Peter Duffie - The Best Of Peter Duffie Vol 6 - Selected Revelations

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KLEKTORS BY PASS HOUR MAGIC CARD TWO POCKET SAVED BY THE BELLES SPECIAL ENVOY 37 YEARS LATER THE KEEPERS OF SECRETS MIRACLE OR IMPOSSIBLE REVISITED PHANTOMESQUE DREAMLAND SIMPLY STATED A TWISTED TALE IN PLACE CATALYSTIC COLLECTORS PSYCHIC SPELLER THE TELLING HAND BETWEEN QUEENS & DARK PLACES CARD OF DARKNESS COLOUR PACK THE 21ST CARD TRICK DITTO EIGHTSOME ATTRACTIVE HOT THOUGHTS FORCED ENTRY DIPLOID MY FAIR LADY ELUCIDATION MILLENNIUM COUNTDOWN FOUND BY COINCIDENCE JAXAPHONIC JAKS’ BLAKS THE DISORIENTED SEVENS SHORT SHARP SHOCK SHARPENED PICTORIAL RATIFICATION EDIBLECTOR

Copyright © Peter Duffie <> May 2012

Klektors (From “7”) I have been using this version of Roy Walton’s Collectors since October 2000. I created this as part of a performance piece for the International Magic convention in December of that year. It’s totally impromptu – and you finish clean.

Working 1. Hold the deck face up and spread from hand to hand, upjogging the four Kings as you come to them. Close the spread with the Kings still outjogged then turn the deck face down, turning it sideways. Strip out the Kings and turn them face up on top of the deck. 2. Spread the Kings briefly, saying, “The four Kings are the most devious cards in a deck….they like to set traps. So you have been warned. To avoid any unwanted incidents, I’ll remove them from the deck.” As you briefly spread the top cards to show the Kings, spread over a few more cards and catch a break below the first three face down cards, then close the spread. You now execute Marlo’s ATFUS, as follows: Lift off all seven cards with your right hand in a Biddle grip, but as you do so, your thumb picks off the 8th card and retains a break above it. With your left thumb, count the upper three Kings onto the deck one by one. You then apparently pick these three Kings up below the remaining King (really a block of four cards). In fact, you deposit the Fig.1 broken card on top of the face up Kings then the right hand moves away with the four-card block (apparently all four Kings). Place this packet of cards on the card case (Fig.1) – or, on a close up pad. 3. Turn the deck face up, saying, “I would like three cards chosen. I’ll do this face up so we can all see the cards and none are forgotten.” As you are speaking, lose the rear card of the deck. I do this with a Hindu Shuffle running cut. Alternatively, you can hold the deck with the faces to your left and lose the card using an Overhand Shuffle. Regardless, you should be left with three face down Kings at the rear of the face up deck.

Spread the face up deck from hand to hand and invite three people to each touch a card. When they – outjog their selection. The order should be 1-2-3 from face to back. For this description we will use an A, 2 and 3 to represent the selections (Fig.2). Close the spread and buckle the lowermost Fig.2 two cards (face down Kings). Execute a Vernon Strip-out Addition adding the two face down Kings below the three face up selections as your left hand strips them out of the deck. Place the face up deck on the table for the moment. 4. You will now show each spectator his card and ask him to remember it – in doing so you will secretly interlace the two face down Kings between the selections. a) Hold the packet in left hand dealing grip and obtain a break above the lowermost card using a buckle. Bring the right hand over and take the packet into Biddle grip – your right thumb maintaining the break over the bottom card. b) Peel the first selection into your left hand, saying to spectator A, “The Ace of Clubs….please remember this card.” c) Peel the 2nd selection into your left hand on top of the first, but load the broken card between these two cards, saying to spectator B, “This is card you chose…the Two of Clubs…please remember it.” d) Your right hand holds a double – the third selection with a face down King square below it. Place this double onto the left hand packet – but – side jog it (Fig.3), as you say to the 3rd spectator, “And you remember the Three of Clubs.”

Fig.3

Fig.4

Now take hold of the packet from above with your right hand, and then slide the lower most card (first selection) to the left to create a spread that shows all three selections (Fig.4 above). Hold this position for a second to allow the audience to see all three selections.

5. Place the packet back into your left hand, squaring the cards as you do so. Retake the packet with your right hand and place it on top of the tabled deck, but side jog it slightly, then pick up the complete deck and place it into your left hand forming a little finger break below the five-card packet.

6. “I’ll lose your cards back into the deck.” Undercut about half the deck and place it on top – retaining the break below the 5-card set-up. Now raise the deck so the faces are to your left – your right thumb takes over the break - and Overhand Shuffle all the cards above the break into your left hand – finally throw the balance on top. Square the deck and hold it face down in left hand dealing grip.

7. Say, “So far…so good. No unwanted interference from the Kings. I told you that they like to set traps. Let me show you what I meant by that.” Pick up the Kings packet and place it square on top of the deck, keeping a little finger break below these four cards. You now immediately show that there are three face down cards interlaced (“trapped”) between the four face up Kings – as follows: The following must be done smoothly and without any hesitations. But do not hurry it. a) With your left thumb, push over all four cards above the break as a unit and take them into your right hand (Fig.5) - apparently a single face up King. Do not pause at this point. Keep the hand moving…

Fig.5

Fig.6

b) Immediately count off the next (face down) card into the right hand but out jog it for half its length (Fig.6 above). c) Count the remaining 5 cards onto those in your right hand – the face up Kings injogged and the face down cards are outjogged. Once you have counted 7 cards, stop and pause for effect (Fig.7), saying, “As you can see…the Kings have trapped three cards…but…of course these could be any three cards…let’s take a look.”

Fig.7

At that, you momentarily return the packet to the top of the deck (Fig.8) then instantly spread the cards to show the position (Fig.9).

Fig.8

Fig.9

Finally, remove the three face down cards one by one – starting with the left hand card which is the first selection, turning each face up onto the table as you ask each spectator to name his/her card to conclude.

ByPass (From Card Addict) A discovery of two chosen cards, with one appearing in your pocket.

This uses a fast control for palming as shown to me by Roy Walton. Roy cites Cy Endfield as the source. The control is in fact a Half Pass. 1. Before you commence this trick secretly reverse the lower half of the deck. I prefer to make this slightly less than half to allow for a larger working portion. Slowly riffle down the outer left corner with your left thumb and invite a spectator to call stop. Obviously you need to ensure he does so before you reach the face up section. Lift off the upper portion and ask him to remember the face card. Replace this portion but execute an Ovette Master Move (a.k.a. Kelly Bottom Replacement).

For this I use Robin Robertson’s ‘Final Control’ from his 1964 book Handle With Care (Hades). A variation on a Bruce Elliott control and reinvented by others since briefly: your right fingers kick the face card of the packet to the right (fig.1). Then you squeeze gently with your little finger. This causes the card to buckle (fig.2) and slide to the bottom of the deck. 2. Slowly spread the cards from hand to hand and invite a second spectator to touch the back of a card. Again this needs to be done before you reach the face up section. Flip the card face up then start to replace the upper spread section. As you do so, execute a Spread Half Pass with the lower section.

3. Cop (or Palm, but a Cop’s faster) the bottom card (2nd selection) and retain the deck in your right hand. Bring the stolen card out of your pocket with the back outwards. Ask the second spectator to remind everyone of the name of his card - which he believes to be face up in the middle of the deck. Snap the card round revealing his card. Finally spread the deck - taking care not to expose the few face up cards at the bottom - revealing the first selection is now face up in the middle. The few face up cards at the bottom are easily corrected.

Hour Magic! (From Card Addict) A spectator locates his selected card using his magic hour.

Working 1. Give a spectator a deck and ask him to shuffle it and remove 12 cards to represent the 12 hours. The rest of the deck is discarded. 2. Ask him to think of an hour from One to Twelve - this will be his Magic Hour - then hold the cards with the faces towards him and thumb along and remember the card that lies at that number from the face. This is easier for him to do than count down from the top. Take the packet and give it False Shuffle, saying, "I don’t know where your card is in the packet....now you don’t know either." 3. Deal four cards into a pile on the table. Deal four more cards into a second pile. Deal the remaining four cards into a third pile. These represent morning, afternoon and evening (illogical but seems OK at the time!). Ask the spectator to look at each pile and retain the one containing his card. Tell him to recall his Magic Hour and count that number from top to bottom. Finally he does a Down/under Deal and he will be left holding his card.

END NOTE

In step 3 if you want to deal the 12 cards rotationally into three piles, instead of the false shuffle carry out two OUT Reverse Faros first.

Card Two Pocket (From Decknology) You take any shuffled deck and name your favourite card – say, the Ace of Spades. You now ask the spectator to name any other card – say, the King of Hearts. You spread through – no culling – and cut to your card the Ace of Spades which you give to the spectator. You ask him to wave the Ace of Spades as if it were a magic wand! Immediately you reach into your pocket and remove his freely named card – the King of Hearts. You now cut both cards into the deck. Upon spreading, your card the Ace of Spades is seen to be the only card face up. But where is the spectator’s card? With an empty hand, you reach into your pocket and remove the spectator’s card for a second time. The second phase – repeat card to pocket – uses the principle from Francis Carlyle’s “Homing Card” (Stars of Magic).

Phase One 1. Take any deck and glimpse the face card and remember it. Give the cards a quick shuffle adding one card to the face, so that your glimpsed card is now second from the face. We will assume the glimpsed card is the Ace of Spades

2. ”My favourite card is the Ace of Spades. Do you have one?” you ask. Let us assume that the spectator names the King of Hearts (see End Notes). “Well, let’s remove my card first so we don’t get confused.” Hold the deck with the faces towards you and spread the cards from hand to hand, apparently looking for YOUR card the Ace of Spades. In fact you are looking for the spectator’s card – in this case the King of Hearts. When you come to it, stop and start to split the spread so that the King of Hearts is on the face of the left hand section of the spread (Fig.1 above). Catch a left little finger break below this card.

Now drag the face card of the deck over and onto the King of Hearts (Fig.2 - left), and then move your right hand forward and deposit the front section of the spread face up on the table. Your card, the Ace of Spades will be showing on top of this section. Although slightly illogical, the foregoing actions will appear as if you simply spread the cards and cut at the Ace of Spades. 3. Ask the spectator to pick up the Ace of Spades and wave it like a magic wand. As he is picking the card up, Top Palm the face two cards from the balance that you hold and then pivot the rest of the packet face down (Figs 3 & 4).

Fig.3

Fig.4

Done correctly, the face of this packet will be hidden and the change of the face card will go unseen. Place this section of the deck face down on the table beside the other face up section. 4. As the spectator waves the Ace of Spades, reach into your right pocket, release both cards from the Palm and then pull out the innermost card (or, the one that was outermost from your palm) – turning it face inwards before producing it. Hold the card back outwards for a moment and then turn it around revealing it to be the spectator’s named card, the King of Hearts.

Phase Two 5. Act as if the trick is over, saying, “And you thought magic wands were nonsense?” Hold the King of Hearts by its short edge between your first and second fingers (Fig.5) as you continue, saying, “Or, perhaps I am psychic and placed the King of Hearts in my pocket earlier because I KNEW you would think of it?” As you say, “…in my pocket earlier..” casually place the card back into your pocket – release it and simultaneously pick up the other card between your thumb and first finger, then bring the hand out again. You now hold a random card which the audience assumes is the King of Hearts. 6. Now say, “Look, let’s try this again.” Gather up the deck and drop the card you hold face down on top then ask the spectator to drop the Ace of Spades face down on top. Give the deck a quick False Shuffle and cut leaving the Ace of Spades on top, and then carry out a Braue Reversal to bring the Ace of Spades face up in the middle. Any other reversal technique can be employed for this. Ribbon-spread the cards face down revealing the Ace of Spades is now face up in the middle. Push the card around as if looking for the spectator’s King of Hearts. Finally show your hand empty and cleanly produce the King of Hearts from your pocket.

End Notes A problem inherent in many name-a-card tricks is that the named card is not always to be found in a convenient position in the deck. On the rare occasions that the card is located at the extreme rear of the deck, or it is directly behind your named card, you need to be prepared to take a different path. Here are a couple of examples. a) You find the spectator’s named card is within the rear three cards of the deck when you spread through. There are insufficient cards to

proceed as planned. But you know that the card is either top, 2nd or 3rd when the deck is face down. In this instance, simply go through the motions as explained to remove your card. Then turn the rest of the deck face down and palm off the top two or three cards. In the latter case you will be left with an extra card in your pocket at the end. This is easily added back later. b) You find the spectator’s named card is within the front three or four cards when you start to spread. If it happens to be directly behind your card, forget the card to pocket. Instead, square the deck and ask the spectator to give it a cut. Emphasise that you named your card first. Now ask him to deal through and he finds both named cards are together. To avoid the above (though I prefer to live dangerously). Take a shuffled deck and fan the cards with faces towards you, saying, “I will think of a card…” then name the card that is 2nd from the face. Now turn the deck around and fan the cards towards the spectator, making sure that the top and bottom few cards are not spread. Ask him to think of any card he sees. Now proceed as above.

Saved by the Belles (From Decknology) Three spectators each select a card then the cards are lost back into the deck. You state that you have sensitive fingers that can cut to any cards. So you say you will demonstrate this by cutting to the three selections one at a time. You give the deck a cut and deal the top card face down in front of the first spectator. This is repeated for the other two spectators. For the grand finale each spectator turns over his/her card…but all three cards are wrong! So much for your sensitive fingers! Not to worry. “I have four secret assistants,” you say, “who normally work unseen in the background. But tonight I need their help and I don’t care if everyone sees them.” You now Ribbon spread the deck revealing the four Queens face up in the middle, and there are three face down cards interlaced between them, Collectors-style. These prove to be the three selections. This is a multiple sandwich effect inspired by Roy Walton’s Collectors. What may be of interest here is the simple Double-cut sequence that, as it is repeated, gradually sets up the multiple sandwich finish. Before commencing, secretly cull the four Queens to the face of the deck. Then turn the deck face down and reverse the Queens so they are now face up on the bottom.

Working 1. Hold the deck face down and spread the cards from hand to hand. Invite three spectators to each pick a card. Once they have been noted, take back the three cards and then push them – together – into the middle of the deck. Keep a break above them. You now give the deck a Double-cut to apparently mix the cards further.

It’s important that you learn to do this cut smoothly as the same cut will be used to cut to the three wrong cards in a moment.

a) With the deck face down in dealing position, cut off all the cards above the break and place them to the bottom – but – as you do this, Buckle or Pull-down the bottom card and insert the right section above this card (Fig.1 above). Keep a break between the halves.

b) You will now cut at the break and complete the cut, but before doing so, your right thumb lifts the top card at the inner end and the thumb maintains a break (Fig.2). Now cut the upper half to the bottom and retake the thumb break with your little finger.

Fig.2 The above Double-cut, simple as it is, has loaded a face up Queen into the middle of the deck directly above the three selections. You hold a break and above this break is one selection and then a Queen. If you repeat the above cut three more times you will finish with all four face up Queens in the middle with the three selections interlaced between them. And, this is precisely what you will do, but under the guise of trying to cut to the selections. 2. Turn to the first spectator and say, “I will cut to your card first.” Carry out the above double-cut and then deal the top card face down on the table in front of him. Repeat this with spectator 2 and then again with spectator 3. 3. Build up the finish (false finish) and then ask each spectator to turn over their card. All three are wrong. Finally, patter about the secret assistants and then Ribbon-spread the deck across the table revealing the four Queens are face up in the middle. Draw attention to the three face down cards that are trapped between them and slide them forward (Fig.3). Have each spectator name his/her card then turn over the three face down cards to reveal that these are the selections.

Fig.3

Variation Set-up is same as above except you also cull the four Kings to the top of the deck. Handling is exactly the same except that you deal a card after the first cut. In the end you will have dealt four cards – rather then three – to the table. Patter about the four magicians who will perform this trick. After the cutting, turn over the four cards you cut to revealing the four Kings (magicians). “I forgot to tell you that each magician has a lady assistant.” Ribbon-spread revealing the face up Queens and finish as above.

Special Envoy (From 21 Card Tricks) A card is chosen and lost back into the deck.. The four Aces are dropped face up on top of the deck. The spectator names only the suit of his card. Immediately the Aces are dealt off and that Ace is missing. You spread the deck and the missing Ace is seen in the middle. The card immediately above it proves to be the selected card. A simple departure from the usual Hofzinser plot. WORKING 1. Remove the four Aces and toss them face up, but scattered, on the table. Next have a card selected and after its return, you need to glimpse it then control it to second from the top. Let’s say the card is the Queen of Diamonds. Just remember the suit. 2. Pick up the Aces so that Diamonds is the second card down (Aces are face up). Place the packet on top of the deck then spread the top few cards to display the Aces. In so doing, obtain a break below the first two face down cards (Fig.1). Square the Aces and pick off all six cards then place the deck face down in the centre of the table. 3. Say, “The four Aces are quite special. Let me show you what I mean.” As you say this, you take the packet in a right hand Biddle grip and count as follow: Peel off the first Ace into your left hand, then peel off the second Ace (Diamond) and hold a break below it. Now peel off the third Ace and Biddle/steal back the Diamond, then place the left hand cards back on top of the remaining Ace in the right hand. The Diamond has thus been secretly shifted to the back. 4. Drop the Ace packet on top of the tabled deck, then pick up all. Ask the spectator to announce the suit of his chosen card. He will say Diamonds. Wave your hand over the deck then slowly deal the top three Aces onto the table, snapping each Ace to show that they are single cards. Pause, and then show the top card of the deck is not an Ace, nor the bottom card.

Finally, ask the spectator to name his card. Meanwhile, execute a Pass (or casual cut) then ribbon spread the deck across the table. The missing Ace of Diamonds appears face up in the middle. Push out the Ace along with the card directly above it - or get the spectator to do this - then reveal the face down card to be the selection.

37 Years Later (From 21 Card Tricks) A spectator shuffles a packet of 10 cards. He then chooses one and buries it back into the packet. He now spells the suit of his card, dealing a card for each latter. That’s all he does. Now he eliminates all but one card - this final card is his selection.

This effect was inspired by Brian Glover’s “Archival Antipodes” that appeared in the February 1999 issue of Abacus. The trick had first appeared, with an error, in Abra 37 years ago! This version has no setup. There is a fleeting glimpse of Jim Steinmeyer’s “Nine card Trick” which is more accidental than by design. The computer presentation has been used many times, and why not?

WORKING 1. Run through and toss out ten cards. The only stipulation is that there are no Clubs among them. Put the rest of the pack aside as it’s no longer needed. Ask the spectator to shuffle the packet, while you introduce the trick, saying, “You may find this hard to believe but these cards can act like a sophisticated computer.” 2. Ask the spectator to deal the packet into two equal piles. Now ask him to look at the top card of either pile then to pick up the other pile and drop it on top of his card, thus burying it (Fig.1).

Explain that the noted card will represent a lost file which the computer has to find. Continue, saying, “In order that the computer find your lost file, it needs some information, but not a lot! How about the suit of your card? Not the value, just the suit.” 3. Tell him to pick up the pile and to mentally spell the suit by dealing one card for each letter into a pile on the table. So, if his card is Hearts, he will deal six cards. Make sure you always use the plural when explaining

what he has to do. He must spell the plural. Finally he drops the remaining cards on top of the dealt pile and picks up the packet. Say, “Good. Now the computer will check every card using its binary system.” 4. At this, instruct him (clearly) to carry out a Under/Down Deal (first card goes under!). This will leave him with one card. Ask him to name his card then to turn over the card he is holding - this will be his selection.

The Keepers of Secrets (From Cards by All Means) A quick sandwich effect using ten red spot cards and the two black Jacks. This uses a Laurie Ireland Bottom Deal concept, that of secretly losing a card as you deal. But you only need to do it once, and ‘you’ choose when. So no pressure.

Working 1. Spread through the deck and toss out the Ace to 10 of Diamonds into a face up pile on the table, then remove the two black Jacks and place these on top of the 10 cards. Discard the rest of the deck. 2. Pick up the face up pile and spread to show the cards, saying, “I want you to imagine that the ten Diamond spot cards represent extreme wealth...wealth of knowledge that is. The black Jacks are the keepers of the secret knowledge. But only you will know what that knowledge is.” Close up the spread and catch a break under three cards. Lift off the two Jacks plus the extra card and flip the remaining 9 cards face down into dealing position. Drop the three cards face up on top, retaining a break below them. Push over the top card to display both Jacks then flip over all three cards. Deal the top two cards, one by one, into a face down pile on the table – flashing the 2nd card if you wish. Say, “We’ll leave the keepers here for now.” Give the cards a quick Overhand Shuffle running the top card (Jack) to the bottom. 3. Take the packet into right hand Biddle grip and ask a spectator to call stop as you count the cards from hand to hand. Start to count the cards into your left hand until told to stop. Raise your left hand, push over the top card, and ask the spectator to remember it, saying, “That will be your secret.” Retain a break under this card as you pull is square again. Place the right hand portion on top then give the packet a cut, cutting at the break. This places the selection on the bottom, with a Jack immediately above it.

4. Say, “Your secret is lost among the other cards. Let’s see how safe it is.” At that, drop the packet on top of the two Jacks(?) on the table, then pick up all. 5. Ask the spectator to watch out for his card as you deal. Start to deal the cards, one at a time, into a face up row on the table – Bottom Dealing once at any point (I recommend a stud-bottom on the first to catch them unaware) – and stop when you have dealt nine cards in all. Ask him if he saw his card. He’ll say no. Say, “Well, that’s because the keeper of secrets have kept your secret...secret!” Turn over the three cards remaining and spread revealing the two Jacks and a card between them. This is the selection.

Miracle or Impossible Revisited (From Cards by All Means) This is a variation on Arun Bonerjee’s “Miracle or Impossible” (Billet no.348, July/Aug 2000). During all the spelling in this routine I suggest that you spell the words as the spectator deals the cards.

Working 1. Begin by having a card selected and controlled to the top of the deck.

2. Give the deck to the spectator and say, “Let’s pretend you’re a magician.....it’s easy...I do it all the time. First you need to join the Magic Circle.” Tell him to spell M-A-G-I-C -C-I-R-C-L-E dealing a card for each letter into a pile on the table. Now say, “Now that you’re a member of the Magic Circle, you need a magic password to get in. Let’s use the most common, ABRACADABRA.” Tell him to spell A-B-R-A-C-A-D-A-B-R-A dealing the cards onto the first pile. He now places the rest of the pack aside. Explain that the cards he’s dealt are now a “magic packet.” 3. Take a piece of paper and write the following three words:

MAGIC IMPOSSIBLE MIRACLE Ask the spectator to pick up the “magic packet” and nominate any one of the three words. Which ever one he picks he spells into a pile on the table. So if he selects MIRACLE, he spells that dealing a pile of seven cards. Finally he drops the balance on top then picks up the complete packet again. Ask him to nominate either of the two remaining words. Again he spells it drops the balance on top then picks up the packet. One words remains. He spells that but this time he retains the final card in his hand. Ask him to name his selection then turn over the card to reveal it. You’re final line will depend on the final word. For example, if the final word is MAGIC, you say, “And that’s magic!” Substitute the appropriate word: “...impossible! Or “...a miracle.“

Phantomesque (From Area 52) This came about after reading Les (The Phantom) Johnson’s “Time Zone” in Abacus, issue No.3, Vol.7. A 12 card set-up is necessary: arrange an Ace through Queen of any suits on top of the deck in order (Ace on top), then add one more card on top of all. WORKING 1. The card case is lying on the table. Give the deck a Jog Shuffle retaining the top stock then give the deck to a spectator and turn away for a moment. Ask him to think of any time of the day (one to twelve), and to remove that number of cards from the top of the deck and place them into the card case so you cannot touch them. 2. Turn to face the front and take the deck face down. Turn to a second spectator and tell him that he is to choose a card. As you are talking, carry out a Braue Reversal with the top card - the result of this is that the deck is face up with the original top card face down at the rear. 3. Spread the cards and ask the spectator to choose any one. Close up the spread then begin a Hindu Shuffle (deck is still face up), and ask him to call stop at any time and drop his card onto the portion in your left hand. Finally drop the balance on top and square the deck, then place it face down on the table. NOTE: Instead of the Hindu Shuffle, you could simply ask the spectator to place his card on the face of the deck, then give it a complete cut. 4. Enter the Phantom. Pretend to remove an invisible card from your breast pocket, which you show to the audience, calling it your Phantom Finder (or whatever you wish to call it). Take aim as if you are about to toss the card at the deck, then stop, saying, “Sorry, the card should be face up.” Pretend to turn it face up, then make a tossing motion towards the deck. 5. Spread the deck revealing one face up card in the middle. Slide this card out of the deck along with the card immediately above it. Ask the spectator to remind everyone what his card was, and then turn over the face down card revealing it to be the selection.

6. Now turn to the first spectator, and draw attention to the value of the face up phantom finder. It might be a Seven spot. Reach forward and tip the cards out of the card case - make sure they come out face down. Ask the spectator to verify the number of cards, which represent the hour he thought of. This quantity will be the same as the value of the locator. Finish.

Dreamland (From Area 52) Four spectators each select a card then the four selections are lost back into the deck. The four Kings are now placed face down on the table and mixed. Each spectator in turn selects a King and each King is pushed face up into the face down deck. Finally the deck is spread across the table to reveal that beside each face up King is a selected card, also face up! This is a reworking of a trick I published in Abracadabra called “By Royal Command.”

WORKING 1. Give the deck out for shuffling then ask four spectators to each select a spot card then give you back the deck. Take the selections and control them all to the top - a Multiple Shift is the most efficient method for this. Now turn the deck face up and explain that you will use the four Kings to help you find the chosen cards - that’s why you had them pick spot cards. Spread through and downjog the fourth card from the face, then continue to spread through. When you arrive at the first King, transfer it to the face. Continue to transfer the other three Kings to the face. Finally square the deck and lift up on the injog and retain a little finger break below the face eight cards.

2. You now execute the easiest of switches, which belongs to Alex Elmsley. Briefly spread the Kings to show them then square them. With your right hand from above, lift off all eight cards then lever the rest of the deck face down into dealing position, finally flip the packet face down on top. The audience believes the top four cards are the Kings, when in fact they are the four selections. Deal the top four cards into a face down row on the table and ask one of the spectators to slide the “Kings” around to mix them.

3. Obtain a little finger break below the top card of the deck as you ask one of the spectators to slide any King(?) towards you. Pick the card up and place it face down on top of the deck, saying, “Have you any idea which King this is?” As he responds, flip over the top two cards as one to reveal a King which you name out loud - retain a break below the double. You now cut this King into the deck, along with the face up card concealed behind it, as follows:

Bring your right hand over and grip the upper three-quarters (or slightly more) and pull this section inwards, leaving the face up double where it is (Fig.1). The double falls onto the remaining bottom quarter as you drop the right hand section on top and square the deck. 4. Ask a second spectator to slide any one of the three remaining Kings(?) towards you as you obtain a break below the top card. Repeat the Double Turnover with break to show the King. Then, the same cutting procedure, but this time you pull about half the deck inwards. Again the double falls onto the lower section and you drop the right hand section on top of it. Ask a third spectator to slide one of the two remaining cards towards you as you again obtain a break below the top card, and repeat the Double Turnover with break to show the third King. Cut this card into the deck as before, this time pulling the top quarter of the deck inwards. Only one apparent King remains on the table. Obtain a break below the top card as you ask the last spectator if he remembers which of the Kings remains on the table. As he replies, place it on top of the deck and execute a Double Turnover to reveal the final King. No break is held this time as the cut will be genuine. With your right hand pull a section of the deck inwards from the bottom of the deck and slap it on top. Make sure you don’t finish with another face up King on top. If you riffle with your right thumb before cutting, you can easily avoid this. 5. Conclude by spreading the deck across the table to reveal that each King now has a face up selection directly beside it.

Simply Stated (From Card Flair)

Simply stated, the two red Aces find two previously chosen cards. This effect is an extension of Raymond Jones’ ‘Rediction’ that appeared in Abacus (Vol.5 -No.11). It can also be presented as a coincidence where the two red Aces find the black Aces.

Working 1. Begin by having two spectators each select a card. Both cards are noted, then returned and controlled to the top of the deck. The order of these two cards is unimportant. 2. Turn the deck with the faces towards you and spread through looking for the two red Aces. However, before going any further take a look at the rear two cards (the selections) to ensure that neither is a red Ace. If one is, remove any other matching pair such as the black Jacks. 3. Hold the deck face down and drop the red Aces face up on top, saying, “In a moment these red Aces will help me to locate the cards you selected....” As you are speaking spread over the top few cards to display the Aces then catch a break below the second face down card as you square the Aces. Lift off all four cards with your right hand in a Biddle grip and give the pack to a spectator, saying, “But first I want you to shuffle the pack.” When he has finished shuffling, ask the spectator to place the pack face down on the table. 4. Turn to the other spectator and say, “I would like you to cut the pack into three piles, like this.” At this point, replace the packet you are holding on top of the pack then immediately cut it into three piles by way of a demonstration. Now, reverse your actions to reassemble the pack then lift off the top three cards with your right hand from above your thumb lifting the three cards at the inner end. Place the packet of cards into your left hand dealing grip. 5. The spectator, following your example, cuts the pack into three piles. The top section will finish at the end of the row. Let us assume that this is the pile at the far right.

Pick up the Ace packet from your left hand in a Biddle grip and place them directly over the middle pile. Release the lower two cards so they fall square on top of the pile. Then, move along and drop the remaining Ace on top of the original top section. Give the last Ace a little flick so the audience can see it’s a single card - without over-doing it! Reassemble the pack by picking up the far left pile (the pile without an Ace on top) and drop this on the middle pile - pick up both and drop on the last pile. 6. Tap the pack then spread it across the table. Slowly slide out each face up Ace along with the card immediately to its left (card below it). Ask each spectator to name his card then turn over the two face down cards revealing the selections.

A Twisted Tale (From Card Flair)

This is a combination of Vernon’s ‘Twisting the Aces’ and the ‘Hofzinser Card Problem.’ The original version of this appeared in Abacus.

Working 1. Begin by having a card selected then control it to the top. Turn the deck face up and immediately glimpse the rear card. Let’s say it is the King of Hearts. Spread through looking for the Aces, transferring each face down to the rear of the spread as you come to it - the Ace of the same suit as the selection is transferred last. 2. Turn the deck face down bringing the Aces face up on top. Spread the Aces to display them and push the first face down card over slightly so that you can catch a break below it. Now square the Aces and lift off all five cards in a Biddle grip. Pull off the top Ace with your left thumb and flip it face down onto the deck - repeat with the next two Aces - now place the remaining double onto the deck then flip over the last Ace. This is the Braue Addition. Push off the top four cards and drop them onto the table. Place the rest of the deck to one side. 3. Explain that the four Aces will help you define the suit of the selected card. Lift off the top card of the packet and use it to scoop up the other three cards - the complete packet finishing in your left hand. The selection is now on top. 4. Say, “I'll now make the Aces magically turn over one at a time. The final Ace to turn over will be the same suit as your card..” As you are talking secretly reverse the bottom two cards. FIRST ACE TURNS OVER - Carry out an Elmsley Count to cause the first Ace to turn face up - outjog this Ace as you count. Remove the face up Ace and ask the spectator, “Is this the same suit as your card?” He will say no. Place it on top, then push off the top two cards and transfer them to the bottom in the form of a single cut. SECOND ACE TURNS OVER - Carry out an Elmsley Count - the first Ace changes into the second Ace. Again this is not the correct suit. So you now say, “The Aces need a bit more power.” Here you carry out a Vernon Fist Flourish to reverse the packet.

THIRD ACE TURNS OVER - Carry out an Elmsley Count to cause the third Ace to turn face up - but place the last card of the count to the bottom. This leaves the Ace face up on top. Again this is not the suit of the selection.

FOURTH ACE FAILS - Point out that you can now name the suit of the selected card because that is the same suit as the final Ace. Turn the Ace that is currently atop the packet face down. Now carry out an Elmsley Count to show four face down cards - the last card to the bottom. Appear puzzled that the Ace didn’t turn over.

5. Turn the packet face up and give it to the spectator. Tell him to tap the cards and then spread them. A face down appears and this will be taken as the final Ace. Ask him to now announce the full name of his card - in this case it will be the King of Hearts. Say, “The King of Hearts? Well, in that case you had better take a closer look at that Ace.” When he does he should be surprised to find that it has changed into his card.

In Place (From Card School) This simple trick is an ideal one to perform for anyone at a moment's notice. It uses what is often referred to as the Automatic Placement. 1. Remove the Queen of Diamonds from the pack and lay it face down on the table without showing its face, saying, "This card is my personal assistant who will be responsible for the ultimate success of this experiment." 2. At this point you can have a spectator shuffle the pack. With the pack back in your hands, casually push off 16 cards then place the remainder to one side. Try not to appear to be counting as you take off the 16 cards. 3. Give the packet to a spectator, saying, "We'll use a limited number of cards for this one. Give these cards a mix." Once done, ask him to place the cards on the table then to cut the packet into two uneven heaps. Actually you will almost always be able to spot this without having to instruct the spectator to do it. Now ask him to pick up the smaller of the two piles and to count these cards. You can turn your head to one side so that you cannot see this. Tell him that this will be his secret number. Once done, ask him to discard this packet by dropping it on top of the main pack. 4. Now ask him to pick up the remaining cards and to look at and remember the card that lies at his secret number from the top. Again you can turn away as he does this. 5. Draw attention to the card you placed on the table at the start. Turn it over revealing the Queen of Diamonds. Say, "There she is...my lovely assistant, the Queen of Diamonds. In order to find your card that lies at your secret number, all we need to do is call her name. We do this a letter at a time." Tell the spectator to transfer a card from top to bottom for each letter you call out. Spell as follows:

"Q - U - E - E - N - 0 - F - D - I - A - M - 0 - N - D - S." Finally ask the spectator to name his card out loud, then ask him to turn over the top card of the packet. He should be surprised to find that it is his card.

Catalystic Collectors (From Card School) The following rendition of Roy Walton's "The Collectors" is fairly true to the original effect in that only three kings are used to collect two selections. Before commencing secretly reverse the third card from the top of the deck. There should be no Kings among the top four cards.

Working 1. Spread through the deck and upjog the four Kings as you come to them then close up the spread. Flip the deck face down and secure a little finger break below the top three cards then strip out the four Kings and turn them face up on top of the deck. Spread the four Kings and ask a spectator to select one which will later act as a catalyst. Once one has been withdrawn, close up the remaining three Kings, injogging the lower one, then flip over all the cards above the break, turning the packet sideways. Without pause, the right thumb presses down on the injog and the upper three cards are lifted off and placed on the table. 2. Give the deck a couple of cuts, double cutting the top card to the bottom. Now spread the deck between the hands and have two cards touched, which you outjog. Close up the spread and obtain a break below the top card, then strip out the two selections and pivot them face up on top of the deck. Lift off all three cards above the break in a Biddle grip with the right hand, then peel off the upper card onto the deck using the left thumb, then place the remaining double on top. As you do this, have both cards remembered by the audience. You apparently cut the two face up selections into the deck, in fact you carry out a reverse double undercut to bring the bottom card back to the top. Ask the spectator to get ready to activate his catalyst (fourth King), as you quietly obtain a break below the top FIVE cards. 3. With the right hand, pick up the supposed three Kings packet from the table, keeping it square, and holding it from above in a Biddle grip. Hold the packet towards the spectator who is holding the fourth King and ask him to wave it over the packet.

Now the right hand places the packet square onto the deck then immediately lifts off all the cards above the break and flips them all over on to the deck. Immediately spread over the top five cards to reveal the three face up Kings with two face down cards interlaced between them. Because of the initial set-up, you now have the added luxury of being able to spread an additional card without exposing any unwelcome face up cards. Conclude by having the two selections named and then reveal that the two face down cards are those very cards.

Psychic Speller (From Card Selection) A no-questions-asked routine where a spectator thinks of any card in a packet of several, then magically finds it.

Working 1. Shuffle the pack then run through and upjog ten cards which all spell with 12 letters, for example:

JH - 4S - 7C - KS - 4H - 9H - QC - SS - SH - 8C Place the balance aside as it is no longer required. 2. Hand the packet to a spectator for shuffling then take it back in order to demonstrate what he is to do. Hold the cards face down, and explain that you want him to remove any card from the middle, look at it then place it on top and give the packet a complete cut to bury it in the middle again. As you speak, you carry out the actions and casually look at the face of the card, then you place it on top and cut only the top card to the bottom. keep your fingers at the front to conceal the fact that only one card is being cut. 3. After the spectator has carried out the above actions, ask him to deal the cards into two face down piles, dealing alternately to make two piles of five cards. 4. Ask him to glance at each pile and turn over the one WITHOUT his card in it. Spread these five cards on the table and note the position of your key card ( the one you looked at earlier from the face. Also note whether this pile is the first hand dealt or the second - the first hand is the one into which the very first card of the deal went.

a) If it is the first hand the position of the key will be the SAME as the position of his card in the other pile. b) If it is the second hand - the position of the key will be ONE FURTHER TO THE RIGHT as the cards lie to that of his card in the other pile e.g. if your key lies at position TWO from the face of the pile - his card will lie at position THREE from the face of the other pile.

5. With this information, you ask the spectator to slide out any of the face up cards to act as an indicator, explaining that although he appears to have free choice, his actions are being controlled by a higher power. He now picks up the other pile, this is the one which contains the card he is thinking of, and spells out the name of this card by transferring a card from top to bottom for each letter, according to the following rules:

a) If his card is SECOND FROM THE FACE he spells the value of the card, then the suit singular - no 'S' - and his card will end up at the face of the packet. b) If his card is THIRD FROM THE FACE he spells the complete name and his card will end up on top of the packet. c) If his card is FOURTH FROM THE FACE he again spells the complete card and his card will end up at the face of the packet.

As it is imperative that the spelling process be carried out precisely, I suggest that you spell the card along with him to avoid any errors because believe me, they will happen! Finally have him name his thought of card then either turn over the top card of the packet, or the complete packet to reveal it. As you already know where his card is, you could ask him to remove the appropriate card and place it face down in front of him, THEN ask him to reveal the name of his card.

End Notes There is an outside chance that his selected card will finish at the rear position of the five card packet. This can only happen if he cuts as few as two cards from top to bottom. As you instruct him to cut his card into the middle, this is a highly unlikely occurrence. However, if it ever does happen, you simply ask him to spell the value of the indicator card, then the suit in full including the final letter 'S'. His card will finish on top of the packet. Finally, the above routine might at first appear rather complicated. However, a few trials will prove that it is in fact very straightforward. Once you grasp the positioning of the key in relation to his card, you will find the procedure almost automatic

The Telling Hand (From Card Selection) This is an expansion of a trick which I first published in 'Spellbinder' under the title "Ladies in Waiting," then later in Inspirations under the title "Hen Party." The latter used the Christ Force, a suggestion which was made by Roy Walton to eliminate a rather large block turnover in the original. The following retains Roy's suggestion and introduces a third selection along with a stronger presentation. Before commencing remove the Royal Flush in Spades and one indifferent and set the pack as follows from the top down: KS - QS - JS - 10S - X Card face up - AS Face up - Rest of Deck.

Working 1. Shuffle the pack retaining the top stock then double-cut the top card to the bottom. Spread the pack face down, pushing over the upper section as a block so as not to expose the two reversed cards, and have three spectators each touch a card, outjogging each card for about half its length as it is nominated. Close up the spread, obtaining a little finger break below the top two cards, then strip out the three selections and turn them face up onto the pack. Immediately pick off all five cards above the break with the right hand as the left hand carefully deposits the pack face down on the table. 2. Place the selection packet into your left hand in dealing position. Ask spectator 1 to remember the card showing on top of the packet, them remove this card with the right hand, buckling the bottom card of the packet with the left fingers, and insert the card into the break above the bottom card. Ask spectator 2 to remember the new face card then remove this card and place it fairly to the bottom simulating the manner in which you transferred the first card. Ask spectator 3 to remember the card now at the face and leave it where it is. Drop the face up packet on top of the face down pack then pick up all. Explain that you will cut the three selections into the pack, in fact you only Double Cut the bottom card to the top.

3. Hold the pack in the left hand and bring the right hand over the pack and place the thumb on the inner end and the middle finger on the outer end. You now riffle upwards with the right middle finger asking someone to call stop, saying, "If by chance you stop me at one of the face up cards we will start again." The foregoing sentence is important because if the reversed cards were really in the middle of the pack, there is every chance that you could be stopped at one of them. So the sentence is psychologically good. When told to stop, lift off all the cards in the upper section and turn them face up onto the lower section. Look at the card which now is showing on top and comment, "I was hoping that you would have cut to a better card...however being a very fair person I am going to give you a second chance...we'll use the next card that you would have cut to If you had stopped me one card sooner...and I wont even look at It...now if that's not fair I don't know what is." Spread through all the face up cards and stop when you arrive at the first face down card. Take the face up cards into the right hand then thumb off the top card of the left hand section onto the table. Flip all the cards in the right hand face down onto the left hand section then place the pack face down on the table. 4. Look at the spectator whom you are currently dealing with and say, "There's one thing I haven't told you.... this card you stopped at will actually represent your hole card in a Poker game. However, you don't have to know how to play Poker, because the card will only be used to help create a magical Poker hand...let's see what the card is...The Ace of Spades! ...that's the best card you could have hoped for." Tell the spectator to pick up the Ace and to wave it over the pack, then say, "OK, let's see what you've managed to achieve." Spread the pack across the table to reveal the other four cards which, along with the Ace, make a Royal Flush in Spades. Although a Spade flush is no better than any other suited flush, most people presume that it is, so I say, "Congratulations! That's the best hand In poker...a Royal Flush in Spades! ...you must tell me later how you did that." Allow the effect to sink in before drawing attention to the three face down cards that are caught between the four face up cards.

Finally have the first three spectators name their selections then remove the three face down cards and turn them face up to reveal the three selections. NOTE: If you wish to reveal the cards one at a time, and in 1, 2, 3 order, you remove the middle card for spectator 1, the right hand card for spectator 2 and the remaining hand card for spectator 3.

Between Queens & Dark Places (From Cardeceits) The two black Queens are placed together face up in the deck. The deck is flipped face up and spectators remember both the face card and the card at the rear. The deck is turned face down and immediately spread, revealing one face down card is now caught between the Queens. This is one of the selections. The other selection is brought out your pocket. WORKING 1. Remove the two black Queens and obtain a break under the top two cards of the deck. Place the Queens face up on top and lift off all four cards above the break (the two Queens plus two face down cards hidden below). Peel off the upper Queen onto the deck then place the remaining triple on top, keeping a break under these three cards. "The two black Queens will perform their witchcraft for us." 2. Allow one card to drop from the break then carry out a Triple Double Undercut finishing with the Queens 2nd top and 2nd bottom. 3. Flip the deck face up in your left hand. Ask a spectator to remember the face card. Bring your right hand over and pick up the deck - hand is in position for a Kelly Bottom Placement. Slide out the rear card and ask a second spectator to remember this card, at the same time you pivot the card now at the rear downwards a la Kelly. This allows you to replace the 2nd noted card 2nd from the rear. NOTE: The Kelly action has been used several times in the past to load a card into a sandwich, but in this instance, we are actually removing a card from the sandwich! 4. Turn the deck face down again, executing a Turnover Pass at any point near the middle. Ask the first spectator to remind everyone of the name of his card. Spread the cards between your hands revealing that a face down card is now trapped between the face up Queens. "The witchcraft begins," you say. Drop the three-card sandwich onto the table and place the upper section of the deck below the other. This brings the other selection to the top. Slide out the face down card and turn it over revealing it to be the first card.

5. Allowing the effect to sink in, you casually Palm off the top card from the deck. Alternatively, you can have the first spectator turn over his card, thus affording you maximum misdirection for the Palm. Now say, "And more witchcraft." Reach into your pocket and bring out the palmed card. Hold it back outwards to the audience and ask the 2nd spectator to remind everyone of the name of his card. Turn it round to conclude.

Card of Darkness (From Cardeceits) A face up wrong card changes into the selection - influenced by the powers of darkness.

Working 1. Have a card chosen and returned to the deck. Control this card to the top. Explain that this is an experiment in the Occult. "The three sixes are the sign of the beast. Let's represent that." Push off six cards from the top of the deck (retaining their order), one by one so that the audience can count them as you push - then drop the packet on the table, saying, "Six." Repeat, pushing off a second group of six and drop these on top of the first group, saying, "Six." Do this on more time. "Six." Place the rest of the deck on the table ahead of the 18 card pile. 2. Pick up the 18 cards and say, "Another number that has deep Occult properties is 13. Let's see what the 13th card is." Deal off the top 12 cards one by one into a pile on the table, then Double Lift to apparently show the 13th card. "Is this your card by any chance?" It isn't. Leave the double face up on top. Pick up the 12 dealt cards and place them on top - but - as you do so, openly push the upper face up card forward, so it is outjogged for about an inch. 3. Pause at this point, saying, "I didn't expect this to be your card because the 13th card is always an Occult-related card. And the _____of _______ is well-known in Occult circles as The Card of Darkness." Look directly at the spectator and, continue, saying, "...and you would not have picked such a card...would you?" As you are saying this, you apparently push the card flush with the packet and place all on top of the deck. In fact - you execute a Diagonal Palm Shift, palming the card in

your left hand as your right hand continues forward and places the packet on top of the deck. Your left hand falls to your side - or rests on the table - as you ask the spectator to pick up the deck and count down to that 13th card. When he does, he will be surprised to find that the card has changed into his selection. Finally, say, "Remember the Card of Darkness? Well, it's gone to the darkest of places....my pocket!" As you reach into your left pocket and bring out the palmed card.

Colour Pack (From Cards Insight) An impossible double location of two cards using a very simple method. Before you begin you need to separate the deck into reds and blacks with the 26 reds on top.

Working 1. Carry out any shuffle that retains the colour separation. Note, if you use the Laurie Ireland Shuffle, this transposes the halves. In the end you need to know which colour is on top. Keep it red for this description. 2. Place the deck face down on the table and invite a spectator to cut off less than half the cards, saying, “I want you to leave enough cards for someone else to participate.” Ask a second spectator to cut off about half of what remains on the table - look at and remember the face card of this portion - then give the packet several straight cuts. As he is doing this ask the first spectator to shuffle his cards then peek at the bottom card. He then drops his packet on top of the tabled portion. 3. Take the packet from spectator 2 and state that you will find his card. Hold the cards with the faces towards you and spread them. Look at the block of black cards and count them. Remember this number. Now pull out the first black card after the red block. This is the selection. Place the rest of the packet on top of the tabled deck. Ask the spectator to name his card, then turn the card you are holding over to reveal you have the correct card. 4. Turn to the other spectator. Hold the first selection up to your ear, saying, “Now HIS card is telling me where to find YOUR card.” All you do is mentally add the number your are remembering (number of blacks) to 26. Deduct 1 from this total. So if you counted 10 blacks, you add this to 26 = 36. Deduct one to give 35. Now announce, “It’s telling me your card is the 35th card down in the deck.” The spectator picks up the deck and, in this case, counts to the 35th card - this will be his card.

The 21st Card Trick (From Cards Insight) This is much cleaner handling for a previous trick of mine called “Hen Party” (Inspirations, Breese Books). It’s a multiple sandwich based on the Walton “Collectors,” though the effect isn’t quite that. There is nothing difficult here, but step 2 does require careful handling. A five card set-up is required. Remove the four Kings and any random card. Arrange these in the following order on top of the deck, reading from the top down: King (face down) - King (face down) - X card (face up) - King (face down) - King (face up).

Working 1. Hold the deck face up and spread the cards. Invite two spectators to each touch a card, which you outjog. Turn the deck face down and obtain a break under the top card.

2. Pull out the two outjogged cards and turn them face up onto the deck. Immediately lift off all three cards above the break in a right hand Biddle grip. You now display both selections to the audience while loading the top card of the deck between them. This is a standard move. Pull the upper card onto the deck, but keep a break below it, then place the remaining double on top. You currently hold a break under three cards. You now need to lift up two more, but this is aided by the reversed card which offers a natural break. Once done you hold a break under the top 5 cards. Flip the five cards face down, but again, retain a break under them. 3. Undercut about two-thirds from the bottom to the top but still retain the break you are holding. Now ask someone to call stop at any time as you run your left thumb down the outer left corner of the deck. Riffle slowly so that you do NOT get to the break. As soon as they call stop, ignore the stop-point and lift off all the cards above the break (Riffle Force). Replace this upper section on the lower section so it is injogged for about an inch. Place the tip of your right middle finger on the back of the outjogged lower section, then push the top card of the lower section forward - as you do this the upper section will automatically align with the lower

section - one card is outjogged. Remove this card and give it to a spectator then place the deck face down on the table. 4. Ask him to turn the card face up (it will be a King) and wave it over the deck. Now reach down and ribbon spread the cards across the table, revealing the other three Kings face up in the middle. There are two face down cards trapped between the Kings. Ask each spectator to remind everyone of the name of their card, then slowly pull the two cards out and turn them face up to reveal the correct cards.

DITTO! (From Cards in Principle) This magi-comedy mental item is based on Phil Goldstein's 'Preoction' from his 1985 Madrid lecture notes. It also bears some resemblance to 'Potty Prediction' and other like effects. A little initial preparation is required but if you are a performer then I think you will consider that part trivial. You require two blank faced playing cards and seven Jokers with matching backs. On one of the blank facers write the words, "THE SAME AS HIS" then place this card below the other blank - both face down. Take two squares of white card (predictions) and write the same four words on one of them. Place the blank square on top of the other (writing side down), then place the two blank playing cards face down under the predictions. Hold the cards in place by placing a bulldog clip over the front edge of the package. This package is placed inside a suitable pocket and the seven Jokers are in your breast pocket with the backs outwards.

Working 1. Introduce the Joker packet and hand it to spectator A for shuffling, asking him to keep the faces of the cards hidden as it is important that no-one is influenced by the cards. Now take the packet face down in your left hand then bring out the prediction package from your pocket, the two face down cards concealed underneath. As you are talking, remove the clip and allow the two concealed cards to be added to the top of the packet. Now place the upper prediction in front of spectator A (blank) and the other in front of spectator B. 2. Hand the packet (now nine cards) to spectator B and instruct him clearly to carry out an UNDER/Down deal. He places the final card face down in front of his prediction. Spectator A now picks up the packet (eight cards) and does the same then places his final card race down in front of his prediction. The remaining seven cards are dropped to one side for the moment.

3. Point out that the cards were thoroughly shuffled and generally build up to what appears to be a double prediction of two playing cards. Ask spectator A to turn over his prediction. Look nothing written on it, saying, "It's incredible but write the damn thing!" Now ask B to turn saying, "Don't tell me yours is the same?" He turns reveal the words, "THE SAME AS HIS."

puzzled that there is I have forgotten to over his prediction, the prediction over to

4. At this stage it will be assumed by the audience that the whole thing is a gag, but now you turn over spectator A's selection to reveal that it is blank. After a pause, turn over B's card to reveal the same message that is on the prediction. Allow the effect of this to register then as an afterthought, say, "And you expected a card trick? Well, that would have been no good because you'd both have picked Jokers!" Finally turn over the rest of the packet to reveal all Jokers!

Eightsome (From Cards in Principle)

The following item is based on Lewis Jones' 'Happenstance' which appeared in issue Number 5 (May 1994) of Apocalypse. Here I have combined Jones's idea with one I utilised in a previous trick of mine entitled "Baker St. Branch", which appeared in Ulterior Motifs (1992). This secondary principle allows you to change the final total of the cards at will, therefore permitting the spectator a choice of six possible numbers. Arrange the top thirteen cards so that they run Ace through to King of mixed suits, with the Ace on top of the deck and the King thirteenth. Also have a sheet of paper and a pen at hand.

Working 1. Take a sheet of paper and tear it into sixths. Now write the following numbers, one on each, and place the pieces or paper in a row, writing side down: 18, 22, 26, 30, 34, 38 (See illustration below).

2. Hold the deck in your hands and casually Overhand Shuffle, retaining the top stock. Ask a spectator to slide any one of the papers to one side without looking at the writing.

Mentally number the papers ‘0 - 5' from left to right (See illustration below).

As soon as you see which paper has been selected, carry out another Overhand shuffle, but this time, lose a number of cards from the top of the deck equal to the number of the selection. So if he slides out the third one, you note this as ‘number 2', therefore you lose TWO cards during the shuffle, for the first paper you retain the complete stock, and so on. 3. Hand the deck to the spectator and ask him to deal off 8 cards into a face down pile on the table, then to place the balance of the deck to one side. As he is dealing, casually pick up the five remaining papers in a random order to break up the obvious sequence, then show the various numbers briefly to the audience, before crumpling them up and placing them in your pocket. Allow the spectator to mix the eight cards by dealing the packet into two piles, dealing alternately as in a two handed game. He now drops one packet on top of the other, and repeats this process for as many times as he wishes. You could mix the cards yourself using the Reverse Faro, but as both methods look equally contrived, it's as well to let the spectator do it. At least you haven't touched the cards. Now ask the spectator to deal FOUR cards into a face down row on the table, then to deal again so that there are four pairs. it is important that this deal follows the course of the first. 4. The spectator now makes what appears to be a random selection ot tour cards by taking one from each pair as follows:

a) Ask the spectator to pick up any pair, discard the top card, and place the remaining card face down in front of him. b) He next selects any one of the three remaining pairs, discards the bottom card, and places the remaining card face down in front of him beside the first. c) From the two remaining pairs, he picks one, discards the top card, and places the other in front of him. d) From the last pair he discards the bottom card and keeps the other, to give himself tour randomly chosen cards. Have the tour cards turned face up and the values totalled. Finally have the selected paper turned over to show that the totals agree.

End Note You might find it easier to add an extra card to the top of the initial set-up and then mentally number the papers 1-6. A small point, but some might find this preferable in performance.

Attractive (From Previous Convictions) A spectator remembers the middle card of three and these are pushed into the middle of the deck. You remove the top three cards and a second spectator remembers the middle card. These too are pushed into the centre of the deck. You remove three more cards from the top of the deck and a third spectator remembers the middle card of this set, and also turns it faceup. The spectator cuts this set into the deck. After a few demonic chants, you spread the deck and the two cards on either side of the face-up selection are removed. These prove to be the first two cards chosen. This is almost the 'sandwich' theme in reverse - instead of two cards finding one, one card finds two. There is no preparation.

Working 1. Deal nine cards to the table, explaining that three spectators are to be allocated three cards each. Have the nine cards shuffled, then returned to the top of the deck. This initial procedure is purely a bluff and could b e o m i t t e d , b u t i s I t h i n k psychologically sound. 2. Push over the top three cards and take them in a fan with your right hand. As you push them off catch a little finger break below the next two cards and adjust the position for the Vernon Depth Illusion, or Tilt. 3. Hold the three cards up and ask spectator A to remember the middle card (Fig.1). Lower your hand and square the packet against the top of the deck, then apparently push the packet into the middle of the deck - really pushing it into the break, executing Tilt (Fig.2).

Fig.1

Fig.2

4. Repeat steps 2 and 3 exactly as outlined with spectator B, except that your Tilt break this time is under only one card. 5. Push over the top three cards as before, except there is no break this time. Do not raise your hand to show the faces this time either. Simply ask spectator C to remove the middle card, turn it face-up, and then replace it in the middle. Drop the packet on top of the deck, and then place the deck on the table. Ask spectator C to give the deck one complete cut. 6. Snap your fingers over the deck then spread the cards. Ask the first two spectators to name their cards, and then remove the cards on either side of the face-up card. These will be the two selections!

Hot Thoughts (From Previous Convictions) A spectator names any four-of-a-kind which you remove and show to him. These might be the four Nines. You now ask him to think of any one of the Nines. Meanwhile you shuffle the Nines back into the deck then give the deck to the spectator. He now spells his mentally chosen card by dealing a card for each letter of the name into a pile on the table.. However, he fails to find his card. Pointing out that you will need to resort to ‘Plan B,’ you ask the spectator to pick up the dealt cards, then you direct themhim to eliminate all but one of these cards. That one card is his mental selection!

Working 1. Ask a spectator to name any card value. Run through the deck and transfer the four cards of that value to the face. We will assume these are the four Nines. As you are transferring the cards, arrange them in the classic CHaSeD order with Clubs at the face. As you close up the spread, obtain a little finger break below the face eight cards. This is easily done if you downjog the fourth card from the face as you begin to spread through in search of the Nines. 2. With the deck face up in dealing position, spread over the four Nines so that they are displayed in a fan, and ask the spectator to now think of any one the four Eights but not to tell you. Close up the spread then lift off all eight cards above the break in a Biddle grip with your right hand. Turn the deck face down then flip these cards face down on top. This simple add-on move is Alex Elmsley’s. Remove the top four cards one by one and inset then into the deck at varying positions then square the cards. You have apparently buried the four Nines at different places in the deck. NOTE: If you prefer, a Multiple Shift can be used to control the four cards to the top of the deck. 3. You now need to do one more thing, depending on the value selected. Here is what you do: a) If the value spells with THREE letters (A, 2, 6 or 10), Double Cut THREE cards from the bottom to the top. Alternatively add the during an Overhand Shuffle. b) If the value spells with FOUR letters (4, 5, 9, J or K), add TWO cards to the top.

c) If the value spells with FIVE letters (3, 7, 8 or Q), add ONE card to the top.

4. Give the deck to the spectator and tell him to spell the name of his card. If it is the Nine of Hearts, he will spell N-I-N-E-O-F-H-E-A-R-T-S, dealing one card for each letter in the name into a face down pile on the table. The suit is always the plural. 5. Ask him to name his mentally chosen card, and then tell him to turn over the top card of the deck, but this is not his card. Appear puzzled, so you now move onto ‘Plan B.’ Place the main deck aside and ask the spectator to pick up the dealt cards. Now instruct him to carry out a DOWN/ Under Deal, i.e., he deals the top card onto the table, then places the next card to the bottom, and repeats this until only one card remains in his hand. This will be his card. If his card is a SPADE he carries out an UNDER/Down Deal. The difference here is that he places the FIRST card to the bottom, then deals the next card onto the table, and repeats this until only one card remains…. success!

Forced Entry (From Method in Effect) Here’s a puzzling quickie using a deck set in a 13/14 Force stack, which is as follows: Discard two of the Kings, then set the remaining 50 cards as shown below:

(Top 26)

K-A-Q-2-J-3-10-4-9-5-8-6-7-7-6-8-5-9-4-10-3-J-2-Q-A-

(Bottom 26)

K-A-Q-2-J-3-10-4-9-5-8-6-7-7-6-8-5-9-4-10-3-J-2-Q-A

WORKING 1. Place the deck face down on the table and ask a spectator to give it a few cuts, then to finally cut it into two halves (they do not need to be equal). Ask him to pick up a half and thoroughly shuffle it then to remove a card. Take the rest of the packet from him as he shows the card to the audience. Have the card returned to the packet and control the card to the top, then shuffle six cards on top of the selection, so it finishes 7th from the top. 2. Spread the packet and ask a second spectator to turn over any card. Make sure that you spread past the top seven cards before he acts. Leave this card in position and square the packet. Drop the packet on top of the other half to complete the deck. 3. Pick up the deck and give it one In-Faro Shuffle. This sends the selection to position 14. It also places a 13/14 force pair of cards on either side of the reversed card further down in the deck. 4. Ribbon spread the deck face down on the table. Draw attention to the reversed card then pull out the two cards flanking it. Turn them face up and have their values totalled. This will either be 13 or 14. Slowly count down from the top of the spread to the card at that number. For 13, push out the NEXT card. For 14 push out the 14th card. Have the selection named, and then turn the card over.

Diploid (From Method in Effect)

Two previously selected cards are revealed by two random locator cards. This is based on a principle devised by Leo Horowitz during the 1930’s. A simple numerical set-up is required as follows, reading from the top down (X = any card):

X-A-2-3-4-5-6-7-8-9-10-10-9-8-7-6-5-4-3-2-A-X- crimped X card (optional) - rest of deck. Working 1. Invite two spectators (A and B) to participate. Give the deck a Jog Shuffle retaining the order of the upper half. If you have opted for the crimp, cut off all the cards above it and place this section on the table. Place the balance of the deck to one side for the moment. If there is no crimp, push off the top 22 cards, then place the rest of the deck to one side. 2. Ask someone to cut the section into three random piles. Ask spectator A to pick up the top portion and shuffle it, and ask spectator B to pick up the bottom portion and shuffle it. You pick up the middle portion as if to demonstrate an Overhand Shuffle - pull off top and bottom cards together, then shuffle the remainder on top of these two cards. Drop your packet back onto the table. 3. Ask each spectator to look at and remember the bottom card of their packet. Now ask B to drop his packet on top of the middle pile lying on the table, then ask A to drop his packet on top of all. Pick up the group and Double Cut the bottom two cards to the top, then drop the packet on top of the balance of the deck. 4. Give the deck a Jog Shuffle retaining the order of the top half, then hold the deck face down in dealing position. You now force the top two cards using the Balducci Cut Deeper Force, which is: Extend your hand towards a third party and ask him to cut off about half the deck, turn it face up, then replace the packet. Now tell him to cut off another section, but to cut deep down near the bottom, turn the section over, then replace it. Remember that the first cut must be near half, and the second must be deeper than the first. So you might prefer to riffle down with your left thumb and ask a spectator to call stop rather than let him cut.

5. Spread over all the face up cards, turn them face down, and place them to the bottom of the deck. Deal the top card onto the table in front of spectator A, and the next card in front of spectator B. Turn both cards face up, saying, “These two cards were arrived at by two random selection. Believe it or not, but they know where your selected cards are!” Give the deck to spectator A. Draw attention to the value of the face up indicator card before him, and ask him to count down to the card that lies at that number in the deck. He deals cards singly onto the table, and when he arrives at the card he is to retain it face down in his hand. The deck is now passed to spectator B (the dealt cards remain on the table) and he does the same with his indicator value. Finally ask each spectator to name his card, then to turn over the card in his hand. These will be the selections.

My Fair Lady (From NDE) You fail four times to find a selected card. So, you remove the Queen of Hearts which you say is your lucky lady. You give the Queen to the spectator, who waves her over the four wrong cards. Instantly the four cards change into the four Queens - your lucky lady and her three sisters! When the spectator turns over the card he is holding it proves to be his selected card.

Working 1. Begin by secretly culling the four Queens to the top of the deck. Note what the top Queen is. In this example we will make it the QH. 2. Hold the deck in position for a peek selection. Once the spectator has peeked at a card and you have secured a break below it, turn the deck to face you and glimpse the card in the time honoured manner. Lower the deck so that the audience can see the faces and begin to spread through, saying, "I rarely find chosen cards first time, but I always manage to get it if I take four chances." Spread through and up jog any four random cards - ignore the selection. 3. Turn the deck face down and briefly spread the cards as if to emphasise the four outjogged cards - in fact you take this opportunity to secure a little finger break below the top four cards (Queens). Pull out the four outjogged cards and turn them face up onto the deck. Lift off all 8 cards above the break and show the four cards one by one as follows (essentially Hartman’s Secret Subtraction): Peel off the topmost card and flip it face down, then pick it up again below the packet - raise your hand to show the face of this card and ask the spectator if this is his card. It is not. Repeat this with the other three cards. Finally place the packet onto the deck then push off the top four cards and drop them as a group onto the table. Hearts is still on top. 4. You have failed to find the selection. So, say, "When this happens, and it does happen a lot - I always call upon my lucky lady he Queen of Hearts." Hold the deck with the faces canted towards you and spread through apparently looking for the QH. Really you look for the selection and toss it out of the deck and onto the four tabled cards (apparently four random cards). Place the deck to one side.

5. Pick up the packet and execute a Double Lift to show the Queen of Hearts. Flip the double face down and give the top card to the spectator. Ask him to wave it over the four wrong cards. As he does this, say, "You may feel her influence as it passes from your hand onto these four cards." Give the packet a quick Elmsley Count to displace the QH (rather than it remaining on top), saying, "Four cards - four errors. Watch!" Snap the cards then turn them over revealing that they have changed into the four Queens. Finally ask the spectator to turn over the card in his hand to reveal his selection.

Elucidation (From NDE) You shuffle the deck then remove about a dozen cards from the top. These are fanned and a spectator is requested to make a mental selection of any card he sees. The packet is mixed then lost back into the deck. You now start to deal cards onto the table as you ask the spectator to spell the name of the card he is thinking of. The card stopped at turns out to be his mental selection! This uses a Stewart James principle and a thirteen card stack. The values in the stack is easy to recall as is it is the first 13 cards in a Si Stebbins set-up, but in reverse order. The suits can be random but excluding any Diamonds. To make the arrangement, simply transfer each value in turn to the top of the deck in the order given: A - 4 - 7 - 10 - K - 3 - 6 - 9 - Q - 2 - 5 - 8 - J If you did as suggested, the top card of the deck should be a Jack - the Ace is 13th.

Working 1. Jog Shuffle retaining the top stock then casually push off the top 13 cards. Place the deck on the table for now. Fan the 13 cards and ask a spectator to merely think of any one he sees. You might want him to whisper its name to a second spectator as a safe-guard. 2. Tell him to form a clear picture of the card in his mind. Meanwhile, you give the packet two Reverse Faros in the following manner, saying something like, "Let's mix these about a little bit." a) Spread through the face down packet and outjog every second card. b) Strip out the six outjogged cards and place them to the top. c) Repeat the above two steps. d) Finally Double Cut the bottom card (the Ace) to the top (See End Notes). 3. The packet is now in strict numerical order. Drop the packet face down on top of the deck and pick up all. Add 8 cards to the top using a Jog Shuffle i.e., undercut half the deck - run 8 cards - injog the 9th card and shuffle off the rest. Shuffle to the injog - throw rest on top. If you prefer, you can carry out two short shuffles adding 4 cards each time).

4. Ask the spectator the value of his card. This might be an Eight. Count (do not spell) 8 cards into a pile on the table. Jacks, Queens & Kings = 11, 12 and 13. Now, say, "Eight of..." spelling O-F, dealing two more cards onto the pile Finally ask him to name the suit. It will either be Spades, Hearts or Clubs. Spell the suit dealing a card for each letter onto the pile. If his card is a Club, dramatically turn over the card now on top of the deck. That will be his mental selection. For any other suit, reach forward and flip over the last card dealt to the tabled pile.

End Notes To avoid the Double Cut in stage 2 (d): simply set the Ace on top of the deck instead of 13th. When carrying out the 2 Reverse Faros the outjogged cards go to the bottom each time rather than on top.

Millennium Countdown (From New Inspirations) Another card discovery that is hopefully puzzling!

Working 1. Before you begin, cull two Six spots to the top followed by two Five spots. So when the deck is face down the top four cards read - 5-5-6-6-rest of deck. See End Notes for a faster option. 2. Invite a spectator to cut off a portion - turn it face up - replace it. Then ask him to “cut deeper” and lift off a portion - turn it face up - replace it. This is the Balducci Cut Deeper Force. Push over all the face up cards and turn them face down, placing them to the bottom. This brings your 4 card set-up back to the top. If you don’t like the Balducci, you can give the deck a cut - hold a break - then Riffle Force to the break. 3. Say, “We’ll only use some of the cards for this.” Deal two piles of cards dealing alternately left and right, and stop when there is 10 cards in each. Place the rest of the deck face down to one side. I would suggest that you deal 8 to each, then pause, saying, “Maybe a few more...” as you top each pile up to 10. As there’s no reason for there being 10 cards, there’s no point in emphasising it, and therefore I wouldn’t ask a spectator to do this. 4. Invite a spectator to pick up either pile and shuffle it. Turn away and then ask him to discard a few cards from the packet - placing them on the deck out of the way, saying, “You now have a quantity of cards that I cannot possibly know.” This is true, but it’s a bluff because the trick works from the bottom up in a similar fashion to Steimeyer’s Lie Speller. Ask him to look at the face card of his remaining cards then drop the packet on top of the other pile on the table. You now turn back to face the front. 5. If you are performing for more than one person, invite a second spectator to pick up the packet. If not, continue with the same spectator (you have no choice!). Tell him to deal the packet into two piles - dealing alternately left and right. The only observation you need to make is which pile the last card falls on. This contains the selection, and we’ll call it the ‘target’ pile. Ask him to turn over the top card of either pile. The two choices are dealt with as follows: a) HE TURNS OVER THE TOP CARD OF TARGET PILE: It will be a Five spot. As he turns it over, intervene, saying, “Just place it face up in front of its pile.” Now pick up the other pile and discard it onto the deck. Finally, he counts down to the 5th card and holds it. The first spectator announces the name of his card - the other spectator turns over the card he is holding to reveal the correct card.

b) HE TURNS OVER THE TOP CARD OF OTHER PILE: It will be a Six spot. This time you allow him to turn it over and leave it face up on its pile. Ask him to pick up the other pile and count down to the 6th card and hold it. The first spectator announces the name of his card - the other spectator turns over the card he is holding to reveal the correct card.

End Note An alternative to a 5-5-6-6 set-up is to make it Club-Club-Spade-Heart. The latter two can be any combination of Spades and Hearts. You then spell the suit at the end rather than the value. While I much prefer the numerical count-down, this set-up may be easier to achieve mid-performance as it’s quite possible that you will find such a foursome already in the deck.

Found By Coincidence (From New Inspirations) A two part routine where a spectator successfully finds his own card, then a remarkable coincidence occurs using the other cards. Arrange the top 14 cards of the deck in matching pairs (same suit & colour), e.g.,

2-2-6-6-9-9-J-J-3-3-10-10-K-K- rest of deck. Working PHASE 1 1. False Shuffle then push off 16 cards and give the packet to a spectator. Discard the rest of the deck. 2. Ask him to deal two piles of cards, dealing alternately so each contains an equal amount. He can stop at point - he must have some cards remaining in his hand. Ask him to shuffle these - look at the bottom card - then drop them on top of either pile. He now picks up this combined pile. The other pile is slid to one side as a prediction for later. 3. He now does a Down/under Deal - and holds the last card. Ask him to name his card then turn over the card he is holding. This will be his card. Take his card and drop it on top of the pile and pick up all.

PHASE 2 4. Now say, "You may think that was a bizarre coincidence? Well here’s an even more bizarre coincidence. I’ll systematically eliminate cards...." Do the Fulves Oracle elimination down to one card. Which is: Hold the packet face down and outjog every second card (in Reverse Faro style). Pull the outjogged free and discard the INJOGGED section. Repeat this until you have only one card left. Turn it over. Finally ask spectator to turn over the top card of the prediction pile and it will be the mate of your card.

Jaxaphonic (From Open Secrets)

A card is selected and returned to the deck. You remove the four Jacks then give the spectator the deck to shuffle. Finally he cuts off half the deck and you drop the four Jacks face down onto the bottom portion - he then drops the upper half on top to bury the Jacks. You snap your fingers then spread the cards revealing that the four Jacks have mysteriously turned face up. However, there is one face down card in the middle of them - this proves to be the previously selected card. This effect was inspired by an idea of the late Dave Campbell that he first used in his effect, ‘The performing Aces,’ published in The Gen (Dec. 1966).

Working 1. Have a card selected then control it to second from top. Hold the cards with the faces towards you and spread through looking for the four Jacks. Before doing so, glance at the selection - if it happens to be a Jack then continue to use the four Aces. When you come to each Jack upjog it for half its length. Once all four Jacks have been located, strip them out adding the rear card of the deck using the Vernon Strip-Out Addition. Once the packet is clear of the deck, turn it face down and place it below the deck. Now turn the deck face down bringing the Jacks face up on top. 2. Push over the top three cards to display the four Jacks, saying, “These might look like four ordinary Jacks, but appearances can be deceiving. These are in fact Super-Jacks! And I am going to prove this to you.” As you are talking, close up the spread and lift off the top six cards with your right hand in a Biddle grip. Give the deck to the spectator and ask him to shuffle it. 3. Say, “These Jacks will perform an amazing feat of magic, and, they will find your card at the same time.” As you are talking, you appear to casually count the four Jacks from hand to hand, however, there is more to it: a) As your left thumb peels off the upper Jack into your left hand, your left fingers engage the bottom card and take it along the the upper one into your left hand. b) Immediately peel off the next Jack on top of the first. c) You now appear to count the third - in fact you make a Hamman Count switch so the packets transpose.

d) Finally place the three cards in your right hand on top of all.

4. With the packet in your left hand, ask the spectator to place the deck on the table and then to lift off about half the cards. As he doing this, and while you are watching him do it, you apparently turn the Jacks face down. In fact your right fingers and thumb pull only the bottom card forward, then turn it end-forend onto the other cards. This move is in Hugard’s Card Manipulations. As you do this, tilt your left hand upwards slightly. Done correctly, the move should fly past anyone who happens to be watching you. 5. Drop the packet on top of the tabled portion of the deck then tell the spectator to replace the upper half. Now build up the feat that the ‘SuperJacks’ are about to perform then spread the deck revealing that they have turned face up. Finally draw attention to the face down card in the middle. Remove this card and ask the spectator to name his card, and then show the card.

Jaks’ Blaks (From Plots & Ploys)

While I still at secondary school, I bought my first magic trick from a dealer. It was called The Four Blacks by Dr. Stanley Jaks, where the image of a playing card mysteriously appeared on a piece of black card. That was a long time ago, but I still carry this trick in my wallet today because it just so powerful. The dealer who sold me this trick was Roy Walton, and he also showed me his handling which dispensed with a supplied gaff and allowed the trick to be performed with any deck, so long as you had the Four Blacks on your person. The original effect is as follows: A deck of cards is on the table. You now introduce four pieces of black card which you show on both sides, one by one. You talk about Victorian mediums and how they made chalked spirit writing appear on slates. The black cards, you say, will represent the slates in this experiment. A card is now selected unseen from the deck. The spectator now chooses two of the four black cards. These two cards are placed between his palms. The chosen card is turned over and seen to be, say, the Four of Diamonds. When the two black cards are spread the image of four diamonds is now printed on the lower black card. Everything is examinable. For a one-on-one situation, I still use the effect as above. But a few years ago I started to wonder if it was logical to show four blacks and then eliminate two for no reason? I never could find a good reason to introduce four cards, only to have two discarded. While this may be a case of running when not being chased, it did bother me. Then I hit upon a solution. If you have two spectators, this is great. ________________________________

First you need four pieces of thick black cardboard approximately the size of a playing card. The size is not important just so long as they fit into your wallet. You now need to print, or stick, four Diamond pips on the surface of one of these cards. See figure 1 below. We will refer to this as the “image card” from now on.

Fig. 1 While you making this set of cards, I suggest you make several more with different numbers of pips, such as: Six of Diamonds, Seven of Diamonds, and some Heart card if you can. This will allow you to repeat the trick later with a different outcome. Set your four cards with the printed surface facing upwards third from the top as shown in figure 2.

Fig. 2 Finally, set your deck with any black spot card on top, and then place the Four of Diamonds on top all. You must remember the black spot card that is now 2nd from top. We will assume it to be the Ace of Spades in this example.

Working 1. Invite two spectators to assist. Bring out the deck and shuffle it, retaining the top two cards in place. Place the deck on the table and then bring out the Four Blacks. Patter as in the effect above as you hold the cards in left hand dealing grip. The cards must be oriented as in Fig. 2 above.

Showing the Four Blacks 2. As I am talking, I remove the top card and flick it, showing both sides and then replace it. This is a casual action prior to the main show, which is as follows: a) Push over the top card and then flip it over showing both sides to be blank, then deal this card onto the table to your front right. b) Push off the next two as one (or use a buckle) and flip over the double (this is easy as you only have three cards), then deal the top card onto the table to the left of the first (forming a row). c) You are left with two clean cards. Flip over the top card and then deal it onto the table to the left again. d) Finally show the last card both sides and place it to the left of all, completing the row. Figure 3 shows the final position with the image card marked X

Fig. 3

Four Blacks Selection Process 3. Ask either spectator to touch any two of the cards, saying, “The ones you touch will be the ones you get … so choose carefully.” If he touches two blanks, pick them up, place them together and then lay them square in a pile in front of him. If his choices include the image card, pick up both cards with the image card on top – casually show both sides turning the cards over, then lay them square in a pile in front of him.

Turn to the other spectator and say, with a smile, “You don’t have a choice! … you get the other two cards.” The other spectator gets the remaining two cards and these are placed square in a pile in front of him observing the same rules as above, depending on whether these cards contain the image card, or not. Important note: you must remember which spectator has the image card in front of him.

Playing card Selection Process 4. You now have two spectators each choose a card. For this I use a double Cross-Cut Force, as follows: First you have to Slip-cut the top card to the middle of the deck and then hold a break above it. To do this, hold the deck face down in dealing grip. Now lift off about half the deck with your right hand, but keep your left thumb pressing on the top card. Now slide the upper section to the right, while your left thumb retains the top card (Figs. 4 & 5). Finally place the right hand section on top and retain a break between the halves. The Four of Diamonds force card is the one now in the middle and you are holding a break above it. The Ace of Spades force card is on top.

Fig. 4

Fig. 5

You now split the deck at the break and place each half side by side on the table (Fig. 6).

Fig. 6

One half is for one spectator and the other half for the other spectator. However, you must ensure that the person whose two black cards contain the image card gets the half deck that has the Four of Diamonds on top.

5. You now invite each spectator in turn to cut off a section from the half deck that is nearest them and to place the cut-off section in front of the balance (Fig. 7). You now say, “We’ll just mark your cuts.” At that, with both hands, you simultaneously pick up the original bottom halves and place them crosswise onto their respective top halves (Fig. 8).

Fig. 7

Fig. 8

The Revelations 6. Turn to the spectator who does NOT have the image card in his pair of blacks. Without picking the cards up, place your finger on top of them and then slowly slide back the top card as shown in Fig. 9). Appear to study the cards, then pick them up and hold then up to the light as you pretend to see an image. “You Fig. 9 picked a black card? That makes this difficult because the image of your card is actually on the cards … but because it’s black it is very difficult to see … Ah, yes … your card is the Ace of Spades?“ At that, lift off the upper section of his half deck and turn over the top card of the lower section to reveal that he did, indeed, cut to the Ace of Spades. Despite the image being invisible to the spectators, this is a strong piece of magic. 7. Now turn to the second spectator and say, “I hope you didn’t pick a black card?” He will confirm that he did not. “Good … hopefully this time you will see that I wasn’t bluffing you.” Reach forward and place your finger on top of his two Blacks and then very slowly slide back the top card as shown in Fig. 10). Fig. 10 At that, lift off the upper section of his half deck and turn over the top card of the lower section to reveal that he did, indeed, cut to the Four of Diamonds.

The Disoriented Sevens (From Ulterior Motifs) The lucky Sevens produce a Royal Flush. Before commencing set the Royal flush in Spades on the face of the pack in order Ace, Queen, King, Ten, Jack. The Jack is the face card.

Working 1. Start by saying, "My lucky number has always been seven so I'll show you something with four of them." Run through the pack and remove the four Sevens and arrange them in a face up row on the table. The only stipulation is that the middle two Sevens be of the same colour. 2. Hold the pack face down, spread and have a card drawn. Close up the spread obtaining a break below the top three cards. Square the pack and raise the top three cards at the inner end in readiness for the Vernon Depth Illusion (TILT). Take the selected card from the spectator and apparently push it into the middle of the pack executing TILT so it ends below the top three cards. The 'Bluff Pass' could also be used. 3. Riffle shuffle retaining top and bottom stock then hold the pack face down from above in the right hand. You now pull off the top and bottom cards together with the left hand and drop the pair on the table. Repeat four times forming a single ten card pile. Place the balance of the pack aside. 4. Explain that you will physically number each of the Sevens. Pick up the ten card pile and, working from left to right deal one card face down on the first Seven two on the next, then three and finally four onto the last Seven. The cards are counted singly. 5. Gather up the four piles, moving from left to right placing one on top of the other, saying, "Each Seven has a different quantity of cards on top of it ... which rather disorientates them somewhat." As you speak carry out a Reverse Faro which is that you outjog every second card then strip out all the outjogged cards. Place these stripped out cards on the table. There should be a face up Seven on top of this pile.

Comment on this, saying, "Well at least we know where one of the Sevens is." The Reverse Faro should be carried out quickly and slightly untidily so that the audience is unable to follow the progress of the Sevens. 6. Spread the pack remaining in your hand to reveal two matching coloured Sevens face up in the middle with a face down card between. Have the selected card named then remove the face down card to show the selection. Say, "The other two Sevens have been busy as well." Spread the tabled packet to show the two face up Sevens with five face down cards between. Turn the cards over to reveal the Royal Flush in Spades to conclude, saying, "Well I told you seven was my lucky number!"

Short Sharp Shock Sharpened (From Card Secrets Unlocked)

This short, simple but effective colour changing pack is an improved handling of that which I published in Contemporary Card Magic (Martin Breese, 1984). The original version had an awkward discrepancy where the last card dealt during the 1st selection process immediately appeared as the face card of the deck for the 2nd selection process. It has only taken me 21 years to eliminate this problem! Sometimes the simplest solutions are the hardest to find.

You require a pack of cards with two odd backed cards to match. We will assume that a red pack is being used with two blue backed cards. It is advisable that the duplicates of the blue backers be removed from the pack as it may become embarrassing later if you don't. Place the two blue backers on top of the pack then pop the complete pack into a blue card box.

Working 1. Remove the pack from its case and overhand shuffle with the faces towards the audience. Retain the two blue backers in position during the shuffle. Ask for a number between, say, five and fifteen. Assume that the number chosen is TEN. You deal NINE cards face up into a pile on the table. The first card dealt is from the top of the deck but on all the other cards you execute a strike second deal, turning each card over the instant it clears the deck. Trial in front of a mirror will show that the odd backs cannot be seen when done properly, unless there are spectators by your side. NOTE: Some of you may feel more at ease dealing 2nds from the very first card, rather than starting with a top. The choice is yours. 2. Raise the pack and push over the top card so that the face can be seen. "Please remember this card." Once the card has been noted, lower the pack and at the same time realign the top card so that the red back is not exposed. Pick up the dealt cards and square them before dropping them face down on the pack. Retain a little finger break between the sections.

3. You now select a 2nd spectator to choose a card, and as you do so, you give the deck a casual cut as follows: With your right hand, lift off all the cards above the break - at the same buckle (or pull down) the bottom card of the deck. Now place the right hand section onto the break above the bottom card - apparently going to the bottom in the form of a straight cut. Explain that you will now count to the tenth card from the face of the pack. This you do fairly by dealing nine cards one at a time in a face up pile on the table. Lift off the card now on the face of the pack and have it remembered by a second spectator. Replace this card on the face of the pack but retain a little finger break below it. Pick up the nine dealt cards and drop them on top of all thus burying the second selection. 4. Turn the pack face down keeping the break in the form of a step. This is a Marlo subtlety which not only retains control of the break but also exposes a blue backed card. Now cut the lower stepped section from the bottom to the top thus emphasizing blue backs. No breaks are held. 5. Finally explain that in order to find the two selections you have to give the pack a 'short, sharp, shock'. You explain that this will make the two cards change colour. Pick a break near the middle of the pack and execute a Riffle Pass. Finally, spread the pack across the table to show that instead of the two selections, all the other cards have changed colour.

Conclude by turning over the two odd cards to prove they are the selections.

Pictorial Ratification (From Untold)

Inspired by a marketed item of Eddie Clever's called "Mental Spell," which used 26 duplicates. The following effect came about while trying to eliminate the duplicates. As it turned out, the result is far removed from the original trick. To begin, run through the pack and up-jog all the Hearts and Spades then strip them out and place them to the back of the balance . Make sure that you remove all of them 26 in all.

Working 1. Jog shuffle retaining the top half then cut the pack at mid-point placing the two halves face down on the table. Have a spectator first shuffle the Diamond/Club half then the Spade/Heart section which he retains in his hands. 2. Turn away and have him remove and look at any card, which he then places face down in front of him. Now proceed according to the following patter: "I now want you to represent your card using the ancient art of 'Pictorial Ratification.' Perhaps you're unfamiliar with this?...Well here's what you do. Whatever value your card is, count off that number of cards and place them on top of your card...Jacks, Queens and Kings count 11, 12 and 13." Once he has done that, continue: "Now take the suit of your card and spell it out placing one card at a time for each letter onto those already dealt in front of you...so it's either Clubs, Hearts, Spades or Diamonds." (It is important that they spell the plural) "Finally I want you to place any cards remaining in your hand on top of the pack then give the pack a complete cut... and just to make sure I don't cheat, place your hand flat on top of YOUR cards." 3. Turn round and pick up the main pack, saying, "The actions that you just carried out leave certain vibrations which I can pick up...and to prove this, I will remove a card that is almost identical to the one under your hand."

All you do is run through the cards, passing all the Clubs and Diamonds, until you come to the Spade/Heart group near the middle. Count the number of cards in this group then subtract the total from 19.The answer will be the value of his card. Now glance again at the Heart/Spade section and see if the partner of his card is there. Note, by partner, I mean in relation to the original Diamond/Club and Heat/Spade setups of each half. If it is, you now know the identity of his card for sure. E.g. if his card is a Nine spot, and the Nine of Hearts is in the pack, his card must be the Nine of Spades. So you now remove the Nine of Clubs (real partner!) and place it face down on the table. If this is not the case, simply say, "Your card, I think, was a red card?" His answer will determine which card you remove. Conclude by having the spectator turn over his packet, followed by your card.

Ediblector (From With cards)

Two cards vanish when placed between the Kings. The missing cards instantly appear reversed in the deck. This effect is based on Alex Elmsley’s ‘Repulsive Aces’ and Lin Searles ‘Cannibal Cards.’

Working 1. Remove the four Kings and place them face up on the table in pairs reds to your left and blacks to your right. Hold the deck face down in dealing grip and obtain a break below the top two cards. 2. You now execute two Braue Additions: Pick up the black Kings in a Biddle grip. Secretly pick up the two broken cards, then peel off the top King and lever it face down onto the deck. Place the remaining triple on top of the deck then flip the black King face down. Push off the top two cards, without changing their order, and drop them back onto the table to your right. As you display the Kings with the Braue Addition, say, “These black Kings are black magicians. They cause cards to disappear.” Obtain a break below the top card of the deck. Pick up the red Kings in a Biddle grip and repeat the above procedure, finally dropping the top two cards onto the table to your left. As I show the red Kings I say, “And these red Kings are white magicians. They cause cards to disappear. (pause) They’re just as bad as the black Kings!” 3. Give the deck a quick Jog Shuffle, as you say, “I want two people as witnesses to each remember a card.” With the deck in a dealing grip, extend your hand towards one of the spectators and ask him to lift off about half the cards, turn them face up and replace them. Move to the second spectator and ask him to lift off a section, adding, “But cut deeper down near the bottom.” He too turns the packet over and replaces it. This is of course the Balducci Cut-Deeper procedure.

Spread over all the face up cards and place them in a face up pile on the table for a moment. Say, “As a result of your two cuts, I want you to remember the two cards.” As you are talking, push over the top few cards then square them again, but catch a break below the top four cards. Turn them face up onto the deck (apparently two cards) - retain a break below them - then push over the top card to display two cards. Ask one spectator to remember the top card and the other spectator to remember the other card. Square the cards then flip all four face down again.

4. With your right hand lift the top red King of the pair to your left. Thumb off the top card of the packet onto the other card, then flash the face of the card in your right hand as you drop it back on top, thus sandwiching the card. Repeat this with the right hand pair - this time flashing a black King. Obtain a break below the top two cards, while your right hand picks up the face up half of the deck. As you square this section, secretly pick up the two broken cards below, then lever the left hand section face up and place both halves together. The two chosen cards are now reversed in the middle. 5. Hold the deck face down. Pick up either sandwich and drop it on top of the deck. Tap the cards then slowly deal the top two cards face up onto the table. The selection has gone. Repeat this with the other sandwich. Now say, “Because both sets of Kings can only cause cards to vanish, they are unable to bring them back. So I’ll use some magic of my own.” At this, spread the deck face down across the table revealing both selections face up in the middle.

The End. Thank you for purchasing this book. I hope you enjoyed the material.

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