dle Move the top and bottom cards placing these to under the face up packet. At o n c e do a one hand fan spread of the packet to show all cards alternated. Place faces down on top of deck; deal off top eight cards, reversing order, if it becomes n e c e s s a r y per spectators request to see the cards. ADDITIONAL COMMENTS 1) In Phase Three at Step .1 you have run two cards under the spread to the b o t t om of the deck. This of course changes t h e face of the B l a c k card that was originally on the bottom. No one has ever noticed this; however, for those that may feel guilt at this point then the 4th and 5th cards should only be displaced so that the 5th card simply goes above the 4th card. 2) This displacement is done as per the following instructions. W h e n you reach the 4th card it is pushed under the top spread three cards. This card is now stepped to the right. The 5th card is p u shed over. Both hands separate until you feel the right lower corner of the 5th card click off of the stepped 4th card. The left side of the 3rd card is covering the right side of the 5th card thus the loading of this 5th card above the 4th card is amply concealed. All that remains is to keep spreading the cards all the way to the last card. When the packet is squared up only the 4th and 5th cards have been interchanged while the original face Black card remains the same. 3) The o r d e r of the cards, from face to top, is now in B-R-2B-RB-3R order. This time, as you deal the cards faces up to the table, you must do the "Inward Bottom Deal" on the 4th count in o r d e r to deal a Red card. From here the deal is continued normally, holding the last two Red cards as one, then using last Red card(s) to scoop up the tabled cards. Conclude as already detailed to show all cards alternated.

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4) In the 2nd Phase or Face Up Mixture at Step 2 and 3^ you use one displacement of the 4th card from the face of packet to the top then later a Covered Second Deal in order to show the top four cards as Red. For those who may not care for the use of the Second Deal then the following "Double Displacement" made in one run through may be used. The packet is face down w i t h the cards in order, from top down, of 2 R - B - R - B - R - B - R - B . Thumb over the top two cards keeping thrm well spread by right hand wh i c h holds right side of the cards w i t h thumb pressing on top and fingers beneath. The third card, a Black one, is pushed way under the two spread cards creating the stepped condition required. As the hands separate slightly and you feel the fourth cards right side click off of the stepped 3rd card you at once thumb over the 4th card so it goes above the 3rd card. N o w the 5th card, another Black card, is p ushed under the spread to join onto the face of the B l a c k card already under the spread. Thus you have two B l a c k cards together under the spread. The hands separate so that 6th card, the needed Red card, clicks off of the stepped condition of the two B l a c k cards under the spread. The 6th card n o w goes above the two B l a c k cards under the spread but the next 3 c a r d s , that are thumbed over, go below those cards in right hand and also b e l o w the two B l a c k cards that are under the spread. The face B l a c k card will remain the same since o n l y the 3rd- 4th- 5th and 6 th cards w ere interchanged during the under spread displacement. You can n o w take off the top four cards cleanly since they are all Red. The B lack cards are handled as already previo u s l y described by holding cards w i t h faces towards spectators, thumbing over o n l y three and holding last two as one. 5) Using the original approach of mine to "Oil and Water" you can m a k e use of the eight intermixed cards that you deal off of top of deck at the conclusion of the 3rd Phase or "Mixture Phase". For a title call it the "Anti-Climax Cleanup". Assume you have dealt off the top 8 cards, from top cf deck, one at a time faces down to the table. Pick up the packet and place it face up into left hand. You now show that the cards really alternate. Du r i n g this spreading of the cards between both hands do an under the spread displacement of the 5th card from the face, a Red card in this case, to the top of the packet. Read carefully. R e m e m b e r that the spectator, during your spreading of the cards, have seen the last or top card as a Black card. The face card is of course Red. Turn the packet faces down. Deal the top card face down to t h e table calling it B l a c k . Deal the next card face down to the right of the first tabled card calling it R e d . Repeat with the next two cards as you deal one card at a time onto each of the tabled cards at same time calling, "Black-Red". N o w still calling, "Black", deal the next card face up b e l o w what are supposedly the B l a c k cards. The next card, a Red one, is dealt face up beneath the two face down supposed Red cards. Complete this deal w i t h the remaining two cards. To all appearances the face up cards m a r k off the same color face down cards. Actually the cards above the face up Red cards are Black while those above the B l a c k cards are Red. P ick up the face up Black cards. Turn them face down as you weave and intermix t h e m with the supposed face down Red cards. A c t u a l l y you are mixing Black cards into Black cards. Repeat this p r o c e s s of weave mixing w i t h the face up Red cards into the supposed

B l a c k cards. Place one packet onto the other. Thumb over top four cards and show they are of one color. S h o w the remaining four to be the other color. 6 ) Some may prefer the following procedure for the Anti-Climax. At least this is my preference. After showing the faces of the alternated cards and displacing the 5th card to the top turn the packet faces down into left hand. N o w count the cards, one at a time, into the right thus reversing their order. Your patter excuse is simply, "Don't forget we have o n e - t w o - e t c . , cards", ending on the words, "Eight cards". Now deal the cards face up as you deal a Red card then a Black and so on until you have two face up Red cards and two face up B l a c k cards. The remaining four cards are dealt face down beneath each proper indicator as you continue saying, "Red-Black". From this point w e a v e the face up Red cards face down into what are supposedly the Black cards and the face up Black cards weaved face down into what seemingly are t h e face down Red cards. Put one packet onto the other. Squeeze for effect. Deal off top four cards to show as one color and the remainig four as the other color. It is hoped that my Cardician type research has been informative and that the "Oil and Water" routines o f f e r more than just the effect as far as the application of the moves to other effects is concerned. W h i l e it is possible to use the Buckles or the M.S. Move to displace cards as well the Vernon 4th finger separation technique experience has shown these moves or techniques to be vulnerable, from certain angles, under strict close-up conditions. The sliding stepping t e c h ­ nique has been found the best for these displacements.

THE SYNCHRONIZED CLOCK EFFECT: From a borrowed shuffled deck the performer forms a face down clock dial. The spectator counts to an hour, determined by an unknown quantity of cards previously pocketed by him, while the performer has his back turned. The card having been noted, remembered and replaced back into its clock position the performer then turns around. After some concentration the performer tells what card the spectator has on his mind. For a further clincher it also is the only card whose value corresponds with the hour thought of as the others are turned face up to show they do not match with their position in the clock. In the event that two or more cards do correspond in value to their position in the clock conclusive proof, that only the spectator's selection was considered, is given by turning a face down card, which is in the center of the clock, face up to show its value corresponds to the value of the chosen card. If desired a written prediction worded as follows:, "Your card will synchronize with the hour you thought of", can be used. In this case the written pre­ diction is tabled. The sequence of disclosure then would be first to name the spectator's card. Next the written prediction would be opened and further explanation given of its meaning. The spectator is now asked to name the hour he counted to. The card at this hour is turned face up, starting at one o'clock to point out that none of the others match the hour they occupy; however, in the event that there are some matches, which could lead the observer to think of alternative or ambigious conclusions, the face down card in the center of the clock is turned face up to prove this is not the case. The above then is basically the presentational plot and now for the method which will be described as with a written prediction although you can dis­ pense with it. You can carry the prediction already written. 1) On getting the borrowed deck quickly crimp the bottom card of the deck. Any method that will crimp the lower right corner of the,, bottom card is pre­ ferred. At once go into an Overhand Shuffle running off £ cards then throw the deck onto them. Now run off 6 cards and throw the deck onto them for a total of 12 cards below the crimp. 2) With right hand undercut the deck a few cards above the crimp. This will give you the larger portion held by left hand. Do a Straddle Faro of the smaller portion into the larger portion. As you telescope the cards into each other the right hand lifts up, very slightly, on its end of the cards thus enabling the left hth fingertip to move in and obtain a break, at the right side near lower right corner of the larger portion, below those cards of the smaller portion. This break is maintained as the right hand comes over the still elongated cards to push the portions flush. Undercut those cards below the break to the top. The crimped card is now 26th from the top. 3) Table the deck for the present as you hand the spectator the folded up prediction telling him to pocket same for the time being. Next tell him to cut off a portion of cards from the top of the deck. This can be a sizeable cut of about twenty cards or more as long as it doesn't include your crimped card. The spectator is instructed to shuffle his packet. When he has done that tell him that since you willbe dealing with a time of day that he is to remove or count off 12 cards from those he now has.The remainder he is instructed to shuffle before he returns them to the top of the deck. Next he can shuffle the JL2 cards he counted off after which he holds this packet squared up in his hands. You now turn your back and instruct him to cut off a packet of cards, from the 12 cards he is holding, so that he himself will not know how many cards he cut off. These he places in his pocket and the remaining are placed onto the top of the deck. You now turn around to face the spectator again.

*0 At this point you have to find out how many cards the spectator has pocketed. You can use the procedure, with a Faro Shuffle, as in "Mathematical Mario" in "The Unexpected Card Book"; however, I prefer the following which throws off the Faronatics. Without looking at the deck pick it up and position it for an Overhand Shuffle. You can safely run off 14 cards in two runs of £ or ten cards and then four cards. Now glance at the top side of the deck at the sane time running off and counting the cards, including the crimped card, to get a total. Assume that your total run of cards is 18. Deduct this total from 26 to give you a result of 8 or the number of cards the spectator has in his pocket. let's keep 8 as the example in this case. 5) The next thing is to keep Overhand Shuffling until you spot any card with the required value, or in this instance any 8 spot cards on the bottom of the deck. In the event that you may have trouble getting the required value card to the bottom then the following method is suggested: Turn the deck with faces towards yourself. Spread the deck between both hands as you say, "Be­ fore we start I want to remove one card". Here you quickly thumb over the faces of the cards and up-jog the very first card of the required value that you come to. In this case you would up-jog the first 8 spot card you come to. Continue thumbing through the deck until you reach the next 8 spot card. At this point you have several alternatives. One is to thumb over and count eight cards, including this 8 spot, before splitting the cards at that point. Two - you can thumb over only half of the required value, in this case four cards including the 8 spot so it becomes the top card of the right hand portion of cards, liy personal preference is to split directly at the value card if the value is a low one such as from one to five inclusive. For values 6 to 12 inclusive I thumb over half the value then split the cards at that point. 6) Assume you have thumbed over four cards, which includes the 8 spot, then separated the deck at that point. The left hand, which holds its section of cards, removes the up-jcgg8d 8 spot to toss it face down to the table. In reassembling th3 halves the right hand casually places its cards to under those in left hand. The 3 spot value card is fourth from the top now. Remember this card. 7) Table tho deck and give it a couple of Riffle Shuffles adding cards each time to bring your value spot card at the same number from the top of the deck. In this example you would add say two cards, onto the 8 soot, during each shuffle to bring the 8 spot at eight position from the top of the deck. These shuffles offset any suspicion that may have been aroused when you looked over the faces of the cards to remove the first 8 spot which is now face down on the table. 8) From the top of the deck deal out 12 face down cards, in the form of a clock dial, starting at one o'clock ana on around to 12. The card at 12 o'clock can be positioned sort of lengthwise distinguishing it from the others in order that the spectator will know from which point to start his count around the clock. The value card originally placod face down is in the center of the clock dial. Explain to the spectator that whatever the number of cards he has in his pocket, which you point out that as yet he himself does not know for sure this number, he is to count, from one o'clock, to whatever the number of his cards total. As a further illustrative point you say, "For example _ suppose you have four cards. You would then start your count at one o'clock and count the fourth card or four o'clock on the dial.". During

this with the right hand you illustrate the count to the fourth card but do not look at it; however, you add, "Then you would look at the card at your hour and keep it in your mind. Also make sure you place it back so it is in the same position. I will turn around while you count your cards." 9) With your back turned the spectator is again instructed to remove the cards from his pocket, count them then place them into the center of the deck. He is told to count to the hour indicated by the number of cards he had and to look at and remember that card at his chosen hour then to replace it face down back into its original position. Not until he has completed all the above actions do you again turn to face the spectator. At this point the work on your part is all done the rest is presentation and buildup on your part. 10) Begin by telling him to concentrate on his card. Reveal its name in your best showmanlike manner. Remind him of the paper you handed him. Have him read it first. Now explain what the statement means - that only his card will synchronize with the hour he thought of. Ask him what hour he thought of just as if you didn't know. Count to that hour and turn that card face up again pointing out, in this example, that the card he thought of was an eight and occupies the eight hour on the clock dial. Starting at one o'clock turn each card face up as you repeat each hour and point out that the values of these cards do not correspond with their hour. For the climax call attention to the single face down card in the center of the clock dial emphasizing the fact that this card was placed there before starting the effect. Turn it face up to show it also matches the chosen hour. 11) In the event that you do come across two or three cards whose values also coincide with their hours then your patter is as follows: "You can see that there were some cards that also corresponded with the hour but you did not think of these; however, you may still assume that perhaps I had several choices or that some ambigious process is at work. I assure this is not the case. So sure I was of your choice of hour that before we even started you remember I placed this card face down to the table." Turn the card face up to disclose this card as of the same value as the hour thought of and con­ clude with the line, "As you can see it is the same as the hour you thought of". 12) The basic effect was discussed in "The Unexpected Card Book", but was a sometime thing. Dave Solomon worked out a hundred percent method using a set-up. The no-set up impromptu method is one that I worked out. SYNCHRONIZED CLOCK SET UP VERSION - Dave Solomon This method was stimulated by the Mario "Another Clock Effect" in The Unexpected Card Book page 123. The basis of this variation is to always have a synchronized climax. Set u p : A consecutive run of cards from Ace to Queen; suite does not matter although you must know which Ace the run starts with. Place these twelve cards on the bottom of the deck, Queen being the bottom card assume the AS starts the run. Method: l) Write a prediction beforo the effect begins. synchronized clock.

State that this will be a

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2) Have the spectator cut the deck in half. Give him the top half to shuffle as you demonstrate the shuffle with your half runing a total of cards onto your stock. 3) Have him decide on an hour and keep that number of cards in his lap. is then to return the rest of the cards onto the deck.

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h) Pick up the assembled dock, locate the A3 in the center and do a faro out shuffle starting at the bottom of the deck. Use the Mario procedure of glimping the card above the Ad although maintain No break. This should confuse those that know the Mario method. 5) The card you glimpsed will tell you the hour and the exact card as well as be in the synchronized position. Another fooling touch is to allow the spectator to lay out the clock. Start with "One o'clock" ending with twelve. Continue your procedure by taking the rest of the deck and making a prediction as Mario does in his impromptu version or better yet after the spectator has noted the earth On the card commence to tell him the exact card, the hour and have him read the prediction of exact synchronization. 6) Because of the faro shuffle, you can now show the cards after the selected cards are not synchronized. They will be one card off because of the weave. You can only continue to demonstrate that none of the others are synchronized up to twelve o ’ clock since the AS will be in cne o'clock. Don't press this point; they will not want to look any further.

THE r->IANO DUET Effect: This is the classic effect where you piece a pair of cards between the fingers of each hand except for one card w h i c h iss placed between the thumb and first finger of one hand. The pairs, from between the fingers of eacn, are now split to make two packets of cards. The one card, from between the first finger and thumb, is n o w placed onto the packet chos_n by the spectator. This card now is caused to vanish from this chosen packet and appear in the other. The above effect in reality is an apparent transposition of a card since nothing really happens and tne whole effect is based on subtle delivery of a repetitious line, "Two cards - an even number". This line is delivered as each pair of cards is faced and placed between the fingers. Wnen you have tilled all the finger spaces, of both hands, except that between the thumb and first finger of one hand, the one card is referred to as, "And one card an odd card".

This card is then placed between the thumb and 1st finger of the hand that does not have any card. A total of fifteen cards have been placed between the fingers w h i c h basically makes your state­ ment of even cards and one odd card correct. Now you split each pair, t u rning them face down into two separate heaps. Each time you remove the pair of cards from between the fingers and split the pair you repeat the line, !'Two cards an even number", then deal the cards face down one onto each packet. On completion of splitting the pairs the last singel card is removed and you say, "One card an odd number". W i t h the card gest u r e towards each packet as you say, "Both these packets are even - onto which packet do you want me to place the odd card". The spectator has an absolutely free choice of the packet. The odd card, is then placed on top of the chosen packet as you say, "The packet with the odd card - place your hand on this even packet". The supposed even packet". The supposed even packet is shoved t o ­ wards the spectator for him to place his hand onto these cards. State that you will invisibly remove the odd card from your packet and toss it to under his hand. Go through the motions of invisibly removing a card from your packet and tossing it towards the spectators cards. Use the top card of your packet and use it to scoop up your cards. Thumb over a pair of cards as you again say, "Two cards an even number". Toss these face down onto the top of the deck. Repeat the same procedure w i t h the remaining pairs; however, on the last pair take a card in e a c h hand and sort of snap one card against and past each other as if to emphasize the singleness of this last pair. The real purpose is to place the 1 b o t t o m card of this pair to the top and then place the cards onto the top of the deck. Conclude your patter by saying, "Two cards an even n umber - the odd card is g o n e " . H a v e the spectator lift up his hand and pick up the packet. Thumb over a pair of cards as you repeat, "Two cards an even number", then drop these face down to your right. Repeat with the remaining pairs till you reach the last card when you snap it and conclude with, "And here is the odd c a r d ". At this point the reader may wonder what is so different in the above from the basic classical effect. There isn't any except for a couple of subtle touches, to now be described, that has fooled some of the not so dull card men in the country. (Including the suburbs and the cities.) Just keep in mind the classical procedure that has just been described since what follows stays along these lines and in face success with my methods depends on this. 1) The title is used to denote that the Paino effect will be done twice. The repeat is for those who may not be quite sure that the card they noted actually did appear in the packet held under their h a n d .2 2) You will need three duplicate cards in the deck.you use. Assume you decide to use a Ten of Spades. From another two decks or the same brand Pinochle deck get two additional Tens of Spades. Set the deck with two IQS cards on top and one IQS at _1_5 from the top.

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C r im p the b o t t o m cnrr1 of the deck. Place the cards in the card case in readiness for the performance. 3) Personally have always managed to get the spectators interested in seeing the effect, even before the deck is out in view, by asking if they hannen to know (here naming some popular pianist of the day) favorite effect. Mention is then made that it is the "Piano Trick" and asking if they would like to see it. Since there aren't any cards in view they are curious, even magicians, as to what this could be. 4) When you remove the cards say, "I haven't got a piano but these will give you a good idea of what takes place". Remove the cards from the card case. Position the deck for an Overh a n d Shuffle. Undercut half of the deck, not interferring with the top JJ> card arrangement then with the left fingers and thumb pull off the top and bottom cards, of those undercut by the right hand, onto those in the left hand then shuffle off the rest. These actions place the crimped card above the JJ5 card set that contains the three IQS arrangement and gives you more than the required _15, cards, on the top of the deck, for the first portion of this "Piano r-uet". (The card case is back in pocket.) 5) Tell the spectator that since this is a piano trick he is to place his both hands palrn down on the table with the fingers and thumb spread apart, "Just as if playing a piano", you add. *.t this stage you refer to each pair of cards as 'keys of a piano'; therefore, as your hands pick a pair of cards off of the top of the deck and then face them you say "Two Keys - an even number". Place these two cards between the 3rd and 4th fingers of the spectators hand, that is nearest to you, then placing each additional pair between the next fingers as you w o r k towards the 1st finger and thumb. Repeat this process with the next three pairs leaving the 1st finger and thumb of this hand free for spectator to clip the odd card just as he clipped each pair. The pairs incidentally are resting on their long bottom edges or clipped lengthwise with the short ends towards the webs of each pair of fingers. 6) Now the important ooint is the odd card. This must be casually flashed so that chere is a good chance the spectator will re­ member this card but do not call any special attention to its name. Now, in accordance with the classic presentation, remove each pair of cards, from between the spectators fingers, to split them and place them into two separate heaps as you keep repeating the phrase, "Two keys (or cards) an even number". 7 7) When all pairs have thus been split take the odd card, casually almost inadvertently flash its face again, then ask the spectator onto which packet you should place the odd key (or c a r d ) . The choice having been made you give the spectator the o t h e r or supposed even number heap of cards onto w h i c h he places his hand.

8 ) Go t h r o u q h the actions of removing the 088 card invisibly and place it on the table. Use the top card, the original odd flashed card, to scoop up the tabled packet. Thumb over each oair of cards and toss them onto the top of the deck as again you repeat the p h rase of, "Two cards (or keys) an even number". When you get to the last oair snao each card, as previously suggested, past each o t h e r as if to show their sinqleness and end up with the original flashed odd card on top of the deck.

9) The deck should be tabled off on your left. Now pick uo the invisible tabled card and seem to toss it towards the spectators hand. H a v e the spectator lift his hand off the nacket. You take it and thumb over a pair of cards to toss them face down to the table in front of yourself and slightly to the right of the tabled deck. (Personally I deal the oairs rather forward on the table and awav from the deck.) Again the line, "'Two cards (or keys) an even number", is delivered until you come to the last card. This card is held face down so its face will not be seen. You can flick it or snap it as you conclude with, "And one card - the odd card", then toss it face down onto the tabled packet. 10) At this point any informed magician will be looking rather q u e s t i o n i n g l y at you as much as to say, "He's got to be kidding w i t h that old hairy stunt". The layman will be puzzled as well as amused. In either case you will have plenty of misdirection to casually do a Flat Table Palm of the top card, into the right hand. The right hand reaches for the tabled packet, adding the palmed card, but do not pick up this packet. Simply move it towards y o u r ­ self. T u r i n g these actions look at your audience or assisting spectator as you ask him if he remembers the name of the odd card. By this time your right hand is away from the tabled packet with the flashed odd card on top. If the spectator remembers the card you show h i m the top card of the packet as the one he noted as being o r i g i n a l l y in the other packet. If he does not remember or isn’ t sure you name the card saying, "It was the (here name the card) then turn it face up to show same. Since in this case the spectator wasn't q u i t e sure you say, "I will do it again since there seems to be some doubt in your mind". Return the tabled cards onto the top of the deck. Here you do the THE R E PEAT 12 1) Do not include in any shuffling of the deck. Instead simply cut the deck at the crimp and complete the cut. Your two IQS are now on top and the 3rd IQS is 15th from the top. To the audience it appears as if you cut the deck to use some other cards for repeating the effect. 2) The two \OS are on top of the deck. Pick up the top two cards taking one in each hand face down. You must face these two cards without flashing the face of either one to the spectator. The simplest way to do this is to hold each card at their respective left and right sides. The left hand, thumb on top and the fingers beneath, holds the left side of its card while the right hand, fingers and thumb in a similar position, holds the right side of its card.

3) The right hand, w i t h card still face down, moves its card directly below the card in left hand but separated, from each other, by about two inches. The right hand revolves its card face up to directly under the face down card. This revolving action is done by the right 1st and 2nd fingertips clipping the right side of the card. The right thumb moves under the card to start turning it face towards yourself; however, since this card is directly in line with the card in left hand you will not see its face and neither will the spectators. 4) O n c e the two IQS cards are face to face make sure they are in line as you place them between the 4th and 3rd fingers of the spectators nearest hand to you. Continue by removing another two cards, from the top of the deck, facing them, placing them between the next two fingers as you always deliver the same line of, "Two cards (or keys) an even number". 5) W h e n you have thus paired fourteen cards, which the spectator is clipping between the fingers of both hands, the fifteenth card is picked off of the top of the deck as you very obviously show it but say only "One card - an odd card". Since you are repeating the effect you can rest assured that this time they will take note of and remember the Ten of Spades.is the odd card without you having to name it. This card is placed between the first finger and thumb of the spectators hand that does not have any card and is furthest away from you. 6 ) Take the pair of faced IQS cards from between the spectators 4th and 3rd fingers. Again you want to make sure that you do not flash either IPS at this point. Hold these cards r e spectively at the uoper left corner, w i t h left thumb on top and fingers beneath, and at the lower right corner w i t h right thumb on top and fingers beneath. Begin by pushing over, with the left thumb, the upper card to the right. The card is moved straight out to the right only about an eight of an inch and is helped along by the left fingers at the same time pulling the lower card to the left. The position of each thumb, at their corners, prevents any indexes from showing. Once this action is started both hands are assured of a firm g r i p on their respective cards. The right hand merely deals its card face down to the right but the left hand must quickly turn its card face down, almost while it is still covered by the card above it, to the table on your left. A few trials- with this action and you will quickly get the idea. The lower card turns in­ ward and face down which also helps from any flashing of the face of the card. 7) Repeat the splitting of each of the other pairs of cards, into two packets, as you keep repeating the lines, "Two cards (or keys) an even number". When the fourteen cards have been split into two packets each will contain seven cards, an odd number of cards, w i t h IPS on the bottom of each packet. Take the last or so called odd card, the third IPS, as you again casually flash it and say, "Both these packets are even - onto which packet do you want me to place this odd card". The choice is a free one. Place the IPS onto the top of whichever packet the spectator chooses.

8) The packet w i t h the odd card remains in front of you. The o t h e r so called still even packet is placed under the spectators hand. Again go through the presentation of removing the odd card from your packet invisibly to place it to the table. Pick up the top card of your packet and use it to scoop up your packet. Deal over two cards, taking them into right hand, as you say, "Two cards - an even number", then drop them onto the top of the deck. Repeat this same procedure and patter line for the rest of the packet. This will result w i t h the extra two IQS on top of the deck. Conclude with the line, "The odd card is gone". 9) Pick up the tabled 'invisible' card to toss it towards the spectators hand. Take the packet from the spectator. Again t h u m b over two cards each time as you say, "Two cards - an even number", then right hand tosses these face down to the table. R epeat w i t h the remaining pairs until you have a single card left. H e r e do not show the face of this card but simply say, "And one card - the odd card that travelled over". D r o p this card face down onto the top of the spectators tabled packet o r forward by itself. 10) C a s u a l l y p i c k up the deck, w i t h left hand, into a left hand d e aling position. You look at the spectator and ask if he r e m e mbers the name of the odd card. He will this time. Lean b a c k in your chair, casually letting the left hand, w i t h the deck, drop into your lap, as at the same time the right hand gestu r e s towards the tabled packet requesting the spectator to look at the top odd card. During this time the left thumb q u i c k l y thumbs off the two I Q S , from the top of the deck, into the lap. 11) By the time the spectator turns the tabled IPS face up your left hand, under his andthespec ta to r 's su rp r ise, casually comes up w i t h the deck. At the same time you lean forward again as if to see for yourself if the odd card, the I P S , did travel over. The right hand scoops or picks up the other tabled cards to place t h e m on top of the deck then the deck is tabled. All is left for any e xamination the spectator may wish to give the deck. 12) The card case, which has been p r e v iously placed into the left o u t s i d e coat pocket, gives you the required actions for the d i s p osing of the duplicate IPS cards from the lap. The left hand travels to the left out s i d e coat pocket, dumps the d u p l i c a t e IPS cards and removes the card case. All this is done while some commentary is still being made in regards to the "Piano Duet" just witnessed. 13) W h i l e I feel the Flat T?>ble Palm is best for all around conditions, when doing the first phase of "Piano Duet" some m a y prefer to pick up the tabled deck and use other forms of the p a l m such as the "Clip Palm" or those I suggested in "Expert Card Conjuring", for the approach to the "Stop" effect.

14) The Piano Trick has been one of my favorite effects ever since I started with the original classic method and it recalls an incident in which only once did the spectator challenge the "even cards" subtlety. In other words he contended, more or less that the other cards were also odd in number; however, I bluffed him out by saying, "No - I use an even number of cards - look". H e r a I q u ickly paired up the cards, placing them between his fingers, at the same time c o u n t i n g , "Two - Four - S i x - Eight Ten - Twelve - Fourteen - an even number". Took one card and said "Fifteen - the odd number". I then merely removed the cards from between his fingers and replaced all fifteen cards on top of the d e c k to conclude with, "You see?". The spectator was convinced. THE PELLET CLASSIC There are many versions of the Pellet effect as regards predictions. The following is different from any existing Pellet effect. The requirements are a deck of cards, a pen or pencil, some paper and some kind of a recepticle that can be a glass, cup or even a clean ashtray. All items can be borrowed and makes for a strictly impromptu mystery. This item has been in my repertoire since 1949 and has never been done for any magicians group; however, I did per f o r m it for D a v e Bendix and Earle Christenbury several years ago. The fact that it was not explained is not why Dave Bendix remembered it all these years but rather because it was effective. There aren't any new princi p l e s involved but the absolute freedom and lack of apparent trickery makes this an effect that will be remembered. Effect - As it appears to the a u d i e n c e . , A spectator is requested to name any number. He is then given the deck to thoroughly shuffle. Meantime the performer tears off, from a piece of paper, three squares which are placed on the table. The spectator having finished the shuffling of the deck, it is taken by the performer to be ribbon spread face down on the table. Three cards are removed from the i spread. The performer hands the spectator a pen or pencil. He is then instructed to look at the first card then to write its name on one of the three slips. The performers back is turned during this time. When the spectator is finished his writing he is told to crumple up the paper into a ball and place it onto the card that bears this name. He repeats this with the other two cards and papers. When the performer turns around he does not touch the papers or pellets. He gently lifts up the card, on which rests the pellet, then dumps the pellet into a glass or cup or even a clean ashtray. The card is now buried into the deck. The process is repeated with the other two pellets and cards. It also is made quite obvious that each of the three cards go into different parts of the deck so that many cards are between them. The spectator now shakes the glass and rolls out the three pellets. He chooses any one of them. Next the number previously named is recalled. The spectator takes the deck and deals that number of cards face down to the table. The card at. the number is placed aside still face down. The spectator opens his pellet to read the name of the card that is written there. When the tabled card is turned

face up it is found to be that card. If any astute spectator- wishes to check the deck and the counted off packet he will find that the other two cards, whatever they may have been since the performer doesn't know any of the three cards to begin with, are nowhere near but actually in separate portions of the deck. 1) The effect is basically an impromptu one that can be done w i t h a borrowed deck. The other requisites such as pen or pencil, paper, cup, e t c . , are also easily available practically any place you may perform. If you are doing a paid performance then obviously you will have on hand all that you require including your own regular deck of cards. 2) The paper, w h i c h is torn into three more or less square pieces, of about two and a half inches approximately, should be a soft paper if possible. If you carry your own props then the white cigarette papers are still available and are suggested for this effect. 3) O n c e all the props are at hand give the deck to the spectator to shuffle as you casually ask him to name a number. If he calls out a number under 26 then use this; however, if he calls for one over 26 then r emark that you do not want this to be too long or drawn out so suggest he call out any number from 10 to 25. In the event he should call a small number like say under 1_ then say that you don't want this to be too easy; therefore, to make it more difficult tell him to call out any number from TO to 26_. Assume he calls out the n u m b e r 1 5 . Tell him to keep this number in his mind while he shuffles the deck. 4 4) H a v ing shuffled the d e c k to his satisfaction you take it from him and merely ribbon spread it faces down in front of him. Request him to remove _3 cards, without looking at them, from different parts of the deck. V/hen he has the .3 cards out of the deck you introduce your 2 pieces of paper and place them one in front, on spectators side, of eack face down card. Scoop up the deck and simply hold it face down in the left hand dealing position while you give the spectator the following instructions. 5) Tell him he is to look at the first card, on your left, to note its name then replace this card back face down. Next he is to write the name of this card on one of the pieces of paper, crumple the paper into a ball or pellet then to place it onto the card wh i c h has this name. Once he understands what he is to do tell him to wait until you turn your back on him so you will not be able to see what he writes. 6) Vvken you turn your back on the spectator you also have the deck in your hands. With both elbows pressed against the side of your body m o ve the hands only as you very quickly crimp the bo t t o m card of the deck, at the lower left corner, then thumb over, from the top of the deck, a number of cards that equal one less than the number the spectator called out and was asked to remember. In this example the number named was .15; therefore, you would thumb over, by groups of threes or four for a fast count, until your right hand holds jL£ cards. These are placed to the bottom of the deck below the crimp.

7) All the above actions are concluded by the time the spectator has finished writing, crumpling the paper then placing it onto the card. Here you ask if he has completed the writing plus the further instructions. When he says that he has you turn around as you say, "Let's see if everything was done correctly." L o o k at the card with the pellet on it and add, "Very good-now I want you to do exactly the same thing with the other two cards and place the written on crumpled paper onto each of the cards." Turing this patter line the left leaves the d e c k face down on the table while your right hand g e s tures towards the other two remaining cards and papers. 8) This time when you turn your back you will keep it turned until the spectator finishes noting, writing and placing of the two pellets one on each card. When he has concluded, have him tell you so you can again face him. When you turn around quickly look over the three pellets. Now in most cases of the pellet effect you are told to p i c k out the one you can easily recognize later on. For a very sop h i s t i c a ­ ted audience it is better if you pick out the one that seems to be the most difficult to spot. Actually this is just the reverse of the other and psychologically will w o r k better since a knowledgabl e person especially a magician, will avoid one that he can remember as being the easy and obvious one. In any case you will be able to distin g u i s h one pellet from the other t w o . 9) Assume that the pellet you feel you can recognize again is on the back of the second or central card. W i t h right hand p i c k up the tabled card, by the lower right corner, with thumb on top and 1st and 2nd fingers beneath gently balancing the pellet that lies on the back of this card. D u m p the pellet into the glass or whatever recep­ tacle you are using. During this make it look very fair and at no time do you attempt to glimpse the card. Insert this card at about the top third of the deck pushing it in flush and square. Pic k up the card which has the pellet you know you can recognize again. D u m p this pellet into the glass then place the card on top of the d e c k and cut it at the crimp thus placing the cards, that are below the crimped card in this case, onto the top of the deck thus fairly b u r y ­ ing the card apparently somewhere in the center of the deck. Actually this card is now 15th from the top or the number originally called by the spectator. Pick up the third card with its pellet. D u m p this pellet into the glass then insert this card somewhere in the lower third of the deck and push it in flush and square with the deck. The procedure has placed the three cards into different parts of the d e c k but more important the other two cards are nowhere near the card that occupies the called out numerical position. In this case 1 5 . 10) H a v e the spectator shake the glass with the three pellets then to roll them out of the glass onto the table. The spectator is asked to pick up one of the pellets. If it happens to be the one you noted as being the recognizable, to you, pellet you know that it contains the name of the card that now is at the named number from the top of the deck, in this example at _15, even though you do not actually know the name of this card. First of all pick up the two remaining pellets and drop them back into the glass. Hand the deck to the spectator and ask him to count down to the number he originally called, _1_5 in this case, then to place that card aside still face down

N o w have him open the pellet of his choice to read out loud, for all to hear, the name of the card. Tell him to "Turn over that fifteenth card (or whatever the named number happens to be)." This climaxes the routine. 11) The procedure of Step H) above, that of counting to the named n u mber-then opening and reading the name of the card-finally turning the card itself face up-is always adhered to once the proper pellet is chosen-or forced as will now be outlined. 12) R e m ember your patter line is, Pick up one of the pellets." Should he choose the pellet you want then the spectator holds onto this pellet as you replace the other two into the glass. If he picks up any other pellet you at once add, "Toss it into the glass." This time you must say, "Pick up another pellet and toss it into the glass." If he should choose another unwanted pellet then, naturally, the one remaining on the table is used. On the other hand if he picks up the desired pellet and t o sses it into the glass you then put aside the one remaining pellet as you say, "Now shake the glass and roll out those two pellets. W i t h two pellets, one of which is the required one, you n o w proceed as follows: Again say, "Pick up one of the pellets." If he picks up the unwanted pellet you add, "Toss it into the glass" then at the same time toss in the one pellet you had off to one side. This obviously leaves the desired pellet isolated on the table. If he picks up the desired one you simply say, "Very well-let's dispose of these." Here you pick up the pellet that was off to one side plus the remaining pellet on the table then toss both of them into the glass. In any case, a few p e r f o r m a n ces will show that the above described process is quite simple and direct to leave you with the required pellet and thus conclude the effect using always the step by step procedure briefly outlined at Step JLJL (eleven) . A few additional thoughts may be in order on the various ways that one can use apparently the very first pellet that the spectator chooses In this case you do not have to bother noting any of the differences that may be apparent to you of any of the pellets. All that you must do is g l impse any one of the three cards during the time you dump the pellet off each card into the glass. The glimpsed card is the one that is cut into the deck so it will occupy the named number position. Have the spectator discard any two pellets by tossing them into the glass. The remaining pellet is left on the table. Hand the d e c k to the spec­ tator for counting to the named number then placing aside the card at that number. During this you pick up the tabled pellet and are h o l d ­ ing it. When he has finished his counting and isolated the card arrived at, still face down, you casually open up the pellet to y o u r ­ self. G lance at it then turn it around and now read off the name of the tabled card as if it was the one written on the pellet. Ask him to turn over the tabled card. Meantime you crumple the paper into a pellet again and toss it into the glass with the other two. You will have plenty of misdirection for this under the surprise of the isola­ ted card being the one you just seemed to have read off the pellet. Later if they wish to check the pellets they can do so. In the event that the pellet does contain the name of the card you glimpsed then you simply leave it open and toss it to the table.

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While the above procedure is not anything n e w as far as pellet effects are concerned it still is a good one to keep in mind for those rare occasions when you may not be able to d i s t i nguish one pellet from another. Since you will be aware of this before each pellet is dumped into the glass you can use the glimpse on any one of the cards during the dumping action; however, my personal preference in this instance is to simply pick up each pellet, one at a time, to apparently further compress it into a ball, then drop each pellet back onto its original card. During this you make sure that you m i s shape one of the pellets so that later you can easily recognize it. At times picking up only two of the pellets, to miss h a p e them, but leaving the third one alone is a good procedure since even those familiar with pellet effects of this nature never expect you to use the one you did not touch.

DE EP D U N B U R Y Effect - A card is selected and shuffled back into the deck. P e r f o r m ­ er turns over the top four cards of the deck. The spectator is asked to total up the values of these cards then told to count down that number into the deck where he will find his card. The spectator inwardly smiles because he has seen his card among the four cards that he was asked to add up; however, when spectator reaches his number not only does he find his selected card there but it is also face up. Those who have purchased "The Unexpected Card Book" will have no difficulty in following the brief description if they refer to the "Deep Face Up Switch." 1) Assuming the deck has been shuffled and you have no previous arrangement in the d e c k you n o w must, during casual conversation or glib patter as they put it, preset the deck by first crimping the lower inner left corner of the bottom card. Next quickly locate any A-3-5-7 value cards, in that order, to below the crimped card. The 2 value card will be the face or bottom card. 2) You can now offset any guilts or suspicions by tabling the deck and fairly Riffle Shuffling it as long as you retain the bottom 5 cards. Those who have "Advanced Fingertip Control" can use the "Professional Ace Cutting" procedure to centralize the crimp and the four value cards which you remember as 1 3 5 7 . O t h e r w i s e merely cut the deck to bring these cards to the center or slightly above the center in the deck. 3) You now take the deck into left hand dealing position. Right hand picks up the deck, from above by the ends, then dribbles the cards from the bottom, from a height of about 3 inches, back into the palm up left hand as you say,"When I do this just call 'Stop'." By the time you have delivered this line all the cards have been

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dribbled off into the left hand. 4) Resquare the deck to again start the dribbling action but this time be sure to raise both hands high enough so that you can clearly see the position of the crimped card at the back end of the deck. Time the dribble to stop at the crimped card when the spectator gives his command. Since you do have a four card leeway it is all right if he stops you a card or two, up to four, before the crimped card. If you have passed the crimped card then quickly release the rest of the cards as you s a y ,"S o r r y - l e t 's try a g a i n - I '11 go slow." 5) If you time the dribble to the crimp then the top card, of those in your left hand, will be the Ace. Advance your left hand for spectator to pick off and note this card, replace it, then dribble rest of the cards from right hand onto it and square up the deck. In the event he stops you at a card or two before the crimp again advance your left hand for him to look at the top card of those in your left hand. During this your right hand, in a gesture towards the left hand, tilts inward enough for you to glimpse the bottom card of those in your right hand. This is covered by the simple lines, "Take a look at the card you stopped at-remember it-place it back." Assume the card you glimpsed is a 3 value spot card then you k n o w his card is the _5 value card according to your 1357 arrangement of these value cards. For the present let's assume his card is the 5^ spot value card. When the deck is assembled the crimped card is still in the center with the 1.-3-5-Z cards below it. 6) With both hands around the deck it is lowered to the table, face of deck to the l e f t , in order to tap the lower end of the deck against the table top. During this end tapping action the right thumb, at the back side of the deck, separates the deck at the crimp then the left thumb presses in against this inner side to mai n t a i n the break until the right thumb can move in again to take over the break near the lower end and hold it as the deck is pivoted and lowered face down to the table then split for a Riffle Shuffle with the right hand carrying the top half, which includes the crimped card, to the right. Some may prefer to cut directly to the crimp after first tabling the deck. In either case the deck is Riffle Shuffled so that the crimped card will go to the bottom of the deck while the D-3-_5-7. value cards will end up on top of the deck. 7) Pick up the deck and Overhand Shuffle it by running off the top four cards then continue the shuffle until you reach the bottom or last four cards and throw these on top of the deck. The crimped card is thus 4th from the top while the ,1-3-Z-Z value cards are on the bottom of the deck. The Overhand action, to get the crimped card 4th from the top, is accomplished by slightly thumb spreading, with left thumb, the cards as you near the bottom cards. This way you can easily sight count the remaining spread of 4 cards and toss these onto the top of the deck. Table the deck and Riffle Shuffle to get A more cards over onto the top of the deck while at same time r e t a i n ­ ing the original 1-3-5-7 cards at the bottom. 8) The crimped card is now 8th from the top of the deck. Cut off about the top 20_ cards or so. Do a Tabled Straddle Faro of the smaller portion of cards into the larger half. Do not interweave

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any of the four value cards, the ]^-3-5-7, that are at the bottom of the deck. Telescope the halves into each other for about half their lengths then tilt the still elongated deck, on its lower side, f o r ­ ward so that the backs of the cards face the spectator. Here the bottom card, the Ace value card, is noted as a key card just to be on the safe side. The right hand holds onto its end of the still elongated deck and lifts this whole section upwards. (See Figures 2 and 3 of "Improved Procedure For The Invisible Toss" for these actions.) This leaves behind all those cards that originally were the top and bottom portions of the left hand section. The left fingers keep these cards upright as the right hand places its cards in front, onto the face or the spectators side, of those cards held by left hand. This results in the bottom value cards of JL-3^-5-2 remaining on the bottom while the above right hand actions have resulted in a Faro Slough Off of an Out- t y p e that brings the crimped card to the 15th position from the top of the deck. 9) Some may be puzzled as to why bother noting the bottom Ace. Well for this effect you want to give the impression of looking thru the deck not merely taking the bottom cards; therefore, when you do the above S l ough Off Faro your right thumb also goes onto the face of the Ace. V.’ hen the right hand now lifts up the right end of the elongated Faroed deck only the left over top cards, from the left hand portion, will remain behind. When the right hand places its cards to the front, on the spectators' side, the left hand top portion of cards will naturally end up going to the back or on your side of the deck. The value cards of Ace-3-5-7 will now have some cards covering same. Among these there just could be another Ace which could, strange as it may seem, throw you off balance. Push and square up the deck. 10) . Right now you still should have the crimped card at 15th from the top of the deck, and the value cards of 1-.3-J3-7 near the bottom of the deck. Turn the deck with faces towards yourself and spread it between both hands as you comment about using some cards. You must transfer the actual selected value card, in this example the _5, on the third time. Briefly--remove 'two cards of either the 1-3-7 value and transfer these, with right hand, to the top of the deck. Next the actual selected card or the 5 value in this case. Next the last value or remaining value card of either the 1-3-7 cards. Finally locate any yueen to place it on top. The Queen should not be removed from those cards that are above the crimped card. If you are forced to remove the Queen from those above the crimped card then be sure to place any other X card there to compensate for the removal of the Queen. (This will also hold true in the case of the re a s o n ­ able facsimile duplicate value card to be used as suggested later on.) The order of the cards, from top down, should be the Queen, a value card, the actual selected value card then the two remaining value cards. Note that the value cards of ]^-3-5-7 total up to 1 6 .1 11) Square up the deck and hold it face down in left hand dealing position. The crimp is at the inner left corner. Thumb over the top 4_ cards, in a spread or fan, as you say, "For this I will use these four cards." In resquaring the deck secretly also take the 5th card. The squared up packet, of supposedly A_ cards but really 5^ cards, is turned face up as you continue with,"I will show you these cards one at a time and I want you to total up their values."

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12) N o t e that at this stage you are not holding any breaks. Here you do the actions of the "Deep Face Up Switch" as follows: As you show the face of each card the spectator adds them. When you get to his card you will be in perfect position for the right thumb to lift up slightly on the crimped corner card thus getting a break, w i t h left 4th fingertip, at the lower right corner, beneath the top 1_5 cards w h i c h includes the crimped card. At the same time the right thumb will maintain a slight break, at the back end only, between the face up packet and the 1_5 face down cards. You will have ample time to do all this as the spectator is busy adding the value of his card to the previous two. If you need more time an added line or two of p atter such as,"That is correct-so far," can be used. At this point the left thumb peels off the selection and you do the "Deep Face Up Switch" as described in "The Unexpected Card Book." This brings into v i e w the final value card which, when added to the three previous ones, will total to 16. Do not peel off this value card since you do not want to expose the Queen. Turn the packet face down and p lace it to the table. 13) Take the deck, by the outer end, w i t h the right hand so that when you hand the deck to the spectator the crimp will be towards him at his lower left corner. When he counts the cards he will be look­ ing at the upper end and will miss spotting the crimped card. As soon as you hand him the deck say,"What is the name of your card?" When he names it you add,"If you count down to the sixteenth card," here you pause, look at the spectator and ask,"That was sixteen wasn't it?" At the same time your right fingers spread ut the tabled cards to show 4 cards thus strengthening in the spectators mind that his card is actually on the table and couldn't possi b l y be in the deck let alone at a specific number. 14) Have the spectator count down into the deck to the 16th card which will surprisingly show face up. H o w he or she reacts towards the four tabled cards will vary with each experience you may e n c o u n t ­ er. Some will completely ignore the tabled four cards but state that they saw their card among these four. Others will reach for the tabled four cards to turn them faces up. At any rate the line,"You know how women can confuse one," will sort of explain the presence of the Queen. It is m u c h too obvious that a type of "Devilish Miracle" can be brought about by substituting a 2nd selected card for the Queen thus resulting in this 2nd selection being in the tabled four cards. Also you can work out a method where in only 3 cards, of the four value cards, remain on the table, thus you get a sort of "Mental Reverse" finish in that the spectator can be led to believe that the selection vanished to appear in the deck. You can also use the presentational approach of "The Invisible Toss" from "The Unexpected Card Book." A method in which the four tabled cards become 4 Queens, no false counts, as the climax of the effect can easily be worked out; however, this finish may just 'stomp out' the effect which is the appearance of the selected card face up at the totalled number. 15) Finally, since you do know the value of the selection you can substitute a card that has the same value and the same color for the Uueen: Thus instead of merely spreading the four tabled cards you can hand them to another spectator as you ask,"Uould you add the

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values just to be sure." Naturally he will get a total of 16 thus indirectly strengthening.the fact these cards are the same four cards originally shown. When the selected card appears at the totalled number the spectator, who chose the card, is sure to want to look at the other four cards. When he sees the same value and color he h i m ­ self may be convinced that perhaps his eyesight is failing him; h o w ­ ever, to make sure that the effect registers, as it is supposed to, make positive that he shows his original selected card to perhaps a few other people around him. At least you will have some others make comments about what they did or did not see. At least it will keep some questionable mentality from simply saying,"Oh-you changed it." 16) My personal preference for the above use of a card that has the seme value and color as the selected card is as follows: After ask­ ing again for the total of the four tabled cards pick them up and with the faces towards yourself make a fairly tight fan, with the facsimile chosen value and color card at either second from the top or second from the face among the fanned four cards. Call out only the values of the cards then casually flash the face of the fanned cards, towards the spectator, just long enough for him to perhaps notice his value card but not long enough for him to pinpoint its s u i t . During this flashing of the fan of four cards you say,"Sixteen-that's right," then at once toss the four cards faces down to the table. From this point on conclude the effect as already o u t ­ lined. Paying attention to the small details will gaurantee you the maximum reaction to this "Deep Dunbury."

QUICK DEEP DUNBURY by David Solomon After the "Unexpected Card Book", I fooled around with doing a Dunbury effect by having a card peeked at and glimpsing it. Prior to this I had a crimp at say 13th from the top. I then turned the deck face up and called cards adding to 14 including the selected card. Of course I made one of the indicator cards disappear and appear at the selected number. Mario improved this effect by adding the handling with the .1, 3, 5, and 7. It was after Mario's variation that I came up with the following handling. S e t u p : Crimp bottom card, call 7, 5, 3, 1 below the crimp, also shuffle 15 cards below your setup. 1) Dribble force either 7, 5, 3, or 1 as in the Mario version, although you only have 20 cards to use during the force. 2) D r o p off all cards under the crimp into the left hand and cut them to the top of the deck holding a left little finger break

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b e n e a t h the pocket. With the riqht hand and left finger thumb off the top four cards saying that we will use these as indicator cards. 3) Use same deep face up switch proce d u r e as in Mario version although I use the break to get the card 16th rather than the crimp. 4) I have found out through a number of performances that you should ask the spectator the name of the card. Sometimes he will be confused because of the indicator showing up. I have experienced people saying the wrong card because they don't want to goof you up. Okay, after I ask the name of the card I say, "Haven't I seen that before?" If the spectator is paying attention, he will say it is one of the indicators, at this point you have him good. I follow with saying then I will make it disappear now. Now there are only 3 cards here and make it appear in the pack, but not anywhere exactly at the 16th card. Have spectator count down and he will find his card face up. LOGICAL FACED TRIUMPH Set up Half of the deck faced. Hold a 4th finger break above one face down card covering the face up half deck. You can get this situation secretly via a half pass in front of the audience or set up prior to performance. Method 1) H o l d ing the deck face down with a break as above, tell the spec­ tator to select a card running cards between your hands. Before he has a chance to respond seemingly change your mind by cutting the d e c k and raising it into standard peek position saying, "Let's do it this way-rather, just say stop." Your position after the cut is the bottom half of the deck is face down top of the deck is face up with a face down covering card. The spectator through the above actions feels he has seen the entire deck face down. 2) Have a card peeked at; hold a left little finger break above this card. Do the cover up cut losing the top card and bringing the s e l e c ­ tion above the face up packet. As you do the cover up cut raise your hands up so the spectator sees the faces of the cards. Your situation after the cover-up cut should be; Selection is top face down card, half p a c k face up under this covering card, half p a c k face down. 3) Tap the bottom edge of the deck against the table both thumbs at the back, fingers clasped around the front long side. The deck will split at the back where the cards are back to back. Split the deck at this point. The right hand undercuts the lower packet face down to the right. At the same time the left hand lowers its packet to the table.

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4) Right hand turns its half face up and spreads to show its face up condition. Resquare the packet and do a closed shuffle apparently shuffling face up and face down cards together. During this shuffle keep the top face down selected card on top of the deck. 5) Pick up the deck in dealing position. Cut the deck showing a face holding a break between the halves. W i t h the left 4th finger kick out the card above the break and hold a break above that card. 6) For the climax, spread the deck between your hands showing all cards face up. This is done by pushing a block of cards over to hide the face down card when you come to the break. N o w you tell the spectator that the magic further occurs when you turn the deck face down. Spread the deck showing that his card has turned face up. SIMPLE R I G H T HANDED TRIUMPH by David Solomon Set up D e c k has half face up unknown to spectator. Method 1) Have a spectator select a card as you spread the deck between your hands. 2) Immediately do a right handed pressure fan. The deck will still look face down although the bottom half is face up. At this point, take the spectators card with your left hand and insert it into the face up section. Close the pack one handed. 3) Table the deck to shuffle. With your thumbs at the back up riffle until you go one card past the face to face separation. Split p a c k taking the top portion to the right. Turn this portion face up, ribbon spread to show face up condition. Do a closed shuffle k e e p ­ ing the top face down card on top. 4) Tell the spectator that the magic takes place when you turn the deck over. At this point you flip the pack over on the table. Pick up the deck and spread it between your hands showing all cards have suddenly turned face down except the face up selection. 5) When you come to the selection upjog it with the right hand packet and at the same time the left fingers bottom deal to displace the b ottom card under the spread. Finish spreading, take out the selection, resquare the deck and turn it face up. This will surprise even the best informed-got Jon Racherbaumer bad. You will be left with a face up card in the pack which you can use for another trick or secretly right it. 6) Steve Draun came up with a procedure that eliminates the bottom deal handling although it may be furtive if not handled correctly.

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At step 2 after m a k i n g rthe right hand fan, take the.selected card and insert it face down where the cards meet face to face. No w complete the effect as described although there will be no card left face up as in step 5. This is good thinking by Steve although, for some reason it hasn't played as well for me as my original version. DOU B L E BARREL RIGHT HANDED TRIUMPH by Mario - Solomon This combines the opening subleties of the Logical Faced Triumph with the Simple Right Handed Triumph to create a very strong effect. Set up Same as Logical Faced Triumph Method 1) Have a card selected as you spread the deck between your hands. Cut the p a c k at the break and have a card peeked at, holding a b r e a k above the card ready for the cover-up cut. 2) Do the cover-up cut- as follows: Get a right thumb br e a k below the top card - do the cover-up cut as you raise your hands although rather than following through by putting the right hand packet on the b ottom place it on the top instead. You will now have a deck w i t h a packet face down, a packet face up in the center, and a small packet face down at the bottom. 3) Do a right handed pressure fan and have the first selection r e ­ turned within the face up portion. You will be able to fan the b o t t o m portion because of the set up to show more backs to reinforce the apparant face down condition. 4) Cut the bottom small face down packet at the natural separation and place it on top. 5) Do steps 3, 4, and 5 of the Simple Right Handed Triumph, although after you have disclosed the first spectator's card and go through the under the spread move. You are now set to disclose the second spectator's selection.

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Effect: This two-phase Triumph effect uses ideas from "The Ten Hand Poker Stack." A selection is made, then the deck is Riffle Shuffled w i t h half the cards face up and half face down, after w h i c h the d e c k rights itself. This is repeated, again performing the faceup/face-down Riffle Shuffle, after which the deck again rights itself with all the cards face down. Finally the deck is ribbon spread to show that the selection has reversed itself at the center. 1) Have a selection peeked at or withdrawn and control it to the bottom. Table the deck for a Riffle Shuffle. Undercut about twothirds of the cards to the top and hold a left thumb break between the packets at the left end of the deck as the right hand squares the right end. As the right end is squared in the usual manner, by the right thumb sliding to the right along the back side of the d e c k and the right fingers sliding along the right end of the deck from the front to back, so that the thumb and fingers meet at the inner right corner of the deck, the right fingers p u s h the deck toward the left. The deck is pushed to left, the left fingers relaxing their grip slightly to permit this, until the left thumb is holding a break at about the center of the back side. In other words, the left hand, w h i c h formerly held the deck at the left end, is no w holding the deck at about the center of the sides and still m a i n ­ taining the break. 2) The right hand now cuts off approximately the top 20 cards and moves them off to the right, tables them and turns them face up. The right hand now spreads this face up packet vertically (at right angles to the table edge) to show all cards in the packet face up. The right hand moves forward to gather the spread and square up the face up packet. The right hand picks up the face up packet and butts its left end against the right end of the left hand packet, as if to square the ends of the packets. Actually, the right hand packet is used to push the left hand packet even further to the left in the left hand, so that the left hand is now grasping its packet at the extreme right end, in position for the Closed Riffle Shuffle which is to follow in the next step, with the b r e a k still maintained. The right hand tables its packet and regrasps it at the extreme left end, in Closed Riffle Shuffle position. 3) Both hands lift the inner corners of their respective halves in readiness for the Closed Riffle Shuffle. The left hand begins by audibly riffling off all the cards below the break. At this point the right hand audibly riffles off all of its cards. Finally, the left hand audibly riffles the remainder of its cards on top of all. This riffling is done quickly and smoothly and is, of course, a variant of the Mario Spade Shuffle. The hands are n o w cupped around the outer ends of their respective halves and the packets are pushed flush. Square up in the usual manner. The situation now is that there is a face up block in the center of the deck, with a face down block on top and a face down block on the bottom. The selected card is the bottom card of the uppermost face down block.

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4) The left hand picks up the deck by the ends and then turns with its p a l m outward, so that the spectators can see the face of the b o t t om card. The right hand comes over to the deck and squares the sides from beneath, so that the bottom card is toward the right palm. The hands turn so that the deck is n o w once again parallel to the tabletop, and the left hand positions the deck in the right hand for the Right Hand Pressure Fan and then fans the deck, from right to left, in the right hand. As this is a Reverse Fan, it will appear that the cards have righted themselves, because backs of cards will be seen at both ends of the fan. The blank center section, w h i c h is composed of the n o n - i n d e x corners of the face up block, will be taken for the usual white margins that appear in any fan. Having displayed the fan briefly, the left hand closes the fan by pressing the left edge of the fan into the left thumb crotch, after w h i c h the deck is squared and tabled again in Riffle Shuffle position. Of course, prior to making the Right Hand Pressure Fan you wiggle your fingers over the deck or ruffle the front end for effect as you indi­ cate w i t h your patter that this magical action will cause all the cards to right themselves. Note that in displaying the fan you must not let t h e m see the underside of the fan. 5) R e m e mber that you now have a face up bl o c k between two face down blocks. You must n o w cut the lowermost face down block to the top. There will be, of course, a natural separation between the lowermost block and the one directly above it, and to insure cutting at this natural separation you proceed as follows: With both hands p i c k up the deck, turn it so that the bot t o m card of the deck is toward the left and the d e c k is standing up on its right end. Tap the end of the d e c k on the table in a squaring action. With the inner side of the deck toward you, and with both thumbs on the inner side, b r eak the deck at the natural separation between the lowermost block and the one directly above it. The b r e a k is at the inner side only, and is held by the thumbs. Now pivot the deck downward into its normal position, m a i n taining the br e a k with the thumbs, and then cut the bottom block of face down cards to the top. At this point the b ottom third of the deck is face up. The top two-thirds of the deck c o n sists of all face down cards, the lowermost of which is the selection. t. 6) You must n o w split the deck for another Riffle Shuffle, using either of the following alternate procedures: A. Riffle upward w i t h both thumbs until you have riffled off all the face up cards and one card (the selection) has fallen onto the face up cards. Cut off all cards above this point, take t h e m to the right with the right hand and turn them face up; or B. Simply hit with both thumbs at the point where the blocks meet, and the natural separation will cause the d e c k to break at this point. Release one card, the selection, onto the face up cards. Cut off all cards above this point to the right with the right hand, and then turn them face up. 7) As in Step 2, the right hand does a vertical spread of its packet to show all face up cards, then gathers and squares the spread. The hands now grasp their respective packets in Closed Riffle Shuffle position again, and then the Closed Riffle Shuffle is done so that the face down card at the top of the left packet falls last or on top. Square up. You have apparently shuffled face up cards into face down cards.

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8) Undercut half the deck to the top and square up, which will show a face-up/face-down contrast during the cut. 9) The right hand picks up the deck by the sides and turns palm upward. The left hand comes above the deck and qrasps it by the ends. Again a Right Hand Pressure Fan is done, the left hand fanning the cards in the right hand from right to left. This again will show all face down cards. Prior to the fan, of course, you g e s t u r e hypnotically or whatever. Square up the fan into the left hand as before. 10) N o w patter to the effect that you could use your Super-Sansitive Fingertips to pull out the selection, but that you have a magical method to reveal it. Make your hypnotic gest u r e s over the deck, then table it and with the right hand, w h i c h grasps the deck by the sides, make a Ribbon Spread from right to left. This will reveal the face up selection, and the fact that the Spread is done from right to left makes the index appear right side up as far as the spectator is concerned. IMPROVED PROCEDURE FOR THE INVISIBLE TOSS Effect - Same as that detailed in "The Unexpected Card Book." 1) On getting the deck shuffle the cards, overhand style, so that the face of the deck can be seen by yourself. Run off the face 1_ cards, one at a time, noting the 7th card that is taken into the right hand then shuffle off the rest of the deck onto the noted card. Assume the noted card is the IQS and it is n o w the 7th card from the top of the deck. If preferred, a riffle shuffle can be used to get the same condition, however, a casual overhand shuffle will get less attention especially among the card men.

2) Cut off about ljj or more cards from the top of the deck and weave or Faro these into the center of the larger portion, as in the Figure _1, which can be done in the hands or on the table pr e f e r a b l y .

Figure 1

3) T e l e scope the oortions into each other for about half their length then tilt the still elongated deck inwards so that the outer sides move uowarcs and the faces of the cards will bo towards the spectators. The figure 2 shows the nosition of both hand'; around e a c h end of the deck from the o e r f o r m e r ’s side.

4) The right hand firmly grasps its end of the cards and lifts them u p wards as shown in the Figure 3.

5) The right hand portion of cards is placed onto your side of the left hand portion or onto the top of the cards held by left hand. Then both hands telescope and square the deck. The"result is the same as if having given the deck, an Out Faro shuffle which brings the o r i g i n a l noted 7tn card from the top, the IQS to the 13th p o s i ­ tion from the top of the deck.. 6) This time the right hand cuts off, from the top of the deck, more than L3 cards but still less than half or anywhere from 1_6 to 20 cards The smaller right hand portion is again Straddle Faroed into the left hand larger half. The same actions of Figures 2 and 3 are executed to result in another Out Faro shuffle w h i c h brings the noted 13th card, the IQS in this example, to the 25th position from the top. 7) N o w instead of looking for the 8-K-3-1Q value cards merely look for any C-H-S and D card in the lower or bottom half of the d e c k as the cards face you. You will find this a very simple and quic k p r o c edure and can't miss getting the C l u b - H e a r t - S p a d e - D i a m o n d cards, in that order, then casually shift them or cut them to the top of the deck. You do not have to remember the values of these cards but only that they are in C l u b s - H e a r t s - S p a d e s - D i a m o n d s order, from top down, on top of the deck. 8) All the preceding actions described in steps to casually without any effort and will appear simply as shufflinq the deck but in the event that there is any on the spectators'part the next steps are designed to suspicions.

1_ can be done

if mixing and slight suspect lull any such

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9) Get the deck into an Overhand Shuffle position. Undercut less than half the deck or not more than 20 cards. Run off one card, in-joqqinq it, then shuffle off the rest of the cards onto the top of the deck. Do not square up the deck but posit ion it in the left hand as for dealing. Deal off the top two or three cards face up to the table then stop as you say, "Oh-the cards should be face down Here pick up the tabled cards to place them face down on top of the d e c k in left hand. 10) Position the deck for another Overhand Shuffle but qet a right thumb break below the in-jogged card. Shuffle off to the break and throw rest of the deck on top. You now have not only the original C-H-S-D cards on top of the deck, in the required order, but you have also maintained the position of the Faro set I Q S . Deal off the top 4 cards, from left to right, faces down to the table. You can now table the deck since you know the 25th card from the top at this stage is your noted 103. In other words there isn't any need for you to take the deck w i t h you when you turn around, as in the original version. After the spectator has touched one of the 4_ face down tabled cards you at once will know whether it is a C-H-5 or D and then you turn your back. Not until your back is towards the spectator do you request him to look at the card of his choice. Next he is instructed to m i x the four cards so he h i m ­ self will not know the position of his thought (?) of card, after which he then tables the four card packet face down. 11) The deck, which has been in full v i e w during all this, is now pushed forward so that the spectator can cut off a oortion of cards from the top of the deck. From here you can conclude the effect as already outlined in the rest of the effect "The Invisible Toss" in "The Unexoected Card Book." 12) 'while the actions described in steps 4_ and 5_, Figures 2 and _3 result in an Cut-Faro condition you can get an In-Faro condition by m erely following thru with the left fingers peeling off the face or bottom card and carrying it back to top of the deck as in Figure 4_ which shows the left hand carrying the face card upwards in order to deposit it to the back or on top of deck.

13) In either case, the procedure is an excellent one in that you do not have to cut perfect 26_ and yet place a card, into an In or Out Faro condition very casually without any undue effort. O n e m o r e little detail that makes the Faro of the small packet easier. When you cut to your key, in this case the DOS, do not struggle to get, in essence, an In Faro to get the IQS to the bottom as you obtain a break above the Faroed small packet. Instead merely Faro the

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small packet into the larqer pacKei: anywnere. Next, as you t e l e ­ scope the portions into each other, the right thumb anr* fingers, which are holding the inner end, by the sides, of the smaller packet lift upward slightly on this smaller packet which enables the left. 4th f i n gertip to obtain a break on those cards below the weaved portions as shown in Figure b an exposed right side view. Note the finger p ositions of the right hand on the inner smaller packet.

14) O n c e the left 4th fingertip has obtained its break the right hand n o w moves to come over the still elongated d e c k in order to push the cards flush. Actually, during this action the right thumb at inner end of the small packet, presses down on the small packet causing those cards above it to raise, at their inner end, thus enabling the left 3rd fingertip to move in and obtain a break b e l o w these cards as seen in the exposed right side v i e w of the Figure 6

15) You n o w have two breaks held by the left 4th fingertip above the bottom cards and the left 3rd fingertip below the top cards. Undercut those cards, held by the left 4th fingertip, with left hand to the top as the right thumb, at the back end, maintains the break on those cards that were marked off by the left 3rd fingertip. On completion of the undercut the left 4th fingertip now takes over the break, below those top cards, maintained by the right thumb. You now have the required number of cards on tire top of the deck, below which the left 4th fingertip is holding the break, to enable you to conclude the effect "The Invisible Toss" as in "The Unexoected Card Book." The Faro procedure depicted in the Figures 1 - 2 and 3 is also used in the effect "Ieep Lunbury" described elsewhere in this book.

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GAFFED MENTAL TRAP The effect is the same as that explained using the Deal Switch, in which a mentally selected card appears between two Jokers; however, in this instance there aren't any sleights used. Those who don't mind making up the required decks will find the subtleties easy to do. 1) You will require a deck of all Jokers and a regular deck which matches the back design and color of the Jokers. Assume all your cards are Blue Backed. Rough the faces of the regular deck and the backs of the Jokers. Arrange half the regular deck so they will consist of Clubs and Spades each running from Ace to King from the face to the top. Onto each of these regular cards place a Joker. Thus all Jokers will show on the face due to the Jokers and regular cards clinging. This is remembered as the Black Suit deck. The Red Hearts and Diamonds, also running from Ace to King, are paired each with a Joker on­ to the face of the regular H and D cards. This is the Red Suit deck. Place both decks into their card cases faces down. On the outside of the flap but inside the card case place a Red Back and a Blue Back Joker face up. Remember which color suit has these two exdnra Jokers. Both decks are in the left side coat pocket alongside each other with you remembering which deck has which suits. You are ready to start. 2) From the pocket remove the deck that has the two face up Jokers outside the flap. Thru the oval opening peel out the two face up Jokers to the table. Re­ turn the deck to the left coat pocket in its proper position alongside the other deck. 3) Ask the spectator to think of any card. Casually ask him what card he thought. Suppose ho says, "The Five of Hearts". Remember this card but at once call attention to the two face up Jokers as you say, "I have here two Jokers that I removed from the deck and here is what I'm going to do", when you reach this line, turn the Jokers face down. Look surprised when you see the Jokers have different color backs. Say, "I need the other Joker", as you toss the Red Back Joker aside face down. The Blue Back Joker is left face up. 4) You now remove the card case that has the Red Suits, i.e., Hearts and Diamonds, in the deck. Remove the deck with the backs uppermost. Turn deck with faces towards yourself for the purpose of removing the Joker. Actually you thumb past each pair of cards quickly till you reach what you know, due to the numerical order of each suit, is the Four of Hearts with a covering Joker. Up-joKboth cards as one. The left hand holds the deck as right hand removes the up-jogged card(s) and tosses it face up onto the other face up tabled Joker. To all intents you have quickly, with no fumbling or stalling, removed the Joker. Unknown to the spectators is the fact that the thought of card, which is not mentioned during this time, is now between the two tabled Jokers. Place the rest of the deck into the card case and put the deck away. 5) Pick up the two Jokers. Bince the roughed pair can convincingly be handled as one there is no doubt that you have only the two Jokers. These are squared and placed face down to the table. Bay, "Watch", as you snap your fingers over the tabled Jokers. Pick them up and holding them face down between the fingers and thumbs of each hand, thumbs on top fingers below, slowly spread out the cards, splitting the roughed pair, to show a fan of three face down cards.

6) Turn the top Joker face up, onto the face down card, then turn the bottom Joker face up to create a sandwich of a face down card between two face up Jokers, day, "A card has appeared between the Jokers but not any card. What card did you think of?" Here, the spectator repeats the name of his card although the time lapse makes it appear as if he did it now for the first time. Remove the center face down card to turn it face up and show it is the card he thought of. There are four cards on the table - Two Blue Back Jokers - Red Back Joker and the mental selection. Simply pick up all four cards in no apparent order and replace these onto the deck, in the card case, from which the RH or mental selection came. Later you can easily reset the effect if you wish to do it for another group. While discussing the above effect with Dave Solomon he suggested the possibility of a Red-Back card appearing between two Blue Back Jokers or vice-versa. This is no great problem if you use the Deal Switch since you can remove two Blue Back Jokers from a Blue Deck but already have a Red-Back card secretly between them. Now you just introduce the Red Deck as you ask the spectator to think of any card, You locate the named thought of card and bring it to the top. Actually you could have this deck arranged in sequence, Ace to King for each suit, with edge markings for quickly locating any card named but with the deck face down. From here the Jokers are spread to reveal a face down Red-Back card as you do your Misdirection Table Palm as explained previously. Do the Deal Switch and get the thought of card into play as the unwanted card is loaded onto the top of the deck in picking it up. You can if you wish go through the deck, after first shuffling to destroy the arrangement if you used one, to show the card is no longer in the deck and then have spectator turn over the card that is between the Jokers. Whether this procedure bogs down the climax or places the climactic part in the wrong place is up to you to decide. Anyway the method that follows gives the same effect with no sleights but attention to details and the subtleties. Call it "Color Mental Trap".1 1) One regular Red-Sack deck in the right side coat pocket. One Red Back Joker with same wax applied to its back. One Blue Back Joker, The two gaffed decks are constructed as follows: A deck of Blue-Back Jokers is first roughed on the faces. A regular Red-Back Deck, that matches your other regular Red Back deck, is roughed on the backs. 2) Arrange the Red-Back roughed cards into two color suits of Hearts-Diamond and Clubs-Spades. bach runs from Ace to King from the face to the top. Onto the top of each roughed Red-Back card place a face down Blue Back Joker. You will have now apparently two Blue Docks as viewed from the Backs. From the face you can clearly see each card. The sequence arrangement of Ace to King is only for quickly arriving at and removing the required card. 3) Place each deck into their respective cases and close the flap. On the out­ side of the flap, but inside the case, place the Red Back and Blue Back Jokers face up. Remember which deck has which suits as you place them side by side into the left side coat pocket. You are ready. k) To perform remove the Blue-Deck that has the Blue and Red Back Jokers. Do not open the card case simply slide out the two Jokers face up to the table. Place the still cased deck back into the left side coat pocket being sure you know which deck has the Red Suits and which has the Black Suits.

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5) Ask someone to think of any card. Casually ask what card hethought of. Once he names the card you at once ignore this but turn your attention to the two face up Jokers as you shift them, still faces up, from hand to hand. Turn the Jokers face down and seem surprised that each is of a different color. Cay, "Oh- the Red-Jokor I don't want. I need the other Blue Joker". b) Here you remove the proper dock, from left side coat pocket, depending on which card the spectator thought of and named in Btep above. Assume this card is the Wine of Clubs. You remove the deck that has the Black Suits. With the deck removed hold it facing yourself. Since the cards are in numerical sequence and you can see each card you can quickly thumb to the thought of card, the Nine of Clubs in this example, then toss it, really a pair of roughed cards, i.e., a Red Backed 9C with a Blue Back Joker covering the Red Back, face down "to the table. Place the rest of the deck into the card case and back into the left side coat pocket. 7) Use the single face down Blue Back Joker to scoop up the roughed pair, apparently the other Joker, then square up the cards. Turn the cards face up into the left hand dealing position. The right hand is above the cards squaring the ends. The tip of the left 4th finger Pulls Down the lower right corner of the under or bottom card to easily separate the roughed pair. The left hand, with its now single Joker, moves to the left to display two face up Jokers. Resquare the cards, turn them face down, casually spread them, as only two BlueBacked cards, with the right hand, thumb on top fingers on the face or bottom then toss the two slightly fanned Blue Back cards face down to the table. 8) State that for this you will also use a Red deck. Remove the deck from the right side coat pocket and take it out of its card case. Spread the deck, faces towards youiself , between both hands to quickly locate the card you know has been thought of. In this ca3e when you reach the gC the left hand holds the deck so that the right hand can take the Joker and insert it in front of, to the right, of the £C. Your patter is simply, "First, lets get this card out of the way". Do not say "Joker". Square up the deck and in further squaring of the deck squeeze it so that the waxed Joker will adhere to the face of the thought of card or here the 9jC. Place deck face down to the table. 9) Do not ask for the name of the thought of card again. Instead say, "I'm going to cause a card to leave the deck and appear between the two Jokers". Hake some mystical passes then pick up the tabled Jokers and spread them so that three cards show, the two Blue Back cards and the centerRed Back card. Turn the top Joker face up and the bottom Joker face up leaving the Red-Back card face down in the center. Return this fan of three cards to the table. Look at the spectator and say, "I believe that I did not make just any card appear between those Jokers but the card you thought of. Do not let me know what card you thought of. Instead I will go through this Red Deck and you just look to see if your card is still in the deck." 10) Turn the deck face up. The reason for this is that you will be more assured of handling the waxed pair gently since you will see the Joker before you actually deal it off, to be taken by right hand, then gently deal it onto the previous face up cards dealt onto the table. His card will not show up and he has to tell you he did not see it. Now say, "For the first time, what card did you think of?" He will name his thought of card after which you tell him to turn over the face down Red Back card that is between the face up Jokers.

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11) Place the Red Back card on top of the Red deck. Case it and place it in your right side ooat pocket. Remove a Blue cased deck from left side coat pocket and slip the Blue Back Jokers face up above the flap and into the card case. Place the deck back into the left side coat pocket. You can always reset everything, as required for the effect, in a matter of seconds. (See Note at bottom of page.) THE MENTAL SECRET EFFECT: A card that a spectator merely thinks of and one that he freely selects from another deck are shown to be identical. AS IT APPEARS TO TRE AUDIENCE A Red and Blue deck are introduced. Each deck is shuffled. Taking say the Blue Deck a spectator is asked to merely think of one of the cards as you spread the deck with faces towards him. During this you make a great point of you yourself not seeing the faces of the cards and that you could not possibly know what card he thought of. This deck is then placed aside. Picking up the other deck, the Red Deck in this case, the performer spreads this deck faces down. During this the spectator is asked to touch the back of any card; however, he is told to be sure and concentrate on the card he thought of while he touches the back of any card. This is a free choice and the card he touches is placed aside still face down. The Red deck is then turned face up and spread between both hands, as attention is called to the fact that he could have touched any one of the other cards. To prevent any confusion later on this deck is placed back into the card case which is closed. The Blue Deck is again picked up as the mentalist says, "I don't want to know what card you thought; therefore, to make sure I will fan the faces of the cards towards you and you just touch the card you are thinking of". The performer spreads the deck between both hands with the faces of the cards towards the spectator. When the spectator touches his thought of card the performer upjogs it and takes it with his right hand, the thumb on the back and fingers on the face, keeping the card facing the spectator all the time. This card is used to scoop up the tabled Red Back card and both are squared as the performer says, "I have not looked at your card so I do not have any idea of what card you thought of. For the first time let's see what card you did think of". Here the still squared up cards are flipped face up onto the Blue Deck in left hand. Suppose the card is the 2H* The spectator is told, "While you were thinking of this card you touched one in the other deck. Now lets see what card you touched". Here both cards are spread out to show that they are identical. The front and backs of the cards are shown. The Blue card is returned to the Blue Deck while the Red card is returned to the Red Deck to conclude an effect that will puzzle both laymen and magicians. The effect of the above was purposely withheld from advertisments in order that the performer would not have the disadvantage of any other magician trying to figure out the "how" of the effect even before you got started. Both decks are gaffed using roughing fluid. The one deck is not a new idea since it is a Roughed two-color dene Tekel Deck. The other deck, while also roughed, is new in approach in that Red-Blue Double Back cards are paired with either regular Blue or Red Back cards. NOTE: F o r " G a f f e d M e n t a l T r a p " a n d " C o l o r M e n t a l T r a p " I s u g g e s t t h a t in s h o w i n g t h e t w o J o k e r s d o t h i s in a n y m a n n e r t h a t w i l l e n a b l e y o u to l a t e r e v e a l the t h o u g h t of c a r d f a c e d o w n a m o n g the t w o f a c e up J o k e r s w h e n t he c a r d s ar e s p r e a d for the f i r s t tim e .

7) The right hand alone now holds the squared up cards as you patter, "do far ] do not know what card you thought of but now for the first time let's see." Here the right hand flips the squared up cards face up and flush onto the top of the deck in the left hand, Suppose the is the card showing. Point to it and say, "You freely thought of the Seven of Hearts and while you were thinking of this card you freely touched a card in the otlu>r deck. let's see what card you touched". Here the right 1st finger lifts up, at the lower right corner, the face up 7H to take it into the right hand. This exposes another face up 7H. Without hesitation deal over this card taking it onto the card in the right hand. Both cards, in a fanned condition, are displayed face up for awhile then the right hand turns palm down to display the backs of the two cards. The two cards will be in their proper logical order. In this case the Red Back card will be on top of the Blue Back card as when they originally were. Both cards are single cards. 8) Now here comes another subtle bit. Both cards, as they are, are replaced face up onto the top of the deck. The lower duplicate card, which has a roughed Red Back, will come in contact with the roughed Blue Back card that is on top of the deck. Press down with left thumb and deal over the face card a single card, with the next face card, two as one card, dealt to under it. Flip both cards face down. A Red Back will again show as the top card as it really would. 9) The left thumb deals over the top Red Back card, really two cards as one due to the roughed pair clinging. The right hand takes this card, by the outer right corner with thumb on top and the fingers beneath, then casually flashes the face of this card. The left hand places its deck face down to the table. The left hand now steadies the card case as the right hand inserts its card(s) into the card case and directly onto the top of the deck there. Your effect has been concluded except for perhaps lifting up the now single card from the tabled deck as you make some remarks about how the power of the spectator's thoughts caused him to touch the same card he was thinking of. » 10) You will find the effect easy to reset since all you have to do is take only the single face card from the Mario Deck and place it second from the top of the Mene Tekel Deck where the other duplicate resides. Both decks are now all reset ready to repeat the effect at any time.1 11) If you wish to repeat the effect immediately then the handlingmust be changed. At the point of the effect where the right hand is holding the two matching cards the backs are in their logical order. You must now, with both mates faces up, shift them around so that the cards in the hands will be in the position where their roughed back and face will meet to form the roughed pair which belongs to the Mene Tekel Deck. These two cards, still face up, are placed onto the top of the Mene Tekel Deck in your left hand. Square up the cards and get a break during this under the next top card. Turn over three cards, as a unit, face down onto top of the deck. A Red Back or the back of the card belonging to the Mario Deck will show. Deal this card off the top of the Mene Tekel Deck, which is taken by right hand, then replace it onto the top of the Mario Deck. Since this card is the Red-Blue Double Back card obviously care must be taken not to inadvertently flash the underside. Both decks are already reset and you can at once repeat the effect if you wish; however, on the repeat I suggest you end with the previous handling where you can show the face of the card that you place back into the Mario Deck.

SECOND MKT HOD

1) This method is detailed here because it can easily be made up in Poker size cards. It is not as convincing as the previous method but does have the advantage of arousing less suspicion simply because the cards can be made up in your favorite Poker size brand or the one most popular in your city. 2) Make up a Red-Blue or Blue-Red Mene Tekel Deck. Actually you will have two Mene Tekel Decks of opposite color when you have completed roughing the faces and backs of the pairs of cards as required. Now if you only make one Mene Tekel Deck you can use the other halves of each deck to make Double Back Red-Blue cards. Simply use rubber cement and coat the faces of all the cards that you will stick face to face to make up your Poker size Red-Blue Deck of Double Backers. 3) Assume your Mene Tekel Deck is made up so it shows as a Blue Back Deck. In other words the Blue Back cards cover the Red Back cards in each pair. The Double Back Deck is then handled with the Red-Backs uppermost or as a Red Deck. k) Introduce both decks.

Shuffle the Mene Tekel Deck and then show the faces towards a spectator who is requested to think of one. Place this deck aside for the moment.

5) Pick up the supposed Red Deck and shuffle it either Overhand or Riffle Shuffle; however, for a Riffle Shuffle handle the cards lightly due to their thickness. Spread the deck, with a short sort of bunched up spread since you use only about 26 cards or 2j3 if you wish of Double Back cards. Have a spectator touch anyone of them and you merely push it out of the spread. Scoop up the deck and place it into the card case. You can't show faces here as you realize unless you use 26 regular cards and 26 Double Backers. 6) Pick up the Mene Tekel deck again. Fan it faces towards spectator who touches the card he thought of. Take this card, really a roughed Blue-Red pair, with right hand and use it to scoop up the face down Red Back card. Flip both cards face up onto the Mene Tekel deck which you hold face down in left hand. The face card is dealt or picked off, by the right 1st fingertip and thumb. The next face up card, the mate, is dealt and taken onto the card in right hand. Keeping these cards fanned you show both sides of the cards. 7) Both cards are now held face up and shifted around, during a appropriate remark, until they are again in proper order as per the Mene Tekel arrangement. Place both curds squarod and face up on top of the Mene Tekel Deck. Do a Triple Turnover, easy duo to the thick Double Back Blue-Red card on top of the Mene Tekel Deck, turning the cards face down. The Red-Back of the Double Back card will come into view. l'humb it over and tako it into the right hand. Place this card into the card case along with the other Double Back cards of this deck. You are set to repeat the effect immediately if you wish. It is understood that the presentation for this method follows along the lines of the First Method of "The Mental Secret". THIRD METHOD: The following method while not exactly the same in effect will appeal to those who like effects in which the mentalist apparently divines the thought of a spectator before the spectator actually thinks of any card. Also the method requires only one Blue-Red Double Back card in a regular deck. The other deck is the Mene Tekel Deck. Here are the details -

THINK

AS I

THINK

EFFECT: A card is removed from one deck and is placed face-down on the table. A spectator thinks of a card from another deck. Both cards match. This effect can be presented from several angles or use different procedures. Categorically it is a matcho-type effect with shades of you-do-as-I-do. The beautiful aspect of this effect is its stunning directness, easy handling, and obvious lack of suspicious maneuvering. BASIC PROCEDURE1 1) This effect requires a roughed Red-Blue Mane Tekel Deck. This deck consists of roughed pairs of duplicate cards, one red-backed and the other blue-backed. With the pairs face-down, the lowermost card should always be a blue-backer; thus the deck would apparently appear as a red one. There are, of course, 26 such pairs composing the deck. 2) In addition to this special deck you will need a Red-Blue Double-backed card to match the backs of the two decks and a regular Blue-backed deck to match the Blue-backers in the roughed bene Tekel Deck. 3) Insert the Red-Blue Double-backer into the regular Blue Deck so that its Blue side is uppermost,- allowing it to blend in with the rest of the cards. The Mene Tekel Deck will appear as a Red deck. Both decks are placed in their card cases. h-) When ready to perform remove the regular Blue deck and hand it to the spectator for shuffling. You shuffle the Red-Blue Mene Tekel deck. Overhand Shuffle it. It's likely that the spectator will take this as a subliminal cue. Overhand Shuffling his deck as well. Table your Mene Tekel deck. 5) Take the regular Blue deck from the spectator and turnits faces towards your­ self. Scan the cards and immediately remove the Red-Blue Double-backer, placing it Blue-side up on the table. You have apparently removed a card from the Blue deck, placing it face-down on the table. b) Pick up the Hone Tekel Deck and spread its faces towards the spectator. Ask him to think of any card he sees. When he has thought of one, ask him to point to it. You upjog it (?). Due to the nature of the roughed pairs you actually upjog two cards as one. Say, "I have no idea as to what card you've thought of...I can only see the backs of the cards..."

7) Remove the upjogged card(s) and use it to scoop up the tabled Blue card. In the meantime the Red-Blue Mene Tekel Deck is now in a left-hand dealing position as your right hand has now scooped up the tabled card and is apparently holding both fairly squared with the Blue card uppermost. 8) Say, "Let's see the card you thought of..." Here flip the cards from your right hand flush onto the deck. Name the uppermost face card as being the one thought of by the spectator, then deal it face-up onto the table. This exposes a duplicate of the dealt card face-up on top of the deck. Take this card, still face-up, and use it to scoop up the just tabled card. Leave both cards still fanned as you point out that he thought of the same card as you previously tabled and removed from the Blue deck. At this point show both sides of the fanned pair. The spectator, of course, will see two regular cards— one with a Blue back and the other with a Red-back. Everything is copacetic. The Red-Blue Double-backer is on top of the Mene Tekel Deck with its Red back showing to match the rest of the cards. These can be spread in the hands, ribbon spread on the table, or fanned.

9) If you wish to clean-up and yet be set for a repeat, proceed as follows: Shift the two cards in your hands several times during your patter, finishing so that the Red-backed card is below the Blue-backed card while the cards are face-up. Toss both cards face-up onto the deck and do a Triple Turnover. This brings the Blue-back of the Double-backer into view. Thumb it off and place it in the center of the Blue deck. You are set for a repeat. A more complex and different approach, especially from a presentation standpoint, would be to force the Double-backer on a spectator. He, of course, doesn't look at this card. He merely places it face-down on the table. Now have him think of a card in the Mene Tekel Deck. At the climax the card he selected is the same as the "thought" card. A 3rd Approach is quite interesting in that a spectator indirectly proves to himslef that he actually did remove the same card as he thought of... For this you will need a Red-Blue Mene Tekel Deck, a Red-Blue Double-backer, and a regular Blue deck that is minus all the possibilities in the Mene Tekel Deck, i.e., the Blue deck has 51 cards after the removal of the Double-backer. These 51 cards are comprised of two sets of duplicate cards as in the well known "Premonition" effect. These cards do not duplicate any of the roughed pairs in the Mene Tekel Deck. Things should start becoming clear. Here's a brief description of the effect as it appears in working: 1) Obviously the Double-backer from the Blue deck is forced by the Classical Method of "Touch One" or using an Under The Spread Force. In any case, the chosen card is placed aside face-down without being seen. 2) The Mene Tekel Deck is introduced. Spread the faces towards the spectator and ask him to think of one. Next have him touch the "thought" card. Don't look at it but merely upjog it out of the deck and hold it in your left hand, still not seeing the card. 3) Address the spectator: "There is a duplicate of your "thought" card in the Blue deck. Would you please remove it?" Naturally the spectator will run through the pack and will not find the card. Patter: "This means only one thing— the card you selected and the card you thought of are the same...They arel" By this time your right hand has removed the upjogged card and scooped up the tabled card, turning both face-up onto the Red Deck. You then thumb off the cards one-at-atime face-up onto the table. h) Shift the two cards about, then casually show their backs as you conclude: "An incredible example of physical and mental affinity...whatever the hell that meansl" 5) From this point you can actually return the Blue duplicate to the regular Blue Premonition Deck and the Red backed card onto the Red Mene Tekel Deck. Place both decks into their cases. You can easily re-set everything when needed. If you wish to immediately repeat the effect, then follow the course already outlined in the original presentation. (NOTE: Use decks where the color and design of the backs differ.) "NO PALM CLIMAX" - 196h This is another variation of "Gambler vs. Magician". In this version the performer apparently cuts to three Fours, thus matching a Four-Spot previously placed aside by a challenging gambler. As the story goes the magician is also unaware that the gambler has secretly exchanged the previously tabled Four-Spot for another card.

The cheat buries the original Four-Spot in the center of the deck. The un­ suspecting magician continues to cut to the other three Fours, thus showing that he has won the wager. The cheat gleefully says "No". He explains that he switched the original Four for another card, hence the magician did not- cut to four-of-a-kind. Before the cheat can prove his statement, the magician turns over the four tabled cards to reveal Acest This staggers the cheat, but he still musters enough cool to ask, "What happened to the Fours?" The magician grins and says, "Don't tell me you never heard of holding out?" Here he produces the four Fours, each from a different pocket. A couple of points before we go any further: (l) The deck can be borrowed; (2) No palming is involved. These alone should excite students of modern card magic. As mentioned earlier, the deck may be borrowed. A slight set-up is required; however, those familiar with various culling procedures (See Mario1s Objectives, Faro Controlled Miracles, Estimation, and notes on "The Prayer Cull" which appeared in The New Tops.~) will have no trouble in this department. The set-up, of course, could be a delayed one or could be arranged during the course of other effects. WORKING 1) Four cards need to be secretly removed from the deck. These are the 4-D - 4-S - an X card. The X card goes into your right (side) coat pocket. The ^D goes into your left (side) coat pocket. The kC and 4S go into your inside left and right coat pockets, respectively. 2) There is a 5-card set-up on the bottom of the deck. Starting from the face their order is: 5 C - A H - A D - 5 S - A C - a crimped X card. (The crimp should be a downward corner crimp at the lower right corner as the set-up lies face-up.) There is a 2-card set-up on top of the deck. From the top down they are: hH -AS. 3) The set-up deck is introduced and tabled. As you deliver your preliminary patter as per the usual Gambler vs. Magician, you casually give the deck a few tabled Riffle Shuffles. Retain the top and bottom set-ups. k) When the gambler makes his bet about cutting to three matching cards to get

four-of-a-kind (in your patter story), you turn over the top card (^H). to it as a Four, then toss it face-down onto the table.

Refer

5) You continue to false shuffle, retaining the set-ups, as you say: "Well, that shouldn't be too hard if you allow me to shuffle the cards a few times." After a couple of shuffles you add: "As the magician was shuffling the cards the telephone rang. He excused himself and left to answer it. While he was out of the room, the gambler took the top card of the deck and made a switch with the tabled Four." Here you openly remove the top card (AS) without showing it. Place it face-down onto the table. Pick up the tabled 4H, show it, place it face-down on top of the deck, and give the deck a single cut. 6) Your set-up is now in the center of the deck below a crimped X card. Patter: "When the magician returned to the room he didn't realize what had happened. He simply resumed shuffling the cards." Here cut at the crimp and Riffle Shuffle, bringing the crimped X card to the bottom and the set-up to the top. At this stage your set-up from the top down should be: AC - 5S - AD - AH - 5C - 4H.

7) Say, "I should have one on top..." Here execute a Double Lift and raise the card(s) to your left fingertips in perfect alignment. Now you can use a Mario Pip-Covering Display (as shown in Figure 1_) to apparently show a 5S as the i4S. Your right thumb moves underneath the card(s) at the lower left corner (just above it). The right fingers, of course, go above the card(s) on the back. Your right hand rotates palm upwards, pivoting the firmly gripped cards face-up. When the face card (5S) of the "double" comes into view, your right thumb transversely lies across the card from the lower right corner to slightly above center. Hence the center Spade pip is covered as well as the entire lower index (pip & number). Simultaneously your left thumb and 1st finger grips the opposite, upper right corner of the double-card. The left thumb should just cover the "5" as both fingers further steady the "double's" alignment. As the card is momentarily flashed it can also be flexed briefly. Allow the four large pips to register, then flip the card(s) face-down. (Note; This is a technique that requires some experimentation and nerve on the part of the operator. It must look natural and fluid. Too much deliberation, adjustments, etc. will ruin the timing of the quick illusion, fry various positions and work out your own tailored variation based on the explained mechanics. The whole operation should take place in a matter of seconds. Since the psychology of the situation is right, the spectator should not be overly suspicious. You are attempting to match a previously tabled Four. The manipulation should seemingly occur during the shuffles and cuts. He halfway expects to see a Four. When you flash the four large pips — the only thing he really sees — his expectation is satisfied and he sees what he believes.)

8) Deal off the top card (AC) and place it face-down onto the table. Double-Cut the top card (58) to the bottom of the deck. False Riffle Shuffle, retain the set­ up, and conclude with a Running False Cut. Say, "I should have gotten a pair this time...the last two Fours...1" Here riffle the left longitudinal side of the deck with your right thumb in order to separate the top four cards. 9) Now you go into the Mario Pivot Spread (which is easier) or the D'Amico Spread (if you're adept enough). The block of cards are first raised to your left finger­ tips as in Step 7 with the "double". When the cards are spread as an apparent "pair" your left thumb moves in to cover the "5" index. The face or uppermost card of the spread is the hH. Underneath the spectator will see the two large Club pips of the 5C's upper end. Again, this is very good. The impression of a pair of Fours is very convincing (see Figure 2). This assumed "pair" is flashed, then flipped face-down onto the deck.

10) Now deal off the top two cards (AH-AD) face-down onto the table. Execute a casual Slip Cut to lose the top card (5C). It goes into the center, leaving the 4H on top. Retain the deck in your left hand. 11) Patter: "But the gambler smirked and said, 'You lost...you don't have four Fours.' I said, 'Wait a minute...you said four-of-a-kind and that's what I have!' These are the four Aces." Here you turn over the four tabled cards to reveal the Aces. 12) Patter: "The cheat was stunned, but he managed to stutter: 'What happened to the Fours!" As you deliver this line you secretly get a left 4th fingertip break under the top card (4H) of the deck. 13) Show your right hand empty. Reach cleanly into your right (side) coat pocket and remove the X card back outwards. Transfer this card to your left hand, which apparently tosses if face-up onto the table. Since you are also holding the deck with a break under the top card, you actually execute the Kardyro Change Supreme or Mario Visual Retention Change if you wish to do an offbeat and deceptive delay of showing this card which is the 4H.

14) Immediately after you execute the Visual Retention Change then drop the deck onto the table. Now you can cleanly and slowly remove the remaining three Fours from your pockets showing each as you remove it. For the conclusion turn over the still face down 4H. Added Notes Some may prefer to eliminate the change of the X card. This can be accomplished as follows: Have the X card out of the pocket; it will not be used. The 4D is placed into your right (side) coat pocket. Your left (side) coat pocket is empty. When you reproduce the Fours begin by turning your right side toward the audience as your right hand slowly and dramatically removes the 4D from its pocket. While you're doing this your left hand has ample opportunity and time to thumb off the top card of the deck (4H) into your empty left coat pocket. Conclude the routine as already outlined. Besides using Five Spots as Four Spots, you can use Seven Spots as Six Spots or Three Spots as Two Spots. The principle remains the same. Picture or court cards can be used as well. Jacks and Kings work very well. The aspect to keep in mind is the immediacy of the picture of what the audience already expects it to be.

I prefer to use Sixes and Sevens when I do the routine. When you use these cards, your right thumb only needs to cover the lowermost Pip of the Seven Spot during the Cover Display. This puts the thumb in a more natural position nearer the lower end of the card rather than directly in the center. The Figures 2 and 4 show a 7 spot passed off as a six spot while the two cards spread apparently shows a pair of sixes but the under card is a seven spot with its center pip at the lower end. Also see Further Notes for "Fast No Palm Climax" — May, 1964.

Iff BEST NUMBER EFFECT: Same as "A Good Number" in "Deck Deception" and in "Notes On A Miracle" in "Hierophant" issues 5 and 6. The following method, using a Double Loading Move, eliminates the Double Deal originally used in the 8th Method of "Notes On A Miracle". Briefly the effect consists in spectator inserting face up cards, at different points, into a face down ribbon spread deck. The cards next to each face up card are removed and fanned to form sort of dial with alternating face up and face down cards. "If you dial this number", says the performer, "You will find it a good number." With this the semicard dial is turned over to reveal the four Queens as performer concludes with, "You'll get a lot of broads" (or ladies if you're in that kind of company).l) l) The four Queens are secretly on the top of the deck. Shuffle deck retaining top stock on first Riffle Shuffle. On next Riffle Shuffle cut top portion to the right and during the riffle shuffle hold back 4 top cards of left hand portion and 4 Queens of top right hand section. Quickly release two of the Queens from under the right thumb followed by releasing all 4 X cards, from left hand portion, onto the 2 Queens. Conclude by letting the remaining two Queens fall last or on top of all cards as you square up the deck. The next shuffle again the right hand cuts the top half to the right. This time hold back the top two cards of the left hand section and two Queens of the right hand portion at the same time making sure you do not mix in any other cards into those that comprise the 4X card and previous two Queens. The right thumb now releases one Queen and the left thumb releases its two cards onto the Queen.

The right thumb lets the final Queen fall last or on top and the deck is squared. If your riffle shuffle stack has been correct the order of the cards, from top down, are one Queen, two X cards, the second Queen, four X cards then two Queens. Note that there are 8 cards preceding the two Queens at 9th and 10th positions from the top of the deck. Remember this as it is important. Also remember that a Queen is 4th from the top of the deck. 2) The above riffle shuffles, which can be cut down to the two that stack the four Queens, are sufficient to satisfy anyone that the cards have been fairly mixed. Ribbon spread the deck, faces down, with the right hand from left to right. Ask a spectator to remove four cards from different parts of the deck; however, tell him that you want all spot cards and that if he gets a picture card it is to be re­ turned and another choice made until he gets a spot value card. This means he will not be restricted as to where he chooses a card from the spread yet insures that in the event he draws a Queen you will take it back and replace it where it came from. In the event that he should choose a card or cards from between the Queens then just note from where this card or cards came then merely scoop up the deck and give it another riffle shuffle during which you can restack the required card or cards to between the Queens. You will have little trouble on this score especially if, with both hands, you sort of gesture towards the center of the spread as each hand automatically sort of obviates the left and right ends of the spread. Finally not wishing to belabor the point, the best procedure would be to shuffle and retain all 4 Queens on top of the deck. Next have the four X cards removed as suggested. Now scoop up the deck then in the next two riffle shuffles stack the 4 Queens as already explained. After these riffle shuffles again ribbon spread the deck, from left to right, faces down as before. 3) Take one of the face up X cards the spectator has chosen and hold it in the right hand by the upper right corner with thumb on the face and fingers beneath. Starting at the right end of the spread let the lower left corner of the face up card press against the card spread. Move the right hand to the left when a clicking sound will be heard as the cards corner falls off of and onto each succeeding card. During this you call attention to the sound as you say, "Do you hear that?" Return to the right end of the spread as you say, "I want you to do this and whenever you feel like it insert the card face up into the spread like this". As you patter your right hand slowly moves its card to the left until you have passed the 8th card, from the right end of the spread, then you insert the card face up into the spread at that point. The Figure 1 shows this action and naturally the face up X card now precedes two Queens which are next to and directly to the left of the face up X card.

FIGURE 1

b) Now instruct the spectator to pick up one of his X cards, run it along the spread of cards, then insert it face up anywhere beyond the one you yourself have inserted; however, do not mention this. He will just naturally do this but if he does not just deliver the cryptic line, "No-one after the other - any place". He will then place the ^X cards face up, at different points, into the spread with the resulting picture, more or less, as in the Figure 2 depending on the neatness and card of the spectator.

5) Have the spectator now push in each projecting face up card then tell him to close up the spread into one rather un-squared pile or deck. You pick up the deck, square it up, hold it face down in left hand with all four fingers against the right side of the deck and thumb across the top of the deck. The left thumb deals over the top card which is taken into the right hand dealing position or Mechanics Grip; however, the upper right corner of the card is sort of pinched between the base of the right 1st finger and thumb. All the fingers of the right hand are extended and are below those of the left hand which hold the deck. The card or cards, that will be taken into right hand, do not clear the deck but the right hand does move to the right, as in the Figure 2> with its first single card.

6) Note that in the Figure 2 above the left thumb has already advanced the next or second card. This is important as now the right hand moves back to the left again in order to take this second card to under the first card but in a slightly spread condition. The right hand again moves to the right, this time with two cards, as left thumb pushes or deals over the third card. Again the right hand moves to the left in order to take the third card to under the two cards in the right hand but in a fanned or spread condition. The right hand with its three card spread moves to the right as left thumb advances the next or fourth card which is a Queen. At this stage the situation is shown in the Figure b just before the important move.

7) As the right hand moves to the left, as if to take the 4th card, the right hand spread of 2 cards are actually pushed past the 4th card as the left thumb at once falls onto the 3rd card in the spread, in order to pull this 3rd card to the left while at the same time the left 2nd and 3rd fingertips contact the face of the Queen from below and push it to the right and under the spread of the top 2 cards thus creating a step, at the left side of the 3rd card from the top. Both hands now sort of separate just enough for the 5th card of the deck to go above the Queen as shown in the Figure an exposed back view of the loading action. (Note The right to left movements of the right hand accepting the cards is also explained in connection with "The Prayer Cull". See Tops or Faro Controlled Miracles for further description.)

8) The position of the right hand around the front end of the deck hides the fact that the Queen is now riding under the spread of cards as left thumb continues to spread the cards till you reach the first face up indicator card. The two cards to the left of this indicator are two Queens. Here you must run one of them under the spread, using the same right to left movement of the right hand as detailed in Step 7 above to aid in the deception. The Queen that is run under the spread is the one directly to the left and next to the face up indicator. The technique here is for the left thumb to fall onto the face up indicator, in order to keep it in place, as left 2nd and 3rd fingertips from beneath press up against the face of the Queen. At the same time both hands move slightly towards each other during which action the left thumb pulls the face up indicator to the left while at the same time the left 2nd and 3rd fingertips push the Queen to the right and under the spread; however, this Queen is kept apart from the Queen already under the spread. Both hands now away from each other just enough so that the next or following cards, from the left hand portion, will easily be fed above both Queens which now are riding under the the spread as shown in the Figure' 6 a bottom view with the fingers out of the way to clearly show the condition at this point.

J-1 "

9) With two Queens now riding under the spread continue until you reach the second face up indicator. At this point the left 2nd and 3rd fingertips contact the 1st Queen, to the left, under the spread and pull it under the second face up indicator. This action is seen in the Figure 7 a bottom exposed view of the loading action.

10) Having loaded the Queen under the second face up indicator just continue spreading the cards with only the one Queen riding under the spread. Continue spreading the cards till you reach the third face up indicator. At this stage you merely display it, over to the right, just enough so that in squaring up the deck the Queen under the spread is easily loaded to under this third face up indicator card. The Figure £ shows the top view of the spread decks condition just before the squaring up of the deck and the loading of the Queen to under the third face up indicator card. The Figure £ shows the exposed bottom view of the deck as the Queen is loaded or slid to under the third face up indicator card.

^ll) The spreading actions of Steps 6 to 10 inclusive and depicted by the Figures 2 to £ inclusive are all done in the time it takes you to deliver the simple patter line of, "Remember - you could have put these face up cards anywhere but you put one here, one here, one here". At this point notice that you did not go beyond the 3rd face up indicator card and in fact when the 3rd one is reached the spread is at once closed and the decksquared asyou add, "Tell you what - let's do this". Here you respread the deck, still between both hands, until you reach the first face up card. All the face down cards to the right of this first indicator card are placed face down, in a squared packet, to the table. Onto this squared packet deal the 1st face up indicator card. This subtly places the 1st face up indicator onto a Queen. At this stage a Queen is also on top of the cards in your left hand. Spread the cards again, between both hands, till you come to the 2nd face up indicator card. Again all face down cards to the right of the face up indicator card are placed, in a squared packet, to the table. Onto this second packet deal the second face up indicator card.

Thus you have a Queen below this indicator and the 3rd Queen is now the top card of those in the left hand. Spread the cards to the 3rd face up indicator card. All the face down cards to the right of the indicator card are placed, in a squared packet, to the table. Onto this 3rd packet deal the 3rd face up indicator card. You have a Queen below this indicator card and the final Queen is on top of the cards still in your left hand. Finally spread the cards to the 4th face up indicator. Again all the cards to the right of the face up indicator card are placed face down, in a squared packet, to the table. Onto this deal the 4th face up indicator card. You now have a Queen below each face up indicator on the 4 tabled packets. The remaining cards, from the left hand, are taken by the right hand and fanned out face down as you say, "You could have placed your cards anywhere". At this stage the Figure 10_ shows the layout of cards as it looks to the spectator. Note that you do not form a neat row of packets but rather a haphazard square of the 4 packets.

12) Right hand drops its cards face down to the table. Next right hand picks off any of the face up indicator cards, to place it still face up into the left hand, followed by next picking up the face down card that was under this face up indicator to place it, still face down, into the left hand onto the face up indicator card. Repeat these identical pick up actions with the cards from the remaining three tabled packets. This results in left hand holding eight alternated face down and face up cards. The pickup of each pair is commented on briefly by saying, "Let's take this card and the one next to it - this one and this one - etc.", until all four pairs have been picked up and are in left hand dealing position. 13) Using both hands fan out the eight cards to form a sort of dial, as in the Figure 11, which is then held by left hand. Use the right 1st finger to point to the fan as you say, "This is like a telephone dial".

F IG U R E

1 1

lh-) Still holding the fan dial in left hand point to each indicator card as you say, "If you dial the number (here call off each value and in the case of a 10 spot call it "one-zero") you will find it will get you a lot of broads (or girls or women or ladies depending on the company for which you perform)". Here the right hand takes the fan at the inner end, with thumb below and fingers on top, to turn it over, to the right, in order to show the four Queens between each face down card. If your audience is more in front than close to you then simply raise the fan towards them to show the four .Queens to climax the effect as in the Figure 12.

15) The Double Riding and Loading actions, as used on the two Queens in this effect, should be studied as they are also used in other routines in this book such as an "Oil and Water" effect described in another section. 16) For another version of an effect along similar lines but with several surprise climaxes I have included the effect "Hofzinser Would Have Loved This" which now follows. HOFZINSER WOULD HAVE LOVED THIS EFFECT: Into a deck, that has been shuffled and ribbon spread face down on the table, the spectator inserts some face up indicator cards at various points in the spread of cards. The cards next to each face up indicator card is removed. The face up and face down cards are fanned to form what the magician refers to as a reasonable facsimile of a telephone dial. He comments that if the gentleman in question dials the particular number, indicated by the spectators face up cards, he will get in touch with many ladies. 'With this the fan is turned over to show that the four alternated face up cards are the four Queens. The fan or dial is turned over. The performer now remarks that if the ladies dial this number they of course would end up with many gentlemen. The fan is turned over again to reveal that now each face up alternate card is a King. The fan is dis-assembled and placed on top of the deck. The question arises as to what happened to the ladies. On looking through the top cards of the deck, then through the whole deck, the Queens and the Kings are nowhere in sight. The performer remarks that the Queens and Kings in question eloped, so to speak, to run off to their own special hideaway. With this the performer now produces a King and a Queen from each of four pockets. As each ’ couple' is produced the entertainer points out that not only have the couples eloped but that each was fortunate enough to find a compatible mate. That is the King and Queen of Hearts Spades - Clubs - Diamonds are paired.

1) Required are only four giramicked cards which are the traditional ones that show a Queen or a King depending on which end is uppermost. Mine were made by Jay Marshall of Magic Inc. and I had them made so the meshed angled halves ran from the upper right corner to the lower left corner. This way when the cards are fanned, from left to right, you get a very good full picture of what is supposedly either a Queen or a King depending on which card or cards you wish to show. 2) You can use almost any of the methods, for getting the face up up with the gaffed Queen - King cards, that were described in the the very direct Bottom Deal (or Bomb Door) Drop Sleight; however, use the method already described under "My Best Number" and is in favorite.

indicators to end Hierophant including for this you can fact my personal

3) Previously remove all the Queens and Kings from the deck. Pair them up so they will be of the same suit, i.e., QH and KH - QS and KS - QD and KD - QC and KC. Place a Club pair into the left trouser pocket. The Heart pair into the left inside coat pocket. The Spade couple goes into the right side trouser pocket while the Diamond couple goes into the right inside coat pocket. The four gaffed cards, representing Queens and Kings, go on top of the deck face down. The deck is placed into the card case, for performance, then into left side coat pocket. 4) When ready to perform remove the deck from the card case then place the card case back into the left side coat pocket. At this point you can do several effects which will not disturb the top four gaffed cards. Any Ace effect, such as the "Impromptu Succession Aces" can be done. Any of the Oil and Water routines or any routine which uses a packet of cards. You can do a couple of versions of Truimph which will not disturb or disclose the four gaffed cards on the top of the deck. 5) You now go into the effect "My Best Number" making sure that the gaffed cards are all facing one way and with the Queen index uppermost. When you are getting the spectator to select the four indicator cards you must, in this case, make sure he does not take any of the Queens. To insure this simply take off the top four cards, after first spreading the deck face down, as you say, "I want you to remove four cards and hold them like this. But remove your cards from any place, one at a time, in the deck. Turn them face up." In the event he has a picture card you say, "We want all spot cards so just put that one back and remove another". Eventually the spectator has four value cards. Meantime you drop your four cards back onto the top of the spread and scoop it up. Tell the spectator to mix his four cards then to deal them face up, in a row, in any order he likes. All this gives you time to stack or set the top four gaffed Q-K cards into the positions required as explained in "My Best Number". 6) 'With the gaffed cards set properly you ribbon spread the deck face down for the insertion of the face up indicator cards. Here again the procedure is as explained under "My Best Number". 7) Pick up the deck and proceed with the loading of the gaffed Q-K cards, next to the indicator cards, as already detailed in the effect "My Best Number" which uses the Double Loading Moves. 8) In accordance with the procedure of the forming of four packets, with an indicator face up card on top of each packet, the gaffed Q-K cards will now be just below each face up indicator card as in "My Best Number".

9) The only difference now is in the pickup of the face up indicator, with the face down card beneath it, from each of the four packets. This pickup is made so that the face up indicator is picked up first and then onto this is picked up and placed the card that was just below the face up indicator. 10) Continue picking up the cards in the above manner until you have formed the so called "Telephone Dial". When you fan out the eight alternated face down - face up cards the top card of the fan will be face down while the bottom card of the dial will be face up. This arrangement effectively conceals the half of the gaffed card or at this stage the King half. 11) In accordance with the presentation, as described under "Effect", the fan is turned over to reveal four Queens next to each face down card. The right hand now turns the fan over and towards the performer so that the wide outer circle of the fan will be towards the body. The left hand comes up palm upwards and the fingers and thumb extend in order to pull in on the sides of the fan and square up the packet into the left hand. This action has also reversed the cards end for end and now the King indexes are uppermost or at front end of the packet. 12) Using both hands re-fan the cards to again hold the fan in the right hand. Make your comments about what happens if the ladies dial the number. Turn the fan over to reveal the four Kings. To all appearances this does appear about as far as the effect can progress; therefore, you will have plenty of misdirection for the following sequence of moves as they also appear to signify the termination of the effect. 13) Turn the fan over to bring the regular face up cards uppermost. Square up the packet then using both hands quickly up-jog the four face down cards for about twothirds their length. With the k cards up-jogged square the sides of the packet. With the right hand tap the outer ends of the up-jogged gaffed Q-K cards to even them as much as possible. The lower face up regular cards will be in a dealing position in left hand as the right 1st 2nd fingers contact the side of the upjogged cards at the upper left corner. These four cards are pivoted to the right, using the left 2nd finger at the right side of this packet, near lower right corner, as the fu 1 crum point. As the right hand pivots the up-jogged cards free and clear, of the lower face up cards, the right lst-2nd fingertips will be under its packet, with the thumb on the top, at the upper left corner which will automatically become the lower right corner as the pivotal turn is completed. Without any hesitation the right hand appears to place its face down cards to under the face up cards in left hand. Actually the right hand positions or places its cards into either a Direct Rear Palm or preferably into a Direct Full Palm. To place the cards into a Direct Full Palm the left fingers extend slightly in order that the right hand can easily place its cards into the Full Palm. At once the left fingers close around these cards as at the same time the right hand moves to above the left hand in order to grasp, from above by the ends, only the four face up cards which are carried to the top of the deck and deposited there. In placing the cards into a Direct Full Palm my own preferance is for the tip of the left 3rd finger to engage the upper right corner of the packet being placed into the palm. The lower left corner of this packet then comes at a point where the mound of the left thumb is. The palmed cards are thus slightly angled but fully concealed especially if the left thumb moves over onto the upper left corner of the palmed cards thus concealing not only this corner but the left side of the palmed cards as well. This palm position, if properly taken, takes the strain off of the bony part of the left thumb thus preventing the usual angular appearance of the thumb so common with most Full Palms.

1*0 Here the left hand goes to the left side coat pocket, leaves the palmed gaffed Q-K cards, then removes the card case to place it on the table. By this time you start to mention about how many people wonder what became of the Queens. Now add, "But they should also ask about the Kings", as you point to the deck. Have any of the spectators check the top of the deck as well as through the deck if you wish. By this time your hands are devoid of any cards and you are ready to reproduce each mated pair after remarking that they all ran off to their respective rendevous. 15) Casually showing the left hand empty reach into the left trouser pocket to pro­ duce the Queen and King of Clubs making the appropriate comments about each finding the compatible mate. The right hand reaches into the right side trouser pocket. As you remove the Queen and King of Spades you can say, "I really had to dig for them didn't I". With left hand point to your right inside coat pocket as you say, "I keep my money there and wouldn’ t you know it - The King and Queen of Diamonds", as left hand now produces these cards. Pause and say, "Its obvious where the last couple will be - right next to my heart". Here the right hand produces the King and Queen of Hearts from the left inside coat pocket. If anyone groans at this last line simply say, "You have no heart". Note - This effect had to be written again as the original text, with photos, was submitted several years ago to Jon Racherbaumer for inclusion in the Hierophant. NOTES ON PACKET SWITCHES

Sept. 1958

1st Method - Based on a packet switch that was originally done using a stripper deck. The following techniques use a regular deck. 1) Top 3 cards of deck are secretly injogged. The right hand holds four Aces fanned and face down. The top three cards of deck can be injogged for a quarter inch, in which case the deck is tilted towards performer, or they can be in­ jogged for only the width of the white border and then deck can be held level. 2) Right hand displays the four Aces and left hand takes one Ace at a time onto top of deck flush with the upper end of deck.After having taken 3 of the Aces the right hand holds only one Ace. At this stage condition of deck is as in Figure _1 with 3 Aces flush and yk cards injogged.

3) Right hand places its Ace face up onto deck and flush with the injogged cards. Right hand comes above deck as deck is lowered into view, unless you used the fine method. The left thumb should lie along left side of deck and four left fingers are at right side of deck. The right 1st finger is curled on top but the right 2nd 3rd - hth fingers are extended across front end of deck to completely cover front end. The right thumb is at the lower left corner of the injogged packet.

4) i'he right thumb now pulls the lowor left corner of the injogged packet to the right, angling the cards at the lower left corner. Right hand now move;, the deck 'forward so that left thumb and base of loft forefinger can pinch the lower exposed left corner of dock as in the Figure 2 that shows all finger positions.

5) With the cards as in Figure 2 the left hand has a firm grip on deck while right hand has a good grip on the angled packet. All that remains is for right hand to s1ide its packet off deck to the table. The face up Ace adds greatly to the Illusion. Due to the fact that the Aces were shown clearly as the top cards of deck the switch is very puzzling. 2nd Method - This method while not as good as the 1st but has certain merits. t) A break is held under top 3 cards with left 4th finger. Right hand displays four fanned Aces. Deck is held level,as each Ace is shown it is taken into left hand on top of deck in an angled position as shown in Figure note that deck is held in Mechanics Grip.

2) fhe last Ace is turned face up and placed flush and in line with the rest of deck as in Figure 4.

3) Fha right hand grasps the face up Ace plus Lhe cards as in Figure U with right hth fingertip coming onto the upper right corner and right thumb at lower end coming sort of between the angled cards at center. The right 1st finger is curled on top, left thumb moving over to upper left corner onto exposed corner of the J Aces as in Figure h, while right 2nd _ 3rd fingers of course are at front end. The left 1st finger also moves to along right side of deck with left 2nd 3rd and hth fingers. b) With deck and packet in the above position the right hand can first swing its cards so that the angled 2 Aces go in line with rest of deck. Left thumb pressing

on the upper left corner of the 3 Aces keeps them in place as right hand moves away with its packet of supposed Aces which are tabled. 3rd Method _ This is obviously the stripper deck approach to a regular deck.

1 ) Get the situation as for the 1st Method; however, in this case tho packet is 1eft in-jogged as right hand moves to take the injogged cards by the lower ends between right thumb and socond finger with 1st finger curled onto the packet. The whole action is similar to the stripper deck handling except done with a regular deck. 2) The above is just a basic description of the idea which can take many variations and which will be more detailed in future writings. Ath Method _ The' basic principle behind this is not new but makes a fair packet exchange of four Aces for four X cards. l) A break is held under top four cards. The right hand, which holds four Aces fanned, now squares them against top of deck in an up-jogged condition for half their length. The whole sequence is made with deck and Aces facing audience. The result is as shown in Figure 2 which also shows the right hand fingers positions after the right hand helps square the up-jogged Aces into a fairly neat packet.

2) With deck still facing audience you now create the illusion of having pulled the Aces off the deck, with right hand, as follows: The left 1st finger pushes down on the Ace packet while at same time the right hand pulls inward on the Aces and the four X cards above the break. Also, as the Aces go flush with top end of deck, both hands are lowered but by this time the right hand is away from the deck and holding, at inner end, what appears to be the Ace packet.

3th Method - By Pass Packet Switch - This method is really an off tho trail type as compared to those previously described and in fact resembled the Switches In Notes of Id5b. while it can bo done anywhere from one card to a packet of any number of cards it is hero described for four Aces. 1) A break is held under top four X cards of deck with left 4th fingertip. The right hand is holding the four Aces face down, in a squared packet, from above by the ends. The right 1st finger is curled on top. 2) The right hand approaches the top of deck with its packet. This packet is carried past the left side of deck. At the same time the left 4th finger plus the other left fingers straighten out thus moving the cards above the break over the right side of deck. ■The situation at this precise second is an in Figure 6 an end view. The moved off portion from top of deck is co.vered by right hand from above.

3) From above the picture is as in Figure 7 where note how the base of the thumb hasgri ppedthe bypassed Aces at left side as right hand fingers and thumb grasp the 4X cards.

FIGUKii 7

4) Without hesitation tho left hand moves the deck to place it face down to the left as right hand remains stationary. left hand comes back to take the packet from right hand, by left thumb going under the packet, in order to turn cards face up and fan them or spread them between both hands in the standard manner of looking at a hand of cards. 5) The above switch is fast, easy, sure, and silent. If done properly there isn't even the usual "swish" sound common to such switches. Can be done at the table or standing. Tho by Pass Action is most important so study this carefully.

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NEW SANDWICH SWITCHES OBJECT: To exchange a selection between two face up Deuces (or any other pair from two Aces to a pair of Kings) but leave an X card, for misdirection, between the two face up sandwich cards. Can also be used as a "Direct Removal" of a card, from between the sandwich cards, leaving just the two face up sandwich cards. This last was established in a "Kabbala" for April 1973 under the title of "Vise Versa", however, the technical details of the actual mechanics was not published leaving those with less imagination to apply the Kosky Change in order to "rip off" the vanish idea. What is to be described will give the practitioner several methods and approaches to choose from. Also an effect "Devils and Witches" will show how the switchouts are applied. First the methods. 1st Method1 1) Assume you have two Black Kings on the table. The deck is face down in the left hand dealing position. Spread the deck, between both hands, for the selection of a card which is removed by the spectator. Square up the deck holding it again in the left hand dealing position. The right hand picks up the two Kings holding them faces up, in right hand, by their lower right corners. Meantime the left thumb has secretly pushed over the top card just enough for the left hth fingertip to obtain a break below this card. The right hand, with the two face up Kings in a sort of fan, squares the Kings against the top of the deck secretly adding the card above the left kth fingertip break to under the Kings. At once the right hand comes over the deck to grasp those cards, above the break, from above by the ends. Right hand lifts these 2 cards up to the left fingers, as both hands now square up the supposed two face up Kings well above the deck. 2) The left thumb and 2nd finger are at the sides of the packet with left 1st finger at the front end. Thus the left hand now holds the King packet as right hand changes position to grasp the King packet by the upper right corner with thumb on the face and fingers beneath. This leaves left hand with the deck. Left hand, still holding the deck, reaches for the selected card which left hand inserts to under the Kings at the outer end, for only about a third of its length or less as shown in the Figure 1_ where both hands are shown. note that the dock is in, a d e a l i n g , . p o s i tion usually referred to as the Mechanics Grip or with the m finger curled around the upper end of the deck.

FIGURE 1

j

3) The right fingers and thumb hold the King packet firmly as left thumb and fingers pinch off only the face King in order to place it underneath the packet in order to trap the still up-jogged card between the Kings. The Figure 2 shows the left fingers in the action of placing the face up King

h) With the Kings again squared the left thumb and fingers hold the left side of the packet so that the right hand changes position to grasp the King packet firmly at the lower right corner, thumb on index with 1st and 2nd fingers beneath, as in the Figure which shows selection still out-jogged.

5) The right hand now places its cards onto the deck in such a manner that the inner end of tho Kings will be automatically in-jogged, for about a quarter inch or more, because the right 2nd finger, hitting the inner end of the deck, will prevent the Kings from going on flush with the lower end of the deck. The out-jogged cards hide this fact at front end as shown in the Figure 4 a top view at this stage.

6) As soon as right hand places its cards as in Figure 4 above the left hand tilts upwards to show the face of the selected card to the spectator. The right hand comes over above the deck, fingers at front end of the outjogged card with thumb at lower end of the deck, then starts to push the out-jogged card flush, as seen in Figure jj, until the selection is flush with top end of the deck; however, at this stage, viewing the deck from the sides, the actual condition is that while the selection is flush with top end of deck it is not flush with the face up Kings which remain in-jogged, at back end, with an ^ card still between them as in the Figure 6.

FIGURE 5

FIGURE 6

7) In the Figure 6 note that the right thumb will contact the lower left corner of the in-jogged King packet. The right 1st finger will be curled on top of the deck with the 2nd - 3rd - 4th fingers extended along the front end of the deck which is still tilted upwards towards' spectator at this stage. The left thumb and 2nd finger have shifted to grasp the upper sides, near upper corners. The left 3rd - 4th fingers are close together, at right side of deck, near the upper end. The right thumb, at inner left corner of injogged King packet, now moves and swings the King packet, to the right, as in Figure £ a left side exposed view of the action, During this the left thumb and 2nd finger, at the sides of the upper end of deck near the upper corners, keep the actual selected card in place on top of deck.

8) Once the King packet is pivoted to the right you have three alternatives of how the right hand finally moves the King packet from top of deck, actually sliding it across and off the deck because of the selection still basically in among the Kings. The first method requires change of the right hand position. This is for the right hand to grasp the lower right corner of the King packet, thumb on face of the Kings with fingers beneath. The left thumb moves across to press onto top of the deck and the selection at the upper left corner. The action is shown in Figure 8 a top view where note that the King packet must be slid off of top of deck and not lifted during this action until the King packet is clear of the deck.

FIGURE 8

FIGURE 9

9) The second method is for right hand to move so as to grasp the sides of the King packet as shown in Figure £. In this case the right thumb is positioned on the left side of the Kings, near the lower end, while the right 1st finger is still curled on top with right 2nd - 3rd - hth fingers grasping the right side of the King packet. Here again it is important you slide not lift the King packet off of the top of the deck. 10) In the above Figure 9 note that left thumb remains against left side of the deck; however, the left 1st finger has moved to over the top end of the deck. Also the left 3rd finger acts as a pivot point as the right side of the King packet presses against this finger to aid in the pivotal action and final removal, of the King packet, from top of the deck to the table. An X card is now between the two face up tabled Kings while the selection is on top of the deck.1 11) *Jhile the move has been described as substituting one card for another, from between the face up pair of cards, it naturally can be done to ex­ change several chosen or known cards for an equal amount of X cards that will remain between the faee up apir. It also follows that a selection or two can be directly stolen from between the face up pair to leave only the face up pair thus later acheiving an apparent vanish of a card or cards from between the face up pair.

12) Some may find that in sandwiching a card or selection, between the face up Kings, as depicted in the Figure _1_ to 2 Steps 2 to h, may be just a little tricky especially if using an all over design deck. For this reason the following 2nd Method To Sandwich A Card will be found much easier. 1) In placing the two sandwich cards face up against the deck, the two Black Kings in this case, you secretly add the top X card of the deck beneath them. Holding the King packet face up, from above by the ends with right hand, the left thumb peels off the face King and transfers it, still face up, to the bottom of the King packet. The X card is now face down between two face up Kings. 2) The left 2nd finger, from below, either buckles or pulls down the upper right corner of the lowermost King in order to angle this King, to the left, just enough to show its upper left index corner. The left fingers and thumb momentarily grasp the left side of the Kings in order that the right hand can change position and grasp the Kings by their right side at about center. This leaves left hand free to take the selected card from the spectator. The Figure 1JD shows the situation just before the insertion of the selection between the slightly spread Kings.

3) Insert the selected card face down to between the face up Kings but also below the X card and the face King. The left fingers and thumb now square the upper sides of the King packet. Left fingers also hold the sides of packet as right hand moves to grasp the elongated sandwich at the lower corner. The situation now is similar to that already shown in Figure Q. From this point you can follow the Switchout Technique of either the 1st method as per the Figures 2 ~ l - l ~ § . ~ Z - § . or th0 2nd method as per Figures ] to 2 inclusive. In either case I will follow by describing some additional techniques for the Switchout.

3rd Method l) In this method the selected card is inserted between the Kings for about half its length. Next the elongated sandwich is placed onto the deck so that the out-jogged selection is flush with top end of deck while the Kings are now in-jogged as shown in Figure 11♦

FIGURE 11

2) Right hand now comon over as if to push the Kings flush with the right thumb; however, as the thumb pushes the Kings it does this so that the Kings are angled off, at the lower end, slightly to the right. This is shown in the Figure where note that at this stage the left thumb is at left side with the ball of thumb at the upper left corner.

3) In Figure 12 above the right thumb is pressing against the inner left corner of the King packet while the right 4th fingertip feels the upper right corner of the King packet. Right hand now moves the deck forward so that the left thumb can contact the top card of the deck at the exposed lower left corner. The position of both hands is now as shown in the Figure 13.

4) With the left thumb pressing on top of deck and the base of left 1st finger pressing upwards the decks lower left corner only is thus pinched. This enables the right hand to move off, to the right, thus sliding its King packet off the deck as shown in Figure £ and completed in the Figure :14 except that in this method the left thumb, at Figure 7, would actually be at the lower left corner as depicted in Figure jj} and 14. (Note - A related technique is elsewhere described as a packet exchange.)

4th Method*I l) This uses the exchange technique of the 3rd Method above but begins with the elongated sandwich placed onto the deck so that the selection is out-jogged as already shown in Figure 4. In other words from Figure 4 you would go into the actions shown in the Figures J5 and 6 and then into those actions depicted in Figures 12 - F3 and lk to conclude the Dwitchout. FAVORITE SWITCH PROCEDURE I 1) The Method I personally use is the following: The two face up Kings can have an X card already between them or none at all. In either case the selected card is out-jogged, from between the two face up Kings, for about two-thirds its length. The elongated sandwich is held, at the lower right corner, with right thumb on the face with 1st and 2nd fingers beneath. The deck is held face down in the left hand dealing position in a Mechanics Grip. The situation is similar to that already shown in the Figure 2) Right hand places its elongated sandwich onto the top of the deck so that the face up Kings are obviously in line with the topvof the deck with the selected card remaining out-jogged. As both hands raise upwards, in order to once more display the out-jogged selection, the right hand moves downward in­ jogging the Kings for about a quarter inch or more. This results in a condition similar to that already shown in the F'igure 4. 3) With deck and out-jogged selection still facing spectator the left hand comes over the deck. The right three fingers go on top end of the outjogged selection and thumb at the back end of the slightly injogged Kings. Right fingers alone now push the out-jogged selection flush with top end of deck; however, the two face up Kings are still in-jogged at the back end with the right thumb contacting the lower left corner of the Kings. The Figure shows tho selection being pushed downward and flush with top end of deck while tho Figure 6 shows the right thumbs position on the in-jogged Kings. Note that tho right 1st finger is curled on top of the deck.

4) Without any stall the right thumb, which contacts the lower left corner of the injogged Kings, angles the Kings slightly, about a half inch or more to the right at the lower left corner as already shown in the Figure 12. At this stage the two face up angled Kings will be trapped between the ball of the right thumb at the lower left corner and tip of the right 4th finger at the upper right corner. Right hand, maintaining the above grip, also lightly grasps the deck to move it forward as that the side of the left thumb contacts the exposed lower left corner of top of deck as at same time this lower left corner of deck is sort of pinched between the left thumb and base of left 1st finger as previously pictured in the Figure 13. 5) With deck pinched at lower left corner by left thumb and base of 1st finger the right hand can now move off or sort of slide its face up Kings to the right and free of the deck as the original selected card remains on top of the deck as shown in the Figure 14. The right hand continues the action placing the Kings fase up to the table. The Switchout has been made with an X card now between the face up Kings. 6) As the Kings are carried or slid off of the top of the deck you can do this with all four right fingers remaining at the front end or you can curl the right 1st finger very lightly on top, with the 2nd - 3rd - 4th right fingers extended along front end of the King packet, as you place the face up Kings to the table. 7) While a selection is exchanged for an X card between the face up Kings or the selection only completely removed, as explained in "Devils and Witches", you can sandwich and exchange more cards such as two for two; however, a good example of this Switchout is its application to a packet switch explained in another part of the book. THE VANISH1 This is a method I devised that enables you to show a card or cards face down between a face up pair, such as the Kings in this example, then in a very direct manner cause a vanish of said card or cards from between the face up Kings which are now actually only two Kings tossed face up to the table. The handling follows: 1) Assume you have a card between the two face up Kings which are on the table. The deck is in the left hand dealing position or in Mechanics Grip. With the right fingers spread out the King packet to show a face down card between two face up kings. Right fingers scoop up the King sandwich. The fingers and thumbs of both hands now square up the King packet, face up, holding it well above the deck. 2) The left fingers and thumb now hold the sides of the King packet still well above the deck with face King towards the spectator. The right finger and thumb either does a 'snap' over the Kings or waves the right hand over them. In either case the right hand fingers and thumb grasp the upper left side, near lower left corner, of the King packet. The right thumb is at the back of the King packet with the right 1st fingertip on the top edge of the packet and the 2nd finger more or less on the face of the face King. The left 2nd and 3rd fingertips press up against the bottom or right side of the King packet. You are now set to do the D'Amico Spread as at the same time you move the King packet so its lower right side is brought up against the deck. The Figure shows the spectator's view of the D'Amico Spread while the Figure _l6 shows the performer's view.

FIGURE

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FIGURE 1 6

3) With the cards as In Figure l6 the performer at once flips the two back to back cards, or the hidden face down card and face up Kings onto the top of the deck, with the aid of the right second fingertip. At the same time the left fingertips clamp down onto the right side of the face up King so it falls flush onto the top of the deck. The left thumb also at once moves to press across the face up King. The momentary situation is as in the Figure 12, with the right hand holding a face down King.

h) Without any stall the left thumb deals over the top face up King as at same time the right hand pivots its face down King to face up, by turning it over inwards and face up. The right 2nd finger and 1st finger pinch the cards lower right corner between them as the right thumb moves under the card and against the face of the King, at the upper right corner, to aid the inward turn of the card to face up. The end result, for the moment, is as shown in the Figure 18 with both Kings face up. 5) In a complete follow through to under the one in right hand, Kings are tossed face up to the touch, with loft thumb brushing the right hand tosses them face accomplished.

the right hand takes the King from the deck leaving them spread or fanned, then both table. If you wish you can add some snapping across the faces of both Kings, just before up to the table. Your vanish has been

Having studied the "Switchout Methods" and "The Vanish" you should have little difficulty in accomplishing the following effect titled "DEVILS TO WITCHES"

EFFECT: Two Queens are placed face down to the table. A selected card is placed between two face up Kings then the sandwich is placed to the table. The two Queens are placed face down into center of the deck. The Queens are caused to magically turn face up. They remain face up in the face down deck. The selected card now vanishes from between the two face up Kings. The deck is spread faces down to reveal that there is a face down card between the two face up Queens. It proves to be the selected card. For the benefit of the skeptics the entire effect is repeated with another selected card. While there have been various methods and approaches, published and un­ published, the following will be found having subtleties and nuances to fascinate and puzzle laymen and magicians. This in itself is unusual since the underlying methods are quite direct. 1) Using any deck begin by spreading the deck, between both hands, with faces towards you. Quickly locate the two Red Sevens, being sure the center pip of each is in the same direction, to get them to the top of the deck plus any two X cards above them. Thus the Red Sevens are at 3rd and 4th positions from the top of deck. With deck still facing you locate and transfer two Black Queens to the face or bottom of the deck. Follow by locating and transfer­ ring two Black Kings onto the Black Queens. With deck still facing you fan or spread the face six cards. Resquare the deck getting a left 4th fingertip break, at lower right corner, beneath the face six cards. 2) Lower the hands to bring face of deck into the spectator's view. Left thumb deals over only the face 2 cards, the two Kings and one Queen, thus displaying both Queens and Kings in a fanned condition on the face of the deck. The right 2nd fingertip, from below, enters into the break held by tip of left 4th finger. The fan of four cards, really cards, are carried off, to the right side of the deck, by the right hand as shown in the Figure 19.

3) The right 1st and 2nd fingers from below help flip only the two Queens, still fanned, face down onto the face of the deck. The left thumb, which is pressing against the face of the Queens similar to that later shown in Figure 25, now moves out of the way, to the left side of the deck. The action has apparently turned the two Queens only face down onto the face of the deck as right hand holds onto the two face up Kings. Actually the first two face down cards are X cards on top of the face down Queens. 4) Right hand, still holding onto the face up Kings, approaches the deck as left thumb pushes over only one face down card, supposedly a Queen, then right hand rests the fanned face up Kings alongside the face down cards. Under cover of the 2 fanned cards the right 1st fingertip lifts up, at the inner right corner, only another single face down card of the second X card.

The situation hero would bo similar to that shown later in the Figure 23 except two cards, the supposed ijueens, would be face down against the face of-the deck. Now making sure that the right 1st - 2nd fingers and thumb have a purchase on only the h required cards the left hand does a downward Wrist Turn, with the deck, to hide the actual face down Queens that remain on the bottom of the deck. Meantime the right hand, with its four cards, moves towards the table to de­ posit the two face down cards as shown in the Figure 20.

5) Placing the two face down cards to the left the right hand tosses its two Kings face up, to the table, on your right. Keeping the left hand palm down the right hand grasps the outer end of the deck. This leaves left hand free to turn palm upwards in order to retake the now face down deck into the left hand dealing position. Cut the top card to the bottom using the familiar Double Undercut. This covers the reversed Queens at the bottom of the deck. (Note - Use Mario Technique for Double Undercut.) 6) Spread deck, between both hands, faces down for the selection of a card making sure you do not expose the two face up Queens at the bottom of the deck. On the card being removed by the spectator re-square the deck. While the spectator is busy looking at his card and showing it to several other spectators you pick up the face up Kings with the right hand. The right hand squares the Kings against top of the deck at the same time secretly picking up orloading the top X card to under the face up Kings. From here you can get set-up for your favorite Switchout procedure of those previously described. I personally use the one under "Favorite Switch Procedure" basically depicted by Figure lii* This results in the selected card on the top of the deck with an X card face down between the face up Kings which are at present in a squared up packet condition. 7) The right hand takes the deck from left ha nd. Right hand, which holds deck from above by the ends, shows the bottom card of the deck then drops the deck face down onto the supposed two face down Queens. Have the spectator cut the deck; however, you pick up the lower half in order to complete the cut. This is to prevent the spectator from inadvertently exposing the face up Queens at the bottom of the deck. Point out that the Queens are face down in the deck while on the table are the squared face up Kings with the selected card between them. At this point right hand fingertips spread the King packet for spectator to see actually a face down card which is 'supposedly his card.

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8) Right hand picks up the deck and places it into the left hand dealing position. Right here I must remind you that the selected card is at this time the 4th card to the left of theQueens or the 4th card below the Queens as the deck is still squared. State you will cause the Queens toturn face up. With right fingers riffle the front end of the deck very slightly. Now spread the deck between both hands and when you come to the face up Queens you up-jog them in a sort of fanned or spread condition. Continue spreading the deck till you reach the 4th face down card that is to the left of the Queens. Here the left thumb is placed across the cards that are to the left of the Queens in order to keep these ^ cards in place. Your both hands move slightly towards each other during which time the left thumb pulls the 2 cards, which are still slightly spread, to the left while the left 2nd and 3rd fingertips, from below, push the 4th cardor the selected card to under the spread. In the same action the right 2nd and 3rd fingertips pull the selected card further to the right and past the first Queen on the left. The Figure 21_ shows a bottom view at this point with the spread of cards being continued

9) Your excuse, for the continued spread, is to show no other face up cards further on in the deck. Now with the deck still spread both hands separate the deck at the Queens as you say, "Only the two Queens". The Figure 22 shows this action which is exaggerated for clarity. In actual performance this separation is just enough to load the selected card, which at this stage is directly below the Queen in the half held by right hand, to between the two Queens when the halves are again brought close together. This loading of the selected card to between the two Queens will be practically automatic. 10) The left hand alone holds the still slightly askew deck. The right hand comes over the deck to push the out-jogged Queens flush with the deck as at the same time both hands now square up the deck. The deck is now held face down in left hand dealing position. The right hand picks up the tabled King sandwich and gets it squared up and set for "The Vanish". Now go into "The Vanish" previously described which will unload the X card, from between the Kings, secretly onto the top of the deck. Refer to Figures 15 to 18 inclusive for "The Vanish" which results in the right hand tossing the two face up Kings to the table. The right hand takes the deck, from the left hand, to ribbon spread it, from left to right to reveal a face down card between two face up Queens. The spectator can remove the card himself but it is best if you do it yourself so that everyone can see the card when you remove it to show it around.

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11) If you intend repeating the effect then the deck should be scooped up with left hand in such a manner as to obtain a break at the point from which the Queens were removed. The break is held with the tip of the left 4th finger. Right hand pivots the deck for an Overhand Shuffle as the right thumb holds the separation originally held by the left 4th fingertip. Shuffle off to the break plus run one more card and throw rest of deck on the top. The top 2 cards are X cards with the two Red Sevens below them at 3rd and 4th positions from the top. If you prefer the shorter route, to get the same situation, a cut at the break, plus carrying also the card below the break will give you the same set-up on the top of the deck. 12) In a short Overhand Run Shuffle run the top cards, one at a time, into the left hand and throw deck onto them. Double cut the top card to the bottom of the deck. The arrangement of the cards, from the face to the top, is the Red Seven - 2X cards - a Red Seven. Hold the deck, facing you, in left hand dealing position. The left thumb pulls the face card, a Red Seven, to the left to cause a sort of step, at right side, on the face of the deck. The right hand picks up the two face up Queens as if to place them onto the face of the deck. The right hand has the two Queens fanned or spread. In placing them against the face of the deck the lowermost Queen, which projects to the left, goes under the stepped Red Seven. You will find this action easier if the left hand has straddled the deck. The lower left corner of the Queen enters or starts under the lower right corner of the face Red Seven which has been pulled slightly to the left, by the left thumb, to form a step, at the right side, which makes it easy for one Queen to go below or under the face Red Seven while the other Queen goes onto the Red Seven. Right hand now picks up the two Black Kings to place them onto the face of the deck. Your set-up on the bottom or face of the deck is now, from face to top, two Black Kings - Black Queen - Red Seven - Black Queen - two X cards Red Seven. Don't forget to make 'sure the extra pip of the Red Sevens are in the same direction. 13) With the deck still facing you the left thumb pushes over the face five cards towards the nearby cupped right hand. In resquaring the cards the left 4th fingertip obtains a break beneath them. All these preparatory actions take only a momont or so while the spectators are hopefully still appreciating the effect you have just concluded. Now you casually ask if they would like to witness the effect again. Regardless of their answer you counter with, "You deserve a break today", as you go into the repeat of the effect as follows: 14) With the deck still facing you the left thumb deals over a Black King which is taken by right hand and tossed face down to the table. Repeat with the next Black King tossing it face down onto the first one. The Black Queen is next tossed face down slightly to the left and apart from the Black Kings. 15) At this point you will have a Red Seven facing you and you have a Black Queen under it as well as a break, below these two cards, held by the left 4th fingertip. With deck still facing you do a two card pushoff (See Double Lift and Pushoff Techniques described rrhjewhere—in_thbs.-. ;.) and turn the card(s) face down onto the face of the deck. The left hand turns palm down and left thumb deals off a Black Queen face up to the table onto the face down Black Queen. At once the right hand reaches for the face up Black Queen to turn it face down.

16) The left hand turns palm upward towards yourself so as not to expose the now face down Red Seven on the face of the deck. The right hand positions itself along the right side of the deck so that the whole of the left side of the palm is against the length of the decks right side. The left thumb pushes over the face 2 cards (up to the second face up Red Seven) just enough so that in resquaring the deck the left hth fingertip can obtain a break beneath the face or bottom 2 cards. Keep left hand either palm down or close to your body to avoid flashing the reversed card at the bottom. Your excuse for these actions in Step l6 is to say, "We could use the same card for this repeat; however, think it will be better to use a different one. For the present lets go back to the Queens and the Kings". 17) The right hand picks up the two Black Queens, turns them face up and places them onto the face of the deck, in a spread or fanned condition, but make sure the Black Queen, that is to the left, is directly over and covering the reversed or face down Red Seven. The left hand can now be lowered to bring the face of the deck into view of the spectators. The right hand meantime picks up the two face down Black Kings, turns them face up, to place them face up, alongside the two fanned Queens, also in a fanned condition. The result at this stage is as seen in the Figure 23.

18) The right 1st and 2nd fingertips enter into the break in order to grasp these k cards firmly between the right thumb on the face of the spread and fingers beneath. The right hand now moves to the right carrying off the Black Queens and Black Kings but with 2 extra cards under the last Black Queen on the left. The Figure 2k shows this action. Note also that a Red Seven shows on the face of the deck; however, do not call any special attention to it but let it rather be noted subliminally. 19) You will now turn the Black Queens face down onto the face of the deck. In order to do this with the least amount of trouble it is important that the left thumb is on the face of both Queens. The left 1st and 2nd fingertips pressing upwards from beneath hold only the two Black Queens between them and the left thumb on the face, really 2 cards as a spread of two Queens. The right thumb is on the face of the Black King with the right 1st finger below contacting both Kings to hold them in place and still fanned or spread.

20) With the finger and thumb positions of each hand on their respective pair of cards the right 2nd and 3rd fingertips from below are used to lever or flip over only the two Black Queens onto the face of the deck. During this turnover action the left thumb still lightly contacts the face Black Queen, as in Figure 2j5, which aids in the turning of the Black Queens. The left fingertips pressing upwards from beneath also help.

21) The action of the Figure 2j> is followed thru as left thumb moves out of the way to the left side of the deck. The face down cards are for the moment flush on the face of the deck as attention is directed to the face up Kings still held in the right hand. According to the presentational patter line, to be given later on for this effect, your patter is that the Devils are visible so you will leave them face up. Toss them face up to the table. The left thumb now pushes over the two face down cards as right hand takes them in a fanned condition. Comment about the reason the Queens, Witches, are face down is because this represents their being invisible. Toss the supposed Queens face down to the left of the face up Kings. 22) Note that a Red Sevenis again visible on the face of the deck and no one will remember that it is of a differentsuit since they only subliminally absorbed the fact that a Red Seven was on the face of the deck. They will not even notice that the pip position hasn't changed; however, if this bothers you then by all means use Red Eights instead and you need not make sure the odd pip is in the same position on the both Red Sevens although I feel the pip position, while a little more bother, is more subtle. Finally, because you already have a face card covering the now two reversed Black Queens there isn't any need to transfer or Double Cut a card to the bottom. In dealing off the face down Queens, from the face of the deck, you can use a "stall", by referring with a few additional lines to the face up Black Kings on the table, before you deal off the suppossed Black Queens face down to the table. By this time even the more observant spectator will not remember the original face Red Seven of the deck. 23) Turn the deck face down for the selection of a card. This time you will not use an X card loaded between the Black Kings. The right hand holds the two Black Kings face up while the left hand places the selected card between the Kings in the manner already shown in the Figure 1£. Follow with the actions depicted in the Figures ~ anc^ lii result in the actual selected card being on top of the deck while the two squared face up tabled Kings haven't any card between them due to the "Switchout".

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24) Right hand takes the deck from the left hand, from above by the ends, to show the bottom card of the deck then drops the deck face down onto the supposed face down Queens. The deck is cut to bury the Queens. Riffle the front end of the deck then spread the deck, between both hands, to show the Black Queens have turned face up. During this you up-jog the face up Queens and then load the selected card, which is again the 4th face down card to the left of t h e B l a c k Q u e e n s , to b e t w e e n ’the face up Queens as already • the • "• Resquare fine explained and depicted in Figures "1 21 and 22. deck and place it face down to tne tabTew 25) Snap your fingers over the squared face up Kings then spread them apart to show that the selected card has vanished from between them. Ribbon spread the deck face down to reveal a face down card between the face up Black Queens. Reveal this card to be the selected card. Since the spectators expect a face down card between the tabled face up Kings, due to the first time you did the effect, it becomes quite a surprise when this time you merely spread the tabled Kings to show the vanish. 26) The patter and presentational theme is simply about devils and witches with the Kings being the devils and the Queens the witches. This also gives you a presentational excuse for turning the supposed Queens, witches, face down in that basically witches remain invisible. The Kings, the devils, are very evident all about us thus they are left face up on the table and waiting for someone to get into their clutches. The selected card then represents the unfortunate victim being held captive by the devils. You now make the Queens or witches hide into the darkness of the world, cutting the deck to put the witches into the center. Later they become visible as you reveal the witches, Queens, face up in the city's streets. The captive, the selected card, escapes from the devils; however, he falls prey to the witches. 27) If you are not able to carry off such tongue in cheek stories then by all means avoid them. If they make you feel uncomfortable avoid them. 28) While a seemingly complex set-up seems to be used for exchanging the two Black Queens in the repeat of this effect it really is not that difficult or lengthly; however, if you wish you can resort to the same exchange method as the first time you do the effect. It's just that I feel a repeat of any effect should be more convincing than the first method you used. SANDWICH SWITCHOUT - (OFF THE FACE) OBJECT: To do the Sandwich Switchout off the face of the deck so that a face down sandwiched card is stolen from between two face up cards but is hidden by an obviously noted face card of the deck. 1) On face of deck have a card that will obviously be noted and remembered such ns an Ace of Spades, without actually having to call attention to it. 2) With deck face up run through it and openly get two black Jacks'' to the face of deck onto the Ace of Spades. Turn deck face down and have a card freely selected after which turn deck face up again.

3) Thumb off the two face up Black Jacks taking them with right hand, thumb on face fingers beneath. At same time left thumb has also pushed over the Ace of Gpades ju3t far enough for left 4th fingertip to get a break below this card as left fingers press against right side of card to square it with rest of deck. 4) Right hand now squares its two fanned Black Jacks onto face of deck. Right hand changes position to grasp the Jacks from above by the ends. Actually right hand thumb and fingers now are holding three cards which are still flush on face of deck. Left thumb presses onto face Black Jack, in order to hold it flush onto deck, as right seems to move away with one face up Jack which is really two cards, a face up Jack with the face up Ace of Spades beneath it. Also the left 4th fingertip has managed to maintain a left 4th fingertip break, at lower right corner, under the Jack that was held back on the face of deck. The result is in Figure 1_ and the action has covered the fact that the Ace of Spades is no longer face card of the deck while the patter line, "Just place your card face down between the Jacks", excuses the actions of separating the Jackes.

FIGURE 1 5) When the spectator places his card face down between the Jacks he does so by taking a cue from you. As you extend your left hand, with the deck, he will palce his card face down onto the Jack which is on the face of deck. Your left thumb comes down onto his card so it remains side-jogged, over right side of deck, for about half its width. 6) Right hand now comes with its Jack and the sandwich is squared flush onto face of deck with the left 4th fingertip break still held and right hand now really grasping four cards or all those up to the break. Both hands are raised so that cards face performer. At same time right hand carries its four card packet upwards above the top end of deck as shown in Figure 2.

7) With deck and packet held as in Figure 2 the spectator does not see the faces of the deck or of your packet. Right hand maintains its hold on the packet; however, the left fingers and thumb change position so that left thumb goes onto the face of the packet and left 1st - 2nd _ 3rd fingertips con­ tact the back card of the packet. Both hands will have to slightly re­ volve in order to get into this position but be careful you do not expose the face of the deck. 8) The left thumb now pulls the face Jack about half inch to the left and then left fingers pull the other Jack to the left and in line with the face Jack. This leaves two cards held by right hand from above by the ends as loft, fingers hold onto the two Black Jacks. The right hand now moves its two cards, an Ace of Bpades facing you and selection facing spectator on his side, upwards as in Figure II, as apparently only the spectator selection.

9) With the two cards up-jogged as one, for about half their length, the right thumb now moves onto the side of the card(s)f at point marked X in Figure so that ball of right thumb presses against this right side near lower right corner. The right thumb, pressing on side of card, now moves the card(s) to the left until it is flush with the two Jacks, as in Figure 4 but still remains out-jogged as apparently one card, the selection, facing spectator.

10) With the cards as in Figure 4 the left thumb and fingers keep the elongated sandwich in place as right hand changes position in order to grasp the elongated sandwich, at center of right side, between right thumb on face of sandwich and 1st and 2nd fingers below. In this way, right fingers and thumb pressing firmly to prevent any flare out of the two up-jogged cards, the elongated sandwich can be moved away from the deck momentarily as if to display the selection more openly. The left hand still holds the deck with faces towards performer. 11) Right hand now places its elongated sandwich so that the out-jogged card(s) are flush on face of deck while the two Black Jacks remain injogged. The left thumb comes across the face of deck to keep the elongated sandwich in place as right hand changes position so it comes above the deck as if to square up and carry off the sandwich. Actually the mechanics of the "Sandwich Switchout" are made (see Figures 11 and 12) as at same time both hands are lowered just as right hand is seemingly carrying off the sandwich from face of deck. The spectator now again sees the original Ace of Spades on the face of the deck and the idea of the face down selection having been carried off with the two Jacks is strengthened. The selection is actually face down second from the face of deck while the tabled cards are only two face up Jacks. The most obvious effect, at this point, would be to cut the deck centralizing the selection. Next show the two face up Jacks as apparently still 3 cards by turning them face down and doing an Fllis Stanyon Count to count the two cards as three. From here you do the obvious two choices of effect - One "A Point of Departure" in which the card seemingly vanishes from between the two Jacks and is then shown face up in the deck. The other is a "Pressed Out and Into" effect in which you place the sandwich face up on top of Dork and press down on it with your palm. Show only two Jacks remain. Spread deck to show you have apparently pressed the card out from between the Jacks and into the center of the deck. These two choices point, out that effect sometimes is only a matter of what you wish to convey to the audience even though the method in each case is identical. 12) Some may prefer to use the method in which the selection and the hidden Ace of Spades is upjogged while the sandwich cards, Black Kings in this case, are on the face of the deck but injogged as in Figure which shows the Black Kings. The right fingers push the up-jogged cards flush, with the top end of the deck, first and then you go into the rest of the Switchout as already explained. It is hoped that the Sandwich Switchout Off the Face can be put to a more imaginative use than those suggested above.

FIGURE 5

THE MOTEL MYSTERY

Original effect premise by Henry Christ — See Jinx No. 7^ for method, listed under the title Aces And Kings, dated I9L0 . Original Mario title, "Hotel Mystery" in "Let's See The Deck". Mario's other title, "A Night On The Town" — with Persi Diaconis.

see correspondence on this effect

"The Motel Mystery" is my extended plot of "A Night On The Town". The following methods range from strictly with a borrowed deck to using a gaff — namely, a Double Back Card. The "Uniform Procedure" is the removing of 4- Kings, AS, QH, and QS from deck and placing these cards face down to table. Also, the AC is brought to top of deck. I call this the "Key Arrangement" in that in most versions to be described the set­ up of the 7 cards is always the same, except for perhaps the inclusion of an extra card, an impromptu Double Backer or a regular Double Backer. FIRST METHOD1 1) This uses only the AC on top of deck plus the 7 required cards: i.e., 4 Kings, QH, QS, AS. These are removed from deck as you come to them and tossed face down to table. Also, the AC is brought to top of deck during this. This procedure is to get the required card to the face of the cards in left hand as you spread deck between both hands. When the required card is the face card of the left hand packet, the left hand turns palm down to deposit this card face down to table; however, the AC is cut first to top of deck. 2) Having removed all k Kings, the QH, QS, and AS, place rest of deck face down to your right. Pick up the tabled cards and arrange them from face to top as follows: Ace of Spades, Red King, Black King, Red King, Black King, Queen of Hearts, Queen of Spades. This is the "Key Arrangement" and will be referred to as such in all the other methods, plus an abbreviation, such as, in this case, AS.RK, BK, RK, EK, QH, QS. 3) Hold the packet face up in left hand dealing position. Left thumb deals over the AS. As right hand takes it and places it face up and forward to your right, at same time start the patter line, "For this I use the Ace of Spades". Turn the packet face down and thumb off the 2 top Queens, without reversing their order, and take them in right hand, thumb on top and fingers below, at upper right corner. Turn the Queens face up end for end, thus also turning right hand palm down, then use left thumb to hold the face up cards against the packet. The right hand is free now to grasp upper right corner of QS to pull it forward and expose indexes properly for all angles (The All Angle Layout — see New Jinx). Right hand places Queens face up to table. Turn the k Kings face up and spread them out between both hands, using a counting procedure of taking one card under the other, to form a fan of 4 Kings. The complete patter lines for all these actions are, "For this I use the Ace of Spades, 2 Queens and k Kings". At this stage the "picture" presented to the audience is as shown in Figure 1_, and will be referred to as "The Picture" in the other methods.

4) Square up the face Kings, keeping the packet face up in left hand. With right hand grasp deck from above by the ends but keep deck on the table. With right thumb at the back end of deck riffle deck upwards as you say, "This will represent, for this story, a motel office". With right hand gesture around the table as you say, "Out there are the usual motel rooms". Pick up the AS with right hand. With left thumb and 1st finger snap the upper left corner of the face up AS as you say, "This AS looks almost like a badge, and for that reason it will represent the motel detective. He, of course, sits in the motel office, from where he can see all that is going on." With this the AS is placed face up on the deck as you also gesture with the right hand from left to right to indicate the points visible to the detective. 5) "These 4 Kings represent 4 gentlemen who are out for a night on the town." With these lines you again show the 4 Kings, but during this showing you displace the RK that is third from the face. This is done as follows: Left thumb pushes over the first RK, which is taken by right hand, thumb on face and fingers beneath, at about center of right side. The next BK is taken to under the first RK but in a fanned or spread-out condition. The 3rd RK is now taken to under the 2 Kings in right hand. Actually, this RK goes under and slightly past the left edge of the 2nd or BK from the face, thus creating a stepped condition as in Figure 2.

6) Figure 2 shows an exposed condition with the 3rd RK index visible. Actually, this is not a bad situation to use, especially when the final or 4th BK is taken under the 3 cards in right hand, but really going above the RK that is under the face 2 Kings. Figure 2 shows the exposed condition, where note that, as stated, the visible index of the RK, which is actually under the face 3 Kings, is not a bad illusion of apparently everything being fair; however, you will have to decide for yourself whether you want the RK actually not showing or exposed as in Figure 2'

c_ -r | -

7) Right hand holds the fanned Kings as left hand reaches for the 2 Queens. The patter here is, "These 2 Queens represent 2 ladies of the evening _ really, any time". With these lines the 2 Queens are placed under the spread of Kings, but so that they are fed above the RK that is under the spread. Figure h shows the momentary situation just before squaring up the packet, which terminates with the RK going to top of packet.

8) Square up the packet and turn it face down in left hand. Order of cards now, from top down, is RK, QS, 2 BK, RK. Thumb over the top 2 cards, without reversing their order, taking them in a fanned condition with right hand at lower right corner. Say, "Let me ask you about the Queens before I get to these Kings". As you say the last line the left thumb openly pushes over the top card of its packet as right hand uses its 2 cards to tap or touch the King. Now as right hand moves closer toward the packet for the purpose of apparently squaring up the 2 Queens, you will find it an easy matter for the left hth fingertip to get a break under top 3 cards as at same time right hand moves to grasp the now 3 squared up cards from above by the ends to lift them well above the packet in left hand. Thus both hands are more or less squaring the Queens as seen in Figure jji.

9) Your excuse for the squaring of the Queen packet, as in Figure Jj, is to ask, "Did you notice anything about the 2 ladies?" Before they have a chance to answer you say, "One is a blonde and the other is a brunette". With this do a D'Amico Spread (using Mario technique) and rest the cards face up against the packet as in Figure 6. Note the left 1st finger is across the upper left corner of the QS (or double card — QS and RK held as one card) to prevent anyone noticing the difference in thickness at this corner. The QS can thus be displayed freely. 10) If you are not familiar with the D'Amico Spread, then simply turn all 3 cards, as one, face up into the grip of the left hand and then left thumb merely pushes over the face Queen to result in the condition of Figure 6. Having displayed the Queens, right hand grasps them by right side at about center, still fanned and face up. The right hand moves the 2 fanned cards off to the right until the left thumb can hold only the QS, really 2 cards as one, in place against the face down packet. The right fingers, from below, now lever the QS face down onto top of packet as left thumb at same time moves out of the way to enable the QS to tell

fall flush and face down onto packet. At once the left hand moves to the left of the table. Left thumb deals off the apparent QS face down to table, but in reality a Red King is dealt off the top of packet. At same time the right hand, with the face up QH, moves to the right to toss its QH face up to table as you say, "I will leave the blonde face up to show how opposites attract". 11) Spread the remaining k cards, faces down, between both hands as you say, "Of these h gentlemen 2 are dark haired and 2 are blonde". In resquaring get a break under the top 2 cards. Turn the top 2 cards, as one, face up to show a Black King. Assume it is the KC. Raise the left hand as at same time your left thumb pushes the KC far enough over the side for right fingers to go on face and thumb beneath. Now in a Stud Deal action turn the KC towards spectators. During this turn the left thumb has pressed on the upper left corner of the KC so that as the turn is completed the KC's corner escapes from under left thumb with an audible snap and the KC ends facing the spectators. The face up QS, which is facing you, is hidden from audience view. The singleness of the KC is thus indirectly conveyed. 12) Holding the hands as in Step 11 above, you say, "This dark haired fellow is a Playboy Club member," thus conveying subtly that it's the KC they are seeing. Now reverse the actions by right fingers turning the KC so it will again be face up on top of left hand packet and as same time cover the face up QS below it as both hands lower again. The KC is again face up on left hand packet. The excuse for putting the KC back is for right hand to be free to turn the QH face down. While right hand is turning the QH face down the left ^th fingertip can easily do a Pull Down Move, to separate the back to back cards, then hold a break below the 2 face up cards, the KC and QS. Using either a Push Off or Pseudo Push Off, or merely using the Hit Technique at lower right corner, with right 1st and 2nd fingers entering the break and thumb on top, the 2 cards as apparently one are turned face down onto packet. The top card, really QS, is taken by right hand and tossed onto the QH. 13) This time do a single card Pull Down or Buckle and turn 2 cards as one, the KS, face up onto packet with right hand as before. Leave the KS on the packet as you say, "This fellow really digs blondes," thus the word "digs" indirectly conveying that the spectator is seeing the KS. Repeat the Double Turnover, then deal the top card, really KC now, onto the QH. You apparently have 2 Black Kings with the QH. The real situation is QH, QS, and KC. In left hand you have 2 cards, the KS and a Red King. On your left, as apparently the QS, is the outher Red King. Separate the 2 cards in left hand by taking the uppermost card into the right hand; snap the card in left hand, then place it on top of the card in right hand as you say, "The 2 men, of course, go to this lady". Toss both cards on the supposed QS. The real situation, from top down, is a Red King, Black King, Red King. lh) Your next line is, "Oh, excuse me — I forgot," as your right hand scoops up or picks up the 3 cards on your left and places them into the left hand. The right hand is above the packet, holding it lightly by the ends. During this the left thumb pushes over the top card at a slight angle as the left fingers ease out the bottom card in line with the top card in readiness for an Open Double Deal. This consists in the 2 cards, top and bottom, being pinched at upper right corner with right thumb on top and 1st and 2nd fingers below. At same time the center single card, the Black King, is pinched at base of left 1st finger and thumb by its upper left corner. This enables the right fingers and thumb to move away both top and bottom cards until they clear the single center card. Once the 2 cards clear the center card the right fingers and thumb spread the 2 cards. Right hand turns palm down to bring the now 2 Red Kings face up, in a fanned or spread condition, to rest them against the supposed face down QH.

i-

15) Patter is continued as you say, "I forgot to explain about these blonde fellows, which naturally are attracted to the brunette. This fellow is big hearted, and this fellow has what is referred to as a girl's best friend". This showing of 2 Red Kings strengthens the apparent situation of 2 Kings on each Queen. Turn the Kings face down onto the single card in left hand and place all back to table, Square up each of the 3 card packets. The situation for now is q H, QS, BK in packet on the right; 3 Kings in packet on the left; on top of deck is the face up AS, with AC beneath it face down with rest of deck. 16) Pick up the deck and hold in left hand dealing position, bo a Double Lift of the face up AD and face down AC. As you actually remove the AS, do the KM hove, which leaves AD face up in right hand and AC face up on top of deck. The AC, of course, is concealed because left hand turns palm down,deposition the deck face up to table. Right hand turns AD face down and uses it to scoop up the packet on your right, as at the same time you deliver tho lines, "The detective rushed toward this motel room". Right hand places packet face up into left hand dealing position. 17) The face card is the AS. Patter, "All that he found was himself — ", and with this the left thumb deals over the AS, which is taken by right hand, 1st and 2nd fingers on face and thumb below, at upper right corner. The card is turned'face down by simply turning right hand palm upwards. As this Stud Turn is made the left fingers either buckle the bottom card or left ^th fingertip pulls down on the lower right corner of the bottom card. In either case, the now face down AS is secretly fed into the space created by starting the lower left corner of the AS or card in right hand into the space at lower right corner of the cards in left hand. Continue by saying, "— and only the blonde and brunette," as your left thumb deals over the 2 Queens, which are taken for the moment by right hand in a fanned condition. Return the Queens, still face up, onto the packet but keep a left Rth fingertip break below them. /

18) Right hand now moves to above the packet to grasp the 2 Queens and at same time the right 2nd fingertip and thumb alsocontact the lower face to face cards at the upper and lower left corners. As right hand moves off with the Queens the face to face cards are at same time pivoted out to tho loft as in Figure 7* The right 2nd fingertip and thumb hold onto the upper ami lower left corners while the right side of these face to face cards are held back by left fingers, thus aiding the turning of the face to face cards. They pivot first downwards then upwards to come into view on the left side with left thumb going on top and fingers beneath at the left side as in Figure 7*

FIGURh 7

-L "> 0 -

19) The lel't thumb follows the turning cards so that they end up being held as in Figure 8, which also shows right hand spreading its 2 Queens on the table. The cards in left hand are now the OK uppermost and the Ab face up under it.

20) Right hand takes the cards from left hand, by right side, at about center, thumb on top and fingers beneath. Right hand slides its card(s) under the packet on the left so that they are practically flush with those above. Now right hand turns palm down, also turning all the cards over. Right fingers now hold onto only the single face down card, the actual Ab, as it moves away in a sliding action so that the 4 Kings are spread out. Left hand now also aids as these fingers further angle-spread the cards to clearly show indexes from all sides. In fact, if you find using only the right hand awkward in turning the packet the left fingers can aid by placing themselves at the left side of the King packet during the turn. In either case, keeping the AS face down helps in directing suspicion to this card for the moment. 21) Once the h Kings are spread out the right hand casually turns the AS face up. Next the right hand turns AS face down and uses it to scoop up the face up deck. The deck is placed face down into left hand dealing position. This brings into view the face up AS, but secretly beneath it is the face up AC. Do a Double Turnover, onto top of deck, of the AS. The top card, really the AC now, is taken by right hand and placed into the outside breast coat pocket or shirt pocket. Leave it sticking out or visible somehow. Left hand places deck back into its original position on the right. The removal of the AS is to the effect that the detective was disappointed or frustrated with his attempt. 22) Pointing to the Kings and Queens you say, "Now that the detective is away you would think the gentlemen and ladies of the evening would get together. Actually the reason they don't is because the detective has secretly returned." With this the right hand turns over top card of deck to show the AS is back. Place the AS face out and leaning lengthwise) against the outer side of deck, but leave room for another card. 23) When the AS is shown as in Step 22 above, the spectators may wonder about the card they saw you put in your pocket. Once the AS is revealed you say, "Perhaps you are wondering about this card hare in my pocket". Remove tho card from pocket, holding it back out toward spectators as you continue: "Actually, this is the dotective's son. Really. Notice the family resemblance?" With this turn the AC face up and jilace it alongside the AS. The completed plot and picture is as shown in Figure 2. from audience's view. This concluding picture of Figure 9 will apply to all other methods to be described.

FIGURE 9

SECOND METHOD Presentation is same as 1st Method. 1) This uses an extra card. When removing the 2 Queens, b Kings and AS you also remove the AC at any time you wish. Since no one knows what you are about to pre­ sent no one will pay attention to the number of cards removed. 2) Arrange the packet from face to top as follows: AS, red King, black King, red King, black King, AC, QH, QS. Everything is the same except for the inclusion of the AC, which, of course, will not be seen. Toss the AS face up to table, and the QS and QH to table. Show the ^ Kings, keeping the last 2 cards held together as one. 3) Place AS face up onto deck. Show the 4 Kings, displacing the red King, 3rd from face, to under the packet. Pick up the QH and QS, place them under the Kings, and in squaring up the red King will go to top of packet. From top down the order is red King, QS, QH, AC, black King, black King, red King. h) With packet face down in left hand, thumb over 2 cards, apparently Queens, then with them tap the top card of the packet, which has been pushed over in accordance with the presentation previously outlined. In squaring the 2 cards in right hand against the packet in left hand, get a break under 3 cards, at once lifting them up and doing a D'Amico Spread to show QH and QS (really 3 cards). Flip the QS (2 cards as one) face down onto packet. Left hand deals off supposed QS, really a red King, face down to left while right hand places QH face up on right. 5) Order of packet in left hand is QS, AC, black King, black King, red King from top down. Do a Single Buckle in order to lift up the squared packet of 4 cards. Do a D'Amico Spread to show 2 black Kings. Flip both face down onto card in left hand. Thumb over top 2 cards, without reversing the order, and place them under the QH. The QH is first flipped over face down with aid of the 2 supposed black Kings in right hand. Left hand turns palm down and positions itself on left side of QH to aid in both the turning of the QH and the placing of the cards, from right hand, to under the QH. During the left hand turning palm down you will casually flash the bottom red King. 6) Do a Single Buckle or Pull Down to transfer bottom card to top. As right hand takes these 2 supposed red Kings from above by the ends, the left thumb pushes over the top card for about a half inch or more in readiness for an "Easy Open Double Deal" as follows: Right hand places its cards onto the tabled card on the left in such a way that the top card's right side will be in direct line with the tabled card's right side as in Figure 10.

Top Red Kin? in line with Tabled Red King

V

2 Black Kings

FIGURE 10 7) Right hand at once lifts up all the cards to place them back into left hand. The base of left thumb and 1st finger pinch the upper left corners of the 2 black Kings, which leaves right hand free to change position and grasp the upper right corners of the top and bottom side-jogged cards. Right fingers now merely pull away their cards, then turn them face up to show the 2 red Kings that you seemed to forget showing as per the original presentation of the 1st Method. Turn the 2 red Kings face down onto the card(s) in left hand. Square the packet and place it face down back to your left. 8) The situation at this stage is: the packet on your right has, from face to top, AC, QS, QH. The packet on the left has, from top down, 2 red Kings and 2 black Kings. The AS is face up on top of deck. Pick up the deck, holding it in left hand dealing position. Right hand takes the AS and, in accordance with your patter of the detective rushing into the room, the AS is turned face down and used to scoop up the tabled packet on your right. The packet is turned face up, exposing the face AS, then placed into left hand, which takes packet between left thumb and 2nd finger at outer sides. The packet is held well above the deck. 9) With right thumb and 1st finger, at back end of packet, secretly lift up 2 cards. The right thumb and 1st finger now pull back these cards, as one AS, for about an inch, which brings to view the outer index end of the QS. Left thumb and fingers hold onto the sides of theAS, really AS and AC as one card, which leaves right hand free to grasp outer end of the Queens, with right thumb on face and fingers beneath, to pull them clear of the supposed single AS. Right fingers at once spread or fan out the Queens, almost simulating a D'Amico Spread, as you let the QS fall face up to table. Then the QH face up onto QS. Meantime, left thumb and fingers have lowered the AS flush with deck. 10) The left hand now turns palm inward and also downward as at the same time the left thumb deals over the face AS, which is taken by right hand, at upper right corner, with thumb on face and fingers below. These actions conclude with left hand palm down, concealing the face up AC still on top of deck, while right hand holds a single card, the AS, face up.1 11) The face up AS is used to flip over and face up the A Kings on the left. The left fingers can position themselves along the left side of the Kings in order to aid the turning if necessary.

12) The AS from right hand is returned face up to deck as you time the turning so the AC is not exposed during this replacement. Here do a Double 'Turnover onto deck of the supposed single AS. Take off the top card, really the AC, placing it into the pocket. Place deck face down to your right. Now, as in the presentation of the 1st Method, conclude by showing AS is back on deck and the card in pocket is AC. The final climax picture is as already shown in Figure 9, of the 1st Method. Notes on 2nd Method A) At Step 5 if you feel the single card in left hand during the D ’ Amico Spread makes you feel apprehensive, then substitute a Triple Turnover to show the first black King and Single Buckle or Pull Down to show the second black King. If you use this procedure, be sure to reverse the order of the 2 cards before placing them under the tabled QH. B) At Step 9 the procedure can be changed to use a Mario handling of the D'Amico Spread. In this case, when placing the supposed 2 black Kings onto the QH, these 2 cards must go on top of the face down QH so that the order of this packet from top down will be AS, AC, QS, QH. This packet is picked up and a D'Amico Spread made, which shows 2 Queens. Then at once the left thumb goes on the face of the cards while 1st and 2nd fingers go below, at upper left corner. The left thumb now pushes over 2 cards as one until the right 1st fingertip can feel contact with the underside of these 2 cards. Pressing upward with right 1st finger enables the left 1st finger and thumb to grasp the upper left corner of the single AS to pivot it downward and away from the 2 Queens (really 3 cards as 2) as Figure 11, which shows the pivot action, without danger of splitting the 2 cards that are being held as one QS.

Qith the cards as in Figure FL above, the left thumb places itself onto the 2 Queens in order to take them onto the deck as in Figure 12, while right hand, of course, holds onto the AS. The left hand now turns inward toward the body as left thumb deals off the Queens one at a time face up to table. Left hand is kept palm down to conceal the now face up AC on top of deck. From this point the effect is concluded as already detailed in "2nd Method". As one can see, the handling of the AC in this case can take on various procedures. The object is to get one that satisfies you. C) A note on the 2nd Method, where you use an extended variation of D'Amico Spread. Some will find the following procedure much easier. Assume you have AS on top of packet. Below this is the AC followed by 2 Queens. This packet is being held face down by the sides with left fingers and thumb, above the deck in left hand. Right hand takes top card of packet, AS, to turn it face up and injogged for half its length onto the remaining 3 face down cards. Qith AS injogged, the right fingers and thumb' do the regular D'Amico Spread. This shows 2 Queens; and the injogged AS, now face down, does not interfere with the action. The left thumb takes the 2 face up Queens, still spread, onto top of deck as seen in Figure 13 .

FIGURE

12

Right hand holds onto the face down AS as left hand, moving inward toward performer, thumbs off the 2 Queens, one at a time, face up to table. Be sure left hand turns palm downward (wrist turn), as second Queen is dealt to table, in order to hide the now face up AC on top of deck. From here conclude as per the 2nd Method, using the extra card or AC. D) For those who perhaps do not wish to use the D'Amico Spread for the showing of only the 2 Queens and AS, then using the Pull Down Vanish of the 1st Method can be used as follows: The Queen packet should have the order of the first 3 cards in AC, QS, QH order from top down. The AS is then used to scoop up these 3 cards in accordance with the presentation of the detective rushing in. The packet is turned face up. The face AS is thumbed off and apparently turned face down and placed to under the face up Queens. Actually you do a Pull Down or Single Buckle to thus place the AS face down and above the face up AC. Now just thumb off the 2 Queens to the table. The face down card in your hand will be taken for the AS. These 2 cards, as one, are placed face down onto deck. Your excuse for this action is that the detective, not having found what he expected, returned to the motel office. Pick up the deck, placing it in left hand dealing position. Left hand turns palm down and deals the AS face up. Keep left hand palm down or place deck face up to table in order to hide the now face up AC on top of deck. Your excuse for dealing the AS, the detective, back to table is that the detective decided to investigate the other room, just to make sure. With AS face up, your right hand turns the h Kings face up. Depending on whether you can carry it off, you can say, "On finding only k men in the room the detective felt it was a queer situation and decided to go back to the motel office". The AS is turned face down and used to scoop up deck. Turn deck over into left hand, showing AS face up on top. From here conclude as already explained in the other method. THIRD METHOD*1 This makes use of a Double Back card in the deck before starting the effect. will make things easier, and is quite convincing.

It

1) The Double Back card is in the deck anywhere. I use a thick Double Backer in that it enables me to do several other effects using it; however, you may use the standard single thickness Double Backer. In starting the effect cut the AC to top of deck. Now remove the U Kings, 2 Queens (QS and QH), the AS and Double Backer, tossing each face down to table as you come to them. No one will pay attention to the number of cards you have removed. 2) Place deck to the right face down. Pick up the toward yourself arrange them, from face to top, in black King, Double Back Card, QH, QS order. Don't throw you — remember on spectators' side all they

tabled packet of cards and with faces AS, red King, black King, red King, let your seeing the Double Back card see is the backs.

3) Turn the packet face up. Deal AS face up to table. Turn packet face down. Thumb over top 2 cards, taking them into right hand. Turn these 2 cards, the Queens, face up, to place them face up on the left with QH uppermost. Turn packet face up to show 4 Kings in a fan formation, holding the last King and Double Back card as one. Square up and hold Kings face up in left hand dealing position. All these actions are, of course, accompanied by patter lines as per 1st Method. 4) Place AS face up onto top of deck. Show the 4 Kings again as you displace the red King, 3rd from face, to under the King packet. Hold packet, sort of still fanned out, in right hand as left hand picks up the QH and QS to place them face up to under the face up Kings. Actually, the 2 Queens go above the one red King under the spread. Square up the packet and turn it face down into left hand. The order of this packet, from top down, is red King, QS, QH, Double Backer, black King, black King, red King. 5) Thumb over 2 cards, without reversing their order, taking them into right hand. Use these 2 supposed Queens to tap the top card of left hand packet, which has been pushed over for this purpose. In squaring up the 2 cards in right hand against packet in left hand, you lift up 3 cards squared and held above the packet with both hands. Do a D'Amico Spread to show 2 Queens. Flip QS (really 2 cards as one) face down onto packet. Left hand deals supposed QS face down to left as right hand places QH face up to the right. Situation now is red King on the left and QH face up on right. The packet, from top down, has QS, Double Backer, black King, black King, red King. 6) Thumb or fan over top 3 cards of packet in accordance with your presentation.

In squaring get a break under the 3 cards. Do a Triple Turnover to show a black King. Due to the Double Backer your right hand can lift off this black King to show it as a single card. Handle this King so it ends up again face up on top of packet. This is done by turning the black King face down in right hand, to casually show its back; then right hand flips the black King face up onto packet in left hand. Right hand now goes to turn the QH face down. During this the left 4th fingertip does a Pull Down of the 2 bottom cards and gets a break under the top 3 cards in readiness for a Triple Turnover (some may prefer to use the Double Buckle to get the Triple Turnover). Turn black King (really 3 cards as one) face down onto packet. Deal off top card, actually QS, face down onto QH. To show the second black King all you do is either a Single Card Buckle or Pull Down in order to again turn 3 cards as one face up onto packet. Repeat the Triple Turnover to turn the black King face down. Deal off the top card, really the Double Backer, onto the 2 Queens. 7) In left hand you have 3 Kings which you handle as only 2 cards by taking the top 2 as one with right hand as left hand holds onto the single card, which is placed onto the card(s) held by right fingers and thumb. This can be done using again either a left 4th fingertip single card Pull Down or the Single Buckle with the left fingers. These Kings are placed onto the supposed QS on the left. Since you have not shown these red Kings, you pick up the packet again. Now using either the Simple Open Double Deal or the regular Open Double Deal the top and bottom cards are taken together by right fingers and thumb. Right hand now turns the two red Kings face up to show and patter about them as outlined in the 1st Method. Place the 2 red Kings face down onto the supposed single card in left hand and return packet to table. The present situation now is 4 Kings on the left, the Double Backer and 2 Queens on the right, the AS face up on top of deck.

- 2 5 6 -

8) Pick up the deck and place it in left hand dealing position. Right hand places the AS face up onto the packet on the right, the Queen packet. Pick up the packet and place it in left hand so AS still faces audience. The left thumb and 1st finger hold the outer sides of the packet, which is held will above the deck. As you say, "The detective broke open the door," the right hand grasps outer end of packet and turns the packet over end for end to bring the Queen side into view as packet is again replaced into left hand and still held above the deck. 9) Right fingers and thumb pinch off first the Queens, at inner end of packet, to toss them face up to table. The back of a card is now facing spectators, the supposed AS, but actually the Double Backer and the face down AS under it. Right hand grasps the right side of the AS (2 cards as one) and turns this double card face up and flush onto deck. At once left thumb pushes over the AS plus the next 2 cards in a sort of natural spread, which usually happens when you thumb over the top card of a deck. Right hand shows AS as obviously a single card. Of course, the proper patter lines, such as, "All the detective found in the room were the 2 ladies and himself," are interjected at the proper sequence of actions. 10) In resquaring the deck and the face up AS you get a break with left 6th finger­ tip below the top 3 cards. Now do the KK Hove, so that AS ends face up in right hand, while during the left hand wrist turn the Double Backer and AC are reversed, to result in AC being face up on top of deck. Naturally, the Double Backer, although also really reversed, will still show a back later on. Keep left hand palm down to conceal the face up AC. Right hand uses face up AS to turn the 6 Kings face up. Left hand, still palm down, can help spread the 6 Kings so all indexes show. When left hand turns it does so toward yourself, as at same time right hand places its face up AS onto deck, thus covering the face up AC. 11) From here do the Double Turnover, apparently placing AS into pocket, but really the AC. Conclude the effect as per the presentation outlined in the 1st Method, where the AS comes back to top of deck while card in pocket is shown to be the AC. The completed picture is-now as in Figure £ of 1st Method. The Double Back card is still in the deck to be used for further effects that may call for such a card. FOURTH METHOD1 1) This makes use Begin by secretly the face down AC, quired cards, but 6 Kings at center

of an impromptu double back card by facing an AC and an X card. or at an opportune moment arranging a face up X card, covered by on top of deck. With faces of deck towards you, remove the re­ toss each card face down so that the AS will be on your right, the and the 2 Queens on your left.

2) Turn deck face down and obtain a break under the top 2 face to face cards, or impromptu double backer. Deck is held in left hand dealing position with tip of left 6th finger holding break at inner right corner. Right hand reaches for the 6 face down Kings. Turn these face up, resting them against top of deck as both hands openly arrange the Kings in red, black, red, black order from face to back. In squaring up the 6 Kings the top faced cards are stolen beneath them, by right hand taking the packet from above by the ends, as left hand places deck to your right face down. 3) Still holding the King packet face up from above by the ends with right hand, the left hand picks up the 2 Queens so that QH is face card and QS is beneath. The 2 Queens are placed face up underneath the face up King packet, then the packet is placed face up into left hand dealing position. Right hand picks up the AS and places it face up onto the Kings. The order of the packet, from face to top, is now AS, red King, black King, red King, black King, Double Backer with X card face up and AC face down, QH and QS.

4) At this point you start your presentation by dealing out the AS face up to your right. The packet is turned face down into left hand. The 2 Queens are thumbed over, without reversing their order, for right hand to toss them face up onto table to your left. Right hand turns packet over either endwise or sidewise. Fan over 4 Kings, being sure you hold last 3 cards as one so as not to expose the impromptu double backer. Patter lines for this briefly are, "For this I use the AS, 2 Queens and 4 Kings". 5) Here introduce the deck as the motel office and the AS as the detective who sits in the motel office keeping an eye on the motel rooms. The AS is placed face up on top of deck. The 4 Kings are introduced as 4 gentlemen out on the town. During this you respread the 4 Kings, displacing the red King, third from the face, so it will end up under the other 3 Kings as already explained in the 1st Method. Right hand holds the King packet, face up, by the right side with thumb on top and fingers beneath. Left hand picks up the 2 spread Queens, introducing them as ladies of the evening. Place these under the Kings so that the red King under the spread will, of course, go above the 2 Queens as the packet is squared up. The packet is turned face down into left hand. The order of cards, from top down, is now red King, QS, QH, the impromptu double backer, black King, black King, red King. 6) Thumb over the top 2 cards, taking them sort of spread with right hand. At same time left thumb pushes over next top card as right hand taps this card with the supposed 2 Queens as you say, "Later I will deal with the Kings, but for now can you tell me if you notices anything about the 2 ladies?" With this the 2 cards from right hand are squared up against top of packet as at same time you actually pick up 3 cards, bringing them up to the left fingertips. These 3 cards are thus held, by left hand fingers and thumb at sides of these cards, above the packet in left hand. This leaves right hand free to grasp the left side of these 3 cards, fingers on top and thumb below, as you go into the D'Amico Spread to show only 2 Queens. These are rested against the packet as in Figure 6 of 1st Method as you follow by saying, "One is a blonde and the other is a brunette". Right hand grasps the right side of the spread cards, thumb on face and fingers below. Right fingers from below now lever the QS, really 2 cards as one, face down onto top of packet in left hand, while right fingers retain the single face up QH. Left hand moves to the left to deal its supposed QS face down as right hand tosses its QH face up to the right. 7) Do a 2 card Pull Down with left 4th fingertip or a Double Buckle in order to . turn a black King face up. You have actually turned over 4 cards as one black ■King; however, due to the impromptu double backer this black King, can be lifted off the packet and displayed as a single card. Replace the black King face up onto the packet. As right hand turns the BK face down the left 4th fingertip has ample time to do a 2 card Pull Down. This is especially easy due to the back-toback cards at this point. Turn the black King, really 4 cards as one again, face down. Deal off top card, really QS, face down onto the QH. Next do a Single Buckle or Pull Down in order to show the second black King, making, of course, the appropriate remarks as per the presentation outlined in 1st Method. Repeat the Single Buckle or Pull Down to turn the black King, again really 4 cards as one, face down. At this stage you must get a 2 card break, with left 4th fingertip, under the impromptu double back card. You now do the Mario Two Card Throw to toss the impromptu double backer onto the Queens. If you are not familiar with this Two Card Throw (see my "Riffle Shuffle Finale" or Al Sharpe's "Expert Card Conjuring"), then merely take the faced cards, as one, with right hand from above by the ends to place them onto the Queens. In either case, after placing the impromptu double backer onto the Queens both hands square up these tabled cards by their sides. This square-up action also flashes the bottom red King of the packet in left hand as it turns palm * down in order to square up the tabled cards.

8) The 3 remaining cards in left hand are shown as two by left fingers doing either a Pull Down or Single Buckle to snap and transfer the bottom single card to top. Place these onto the supposed QS on your left. At once pick up all these cards as you remark, "Oh, I forgot to explain about the blonde gentlemen". Here do an Open Double Deal (or the simple one suggested previously) to take top and bottom cards with right hand as left hand holds onto its card(s). Turn the 2 red Kings face up as you make your remarks about each in accordance with the presentation. Turn the red Kings face down onto the card(s) in left hand and replace the squared-up packet to the table. The situation at this stage is 4 Kings already in the packet on the left, 2 Queens and the impromptu double backer on your right, the AS face up on top of deck. 9) Pick up the deck, placing it in left hand. Deal the AS face up onto the packet containing the Queens and impromptu double back card. Right hand now picks up this packet and places it into left hand, which takes the packet with thumb on left side and 2nd finger on right side. The left fingers and thumb hold the packet well above the deck. The AS is still face up. In accordance with your patter, as you say, "When the detective broke open the door," here right hand grasps outer end of packet to turn it over, end for end, to bring a Queen into view as packet is replaced, still held above deck, into left hand. Continue your patter with, "All he found were the 2 ladies," as your right fingers and thumb pinch off each Queen, at top end of packet, to toss them face up to table. A face down card shows and is taken to be the AS, but actually it is the impromptu double backer, under which is the now face down AS. 10) Right hand now grasps the right side of the supposed single face down AS to turn it over and face up flush onto top of deck. At once the left thumb deals over the now single AS, which is taken face up by right hand. Right hand with AS goes to lever the U- Kings face up. During this the left hand has turned palm down and left thumb has casually dealt off the top X card face down to table. This leaves the AC face up on top of deck, but left hand remains palm down to conceal AC. The left hand, still palm down, can now aid in spreadingthe 4 face up Kings. Right hand turns its AS face down and replaces it under the deck, to cover the face up AC, after which left hand is able to turn palmup. Apparently only the AS is face up on top, but below it is also the face up AC. Right hand picks up the tabled face down X card to insert it into center of deck. During this the right hand will be squaring the ends of deck; thus you have the required misdirection to lift up 2 cards with right thumb at back end in readiness for a Double Turnover. During all the turning of the 4 tabled Kings and spreading them you, of course, interject the proper lines of patter. 11) Do a Double Turnover to turn AS face down. Take off top card, really the AC, to place it in your pocket. Table the deck. In accordance with the presentation outlines in 1st Method, show the AS is back on deck. The card in pocket is shown to be the AC, which placed alongside the AS, leaning against side of deck. The resulting picture is as already shown in Figure 9 of the 1st Method. As far as the impromptu methods are concerned, you have a variety to choose from. If you use your own cards, there isn't any question but to use the 3rd Method with a Double Back card to match your deck. For still a further handling, to apparently show four cards as a spread of three or two Queens and the Ace of Spades proceed as follows: 1) The deck is face down in left hand dealing position in the Mechanics Grip. The four card packet is face down being squared, between both hands, well above the deck. 2) The left fingers and thumb hold the sides of the packet while right fingers now press down on the top card, at inner end, to move it forward about a quarter of an inch or more. During this forward moving of the top card should any of the 2 cards below it start to flare out then left 1st fingertip presses in, on tne outer ends.

of these 2 cards while the right thumb presses forward on the 2 injogged cards, to thus square the ends of these 2 cards. 3) The left fingers and thumb still hold the sides of the packet as right hand is free to position itself on the left side of the packet near the lower left corner. The right 1st fingertip presses down on the top left side edge, near lower left corner, of the four card packet. The right 2nd and 3rd fingertips press against the top card only at the lower end. The right thumb is against the bottom or face card of the packet near the lower left corner. The left 1st fingertip positions itself at the outer right corner of the top out-jogged card. The left thumb and 2nd finger hold the sides of the packet while the left 3rd and 4th fingers curl around the right side of the deck to maintain control of same. 4) With the left and right hands positioned as in the above Step 2 the right hand turns palm upwards to bring the face of the packet to view. During this turn the left 1st fingertip keeps contact with the upper right corner of the out-jogged card. When the cards are face up this corner becomes the upper left corner and it is important that the left 1st finger presses or pulls upward on this corner while right thumb and fingers press downward on its corner making the cards more or less concave. 5) Nothing is done until the packet has been turned face up. Keeping the left 1st fingertip pulling upwards, on the now upper left corner, the right thumb pushes the face card past the tip of the right 1st finger which naturally keeps the remaining cards squared. Only the face card has moved or angled off to the right to form, at this stage, a spread of two cards with the 3rd visible card still out-jogged. During this D'Amico Spread action the right 2nd and 3rd fingertips still press only on the top out-jogged card. 6) Once the two card spread has been formed the right 2nd and 3rd fingertips bend down at their third joints in order to now contact the in-jogged cards. The right thumb, also at lower end, will also more or less contact the face of the in-jogged cards. In essence the right thumb and 2nd - 3rd and 4th fingers now are firmly pinching the remaining in-jogged cards, or in this case two cards, as one card. During all this, which takes seconds, the left 1st finger has maintained its upward pressure on the out-jogged card or in this case the Ace of Spades. 7) The left thumb now moves to grasp the upper left corner, of the out-jogged Ace of Spades, between the left 1st finger beneath and thumb on the face at index corner. The Ace of Spades is now pulled and pivoted to the left to form a spread of three cards now. The right fingers and thumb, at the lower end of the packet, not only act as the fulcrum point for this pivotal action but also help to keep the center two cards from spreading. In fact the above technique, from Steps 1_ to 7, if followed closely will insure perfect alignment of these cards, regardless of their number, between the top and bottom cards. FIFTH METHOD _ Dave Solomon This method is similar to the second method although at the climax the AS apparently turns face up on top of the deck. I will describe the bare bones of the effect for completemess. Set Up:

Same as 2nd Method.

1) Show your set up telling the story with a slight deviation. Show the AS on top holding two cards as one. After thumbing your Queens to the table, turn the rest of the cards face down squaring them into the left hand. Take the top card calling it the AS and place it face down onto the deck. 2) Turn packet face up resquaring, although hold last two cards as one, displace the 3rd King from the face. Pick up the QH and QS placing them under the displaced King. (See Step 3 Method 2) 3) Do

Step4 Method 2 thumbing Queens to the table.

4) Do

Step5 Method 2 apparently placing Kings on the Queen.

5) Do

Step6 Method 2 apparently placing other Kings on the otherQueens.

6) Packet on the right has from top AS followed by 2 Queens. Pick up the deck and flip 3 card packet face up onto the deck. Thumb over the top Queen showing 2 Queens. Thumb off the top Queen to the table followed by thumbing off the other Queen although doing a Wrist Turn to kill the face up AS. (You could also do a Hit Double Lift and Wrist Turn if the angles are bad.) After the above the AS is face up hidden under the face up deck. Now show your Kings as before. 7) Tell how the detective AS got so excited that he turned face up or stuck his head out the window. From here you can do the KM Switch to complete the sequence with the AC if you wish although I end it with the AS turning face up. SIXTH METHOD*1 Set Up from Face to Top

1) KD - KC - AC - KS - KH - QH - QS - AS.

Hold the packet face up in left hand.

2) Get a 2 card break with left 4th fingertip below the AC. The right hand, grasping the 2 cards from above by the ends, moves the top 2 cards, as one, to the right over right side of the deck. The left thumb holds these cards in place while right hand grasps the right side of these 2 cards, with thumb on top fingers beneath, to do the Reverse D'Amico Spread to show the KD and KS_. The right hand holds these fanned Kings (AC behind KC) and left thumb can thumb over next two Kings (Spades and Hearts) but the KH is pushed under the fanned 2 Kings to form a step, on left side, for the Displacement Move. 3) The QH goes above the stepped KH or between the KS_ and KH. The QS is pushed past the QH to under the fanned QH thus joining the KH. The AS is snapped and turned, by left hand, to show as single AS. This Ace is then placed under the fan as follows: 4) The AS lower right corner engages the lower left corner of the QH. Right hand presses its fan of cards downwards slightly as left fingers press the AS upward slightly. This insures that as left hand moves AS to the right it will go above the KH and QS that are stepped under the fan. 5) Left hand leaves its AS also in a side-jogged condition to the left, for half its width. Right hand grasps right side of the fan and turns it, to the left and sidewise, face down into left hand. The side-jogged AS will be seen to go flush with packet so to give a sort of visual retention to this the left thumb at once deals off the top card to place it face down onto top of deck as the detective going into his motel office.

6) The QS is actually an top of deck. The packet of cards in your hand should be, from top down, i n K H - A S - Q H - K S - A C - K C - K D order if the displacement moves have been done correctly. You will do another displacement move but it is done with the packet held faces down and spread between both hands, during the patter line, "That leaves us the cast of characters which are the two Queens and four Kings representing ladies of the evening and the four gents respectively". 7) During the above patter left thumb thumbs over two cards, which are taken by right hand in a slightly fanned or spread condition. The third card, the QH, is thumbed past the left side of the second card so the QH is stepped, to the right, under the two fanned cards. The 4th card is thumbed over so it goes above the QH or between the QH and the two fanned cards above it. This 4th card remains fanned to the left. Now a subtlety is introduced; however, make sure the QH, that is under the fan of 2 -cards in right hand, does not show at either the top or bottom end. Right hand rests these cards onto those still in left hand. The left thumb now openly spreads its 2 cards. This results in a spread of six cards showing between both hands as you add, "Six cards all together". 8) When you have the six card spread you will note that the right hand actually has four of them because of the hidden QH and these are under control by right hand so that in resquaring the spread of cards the left 4th fingertip can easily get a break, at lower right corner, below these top 4 cards. The order of the cards at this stage is, from top down, KH - AS - KS - QH - AC - KC - KD, with break below the QH or 4th card from the top. 9) Right hand lifts up the four cards, above the break, up to the left fingers and thumb which grasp the sides. You now use the Mario Pip Cover as applied to the D'Amico Spread thus you seem to be displaying the QH and QS as left thumb covers the K only of the actual KS_. Your patter for this is as already described in previous versions of the Motel Mystery as right fingers flip the supposed QS face down, really J cards as one, onto the left hand cards while right fingers retain the QH. Left thumb deals off top card of its packet face down to the left while right hand tosses its QH face up to the right. 10) The two tabled cards are a face down KH and a face up QH. The QS is still face down on top of deck. The order of the cards in your hand is, from top down, A S - K S ^ - A C - K C - KD. You must get the AS and AC together to the top and this is easily done as follows: Thumb over two cards, one under the other, into right hand which keep them fanned or spread. The left thumb shows only two cards by pushing over only one card and holding last two as one. Simply say, "Now we come to the four gents". In replacing the cards from right hand you do this so that the forward card of left hand cards goes between the two fanned cards in right hand. As you square up the cards you will find it also an easy matter to get a left 4th fingertip break, at lower right corner, beneath the top 2 cards or the KS in this case.1 11) Using appropriate patter do a Triple Turnover onto the packet. Use the Altman Trap so that you can display the KS for the length of your patter line as regards this "dark gent really digging blondes". Turn the 2 cards, as one, face down onto the cards in left hand and deal the top card face down onto the still face up QH so the QH will be covered for only half its length. Do a single buckle or block pushoff to again do a Triple Turnover flush onto the card in left hand. Deliver your patter lines as covers this KC. Repeat the Triple Turnover to turn the KC face down. Deal the top card face down onto the face down card that is on the QH.

-2 0 2 -

12) The QH actually has the .AS-AC3, from top down, on the face up QH. Turn the QH face down and then toss the other two face down cards, AC - AS, onto the QH as you say, "These gents then went with the blonde". Your left hand has three cards remaining and these are, from top down, the KS - KC - KD. Via a single buckle or a push-off technique show two cards, taking two as one in right hand while left hand snaps its single card then places this card onto the card(s) in right hand. The KD is now the top card of these 2 Kings. The tabled card, supposedly the QS, is the other Red King or KH. 13) Left thumb pushes the top KD over to the right side for about a quarter inch in readiness for the Easy Double Deal. Right hand takes these cards, still stepped, to carry them down to the tabled card. Do this in such a manner that the tabled KH and the top side-jogged KD will come in direct line. At once right hand picks up all four cards. Place these into left hand so that left thumb and base of left 1st finger can pinch the two Black Kings at the upper left corner. The right fingers now easily remove the side-jogged cards, top and bottom, as if both came off thetop. Right hand at once turns these cards face up and spreads them to show two Red Kings. Your excuse for all this is that you apparently failed to show the "blonde gents prefer the brunette". Turn the Kings face down onto the card(s) in left hand and place the packet to the table in its original position. 1^) The disposition of cards at this stage is - The packet on the left has four Kings The packet on the right has, from top down, the AC - AS - QH. The top of deck has the QS. The audience assume that the two Queens are on the table each with two Kings and that the AS is on top of the deck. 15) Left hand picks up the deck and thumbs over the top card which is taken by right. Pattering about the detective, "rushing into one of the rooms", the right hand uses its face down card to scoop up the packet on the right. The packet is held face down and squared well above the deck. Turn the packet face up and flush onto top of deck as you say, "But all he found was the brunette and the blonde in the room - nothing else". During this patter line, when the packet is turned face up, it appears as if the supposed AS has disappeared since a QS is the face card. Left thumb shoves over only the QS to also disclose the QH but no others. Right fingers and thumb lift off the two face up Queens, at lower right corner, as left hand does a palm down wrist turn to conceal the next face up card or the AS. Keep left hand palm down as right hand turns the packet on the right face up to show that in this room were the four gents. 16) On top of deck you still have a face up AS with a face up AC_ below it. Ask, "You probably wonder what happened to the detective. Well he is back at the motel looking out the window - as you can see." As you reach the words, "as you can see", the left hand turns palm up to reveal a face up AS on top of the deck. Pause long enough for this to register then continue with, "Well he looked for a while but got tired and decided to leave". Here do a Double Turnover to turn the AS face down onto the top of deck. Deal off the top card, really the AC now, to take it in your right hand and place it back out into your outside breast coat pocket or shirt pocket but leave it projecting for about half its length. Place the deck face down to the table. 17) Address your audience, "You probably wonder why the gents and ladies did not get together now that the detective is out of the picture. Well you see they saw him sneak back." Here turn top card face up to show it is the AS. Rest it face up against the deck. Point to the card in your pocket and say, "You are wondering about this card. That is the detective's son. Really - notice the family resemblance." With this remove the card from pocket to show it is the AC which you rest against the deck alongside the AS to conclude the effect.

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SEVENTH METHOD - Dave Solomon Set Up: Black Queen on top of deck; small packet set up from face BK, RK, BK, RK, BQ, RQ, RQ, AS. 1) Spread four Kings running 3rd King under packet as you tell your story. Spread Queen showing 2 Queens, buckle AS with left fingers so two Queens are held as one. Place AS face down on top of the deck. 2) Square up entire packet and turn it face down into the left hand. Take off top two cards into right hand getting a break under the top two cards of packet with the left little finger. Square the two cards against the packet and pick all four up to show as two with the Mario Pivot Spread. This allows you to show the same red and black Queens. This last procedure was a Mario suggestion. Do the Mario displacement move placing one Queen face up and one Queen face down. 3) Single buckle and pick up all cards doing the Mario Pivot Spread to show two red Kings. Turn the black Queen face down and deal the top two cards onto it really two Queens. 6 ) Handle the 3 remaining cards same as Step 6 Method 2 apparently showing the black Kings.

5) The Climax - Turn the AS face up and at the same time get a break under the Queen on top of the deck. Do the K14 Move to switch AS with the Queen. After you have done this the AS will be face down on top of the deck and the Queen will be face down on the table. Pick up the supposed AS really the Queen and place it on the right hand packet. Talk about the AS returning to his lookout post only to find that the men were in the same room playing poker but when he peeked into the ladies room, he found two new players. If you like you can introduce any other two for the Queens if you find a better patter line although the Queens seem to make a surprising picture.

THE PRODIGAL CARD

Ever since 1928 when Walter Gibson published a book titled "Popular Card Tricks", which sold for twenty-five cents at that time, one of my favorite effects from there_was an item titled "The Card_In The Case". The effect briefly was that a card vanished from the deck and appeared in the card case. The Gibson description of the procedure was to name the top seven cards of the shuffled deck which were jotted down on a piece of paper by the spectator. The seven cards were then shuffled and dealt into two equal packets of three cards each with the odd or left over card being put back into the deck. The six tabled cards were then checked off of the spectators list. The one remaining card from the list, the one placed into the deck, now vanished from the deck to later be found in the card case. The original procedure was to miscall the last card of the seven cards by naming the card that was already in the card case being left there when the cards were first removed from the card case. I made some slight changes in the procedure by having the spectator remove any seven cards from different parts of the shuffled deck. In handling the seven cards the 3**d card was the one I miscalled using the misdirection of looking at the spectators written list to see that he was jotting down the cards correctly. The major change was a presentational one which gave come logic as to why the card seemingly vanished from among the cards to appear in the card case. The complete presentational angle I then applied to the effect "The Card Goes Home" in a booklet titled "Unlimited" even though in this case the effect did not strictly follow the procedure of the original "Card In The Case" since the one card was not placed into the deck but simply vanished from among a packet of five cards to later be produced from the card case. However, in that same "Unlimited" book I detailed several methods that did follow the procedure of the original effect but without having to miscall any cards since the spectator clearly saw each and every card. The following two methods follow my original outlined handling and presentation. While each can be done with a borrowed deck one of them depends on the secret addition of a gaffed card. A third method is also added as an excellent alternative to the gaffed card, 1 st Method1

1) Any borrowed deck can be used since all you will need is a Double Face card to match the size of the deck you may borrow. Assume your Double Face card is a Jack of Clubs and the Nine of Hearts. Decide that you will make use of the Jack of Clubs side for this effect. The effect can be done either seated or standing. In either case the Double Face card should be in the left side coat pocket with the £H side towards the body and the JC side away from the body. For the description I will assume the effect will be performed seated at the table. 2) When you get the cased deck simply hold it below table level as you quickly remove the deck and locate the £H and JC. Place the J_C into the card case, close it and place it casually off to your left side of the table. The 9H card you can leave in your lap for the time being or simply place it into your inside left coat pocket. This is done by right hand palming the card then travelling along under the left side of the coat. When your right hand reaches the inside coat pocket quickly dump the card into it as at the same time the right hand removes a pen or pencil which you will use later for the effect. For the present you are all set for per­ forming the card to the case; however, do some other effects to start. 3) 'When you are ready to go into the card to case effect hand the deck to the spectator for shuffling. While he is busy doing this your left hand casually goes to the left side coat pocket to palm out the Double Face card and to place it into your lap with the £H side up. You will have ample misdirection for all this as attention is directed to the spectator who is shuffling the cards.

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k) After the spectator has shuffled the deck request him to remove seven cards, from different parts of the deck, faces down. Take the deck from him and place it face down to your left. Have him shuffle his seven cards then take them from him and double check the seven cards by counting them face down, one at a time, in front of yourself and near the table's edge. The seven cards, during the count, are carelessly tossed onto the table so that they will form a sort of overlapped packet of some cards to the right and some to the left. Leave the seven cards alone for the moment as you hand the spectator a pen or pencil and a piece of paper. 5) Instruct him to write down the numbers 1 to 7 in a long downward line. While he is busy doing this your left hand casually drops into your lap to get hold of the Double Face card, with the 9H side face up, to hold it in a sort of a lengthwise Rear Cop or Palm. The right hand merely scoops its tabled seven cards directly onto the face up 9H* Due to the seven face down cards being stepped oroverlapped toboth left and right sides the extra width of the seven card packet will prevent any

. inadvertent flash of the face of the 9H* Thus the Double Face card has been secretlyadded to the bottom of the face down seven cards while the spectator is busy jotting down the numbers of one toseven on thepiece of paper. 6 ) Square up the packet and turn it face up. The JC side of the Double Face card will be the face card of the packet. Thumb this card face up, JC side, to the table as you tell the spectator to jot down the names of the cards next to each number. Turn the packet in your hand face down into the left hand. The right hand picks up the tabled card as you say, "'Write down the Jack of Clubs". As helooks down athis paper, in order to write the JC, your right hand places the J£ side face up to under the packet in the left hand.

?) Ask, "Have you jotted down the card?" Now thumb over the top card of the packet and turn it face upwith the right hand as you tell the spectator to write down the name of this card. Be sure he sees each card. This second card you turn face down and place it to under the cards in the left hand. Thumb over the next card, turn it face up with right hand, then call its name even though he also sees the card. Have him jot down this card, the third one, then turn it face down and place it to under the cards in the left hand. 8) Now comes a bit of leg pulling just in case you may be doing this for another magician who may be familiar with the old method for this effect. The fourth card is thumbed over and taken by the right hand; however, this time hold the card facing ^ you. Call out the name of this card correctly or what it actually is. The magician may smile inwardly at this point. Still holding the card facing you, ask, "What was the card you just wrote?" He will name the card off his list. To this you turn the card facing him and add, "That is right". This bit will practically make him smile outright.

9) Remember that now you must show him very clearly only the next 2 cards for a total of seven. As you show and name each card it is placed face down to under the packet. The end result, at this stage, is that you have a face down X card covering the face up side of the J_C Double Face card. The spectator has 7 cards listed among which is the JC. Say, "Let's mix these cards". Here turn the packet face up towards yourself. Thumb over the face 2 cards, one at a time, into the right hand. Between the fingers and thumbs of both hands shift these three cards about, as you mix them, then place all 3 cards to under the packet or on top of the packet since the packet faces you. Thumb over the next 2 face cards and repeat the mixing process then transfer these 2 cards onto the top of the packet. This leaves the Double Face card facing you with the 9H side facing you. Above or below it is the X card. Turn the packet face down into the left hand. With the left fingers do either a Double 3uckle or a Pull Down of two bottom cards, the Double Face card and the covering X card, in order that the left hth fingertip can obtain a break above these two cards. The right hand now shuffles. Overhand Style those cards above the break. In other words the right thumb and fingers grasp those cards

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above the break as for an Overhand Shuffle; however, the left thumb peels or runs off the top card as at the same time the left hth fingertip holds back the two bottom cards. As this Overhand Shuffle is continued the left hth fingertip also maintains the break above the original two bottom cards so that no matter how many times you Overhand Shuffle these two cards, the Double Face card and the covering X. card, will be retained at the bottom of the packet. 10) Turn the packet face down into the loft hand dealing position. Deal two piles of cards, one at a time from left to right, until each pile has three cards. The supposedly remaining face down single card in the left hand is really two cards, t,he Double Face card and the covering X card. The right hand takes these card(s) either from above by the ends or grasp it very firmly at the center of right side between the right thumb ontop and fingers below. The left hand cuts off about half the deck and the right hand places its card(s) face down into the center of the deck being careful that in replacing the cards from left hand you do not accidently expose the Double Face card. At this stage the Double Face card shows the £H side from the face side of the deck. 11) Pick up one of the three card packets and have the spectator run a line, on his list, thru the cards you show and call out for him. Repeat the same checking off process with the remaining three cards. Now ask him, "What card did we put into the deck?" He will naturally call out the Jack of Clubs. Hand him the deck with the faces towards him as you say, "Remove the Jack of Clubs and I will show you a wonderful effect with it". Naturally he will not be able to see the JC since it faces the other way and on the face side of the deck, which he looks at, will be the 9 H . You will not have to worry about him looking at the other side of the deck since the previous handling obviously showed a card being placed face down into a face down deck. If you are working for a group of people and do not wish them to spot the Double Face card, from the rear or top side of the deck, then instruct the spectator to deal the cards one at a time face up jto the table until he comes to the £C. He will not see it. You then patter to the effect that if the card is not among its friends where could it be. Remind them that when they leave their friends or a party where would they go. Probably they would go home. Point out that a cards home is in the card case. Pick up the card case and hand it to the spectator and have him remove the Jack of Clubs or whatever card you happened to vanish off your own Double Face card. 12) You will have a Double Face card in the deck and this can be used for another effect such as "Another Classic Pellet Trick" or go into a cleanup using my item "No Other Transposition Can Make This Claim". In any case, even without the above two suggested items, you will have no trouble getting out the Double Face card during some other effect. One more thing. At Step 8_you were told to call a card correctly without showing it and then later you do show the card. At this point sometimes you will find it to your advantage, especially when performing for another magician, to call the card correctly but do not show it. This will lead the magician to think he is ahead of you by assuming this will be the card that will not show up. Imagine his surprise when he later sees this card and checks it off his list. Even you should act as if perhaps something went wrong. Eventually conclude the effect as already outlined. This is a subtlety you should not pass up especially if you know the magician in question is familiar with the old method of this effect. 2nd Method

i) i'his uses a borrowed deck with no gaffs or any previous preparation. The deck is full and there is no card in the card case. The handling is very fair and the only requisite is to do the effect while seated at the table.

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2) During the course of some effects get any X card face down into your lap. The card case in also casually placed into your lap, towards your waist away from your knees or thighs, with the card case flap opened end to the left. 3 ) 'When ready to present the effect hand the deck to the spectator for the shuffling and removal of any seven cards. Take the rest of the deck from him to place it face down to your left and forward towards the center of the table. *0 The spectator himself is now asked to jot down the names of the seven cards after which he is asked to shuffle the 7 cards again. Take the seven card packet placing it face down in front of yourself. Now tell the spectator to jot down the numbers 1 to 7 along each card that he listed. During this time your right hand has casually dropped into the lap, palmed the X card, added it to the top of the £ card packet then in squaring this packet the bottom card is lapped using the "Screening Action". At once the packet is shuffled so that the top X card goes to the bottom of the packet. You will have plenty of time and misdirection to do this as the spectator is busy placing the numbers 1_ to 7 along each card that he listed. 5) Deal out six cards into two packets of 3 cards each and place the remaining 7th card, really the X card, face down into the deck. Toss three of the face down cards to the spectator asking him to check those cards off his list by drawing a line through them.

6 ) 'While he is busy holds the card case case and closes it. the left hand comes may check off these

doing that both of your hands go into your lap. The right hand while the left hand quietly places the lapped card into the card The right hand holds the card case, from above, by the sides as up to toss the next three cards to the spectator in order that he cards from his list.

7) 'While he is busy doing this the left hand is crossed over so that the left hand

touches the right elbow. Now the right hand, with the card case held from above by the sides, moves up so the right hand, with its card case, will come up behind the left elbow. Thus the arms are crossed but the right arm being behind crossed behind the crossed left arm the right hand and card case are hidden. As the spectator is busy crossing off the cards move your body forward so that both arms move away from the edge of the table. The right hand especially moves forward in order to quietly and unobtrusively get the card case forward on the table. 8) After the spectator has crossed off six cards from his list ask, "What card did we put into the deck?" When he names the card the right hand picks up the deck as you tell him to remove that card from the deck. During this the left elbow still more or less covers the card case. Now as the spectator is busy looking through the deck take both arms off the table as you casually lean back waiting for him to finish looking for the card. 9) 'When he fails to find the card go thru the presentational procedure, as outlined in the 1st Method, about where the card would go after leaving its friends. Eventually have him open the card case and remove the card. You will find this an excellent impromptu method the more you do the routine. No one seems to remember that the card case was ever out of sight.

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3rd Method

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1) This method can be done with a borrowed deck as all you will require is a stranger card that matches only the size of the borrowed deck. The color or back design of the card is not important. Use a card with quite a few spots. For this description assume your stranger card is the Ten of Spades.

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2) During the course of other effects you will find plenty of opportunity to secretly get the regular IQS out of the borrowed deck and leave it in the card case. When ready to perform the card to case effect get your Stranger card, the IQS in this example, face down into your lap. This stranger card can be in either of your side coat pockets from where you will find it an easy matter to get it unnoticed into your lap. 3) As before the spectator shuffles his deck and removes any 7 cards, from different parts of the deck, faces down to the table. Take the deck and place it face down to your left. Have the spectator shuffle his seven cards. Take the packet from him and cound them to make sure he has seven cards; however, during this count you sort of step the cards to the left and right to form a sort of widened packet of cards. Do not make this too obvious but rather as an accidental outcome of the count.

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4) Hand the spectator a pen and paper requesting him to jot down, in a long downward line, the numbers _1 to 7 . while he is busy doing this your left hand has gone into I the lap to get the stranger card, face down, into the left hand, holding it by the sides, into a sort of deep Gambler's Cop. The right hand sweeps the seven tabled cards directly into the left hand and onto the stranger card. Both hands square up the packet. Next J casually Overhand Shuffle 3 cards from the top of the packet to the bottom. Turn the packet face up into the left hand. > 5) Tell the spectator to jot down the name of each card as you show it to him. Hold the face up packet, from above by the ends, with the right hand. The left thumb peels off the face card into the left hand as you name. While the spectator jots down the name of this card you openly place it to under the cards held by the right hand. 6 ) Repeat the process of the left thumb peeling off the next face card which you show, name, then it is placed to under the cards held by the right hand. Do the same thing with the third card you peel off, name, then place, still face up, to under the face up cards held by the right hand. Peel off the 4th card, this is the stranger IQS card, into the left hand. As before name it. Now wait until the spectator's head moves down to look at the paper in order to jot down this card. During this time the left seems to repeat the identical action of placing its card to under the cards held by the right hand. In reality the left hand executes the action of Propelled Lapping thus actually lapping the stranger IQS card. This "Propelled Lapping" action properly done does not differ from that of actually placing a card to under the packet.

7) You have so far shown 4 cards. You now do exactly the same peeling and replacing actions of the next three cards,one at a time, until the spectator has listed seven cards. The card that is now second from the face of the packet has not been shown during this listing of the seven cards. Turn the packet face down and go into an Pverhand Shuffle by peeling the top and bottom cards together then shuffling until the last card, the X card now, becomes the top card. Run off the top card and then shuffle off the rest of the cards onto this. The one X card is now on the bottom of the seven card packet. 8 ) Deal out the cards into two packets of three cards each and place the last card, the X card of the packet, into the deck. Have the spectator check off the six cards from his list. Ask him the standard question of, "Which card did we put into the deck?" When he names it give him the deck so that he may remove it in order that you may do something wonderful with that card.

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9 ) .'/hen he does not find the card go into the presentational theme, as outlined in the 1st Method, of the.possible whereabouts of the card that isn't among its buddies. For the climax have him remove this card from the card case.

A few observations may be in order as to why this effect, which uses in essence a sort of duplicate card in two of the above routines, is far stronger and more convincing than an effect in which a duplicate card appears in a wallet. It is the way in which the effec" is done. In a card to wallet effect the card is only one card which in most cases is quite obviously foreed and its duplicate later quite insultingly produced from a wallet. In the Card to Case or as here titled "The Prodigal Card" the selection of the seven cards is free and made by the spectator. He sees every card as he jots the seven cards down. He clearly sees six of them dealt to the table and one is placed into the deck. He does not know which card was placed into the deck until he has checked off the other six cards. Note that he must assume the remaining card is the one placed into the deck . since he saw all seven cards and wrote them down. Again he can't suspect any force « since he himself shuffled the deck and chose the seven cards. Add to this that it is his deck of cards and his card case, which has remained in full view all the time, then you have a mystery unexplainable even by the magician. In the 2nd Method I at first was using my "Card from the Case" idea (See Deck Deception 19^2 ) where the card is simply palmed onto the card case, which is oval side up, then this card is removed as if it came from inside the card case; however, I have found the effect is much more convincing, especially to a magician, by using the loading sequence as outlined for the 2nd Method in order that the spectator himself may remove the card. NO DOUBT ABOUT IT - David Solomon EFFECT: Same as The Prodigal Card although the spectator signs the card that goes to the card case. This method was inspired from Mario's 2nd and 3rd Methods. 1) Borrow a deck and steal any card into your lap during the previous effect. Have the spectator shuffle the deck andtake out seven cards. From this packet of seven cards he is to choose one of these cards and give you the other six. 2) Tell the spectator to sign the face of his selected card. While he does this, add your card to the top of the six card packet as in Mario's 2nd Method. i | I

3) Pick up your packet and take the signed card from the spectator. Insert it face down among the cards you hold so that it goes into the center. Turn your packet face up and tell the spectator to number from 1 - 7 . I U) Have the spectator jot down the name of each card as you show him as in Mario's Method 3, Steps 5 and 6 although when you get to the signed card you propel it into your lap. Continue the list as in Step 7; do the shuffle as described to set the packet for the deal.

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5) Deal out the cards into two packets as described in Step 8. Of course follow through by placing the odd card into the deck. Have the spectator check off the cards one at a time delaying the fact that the card that was apparently placed into the deck is the card he signed. This build up is a Mario idea. The spectator will smile when he finds he placed the signed card into the pack. 6) During the above checking off procedure, you place the signed card either in the card case, your wallet, or another deck of a different color, the choice is yours. 7) You tell the spectator to take out the signed card and you will show him a wonderful effect, tfhen he can't find the card you produce it "There is No Doubt About It" since he signed the card. This method precludes the idea of miscall and duplicate cards. It should leave the closest observer baffled. Mario's Procedure For No Doubt About It -1 1) Place a wave into the card that you steal from the borrowed deck. This wave should be a crimp on both edges of the card so you can see it as you fan the backs of the cards between the hands. 2) Proceed as above Steps 1 and 2. Give the spectator the packet and tell him to put his card into it anywhere and shuffle. Take the packet back, fan between your hands looking for the waved card. Cut the packet so the waved card becomes the top card. You must also make sure that the second card is not the signed card by thumbing over the cards into the right hand and intentionally looking at them as you say something about the signed card being in the packet. 3) Do Step b above propelling the signed card into your lap. h) Hand the spectator the packet and have him shuffle it. Hold your hand out taking the cards back as you ask him, "Do you believe the mental controls the physical?" This question gives you time to spread the cards between your hands and cut so that the waved card goes to the bottom of the face down packet. You can now give the spectator the packet and have him deal the cards in two packets. 5) Place the odd card into the deck. Proceed as above doing the Mario delay to build comedy and suspence that the spectator selected his own signed card. Complete the effect as in the other methods.

MARLO

STRIP CUTS

These so called running cuts if basically done using slip cuts would be restricted to the losing of a single card. The techniques described here enable one to "strip cut" either a single card or a number of cards. The starting action of the cut seems to come from the gaming table and was shown to me many years ago by Bert Fenn in connection with an Ace cutting routine. The approach and appl i c a ­ tion of the techniques are strictly my own. 1) Rather than describe the method for strip cutting a single card the d escription will be for doing this with several cards and the assumption will be that the reader will easily understand the action for losing a single card. 2) Assume you have a desired card either face down or face up at 5th from the top of the deck. During a cutting sequence you will get the card to the top of the deck. 3) Begin by tabling the d e c k lengthwise in front of yourself. The right and left hands are at each end of the d e c k with the 1 st fingers curled on top in the standard position for the cutting of the tabled deck. 4) The right thumb, at back side, lifts up slightly half the d e c k and moves it about a qua r t e r inch or m o r e to the right thus e n d ­ jogging the top half. At once both thumbs do an upward thumbs riffle so that the top four cards can be eventually separated, by a left thumb break at inner side near the inner left corner as shown in Figure 1. which shows the d e c k and finger positions of each hand. Hands also conceal jogged condition.

Left thumb holds break on top 4 cards

Right thumb on end-jogged portion

5) The right thumb and 2nd and 3rd fingers n o w grasp the lower half of the top end-jogged cards in order to center cut these. The Figure 2 shows the start of this center cut of the top portion. The break on the top four cards by left thumb is maintained during this action. Break held

Half of top portion center-cut Figure

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6) The right hand places its cards onto the top but the left thumb holds the break between section A2 - Al. The four cards above the b r e a k have joined the bottom of the half of A section as shown in F i gure 3. 4 cards * r " ~ N ^ S e c t i o n A2 cut out A t' above break— J— to top of Al Al join 1— — rd Section A2 1----- c----- 1 Figure 3

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7) O n c e the section A2 is undercut to the top the left fingers and thumb hold onto this portion. The right fingers and thumb at once center cut section Al to the top. As the center cut is made the left fingers and thumb also move its section A 2 to the left and in line w i t h the bottom section B as shown in Figure 4 the start of the center cut of section A l . Sect ions A2 & B now in line

^-----nr "&■

Section Al being center-cut to top

Figure 4 8) W i t hout any stalling the right hand center cuts section Al to the top to complete the strip cut as shown in the Figure 5. The desired card is now on top. Required card n o w on top

Figure 5 9) The strip cut actions m a d e on a single card will be found very good e s p ecially on those cards that may have a tendency to drag other cards during the usual slip cut. Another Combination 1) H e r e you use the strip cut but the sequence differs and some may find these actions more to their liking. Again it can be used on a single card but the description will be for losing several cards that may be above a desired card. 2) Assume the card you wish to cut to is 5th from the top. As before, the right thumb lifts up half the d e c k at the inner side only in order to end-jog it to the right for about a qua r t e r inch. See Figure 1. 3) D o an upward thumbs riffle and obtain a break, with the left thumb at the inner side near the left corner. The right fingers and thumb g r a s p the lower portion of the end-jogged top half in order to center cut section A2 as already shown in the Figure 2. The left thumb maint a i n s its break on the top four cards during this center cut.

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4) H e r e the action changes. The right hand places the center-cut portion A2 on top and in line with the bottom half B. The left thumb at once lifts up on this section w h i c h results in the four cards, on which the left thumb held a break, to m o m e n tarily join the bottom of section A 2 but these same four cards will be end-jogged and in line w i t h section Al; however, a separation between these four cards and section Al will be formed as shown in the Figure 6 . Left thumb lifts up onthe break at this end

4 cards separated from Section Al at end-jogged end Figure 6

5) The right thumb and fingers g r a s p the end-jogged section Al plus the right grasps and holds a break on the four cards. The right hand c e nter-cuts out the section Al but still keeps a separation, w i t h the right thumb at inner side at the right corner, on the four cards that are about to be strip cut. The Figure 7 3 hows this situation at this stage. Break on original top 4 cards v c

AZ B

Figure 7 6) The right hand comes over onto section B in the usual m a n n e r of placing the center-cut cards to the top; however, the left fingers and thumb grasp only those cards above the break as the right hand m oves out, in another center-cut, to the right and forward in the accepted manner for cutting. The Figure 8 shows the cut in action, a strip-cut. 4 cards above the break grasped by Section Al centerleft hand cut. Original top 4 cards go onto A2.

Al

AZ B

Figure

8

7) The action of Figure 8 is concluded by right hand pla c i n g its section Al to the top. The desired card, w h i c h origin a l l y was 5th from the top, is now on top after the strip-cut as in Figure 9. Needed card on top Section B remains untouched during all running cuts.

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Al

Al ' B Figure

9

Strip-cut cards now between Sections Al & A2

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8) O n c e m o r e m e ntion is m a d e that t hese same S t r i p Cut actions can be applied to a single card and will be found in m a n y instances to be better than the usual S l i p Cut.

9) I will conclude by m e n t i o n i n g that it is better to keep your hand in on something w h i c h is more flexible in its application than something which is restrictive. TOP AND B O T T O M CARD TRANSFERS N o t e - For a method see "Patented False Shuffle" under "Transfers" pages 20-21-22 steps JL to 15_. The following methods eliminate the shuffle using only the cutting action. The cuts are made on table. S ingle C ards Transfer 1) Left 1st finger pulls over top card as right thumb, pushing down on bottom card pulls it to the right. The Figure _1 shows c o n d ition of deck. Both hands, at each end of deck, conceal these jogs. -pop card Bottom card

\ Figure 1 2) Right hand undercuts deck and in pla c i n g the bottom half on top does so that bottom jogged card goes in line with top of deck while top card will automatically go in line w i t h bottom of deck. The Figure 2 shows the action but the cut is completed with a slao indicating no break being held. Bo t t o m card goes in line with top of deck

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Top card goes in line with bottom portion of deck Fiqure j? 3) The second undercut will now transpose the top and bottom cards. M erely g r a s p the o u t - joqqed end with left fingers as right finqers grasp its o u t -jogged end. The cut now results in the action seen in Figure 3. Bottom card remains on top section Top card joins bottom section

Figure

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4) The actual cutting action is a sliding thus there is no exposure of the cut transfer as purposely shown in Figure _3. The cut completed the b ottom card is on top and top card is on the bo t t o m as in Figure 4. Bottom card now on top

i t

Top card n o w on bottom Figure 4 Multiple Card Transfers This cutting action will transfer say 4 Kings from top to bottom while bringing the bottom four Aces to top or vice versa. The Aces and Kings are used only as examples. Any cards or any num b e r of cards can thus be Transposed (Note - Multiple Cards Transpositions or Single Cards T r anspositions would perhaps be a better title.) 1) Assume 4 Aces are on top of deck and 4 Kings on the bottom of deck. The left thumb quickly releases the four bottom Kings and right fingers pull these to the right side-jogging t h e m slightly. The left and right thumbs R iffle back side of d e c k upwards and left thumb obtains a b r e a k under the top 4 Aces at left end. The Figure _5 shows the condition at this stage.. Left h a n d ----- ------------break under L, top 4 Aces Figure _5

4 Kings jogged to the right

2) Right hand undercuts the deck and places the under portion flush onto the top portion but left thumb retains the break. The Figure 6 shows situation. 4 Kings still jogged Break held under Aces Figure 6 3) The right fingers now first pull the bottom section, those cards just below the break still held by left thumb on the A c e s , to the right and in line with the side-jogged 4 Kings as in Figure 7. Bottom portion 4 Kings in Line now in line with V /with bottom section top 4 Aces \\ / (Held back \\ / by left fingers\ (ji__________ / during 2nd 1/ c u C t ^n 8 action) L ....... I ^_____ Bottom section, below * 4 Ace break, pulled to the right' and in line with jogged 4 Kings Figure 7

4) The left fingers now hole? back the in-line sections at left enf (see F igure 7) while right fingers immediately cut out the under oortion plus the side-jogged 4 Kings. The action is seen in Figure 4 Kings on top

8 .

_;

1

Fig. 9

t

4 Aces on bottom 5) The cutting action here is again a sort of slidinq action in w h i c h the right hand moves its cards sort of to the right slightly then forward and when clear comes back to place its cards on top. The 4 Kings are now on top and the Aces on the bottom. The completed cut shows in Figure 9. The above cutting action can be demonstrated by telling a story of how an expert bottom, dealer inadvertantly culled1 the Aces to the t o p and the Kings to the bottom. This would mean that his opponent would get the Aces while he, on his bottom deal, would get the Kings. What to do? N o w dem o n s t r a t e the cut; however, because it i^ a d e m o n s t r ation here is how you automatically get those bottom Kings side-jogged. 1) S h o w Aces on top. Turn deck face up to show 4 Kings. In c l o s ­ ing up the spread of Kings, get the left 4th fingertip behind the Kings at the lower right corner. 2) The deck is now held face up in left hand, by the sides, with the left 4th fingertip behind the Kings at the lower right corner. R a i s e d e c k more or less up to fingertips and at same time turn deck face down. This will cause the 4 Kings to automatically move to the right and end- jog t h e m s e l v e s . The right hand of, course, comes around, to grasp its end of deck, to cover this end-jogging action and also helps the 4 Kings to end-jog in a straight line to the right rather than angling inwards. The right thumb of course presses in on these inward angled cards thus straightening them into a end-jogged condition. From here conclude the cutting actions as already o u t ­ lined. 1st N o t e - The above Top and Bottom Transfer of Kings and Aces can be done in the hands, using the Bill Simon Block Slip Cut, doing either three cutting actions or four cutting actions. 2nd Note - In the Single Cards Transfer of the top and bottom cards you were instructed to pull back the top card to the left; however, you can simply get a break under the top card with left thumb. The following procedure will be found to be the best combination. 1) Begin by tapping the lower end of the deck against the table top. The deck is held between both hands w h i c h hold the sides of the deck. The right hand is below the left hand. The right 1st, 2nd, and 3rd fingers are on the outer side with the thumb on the inner side. The tip of the right 4th finger presses against the top of the deck, near outer side, onto the outer lower corner. The left hand fingers are above those of the right hand. Their positions are with the left 1st fingertip over the top end of the deck, the left 2nd and 3rd fingers at the outer side above the right 1st finger. The tip of the left 4th finger pressed against the face on bottom

card, near the outer side, at about center. The left thumb is at. the inner side touching but above the right thumb. The Figure _10 shows the finger positions of each hand as viewed from the bottom of the deck. Left fingers w ith 4th f ingertip against face of deck

against top of deck Figure JLO 2) Both hands start to lower the deck towards the table by pivoting the deck, between the thumbs and fingers of both hands, to the left. During this downward pivotal action the tip of the left 4th finger presses against the face card on the bo t t o m of the deck causing it to be end-jogged to the right as in Figure 11. The position of the right fingers, at the right end of the deck, cover this end-jogged card. The right 4th finger has also moved off the top of deck to alongside the other right fingers and the right 1st finger has now curled onto the top of the deck. The use of the 4th fingertip to end-jog a card is a technique of Arthur Altmans and is recorded here for the first time. Title it "Altmans' Bottom Card End Jog." Deck pivoted downward

Tip of left Right fingers 4th finger cover the endpushes bottom card jogged card to the right Figure 11 3) v^ith the deck now tabled face down the left thumb obtains a break under the top card. The situation now is as in Figure 1_2. The first fingers of each hand are curled on top of deck. Break under top card with left thumb _____________ Figure 12

\

End-jogged bottom card 4) The right hand undercuts the lower half to the top and directly in line with the top half; however the left thumb maintains its break as in Figure _13. The right hand remains at the right end of the deck covering the end-jogged card. End-jogged . bottom card Break below card now joined Fi 13 to lower half —

5) The top cord, under which the break was held, has more or lore: joined the lower half of the deck separated from it by only the one intervening end-jogged card. The right hand moves all those cards below the break to the right and in line with the end-jogged card. The situation is as shown in Figure ] A . The left thumb and finyers hold the original top card in place w i t h upper half. Original bo t t o m endjogged card in line w i t h lower half of deck

S.

O riginal top card held in place by left thumb & fingers

Lower half moved to right Figure 14

6) The right hand, in a second undercut, now grasps the lower half of the d e c k plus the end-jogged card while the left hand grasps the upper half of the deck plus the top card on which a break was held. The cut' is now made by moving the right hand, with its lower half, to the right and forward. This action is shown in Figure JJ5 which again is really a sliding action thus there isn't any separation of cards, as shown in the Figure 15 for clarity, when the cut is being made. F igure _15 is identical In’action to Figure 3. Lower half moved to right and forward during cutting action

Origins 1 top card

Orig i n a l bottom card will go to top of deck Figure _15

7) The right hand completes the cut by placing the lower half to the top, the top and bottom cards have been transposed and the situation now is as already shown in the Figure 4_. The Tabled Cover Uo Cut basically the *Harlo Cover Up Cut is usually done in the hands but here it will be described as for when the deck is tabled. 1 1) A s s u me the second card from the top is face up. You had a card peeked at by the spectator, somewhere in the center of the deck and are h o l ding a left 4th fingertip break below it. The tip of left 4th finger moves in up against the face of the peeked card, at the lower right corner, in order to angle the card out to the right. The left fingers now push the card to the left at the same time in-jogging the angled card. Du r i n g this in-jogging action the left thumb is at the upper left side of the deck and can feel the upper left corner of the angled card. The left 1st finger is curled under the deck. The left 2nd- 3rd.- 4th fingers have moved up to the upper

I

'

right corner of the deck. The right hand is above the deck, the right 1st finger is curled on top of deck, the right 2nd- 3rd- 4th fingertips are extended along the front end of the deck. The right thumb, at the back end, can feel the lower left corner of the angled card. The tip of right 4th finger can feel the upper right corner of the angled card. The Figure 16 shows the finger positions of both hands with the selected card still angled.

----— -------- Right thumb Figure 16 2) The right thumb moves to the extreme left and against the left side of the lower left corner. This now will permit the angled card to be in-jogged as the right 4th fingertip presses in on the upper right corner of the angled card while the left 3rd and 4th fingers press the angled card to the left and downward to aid in the in­ jogging of the card. H o w m u c h of an in-jog you get will depend on how much you angled o.ut the card to begin with, however, about an e ighth of an inch or less is sufficient for the follow-up cutting sequence. 3) With the card in-jogged the right hand grasps the inner end of the deck, concealing the in-jog, then the deck is tabled lengthwise in front of the performer. The left thumb obtains a break, at inner side, under the top card. The situation is as in Figure 1 7 . Face up card under top card

Figure 11_ 4) The ball of the right thumb now moves onto the inner right corner of the in-jogged selection in order to press down on it and cause a break or opening, along the inner side only, which is also taken over by the left thumb which now will hold two breaks as in Figure 1 8 , with end-jogged card on top of the lower half. End-jogged card Left t h u m b s h o ld s 2 '"i break s

F i g u r e Jj3

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5) The right hand undercuts those cards below the break to result in the condition of deck, as shown in the Figure _L9 where the b ottom half is now flush onto the single card top card, left thumb still holding the break, with the end-jogged card on top. /End-jogged card Break held by left thumb

Face u p card is n o w below break Figure 19

6) The right hand new pulls those bo t t o m cards b e l o w the break, to the right and in line with the top selected end-jogged card. The Figure 20_ new shows the stage at this point where note that the left thumb no longer holds a break, however, both hands are still around their respective ends of the deck thus covering, from the front, the exposed condition shown from the inner side in the Figure 20. End-jogged selection on top Original face up card

Figure .20 7) The right hand now grasps the top end-jogged card plus the pulled over b o ttom section and moves these cards far enough to the right, to clear the left fingers, then forward, in a simulated undercut, tc place the bottom section plus the top end-jogged card, to the top. The action just before completing the cut, is shown in the Figure 2 1 . Selection Face up card Figure 2_L 8) The completed cutting action results in the selected card being on top with the face up card just b e l o w it as in the Figure 22. Selection on top of face up card

\ Figure 22 9) D u r ing the cutting action of that, shown in Figure 2_1 you may feel apprehensive about p o s s i b l y f l ashing the face up card. In this case I suggest that as the right hand does the undercut action it does this by right hand turning its cards face outw a r d s towards the spectator. This also conceals or at least helps to conceal the fact

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that the top card, on the second undercut, remains on top although because of the cutting sequence, this has never been questioned. 10) While a straight out and out Slip Cut action could be used in place of the end-jogging action I have purposely described the end-jogged procedure because it is more flexible of application especially when dealing with the transferring of more than one card onto a face up card or cards. The Tabled Block Slip Cut The Simon Block Slip Cut is usually done in the hands but here again I have applied it to a tabled cutting sequence, w i t h two selections. 1) Assume you have had two cards peeked at and are holding two breaks, one with the left 4th fingertip and one with the left 3rd fingertip. The card at the 4th fingertip is below this break. The Figure 23 shows the two breaks being held. The right hand is omitted for clarTty. Normally, it would be above the deck.

2) Under cover of the right hand, which is above the d e c k as if squaring the ends, with 1st finger curled on top of the deck, the left fingers move to the left thus automatically stepping the cards as shown in Figure 2 A which again is w i t h right hand omitted for clarity.*

3) The right hand holds the ends of the deck as left hand changes position to grasp the inner end of the deck,' left thumb on top and left fingers beneath, as in Figure 2 5 .

Figure 25

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4) The left hand holds onto the inner end of the deck as right hand is free to grasp the right end of the deck, as left hand swings this end towards the right hand. The position of deck and both hands is shown in the Figure 25 where note that the steps are

5) The left hand is now free to grasp the left end of the deck w i t h the left thumb pressing down onto the steps, at inner side, to form two separations as shown in the Figure 21_. The left thumb oresses in against these separations to obtain and hold two breaks.

6) W i t h left thumb holding the breaks the right thumb eases its hold against the inner side of the deck. This causes the separations to open clear across the inner side of the deck as in Figure 2 8 .

7) W i t h the two separations held at the inner end by the left thumb only the right thumb and fingers are free to undercut the lower p o r ­ tion of cards, up to the lowermost break w h i c h has the 1st selection on top of this portion, to the top but in an end-jogged condition to the right as in the Figure 2 9 . ,1st selection here First portion undercut to top

8) Without hesitation the right fingers and thumb pull the next bottom section up to the next or second break, to the right and more or less in line with the top end-jogged portion. The Figure ^0 shows this stage of affairs. 1st selection

-Pulled to right

A

2nd selection

Figure 30 9} Still without any pause in the actions the right hand grasps both top and bottom lined up sections, while left hand holds onto the center section, then moves the two lined up sections to the right and forward in a simulated under cut. The Figure 3_1 shows the two sections being moved out in readiness for the simulated under cut. I say simulated because while the bottom section is cut to the center the top section will remain on top as in the Figure ^2. Still the whole sequence appears quite fair if t e c h ­ nically illogical. The end result will be the 1st card on top of the deck and the second selection on the bottom of the deck. 1st selection

1st selection A & B pulled to right and f orward

Figure 31_

2nd selection Figure 3_2

10) while I have only described a control of two cards using the Tabled B lock Slip Cut obviously any combinations or placements can be done using the Tabled Block Slip Cut in the same way that you m a y do them in the hands. 1 11) While steps were used to later obtain breaks some may prefer to get the separations directly from the breaks held. O n e such method is for left hand to hold its breaks as already shown in the Figure 2 3 . Mow the right hand moves towards the front end of deck. The left hand turns inwards to bring the front end of the deck towards the right. The right hand grasps this end of the deck but not before the left fingers relax to widen the breaks clear across the inner side. The right hand, now at the right end of the deck, grasps this end with right thumb at inner side and right 2nd- 3 r d - 4th fingers at the outer side. The right thumb now holds the two sepa­ rations as shown in the Figure _33 which is an exposed right end v i e w of the d eck normally covered by palm of right hand.

Figure 3r3

12) Both hands now move into the position around each end of the deck, as already shown in Figure 28. From here go into the Tabled B lock Slip Cut as depicted by Figures 29 to 32 to complete the sequence. Illogical Bottom Slip Cut

(Single Card or Block of Cards)

1) The following description is for a Bottom Slip Cut that while basically not very logical does have its uses. It will be described as for a Single Bottom Card Slip Cut. 2) Hold the deck between both hands in readiness for the end tapping action, lower end, against the table top. The faces of the cards are facing the left palm while the top of the deck is towards the right palm. Both hands are in the position already shown in the Figure 1 0 . Now do the "Altman Bottom Card End Jog" as already shown in the Figure _1_1 immediately tabling the deck with both hands around each end of the deck thus the end-jogged bo t t o m card is well concealed at this stage. 3) The right hand now moves the top half of the deck towards the right and in line with the bottom end-jogged card as in the Figure 3jl Top half and bottom card jogged to right Figure 3_4 4) The left hand, grasping all the cards can lift the deck, at back side only, slightly upwards in order that the right hand can grasp the top end-jogged portion plus the bottom end-jogged card. The right hand pulls the top half and the bottom card to the right and forward as in the Figure 3_5 which basically shows only the starting action to the right. This is at once followed by moving the right hand forwai'd. Top half and bottom card pulled to right and forward Figure 35 5) in a simulated undercut the right hand places its cards back onto the top of the deck. You will find the simulating of an u n d e r ­ cut q u i t e simple since you do want to get the bottom card into the center of the deck as shown in the completed action of Figure 36.

This also brings into play, if required, any desired card or cards that may have been hidden by the bottom card. (For other such Bottom Slip Cuts see "The Patented False Shuffle.") A ¥

Bottom card n o w in center Figure 36

6) Since only one card has been displaced, the rest of the deck, if it were in any specific order, is still in order except for the interruption of the card that was slipped into the center of the deck. 7) Doing a Tabled Slip Cut, off the face of the deck, with the deck face up will give the same results and the cut will appear bona fide, however, there may be times when you may want to Slip Cut the bottom card of the deck, with the deck face down, so as not to expose either the b o ttom card or the next card from the bottom. 8) W h i le a single card was used to illustrate the Bottom Slip Cut there may be times when you may wish to Bottom Slip Cut several cards as a unit or block, to the center of the deck. In this case using those g et-ready methods explained in the previous cutting sequences can be applied here.

A SWITCH ON THE TEN H A N D POKER STACK Effect: This is a method for the Ten Hand Poker Stack which is reminiscent of several of my methods in which a packet switch is used. However, in this case the aces are switched individually and are automatically preset for the subsequent Faro Shuffle. 1) As you spread a shuffled deck face up between your hands, downjog the first Ace you come to, plus the 2 cards immediately to its left. Continue spreading the deck, and each time you come to an Ace you downjog it plus the 2 cards to its left. Close the spread between the hands so that the jogged cards remain jogged, then turn the deck face down and hold it face down by the sides with both hands 2) Strip out the jogged cards and drop them to the table, then strip off small packets from the top of the deck one after the other and drop them onto the Ace packet. Pick up the deck, square it, and then give the deck an In Faro Shuffle in the hands. 3) Having completed the In Faro Shuffle, hold the d e c k from above by the ends in the right hand and allow the cards to dribble onto the table. Pick up the top card with the right hand at the outer right hand corner and use it to scoop up the deck, but as you do so the right fingers and thumb down-crimp the outer right corner of this card. In placing the deck into the left hand, turn it end for end so that the crimped corner of the bottom card will be toward you. 4) The deck is held in the left hand in position for the Overhand Shuffle, with the backs toward the left. The right hand is holding

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the d e c k by the ends. The right hand n o w breaks the deck about at the center, or a little lower, as long as the break is above the Ace stock. The left 4th finger m o m e n tarily holds the break to allow the right thumb to grasp the inner end of the deck and thus take over the break. N o w in Overhand Shuffling you shuffle the top cards uo to the break and then throw the cards remaining in the right hand on top. Then cut the crimped card to the bottom, and then O v e r ­ hand S h u ffle 3 cards from top to bottom. The Aces are n o w every sixth card from the face, while the crimped card is fourth from the face. 5) Turn the deck face up to the right, turning it over from side to side to keep the crimp at the back end, and place it face up into the left hand dealing position. The steps that have gone before you have executed as if simply toying with the pack, but n o w you turn the p a c k face up to find the Aces as you offer to give a d e m o n s t r a ­ tion of how gamblers stack cards. 6) W i t h the deck face up in the left hand, the left thumb deals over the face card, w h i c h the right hand takes in dealing position. This is repeated with a 2nd, 3rd, and 4th card, w h i c h the right hand takes one onto the other. H e r e the right index finger curls around the outer end of the packet so that the tip of the index finger actually touches the uppermost card. A fifth card is taken by the right hand, but the tip of the index finger remains between this card and the rest of the packet. The right side of this card is flush with and touching the right side of the packet but it is not touching the packet along its ]eft side or at either end. The right thumb, w h i c h is d i a g onally across the outer right corner of this 5th card, holds the card in place by pressing it down against the back of the index fingertip. The left thumb now pushes over the 6th card, which is an Ace. The right hand takes the Ace flush onto the top of the 5th card so that there are now two cards above the right index fingertip, both held in place by the right thumb. It should be pointed out that this series of actions is done w i t h the left side turned toward the spec­ tators, as if to display the faces of the cards that you are taking one at a time into the right hand. Actually, of course, the body turn gives cover for the action of the index finger of the right hand and also for the switch that is just about to occur. At this point the right hand turns palm downward, and as it turns p a l m downward the index finger is straightened, thus pivoting out the card which for­ merly was directly above this finger, the indifferent card, while the Ace is held in place by the right thumb. The switched card is placed face down on the table, while the spectators believe it to be an Ace. The right hand is turned palm upward again and approaches the left hand for a repetition of the switch actions: 4 cards are taken one at a time onto the face of the right packet, the index finger inserted under the 5th card, the Ace taken onto the 5th card, and then the switch action is performed in dealing the "Ace" to the table face down. The switch, of course, is Mario's Mechanical Seconds, which first appeared in M.U.M. The body turn to the left will keep the Ace at the face of the packet concealed as the switch action is repeated. The same switch actions are continued for the remaining Aces until four "Aces" are face down on the table, at which ooint you will be holding a face up packet in the right hand with the 4th Ace at its face. Here the 2 handscome together and the left hand

spreads the remainder of its cards face up onto the right hand packet, as if you are making sure there are no more Aces in the deck. Square the deck and turn it face down into the left hand. The situa­ tion at this stage is that there are 4 indifferent cards on the table while the Aces are secretly set every 5th card from top down. The crimp is 4th from the top. 7) Before the demonstration, you say, you will shuffle the cards. Position the deck for an Overhand Shuffle with the backs to the left. Undercut about 20 cards and shuffle off. Cut the crimp to the b o t t o m which will bring one Ace to the top while the other 3 Aces will be every 5th card beneath it. Get a left 4th finger br e a k under the top Ace. 8) Pick up the "Ace" packet from the table with the right hand from above by the ends, bring it to the top of the d e c k to square it, and steal the top Ace to the bottom of the packet. The packet is imme­ diately turned face up on top of the deck, thus showing the Ace at its face, and get a left 4th finger br e a k under the face up packet. R aise the hands, thus bringing the face of the packet toward you, and spread the top 4 cards between the hands (retaining the left 4th finger break under the 5th c a r d ) . You now rearrange the order of the 4 cards which are visible to the spectators, removing a card here and replacing it there at another position in the 4 card spread, doing this several times, but ending with the Ace at the face of the packet again. The impression given is that the Aces must be in a partic u l ar order for the demonstration to w o r k properly. Close the spread onto the top of the deck, then lower the hands so that once again the spectators can see the Ace at the face of the packet. Then the right hand takes the packet at the inner right corner, and flips the packet face down on top of the deck. At once you deal the top 4 cards one at a time into the right hand, reversing their order, and then they are returned to the top of the deck. As you do this you say that "The AS must be on top" assuming the AS was the card the spectators just saw. The impression given is that you have arranged the Aces in a particular order, and that you have reversed the order to bring a particular Ace to the top. If they remember this Ace, they will be interested to discover that it is the first Ace to appear on the subsequent deal. 9) N o w cut the deck and square it. crimped card to the bottom.

Cut again, this time cutting the

*

10) N o w hold the deck for a Faro Split in the hands, and with the right hand cut off a little more than 20 cards from the top. N o w do a Straddle Faro of the In type in the hands, Faroing the smaller packet into the center of the packet and sloughing off to arrive at an In condition, or better, do a Tabled Straddle Faro, sloughing off to arrive at an In condition. On dealing out the cards into ten poker hands, the dealer will get the Aces on the first four rounds. 1 11) An alternate procedure would be as follows: At Step 9, do the first cut and square the deck. Then cut again, but in this case cut the crimped card 2nd from the top. The right hand cuts off from the top a packet of from 22 to 25 cards, preferably at the lowermost Ace.

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N o w do a Tabled Riffle Shuffle Straddle Faro, after w h i c h you square up. Cut the deck and complete the cut, then cut again so that the crimp goes to the bottom. Deal out ten hands, and the dealer gets the Aces on the first four rounds. 12) If you are able to do what in essence is a Tabled Faro R iffle Shuffle of the In type then naturally the cutting of the deck, as in Step 1JL above, can be eliminated thus adding greatly to the One R i f f l e S huffle Ten Hand Stack effect. Additional Ten Hand Stacks 1st Method

(One Ri f f l e Shuffle)

1) R e m o ve the four Aces and place them on top of the deck. place one Ace to the bottom of the deck.

Cut or

2) With the deck tabled lengthwise in front of you the right hand grasps the right end of the deck, by the sides, while the left hand obtains a similar position on the left end of the deck. 3) W i t h the right thumb lift up about half or more of the deck, at the inner side only, then w i t h right thumb release or thumb count five cards. The left thumb moves in to keep these _5 cards separated, at the left inner side, from the lower half of the deck. The right hand then cuts its top portion of the d e c k to the right. 4) At this stage the left thumb has kept a separation between the top J5 cards and the rest of the left hand packet of cards. The half of the d e c k on the right has 3 Aces on top while the 4th Ace is the bottom card of the portion of cards on the left. Those who have read “The Ten Hand Poker Stack" manuscript or any of the manuscripts that comprise "The Riffle Shuffle Trilogy" or "The Shank Shuffle" should have no trouble understanding the terminology for stacking the Aces. 5) D u r i n g the Riffle Shuffle that you now execute you must stack the b o ttom Ace so it will become the third card from the bottom. Mean­ time the left thumb has held back an additional four cards, for a total of nine cards, during the Riffle Shuffle. These nine cards fall last and onto the 3 Aces of the right hand section. The result you should have will be 9X cards above the 3_ Aces while the 4th Ace is the third card from the bottom. 6) You are, after the above one Riffle Shuffle, ready to deal out Ten H a n d s of Poker so the 4 Aces will fall into your hand or the dealers (10th) hand. 7) Deal out the first round fairly for nine cards but on the 10th card, w h i c h falls to you the dealer, do a Mario Two Card Throw, face down as apparantly one card, into your 10th hand. (See "Riffle Shuffle Finale" for this Two Card Throw.)

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8) Without any hesitation go at once into a Second Deal, to hold back the one Aco now on top of the deck, until you are ready to deal it fairly into your 10th hand. 9) Continue the deal fairly for the next two rounds of ten cards each. On the 5th and final round use the last Ace, originall y at third from the bottom, to scoop up your 10th hand. 10) Turn your cards face up. Deal off the face four Aces sailing them out onto the table. The remaining card, really 2X cards held as one, is placed face down onto the other 9 hands w h i c h are simply gathered into one heap. If you have dealt the cards, nine cards each time, into sort of one heap in front of you, then you simply t o s s the card(s) face down onto this pile. 2nd Method

(One Riffle Shuffle)

1) This uses no false deals. It is very subtle in that anyone trying to duplicate this with a 5_2 card deck will find it doesn't work out. The removal of a Joker is a further throw off as far as the Magicians are concerned. 2) Start with a deck that has two Jokers. Remove the 4 Aces and also remove one Joker and casually toss it face up to one side of the table as you remark, "Better remove the Joker." That is all you say about the Joker. 3) Place the _4 Aces face down on top of the deck. Mix them up and in resquaring get a break under the top 2 ACes. The right hand casually places these, as apparently one Ace, to the bottom of the deck. This transfer can be made by the right hand taking the Ace(s) from above by the ends or by the lower right corner with thumb on top and 1st and 2nd fingers beneath, to thus place the Ace(s) to under the deck held in the left hand dealing position. The right hand now takes the deck, from above by the ends, then turns palm upward to show the Ace at the bottom of the deck as you remark, "One Ace at the bottom." Table the d e c k lengthwise in readiness for a Riffle Shuffle. 4) Do an Upwards Thumbs Riffle to get the about the top half of the deck. The right cards which the left thumb keeps separated the deck. The right hand cuts off the top right for the start of a Riffle Shuffle.

right thumb holding back thumb release counts 5 from the lower half of half of the deck to the

5) The right thumb releases one card from the bottom of the right hand portion then the left thumb releases the bottom 2 Aces of the left hand section. This places two Aces at the 2nd and 3rd p o s i ­ tions from the bottom. Continue the Riffle Shuffle so that the left thumb holds back an additional 4 cards for a total of 9 cards which are let fall last or on top of the right hand portion which has the other two Aces on this section. 6) The situation now is that 2 Aces are at 10th and 11th positions from the top of the d e c k while the other two Aces'are at 2nd and 3rd from the bottom of the deck. Pick up the deck to deal.

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7) On the first round deal so that you will do a Two Card Throw, of two Aces as apparently one card, into the 10th or your hand. Deal the next three rounds fairly. On the fifth and final round your left thumb pushes or deals over two Aces as apparently one card. This push-off should be made w i t h the two Aces as closely to being one card as possible without getting tight about it. It must be done casually w i t h no apparent mechanical effort. Obviously, a B lock Push-off is the easy answer. 8) This card (s) is used to scoop up your 10th hand. Meantim e the left hand, with its single remaining card as if it were the r e m a i n ­ ing two cards, moves to deposit its card onto the tabled cards w h i c h can be sort of pushed or brushed to the left. 9) Turn your 10th hand face up. Deal off the 4 /ces face up to the table. The right hand grasps the remaining 3X cards, as seemingly one card, by the outer end, thumb on the face and fingers below, to turn the card(s) face down and place them onto the piled up cards on the left. 10) In the above method there aren't any false deals, such as Seconds or Bottoms, as the only sleight is the Two Card Throw. This means the deal can be burned. The surprise of the 4 Aces, after one such rapid and casual Riffle Shuffle, gives plenty of misdire c t i o n for p a s sing off the last 3X cards as the usual only remaining single card of your hand. 3rd Method

(One Riffle Shuffle)

1) This uses the Mario Easy Unit Control Deal from "Seconds-CentersBottoms." The details of this, for a 5^ hand Poker Stack, can be found on pages 120 to 122 of the above book. Here it is used to give the impression of having stacked the four Aces into ten hands. 2) O p e n l y place the 4 Aces on top of the deck. W i t h an Upwards Thumbs Riffle break the d e c k about in half, at the inner side only, w i t h the right thumb. The right thumb quickly releases or thumb counts 5 cards which are held separated, from the bottom half of the deck, with the left t humb at the inner side near the left end of the deck. 3) The right hand cuts off the top half of the deck to the right. D u r i n g the Riffle Shuffle the left thumb, which has maintained its original 5> card break, holds back an additional 4_ cards for a total of 9 cards. These 9 cards are let fall last and onto the 4 Aces in the right hand section. Telescope the halves into each other, squaring up the deck. 4) The right hand places the deck face down into the left hand in position for the "Easy Unit Control" as described in "Seconds-CentersBottoms" pages 120 to 1 2 2 . The first nine cards are dealt off fairly to the table. This can be done around the table or into a central pile in front of you in case you do not have the room to deal out ten hands.

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5) When the 10th card is taken by the right hand, an Ace, it is slowly turned face up and dealt to yourself but slightly off to your right. This slow turning of the Ace face up to your right gives you the misdirection needed for the left thumb to engage the next top 3 Aces, at their upper end, to pull them straight down thus setting these in position for the Easy Unit Control. You will find this easy enough to do without any break being required below the 3 Aces to start. 6) From this point on you do the "Easy Unit Control" deal for nine cards and deal out an Ace as the 10th card. Repeat with the r e m a i n ­ ing two Aces until you have thus dealt the four Aces into the 10th or your hand. Properly done the Riffle Shuffle is rapid and c o n ­ vincing while the deal will not be suspect since it appears as a natural pushing or dealing over of cards. FLEXIBLE SWITCHOUT

(Continue from Page 15)

4) In this position you can lower both hands to show the 10D between the Kings. Also the right hand can separate the spread, taking KS with, to clearly show the 10D which has a single right side ed g e . 5) The right hand comes over to take the 10D. The tip of the right first finger contacts the back at right side of the KS but the left second fingertip contacts the right side of the 10D. 6) To prevent any undue sounds the right hand moves with the 10D until its left side almost clears the right side of KC and yet not expose the X card below the 10D. 7) The right hand now turns palm down. The left second fingertip raises up slightly to easily release the supposed 10D which slides off face down to the table. As the right hand starts to turn palm up, the right second and third fingers pull the actual 10D to under the cards in the right hand. 8) When both hands are palm up and move to meet again, the left thumb, second and third fingertips pull the KS out further to the left to show the two black Kings. The 10D can now be reloaded between the Kings or it can be run under the spread to the top. 9) While the switchout was described face up, it can be done with the Kings face up, the 10D face down between them, and in the center of a face down deck. In this case since all cards are face down there isn't any need to turn over the right hand. In action the right hand would place the KS face up to the table, on the 10C the switch is done placing the X card onto the face up King followed by the next face up King. Several effects will be described in later issues.

DOUBLE AND TRIPLE PEEK CONTROLS

The following Double and Triple Peek Controls are done strictly in the hands while giving the deck only one cut, for the Double Peek Control, and seemingly giving the deck only two cuts for the Triple Peek Control. These are only a few of- the various controls, from Chapter Nine, written in 1954 as a proposed sequel to "Control Systems." The reader will notice that the "One Cut-Double Control" has since been established in the Hierophant #2^ in the Winter 1969 issue. The Triple

P e e k Control embodies the "Mario One Cut-Double Control" and the "Simon Block Slip Cut." Since these controls have been in my notes since 1954 and shown to only a few card men long before 1 9 6 3 , w h i c h is when I first met the other claimant to the One Cut-Double Control at the Abbott G e t - Together in Colon, Michigan, it is quite obvious that n o w you know who showed what to whom. Those who have the original "Control Systems" - 1953 - will find several other Do u b l e and Triple Controls within its pages. In fact those who have ersatz copies will find them there also. The line drawings for the following Do u b l e and Triple Controls were m a d e by D a v e Bendix, of N e w Orleans, from the pages 5 to 9 and 2A_ to 3£ of the original handwritten Chapter 9 titled "More C o m b i nation Controls. (B)

Single Cut to Top.

(2 cards)

1) H a v e one card peeked at, at same time getting break w i t h fourth finger of left hand. W i t h right thumb release peeked at card so it falls onto lower packet. Have second spectator note a card, again g e t t i n g a break; this time the break is held by the third finger of left hand. The right thumb, at back, releases this second peeked at card so it falls onto lower portion. The position of both cards lo­ cated by breaks, is as in Figure _5. Cards peeked at rel e a s e d to top of lower portions

Top of deck

Face of deck

Figure 5 2) The right hand now moves the top portion, up to the first break, slightly off to the right as in Figure 6. P o s i t i o n of peeked cards One break is still held

Figure 6 3) This top portion is moved over just enough so that the left thumb can contact the top card of the exposed portion as in Figure 1_ just R i g h t hand holds cards fr o m above by the ends

2nd card on top of bottom portion, break held by 4 th finger

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4) top the the

The left hand now takes the lower half up to the break, plus the card of the center portion by pressure of the left thumb, toward left as in Figure 8. The right hand of course is holding onto other portions.

Lower half rem o v e d together w i t h top cards

5) Continuing the action, started in Figure 8, the lower half plus the center card, is placed on top of deck in a cut. This of course brings both cards to the top in 2-1 order. The "Center Card Slip" explained here will be found to have many uses as will be seen in further controls to be explained. The next combination controls three cards through the use of a "Center Card Slip" plus a "Double Block Slip." (B)

Top and Bottom

1) H a v e three cards peeked at and manage affairs so that the first two peeked cards are released onto the lower sections while the third card remains at the face of its section as in Figure 2 2 . Cards 1 & 2 r e leased onto lower sections, but Card 3 remains at face of its block

Top of deck

Figure 22 2) The right hand moves over two top blocks, with right thumb k e e p ­ ing the break between them, as in Figure 23. Right thumb at back holds separation between 2 top blocks

Card

.Left 4th finger holds break on 1st card

Figure 2_3

3) The left thumb now presses on card number 2 in readiness for the "Center Card Slip." The right thumb, besides m a i n t aining a break, also manages to grasp the block of cards on which lies card No. 2. In this way when the left hand moves away it actually only takes the b o ttom block plus the center card while the right hand holds onto three blocks as shown in Figure 2 4 .

Figure _24 4) The left hand, after completing the action started in Figure 24, places its cards on top of the right hand portion but for only half its w i d t h as in Figure 2 5 . This block cut to top has Cards 2 & 1

R i g h t thumb still holds break

5) V/ith the top block still only halfway on the deck the left fingers reach out and grasp the two bottom blocks as in Figure 2_6 in readiness for the "Double Block Slip." Note that the two bottom blocks have been brought to directly beneath the jogged top block by left fingers pulling the bottom blocks to the left. (Figure 26) Left fingers pull 2 b o t t o m b l ocks to d i r e c t l y b e n e a t h top block. A l l 3 blocks w i l l be cut a w a y by left hand.

6) C o n t i nuing the action, started in Figure 26, the left hand moves away with all three blocks. i.e., the two bottom blocks plus the top block. The situation is now as in Figure _27 with left hand having the three blocks while right hand has one block.

(2+1} 2 bottom blocks cut

away with top block by left hand Figure 27

at bottom of single block in right hand

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7) The left hand now places its cards onto the cards in right hand in what is a cut. The result is that the cards are now under control in the positions depicted in Figure 2 8 .

8) A l t hough the steps of the cutting have been broken down, actually, there isn't any visible hesitation in the cutting process once it has been started. 9) One may wonder if there is any logic to the "Block Slip Cut" seeing as to how the top portion seems to be merely replaced to the top again; however, in practice it will be found the whole pro c e d u r e is very deceptive as the action of the left hand seems to make it appear as a fairly normal cut. At times a slight tilting of the hands will cover the fact that the top block is slipped then replaced but this is actually not necessary as will be found on actually using the system. Those who know my approach of riffling back the upper right corner of the deck, with the right 1st fingertip, as the spectator is requested to call "Stop" will understand the procedure for getting the desired number of cards peeked at and the correct left fingertip breaks obtained at each point. Note also that the "Mario Slip Cut" is not just a "Mere Slip Cut" as referred to by those who continually use it without credit. Over the years the "Mario Slip Cut" has more than proven its versatility and flexibility of application. Those who insist on writing a "Mere Slip Cut" may I suggest they go back to the Hindu type slip cut so popular several tens of years ago as this was a mere slip cut. THE SECR E T I N C O M P L E T E FARO

This article is to show or point up the difference in an Incomplete Faro that is used for an obvious effect such as the Acrobatic Aces or the Plunger Aces plus the Incomplete Faro, that while obviously in an elongated position is used to secretely get cards under control, as well as the type of Incomplete Faro that has the appearance of a squared up deck yet its incomplete condition is used to some secret advantage other than the exhibition of a "Double Faro" or to show the deck as containing all red cards then all black cards. "Advanced Fingertip Control" had such uses as well as the "Hierophant (Double Count-two m e t h o d s ) . The following additional ideas are along this "secret" line.

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1) There are two types of Secret Incomplete Faros you can resort to. The 1st method is that in which the cards are Faroed and a n a l e d , as deck is apparently pushed flush and square as in Figure 1. The other is to get the traditional short card condition ala Svengali as in Figure 2 . 1 The technique of getting this condition is to a ctual­ ly get into the angled condition of Figure 1, which is like a deck in a Strip-out condition, then by merely squaring the lower ends of deck, between right thumb at lower left side and right 2nd-3rd fingers at lower right side, the deck will move into a "Svengali Contition." Also, you will find that the right 3rd finger will sort of go between the corners of deck, at right side near lower right corner. Chese corners form a sort of inverted V between which the right 3rd finger goes and is an aid in getting the deck into the "Svengali Condition" as the sides are squared.

Deck in Incomplete Faro c o n d i t i o n a la S v engali

Figure 2 2) The above techniques are done in the hands and for more details you can look into "Advanced Fingertip Control" or "Faro Controlled Miracles'1 on how to get these conditions. The next procedure uses the Table Faro Riffle Shuffle to get you into the condition shown in Figure 3 and from there very easily into Figure _4, if you wish. To get the angled condition shown in Figure 3 you do a Table Type Faro and in Squaring up get the deck into a Strip-out condition. The t e c hnique recommended, in this case, is that from"Riffle Shuffle Systems." With the deck angled as in Figure 3 it can easily be picked up and placed into left hand dealing position as required for the controls to be described. If it is desired to get the deck into the "Svengali Condition" then merely squaring the sides, pushing to the right at corner X with left thumb, is all that is necessary. Again, for more details refer to "Riffle Shuffle Systems." r 1 1 | 1 1 1 1 Svengali 1 1 1 Condition 1 J 1 . ! ---

J

Figure 3

Figure 4

3) Whether the Faro Shuffle is done in the hands or on the tabie, in all cases the Faro is of the I_n type. In cases where a "Straddle Faro" is to be used, it is also of the'In type. It is assumed the reader is already familiar with the techniques described for making the Faro Shuffles in Chapter Six - "The Faro Shuffle" in the "Revo­ lutionary Card Technique" series.

The Controls 1st M e t h o d- Insertion Type To make things as clear as possible, I will use the "Svengali Condition" of .the d e ck in describing what happens; however, the same things apply to the d e ck when it is in an angled condition although there may be slight changes in the actual control of the selected card. 1) From a shuffled deck have any card freely selected. While it is being noted do an In-Straddle Faro setting up for the "Svengali C o n ­ dition" as in Figure 2. Hold the deck face down in left hand. Note that if your left thumb down-riffles the upper left corner of deck you will see the so called long and short cards. The short cards being those naturally in-jogged. This distinction must be u n d e r ­ stood during the replacement of the selected card. 2) Take the card from the spectator and down-riffling the upper corner of the deck ask the spectator to call "Stop." It is at this point you insert the selection but note whether it is going above or onto a short in-jogged card or onto a long forward card. 3) The only as lightly ends in

right fingers push the card in flush with front end of deck right 2nd finger, at front end and right thumb at back end square the ends as right hand moves back and forth along the the familiar end squaring action.

4) At this stage the deck appears perfectly square and there is no angle jogging of any card as in the usual insertion methods; however, there are now two cards together in the Faroed deck. In other words the Faro has not only been broken up at this point but the two cards together form an automatic thick c a r d . If your right thumb riffles the back end of deck you will easily feel how the deck suddenly breaks at this "Formed Thick Card." 5) This double thickness can be spotted by sharp eyes looking for it, at the front end; therefore, the left 1st finger should be curled around the front end and the deck tipped forward so that spectator is practically looking on the top of deck which shows nothing. 6) H aving located, by the right thumb riffle at back end, the thick card breaking point you have several alternatives of control. (A) You can merely cut the deck at this point. (B) You can obtain a left 4th fingertip break, maintaining it as rest of deck is actually pushed flush as you go into an Overhand Shuffle to the break. (C) A S p l i t ­ ting of the deck, at the back end with right thumb seems to fit in best with the follow through into a Dovetail Riffle Shuffle. (D) Any type Side Steal providing after squaring deck flush, you lift up addi­ tional cards as required in the next step. 7) Regardless of the procedure you adopt you will either have the selected card on top or second from the top. It will be on top if the selection was placed onto a long or forward card. It will be second from the top if the selection was placed onto a short or injogged card. From this point you are on your own as to how you use this control including the suggested Side Steal at Step 6 abpve.

-29ti2nd Method Keep in mind that the same things discussed in relation to whether the selection is placed onto a long or short card apply here except in this case the angled Faro is used, therefore, you will be placing a selection either on an angled or short c a r d , easily discernable to you at the upper left corner during the down riffle or onto a straight or long card and the opposite will be the result. 1) As before, have a card selected and while it is noted do a Straddle In-Faro setting up at an angle as in Figure _1. The d e c k is held face down in left hand with the na r r o w or converged squared end up front while the wide end is towards operator. 2) Left thumb riffles the upper left corner for spectator to say "Stop." You watch the lower left corner or left side in order to note w h ether the selection will be placed onto an angled card or a straight card. (Most of the time, due to the almost squared c o n d i ­ tion at the front end of deck the selection will be placed onto an angled card.) Push the card in straight and flush press in firmly, with right second finger at center of front end and right thumb at center of back end at same time lightly running left thumb and fingers along the sides of deck in a side-squaring action. 3) The eventual control will either get the selection to the top or to the bottom following the rules outlined, but the control in this case is made by right thumb riffling the left side of deck, near lower left corner, when that double or thick card can easily be felt by the sudden break in the deck. Strangely enough the angled c o n d i ­ tion of the deck does not show a double line at the front end of the deck. 4) H e r e again the procedure to get the card to top or under control can be done by tabling the deck lengthwise for a Riffle Shuffle so right thumb locates the thick card and splits deck. The left hand portion will contain the selection, either on top or second from top as discussed for this 2nd Method. The only objection I have to either method is the taking of the card from the spectator under these c o n d i ­ tions one can just as easily crimp, nick, m a r k or whatever the selec­ ted card. It is best if the spectator inserts the card. Also it is important that the spectator clearly sees that you stop the down riffle at the point he tells you. Once he inserts his card, which you easily prevent from his pushing it all the way, your right hand comes over and pushes the card flush w i t h deck in accordance with the instructions set down for either method you decide to use. 5) It is obvious also that the techniques of getting into the Faro as in Figure 3 and £ can be substituted for those in the hands but the control procedure after this is that as already outlined. For The Fingertip Peek The same setting up Faro Techniques as per Figures 1 to 4 inclusive are used here the only difference is in the fact that a card is not removed but rather noted in the fingertip procedure. Readers of

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" 'fdvanced Fingertip Control" will notice that there is a distinct diffe r e nce between my procedures of using the Secret Incomplete Faro and that of Dr. James Nuzzo. In the methods to be described not only do you already know which card the spectator has noted but also quickly get it under control either in a single cut or regular Riffle Shuffle or a Side Steal or simulated Faro Shuffle. Use a borrowed deck for best impression on another magician. 1) You can use either the "Angled" Method of the Incomplete Faro or the "Svengali" method. Also you can use either the Faro Shuffle in the hand to obtain situation of Figure _1 or Figure 2 or t.he Table Faro to get the Figure 3 or Figure £ condition. 2) For this description let's use the Angled Faro of either Figure l or Figure 3. Start by doing either an In or Out Faro Shuffle getting the "Angled condition so that the na r r o w end is at front and wide end at the back so deck is held face down in left hand dealing position. 3) Right hand takes top card and casually inserts it, from front end of deck somewhere around the center of deck or slightly above it. Push card in flush holding deck with right hand from above by the ends, between the right second finger at center of front end and right thumb at center of back end. You now have of course erected a "double" or "thick" card in the deck. 4) Right hand, still holding deck from above by the ends, turns deck clockwise to bring the wide end towards the front. At same time the left thumb and left second and third fingers grasp lower or n arrow end of deck by the s i d e s . Also at same time the left thumb and second and third fingers bevel the deck slightly to the right. Left fingers hold onto the lower end of deck so that right hand can change position so that the right second finger comes on top end of deck, at center as before, while the right thumb is back at the lower end also at center. The wide end of deck is now u p p e r ­ most and narrow end at bottom. 5) Right hand holding deck enables left hand to change position in order to grasp the deck at the lower left corner with left thumb on top and left 1st and 2nd fingers on the face or bottom of deck in readiness for the Finge r t i p Peek. 6) Riqht hand now lets go of deck as left fingers of course hold deck for the Fingertip Peek. Your right first fingertip gently riffles the upper right corner of deck from face to top. You will feel a sudden stop as your right first fingertip passes the double or thick card. It is also important that your left fingers hold deck so that it is tipped toward yourself just enough for you to spot or glimpse the index of the card at which this sudden break or stop occurs. There is no hesitation and the whole action is a soft gentle riffling action accompanied by the patter line, "I'm going to riffle the cards like this." The glimpse should now have been a c c o m p l i s h e d . The deck is now held straight and further away from yourself .as you look at spectator and follow with " And all I want you to do is rail 'JJtop' at any time."

7) Step 6 has enabled you to know the card the spectator will get. Not only that, after having done the Fingertip Peek, the noted card is easily brought under control to the bottom. These who have "Advanced Fingertip Control" will know how to time the riffle so that spectator will call 'Stop' just as that double or thick card flips past the right 1st fingertip. K e e p the cards open at this point until spectator has noted the card letting several others around also note it for insurance. Right 1st finger now lets the rest of cards riffle off fairly losing the noted card. 8) Right hand now regrasps deck by the ends from above with right second finger on top end and right thumb at the back end. Right hand carriers deck to the table turning it clockwise so the narrow end can be grasped by the left second finger and thumb by the sides. Right hand now moves to the wide end of deck with right second finger very lightly contacting outer side as right thumb contacts very lightly inner side. The position of the d e c k is lengthwise as for the familiar Table Riffle Shuffle. 9) Left thumb and fingers firmly hold onto the sides of deck at the left end while right thumb gently riffles upwards till you feel the "thick" or "double" card flip past the right thumb. Break or split the deck at this point carrying top half to the right. Riffle Shuffle, letting cards from right hand section fall first, then c o n ­ tinue the Riffle Shuffle in the usual manner to completion. Pick up deck and in a "Turnaround Square Up Glimpse" you will see the card at the b o t t o m of deck. 10) The above is my favorite procedure, using either the Angled Faro in the hands or the Table Faro, to glimpse and eventually contro the card to the bottom; however, some may prefer to use the "Svengali type Secret Incomplete Faro. The glimpsing process is the same in that you have to turn the deck end for end, after inserting top card to create the "thick"card for the Fingertip Peek. Because the cards are in a "Svengali" condition the right thumb and second finger must not exert any undue pressure on the ends of the deck during the t u r n ­ ing of the deck. You will find this is not at all difficult if the right thumb and second finger pull slightly upwards while right first finger presses siightly downward during the turning of the de c k by right hand. This upward and downward pressure will retain the "Svengali" condition of the deck. 11) O n c e the Fingertip procedure, as outlined already for the "Angled Faro" is done, the control of the known, to you, peeked card can take on the variations previously mentioned from a simple cut, to a Side Steal or obtai n i n g a break then using a pass or an Overhand Shuffle, to a Dovetail Shuffle, to the Table Riffle Shuffle to the squaring up and relocating via a simulated Faro Control. The same variat i o ns of control naturally are also applicable to the "Angled F a r o ." At this point I might mention that a bridge size card secretly loaded into a poker size deck can act as side short card that can be r e l o c a ­ ted at either the left side with left thumb down riffling or left 4th fingertip down-riffling the lower right corner. This, of course,

iO L -

depends on whether the bridge size card is over to the right or over to the left. If it is over to the left then the deck can be held as for a Fingertip Peek and the bridge card will act as a short or ra­ ther n a rrow card at which there will be an automatic stop. Thus, with proper timing, the card above the bridge size card is the one noted by spectator. In a turnaround squaring action the deck is turned so that now the bridge size card is over to the r i g h t . The left thumb can now down-riffle, l i g h t l y , to the narrow card ns right hand cuts off top portion and left hand follows by placing its cards on top. You now have the bridge size card on the bottom and just above it is the selection. The above is just another thing to keep in mind just in case there are both a bridge size and poker size cards around. H o w one uses it and when one uses it is up to the performer. With the bridge size card towards the riqht and f l u s h , it is possible to ribbon spread, tiqht spread without exposing the card. Even a pressure fan is possible; however, the card must be of the same texture as the poker size card. In other words a plastic coated card would act like a s1 ick card and will either break at that point or expose itself w hich you do not want although if the card is of a similar color and close to the same design it will not be readily noticed. Important Note *1 The Incomplete Secret Faro type peek described can be done using just a regular Riffle Shuffle with cards not actually alternated card for card. Strangely enough, after the insertion of top card into deck, the same condition of a "stop" at point of cards insertion will still occur. Just make the Riffle Shuffle as even a one as possible. While the "Incomplete Secret Faro Control" has thus far been d e s ­ cribed as dealing with single card controls it can be applied to the m u l t i p l e control of cards. This will now be discussed. Two Card Control This uses first the selection then insertion of the cards. 1) W i t h two cards freely selected the remainder of the deck is given a Faro In-shuffle setting it up either at an angle or ala Svengali. Let's assume you have set it up as for a Svengali in Figure 2. 2) On receiving each card, one at a time, place the first selection into the lower section of the deck being sure the selection goes onto a long or out-jogged card. Repeat the same procedure with the second selection but inserting it into the upper portion of the deck. 3) Remember to square lightly on each selection you insert. You n o w have merely to lightly riffle the back end of deck with right thumb as the left 4th and 3rd fingertips move in to obtain breaks at the automatic stops, caused by the thick or two cards together being sort of short cards at back end of deck, above each selection.

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4) F r o m this point anyone familiar with the "Control Systems" or the cutting procedures in "Advanced Finge r t i p Control" can easily control the two selections to the top in 1-2 order from top down. 5) If preferred, the deck, still in its Incomplete Faro condition, can be lowered to the table and from here the Table Riffle Shuffle procedures, outlined in "Advanced Finge r t i p Control" can be used to bring both cards to the top. Three Card Control 1) This is identical to the proce d u r e for two cards except be sure to do an In-straddle Faro, incomplete type, before inserting the three selections, in one-t w o - t h r e e order, into deck at near bottom, center and near top. Of course, each card is inserted and ap p a r e n t ­ ly squared in with deck before inserting the next card and then the third. 2) F r o m here you can easily control the three selections either by the g e t ting of the required three breaks w i t h left 4th-3rd-2nd f i n g e r ­ tips as right thumb, at back end, riffles upwards lightly, to each d ouble card, as the appropriate left fingertips m o v e in to get the breaks above each selection. 3) Again, the Tabled Riffle Shuffle plus cuts, slip cuts or blocking off can be used to get all three selections to top in the correct order of selection. Again, referring to "Advanced Fingertip Control" will g i ve you several alternatives for getting the three desired cards to the top. The above should suffice as to the insertion met h o d s of control and now the discussion will concern Multi p l e Fingertip Peek Controls. D o u b l e Fingertip Peek 1) For this I suggest you get the d e c k into an Incomplete Secret Faro at an angle as in Figure JL. The narrow end is, of course, towards spectator and the wide end towards performer. 2) C a s u a l l y insert the top two cards into front end of deck, one at a time, this time making a conscious effort to sort of push in each card so it angles to the right. In other words, the two cards lower right corners will sort of line up with those cards already at that angle. 3) H a n d l i n g the deck, from above by the ends, between the right 2nd finger at center of top end and right thumb at center of back e n d , right hand turns the deck clockwise end for end. This brings the wide end of deck uppermost and the na r r o w end at the bottom left fingers and thumb can qrasp the sides of the bottom end. 4. At this stage, right hand holds deck so that left hand is free of deck as for the Fingertip Peek. Right hand first finger can now g ently riffle upper right corner of deck to feel for those sudden stops, as you qickly ascertain which two cards will eventually be

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505-

chosen. On the other hand you do not need to do this if you are fairly secure in the knowledge that you will be able to easily control the two cards that will be noted during the Fingertip Peek. 5) The first spectator is, of course, forced or timed so that he will call "Stop" at the first so called double or thick card while the second spectator naturally is forced to call "Stop" at the upper, or nearer the top of deck, double or thick card. 6) O n c e the two cards have been noted, the right hand regrasps the deck, from above, by the ends with right thumb at center of back end and right second finger at center of front end. Left hand lets go of deck. Right hand turns deck clockwise as it moves towards the table. At same time the left hand retakes the left end of deck with thumb on inner loft side near coiner and left second finger at outer left side near corner. Left first finger is curled on top of deck and left 3rd and 4th fingers lie along outer left side of deck close to left second finger. 7) Left 2nd finger and thumb hold firmly onto the left end of deck. This enables the right thumb to gently riffle upwards on the inner right side of the deck near the right corner, to the first double card from the t o p . In other words the right hand has a similar p o s i ­ tion on the right end of deck 3S the left hand has on the left end enabling the right thumb to easily riffle upwards to the first "sudden stop." The right fingers then top cut this portion to under the left hand portion. This brings the second selection to the bottom. R e ­ peat the above right thumbs locating riffle action to the other double or thick card situation. Right hand carries this section to the right thus splitting for a Riffle Shuffle. 8) At this stage, the first selection is on the bottom of the right hand section while the second selection is on the bottom of the left hand selection. If you are familiar with Riffle Shuffle Systems you would release the bottom selections so that the first selection falls onto the second selection in the first Riffle Shuffle. How a second Riffle Shuffle is used to bring the two selections to the top in 1-2 order. 9) If not familiar with the Riffle Shuffles that get this result then m e rely doing a cutting sequence on the table, after the first Riffle Shuffle, will get the two cards to top in 1-2 order as follows; Right hand undercuts bottom half to top and at the same time the right thumb quickly releases the two selections so they fall onto the top of the lower half. Immediately the left thumb moves in to obtain a break or separation between the halves. The right hand now merely undercuts small packets to the top until the break is reached when both cards will now be on top in correct order. Triple Fingertip Peek 1) The same insertion procedure is used here as you casually insert the top three cards, one at a time, into front end of a deck that is in its Secret Incomplete Faro condition.

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2) In doing the Secret Incomplete Faro you must take care that the back end of deck is fairly squared off so that there are no bevels near top or bottom of deck. The Incomplete Faro condition is clear, sharp and distinct at back end and that there are no cards inadver­ tently meshed flush, especially near top and bottom of deck. 3) H aving inserted the three top cards, near bottom, center and near top, be sure they are angled off to more or less join the other angle-jogged cards on the right side. H o w go through the usual C l o c kwise turn of the deck to bring the wide end of the deck towards the front. As right hand still holds onto deck, from above by the end, the left finger and thumb grasp the now lower end, by the sides to sort of slightly bevel the pack to the right. The left fingers and thumb now g r a s p the deck as for the Fingertip Peek. 4) To insure better success, the right 1st finger should riffle back the upper right corner by doing it more on the right side of the deck, near the corner, rather than on the corner itself. You will find the "sudden stops" under m u c h better control. 5) O n e can either previously glimpse the three cards, that will e v e n ­ tually be noted, during an apparent explanation of how you will a p p roach each spectator and have him note a card that he calls "Stop" at. On the other hand, a preferable approach is to have confidence e n o u g h in that you can easily bring the noted three cards under control to the b ottom of deck, during cutting and shuffling as follows: 6) H a v i n g had the three cards noted via the Fingertip Peek, table the deck w i t h the na r r o w ends to the left and held firstly by left thumb and f i ngers on the sides near the corners. The right thumb riffles upwards to the first "Stop" or double card from the top. Right hand cuts off this packet and places it under the rest of the deck. This brings the 3rd selection to the bottom. N o w this time right thumb riffles upwards to the first "Stop" from the bottom. Immediately left thumb moves in to hold a break here at the back side near left corner. The right thumb continues onto the next "sudden stop" and right hand cuts this packet off to the right for a shuffle. The c o n ­ ditions are now as in Figure 5. S eparation held by left thumb

1st selection

[

*

N 2nd selection

7) Riffle Shuffle so that the 3rd selection from bottom of left hand portion is released first, followed by right thumb releasing 2nd selection onto the 3rd selection then continue the Riffle Shuffle normally but let at least one card fall under the block of cards that left thumb is keeping separated. Telescope the cards into each other setting up as for a Strip-Out Shuffle. This brings a ledge of a card or cards at the inner left side near left corner as in Figure 6 a top view.

Deck in StripOut condition

hedge marking off 1st selection

Figure 6

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8) Left thumb presses down on this ledge then moves in to hold a break on the cards that are above this ledge. This results in the Figure 2 with selections 2-3 on bottom and selection 1 is above the break held by loft thumb. Break he Id

selection

2 & 3 Figure 1_ 9) From Figure 7 the right thumb can first release the 1st selection so it falls onto the cards below the break. The small packet is n o w cut off to the right and Riffle Shuffled into the larger portion on the left. This leaves card #1 on top and cards 2-3 on bottom. From here one should have no difficulty in concluding the control to either top or bottom in the order desired for the effect at hand. The following methods while still using the Incomplete Secret Faro p l u s the insertion of a card or cards has an approach that is quite logical and doesn't waste a card. Call itCombination Control

(Two Cards)

1) The basics are simple and it's only the order of the thing that makes any difference. First have deck shuffled by spectator. 2) On getting deck spread it for a free selection. While the spec­ tator is noting and showing his card around you have ample time to set up the rest of deck into a Secret Incomplete Faro with the wide end remaining at back end and narrow end at front end. 3) Take the card from spectator and insert it, slightly above center, from front end of deck. Give deck the usual clockwise turn to bring the wide end of deck to the front. You are now set to let the second spectator select a card via the Fingertip Peek. 4) After second spectator has peeked his card you handle it a c c o r d i n g ­ ly, as previously described, to table it for a Riffle Shuffle. 5) W i t h right thumb riffle to the double card or sudden stop. Right hand cuts off the portion, above the double card, to the right. The bottom of right hand portion has second selection and top of left hand portion has 1st selection. Riffle Shuffle to retain second selection on bottom and 1st selection on top. Subsequent cuts can bring both cards to top or bottom as desired. Combination Control

(Four Cards)

1) In this case two cards are freely selected from deck before the rest of deck is set up via the Secret Incomplete Faro with narrow end towards front as before. The two selections are now taken, one at a time, so that 1st selection is inserted near bottom of deck and second selection in upper portion thus setting up for the Doub l e

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F i n g e r t i p Peek as already described. 2) Turn deck clockwise to bring wide enc of deck towards front and go into a Fingertip Peek procedure for 3rd and 4th spectators. Be sure to riffle the sides, near upper right corner, with right 1st finger in order to insure feeling the "sudden stop" at each double card. 3) Table deck as required for the right thumb riffle location to the; first "sudden stop" or double card from the t o p . Right hand cuts off this port ion placing it under the portion held by left hand. This brings selection *2 to top and selection #4 to bottom of deck. 4) Right thumb riffle locates the next double card and top cuts this portion to the right in readiness for a Riffle Shuffle. T.t this stage you have the second selection on top of right hand portion while the first selection is on top of left hand portion. Selection #3 is on b ottom of right hand portion and selection #4 is on bottom of left hand portion. See Figure 8 for clarification of the situation. 1st selection

2nd selection

/

"X

4th selection Figure 8

3rd selection

5) R i f f le Shuffle so that bottom selection #3 falls onto selection #4. W h e n you near top of deck, during the Riffle Shuffle, be sure that selection falls onto selection Result, after the Riffle Shuffle, is as in Figure 9 with selections _2-_l on top in that order and selections 3^ and 4_ on bottom. 2nd & 1st selections

t

3rd & 4th selections Figure 9 6) Bringing top two cards to bottom of deck will bring selections in 1-2-3-4 order from face of deck. Bringing bottom two cards to top will bring selections in 4-3-2-1 order from top down. Those familiar with R iffle Shuffle Systems can reverse the 4-3-2-1 order, in a sophisticated manner, so that they will be in 1-2-3-4 order from top down; however, a simple procedure is to get the four selections to the bottom of deck in 1-2-3-4 order from face of deck. Mow an Ove rhand Shuffle and running the last four cards singly will get the required 1-2-3-4 order from top down.

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Up to now, the insertion of a card or cards have been used to set up a double or thick card for the Fingertip Peek, however, in this case it is the removal of a card or cards from a deck that is already in a Secret Incomplete Faro condition. I will'give one good example in the following REMOVA L COMBINATION CCNTRCL 1) When you get the deck set it up for a Secret Incomplete Faro condition. turn deck clockwise to bring the wide ends to the front. 2) Hold deck in the usual manner for the spectator peek, not finger­ tip type, as your right 1st fingertip riffles the upper right corner, from face to top, as you request spectator to call "Stop." Let him note the card as your left 4th fingertip moves in to hold the usual break at the lower right corner. The right 1st finger lets rest of cards riffle off apparently losing the 1st spectator's card, however, you do m aintain a left 4th fingertip break below the peeked card. 3) The next action, which is a Side Steal, must be handled gently, In other words, as the Side Steal is made you must retain the Secret I ncomplete Faro condition. The Side Stolen card is of course brought to top of deck. The removal of the Side Stolen card is not only easy but has now automatically created a double card condition at the point of removal. 4) Right hand, grasps the deck center of front first finger is

having unloaded its palmed card to top of deck, from above, by the ends, with right second finger at end and right thumb at center of back end. The right curled on top of the deck.

5) with right hand holding deck left hand now is free to grasj; deck at lower left corner in readiness for the Fingertip Peek. Fr o m this point you handle the Finqertip procedure, as already explained, so that second spectator will be forced to note or peek the card above the "sudden stop" or double card. 6) All that remains is to table the deck properly so that right thumb can locate the dou b l e card condition and top cut the cards above it to the right. You have the 1st selection on top of right and 2nd selection on the bottom of right hand packet. Riffle Shuffle accordingly to retain these two selections at top and bottom. From this point on anyone knowing his effect can easily work out what he has to do. Also the 2nd fingertip peeked card can also be side stolen to top to conclude the effect in mind. Obvious Suggestion This follows the key card approach in connection with the Secret Incomplete Faro. 1 1) Set up the deck for an Out Secret Incomplete Faro so that the wide end is at bottom and narrow end on top.

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2) Insert the top two cards, one at a time, into different parts of the dock, however, glim p s e or note therse inserted cards as they will act as youi key cards later. 3) Assume your key cards are the AC and 7H. Turn deck end for end to bring the wide ends of deck towards front. Examine the left side of deck. Ynu will note two heavy lines where you have automatically created two double or thick cards by the insertion of the two noted key cards. 4) Hold deck in left hand, by the lower left corner, as for the F i n g e r t ip Peek. It is now important that right 1st fingertip riffles the upper right corner of deck more at the sides at this corner to insure that you will encounter the "sudden stop" a little more surely. 5) H a v ing thus had two cards peeked at, by the usual call "Stop" method, you can now openly square up. As the key cards will be in front of the noted cards, from face of deck, you can use the control method on page 71 of "Advanced Fingertip Control" for "Two Cards" steps 2 to 5 to get the two noted cards on top in l-2_ order. 6) VVhile most of the insertions of cards, to set up for the F i n g e r ­ tip Peeks, were made from the narrow or converged front end of the angled deck, they can also be done with wide end of the deck being the front end of the deck when you insert a card or cards. In this case, with the wide end of the angled d e c k at the front end, the inserted card is made to move its left side to the left side or along the left side of the deck. This way the double card space or step will be at the upper right corner of the deck as required for the F i n ge r t i p Peek without havirig to do a clockwise turn of the deck enc for end after the insertion of the card or cards. 7) H a n dle the insertions gently and especially a light touch, on the sides of the deck to maintain the angled condition, is very important. As pointed out in most cases cutting or shuffling of the cards, either Riffle, Faro or overhand, is practical for most multiple F i n g e r t ip Peeks, however, the use of the pass or Side Steal, whenever it becomes advantageous, can be used. A Late Note In the original "Fingertip Control" booklet an end-jogged card was used as a sort of short card for a Fingertip Peek and control of a caid. It was only natural to refine this idea by using an angle jogged card instead, however, besides myself only two other m a g i c i a n s independently thought of using the angle-jogged card for a Fingertip Peek and Control. These two were Bill Simon and Neal Elias and each used a different technique of angling the card and handled the angled card in their own special way. I I m e n t i on all this, which should have been done in "Advanced F i n g e r ­ tip Control" because if either Simon or Elias decide to publish their own p articular technique and use of the angled card, for the F i n g e r ­ tip Peek, no one will accuse them of taking their angled card approach from me or from each other, depending on who publishes first-Simon or Elias. In this way, neither one will have to go to any great

lengthy explanation and thus avoid starting with the old cliche of, "More years than I care to remember" or "Way back in the Gay Nineties" or the maddening "Whilst" or the very up to date and most popular p h r a s e "I showed it to himl" THE MARLOEEuUE PEEK The Marloesque Peek is by Dave Bendix of New Orleans 1) After standard spectator peek, get left 4th finger break under selection. 2) Left 4th finger steps upper packet to left as right hand comes over to take deck from above by the ends. 3) Right hand grips d e c k by ends, with right index finger at left sice, and moves deck into position in left hand for finger fan. 4) Left hand grips deck in position for fan and right index finger fans deck. 5)

Ehow both sides of fan, end with deck face down.

6)

Right index finger closes fan right to left.

7) Right hand grips deck, thumb below and fingers on top, at inneir left corner, then lifts deck with faces toward body and backs to spectator, long edges parallel to floor. 8)

Left hand takes deck at left end in similar grip.

9) Right thumb pushes forward at step visible at upper side, r e v e a l ­ ing selection, then riffles off rest of cards. 10)

S quare and table deck. HAKLO ON "THE MARLCE S U U E PEEK"

First Handling 1) *ftor the regular spectator peek the left 4th fingertip gets its usual break. Next the left 4th finger pushes or steps the cards above the break to the left. The step formed will be on the right side near the lower right corner as in the Figure 1.

Figure 1

2) The right hand ip mips the deck trom above by the encis, with iiulit thumb at about the center at. the back enf and right 2nd finger at center of the front end, to maintain the packet's angled condition. The right 1st finger is curled on the top of the deck with the 3rd finger lightly touching the front end with right 4th finger alongside but not touching the front end of the deck. The right hand now moves the deck up into the left hand into position for the right 1st finger to make a Spread fan from left to right. The right 1st finger now closes the fan by pushing on the right side of the fan, back to the left. The right hand takes the deck, from above by the ends, with the right 2nd finger on the top right corner and right thumb at the lower right corner. The right 1st finger is curled on top and the right 3rd and 4th fingers do not touch the front end of the deck. This leaves the left hand free to g r a s p the upper sides of the deck, near the left and right corners, between the left thumb and 2nd finger The left 1st finner is curled under the front end of the deck while the left 3rd and 4th fingers lightly touch the right side of deck near the upper end.

3) If the deck is now turned to the right, to bring its left side uppermost, while left fingers and thumb hold the upper ends of the deck by the sides, you will find that you can almost glimpse the index of the peeked at card at the lower corner as in the Figure 2. If this happens use only the one hand to lower the d e c k into the left hand and cleanly square it up.

Figure 3 Figure 2 4) If the index is not exposed enough the right thumb can engage the step, at the lower corner, then pull slightly to the right to easily m ake the glimpse as shown in the Figure 3, a top view of the upper side of the deck. 5) At the Figure J3, the left fingers and thumb will be grasping the upper end, at the sides, as if doing the Square Up Glimpse or about to split for a Faro Shuffle in the hands. O n c e the glimpse is made both hands squeeze the sides of the d e c k to square up. 6) While the Finger Spread or Fan is described for the above "First Handling" one can also use the Pressure Fan with the same results.

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Second Handling 1) This actually starts from a Fingertip Peek. In this case use the "Definite Fingertip Control" as described in "Advanced Fingertip Control." This technique steps the upper end, the portion with the peeked at card, to the right, however, by doing the aDparent All Around Square Up this turns the deck end for end. This brings the step to the back or lower end where now the same step will show, on the right side, at the lower right corner as already shown in the Figure _1 of the "First Handling." 2) From this point on use either the 1st Finger Spread Fan or the Pressure Fan to execute all the actions already described in the First H a ndling in order to glimpse the peeked card and eventually square up the deck. 3) Note that in either handling the deck is not actually turned face up but turned on its side, as if squaring up, which you later actually do square up. Third Handling 1) This again can use either the Finger Spread Fan or the Pressure Fan. Also you can use either the standard peek m e t h o d , as in the First Handling, to get your step on the right side near lower right corner, or you can use the Fingertip procedure to get the same results - ending with the step at back end of deck, on the right side, at the lower right corner again as in Figure 1^ of "First H a n d l i n g ." 2) H aving made your Finger Spread or Pressure Fan, here is where the d i f ference comes in: You can place the fanned cards behind your back or under the table if seated. Then locate the card by feel'or touch alone. This is different from the method in "Expert Card Technique" or in "Advanced Fingertip Control." 3) E x amine the hub of the fan and you will see a condition a s ‘ in Figure 4_ where the upper cards of the hub project or lap over onto those below.

Figure 4

4) Placing the still fanned cards under the table or behind your back your ether hand can easily feel this overlap or projection w i t h the tip of your right 1st fingertip. Dig in under the ledge, with the tip of your right 1st fingertip, then pull out this lowermost card p i nching its corner between the right 1st finger and thumb. This will be the peeked at selection. You can produce it or you can crimp it then replace it back into the deck wh i c h you can hand out for shuffling. Later you can relocate the crimped card and discl o s e it as you wish. Personally, after initially removing the card from the fan, I turn the card face up, replace it back into the center of the fan, close the fan and square up the deck. Bring the deck b a ck into view. Ask for the selection to be named. D o w either spread the deck between both hands or ribbon spread it, faces down, on the table to reveal the selection face up in the center of the deck. A very impressive location effect for laymen or magicians. Added Suggestions If you angle jog the card, after the spectator peek, w i t h the tip of the left 4th finger at the inner right corner, as in the Fig u r e 5*, then do either n Pressure or Finger Spread Fan and show both sides of the cards or fan, as per D a v e Bendix suggestion at Step 5 of the Mailoe sque Peek, you can easily note the actual peeked card as it is out of line and also the outer right corner shows at the outer end of the fan, as in Figure 6, so you know where to look. The spectator does n o t , and will not spot his card. Adding to this is the fact that the indexes are upside down to him.

Figure 6

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For further details of this see "Expert Card Technique" page 3 2 5 , "The Wheel Location." For different technique, but same "out of sight" effect, see "Advanced Fingertip Control."

L A P P I N G MOVES

These methods of lapping a card or cards will be found deceptive and easy to do being accomplished while apparently cutting a deck of cards. FIRST METHOD: 1) Assume you have four Aces on top of deck and w i s h to lap them. Overhand Shuffle, running four cards and injogging the 5th, then shuffle off. W i t h right thumb lift up an injogged card so left 4th fingertip can obtain a break above the four Aces. Transfer the break to the base of the left thumb and move the back end more readily accessible for right hand. 2) The right thumb grasps the inner end of deck, at lower left corner to maintain the break, while right 2nd and 3rd fingers grasp the lower right corner. The right 1st finger is curled on top. In this way the break is held by right thumb as right hand tables the deck, near edge of table: as in Figure _1, in readiness for the cut.

Fig. 2 3) In Figure 1 note that left hand has taken a similar position at left end of deck. The tight hand now undercuts the deck in­ ward or toward performer. This action causes this lower half of deck to come clear of the table. At this instant the right thumb releases the break and the four Aces fall into the lap as in the exposed Figure 2.

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4) Without any perceptible pause the right hand completes the cut by placing its portion on top. 5) The whole action can of course be accomplished during a table riffle shuffle and cut. In this case the four Aces would be on the bottom. The right hand cuts off top half to the right in readiness for the riffle shuffle. 6) The left thumb releases the four Aces first followed by a face card, onto the Aces, from the right hand portion then the riffle shuffle continues in the normal manner. 7) Telescope the cards into each other for two thirds their length. W i t h right hand, holding the right end of deck, 16ft up slightly which will leave the Aces on table separated from the pack. The left thumb n o w holds the separation between the d e c k and the Aces as right hand finishes pushing the cards flush. 8) W i t h the pack squared and b r e a k held, on the Aces, w i t h 1-sft thumb the right hand grasps right end of deck and at same time right thumb takes over the b r e a k on the Aces. All that remains is for right hand to undercut the deck, towards performer, in order to lap the Aces as shown in the Figure 2, then finish the cut by p l acing right hand portion on top. The action is identical whether you lap the cards or not and is indetectab ..e even if someone already knows the move and is watching for it. S E C O N D METHOD: 1) Four Aces on top of deck. Over hand shuffle running 4 cards, injog the 5th card, then shuffle off. In squaring up right thumb lifts up on the in-jogged card and left 4th fingertip obtains a break above the Aces. 2) Right hand grasps d e c k from above, by the ends, w i t h right thumb taking over the break on the Aces. The right forefinger' n o w lifts up, at front end, half the d e c k and pivots it out to the left and into the waiting left hand as seen in the Figure 3.

Fig. 3 3) The left hand takes the top half as right hand moves towards the back of this portion. This brings the right hand cards past the tables edge and the right fingers and thumb extend slightly to release the Aces into the lap. This action is seen in the Figure jl.

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4) Without hesitation the right hand portion is placed onto the left hand portion to complete the cut. 5) While the cutting action is not the most natural it can be made to appear as part of the performers natural procedure by doing a fair cut, now and then, in the exact same way. AS AN EXCHANGE

1) Here the lapping moves, either 1st or 2nd methods, are used to affect a switch or exchange of cards. 2) On b ottom of deck have four Kings secretly reversed or face up with a regular face card covering the situation. 3) The four Aces are openly removed and placed face up on table. The right hand holds the deck either for the 1st or 2nd Method. The left hand takes the Aces face up and adds them face up to bottom of deck. The right thumb of course obtains a break on the Aces w i t h right thumb. 4) N o w do the cut, either 1st or 2nd method, to apparently cut the face up Aces into center of deck. Of course they are lapped in the process. 5) Immediately turn the deck face up and ribbon spread the deck face up to reveal four face down cards that are supposedly the Aces but really four Kings. 6) The way you end this is up to you; however, an obvious conclusion is to change the supposed Aces to Kings and then produce the Aces from the pocket or various pockets if so inclined.

-316MARLO C A R D SEC R E T S

T h o s e who have studied m a n u s cripts such as "The Patented False Shuffle" - "Advanced F i n g ertip Control" plus the b o o k on "The Acrobatic Card"as well as some TOPS articles are at least aware, if not t horou g h l y familiar, of some of the subjects discussed as regards certain brands of playing cards and their peculiarities, either w ithin themselves or when interchanged w i t h other decks, that when prop e r l y used are applicable to apparently impossible feats of control over the cards. The two items to be discussed are further refinements and may, without proper experimentation and practice, appear to be merely theoretical. My experience w i t h t h e m has proven otherwise and yet even after you are told the secret you may too easily give up after only o n e attempt w h i c h is bound to result in failure. Perhaps I should stop n o w and leave the reader forever wondering rather than satisfying the curiosity w h i c h m a y result in a shrug of the shoulders and a q u i c k forgetfulness of the whole matter. But I promised and here is The First Item 1) W i t h this idea it is poss i b l e to take a brand n e w still sealed d e c k of cards and on opening them and fairly shuffling t h e m yo u can, later, control a card or cards that you may w i s h to control. As an example you can have the spectator or even another magician, r egard­ less of his expertise and knowledge of cards, shuffle the d e c k and when you take it back, for your shuffles of the deck, will be able to quickly, without any glimpsing or peeking, locate and bring to the top any four of a kind, such as four Aces, that you m a y have p r e v i o u s ly decided upon. 2) The above will w o r k with any brand of cards, however; it will be easier w i t h some brands than others. The important thing is light. The light must come in so that it will be towards the side of the d e c k that is facing you. The other simple process, depending cn w h e t h e r you want to control one card or any specific nu m b e r of cards, is to simply turn these around end for end. This can be done openly or secretly depending on what your approach is to be. 3) If you n o w position one side of the deck towards yourself, w i t h a good light striking this side, you will be able to discern some very fine lines and these will be the cards you have turned around end for end and reinserted into the deck. The thumb of either hand can break the d e c k above any of these fine lines and the deck is split for the Tabled Riffle Shuffle making sure the desired card falls last or on top. If the fine lines do not show up too well on one side try the other side of the deck. These fine lines n a y show up at only the inner left side of the d e c k or the inner r ight side of the deck depending on which side happens to be facing you. At times these may run clear across the side of the d e c k and at other times perhaps only near the extreme right or left c o m e r s of the inner side of the deck, the side that is facing you, or bellied in or out at center.

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4) The above conditions are not restricted to the inexpensive brand of cards but also exist, if to a lesser degree, in the high q u a l i t y brand of cards. As long as you keep only those card3 you require to control turned around end for end you can Riffle Shvffle or O v e r h a nd Shuffle and even give t h e m to someone else to shuffle as long as the party does not inadvertently turn other cards around, end for end, during his shuffles. When it is time for you to control the cards you will then use the Tabled Riffle Shuffle. As to w h ether you want to disclose each card, as you Riffle Shuffle it to the top, or wait until you have all o f them, like 4 Aces for example, on top, then show them, is up to you. 5) Since the deck can be a brand n e w borrowed d e c k your proced u r e is to first have the card case unsealed and the d e c k removed. Toss out any Jokers then commenting on the order of the deck, table it then fairly Riffle Shuffle it. N o w you can spread the d e c k our. face up to show the mixture. You can again table the d e c k and give it another R iffle Shuffle or two. The control of a selected card is p r o b a b l y the easiest since once the card is removed the rest of the d e c k itself can be subtly turned around end for end. Since there are many such methods already recorded in effects dealing w i t h Stripper Decks or One W a y Decks the informed cardician should have several such methods on file. 6 ) At times simply taking the top card and casually turning it around, end for end, as you insert it into the deck, can then it­ self be used as quite a subtle key card since in fact there isn't any w o r k in this card. The key card can be used n o w so that it either ends up on top or below a required card, this depending t.n whether the needed card is to be controlled to the top or bottom of the deck. The placing of the key card itself can be done during the R i f f l e Shuffle, Overhand Shuffle or cutting procedures. Many such placement ideas can be found in "Control Systems" - "The R iffle Shuffle Trilogy" - "Advanced Fingertip Control" to n a m e only a few of the original sophisticated sources. 7) When it comes to controlling some specific cards, such as four Aces, you can use the standard procedure of up-jogging t h e m out of the deck, to apparently either make sure they are all there or that there are only four, strip them, out pivoting and turning them, end for end, clockwise until they clear the deck and are placed ontc the face of the deck. Spread the d e c k face up in order to show rest of the cards mixed. Leaving the deck spread out face up the four Aces, from the face of the deck, are reinserted into different parts of the deck. From here the deck is n o w again shuffled and preferably by the spectator. Now you can go into the control of the Aces using the Tabled Riffle Shuffle. 8 ) My personal preference is to take the n e w deck, remove the Jokers, give the deck one false shuffle, to retain the original packaged arrangement, then give the deck one Tabled Faro Out Shuffle. This places two Aces together in the center of the deck and one Ace at top and one at the bottom. This is according to some packaged card arrangements and those that vary slightly will still give you pairs of Aces together so that the next Riffle Shuffle, at the central two Aces, will bring the Aces together at the top of the deck.

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In some cases you may have to cut an Ace or Aces from bo t t o m to top, after the Riffle Shuffle, to get them all together on top. In t u r n ­ ing t h e m over, to reveal them, you do this by turning them over end for end face up to the table. N o w turn them over sidewise and r e ­ insert t h em into the d e c k at different points. From here you can state y o u will do the control of the Aces again just to show it isn't luck or, in the case of another card man, that it wasn't strictly the Faro Shuffle and the n e w d e c k order. 9) S t e p 8 above is very good to begin w i t h especially if after having reversed the ends of the Aces you table it and find that for o n e reason or another you can't m a k e out those fine lines. Since you do not tell them about doing the control of the Aces until after you have assured yourself that you can locate those fine lines. N o t e - Most d e c k arrangements run, from face to back, in A to K of S p a d e s and Diam o n d s then K to A in Clubs and Hearts. In removing the J o k e r s proceed as follows: Remove any score card or Joker at the face of the deck. If two Jokers are at the face remove both and l o o k for the score card even if you k n o w ther isn't any. D u r i n g this looking thru the deck you must do it by thumbing over, not r e ­ v e r s i n g the order, the whol e Spade suit. When you reach the Ace of D i a m o n d s thumb it onto the Ace of Spades and then run the remaining D i a m o n d suit onto the cards in the right hand so that the bl o c k of cards in the right hand run under the spread of Diam o n d Cards. C o n ­ tinue the spread with the b l o c k of cards in right hand. That hat* the AS and AD at its face, still running under the spread, until yo u Aave thus spread thru the Diamon d and Club suit. At this point the AC will be the last card of the Club suit and will automatically join above the AD and AS as you n o w me r e l y square up the cards for the moment. In other words, the block of cards that was running under the spread has in this way been fed in between the Club and Heart suit. The three Aces, C-D-S, are together in the center of the deck. The d e c k is slightly re-spread, near the top of the deck, to remove any J o k e r that may be the top card. The Ace of Hearts is n o w the only topAce. Since the other three Aces are at the center, really the 26th-27th-28th cards from the top of the deck, it is an easy m a t t e r to table the deck, for a Riffle Shuffle, then w i t h an Up w a r d s Thumbs Riffle locate the 2 central Aces then cut the deck so that these 3 Aces will be the top cards of o n e half and the AH the top card of the other half. A bona fide R i f f l e Shuffle is n o w made to bring all four Aces to the top. F r o m here you now proceed to reveal these Aces as you may wish then you are ready for the first item as already outlined under that system. Second Note - In Step 9 of Item One the mention is m a d e of cards that belly in or out depending on which side of the deck faces you. This c o n v e x or concave condition is made more pronou n c e d by the second and third fingers and thumbs of each hand pressing against the sides of the deck at each extreme end. If you w i s h to make say the c onvex or bellied out condition more pronounced the second and third fingers, which are on the outer side of the deck at each end, p r e s s inwards against the outer side causing the bellied cards

to m o v e in towards you. The left 2nd and 3rd fingers and thumb must n o w hold very firmly onto the left end of the deck. Also the left 1st finger presses down onto top of the deck to keep the convexed cards or card in place. The right hand moves in towards the center of the deck in order that the left thumb can pull upwards on any one of the convexed cards. The right 2nd and 3rd fingers, on the outer side at center, keep pressing inward against this outer side to help m aintain the positi on of the bellied cards. When the right hand cuts off its top porti on of the d e c k it carries the bellied card off w i t h it. A Riffle Shuffle will bring the required card to the bottom since you m a k e sure to release this card first. A repeat of the above process will bring each required card to the bottom along w i t h those already controlled there. It is assumed the reader is familiar w i t h the required Riffle Shuffle m e c h a n i c s to eventually get all required cards to the bottom as needed. In the case where the desired cards have to be brought to the top during the Riffle Shuffle then the side of the deck where the cards are concave is towards the performer. This hollowed out or concave condition is again made more pronounced by each hand taking the finger and thumb positions, at each end of the deck, as before except here the thumbs of each hand press against the inner side of the deck causing the turned cards to move further into the side of the d e c k thus mak i n g the concave condition, at center of the deck, m o r e pronounced. The left 2nd and 3rd fingers and thumb again press and hold the left end of the deck very firmly as the right hand moves in towards the center of the deck. The right thumb n o w pre s s e s inwards against the inner side of the deck and gently riffles upwards. The concave condition of the card or cards n o w act as sort of short or n a r r o w card in that the right thumb can feel when the concave card has been located. This plus the fact that you can also see this action from your side easily enables you to split the deck, above the required card, for the R iffle Shuffle. The required card is n o w on top of the left hand portion and it is made to fall last or on top during the Riffle Shuffle. A repetition of these actions, to locate the next card, plus another Riffle Shuffle will bring the second card to the top. This is repeated for as many cards as you wish to get to the t o p of the deck. Again, it is assumed the reader is familiar w i t h the basic p r o c e d u r e s of retaining those cards already under control, on the top of the deck, while controlling the additional required cards. In the case where only one card has been turned, as a means to control other cards, it is quite obvious that any card or cards above a concave card can be brought to the bottom since the split at the hollowed card leaves this card on top. Thus any cards below a convexed card can be brought to the top since the bellied card is cut at and carried off with the top of the deck. Whe t h e r you simply complete the cut or follow the split by doing a Riffle Shuffle is up to you? however, always manage to keep your key locator also at either top or bottom of the deck depending on wh i c h side of the locator you used- the concave or convex side. Those who have studied the Riffle Shuffle Trilogy - plus "The Shank Shuffle" - "Ten Hand Poker Stack" will have little trouble applying the single card key idea to not only controlling a card or cards but also to placing them into any position, at either top or bottom of the deck, by either a final cut, at the proper side of the key card or by concluding with a Riffle Shuffle.

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Third N o t e - D e s c r i p t i o n s are for right handers. e asily switch this around.

Left handers can

Item Two 1) H e r e you can control a card or cards as in "Item One"? however, it requires your own deck of cards. On the other hand the cards t h e m ­ selves are not gimmicked in any way. The process is simply one of exchange. No-it's not a deck switch-let m e explain. 2) Get two brand new decks of cards that are of the same size-colordesign and brand. Assume that you w i s h to be able to control the four Aces. Simply break open both decks then exchange the four Aces from the one deck into the other deck. In other words both decks are still a regular 5^ card deck plus Jokers except each d e c k has four Aces from the other deck. For the present remove all Jokers. 3) S uffle each d e c k thoroughly. Ch o o s e one of the decks. Table it in front of yourself for the classic Tabled Ri f f l e Shuffle? however, b e f o r e g oing into the shuffle raise the deck, between both hands, into an end t a pping condition. The faces of the deck are towards t h e left p a l m while the b a c k of the deck is towards the right palm. 4) The position of the left hand is n e a r the upper end of the deck, w i t h the 1st fingertip touching the top end, the 2nd and 3rd fingers at the outer side, the tip of 4th finger is against the face or b o t t o m card of the deck. The left thumb is pressing against the inner side near the upper corner of the deck. The position of the right hand is such that the right 2nd finger, on the outer side, just touches the underside of the left 3rd finger. The right 1st finger is curled against the top of the deck. The right 3rd finger is on the outer side alongside the right 2nd finger. The 4th fingertip t o uches the top of the deck near the lower end and closer to the outer side of the deck. The right thumb is at about center of the inner side. These positions, of each hand, are taken, each time that the hands pivot and raise the left end of the d e c k into the t a pping of the right end against the table top. 5) D u r i n g the above end tapping of the deck look at the inner side of the deck. You will see almost imperceptible lines and these will be the Aces. To test how the deck will break at them the right thumb breaks and pulls to the right, very slightly, as if ope n i n g a book. This action is on your side only. You will also be able to quickly discern if the bottom or face card, of this separated bookwise p o r ­ tion, is an Ace or not. Assume that it is not an Ace. Both thumbs press inward to keep this bookwise open i n g or break then the deck is p i voted face downw a r d s while at the same time mai n t a i n i n g the break between the portions. The pivotal action consists in the right hand simply turning palm d o w n wards to the left. At same time that the deck also moves downwards the left hand pivots around the sides of the deck to turn p a l m downwards, to the right, thus f i n i s h ­ ing w i t h both hands n o w holding the d e c k as for the beginning of the Tabled Riffle Shuffle. The break is still being held during all this.

6 ) The right hand at o n c e cuts those cards above the break to the right as both halves are tabled for the Riffle Shuffle. You can use a closed or open Riffle Shuffle (see "Riffle Shuffle Systems" for full details) but during the Riffle Shuffle let the top card of the left hand portion fall last and at the same time glimpsing it. It should be an Acei If it is not try the same described procedure over and over until you will finally get the idea and then the k n a c k comes easy. You may even get all four Aces on the four shuffles. In the event that you see the lines are either too close to the top or b ottom of the deck do another Riffle Shuffle to m o r e or less c e n t ­ ralize the Ace since you want the Riffle Shuffles to appear as evenly cut as possible. 7) The above Step 6 is a condition of the Aces when they become the top cards of the left hand section then eventually end up on top after the Riffle Shuffle? however, there will be times when on e x ­ changing the Aces from one deck to the other, you will find that when you do the "Bookwise Split" you will see an Ace at the face of the separated upper section. In this event you will have a de c k in w h i c h you can control the Aces to the bo t t o m of the d e c k and this has m a n y advantages over getting them to the t o p of the deck. 8 ) H e r e again, instead of exchanging the Aces only, you can e x c hange Aces and Kings. This has certain advantages from the standpoint of not only locating the cards but also stacking t h e m and yet not always g e tting Aces but rather combinations of Full Ho u s e s either wit h Aces over K i n g s or vice-versa. Even if you use only the 4 Ace exchange, it is a good policy to locate say another pair of cards, such as T e n s J a c k s - s i x e s -etc, plus only 3 Aces for a Full House. On lucky days you may get a break where you will get three of a kind and then need only two Aces to fill the House. In this connection it is good to keep in mind the advantages of controlling the Aces to the bottom because even a pair of Aces, plus the regular dealing and getting of 5 cards fairly gives you an edge on the draw and makes for a fairly bona fide and impressive demo for laymen or magicians. 9) L e t *8 not forget that the exchanging of only one card from one deck to another gives you a key card that can be used to m a r k off and locate other cards that you may w i s h to control. I person a l l y e x c h a n g e the Jokers, When ready to perform, w i t h the d e c k I decided was g i ving the most satisfactory results for what I intended, I o p e n l y removed only one Joker. This Joker was the one that perhaps did not w o r k out as well as the other and to m a k e sura Lt was the one removed a small ink m a r k or dot on the face of the Joker is all that was needed. 10) If you wanted to n o w show control over say the four regular Aces of your deck these were op e n l y removed while the Joker, or any key you m a y have decided upon, is centralized. Place the Aces on the top of the deck. Cut the deck, as already instructed, so that your key is on top of the left hand portion. Riffle Shuffle so that the key falls onto the 4 Aces. N o w continue Riffle Shuffling each time losing the key, plu3 the 4 Aces below it, deeper and deeper into the deck. From here control as you wish but the procedure used in "Pro­ fessional Ace Cutting" in "Advanced Fingertip Control" can be used.

The p r e f e r e n c e for the Jo k e r s is obvious since you can o p e n l y remove t h e m in case your brother magi wants to do some Faro effects, if he is a 53 card Faro fanatic then just hand him the marked or regular J o k e r belonging to the deck. Actually it really does not m a k e any d i f f e r ence since, if he is not familiar w i t h this work of mine, he will not k n o w what to look for and never spot it because the key card in q u e s t i o n is too subtle. 11) H a v i n g made yourself familiar w i t h the idea and control p r o cess you will find the following two routines, out of a hundred or so to be ones that will impress any card man and leave him completely b e ­ wildered. The first routine is titled -

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W H I C H O N E WAS BRIGHTER? Effect - Before proceeding each of two decks is fairly shuffled by the spectator. The cardician n o w shuffles each d e c k in turn then tables them. He then states that the spectator is to imagine that both decks were shuffled by two card cheats but that one card cheat was a little brighter than the other. The spectator is then asked to g uess w h i c h deck was shuffled by the brighter one. In either case it is shown that in one d e c k the 4 Aces were shuffled to the top while in the other, t h e Aces were shuffled to the bottom. N o w follows the p e r f ormer's explanation of w h i c h one of the card cheats was the brighter one. 1) For this you will need two decks w h i c h can be of the same color and brand or two entirely different colors and brands. The important thing is that you, after perhaps having to exchange 4 Aces from one d e c k to another several times or more, finally get a combination where in one deck you can easily control the 4 Aces to the t o p while in the other deck you can control t h e m to the bottom.

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2) H a v e spectator shuffle each deck then you take them b a c k and I during the Riffle Shuffles control the 4 Aces in each d e c k according-* f ly. Table both decks and after telling the spectator about the ima­ g i n a r y card cheats ask him if he can guess w h i c h d e c k was shuffled by the b righter one. IF he points to the d e c k w i t h the Aces on the b o t t o m c ompliment him on the fact that he picked the right deck. Y o u turn . the d eck over to show him the 4 Aces on the bottom. Turn over the top 4 Aces on the other d e c k as you comment that this card cheat was * not too bright. I 3) Should the spectator point to the deck w i t h the Aces on top, you turn them over as you say, "No-he wasn't too b r i g ht-he got the 4 Aces to the top." Turn the other deck face up, spread out the four b o ttom Aces as you add, "This is the brighter one-he got his Aces to the bottom."

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4) if you are demonstrating a gambling type lecture you n o w explain why the card cheat that shuffled his Aces to the bo t t o m was the I brighter one. Explain that w i t h the 4 Aces on the bottom, the d e c k | could be cut and now using a Center Deal he could deal himself the Aces. If you do a Center Deal, deal out two Aces and turn them face up |

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under this surprise do the Pass. Wait and then say, "If he wasn't a C enter De a l e r he could always shift the cut, like this." Her e simply riffle the front end of the d e c k then turn it face up to show both Aces on the bottom. Explain that w i t h the Aces on the b ottom he could now deal the Aces off the bottom. H e r e deal out two rounds of five face down cards, that is like for a 5> handed game. Apparently you deal the two Aces to yourself but a c t u a l l y , you deal them into the third hand. After two rounds stop. Turn over your two cards-they are not the Aces. State that when the bright o n e deals he never deals the Aces to himself, he gives them to his buddy. Conclude by turning over the two Aces in the 3rd hand. 5) The above I have used for many years and the first one I remember really taken in with this was Martin Gardner. In this case I used the 4 Aces on the bottom and it was to be merely a d e m o nstratio n of b o ttom dealing them to yourself. The psychology works because they look but d o n ’ t burn the other four hands or deals but they do burn your 5th hand. To help them keep watc h i n g you make sure that as you deal the 5th card a fair one off of the top, do this w i t h a fast and sharp downward action of the right hand. This will m a k e them w a t c h your hand even more since they can't seem to have caught the b o t t o m card coming out. 6 ) The reason for dealing into the 3rd hand is that you get a chance to estab l i s h a rhythm by the time you get to the 3rd hand, deal a bottom, then continue without any pause to deal the next two cards into the 4th and 5th hands. Whether you start to deal an Ace into the 3rd hand on the first round is up to you as you may prefer to deal it on the 2nd- 3rd- 4th and 5 t h . My personal experience has been to deal it on the first round before they even start to suspect anything. 7) At times I secretly placed an X card at 2nd position from the bottom. This is so that after dealing the bottom Ace into the third hand I would then deal the X card into my hand but making sure, w i t h ­ out being too obvious about this, that they just get a gli m p s e of this card coming out from under the deck. This helps set them up for the rest of the deal. Note - I don't k n o w what year it was when I did this for Martin G a r d n e r but it was at the time when we took a trip to, I think, Cleveland, Ohio in search of the D a l r y m p l e family that Martin thought could throw some light on the real identity of S. W. Erdnase. I bring this up only because it really wouldn't matter how m a n y years ago I thought of this since Mickey McDougall has publicly recorded the same basic approach to the Bottom Deal Sell in his book "Card Mastery." I concede to his priority since I ' m not the one who is going to repeat anothers idiotic statement such as, "Somehow he found out about it I" N o w let's go into the second routine out of the hundred.

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CHEAT TO CHEAT POKER Effect - The cardician explains that on many occasions card cheats really p lay against each other; however, since each Knows the other is a cheat they o b v i ously don't trust each others shuffle. The result, w h i c h in fact you can state you witnessed because this i3 the way it was played, is that on the cheat's deal he shuffles then passes the cards to be cut to the other cheat. This cheat doesn't trust the shuffle so he shuffles again and passes it back to the other cheat to deal. But now the dealing cheat doesn't trust the other guy's shuffle so he shuffled again and once more passes for the cards to be cut. You guessed it-the d e c k went back and forth like this seve­ ral times until finally the dealer was permitted to deal. Co n tinue w i t h that, "Even under such stringent conditions the cheats invented a g a m e of Poker in w h i c h shuffles were permitted by b o t h but the dealer was allowed to deal only two c a r d s-one to the player and o n e to h i m s e lf-then the shuffling pro c e s s was repeated, between both cheats, before another two cards were dealt between them. Thus in this fashion they continued until finally e a c h had five face down cards apiece. This n o w was not all. A bet was n o w made on each single card under the following conditions. One cheat would point to anyone of the other cheat's five cards. In turn, the other chap had the same option of pointing to one of his oppone n t ' s cards. The wager consisted in that e a c h would bet he had the higher value card. Both indicated cards were then turned face up and who e v e r had the highest card won on that card. This same proce d u r e was then repeated w i t h each of the four remaining face down cards that each had in front of him. In order to speed up the game, the shuffle proced u r e s consisted in the dealer shuffling the deck. Next the other player shuffled the deck. The dealer had the final, third shuffle, after w h i c h he dealt two cards, one to his opponent the other to himself. The dealer at once passed the d e c k to the other player who shuffled the cards and then returned them to the dealer who shuffled and then dealt two more cards, one to each of them. F r o m this point on, in order that everything be q u i t e satisfactory and yet give each player a chance to shuffle the deck, the shuffles were cut down to between the player then back to the dealer who shuffled and then dealt out just the usual one card apiece only. N e e d l e s s to say that the card cheat who dealt was always the winner and for the demonstration, w h i c h builds as each pair of cards, one from each player, is turned up, the dealer not only wins on four of his cards, sometimes on all five, but these turn out to be the four Aces, The patter, p r e s e ntation and p r o c e d u r e is such as to keep anyone interested. 1) For the above fairly detailed effect, as it appears to the spec­ tator, you will need a deck that has the exchanged Aces and ones that you can control to the top of the deck as already described. 2) When you get the deck go into the end tapping and bookwise split of the dock, on your side only, in order to split above the Ace. D u r i n g this bookwise splitting action, be sure to tilt the side of the deck, that is facing you, away from you. This results in the lower outer corner of the deck m o m e n t a r i l y resting on the table top

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Under this surprise do the Pass. Wait and then say, "If he wasn't a C enter Dea l e r he could always shift the cut, like this." He r e simply riffle the front end of the d e c k then turn it face up to show both Aces on the bottom. Explain that with the Aces on the b ottom he could now deal the Aces off the bottom. Here deal out two rounds of five face down cards, that is like for a 5 handed game. A pparently you deal the two Aces to yourself but a c t u a l l y , you deal them into the third hand. After two rounds stop. Turn over your two cards-they are not the Aces. State that when the bright o ne deals he never deals the Aces to himself, he gives them to his buddy. Conclude by turning over the two Aces in the 3rd hand. 5) The above I have used for many years and the first one I remember really taken in w i t h this was Martin Gardner. In this case I used the 4 Aces on the bottom and it was to be merely a demonstration of b ottom dealing them to yourself. The psychology works because they look but don't burn the other four hands or deals but they do burn your 5th hand. To help them keep watc h i n g you make sure that as you deal the 5th card a fair one off of the top, do this w i t h a fast and sharp downward action of the right hand. This will make them w a t c h your hand even more since they can't seem to have caught the b o ttom card coming out. 6 ) The reason for dealing into the 3rd hand is that you get a chance to establish a rhythm by the time you get to the 3rd hand, deal a bottom, then continue without any pause to deal the next two cards into the 4th and 5th hands. Whether you start to deal an Ace into the 3rd hand on the first round is up to you as you may prefer to deal it on the 2nd- 3rd- 4th and 5 t h . My personal experience has been to deal it on the first round before they even start to suspect anything. 7) At times I secretly placed an X card at 2nd position from the bottom. This is so that after dealing the bottom Ace into the third hand I would then deal the X card into my hand but making sure, w i t h ­ out being too obvious about this, that they just get a glimpse of this card coming out from under the deck. This helps set them up for the rest of the deal. Note - I don't k n o w what year it was when I did this for Martin G a r d n e r but it was at the time when we took a trip to, I think, Cleveland, Ohio in search of the D a l r y m p l e family that Martin thought could throw some light on the real identity of S. W. Erdnase. I bring this up only because it really wouldn't matter how man y years ago I thought of this since Mickey McDougall has publicly recorded the same basic approach to the Bottom Deal Sell in his book "Card Mastery." I concede to his priority since I'm not the one who is going to repeat anothers idiotic statement such as, "Somehow he found out about itl" N o w let's go into the second routine out of the hundred.

CHEAT TO CHEAT POKER Effect - The cardician explains that on many occas i o n s card cheats really play against each other: however, since each Knows the other is a cheat they obvio u s l y don't trust each ot h e r s shuffle. The result, w h i c h in fact you can state you witnessed because this is the way it was played, is that on the cheat's deal he shuffles then p a s s e s the cards to be cut to the other cheat. This cheat doesn't trust the shuffle so he shuffles again and passes it back to the other cheat to deal. But n o w the dealing cheat doesn't trust the other guy's shuffle so he shuffled again and once m o r e passes for the cards to be cut. You guessed it-the deck went back and forth like this s e v e ­ ral times until finally the dealer was permitted to deal. Co n t i n u e w i t h that, "Even under such stringent conditions the cheats invented a game of Poker in w h i c h shuffles were permitted by b o t h but the dealer was allowed to deal o n l y two cards - o n e to the player and one to h i m s elf-then the shuffling process w a s repeated, between both cheats, before another two cards were dealt between them. Thus in this fashion they continued until finally each had five face down cards apiece. This n o w was not all. A bet was n o w made on each single card under the following conditions. O n e cheat would point to anyone of the other cheat's five cards. In turn, the other chap had the same option of poin t i n g to one of his oppone n t ' s cards. The wager consisted in that each would bet he had the higher value card. Both indicated cards were then turned face up and whoe v e r had the highest card won on that card. This same proce d u r e was then repeated w i t h each of the four remaining face down cards that e a c h had in front of him. In order to speed up the game, the shuffle pro c e d u r e s consisted in the dealer shuffling the deck. Next the other player shuffled the deck. The dealer had the final, third shuffle, after w h i c h he dealt two cards, one to his opponent the other to himself. The dealer at once passed the deck to the other pl a y e r who shuffled the cards and.then returned them to the dealer who shuffled and then dealt two more cards, one to each of them. F r o m this point on, in order that everything be qu i t e satisfactory and yet give each player a chance to shuffle the deck, the shuffles were cut down to between the player then back to the dealer who shuffled and then dealt out just the usual one card apiece only. N e e d l e s s to say that the card cheat who dealt was always the winner and for the demonstration, w h i c h builds as each pair of cards, one from each player, is turned up, the dealer not only wins on four of his cards, sometimes on all five, but these turn out to be the four Aces, The patter, p r e s entation and p r o c e d u r e is such as to keep anyone interested. 1) For the above fairly detailed effect, as it appears to the s p e c ­ tator, you will need a d e c k that has the exchanged Aces and ones that you can control to the top of the d e c k as already described. 2) When you get the deck go into the end tapping and bookwise split of the deck, on your side only, in order to split above the Ace. D u r i n g this bookwise splitting action, be sure to tilt the side of the deck, that is facing you, away from you. This results in the lower outer corner of the deck m o m e n t a r i l y resting on the table top

w h i l e the full inside of the d e c k will be tipped forward to give you a clear view of the side of the deck facing you. This insures a q u i c k cut, glimpse and pivoting of the d e c k to the table as you split the deck for the Riffle Shuffle. At times you will find that looking at the top end of the deck, w h i l e lower end is still against the table top, you can discern the fine lines. W h i l e the deck is still in position you can split the d e c k bookwise, w i t h the right thumb, then tilt or tip the d e c k forward as you n o w easily glimpse the face card of those above the break. If it is an Ace your right thumb can quickly release it to the lower half or those cards below the separation. If the glimpsed card is an X card the chances are good the Ace is already the top card of those b e l o w the break. 3) Pivot the deck downwards, as already described, splitting the d e c k for either a closed or open Riffle Shuffle. In either case glimpse the top card of the left hand portion during the Riffle Shuffle to see if it is an Ace and wh i c h is let fall last or on top. If it is do another Rif f l e Shuffle, without lifting the deck off the table, in order to add an X card onto the Ace. If you happen to get a second Ace onto the first one simply do another shuffle to get an X card over both Aces. N o w deal' X card to your adversary and the Ace to yourself. At once hand the deck to the other player for him to shuffle. 4) O n g e tting the deck b a c k simply repeat the same already described p r o c e d u r e to locate and stack another Ace on your deal. You have 5 chances for the four Aces and this one extra chance can be used in case you may have just a little too m u c h shuffling to do in order to locate an Ace; however, w i t h proper pract i c e and familiarity with your cards you should have absolutely assured results to enable you to c o n c l u de the effect as already outl i n e d in the opening description of how it all appears to the spectator whether he be a layman or a magician. 1st Note - The Card Secrets Item O n e and Item Two is from notes on "The Host Shuffle" manuscript and are intended for entertainment p u r poses only. 2nd Note - At times, when doing the exchange of the required cards, as per "Item Two" you may find that o n e d e c k will enable you to control these cards, such as four Aces, to the top or bottom by simply working the oppos i t e side. This will depend on the deck itself and you will find that only in some cases will this condition exist. N ow it is simply a matter of working the proper side of the deck depending on whether you w i s h to control the Aces, in this example, to the top or bottom. 3rd Note - While end tapping and splitting the deck is used in the above d e s criptions on other occasions you will find that you will be able to cut to and locate an Ace w i t h the deck still tabled.