Truly Visual Card Magic By Ben Harris P.pdf

ben harris

truly

Visual CARD MAGIC

truly

Visual CARD MAGIC

End User Agreement You are authorized to keep one copy of this manuscript on your computer and to print a single copy for physical reference. All other rights reserved. The end user (you) agree to abide by international, territorial, state and local copyright laws in regards to the manuscript herein. You agree not to allow any part of this publication to be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, the internet, or otherwise, without the prior permission of the author in writing. You agree not to make this manuscript available via any P2P networks.

Copyright © 2012 by Ben Harris Digital Edition Copyright © 2012 by Ben Harris The Author asserts the moral right to be identified as the creator of this work.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, the internet, or otherwise, without the prior permission of the author in writing. www.wowbound.com

CONTENTS

page 8 ZOOM page 18 MADMAN’S CARD TO POCKET page 34 ANYTIME ULTIMATE AMBITION page 38 OIL & WATER DELUXE page 48 COMING TOGETHER AGAIN page 52 SUPER-FLIP

INTRODUCTION It’s lovely being able to gather these effects, all highly visual in nature, under one cover. That’s one of the nice spin offs of the BackStory Project1—the best bits have been isolated and can now be organized. The included effects are long time favorites of mine—most dating back decades—and are all as much fun to perform as they are to watch. Rather than filling out this introduction with the pertinent pre-history for each effect, I’ve instead included these details—as precursors—at the head of each. It’s more exciting to just jump right in, right? Have fun. Ben Harris, 2012

1. The BackStory Project is an ongoing effort to digitize Ben’s entire output over the last 30 years. All books, manuscripts, single effect items, etc. These are being re-written, edited, and digitized into high quality pdf booklets. The long term aim is to organize the lifetime’s work into one, cohesive, whole. Access to the pdfs (as they are published) is available at www.wowbound.com

PRECURSOR If you are familiar with my previous writings, especially in relation to Cosmosis, you will know that I have always insisted that the very strongest magical effects appear to violate natural law. As an example, "levitation" has always been one of the magician's most powerful effects because gravity appears to be overturned. Zoom certainly appears to violate the laws of nature. While, not a “levitation”, there is a moment when the stationary object “comes to life”— something intimate shared with the genre.

Zoom was released in 1999 and became a best-seller. And, almost fifteen years later, Zoom still sells by the thousands annually.

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ZOOM EFFECT

A playing card is selected from the deck and examined. The spectators are asked specifically to look for "threads, motors and trapdoors"—anything devious. After the card is examined, the performer turns attention to himself, rolls up his sleeves and asks that his hands be inspected for anything suspicious. The table surface is also carefully inspected. Once the examination ritual is out of the way, the performer announces an attempted experiment in “mind over matter.” The playing card is tabled and the spectators asked to gather in closely. The performer now waves his palm-down hand in magical passes over the tabled card. He furrows his brow as if attempting to create a magical spell. After a few moments of intense concentration, the card comes to life and moves this way and that—away from the performer's hand—across the table top. It shimmies along, seemingly with a life of its own, all the way into one of the spectator's waiting hands. Once again, all may be examined and then the effect repeated. This is one of those rare effects where an immediate repeat actually deepens the mystery without increasing the possibility of the audience detecting the method.

THE BASIC SECRET Zoom is accomplished with the use of a very special type of thread configured in a unique way. The properties of the thread propel the card forward and away from the hand while the special

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configuration hides the thread both before and after the effect. This special set-up also makes it possible to get into and out of the performance in the most natural manner.

MAKING A ZOOM CARD To make a Zoom card, you will need to glue a length of Elastic Thread to the edges of a playing card. You secure on one long edge, at both ends only. Leave the thread between the glued spots barely taught. Photograph 1. Use “superglue” and a toothpick to get the job done. Trim away any excess thread and you are finished. The thread is being held “just taught” along one long edge of the card. The very best thread to use for the job is a clear elastic thread. As it’s a fussy thing o make, it’s best to make half a dozen or so at one sitting.

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THE LEAD-IN (PREPARING TO PERFORM) This phase consists of the apparent free selection of a playing card from the deck, examination of everything (including the performer) and the initial hook-up allowing you to move into performance. Use any method you like to force the gimmicked card2. A Classic Force is usually the best. Perform one or two tricks with the chosen card allowing the spectators to handle the prepared card prior to commencing Zoom. Once the card is selected, clear the table of all items and roll up your sleeves. Have the chosen card examined by asking the spectator to "check for threads, motors and trapdoors." This humorous line creates a laugh and takes off the heat. You'll also get a little buzz out of actually asking them to check for a thread when you yourself know the truth! Also have the table surface and your hands carefully examined. Hold the card in your right hand, thumb on top at about the middle of the card and fingers below. The thread runs along the long right hand edge of the card, Photograph 2. (These instructions assume that you are a right-handed performer. If otherwise, simply reverse the position of the hands and the orientation of the card). You will now learn how to engage the thread in a natural and automatic manner. You do this by taking the card momentarily into your left hand as follows. The left hand approaches and grasps the card with thumb on top and fingers below. Press the left thumb downwards slightly to bow the card a little. Now take the card by moving it to the left and allowing the thread to be grasped between the right thumb and second finger, Photographs 3 and 4. The action is automatic as the bow in the card has released the thread making it easy to grasp. Simply keep your right thumb and second finger pinched together as the left hand removes the card. Now, insert the tip of your right second finger under the thread as you re-grasp the card in the right hand, thumb at the inner short end and second finger at the outer short end as in Photographs 5 1. My favorite method for the force is to construct 26 Zoom Cards. These are all the red cards in the deck. Alternate these between the black cards. Now, have a spectator cut the deck at any point. Glimpse the bottom card of the cut off portion. If it is a red card, then say "You've cut to the (insert name of card) and then proceed. If it is a black card, then refer to the still face-down card atop the tabled packet as the chosen card. This may sound like a lot of trouble to go to but if you intend to perform this effect on a regular day-to-day basis then it makes sense.

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and 6. Let go with the left hand. Holding the card as described in the right hand alone, twist the hand at the wrist to display the underside of the card. Then table it and pin it to the table with the left fingers as the right hand opens and begins making small circular movements to apparently impart a magical spell, Photograph 7.

THE PERFORMANCE Keeping the card pinned to the table with the left fingers, as in the above photograph, continue to move your right hand left and right and in small circular motions allowing the thread to slide across the fingernail of your second finger. Keep the right hand low over the card. Continuing the action, raise your right hand slightly so as to stretch the thread a little. Do this while making the circular motions. It is important to stress that the right hand must always be in motion so that the stretched thread is always moving and thus kept invisible. Once the thread has stretched a little, lower the right hand so that it is only millimeters above the card. You will now be able to release the card with the left hand while the right hand continues to make low, tight circular passes, Photographs 8 and 9. Note that the card does not move as the thread slides back and forth over the nail. This is a important point and must not be overlooked. You are psychologically establishing that there is no contact or association between your hand and the card. To animate the card, gradually increase the breadth of the circular passes. Do this over the card, slowly moving your hand forward (do not lift your hand, move it forward). A point will come where the elasticity of the thread will overcome the friction holding the card to the table and the card will zoom forward, Photographs 10 and 11.

IMPORTANT NOTE It is vital to the integrity of the effect that the card does NOT LIFT from the table during the animation. If it does, then you are holding your hand too high. Any lift is a subliminal tip-off that there is a connection between card and hand–avoid it!

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curl finger inwards rotate hand palm-up and straighten fingers

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THE LEAD-OUT After a few seconds, you will want to release the card to allow further examination. This is almost automatic and is achieved by simply curling your right second finger inwards and then turning the hand palm-up in a "there you have it, please examine the card again" gesture, Photographs 12 and 13. The thread recoils back to its original position snugly against the very edge of the card where it will not be found. You will now understand that it matters not if a spectator makes a grab for your hands or the card during performance. If you see anyone moving in for the grab, just execute the release procedure and all will be safe.

THE ROLL-OVER For certain performances, you may want to make the card magically “roll over” like a pet dog. I do not like this particular move as I feels it cheapens the effect but it is recorded here for completeness. During the animation process, conspire to move your right hand to the right side of the card. The card itself will twist anticlockwise on the table. Now, slowly but smoothly lift your hand pulling the card into an upright position. As the card passes perpendicular release the thread as already explained. These actions, as depicted in Photographs 14 and 15 have magically turned the card over like a pet dog rolling over.

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PRECURSOR In the mid 1980’s I was performing closeup card magic (in restaurants) for a living. Four or five nights a week, plus private parties. It was all a rather wonderful time. There was lots of coverage in the social pages of the newspapers and magazines, because the concept seemed quite novel. Minor celebrity—AND—it all paid extremely well. The Madman’s Card To Pocket was designed in order to produce a “smack in the face” moment for my day-to-day performances and media interviews. It’s something direct, to the point and utterly impossible in appearance. The effect is all over in a matter of seconds, but this directness—which seems

to eliminate the possibility that you could have cheated or manipulated the moment in any way—is what makes this so powerful. The item was featured in my world-wide lecture tours (1985 - 87) and also appeared in the book, Out Of His Mind (1985).

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MADMAN’S CARD TO POCKET EFFECT I’ll be as brief, direct and to the point, as the effect itself: A card is selected (free choice), signed and returned to the deck. The deck is IMMEDIATELY handed to a spectator—the performer’s hands being otherwise empty (really). IMMEDIATELY, and with a truly empty hand, the performer removes the just signed card from his jacket’s inner breast pocket.

METHOD Several elements combine to create the directness and cleanliness of this approach. Here is a brief overview. The details will then follow. You’ll easily grasp the entire handling by looking at the photographs throughout. 1.

Your jacket has to be slightly altered by a tailor. A small slit, (following the vertical

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2.

3.

seam), is installed under the left armpit. You will execute a brief palm to secretly deliver the palmed card to under the left arm pit. This is beautifully covered during the act of pulling up your sleeves as you show your hands empty. You will feign removing the card from your jacket’s INNER breast pocket as you pull it through the slit installed by your tailor. The illusion is perfect. You reach INTO your jacket just as you really would. Everything is covered PERFECTLY.

1: INSTALLING THE SLIT IN YOUR JACKET A slit, about six inches in length, needs to be installed under the left armpit. See Photograph 1. This is best done by a tailor who can seam the edges properly and evenly to avoid buckling. Properly made, the slit—which goes from the outside to the inside of your jacket—will always be covered by your left arm, and thus totally invisible. You can use a variety of jacket styles. As mentioned previously, I’ve had the mod installed in my suits. I’ve also got a “bomber jacket” so modified. For practice purposes you can simply cut a slit in an old, loose-fitting, long-sleeved shirt. It won’t have an inner breast pocket, but you can pretend while you become comfortable with the handling. When practicing with the shirt, remember that an actual jacket has more bulk and supplies greater cover and better concealment of the card as it sits under the arm.

2: SELECTION, PALM, LOAD! Follow the photographs carefully. The palm and load of the card is perfectly covered by the actions

Photo 1. The position of the slit beneath the left armpit

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of pulling up your sleeves to apparently ensure fairness. Firstly, though, we must have a card selected from the deck. Here’s the procedure: A.

Have a card freely chosen and signed on its face. Once the ink has dried, allow the spectator to return the card to the deck. Control the card to the bottom of the deck with a cut or false shuffle.

B.

Immediately use your left fingers to kick the selected card across into an “Angle Palm” in the right hand. Photograph 2. This is covered from above as in Photograph 3 (audience view). Make the comment1: “I’ll make this completely fair...ruling out sleight of hand...”

C.

As you say the above, the right hand—with it’s palmed card—falls out of Biddle Grip, moves a couple of inches and grasps the left sleeve’s cuff. It begins pulling up the sleeve. Photograph 4 (audience view). Completing the action, the right hand continues to ride up the arm as the forefinger and second finger curl inward—grasping the palmed card. Photograph 5. They immediately straighten and deposit the card beneath the armpit. Photograph 6. The left arm hugs the body lightly to hold the card in position.

Without pause, the right hand reverses it’s actions and returns to the deck, grasping it from above. It takes the deck from the left hand so that this hand is now free to pull up the right sleeve. Photograph 7. Once the sleeves are pulled up, the deck is handed immediately to the spectator, or placed upon the table. Your hands are seen to be otherwise empty. Just think for a moment. You are so far ahead of your audience. They are being lead down a broad “garden path.” Note: During this transfer, don’t aim for the slit. Just get the card under the arm—ensuring that it does not peek out from the front of your body. It can, and will, stick out a little behind you. Be aware 1. It’s a psychologically subliminal thing. But “sleight of hand” DOES always appear fairer if the sleeves are rolled up!

Photo 2. Bottom card is kicked into “Angle Palm” in right hand

Photo 3. “Angle Palm” (audience view)

Photo 4. Right hand pulls up left sleeve (audience view)

Photo 5. Right ringers curl in to grasp palmed card

Photo 6. Fingers straighten, depositing card under arm

Photo 7. With deck transferred, the left fingers now begin to pull up the right sleeve

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of that. Practice this palm and load until you are smooth as silk. Try to minimize any delay as the chosen card is deposited beneath the arm. Also, be aware of your posture as the left arm pins the card in place. Don’t be stiff.

3: PRODUCING THE SIGNED CARD You will introduce some by-play, building the effect before you finally remove the signed card from your pocket. I normally set things up like so, explaining: “Before I came here today, I placed a prediction in my jacket pocket (empty right hand taps jacket over left breast). It is a prediction in three parts. Firstly, I have attempted to predict exactly which card you would choose. I then attempted to predict both your name and the very precise way you would sign your name—your signature. As we have never met before, I think you would agree that if I am successful, it would be quite a feat!” Once the spectator has agreed, the selected card is fairly removed from the pocket like so: The left hand is shown empty and then grasps the left lapel, pulling the jacket open. Photograph 8. The right hand is now shown empty, Photograph 9, and is then inserted into the jacket, apparently going to the inner breast pocket, Photograph 10. In reality it by-passes the pocket and the fingers slink through the slit, locating the card pinned beneath the arm. The card is now pulled through the slit into the jacket. It is then reversed (flipped over) so that it may be removed from the jacket with its back facing outward, Photograph 11. As you could imagine, the impact of this triple reveal is very strong. Once the spectator realizes that her card is actually the prediction, he or she will frantically search the deck, not believing the evidence before their own eyes.

Photo 8. Left hand grasps and pulls open jacket at left lapel

Photo 9. Right hand is shown empty

Photo 10. Right hand enters jacket and heads for secret slit

Photo 11. Having been “flipped” the card is removed back out, supposedly from the pocket

PRECURSOR Daryl is a F.I.S.M, winner. He is a creative giant, and a friend. One of his most loved effects is Ulimate Ambition. With this, a deck of cards is wrapped in rope and the signed “ambitious card” is placed fairly in the middle of the deck. Without any moves, it's immediately back on top even thou the deck is securely wrapped with rope. This is so brilliant. Daryl's method is so clean it cannot be improved upon. And this is not an attempt at improvement. Rather it is an impromptu version (requiring

no special deck) designed to simulate Daryl’s amazing effect. This was first shown at my very first ever lecture to magicians. This was in Singapore, 1985.

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ANYTIME ULTIMATE AMBITION EFFECT A deck is wrapped in rope so that it is “sleight of hand proofed.” A signed card is now inserted into the middle of the roped deck. Immediately it rises through the deck to become the top card.

METHOD You'll need a deck and a length of rope. Secretly steal one card from the deck and fold it about 1" from the end. The card is folded onto its face. Photograph 1. When ready to perform, secretly load this card face-down onto the top of the deck. Flip the deck face-up and then wrap it in the rope. Allow the rope to conceal the edge of the gaff. Photograph 2. The signed card has been on the table throughout. Ask the spectator to sign the card one more time. As he does this, position the deck face-down in the left hand and secure a break under the gaff for Vernon's Tilt. Photograph 3. Place the selection face down into the Tilt as if you are placing it into the middle of the deck. Push it

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all the way up, working it under the folded flap and stop when you have about 1" to go. At this point, turn the wrist and use the table-top to tap the protruding card square. The signed card can now be removed from the top of the deck by grasping the top card in front of the rope. Photograph 4. During this removal yo should tilt the deck slightly towards your chest to conceal the work.

NOTE You may find the signed card butts against or is obstructed by the folded edge of the gimmick. If you have this problem then tear the flap from the card rather than leaving it folded over.

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PRECURSOR This has always been one of my most requested pieces. I’m not sure why, but it does work rather well. There are no new moves, just a neat combination of existing thoughts that I've brought together over several years. Combined, they make a very smooth sequence. Credits? OIL & WATER is Ed's Marlo’s trick. There is a lot of Ed in the handling to be described. Anyone who would like to take credit for any

of the phases to be described is welcome to do so. I take no credit. This is just the way I like to combine many moves that have been picked up both directly and indirectly over the years. It’s lovely to note that this handling has received such lovely praise from the community over the ensuing years.

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OIL & WATER DELUXE EFFECT Four red cards separate from for black cards under seemingly very fair conditions.

METHOD To begin, remove four red cards and four black cards from the deck. Go for 6's, 9's and 8's. This will help in concealing things during the false counts. Place the four blacks face-up in a pile to the right. The reds go in a face-up pile to the left. Both hands now work together to intermix the cards. The left hand begins the sequence by picking up a red card and placing it face-up between the two piles. The right hand then places a black card atop this. The hands continue to alternate until the piles are exhausted. Pick up the pile and turn it face-down into the left hand. Execute the following displacement as you apparently show that the cards are fairly alternated: The right hand removes the top card and turns at the wrist to flash its face. It is then dropped face-

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down to the table. The next three cards are handled in the same way. They're flashed and then dropped to the table creating a pile. The next two cards are taken together, spread and flashed, and then dropped to the tabled pile. [Don't reverse their order.] The last two cards are handled in the same way. All will appear fair, yet, you have now brought two black cards together in the center of the packet. Pick up the packet and explain the OIL & WATER plot. As you do so, Double Lift the top pair as if one card to display a black. Flip the double back face-down and then transfer the top card to the bottom of the packet. Snap your fingers and then flip the packet's top card over. It will be the same black card as previously displayed. Thus you have visually set the plot in the spectator's minds. As you continue to explain how all the black cards act in this manner, [rising to the top], execute the following 'all fair' display to show that the cards really are alternated: With the packet cradled in the left hand [Dealing Position], the right hand approaches and peels off the top card. The hand turns at the wrist to flash black. After a brief second, the right hand turns back down and the second card from the left hand is taken beneath the right hand card. The right hand turns at the wrist to display red. The right hand turns back down and approaches the left hand packet for the third card. It is here that a deception takes place. The left thumb executes a Two Card Push Off so that the top pair of the left hand packet can be taken as one beneath the right hand cards. This card[s] will show as a black card once the right hand wrist turn is executed. Continue along taking single cards under those in the right hand. The last card, which remains in the left hand, is not flashed. The right hand cards are simply placed back on top of it. The reasons are two-fold. Firstly, if anyone is counting the cards during the display, they'll count '7' if you were to count right through. Secondly, the last card will be a red when it should be a black. The entire above sequence takes only a few seconds and must appear to be very casual. It sets the audience psychologically for the first phase.

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THE FIRST PHASE Once the above display is completed and the right hand packet has been returned atop the remaining single left hand card, allow the left thumb to push the top four cards into the right hand. Do this slowly and fairly without reversing their order. Table the left hand packet. Wave the right hand group over the tabled cards. After a moment, flip the right hand stock face-up and execute an Elmsley Count. They will show as being four blacks. [This is very strong due to the previously fair display.] Once the effect has registered, place this packet in a face-up, squared state to the table. Pick up the other group, flip it face-up and Elmsley Count to display four reds2.

THE SECOND PHASE Flip this RED packet face-down [this means that the single black card in this group is now on top], and propose repeat the experiment. Re-flash the faces of the red packet by forming them into a fan, Photograph 1, and turning them face towards the audience. During the 'turn', allow the right thumb to move the top card leftwards, Photograph 2 [Your view]. If you do this briefly and then immediately reverse the actions, the audience will perceive the packet as consisting of all red cards! Flip the black packet face-down, leaving it on the table. Now begin to pick up the tabled black cards one at a time and interlace them within the red stock. Commence by placing the first tabled card to an upjogged position on the bottom of the packet and work upwards. The final card goes second from the top of the packet. Photographs 3 & 4 show the positions. Slowly square the fan, fairly pushing the upjogged cards square. After a brief pause, reverse count the top four cards into the left hand. Table the balance. Elmsley Count the counted off cards to show 2. Now-a-days I do not perform the Elmsley Counts on the secondary packets. It’s just not required. If the first packet is ALL blacks, then the second MUST be all reds, it goes WITHOUT proving!

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all blacks. Table the packet after this, [face-down]. Pick up the other tabled packet and Elmsley Count to show all red cards. Repeat the 'Fan Show' and then once more interlace the tabled black cards, within the red packet. This time though, commence by placing the first tabled black, [really a red] to the position of second from the bottom. Continue to interlace one card at a time until the last black card is in an upjogged state atop the fan. Photographs 5 & 6 show the positions. Slowly square the fan pushing the upjogged cards flush3.

FINAL PHASE For the final sorting you will use a Spread Displacement. After the above square-up, slowly spread the cards between the hands. The left hand actually pushes five cards towards the right hand, Photograph 7. You will now secretly exchange the card that is fifth down, for the card that is fourth from the top. Here's how: The left fingers press upwards from underneath contacting the face of the fifth card. The left thumb rests against the back of the fourth card from the top. Again, Photograph 7. With the cards so held, it is possible for the right hand to push the top four cards to the left allowing them to ride over card number five, which remains static. Photographs 8 & 9 show the actions with the fifth card upjogged for clarity only. You will note in Photograph 9 how the fifth card becomes butted against the right fingers. These fingers nip card five as the left thumb continues to anchor card four. The right fingers now flip what appears to be the top four cards, face-up. In reality, card four is left in place as the top three cards along with card five are flipped over and onto the remaining left hand stock, Photograph 10 illustrates the position just before the flip. [Remember: card five is only 3. During the insertion periods, it is possible to flash the faces of all of the black cards except the first card.

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[Remember, card FIVE is only upjogged for these diagrams. In real life it is FLUSH with the other cards.]

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upjogged for these photographs. In real life it is FLUSH with the other cards.] Finish by fanning the eight card packet which will reveal four face-up black cards upon four facedown red cards.

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[Remember, card FIVE is only upjogged for these diagrams. In real life it is FLUSH with the other cards.]

PRECURSOR

This present version is a re-working of Gene Castillon's method from Richard’s Almanac. It is based on the SADOWITZ plot from Alternative Card Magic. This is a preferred opening handling (to me) and the addition of a 'repeat' phase 'sets' the actual plot before the otherwise unexpected blow-off. This was always a hit at lectures during the Elmsley-mad 1980/90s period.

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COMING TOGETHER AGAIN

EFFECT Four Jacks and four Queens switch places and then one packet changes to Aces.

PREPARATION Set the following ten cards atop the deck. (The top card is the QD.) QD, QC, AS, QS, AD, JD, AH, AC, JH, JS. When ready to perform, thumb the ten cards off the deck into the right hand. Don’t tip the exact amount of cards. Announce an effect with 8 cards as you spread the ten cards holding the last 3 cards as one. Close the fan and then count off 5 cards as 4 into your right hand. Do this by counting the first 3 cards one at a time onto each other, and follow up with a two card push off on the last card[s]. Place the apparent 4 card packet face-down onto the table. Flip the remaining block of cards face-up and perform a quick Elmsley Count to display 4 Jacks. Turn the packet face-down and lay the cards out into a square formation as shown. The last card, the double, goes at 'D'.

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A B C D Pick up the previously tabled packet, turn it face-up and do another Elmsley Count to display Queens. Flip the packet down and lay the cards one-at-a-time onto those already tabled, the last pair going as if one onto the pair at 'D'. As if to drive home the apparent pairing off of cards, pick up the two [really four] cards at 'D'. Keep them square and flip them face-up. Using a 'Hit' technique, displace the top two cards, as if one card, to the bottom of the packet. You have shown a Jack and a Queen so all looks as it should. Now square and turn the packet face-down. With your right hand, pick up the pair at 'C'. Turn them face-up and fan to show their paired state. Do not reverse their order. Place them face-down onto the previously shown packet in the left hand. Ask a spectator if he'd like Jacks or Queens. If he says "Jacks", flip the left hand packet face-up and Elmsley Count as you comment, "That leaves me with Queens". If, on the other hand, he says "Queens", Elmsley Count to show Queens. Either way, it appears as if you've worked it his way. Now for the repeat aspect. After the EImsley Count, fan the apparent four cards in a face-down state. Really hold the last three cards together as one. As you now square the spread, secure a pinky break above the bottom three card block. Square and execute a slip cut, slipping the two center cards out as the thumb holds back the top card. Place the stripped pair to the bottom. This should appear to be a casual cut. Flip the packet face-up and again Elmsley Count to show the four opposite cards. [If you had

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Queens the first time, you'll have Jacks this time]. Then, after a brief pause to allow the transposition to sink in, flip the remaining tabled cards over to reveal Aces. Comment that it's a real "Ace of A Trick!”

PRECURSOR Super-Flip is a method to make a face up card instantly appear atop the tabled face down deck. I first published this in NEW DIRECTIONS Vol 1, No 1 (May, 1985). The basic applications and a four Ace appearance (using the move) were highlights in my lectures in 1986/7. Since that time the technique has become a part of the working repertoires of many of today’s top card men. Unfortunately, it has also been miss-represented and missunderstood by the generation of YouTube Tutorialists. I have yet to find one of the

dozens and dozens of these things that is anywhere near correct. Here is the correct description.

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SUPER-FLIP

EFFECT You've just performed several stages in your “Ambitious Card” routine. For one final time you place the “magic card” in the middle of the deck. The deck is placed face-down in the middle of the table. You show your hands empty. With a snap of your fingers you gesture toward the deck. Now, by simply riffling upward gently on the tabled deck's edges—and dribbling the cards back to the table—the signed selection instantly and visibly appears face-up, atop the deck! You accept your well earned applause.

CORE HANDLING What really happens with Super-Flip is that the top card of the tabled deck is caused to rapidly rotate—landing face-up on top of the balance of cards. The rotation is around the long axis of the card. In other words, the card flips over SIDEWAYS!4 Here’s how: 1: Place a deck in front of you. Grab about half the cards from above with your right hand. The hand is arched over the deck. The thumb is at the inner short end and the second and third fingers at the 4. This seems to be the most miss-inderstood part of the handling, many teaching the card flipping lengthwise.

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TRULY VISUAL CARD MAGIC

outer end. DIAGRAM 1. This is a Biddle Grip EXCEPT that the fingers and thumb are very close to the right hand corners. In other words, you are holding the cards off center. You are right-side biased. 2: Lift approximately half the deck, about an inch and a half. 3: Now, by applying gentle pressure with your right forefinger, bow the cards downward at their midpoint. Then, allow them to riffle off the thumb and finger-tips, dribbling to join the cards remaining on the table. DIAGRAMS 2 and 3. 4: You must stop the release when you come to the last card. DIAGRAM 4. With a little practice, this will become automatic. 5: Without pause, give the last card a final push with the forefinger. As you do so, snap the other fingers and thumb away from the card. DIAGRAMS 5 and 6. This will propel the card, causing it to revolve in a clockwise direction (on its LENGTH-WISE axis). The card will land face-up atop the balance of the deck. It is important to note that there are no delays at any point. In effect, a face up card apparently appears out of nowhere as the cards are gently dribbled to the table! Pay special attention to eliminating any pause between stopping at the final card and executing the flip. The more you practice, the easier this will become. The revolving card should land fairly squarely atop the deck. Also, keep your dribbling hand low. During it’s mid-air revolution, the revolving card should just clear the tabled cards,—JUST! For Super-Flip to look smooth in your hands, you must practice until it becomes “second nature.”

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TRULY VISUAL CARD MAGIC

AMBITIOUS CARD APPLICATION The most obvious application is that of the “Ambitious Card.” My favorite way of using this is to have the signed selection returned to the middle of the face up deck. This is done as I spread the cards from hand-to-hand. I then close the spread, flip the deck face down and dribble to the table, executing Super-Flip. When the selection appears on top, their jaws drop! Remember, they have just placed the card in the middle of the deck themselves. And, you’ve seemingly done nothing—no cutting, no shuffling. The secret is to use a “spread control.” As the card is returned to the middle of the face up deck you secretly pull it under the spread, controlling it to the top. You need now just flip the deck face down and dribble!

APPEARING ACES APPLICATION This is a stunning and to the point Ace Production. It is best executed with a smooth and cool attitude! Prepare by taking the four Aces, alternating the colors, and then turning the top Ace face-down upon it’s three face up buddies. Drop all on top of the deck and you are ready. (Your deck should consist of this arrangement: top card is a face down Ace. This is followed by three face up aces, and the balance of the deck is face down). False shuffle/cut and then table the deck prominently. Execute Super-Flip. The top Ace will flip over and land face up upon the other three now exposed Aces. A cool and instantaneous production of all four Aces! It appears as if all four just “burst” from the top of the deck.

TRULY VISUAL CARD MAGIC

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SUPER-FLIP VANISH The move can be used as a vanish, but this is not the recommended application. Why? Because, if the face up card suddenly vanishes from the top of the deck, then the top of the deck is the first place anyone will suspect. So, unless you are very good with a “push off” Double Turnover (don’t even think of getting a break for a regular DL) I would give this a miss. Of course, skilled card handlers, go for it! At the right place and time this can be a great vanish!