The Cardiste 12

THE CARDISTE “Dedicated to the Art of Cardistry” Rusduck, P.O. Box 372—Philipsburg, Penna., USA No. 12

“Not Exclusive : : : But Independent!”

January—1959

DEALER’S CHOICE: It’s taken all of two years to do it—but you are finally reading the 12th issue of this journal—which had it appeared on monthly schedule—as planned with the initial appearance in February— 1957—would have reached you last January—but I’m very happy to be back on a monthly basis again—and hope that you constant readers from the beginning have had your money’s worth—even tho I took a mighty long time delivering. All subscriptions—except those which have already been extended (by sending an additional $3.00 or by submitting an acceptable contribution of merit for use in Cardiste)—will expire with issue No. 13. The first issue was (and still is) an introductory and complimentary one to introduce Cardiste to the fraternity. I will send out subscription expiration notices with issue No. 13—and then start to weed out my current subscription list—because each of you must have decided by this time whether or not in your opinion— Cardiste justifies your continued support or should be dropped. I am not soliciting subscriptions. Perhaps you noticed the addition to my masthead starting with No. 10: “Not Exclusive—But Independent.” I have enough subscribers and contributors (the faithful) at the present time to insure Cardiste paying its way. I am making no effort to increase circulation because—being a one-man job (spare time) it has become quite a chore. THOM HENRICKS runs a courtesy ad for me in his well-read Magnet; the reviewers, here and abroad, have done a magnificent job in lauding Cardiste —and the only promotion I do—is send along the order form with each issue—for you readers to pass along to interested parties. Nevertheless, I am grateful for the support indicated by the fast-growing mailing list, and the few who have contributed so faithfully for the material used. Also to those who have corresponded so faithfully and enthusiastically, and who in turn, I have neglected so shamefully. And finally—a sincere bow of appreciation to the various editors and publishers here and abroad—who exchange complimentary issues with me. And my blessings to them to use anything they wish from Cardiste —as long as the source and credits are given. Not to mention the tremendous boost given the journal thru the efforts of BOB (Hardell Master Mentalist) ECKLUND, and mentalists as a class. I always thought that mentalists were like collectors—a breed unto themselves—but if they wish, they are willing to wade thru my stacked deck gyrations—in order to glean the mentalizers directed by BOB—the least I can do is purloin their excellent moves for use in cardistry. READERS WRITE: GRAHAM REED: “I just got a leather case for carrying a deck around in my pocket. It’s made to look like a prayer book, and on the spine of it says, ‘Let us Play’”. . . . STEVE HERALD: “I would like to see an article by JOHN SCARNE in Cardiste some time (me too, Russ). I’ve never seen the perfect riffle shuffle with one hand described in print. How about getting JOHN SCARNE to tell us how it’s done?” MEL BROWN: “I am still in search of both the AUDLEY WALSH gambling routine manuscript and also the HASKELL one. Given the chance, I’d be willing to rent same if the person did not wish to sell. . . .” BILL RUESSKAMP: “Just one thing wrong with these poker deals to make them perfect. Down here we trust everyone—but—we cut the cards. . . .” JIM GLASS: “I had intended for my subscription to start with the May issue, but when I saw what I would have missed in the previous issues, I was thankful to have escaped such deprivation.” —DOC JESSOME: “The ability to make convincing false shuffles, riffles and cuts is indispensable with cold decking, so maybe an odd one of these shuffles and cuts should not be out of the way once in a while, plus references where others might be found.” RON EDWARDS: “Mental Note: Did you know that the clear space on the back of a $10.00 bill allows you to read the serial number from the back, if bill is held up to a strong light while spectator concentrates on it?” (I don’t even know whose face is on a ten, Ron—we barter fur pelts here, Russ.) My sincere appreciation to all cardistes for refraining from commenting on the multitude of atrocious typographical errors which appear constantly in Cardiste —it is obvious that you are more interested in the contents than type perfection.

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It has been quite some time since a Rusduck Poker Deal has appeared in Cardiste. However, don’t labor under the misapprehension that I have run out of ideas. Perish the thought! One of the most popular progressive deals which has received considerable attention was “Strictly Straight” in Cardiste 1. My only objection to it was that it used merely 25 cards in the setup—an atrocious waste of “dead” cards from the Rusduck viewpoint. Consequently, here is a routine I have worked out with three successive poker effects—utilizing practically the full deck. POKO-COMBO Rusduck SETUP: Top to bottom—face down; 2–3–4–2–3–4–2–3–4–9–(K)–(A)–(10)–9–7–6–9–6–6–8–9–7–5–7–8–8–(J)– (Q)–8–5–7–5–6–5–10–J–Q–K–A–10–J–Q–K–A–10–J–Q–K–A–2–3–4. Cards underscored by groups are of the same suit; cards indicated () are also of same suit. Suits otherwise disregarded. The order of the first nine cards is unimportant. They form the basis of the familiar “Ten Card Deal” when used in conjunction with the 10th card (a Nine) which is used as the “Jinx” card of the deal. Cards are dealt into two hands of five cards each. They may be dealt in any possible manner imaginable—but the hand in which the “Jinx” card is found is inevitably the loser. Phoenix Nos. 168 and 170 suggest several possibilities and presentations for this effect from the best minds in cardistry. This constitutes the first phase of the routine. The first 10 cards are lifted off as a group—remainder of deck is placed aside—and “Ten Card Deal” is carried out for several deals in different ways, with spectator always losing regardless of how much he shuffles, cuts and deals, tops, bottoms, seconds, groups, etc., as long as he gets the “Jinx” (9) card! To prepare for the 2nd phase of the routine—merely return the 9 to the top of face-down deck—and place the remaining cards on the bottom. Cards are now in order to proceed with “Strictly Straight” as found in Cardiste No. 1. Cards are false shuffled and cut—retaining the entire order. Deal face down, one card at a time—beginning at dealer’s left into 5 hands of 5 cards each, with dealer’s card last. This is the usual manner in dealing poker hands. Show dealer’s hand to be a straight. Place remainder of deck aside. Pick up dealer’s hand first and place it face down in your hand. Continue with remaining hands in order dealt. Deal four hands, show dealer’s hand to be a straight, and gather in same manner. Continue with deal for three hands and then for two. Now deal out five hands in the same manner, spelling out S T R I C T L Y S T R A I G H T P O K E R D E A L, one letter for each card dealt, with a slight pause between words. As usual, the dealer’s hand shows the inevitable straight. Gather in usual order (winning hand first) and repeat for the “Strictly Crooked” Deal. First 4 hands will show straights but dealer’s has a Spade RF. The two additional spectator deals given in “Strictly Straight” (Cardiste 1) could be made here, but it would be necessary to pull the cards forming the Spade RF in the order 10, J, Q, K, A, in that the cards be set for the 3rd phase of the routine, at the finish of the spectator deal, from top to bottom. I prefer to place the winning hand (the RF) as shown in “Crooked Deal” above—on top of deck, and discard the remaining hands on bottom. This automatically sets you to proceed with my version of “Straight Cheating” in Cardiste 5. Deal out 4 hands face down in usual order, and show. All 4 hands show Ace-high straights. Pick up 1st hand dealt (not dealer’s hand as in previous effect) and place face down in your hand.

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Now pick up each of hands in order dealt and place beneath the previous cards held. (Remainder of deck has previously been laid aside—with only 20 cards being in use.) Deal as before and show all hands; 1st hand shows 4 Tens; 2nd has full house, Jacks over Queens; 3rd has full house, Kings over Queens; while 4th (dealer’s) wins with 4 Aces. Gather and deal for 3rd time. All hands show royal flushes. This seems like an adequate climax for this combination routine, but it is possible to improvise with the Rusduck “Scrambled Straight” ideas as shown in Cardiste 8. This routine combines three poker dealing effects and is made possible by using the cards formerly discarded in my previous “Strictly Straight” progressive poker deal. In all—49 cards are used—it strains my sensitivity to find that 3 indifferent cards are going along just for the ride—guess we’ll have to leave them for the “takea-card” boys. TEMPERAMENTAL ACES Steve Herald After reading BILL MIESEL’S “The Lost Ace” (Cardiste 3) I came up with a few ideas. This is the result. Have the KS–AH–AC–AD–AS–KH–KC–KD in that order on top of the deck. Remove the first five cards together and place the deck aside. Proceed as in “The Lost Ace” until you are holding the KS in your left hand, and the other cards in the right. In taking the KS in your right hand—it must go under the AS. Holding the five cards in your left hand (face down) make a Double Lift showing the KS. Turn the cards back over saying, “Come back, Ace,” and turn over the top card only, showing the return of the AS. In replacing the Ace, slip it under the King. Place these five cards on top of the deck by drawing the King off first with the left thumb and dropping the Aces on the King. The first eight cards should be in the order AS–AH–AC–AD–KS–KH–KC–KD. Deal the Aces face up, in the usual four-pile fashion. On top of the Aces deal the four Kings, face down, covering about half the face of the Aces. Deal two cards as one on each pile, and deal one more card. Pick up the first pile, and in apparently putting the Ace on the bottom, place it between the bottom card (the King) and the one above it. Command the Ace to change to a King. Turn the packet over, showing the King on the bottom and remove the Ace and King as one card, then count the other three cards, placing them in front of the King. Do the same with the other three piles. After changing the last Ace to a King, still holding the same packet, again say, “Come back Ace,” step 9. Repeat with the other three piles. Steve clarifies the above as follows: [Tom Ransom later asked Howard, “What trick do the last two paragraphs go with?” We do not have Howard’s reply, but obviously it is not the one presently under discussion.] The cards are held in the left hand, in the position commonly referred to as the mechanic’s grip. This gives the necessary control for holding the last 5 cards as 1. The cards should be face up in the left hand, the AS face up on the top. The left thumb slides the AS slightly to the right, where it is taken by the right hand, the thumb on top and fingers going behind—the right hand removes the Ace and holds it about 6 inches from the left hand. The movement of the left thumb must be very slight. In this manner the next card—the KS—is removed. The right hand with the AS removes the King and holding it beneath the Ace about 6 inches from the left hand. The QS and finally the JS are also removed this way. The cards are always shown in this manner—the right hand removing 4 cards, 1 at a time, and the left holding 5 cards—but displaying them as one. The 4 cards are replaced on the 10S. The AS should again be face up on top, with all the cards being in their original position in the left hand. The AS is openly removed from the top, shown, and placed on the bottom of the cards which are now held between the left thumb and fingertips—not touching the palm—to facilitate replacing the Ace. The order should now run AS–10H– JH–QH–KH–AH–10S– JS–QS–KS with the KS being face up on top.

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ALASKA Rusduck This can be worked with a freshly opened deck, or with one in any known order to start. No harm can possibly be done to your setup because the cards have returned to their original order at the finish. Ribbon spread deck face down on table. Have three cards taken from various parts of spread. Cards are placed in pockets of respective spectators without being identified. Spread cards are gathered and spectator deals them into seven face-down piles. Piles are gathered 1, 2, 3, etc., each on top of last one. Cards are again ribbon spread (face up) to show a well-mixed galaxy of suits and values, with spectators agreeing that no clue exists for identification of cards taken. Cards spread again, gathered and seven piles dealt face down. These are again collected as before—but without being shown to spectators—and for a very explicit reason. The cards are in original order and the taken cards can readily be identified by their absence from their usual location. Discovery is made in any manner you prefer. If you noticed the approximate spread locations by the various spectators, you can identify the specific card each selected. False shuffles retaining entire order are expedient but not necessary. It is essential, however, that spectators do not know that you are using a deck with a known order of cards. The name “Alaska” has no bearing on the effect, but this was conceived about the time it became the 49th State—and since 49 cards plus 3 selected ones are used—it seemed apropos. ENIGMATIC ENCLOSURE edited by: Bob (Hardell ) Ecklund Send all Mental Material to: Hardell, Master Mentalist, 658 W. 8th St., Erie, Penna. This copy is written for Cardiste 12 and I think that Rusduck has done an excellent job in presenting top quality card effects. While it might not be “ethical” for one editor to praise the work that the other has done—I do think that the readers of Cardiste have received their money’s worth. In the short time I’ve been editor of this Mental Department, I have reached the decision that this can only be as good as you care to make it. We have offered a prize of a $10 or $15 effect, for the best submitted effect using the new Jumbo ESP cards put out by the Haines House of Cards. Now we will offer a mental effect of $15 value for the best effect sent in and used in this column in the next twelve months. Better get busy, before my wife sends me to Warren State Hospital. MILBOURNE CHRISTOPHER was on the Jack Paar TV Show and he presented a mental effect that makes me eat the words, “Cards have no place in a mental routine.” Mr. Christopher seated Jack Paar and a real pretty, young blonde at a card table. After he shuffled a deck of cards he placed the deck in front of Jack Paar and asked him to cut the deck once. Milbourne next donned a blindfold and instructed Mr. Paar to deal out two hands of five cards each, to himself and his pretty partner first. After the dealing was completed, both Mr. Paar and the blonde were asked to pick up the hands and arrange them for playing in order, and according to suit. Mr. Christopher told the blonde to play the QH she held. Next he told Jack Paar he would have to follow with the 6H as that was the only heart he held. The trick of course went to the blonde. Milbourne directed the playing of the next four cards (in each hand) and all five tricks were taken by the blonde. To me, this was an effect of a nature a real mind reader would like to be able to present. While I have my own ideas as to the how, etc., I’d be very pleased to read some of your ideas as to how the effect could be done. Perhaps, with Mr. Christopher’s permission, I will at a later date run some of the ideas on this effect.

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Speaking of cards, this month we have an effect by ED MELLON. I can say that only in magic will you find a publisher of one magazine giving material to another magazine. Thanks, Eddie, and please come again. A CASE FOR MENTALISM Ed Mellon EFFECT: Mr. Mentalist removes a deck of cards from its case and hands them to anyone to shuffle to their heart’s content. Meanwhile Mr. M. writes a prediction on a slip of paper, crumples it and drops it on the table in plain sight. When the cards have been mixed, Mr. M. takes back the deck and puts it back in the case. He then asks anyone to stand, and instructs them to say stop at any point, as he pulls out cards, one at a time, from the top of the deck with his thumb. When he is told to stop, the top card is pulled out and turned face up. Someone is asked to read the prediction and Voila! the card and prediction are the same. METHOD: Take a standard card case, such as Fox Lake or Aviator, and with a razor blade make a slit, just below the top edge, in the bottom of the case. The slit must be wide enough to allow the top card to be pushed freely thru it. If the slit is made right, it will be indetectable. SETUP: Have a known card extending out of slit just far enough so it is not visible within the thumb-cutout part of the case. This card is the top card of the deck. Deck is inserted in case, face down. The rest of deck is visible in thumb cutout. When you pull out the cards to be shuffled, the known card is concealed by the left hand, and is held back. A slip of paper is removed from your pocket, placed on the case and the name of the known card is written upon it. Slip is then crumpled and tossed on table. When the cards are returned you replace in case, watching that cards go under the hidden card. Now it is a simple matter to pull cards off the top of the deck, via the thumb-cut until told to stop. At this time the left hand has been holding the cards in the case. The little finger of this, the left hand, pushes hidden card into the case flush with the deck proper, and the right thumb withdraws this card from the case, which is turned over and revealed as the predicted card. Finis! [Tom Ransom notes that Mellon here has essentially reinvented Harry J. Smith’s “Automatic Seconds” from The Jinx Winter Extra, 1936, p. 88. Smith used the slit-case Second Deal for a Stop effect, but the application to a force follows obviously from that.] HARDELLISM: Wonder if Eddie ever thought of using Alphabet cards in this effect??? Showing the cards have letters in place of being playing cards, you pick a person, hand him the cards to mix (er—that is, shuffle, Russ). Then take the cards back, replace them in case, asking the same person to stop you. When stopped you patter, “This card on top of the pile, which I placed there before you said stop, is but an indifferent letter, that means little to you,” (pick up and show card) “but this card on top of the pile still within the case—the one that you had a hunch about, well? (Slowly remove it and turn it face up.) Yes, again, just as it has every time I have tried this experiment—this letter is your last initial. . . . Let’s just peek at the very next letter in the case— yes? it is your first initial. . . . You have stopped me at your own initials. . . . Call it coincidence, second sight or ESP. I can’t explain it.” ADD-ED: Apparently HARDEL means to purloin two selected cards extended thru slit of pack for his version of this excellent MELLON MENTALIPIECE. If Bob can get two cards thru that slit, why not 4 to withhold the Aces from a well-shuffled deck—or even 5 for a Royal Flush??? The effect could be worked the same way, with the cards dealt from the case (to eliminate any finagling, heh, heh) and the desired cards dealt as needed by a Top Glide procedure—Of course this isn’t mentalism—but after all, Hardell’s the Master Mentalist—not us—(Russ).

◆ December—1959—Four months later. Did you ever start a letter and finish it the following day, or a few days later? Then you must know my emotions after a lapse of months. It was during August that I prepared all the foregoing layout for Cardiste and had reached this point in blank space. I am well on the road to complete recovery from my ordeal and expect to return to active duty in January. I was overwhelmed by the flood of get-well wishes from you faithful readers, once you had learned what was holding up the appearance of Cardiste —Cards—and so many letters (which will all be answered eventually) and the number of books and magazines which served so well to pass the tedious hours and keep my interest

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in Cardistry at high pitch. To all, a most sincere thank you for your expressions and for your patience in waiting for the re-appearance of Cardiste. I am especially grateful to LLOYD JONES, who sent me the Canar Poker Deal; GEORGE ARMSTRONG for Where Houdini Was Wrong; ED MARLO for his Faro Shuffle and Faro Notes; GRAHAM REED for a whole raft of back Abras; EDWARD HOWARD for a variety of books and manuscripts; and to JULIAN HAMILTON for 47 handwritten pages on principles and ideas on cardistry! JOHN HOWIE—a writer in magical journals and books for many years—I always thought he was from the USA because of his style of writing and the types of tricks he originated—but imagine my surprise to find he is British! He writes in part, “Poker effects mean nothing in this country. Like my fellow Scot, ALEX ELMSLEY, I can’t agree (with your view) on ‘take-a-card’ tricks. . . . However, I agree we need more of the display type effects.” John sent along the following effect, which will fit in nicely with the type of material used in Cardiste. 1–2–3–4 John Howie Here’s a quick stunt that has surprise and humour. Have the four Aces on the table (this can follow any 4-Ace trick). On the face of the pack have—a black 2, red 3, red 4, the 4 being the face card. Hold pack face up in left hand with a break under the 3 face cards. Place the red Aces face up on the black Aces and put all 4, spread out, on the face of the pack. Offer to show a curious effect—and square the Aces and remove them together with the 3 extra cards, then put the pack aside. Fan the 4 Aces, keeping the extra cards hidden by the 4th Ace. With the right hand take the 2 red Aces and the upper black Ace, separate the hands and then put the black Ace behind the other in the left hand. (The 3 extra cards are now between the black Aces.) Put the red Aces face up on top of the black Aces, then turn the whole packet face down. Say you are going to deal the Aces in a row: 1, 2, 3, 4. (The exact wording of the patter is important.) Deal top cards to the left as you say “1.” Deal next card to its right as you say “2.” Pause and get break under top 2 cards—hold this break as the right hand holds the packet at the table’s edge. As you repeat “1, 2,” and tap the dealt cards, let the cards below the break drop to your lap—then move the right hand forward. Deal the remaining cards to the right of the others, saying, “3, 4.” Flash the face of the 1st card dealt as you say to a spectator, “Do you agree that the blacks are 1 and 2 and the reds are 3 and 4?” He must agree. As you turn the cards face up in sequence you say, “As I said, the blacks are 1 and 2 and the reds are 3 and 4.” Regain the lapped cards and sweep the 4 tabled cards onto them, then place all back on the pack. In performing standing up, you can use a bottom palm to get rid of the three Aces, then add to the pack at any convenient moment. ADD-ED: This is a surprising switch, where instead of the expected Aces showing—the spectator must admit that the blacks are 1 and 2, and reds 3 and 4 literally. Thanks JOHN HOWIE, and your subscription will be extended for an additional 12 issues. Come again, Russ. FARO FAVOURITES: During my convalescence I have been fortunate in the opportunity to thoroughly peruse ED MARLO’s latest efforts— The Faro Shuffle and Faro Notes. The former is an analytical treatise on how to do what can be done with it. I unhesitatingly recommend these twin books to all cardistes who would venture into that field of cardistry which JOHN NORTHERN HILLIARD termed “The poetry of card work.” Mastery of the Faro will open unknown vistas! ED MARLO is the 2nd of the Card Stars to contribute to Cardiste. (DAI VERNON appeared in No. 10.) Hope I don’t have to “Bust a Gut” (literally) again to get some Card Star material from others of this reticent group. Ed has sent along a Marlo Marvel based on “Stay-Stack” with notes typed by my demon correspondent MEL BROWN. Here ’tis:

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STAY-STACK MIRACLE Effect: Performer divines the name of a card freely cut to by the spectator. Can be repeated as often as desired. From A Descriptive Viewpoint—performer shuffles a pack of cards freely, after which it is placed face down and a spectator is requested to cut off a portion of the pack and place it aside face down. The remainder of deck is now cut several times. The card man picks up the cut cards to look them over. He then says, “The card you cut to is the (name card).” Picking up the cut-off portion, the face card is shown as the one named by the magician. The deck is assembled, again shuffled and the effect repeated as often as desired. Secret: 11. This effect makes use of a Stay-Stack System as per Rusduck from his magazine, Cardiste Vol. 1, No. 1. However, a change in the suit order as well as a change in the reversing of these cards. 12. Arrange the pack in Clubs-Hearts-Spades-Diamonds order from top down. 13. The club suit runs from Ace to King from top down—heart suit runs from King to Ace from top down— spades suit runs from Ace to King from top down and diamonds King to Ace from top down. 14. Crimp the bottom card of deck, Ace of Diamonds and you are ready to proceed. 15. Faro Shuffle using an out shuffle to keep original top and bottom cards. 16. Naturally, whatever values are in the top 26 cards are also in the bottom 26 cards but in reverse order. Also the suits clubs and diamonds are in the same relative positions also in reverse as well as hearts and spades. 17. One can readily see that if the spectator’s cut is restricted to the top 26 cards there will be no problem figuring the card he cut to and all without any memory or mathematical calculation. 18. Let us assume the spectator cut off a few cards and placed them aside face down. 19. Next the rest of deck can be cut, but the performer brings crimped card back to the bottom in subsequent cutting. 10. In looking over the cards you first spot the top card. Suppose it is the 9S. The opposite or complementary suit is of course hearts, so you look in lower half of deck for the 9H. When you locate the 9H, look at the card to the left of the 9H. This card, let us say, is the 3D. As diamonds and clubs complement each other, then the card cut to is the 3C. 11. Pick up the cut-off portion and show this to be the case. Replace the cut-off portion on top and go into Faro Shuffles as you state that you will repeat the effect. 12. In presenting the effect, stress the shuffles and the fact that it would be impossible to keep track of every card in the deck under those conditions. Also your excuse for looking over balance of deck is to state that it is possible to figure out the card cut to from those that remain, providing too many aren’t cut off. This of course is a half truth which also insures them cutting into top portion. A few observations on this particular Stay-Stack combination are in order. 1. After the first shuffle the deck will be divided into 26 red and 26 black cards. Also they will be in pairs, from Aces to Kings from top down and Aces to King from bottom up. Four Kings will be in centre. Splitting at the King of Spades insures a perfect 26 in each half. 2. After the second shuffle, reds and blacks will be alternated, but four Sevens will be at centre. A cut at 7H insures perfect 26 in each half. The red cards run in Ace to King rotation from bottom to top while the black cards run in Ace to King rotation from top to bottom. 3. After the third shuffle, blacks and reds alternate by twos with no duplicate values except in centre where pairs of 4s, 10s and 4s are evident. A cut at 10S insures 26 cards in each half. 4. After 4th shuffle every four cards contain a card of each suit. A cut at 9D gets 26 cards.

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5. After 5th shuffle, discounting picture cards, any two values cut to will add up to either nine or ten, while the value 10 is of course used as a 10. This can be used as a force of a sort. If the cut is at a picture card, merely take the top two cards of the lower half and add them. Except in case of Tens. These are used as one value card if a cut is at one of them.) If a spot card is at the face of cut, pull it back to see if the card under it is also a spot card. If it is, you add the two values, but if it is a picture card use only the face card plus the top card of lower portion and add these. A cut at the 5D insures half the pack. After the 6th shuffle, every 13 cards will contain groups of cards in c-h-s-d order. Each group will have 3 sets of 3 and one set of 4, comprised of all suits. Also the first suit, clubs, will be a set of 4 in the first group of 13. The next suit in sequence, which is hearts, will have 4 cards in the second set of 13 while naturally spades and diamonds will have four in the next succeeding sets of 13. A cut at 3D will insure 26 cards. After 7th shuffle all the odd and even cards will be grouped but separated by natural c-h-s-d’s sequence throughout the deck. A cut at 2D and another shuffle brings us to the 8th shuffle in which cards are back in original sequence. Cards still retain the principle of the Stay-Stack system. Below is a list of the 26-card keys, which will be an aid to those who may have difficulty cutting at 26 all the time. It will be noted that starting with the 5th cut, if the cards were originally in A-K sequence, that a 9-5-3 and a 2 of one particular suit will always insure 26 cards. In the example below, which is for the Stay-Stack sequence previously explained, it will be noted these cards are the 9D-5D-3D-2D successively. This means that actually only the first four need be actually memorized, and even that will become simple and no memory at all, after working with it a few times. Naturally the following list applies only to the sequence used. In the event the suit sequence is changed, naturally the suits themselves will change, but the values 9-5-3-2 will remain constant if Ace to King is the sequence of the bottom suit. If the sequence of the bottom suit is reversed, say King to Ace, then the constant values will be 5-9-J-Q. 1st cut at AH for 1st shuffle 2nd cut at KS for 2nd shuffle 3rd cut at 7H for 3rd shuffle 4th cut at 10S for 4th shuffle 5th cut at 9D for 5th shuffle 6th cut at 5D for 6th shuffle 7th cut at 3D for 7th shuffle 8th cut at 2D for 8th shuffle Final notes—the crimped card can be eliminated because as long as you are looking over faces of deck you can always cut original Ace of Diamonds back to face, then work from there. In your presentation, after each shuffle, ask spectator if he wants you to give it another shuffle or stop. The whole idea is to convey the impossibility of any arrangement or possibly getting into any arrangement. This last of course is with the idea of another Cardician in mind. Getting back to constant values in centre or in 26th position for cutting, the pack is in new deck order; that is, each suit is set Ace to King from top down, then these 8 values—K–K–7–10–5–9–J–Q are constant, with the last four being the same suit as the bottom. If the new deck order is Ace to King from face of deck to top, then the constant values at 26th position will be A–A–7–4–9–5–3–2, with the last four being values of the same suit as the bottom suit of the deck. Ed Marlo (November 20, 1957) STAY-STACK PREDICTION Effect: Performer predicts a card that will later be arrived at. The presentation can be made using only one deck, or two decks. For the present, let us use only one deck. 1. The pack is previously set up as for the “Stay-Stack Miracle.” 2. Do the “Stay-Stack Miracle” effect several times, if so desired, eventually arriving at a point where the cards have been Faro Shuffled five times.

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13. At this stage if the pack is cut any place at all, a total of nine or ten can be arrived at by discounting picture cards. As the picture cards are widely distributed, there is never any need to use them at all. In fact, no mention of them is made. 14. Besides being able to force a number you will also have the 5H 10th from the top. This means that you can make your prediction long in advance. It can be handed to spectator to hold during the time you are doing the other effects, and not until the denouement of the present one need you ask for it. 15. Assuming you have already handed your prediction to a spectator, have just completed your fifth Faro Shuffle and now are ready to proceed, start by asking him to cut a few cards off the top of deck. Be sure that the cut is greater than ten cards. 16. The cut-off packet is placed to one side to be used later. Next tell the spectator to cut the remainder at any point he wishes in order that he may arrive at a number purely by chance. 17. When he cuts the pack, take the cut-off portion and turn it face up. Depending on what its value is, guide your procedure. 18. If a 9 or Ten spot is at the face you need go no further, as you instruct the spectator to either count to the 10th card and place it aside or count off 9 and place the next card aside. 19. If a smaller value is at the face you push over the face card slightly to note if the card under it, when added to the face card, will bring the total up to 9 or 10. If it does you point out how you will add the values of the two cards at the point he cut. 10. If the under card is a picture, then you reach over to the bottom half to turn this card face up. The top card and next card, at the point he cut, will total 9 or 10. 11. To conclude, the spectator is instructed to count down 9 or 10, as the case may be, into the top portion originally cut off. The card arrived at is placed aside face down. 12. After recapitulating the events request the spectator to open your prediction and read it aloud. The facedown card is turned face up to climax the presentation. WITH TWO DECKS: 1. In case you wish to use a two-deck presentation, you have a choice of starting with two decks in the StayStack system, so that a free choice can be had, of either deck, by the spectator; or you can have only one deck in the Stay-Stack order, being sure to force the unstacked pack. 2. Regardless of how you choose to proceed, the Stay-Stack pack should be prepared so that it is shy one or two Faro Out-Shuffles of getting into the fifth shuffle. While spectator is busy freely shuffling his deck you also are shuffling via the Faro Shuffle. 3. Both packs having been shuffled, they are placed face down on the table. At this stage ask the spectator which pack you should use now. 4. If he points to the Stay-Stack deck you say, “Very well,” as you move it forward towards him. 5. Take the other pack and give it a False Riffle Shuffle in order to spot the fifth card from the top. Follow by an In-Faro Shuffle to bring this noted card 10th. 6. Should the spectator point to his pack, you merely do as already outlined above to get a noted card into 10th position. 7. Pick up paper and pencil to jot down the noted card. Fold it and hand to spectator as your prediction. 8. Have spectator cut the Stay-Stack deck at any point in order to arrive at a number. 9. Handle the above cutting as already explained in the first version of “Stay-Stack Prediction.” 10. Climax the effect by having spectator count down that many cards in the other pack. Have prediction read and card turned over to prove correct. Ed Marlo (November 20, 1957)

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