Try The Impossible By Simon Aronson (z-lib.org).pdf

Try the

Impossible

Text Photographs by David Solomon

Photographs on Back Cover and on page 283 by Anne White

Graphic Design and Layout by Yolanda Salinas Front Cover Art by Susan A. Thomas

© Copyright 2001 by Simon Aronson All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any mcans, electronic or mechanical, including photography, recording, or any information storage and retrieval systems, now known or be invented, without permission in writing from the copyright holder.

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All rights and privileges to the manufacture, multiple or mass production, sale, distribution, advertising for sale or marketing ofany, each or all of the items in this book are hereby

expressly and fully reserved by and to the author, and any such manufacture, mass production or marketing of these items strictly prohibited without prior written permission from the author. This notice covers each and all of the items set forth in this book, including without limitation the items described under the following titles: Prior Commitment, O’ Aronson Aces, and Nosnora Aces.

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This book is dedicated to

John Bannon and David Solomon

Much more than a sleight friendship

BOOKS BY SIMON ARONSON

The Card Ideas of Simon Aronson

(1978) A

Stack to Remember (1979) Shuffle-bored (1980)

Sessions (with David Solomon)

(1982) The Aronson Approach

(1990) Bound to Please (collected early works) (19949)

Simply Simon

(1995) Try

the Impossible (2001)

3 TABLE OF CONTENTS

Introduction Preface

I.

—

Joshua Jay

UnDo Influence

sr rr es ote a

Prior COMM NCI

sm

The Face-Down UnDo

i

Variation 1441 Variation 1839

=r

mp

Ra Ere a

3

“Surprise!”

|

The

A

EERE 12

Face-Up UnDo

Phvide and Conguer

0

Ll

Sra Es ne a Ea A kA ate

Euph-Oracle (an Alternate Take)

coco ins vise

maiame.

RS

20

svevis dvs 26

a Double Elimination Procedure

Euph-oracle

More-or-Less-acle Alternate Take Deck Switch

fa a ES re

Random Tantem’: «io

eet

be Worker

Bees

ath rilamivn duc

Boe

ET I

eds Ci Sa Era Set 37

nl

ne

31

a

Double Progressive Spell Stack

On

LEE

lel EL a 46

Joker Presentation Basic Calculation (3 Packet Displacement) Mindreading — A “Non-Removal" Displacement Presentation Fixed Middle Calculation (4 packet displacement) Packet Displacement Variations Mathematics: Theory and Practice

Lino: Infhence: Theory and Practice

=.

to

So sah at

Mathematical Considerations Selection Procedures Adjustment Procedures Revelations/Creating New Effects Stop It!

ests

68

Twice as Hard ... the Spelling

lard

Way

Pseudo Estimation Pseudo Memory Plots with the Face-Down UnDo Plots with the Face-Up UnDo Fortune Telling Blackjack Doubly UnDone As a Control

—

Formulas for Indicator Positions Eccen-tricks Head Over

Hela:

and Odd Cards

with Two Decks

Stack Preservation The Reverse Mode

Il.

—

rr pe a

i

aw

wed

alata 95

Transposition Glimpse Into a Visual Change Invisible Card In-the-Ilands Triumph Positioning the Card to Any Number CC ATONEOII ALES

5. soo dar

06

Pod

sn an AS Ss re

So

rod

EE Soda mh 104

Zarrow-LElmsley Addition

I

ACE

ORDOEE

£0

hs»

oan mos

oe

5

2

oe

Bo

ms

PARES

Be

ALoa db

omm

M

AAR em

117

Marlo’s Swindle Count Vanish Elmsley Count plus Partial Rhumba Count Vanish Broken Elmsley Count Vanish

“Discrepancies”

or a

Simon’s Flash Speller oo to rm

Roel

FE

CRIES

Mark-a-Place DICCIDDICE

i

iy

vovhciomonim mao oh

evi

enon

a Re or

sie sip OE

i ban eh

5

we

wae

Ta Om

rp

Bo

as is eh

aah

So

ea

SERA

BR

bo oR

ake

131

136

143

Decipher Deck Switch

Tw Deck Canasta

cf

ir tra Eh as eee

Sate

SAR

ace EL

149

CREE

aa

Breathing

ra oo

Be

Wl

Sa IR

AS

Rs 155

Spell... ...covviinioieiioriancarasrsaisnneiavasses

161

Dizzy Spell Queens and Kings TNO

BRIDES

os

cron bh

dns wos

em

rm Beh

a we Sts

171

Sh ein As

175

Combination Under the Spread Cull

S. A.

The InVISIBIC EAT.

Ely Baanph Rap-ACEI0US

lll.

&

ET

anae

2

cS

CLG

Unpacking the Aronson Stack

8st er

Avy

(Producing the The

Eke

Ea

raids

Introduction: Stalking the Stapk 00 Aces

ater sok

Aces.

CC

ole

000

abd

A

Gal

eli

a

Tens

Sut

cosine

ls

Bh

ss

RE

soars

ca

ars

ars

Rebels

ea a

179

eA 184

vrei kisim reise

193

Laide hr,

198

oo

alad

«

Basic Procedures Riffle Force

Basic Spelling Procedure Basic Clean Up Alternative Proceduresfor the Aronson Stack Effects Revelations “Along the Way" Double Push Off Reverse Dealing Setting up for the Riffle Force Other Ace Productions Four on a Match (Producing the Fours)

.......................... 209

Indicator Four More The

Jack Coincidence (Producing the

Jacks).

coats in viva

on. 213

Bill Simon Prophecy Move The Mind Reading Deck, Part 6 (Producing the Sixes) Adding Magical Productions

..............

217

.............

The Mind Reading Deck, Part 9 (Producing the Nines)

220

Mirror Nines Direct to the Nines

............ 223

The Mind Reading Deck, Part 7 (Producing the Sevens) Two by

Fox

(Producing the TWOS)

«i. co. ne bald

shsisaials

sims

»

226

Nate Leipzig Spin Cut Production Fit Four a King (Producing the Kings)

..................c0vautee

231

Four Selections; One Force Reversing the Stack Mirror Kings Reverse Deal Routines Joshing With The Threes (Producing the Threes) Routine Maintenance (Poker Deal Restoration)

.................. 236 ................... 238

Once and Again Display (Restoring a Matrix Stack) Poker Routine Deck Switch Mental High Card

DAY er

or The The The The

dds and Ena

ee

ats

ncaa

{Ta

Tanta

tae ale

245

Ace of Clubs Lie Detector Five of Spades Lie Detector Three of Diamonds Lie Detector Queen of Spades Lie Detector

ee

Eh

Ll

Deal and Duck Poker Last Five Standing Royal Flush Any Kind of Poker Hand Reciprocal Spell Pairs Take Two

Next

of Kin

Identical Twins Distant Cousins Distant Cousins, Once Removed Family Reunion Threespell (using UnDo Influence) Built for Two (using UnDo Influence)

CA

oe a

cr

252

Triple Trick Tip Sequence Spells 52 Pickup Sequence Spell Deck Switch Reverse Stack Sequence Spells

Postscript RIPIEROEES

52%

5

ia

sins

sh

An Interview by JOD BIB

Oma

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BARONON

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Swat

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269 278 289

Introduction Genius, the power that dazzles human eyes, — H. W. Austin

1s

oft but perseverance in disguise.

Austin’s summation of genius is tailor-made for Simon Aronson; his magical creativity is partly the result of countless hours of experimentation and debate, an unbiased outlook, high standards, and an unrelenting desire to deceive. This has resulted in effects that, as Austin succinctly stated, “dazzles human eyes.” In Simon's case, I might add that the tricks also boggle the mind. Anyone familiar with Simon’s previous works already understands his eccentric brilliance. In my opinion, Try the Impossible is his most sophisticated effort vet in creating powerful, off-beat and always fooling magic. When Simon asked me to write this introduction, I was elated because it gives me the opportunity to tell you why I'm so taken with Simon’s magic. At the crux of Simon's creative process are his standards. The filtration process that each of Simon's originations goes through is incredibly selective. For every trick included in this volume, many more were dropped. Ilaving seen a lot of the material in various stages of development, I am awed by the severe standards this man imposes on his magic. Simon worries about everything, and tinkers constantly. Ile has told me, only half-jokingly, that his books reflect the way he approaches his magic: both exhaustive and exhausting. While Simon employs very sophisticated methods, he never loses sight of the ultimate effect. His methods may involve intricate combinations, but they remain below the surface. He uses stacks, systematic mathematics, devious sleights, mental gymnastics, and even gimmickry to produce an impossible, often “hands off” scenario where nothing sneaky occurs. Part of the fun of Try the Impossible is its unpredictability; keeping up with all the varied approaches Simon uses to carry out his cffccts makes the book an engrossing, thoughtprovoking read. In each of the three chapters of Try the Impossible Simon delivers another healthy portion of the strong material we've all come to expect. The entire first chapter, for example, is based on the UnDo Influence concept and demonstrates what Simon does best. Simon has developed a new, groundbreaking mathematical idea, combined it with devious mechanics, and painstakingly concealed it within logical presentations. I vividly recall Simon pulling me aside to demonstrate “Twice as Hard” and “Prior Commitment.” I didn’t sleep that night. | stayed up night, cursing my hands and deck for not being able to decipher the method (or The UnDo Influence chapter is atomic ammunition that is sure to exact total close). even get bewilderment on your audience.

all

By contrast, the middle section, Eccen-tricks, explores an impressive array

of disparate plots and techniques. “O’Aronson Aces” and “Nosnora Aces” demonstrate Simon's strategic

usc of gaffs to bring about utter miracles. Pay close attention to his careful, meticulous distribution of the gaffs and how they are exploited to their full potential in each phase of these Assemblies. I must confess, the [lead Over Heels move made me jealous of Simon. Why didn’t] think of that? You can apply this innovative move to myriad effects, and Simon offers scveral excellent applications. Simon is already one of the modern pioneers popularizing

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the memorized deck, and his memorized deck creations alone have already earned him a with “Two prominent place in card magic. Memorized deck fans will be delighted and Beginnings” and “The Invisible Card,” not only because of their efficient construction commercial presentations, but because they maintain your memorized stack completely intact. In this chapter, Simon even ventures into new realms, exploring territories uncharacteristic of his previous books. For example, he includes a gaming scam and even an Ace production done to a rap! (is this guy hip, or what?) Unpacking the Aronson Stack, explains a host of features and effects imbedded in the Aronson stack — that don 't require memorization. Further, these astonishing effects begin and end with the deck still in Aronson stack order. Imagine magically finding full matching a selected card, and then as a climax revealing that you've also discovered a four-of-a-kind. Simon presents not just one such routine, but half a dozen — and each one hands, produces a different four-of-a-kind! Or, picture being able to deal five strong poker cach better than the previous one, with the dealer receiving a Royal Flush in Spades. Now without having to reset! This trick maintains picture yourself doing the trick over and over the Aronson stack! Simon's elegant and efficient Once and Again display (in “Routine all. Indeed, I predict that Maintenance”) accomplishes this feat with no sleights or moves Simon's universally applicable solution to unwinding and resetting a dealt stack will become deck, a true magic utility. With over a dozen effects, all generated from the same prearranged who those may Simon is making the Aronson stack accessible, practical, and valuable, even to never memorize a deck. The

final chapter,

...

at

As someone who has used Simon's “Stack to Remember” and his memorized deck effects for professional use all over the world, I am quick to endorse the Aronson stack to after the release of this anyone interested in getting into memorized deck work. However, latest batch of material, there will be no need to convince anyone ever again. Unpacking the for me, the final word on which stack to memorize, and I'm overwhelmed Aronson Stack by the amount of new material Simon has unearthed.

is,

More personally, Unpacking the Aronson Stack is partially responsible for the blossoming friendship between Simon and myself. As you can tell, I’m an Aronson addict, so I was particularly interested in sharing ideas with Simon about his landmark arrangement. At that time, our relationship was formal but friendly. However, between the many video exchanges, phone calls, conversations, and a marathon magic session that lasted over three days when I passed through Chicago, Simon managed to demonstrate every remarkable feat explained in the third chapter. Somewhere in that process, Simon also became a close friend. He had always been an inspiration, role model, and herofor me, but nowhe is my most trusted magic confidante. Complementing the unusually diverse trio of chapters in Try the Impossible is Simon's particularly clear in this volume, and his descriptions one-of-a-kind writing style. His voice are so conversational that I could hear his words in my head as I read each page. His attention to detail is evident in each effect. Simon's trick descriptions are long, but he takes the time to explain why a particular concept works. His detailed and far-ranging Comments to cach effect provide examples to cover cvery possible outcome of trick, and offer stimulating variations, options, and convenient routining suggestions. Even though 1 find his originality

is

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to be quite remarkable, Simon is a student of the magic literature. He wants readers to understand the roots and chronology of his thinking, its motivation, and the contributions of his predecessors and peers. For these reasons, Simon's books have always been touted for their clarity and completeness. This volume is no exception. first met Simon about five years ago at a national convention where he and his wife Ginny were performing their stellar mind-reading act. I somewhat hesitantly approached him, wanting to meet the man who had written some of my favorite books. Even though he’s older than my parents, he was instantly accessible, friendly and unpretentious. Ile was eager to talk magic with me. More importantly, he didn’t treat me like a kid of lesser status; he treated me as an equal. I

I consider this book to be

Simon's best work to date, and being able to introduce it to

you is an honor. “Genius” is an elusive concept, but I believe it’s often found where one is pushing the boundaries of what is commonly accepted as possible. Turn the page, let Simon be your guide, and try the impossible.

Joshua Jay April 2001

Preface After Josh's generous introduction, [ should probably quit while ('m afiead. ('m equally excited about the material in this book, but rather than express my general enthusiasm, I'll be uncharacteristically brief, and temper Josh's tone by offering a few sobering remarks and caveats about how I view this book. isn’t really a book. It's more like three separate books. Indeed, there are separate it 2, 94, and 192) and I suggest you read (on mini-introductions to cach of the three First,

parts pages those three pages to get a flavor of what's inside. Two of these sections deal with quite specific topics, the UnDo Influence control and the Aronson stack, and thus the matenal comprising this volume is somewhat unbalanced. I've been working on these two areas intensely for the past few years, and these two chapters present my results. While the individual effects in each of these sections are complete and self-contained, taken together they develop more general conceptsrelating to the underlying chapter theme. The third “book™ the middle section, Eccen-tricks, and is more along the lines of my previous works. It offers a panoply of all kinds of card magic. There's something for everybody (or conversely, there's at least something you may not care for).

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Second, this volume isn’t always a breezy rcad. ['ve tried to write in a personal and conversational tone (although John Bannon maintains should have cut down on my puns) but scare my rcaders at occasionally the material itself requires a bit of studying. I don’t want be book the enjoyed in your armchair. can the outset, and I assure you that the vast majority of It's just that, in this age of instant video gratification, I thought it fair to mention that you'll appreciate it more if you sit down, deck in hand, and work through some of the stuff. This book is probably not something you'll want to complete in one afternoon.

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Third, while I appreciate Josh's references to “genius” in his introduction, one important disclaimer in order. “Genius” sometimes connotes one person doing it alone, forging ahead on his own, sometimes against the dictates of his peers. Well, my magic doesn’t develop that way. While the germ of an idea and the obstinacy to continue down a path may be mine, most of the finished effects in this book are the result of continuous testing, reworking, polishing, criticizing, and brainstorming with my two best friends, Dave Solomon and John Bannon. Both of them are creative and innovative card magicians with extremely high standards and 1 strong opinions. When I speak of“trying the impossible,” just try to satisfy those guys. owe them both immeasurable thanks for all their help and advice over the years. If I've failed to credit their individual contributions on any specific page, it’s only because their creative input really permeates this entire book.

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And how can I ever express my appreciation to my friend Josh Jay for all the work he’s done, long distance, in helping with this book. Josh has received some amazing press over the past year, with a spread in Magic magazine and a spot on national TV-but it’s not just hype. What you hear about him is true, and his magic skills, knowledge and inventiveness belie his youthful good looks. Josh has been a tireless editor and critic, from painstakingly correcting my grammar, to working through every trick, to making solid improvements and creative contributions (some of which you'll find in these pages). In my opinion, onc of the most amazing things in magic is how each generation is better than ever. If Josh is any example, the future of magic is quite secure. My only regret is that Josh didn’t choose to attend

Northwestern; he would have made a valuable fourth on Saturday aftemoons. On a more personal note, I recently retired from my law practice to devote more time to magic. Studying, practicing and creating magic has always been one of my great pleasures life, and it stuns me to realize that 2001 marks my 50" year in magic. Working with Josh brings back many memories, so as I approach the halfway point in my life (I'm 57) I hope you don’t mind some nostalgia of my early magical life (up to age 25) depicted on the end papers of this book.

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It’s a strange adjunct to my hobby of magic, trying to produce a hardbound book like this on my own, and | acknowledge my many deficiencies in this arena. Over the past two years I've had to come grips with the computer age, and even learned to type (sort of). Fortunately, the technical side many people helped make this book a reality, and I thank them all for on trying the impossible: working with me. In addition to Josh, John Bannon read and edited the entire manuscript and tried, often in vain, to make it shorter. Dave Solomon edited portions and also took the many photos that are so helpful in these pages. My secretary Lynne Dobrenick spent countless hours over a period of two years typing first drafts of the material and has successfully learned to decipher my handwriting. Atthe end I needed the help of some professionals (those who know me well may interpret this last sentence with a more sarcastic interpretation). With her expert graphic design skills, Yolanda Salinas provided invaluable advice and help with the layout and appearance of this book, particularly in the creation of the end papers, the chapter dividers, and the preparation of all the photographs. Susan A. Thomas provided the cover art, and in this case I'd be happy if you judged the book by cover.

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chief editor, publisher, critic, and overseer

continues to be my wife Ginny. I’ve previously I how indebted the in expressed am to her prefaces to each of my other books; indeed, I actually considered just cutting and pasting the relevant paragraph about Ginny from Simply Simon, because it’s all still true. But she wants to hear me say it again. Even those who know of her tireless love for magic have never actually seen her in her editing mode: she actually takes deck in hand and works through every move, every variation, every detail of handling, just to make sure my descriptions are comprehensible. If you've ever imagined watching a layman struggle through an under the spread cull, a reverse faro, or a thumba count, it can get pretty funny. So, thank her again, as I do every day, for being there and being her delightful self, My

I

hope you enjoy Try the Impossible, and I'm always interested in receiving your feedback. Once this book goes to press, I plan to turn my attention to setting up a website. If the computer age is cooperative, you should be able to get further information about my other books and some of my effects (including the gaffed cards used in this book) at simonaronson.com. The magic fraternity has been a wonderful boon in my life, and I hope with this book to share my joy. Let’s all continue try the impossible. I

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Simon Aronson May 8, 2001 2500 North Lakeview Chicago, Illinois 60614 email: [email protected]

UnDo Influence

then

a card,

replacing Here's the dealer’s ad: Imagine two spectators each freely choosing and the identity of what idea have no while the deck is completely out of your hands; you really the either card is, or where it is located. Imagine further that, in the simple action of spreading selections to two different cards(either face up or face down), you could secretly control both

that this can known positions in the deck — virtually any two places you want! Now imagine sleight of hand — and with be accomplished without gaffs, elaborate stacks, memory work, doesn’t look like you've done anything — and yet the two any deck. Indeed, in performance selected cards are brought to whatever positions you want.

or

it

methodology: But it's all true! Each of the effects in this section utilize a similar underlying it both secretly “undoes” the frec a new kind of control that I call “UnDo Influence,” because the destination of both actions that the spectators have taken, and at the same time “influences” variations. The selections. This control has broad application, and is susceptible of many different facet of UnDo following effects have been chosen because each illustrates a Influence. The first five effects are virtually sclf-working, simple, and, as you'll see, very actually fool yourself with deceptive. (The first time you encounter the principle, I'll bet you it). it with The next two effects build on the subtler aspects of UnDo Influence. By combining also provide and full deck stacks an interesting synergism results. These cffects mathematics, the opportunity to explore in more detail some of UnDo Influence’s underlying and to demonstrate its stack preserving abilities.

some partial

of

the loose ends, the underlying Finally, to conclude this section, I'll pull together many and my theoretical principles, a variety of other applications, some alternative techniques, influenced” to try inspirational sources, for this offbeat control. I hope you're already “unduly it.

Prior Commitment a

is, in essence, prediction trick — so let me begin by predicting that it may wind up being the most popular effect in this book. From a practical perspective “Prior Commitment” uses only a regular deck (including the Jokers), requires no elaborate sctpresentational viewpoint, it’s quick, humorous, and up, and is virtually self-working. From has a surprise climax that no one will sec coming. But perhaps the most intriguing aspect the method itself. “Prior Commitment” will not only fool magicians and laymen alike, it’s so simple — and yet so bizarre — that you'll fool yourself with it.

T=

a

is

Effect From a shuffled, tabled deck two spectators each freely cut off a packet to select a card and the deck then reassembled. The performer never touches the deck. The performer then makes a magical gesture, and ribbon spreads the deck face down across the table. Two cards are seen face up — but they're not the two selections, they ‘re the Jokers.

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The performer explains that the Jokers must have turned up for a reason, and they will help find the selected cards by telling him cxactly where the sclections are located. He holds one him, say 18. his ear and announces that the Joker has just “whispered” a number Joker up He dutifully counts down to the 18® card in the deck, and isolates it. He then repeats this the card at that process with the second Joker, which (supposedly) whispers, say, number 43; position is likewise isolated. Although both selections were quite freely made, and although the magician has no way of knowing how many cards were cut ofl bycither spectator, nevertheless when the two cards are turned over, they are revealed to be the two selections!

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Anticipating the skepticism of the spectators, the performer acknowledges that it’s hard to belicve that the Jokers “told” him those two numbers, but he insists that the Jokers truly were the source of his information. To prove this, he turns the Jokers over, and there, written boldly on the back of each Joker are the numbers 18 and 43 (Figure 1)!

Working Most “prediction” effects are lincar: a prediction is introduced, a procedure is then followed to an apparently random outcome, and at the climax the prediction is shown to have been correct. While this straightforward structure has the potential of creating some very strong magic, it suffers from two First, the climax is fully disadvantages.

4

UNDO INFLUENCE

anticipated, so the dramatic element of surprise is lacking. And second, since the audience already knows what to expect, the spectators’ minds will often begin wondering about the method quite early. This can distract their attention away from your presentation, and worse, fact lead them to discover or notice some methodological clue along the way. may

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One presentational solution to the above problems to not let the spectators know that you've made a prediction, until late in the game. “Prior Commitment” falls into this category.

The Set-up You'll need a regular deck ofcards; just be sure you've got all 52 of them (or the trick won't the work). You'll also use two Jokers; while not essential, you'll find it more convenient

if

two Jokers have slightly different faces. (The regular and “guarantee” Jokers that accompany Bicycle or Tally-Ho brands work fine). On the back of the regular Joker, write the number 18, in bold, dark marker strokes that clearly convey that the writing is permanent and indelible. Similarly, write 43 on the back of the guarantee Joker. That's the only advance preparation, and you only need to do it once. To set up, place the two Jokers face up at two specific positions in the deck: 10" and 29% counting from the top of the resulting 54 card deck. Here's a quick way to accomplish this. Spread the deck face down between your hands, pushing off three groups of three cards each, and insert onc Joker (the one with number 43) face up beneath these nine cards. Now, continue spreading the face-down deck beyond this Joker, thumbing over six more groups of three, and then insert the other Joker face up below these 18 cards. The rest of the cards remain face down below this Joker. You're ready to begin.

a

To dispel any suspicion of stack (although I'd hardly consider a two card set-up a “stack™) I give the deck a few casual shuffles during my introductory patter. The only requirements are, first, that at the end of the shuffle the Jokers must remain in their preset positions, and second, of course, that the shuffle must not inadvertently expose either of them. Practically any “full deck” false shuffle is suitable, but a simple overhand jog shuffle works fine. Since the bottom 25 “x™ cards can be legitimately mixed, commence an overhand shuffle by undercutting slightly less than half the deck (not more than 25 cards). Run one card singly, injogging it, and then shuffle off the balance. Commence a second overhand shuffle by obtaining a break beneath the injog, and shuffle up to the break. Finish by throwing the balance on top. While some of the face-down cards may have been disordered, the two faceup Jokers remain undisturbed in their preset positions. (For a somewhat more sophisticated overhand shuffle, sce comment 3). 1)

The “Selection Adjustment” 2) Place the deck on the table in front of your first spectator — let’s call him Adam — and ask him to “cut off about a third of the deck.” The only requirement is that you must guide Adam’s cut anywhere within the range extending from positions 11 through 27 inclusive

PRIOR COMMITMENT

5

in the 54 card deck. This permitted range thus comprises all the cards between the two Jokers except for the sole card lying immediately above the second Joker. So lon g as youremember this single card as an “exception,” I find it helpful to envision the permitted range as falling anywhere between the two Jokers. With that much leeway, you should feel comfortable, and the instruction to cut a “third” hones Adam toward the center of the acceptable range. —

Watch to see that Adam follows your instruction, and then ask him to look at and remember the card he cut to (i.e., the face card of his packet). Once he complies, I ask him to place his packet on the table. 3) Address your second spectator, Bonnie, with similar instructions, asking her to cut off a “healthy” packet from the balance of the deck. For Bonnie, restriction is that your only

she must cut somewhere below the second Joker: since there are 25 cards below that Joker, you shouldn’t have any difficulty guiding her cut in that range. I generally urge her to “cur off another good chunk,” or “cut deep for your card.” Again, have her remember the face card of her packet.

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4) You'll now have both spectators replace their packets on the balance of the deck but in the reverse order from which they were cut. Obviously you don’t want to call attention to this “inverse” replacement, so downplay any significance of the spectators’ actions at this point. I just have the deck reassembled in the course of recapping what's happened thus far. 1 first say to Adam, “Now, you "ve looked at the card You cut to, and you're remembering it, right?” When Adam acknowledges he has, I continue, “Then put your cards back,” the balance of the deck. I then turn to Bonnie and use the pointing same summary language, gesturing for her replace her pile on top of Adam's (thus fully reassembling the deck). Since the order of selection was that Adam cut first, then Bonnie, it flows naturally that the replacement follows the same order. —

to

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So far, you haven't touched the deck, and it appears that both selections were completely free and arc hopelessly lost. In fact, they were, and are. You honestly have no idea what or where the selections are. Nor does it matter. 5) Leave the deck on the table, as you announce, with perhaps some humorous bravado, “If Ijust snap my fingers, two cards will magically turn over in the deck. Watch!” Here, snap your fingers above the deck, and then tri umphantly ribbon spread the deck from left to right, in a wide arc across the table. The two Jokers will face appear up, at two different places the face-down spread. Look at your audience, and address their puzzlement with the response, “Well, I didn't say they'd be your cards!" (This is a Jack Birnman line. Jack should be remembered almost as much for his droll sense of humor for his fantastic, idiosyncratic as techniques). In any cvent, some kind of humor is helpful at this point, just to set the stage for your tongue-in-cheek “pretending” that will follow shortly.

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6

UNDO INFLUENCE

The Face-Down UnDo help assistants. Since they live in the deck, they can 6) Explain, “These Jokers are my As you deliver cards. Seriously, I'll show you.” the me, because they saw where you put your re-assemble Jokers out of the spread, and this innocent patter line, you will slide the two with that is the crux of this entire effect. So bear — deck. But you'll do it in a subtle way and action. mundane what will — and should — scem like a completely me, as I describe in detail the right (top) end left right, the regular Joker will be nearest to from deck the spread If you've 2). be more toward the left (bottom) end (Figure of the spread, and the guarantee Joker will cards the all Instead, with your left fingers, push Don't slide the Jokers out of the spread yet. of face this Joker; as the full bit to the right, just enough to expose above the regular Joker this upper group of cards, leaving it up “roughly” square to assist, fingers right spread, you do, your Joker is exposed, push it forward, off the in a loose pile at the right. Now that the actions in handling the cards should face up on the table. Your entire manner and leaving the Joker separating the cards, exactly where be open and aboveboard; you're very cleanly clear you're not doing anything else. and simply removing it in a way that makes

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Joker. Rest your 10 free up and remove the remaining Next, you'll repeat those same actions, above this the guarantee Joker, and push the cards left fingers on the card immediately above in the full face of this Joker (Figure 3). Again, Joker toward the right, just cnough to expose right fingers help square up these cards the act of pushing the spread cards off the Joker, your center of the table. Do not loose pile, which will occupy the approximate into a separate

PRIOR COMMITMENT

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coalesce this pile with the first pile you formed at the right. Again, slide the Joker forward, off the spread. You're left with three separate scetions of the deck, formed by the “dividing” points of the two Jokers. The right and center piles are loosely squared; the leftmost section

is probably still in a semi-spread condition (Figure 4).

You'll now naturally want to reassemble the pack, in the most unobtrusive way you can. With your left hand, scoop up the left section (squaring it as you do), as your right hand simultaneously picks up the pile on the right (Figure 5). Both hands move together and drop their respective side piles onto the middle pile, making certain that the left-handpile falls first.

The right-hand pile immediately drops on top, and both hands square up the deck.

It should seem as if absolutely nothing has happened, which in fact, is “almost” the case.

What has actually happened is that the middle and bottom sections of the spread deck (as divided by the Jokers) have changed places. No one will notice this displacement. What important to the spectator, what they focus on, are the Jokers. All of your attention should be on the Jokers; the rest of the cards were simply pushed aside a bit, and then reassembled. Reassembling the deck with both hands simultaneously helps obscure this subtle displacement of the middle and bottom sections.

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I've spent full page just telling you howto remove the Jokers and reassemble the deck. All of this takes virtually no time to accomplish, even moving at a leisurely pace, and it’s all covered by those few innocuous lines about the Jokers being your helpers. But I want to give you as much detail as I can on how to choreograph this minor (what Ascanio calls an “in-transit”) action, so it occurs nonchalantly, smoothly and subliminally. I realize

As far as the audience is concerned, the magic — or at least somcthing — is about to begin, because two unexpected Jokers have just made their But far as appearance. as you're concerned, the trick is done — because, believe it or not, Adam's selection now resides at the 18" position from the top and Bonnie's selected card now occupies the 43" position. I call the simple displacement action described in this step 6 the Face-Down UnDo — because jt “undoes” both spectators’ free cuts and simultaneously places both selections in the exact positions you want! That's the power of what I call the UnDo Influence control. (This FaceDown UnDo has general applicability to other tricks in this section; conversel y. you'll find that the crucial secret packet displacement can be accomplished in alternative ways — for example, the next effect “Queenspell” presents the Face-Up UnDo, which allows you to subtly accomplish the necessary secret packet displacement the innocent act of spreading through the faces of the cards).

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The Discoveries All that’s left is presentation, but you'll want to make the most of each separate climax. So the spectators are humoring you. You've made two cards turn face up, but alas, they weren't the selections. Pick up the regular Joker (making sure that its back remains out of the audience’s line of vision) and explain, “Adam, this Joker will tell me where your card is located. He's a bit shy, so he'll whisper it to me.” Hold the Joker up to your ear 7)

far,

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(don’t let the back flash), pretend listen, and announce, “Hetells me your cards at the 1 8* position ... really.” Replace the Joker face up on the table and pick up the deck. Say, “Let's check,” and very cleanly count aloud and deal the cards one at a time into a face-down pile, stopping on the 18™ card. Isolate this card face down. (I place it overlapping the first Joker. It will, in fact, be Adam’s selection). to

8) Repeat the same scenario with the remaining Joker, having it “whisper” the told you “43,” and continue counting from the location of Bonnie's card. Announce that balance of the deck, making quite clear that you're starting with “19,” exactly where Adam's count left off. Isolate the 43" card face down, again overlapping its corresponding Joker for an aesthetic display. Put the rest of the deck aside.

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9) Ask Adam to name the card he freely cut to; when he does, dramatically turn over the first selection. Then repeat this revelation with Bonnie's card for a double climax. You have located both cards, under seemingly impossible conditions. The spectators will assume you're finished. The Prediction Climax

After receiving your deserved accolades, look at Adam and Bonnie and comment, “I know what you're thinking. You're probably wondering how I could hear these Jokers whispering 18 and 43, when they seemed so quiet. Well, actually, they were loud and clear. Because this one really was tellingme 18 ...." Suiting actions to words, turn over the regular “ Joker, revealing the bold 18 written across its back. Continue ... and this one was almost screaming the number 43,” as you turn over the guarantee Joker, revealing its prediction. 10)

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left to ponder prediction climax, which they never suspected was coming. Your audience left with You're a regular deck, two examinable Jokers, and an unfathomable mystery.

Comments (1) UnDo Influence Generally. If you're amazed that this trick actually works, and it, you're not alone. The principles that underlie you keep fooling yourself each time you “Prior Commitment” are complex, fascinating, and certainly not intuitive.

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It’s a challenge to fully understand what's happening within the deck, during the various packet displacements that go on in the course of the trick. To avoid repetition, I'll defer any theoretical exploration at this point, but as you experiment with the rest of the material in this section, you'll get a feel for the flexibility of the concepts. Later on in this chapter I offer a detailed discussion of the mathematical relationships and formulas (used for calculating different combinations of resulting positions, and different locations of the indicator or key cards); it’s presented as part of the explanation of the effect “Twice as Hard.” Although “Twice as Hard” employs a memorized deck, you can still read that effect to understand what is happening here, even if you don’t yet perform memorized deck magic. You'll also find a

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number of practical suggestions, theoretical inquirics, general observations and comments, and credits and inspirations, summarized in the UnDo Influence essay that concludes this section. Just to whet your appetite, let me simply point out that, although I've chosen to use 18 and 43 in “Prior Commitment,” you'll find that the UnDo Influence procedures are open to many other numerical combinations. As you'll see later on, the resulting positions of the sclections are directly related to the permissible cutting ranges within which the selections may be made, and 18 and 43 happen to be my personal preference, to optimize the freedom of the selections. (2) The Jokers. My reason for suggesting that you use Jokers with slightly different faces is merely to make easy to instantly distinguish (from the face) which one has 18, and which has 43, written on its back. Additionally, I think the use of a guarantee Joker makes it look a bit more like a “normal” deck. If you prefer the symmetry of two identical jokers, just put a pencil dot or subtle mark somewhere on the face of one. Jokers typically have one way faces. Use this feature to orient each Joker so that, when you turn the Jokers over at the climax, the predicted numbers will face right-side up to your audience, and thus be instantly legible.

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(3) Alternative Shuffles. Here arc a couple of alternative overhand shuffles that retain and hide the two face-up Jokers in their starting positions. The first is an elaboration of the simple jog shuffle described at step 1:

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(i) begin by chopping off approximately third of the deck (actually, anywhere between the two Jokers) as a block; (ii) chop off a second block, making sure this block includes the second Joker (just aim for a second “third” of the deck, and you'll be fine), but steal the first block back behind the balance of the deck, as this second clump is chopped off. Maintain a break between the stolen packet and the remainder of the cards above it; (iii) run a single card, injogging it, but as you do release the stolen block so that it drops onto the second clump, but beneath the card you're injogging; (iv) continue to shuffle off the rest of the deck normally; and (v) finally, either shuffle off the cards above the injog in a second shuffle, or just cut the deck at the jog.

if

Alternatively, you want to accomplish everything in just one shuffle, begin as in steps (i) and (ii) above. Then continue: (iii) chop off a small clump of cards, but steal the second block back (behind the first stolen block), as you take this group. You can let the first two stolen blocks coalesce;

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(iv) continue to shuffle the rest of the deck normally, until you reach the break (the original bottom of the deck); and (v) toss the rest of the cards (the combined stolen blocks) back on top. (4) Variation 1441. 1f you don’t have your Jokers handy, here’s a variant effect that try. It's not as effective as “Prior Commitment,” because it doesn’t have you might want the surprise prediction ending, but it does have it’s own internal logic.

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It uses the AD and 4D as the “indicator” cards. Start with a full 52 card deck, and insert the 4D at 10th position, and the AD at 25th position, both face up. Now proceed with the

selection and replacement procedure (steps 2-4), and then ribbon spread the deck revealing the AD and 4D face up. Ask if either of these happen to be the selections, and on receiving a negative reply, look a bit puzzled, as you remove them from the spread (performing the secret Face-Down UnDo displacement as you reassemble the deck, per step 6). Comment, “These two cards must be telling us something. Look, together they form the number 14.” Here, then arrange the two indicator cards so they read 14, from the audience's viewpoint. But also can form the rearrange the two cards in the opposite way, as you remark, “Wait, they number 41. 1 wonder which one they mean. Let's check.” You then can proceed with your double climax, because when you count to the 14" position you'll discover the first spectator’s selection, and when you continue counting to 41, you'll find the second sclection. Note that in performing “1441” you'll need to be a bit more careful when allowing Adam to cut to his card, because the permissible cutting range for the first selection (i.e., between the two face-up cards) is slightly narrower than before. (5) Variation 1839. Here's another variation. This time we'll use four face-up indicators, instead of two. From a 52 card deck, remove the 3S, 9S, AD, and the 8D. Insert the 9S and 3S face up at the 10" and the 11" positions respectively, and similarly insert the 8D and AD face up at the 30™ and 31*' positions respectively. The rest of the pack should be face down. Now, run through the normal procedure, revealing two, two-digit numbers when you ribbon spread. The two Diamond cards clearly indicate “18” (there's no ambiguity, because 81 isn’t a viable option) and the two Spade cards indicate “39.” When you count down to those two numbers in the rest of the deck, you'll discover the two selections. In “1839.” I make my ribbon spread from right to left (and adjust the Facc-Down UnDo accordingly); it allows the spectators to viewthe indices of the face-up cards “right side up” and thus instantly recognize the two-digit numbers that arc formed. The suggested set-up is based on such a right-to-left spread. (6) Color Separation. In one scnse this next comment has nothing to do with this effect — but it has a lot to do with what could come afterwards. Try this experiment. Divide your 52 card deck into reds and blacks, and then set up

your deck with the following addition: and the Jokers for “Prior Commitment” per the regular set-up, arrange the initial group of 9 cards (the ones above the first Joker) so it comprises one black

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on top, followed by eight red cards; after the first Joker have the next group of 18 cards consist of all red cards; after the second Joker the last 25 cards will be all black cards. Now run through the entire effect, exactly as written. At the end, you'll be left holding the balance of the deck (the uncounted cards), and there will be two face-down piles on the table (the piles you counted). Replace the two selections back onto their respective piles. Drop the cards in your hand onto the pile you counted first (the 18 cards) and then drop the second pile (the ones counted from 19 to 43) on top, thus reassembling the deck. If you spread the deck face up, you'll find a pleasant surprise: the deck is completely divided into red and black halves! (And this will be true regardless of where the spectators cut for their selections). Obviously this is quite useful, becausc you can use this color division as a secret modus operandi in an cnsuing effect. But this red/black separation is only the tip of the iceberg, because with just a couple more cuts, you can retain virtually any prearrangement you want —e.g., an alternating red/black sct-up for Gilbreath use, or a Si Stebbins cyclic stack, or even a full deck stack. I discuss this in greater detail later on, in “Twice as Hard™ and in the concluding essay.

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the inclusion of (7) Surprise! My friend John Bannon and I are strong believers “surprise,” as both a presentational and a methodological strongpoint. But the surprise should, certain kind. On the one hand, the surprise obviously cannot be anticipated; ideally, be of on the other hand, once it does occur, it should be an event that is a “natural outgrowth” of what has happened beforchand. You don’t want a “twist ending™ happening just “out of the blue,” that has no relation to what's come before. The point is as old as the philosophy of Aristotle’s Poetics: the surprise — once it happens — should carry with it an appreciation that this ending has actually been foreshadowed or hinted at. Indeed, it 1s just the sort of thing that one ought to have expected. The surprise ending isn’t just one more “extra” kicker; it’s something that helps make sense of, or rounds out, what's come before.

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John helped me work on the timing in this effect, particularly on delaying the revelation of the predictions. I'm quite happy with this surprise ending, because once it occurs, it serves to justify the involvement of the Jokers. And once their presence has been given such a plausible explanation (i.e., what better place for a prediction to be, than on the Jokers themselves), the real methodological reason for the Jokers” presence (i.e., to act as markers for where to divide the packets) escapes notice. (8) Down Memory Lane and the Garden Path. 1have a personal fondness for “Prior Commitment,” for reasons you may find amusing. Because many card magicians immediately associate me with memorized deck magic, there's a certain tongue-in-cheek element to my performances of “Prior Commitment” for knowledgeable cardmen. As soon as | announce that the first selection is at “18” (alter the Joker whispers it to me), magician viewers jump to the conclusion that a memorized deck must be involved. This causes some perplexity as the trick progresses; their assumptions send them on a wild goose chase. The prediction climax then throws everything up for grabs. Ironically, you actually can use the principles involved here to create a “pseudo” memorized deck effect; see “Pseudo Memory™ at p. 78.

Queenspell

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that illustrates

other facets of the UnDo Influence control. It’s virtually impromptu, quite deceptive and essentially selfworking. Italso subtly camouflages the fact that any counting or numbers are involved. is a quick, efficient discovery of two selected cards

Effect The performer explains that one of the strongest magical powers is woman's intuition, and he offers a demonstration using the red Queens. From a shuffled deck, two spectators cach freely cut to and remember a card, and then replace their packets to reassemble the pack. The magician removes the two red Queens, explaining that they have a special sensitivity to other cards; indeed, they'll find the selected cards, by “casting their spell.” Taking this quite literally, he spells, one card for each letter, “The Queen of Diamonds,” and then “The Queen of Hearts.” The cards at the final *'s™ of cach spell are revealed to be the two selected cards.

Working If “Prior Commitment” is fresh in your mind, you'll find it quite easy to follow what's going

on here, but I want to emphasize the differences. In “Prior Commitment” we used two extra cards (the Jokers); here, only the regular 52 card deck is employed. In “Prior Commitment” the secret packet displacement was accomplished face down; here, it’s done face up, quite openly, in the act of removing the two red Queens. But more importantly, the entire nature of the effect has changed. “Prior Commitment” a prediction, which openly involves counting down to two predicted numbers; this present effect apparently involves no “counting” at all, because the counting has been disguised by the spelling. Only the selection method remains the same.

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To setup, in a regular face-down 52 card deck, secretly place one of the red Queens face down at 17" position from the top, and place the other red Queen face down at 36™ position. (Comment 6 discusses some quick ways to achieve this set-up). You'll note that 36" from the top also happens to be exactly 17" from the bottom, so another way of thinking about the setup is to simply remember 17" from either end; this fact makes for a very convincing shuffle, noted below.

lexplain, “I have my limits. Frankly, I can't do the next feat on my own. I need the help ofa far greater power the power of woman's intuition. Fortunately, there are two special cards in the deck, the two red Queens, who can help me. Let me show you what those two very sensitive ladies can do.” As | patter, | give the deck a casual shuflle, which maintains the Queens at the 17* and 36™ positions. Fortunately, there’s a very effective 1)

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actually switches the locations of overhand shuffle that does just that. Or, more correctly, the upper and lower Queens, but at the end of the shuffle you'll still be left with a red Queen at each of the two required positions.

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that 17 and 36 are the two dividing lines that Here's the detail. All you need to remember separate the “thirds” of the deck. You're going to perform a legitimate overhand shuffle, starting by chopping off small groups of cards, perhaps 3 or 4 ata time. You don’t have to be particularly precise, but you do have to watch the pack to estimate (roughly) how much you've shuffled off so far. As you approach the “one third” point — say, once you've shuffled off about a quarter of the deck — start to run cards singly as you shuffle, until you've safely passed the one third point. Then, continue to shuffle off additional small clumps, as you progress through the center of the pack. Once again, keep your eye on the pack, and as you near the “two thirds” mark, again run cards singly, until you're safely past this two thirds point. Then, finish by shuffling off the balance of the deck any way you choose. Once you practice a few times, you'll sce how easythis shuffle is, and cven better, how convincing it appears that the entire deck gets shuffled — because it does. There are no significant blocks that remain together, and the two sets of single runs get buried within the overall context of your chopping varicd size clumps of cards. I do the shuffle slowly, making it clear to the audience that all the cards are being mixed. (Those of you who are familiar with the Ireland Red/Black shuffle will recognize this as a more sophisticated variant, sort of a “double Ireland” shuffle. For an alternative shuffle that also maintains the two Queens in position, see comment 5). Approach your first spectator, Adam, and ask him, “Please cut off about half the deck.” We're going to employ the same selection and replacement procedures that were used thc arca within in steps 2 to 4 of “Prior Commitment.” While there are some limitations which Adam may “freely” cut, you'll find that the permissible range is close to ideal here. Just as “Prior Commitment” required that the first cut be made between the two Jokers, here Adam’s cut must be somewhere between the two red Queens — but their placement at 17 and 36 makes this a snap. The instruction to cut off “about half” effectively guides Adam to the midpoint of the range, so you've got a lot of leeway. (To be precise, the permitted range actually extends from positions 18 through 34 inclusive and thus does not include the card lying immediately above the second Queen. Again, as in “Prior Commitment,” so long as you remember this one card as an “exception,” it’s convenient to think of the permitted range as falling anywhere between the two Queens). Have Adam look at and remember the face card of his packet. 2)

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Ask your second spectator, Bonnic, to similarly cut off a packet from the balance of the deck. Again, the only requirement that she must cut deeper than the second Queen at 36" position. There's much leeway, and the instruction to “cut off another good chunk” 3)

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may help move her deeper. 4) After both of the selections have been noted and remembered, have the two packets replaced back on the balance of the pack, making sure that they are replaced in inverted order from that in which they were cut off (i.c., Bonnie's packet winds up on top). As in “Prior

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Commitment,” try to minimize any attention to this action.

The Face-Up UnDo Pick up the deck and hold it face up in left-hand dealing position. You're going to openly spread the cards face up between your hands, to find and remove the two red Queens —but you're going to do it in a certain way. (This will accomplish the same result as the FaceDown UnDo displacement that occurred at step 6 of “Prior Commitment,” but here it will be done face up, with the deck in your hands). In what follows, don’t make any effort to hide the faces of the cards from the spectator; indeed, you want them to see exactly what you're doing. They will see arandom deck, they'll see their own selections pass by (if they're watching), and they’ll see you remove both red Queens. They shouldn't notice anything else. My pace is somewhat brisk because I don’t want to convey any impression that I might be “doing more” than what appears. 5)

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Before you start to spread the cards, remind your spectators once again, “Let's find the red Queens so they can showyou their intuitive powers.” However innocuous this patter line it serves an important psychological purpose. By mentioning beforehand that you're going to find the two red Queens, the audience is “conditioned” to view the spreading action as being done for a particular reason. They'll watch the cards along with you, looking for each red Queen, and theyll inwardly nod approvingly, as you do exactly what you said you were going to do. Because they expect a certain result (removing the Queens), their attention is focused on that task, and they'll be lulled into a state of acceptance, as you proceed exactly as expected. (If they happen to be looking for their selected cards, they'll see you pass right by them).

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So, here’s the detail. Start spreading the cards face up into your right hand fairly rapidly, until you reach the first red Queen. Split the spread at this point, with the Queen as the face card of the left-hand packet. Immediately move your left hand forward, and thumb the Queen off the packet, casually flipping it face down onto the table. Meanwhile, your right hand casually already-spread cards. squares

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As soon as you've placed this first Queen on the table, move your left hand back and start the balance of the left-hand cards, from left hand into right, looking for the again to second Queen. But this time, spread the lefthand cards onto the face of the already squared block of cards in the right hand (Figure 1, an exposed view). Don’t act furtive; there’s nothing to hide here. Indeed, I don’t pay much attention to the cards at all, except for the red Queens, because that’s apparently all I'm interested in. Continue spreading the cards (above the block in your right hand, which will be underneath the spread) until you come to the second red

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QUEENSPELL

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Queen. Once again, separate the spread with the Queen at the face of the left-hand cards, move your left hand forward, and thumb off the Queen (Figure 2), dropping it face down near the first Queen. (Remember the suit of this second Queen, Hearts or Diamonds; this will lend an air of nonchalance later on). Casually reassemble the deck by replacing the cards remaining in your left hand behind all of the right-hand cards (Figure 3, another exposed view), square up, and drop the entire deck face down onto the table. Just as in step 6 of “Prior Commitment,” I've gone into a fair amount of detail to explain what should appear to be a straightforward, innocuous, ministerial action. You've mentioned that the red Queens will play a role in the effect, but they haven't been introduced beforehand, so you run through the deck to remove them. Now you're ready to begin. But, in fact, all the dirty work is donc. Because in this simple act of removing the Queens, you've secretly displaced the bottom and middle sections of the deck, in a way that will automatically place both selections into position for the dual spelling climax. For convenience, I'll refer to the actions of this step 5 as the “Face-Up UnDo.” I like the choreography of this displacement, and as you'll see, it comes in handy in several of the effects that follow.

Using the Queens 6) Explain, “These two Queens have a special woman's intuition, and they ‘re going to help find your cards.” As you utter this line, pick up the two face-down Queens, and without commenting about idly mix the two face-down cards back and forth a few times between your hands, so it looks like you don’t know or care which is which. I don’t make a big deal of this mixing, but to the extent it’s noticed or remembered, it helps add a sense of chance, or haphazardness, to the next step. In fact, during this casual mixing you should follow the particular Queen you remembered earlier, so you'll know which card is the Queen of Diamonds.

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Continue, “Here's a Queen for each ofyou, ” and as you complete this line simply hand onc of the face-down Queens to each of the two spectators. Because the cards are face down and

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you've been casually mixing them, it will appear as if nobody knows who

is getting which

Queen. In fact, although you apparently aren’t paying much attention to the two cards, you must make sure that your first spectator, Adam, receives the Queen of Diamonds.

7) Ask Adam to hold his Queen facc down between his palms (or against his heart, exercise their or up to his temple, or wherever clsc is the appropriate spot for the Queens with the Queen you re woman's intuition). Address him, “Adam, want you to communicate Which did you Now it us. card she Queen can find for holding, by thinking of your ... good. shows face, get? Show us.” Have Adam turn his Queen face up on the table and when he with like that sounds in curious tone along “The Diamonds,” a Queen of you, announce everyone else, are just learning for the first time which Queen Adam has. (Although it’s not an essential part of the effect, it’s more intriguing if your audience believes that either spectator might have received either Queen). Be sure to include the word ‘the’ when you say the card’s name; in a moment we're going to be spelling “The Queen of Diamonds,” including “T-H-E,” so saying it aloud helps set the groundwork for including ‘the’ in the spelling. (Since we'll spell both Queens consistently, and ‘the’ is certainly not an unusual word to include, it’s not a big deal cither way. See comment for an alternative that omits “T-H-E™).

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Pick up the deck as you say, “The Queen of Diamonds can cast her spell, quite literally. Watch.” Pick up the deck and start dealing cards one at a time into a face-down pile, as you spell aloud T-H-E-Q-U-E-E-N-O-F-D-I-A-M-O-N-D-S. When you reach the final “s,” deal that card face down overlapping the QD. 8) Next ask Bonnie to turn her Queen face up on the table, and as she does, say its aloud. Repeat the spelling for Bonnie, starting from where you completed Adam’s spell, name this time spelling T-H-E-Q-U-E-E-N-O-F-H-E-A-R-T-S. Again, place the final “s” card face down, overlapping the QH.

9) Have Adam and Bonnie each name the cards they freely cut to and then turn over the two spelled cards, to reveal that the Queens’ intuition has found both of the selections.

Comments (1) Alternative Spellings. As mentioned in “Prior Commitment,” the underlying mathematics offers much flexibility, and you could choose any pair of cards to spell. The formulas (discussed later in this section) will then help you place the cards into the appropriate positions, which in turn will govern the permissible cutting ranges for each spectator’s selection. I've chosen the red Queens, with the QD being spelled first, including the word offer a maximum, well-placed range for the two selection “the,” because this all combines cuts.

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If you prefer not to spell ‘T-H-E," here's an alternative. Just start with the red Queens at positions 23 and 39, and proceed with the effect exactly as stated. Spell “Queen of Diamonds™ for Adam, and “Qucen of Hearts” for Bonnie (without “the’) and it will work fine. The tradeoff is, of course, a narrower selection range for Adam's cut, and you'll need a different false

QUEENSPELL

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shuffle. Because of the woman's intuition patter, I prefer the red Queens, but this effect is adaptable to spelling any two cards (or indeed, any two phrases at all, including the spectators’ own names)! (2) Disguising the Counting. Once you analyze “Queenspell,” you'll sec that, as in “Prior Commitment,” the UnDo Influence principle is being used to “undo” the spectator’s cuts and “influence” the destination positions of the two selected cards. Here, the two selections are being controlled to positions 18 and 34, respectively (in the 50 card deck, after the two Queens have been removed). That's because “The Queen of Diamonds” spells with 18 letters, and “The Queen of Hearts” spells with 16 letters more (18 + 16 = 34).

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similar in all of the effects in this section, the plots But while the underlying modus operandi from one another, by hiding the fact that different effects look make the quite are designed to specific numerical positions or counting is involved. In “Prior Commitment” (and in “Twice as Hard,” later on) the use of numbers (whether predicted or named) is intentionally explicit, and at the climax the act of counting is done openly. But it’s an interesting presentational challenge to explore ways by which we can disguise or camouflage the usc of numbered positions and counting, so that the climax, the revelation, and indeed the plot itself, doesn’t appear to be yet another counting trick. Stated more generically, if you know where a selected card is located in the deck (or, in the case of UnDo Influence, two cards), how many ways can you devise to reveal the card that don't smack of counting, that don’t make it obvious that you're working with numbers or known positions. I've worked on this problem before (sce for example my “Self Control” a worthwhile exercise for anyone who works location, The Aronson Approach, p. 26) and often deck with a memorized (which secretlytells you the position of a desired target card). Spelling is just one response, and I think “Queenspell” successfully hides the underlying counting principle. The next few effects present quite different ways of exploiting UnDo Influence’s numerical relationships without turning it into a counting trick. I address this question further in the concluding essay.

it’s

(3) Face Up Queenspell. Note that you could start with the red Queens face up in their starting positions and make this cffect a bit closer to “Prior Commitment.” After the selections and replacements, snap your fingers and ribbon spread the deck face down across the table, and the red Queens will make their visual appearance. (This has a nice “foreshadowed surprise” element, since you previously mentioned the Queens in your opening patter). Just remove them from the facc-down spread, secretly performing the Face-Down UnDo displacement described at step 6 of “Prior Commitment” as you gather up the deck, and then proceed with the spelling climax. Note that this changes the nature of the effect somewhat, with some interesting tradeoffs. On the plus side, a visual appearance is a free, added effect, and you'll accomplish the secret displacement without having to look through the faces of the cards. On the downside, if the two Queens “magically” appear face up, your audience gets a hint of some “secret preparation”

18

UNDO INFLUENCE

on your part — you must have “done something” previously with those Queens. By contrast, when you spread through the faces to remove Queens which appear to be randomly placed (and correctly oriented), nothing points or even hints at any prior work or arrangement. The face-up removal thus conveys a more “impromptu” feel. It’s your choice; my preference is for “Queenspell™ as written. This foregoing variation does illustrate an important practical point, namely, that there is a certain “mix and match” quality among the various ways of handling the UnDo Influence control. You can frequently experiment with interchanging the parts, to sce which combination you like best. (4) Justifying the Removal. At step 6 we mixed the two Queens and then handed face-down a Queen to each spectator, secretly making certain that the first spectator got the QD (because that’s the particular Queen that is set to be spelled first, to reach the first selection). Note that, methodologically, you could dispense with this entire step: you could simply remove the two Queens, and immediately spell each one, to find the two selections. But from a presentation standpoint, the effect is more integrated, and more deceptive, if there's some reason why you removed the Queens from the deck. (An astute spectator might realize that, if you aren’t going to do anything with the Queens, you could just easily spell their names while leaving them in the deck). Having tried performing it both ways, I'm convinced that when using the Face-Up UnDo displacement, the effect becomes stronger if you can somehow use the cards you're removing, however trivial that use may be.

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So, with the help of my friends John Bannon and Dave Solomon, we tried to construct plausible uses for the Queens without significantly altering the basic effect. Since one Queen would be spelled for each selection, it seemed appropriate to introduce a subtle suggestion that the spelling might have been done in “either order.” This legitimates removing the Queens, so that they can be allocated between the spectators. Indeed, in our sessions we even experimented with giving spectators real choice of either face-down Queen, and then using equivoque, or a monte move, to make sure Adam received the QD. Ultimately opted for the simpler route, described in the text.

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The lesson I"ve learned is an important one, because it applies to other effects in this section (or ones that you create) that use the Face-Up UnDo. A presentational use for the two cards you remove can be a powerful disguise of the actual reason you're removing them (which is to accomplish the secret packet displacement). It justifies the action of removing them, draws some attention away from the face-up spreading, and helps create a time delay between the removal of the two cards and the ultimate discovery of the selections. The following effects, “Divide and Conquer” and “Random Tandem,” illustrate two different presentational Justifications for removing the two cards. (5) Faro 18/35 Restacking, as an Alternative False Shuffle. Here's an interesting alternative shuffle, for those of you who do faros. Start with the red Queens at positions 18 and 35 (instead of 17 and 36). Now, you can do as many perfect out faros as you'd like, and the Queens will remain at 18" and 35" positions (switching back and forth, with cach faro shuffle). After shuffling, comment, “You might think I know the top or bottom cards, so we'll

QUEENSPELL

bury them.” Here, (anywhere between

18

19

remove the top and bottom cards, and insert them into the center and 35). The Queens are now at 17" and 36", ready for “Queenspell.”

(6) Positioning the Queens. I've tried to devise a way to set the two red Queens into position on the fly. Here’s how I proceed. Start by cutting or culling one red Queen to the top the bottom. Then, in the guise of looking for a Joker, or while of the deck, and the other with the deck, “toying” spread the cards face up from the left hand to the right hand, as follows. First, push off a total of 17 cards (five groups of three each, plus 2 more single cards); then square up those cards in your right hand and continue spreading a total of 18 more cards (six groups of three each) onto the face of the right-hand cards. Finally, separate the spread at that point and drop the balance of the left-hand cards onto the face of the right-hand packet. The red Queens are now at the 17™ and 36™ positions.

to

Occasionally you may be able to devise some counting shortcuts, depending on what your preceding effect is. For instance, if you've just finished an Ace assembly, you may be left with a group of 16 cards, or at the end of a poker deal, you may have 25 dealt cards out on the table. I'm constantly on the lookout for such “fixed” known numbers, because they can provide a head start in setting up the next trick. It just may save some “in the lap” counting. (7) Spelling Pairs in the Aronson Stack. Yor those rcaders who usc the Aronson stack, you'll find that there are several pairs of mates that are already exactly positioned to spell for an effect parallel to *“Queenspell,” with just one pre-cut. Check out “Threespell” p. 257.

Divide And Conquer some ways this is the most subtle of all the UnDo Influence effects. Instead of playing the opposite up the apparent importance of two cards that get removed, this routine goes and direction simply tosses a couple of cards aside, as a prelude to further eliminations. Here, the UnDo Influence control piggybacks with a completely different mathematical principle, and the synergism is both efficient and doubly deceptive. Finally, this application of UnDo Influence about as close to impromptu as you can get, because here you don’t have to preset any particular cards at certain locations.

I:

in

is

Effect Two spectators each freely cut to and remember a card and then replace their packets to reassemble the pack. The performer announces that he will find the two selections by the process of elimination. He straightforwardly names two cards — and announces that they are not the selections. He openly runs through the pack and removes those two cards, tossing them aside. Tabling the pack, he states eagerly, “Two down, only 50 to go.” Sensing that his audience may not be looking forward to repetitive eliminations of only two cards at a time, the magician announces that he’ll speed things up by eliminating half the deck all at once. Ile rapidly deals the entire pack back and forth into two face-down piles, and without even looking at any of the faces he eliminates one complete pile, leaving him only half the deck. He repeats this dealing process several times, each time tossing one dealt pile aside left with only two face-down cards. to eliminate it, until finally he

is

The spectators name their selections, and the final two remaining cards turn out to be those exact cards.

Working This effect is virtually self-working. As before, we'll use a full 52 card deck. The only preparation is to secretly learn the identity of whatever two cards occupy the 11% and 36® positions from the top of the deck. You can get this advance information easily by simply faces at the end of prior trick, or as you supposedly check for Jokers. counting through

the

a

Here's another way of learning the two necessary cards, without having to spread through the

faces. Just split the deck exactly in half for a Faro check to learn the identity of the 26™ card, and while you're holding the two halves in faro position secretly glimpse the top card of the deck as well. Replace the halves together, so at this point you know the cards at positions |

DIVIDE AND CONQUER

21

and 26. Undercut slightly less than half of the pack and commence an overhand shuffle, first running ten cards singly. Injog the next card and shuffle off the balance. Now simply cut the injog and complete the cut. The extra ten cards you've added have moved your two known cards down to the 11" and 36" positions, so you're ready to start.

at

generally table the deck to create a time delay before I begin. For illustrative purposes, let's be the card at the 11 position and the Jack of assume that the Ten of Spades happens Diamonds is at 36". In fact, you don’t even need to remember which card occupies which position; just remember the two cards.

1

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By now you're familiar with the UnDo Influence selection and replacement procedure — it’s the same as was uscd in the previous two cffects. Let's just touch on a few cut off about half the deck and to then look at the details. Ask your first spectator, Adam, card at the face of the packet he’s cut. Adam actually has an extremely broad range within which he may cut, anywhere from positions 12 through 34 inclusive. I like to guide him toward the halfway mark simply because the deeper Adam’s cut is, the easier it is to subsequently guide Bonnie's cut deeper, anywhere below the 36" card. 1)

to

his

Once Adam has made cut, ask Bonnie to “cut offa nice big chunk.” The only requirement is that Bonnie must cut deeper than the 36" position. ITave her also look at and remember the reassemble the deck. card she’s cut to. Then have both packets replaced, in inverted order,

to

Explain, “The odds are 52-to-1 against finding one selected card, but when there are two selections, the odds against me multiply vastly, so it’s over 2500-to-1 against my finding both your cards. But I'm going to try anyway, by using the process of elimination. Each of you just think of your cards.” Pausc for a moment, look at Adam, and continue “yes, the Ten of Spades," reciting onc of the two cards you're remembering. Immediately Spades look at Bonnie, saying, “... and the Jack of Diamonds. I'm very confident. The Ten the cards those not picked. Right?” two are definitely and the Jack of Diamonds, you 2)

of

a

trick. Your spectators may chuckle or look disappointed because so far that’s not much of But you continue enthusiastically, “See, I fold you the process of elimination works. We've already eliminated two cards.” As you say this, pick up the deck and start to spread it face so that the faces are plainly visible to your spectators. You up between your hands, holding don’t want to appear to be hiding anything. Run through the cards fairly rapidly to find and remove the two cards you just named. Actually, as you spread the deck and remove the two “eliminated” cards, you'll secretly perform the Face-Up UnDo, exactly as described in step 5 of “Queenspecll.”

it

The mechanics ofthis secret packet displacement and the rationale for your removing the two cards both flow naturally from what's just occurred. More specifically, as you spread through the faces you'll first spot the card that occupied the original 11" position (in our example the 10S) somewhere about a third of the way from the face. At that point, casually break the spread, toss the Ten face up on the table and continue spreading (using the Face-Up UnDo handling) until you reach the JD. Toss it out onto the table face up, square the rest of the pack (completing the Face-Up UnDo) and table the deck face down. Status: if you check, you'll

22

UNDO INFLUENCE

find that, as a result of the Face-Up UnDo, the two selections have been controlled to positions 24 and 40 in the remaining 50 card deck. You don’t need to remember these numbers, because from here on everything works automatically. 3) Pick up the two eliminated cards and say “I had a goodfeeling these weren't your cards.” Casually toss the 10S and JD aside face down, where they will form the beginning

of a discard pile.

say triumphantly, “That's two down, only 50 more to go.” Look at your spectators and say somewhat eagerly, “Okay, let 's eliminate another two cards.” Then pause, and look a bit taken aback as you apparently notice a quizzical look on the faces of your spectators. “Oh, I guess it may take awhile if we only eliminate two at a time. So let's speed itup abit.” As you say this, pick up the deck and start dealing it back and forth into two piles, dealing as rapidly as you can. Start bydealing the first card forward toward the spectators and the second card back to you, if you were dealing two poker hands. But just keep right on dealing the entire deck back and forth until it’s been divided into two halves by your alternating deal. The presentational challenge to keep talking during the dealing process, because otherwise the dealing can become boring. I maintain an upbeat attitude, chatting about how the process of elimination is based on math and odds, and therefore it must be scientific in some way — all the while dealing the cards. I

as

is

When the deck has been divided into two piles pick up the forward hal f' (the one to which you dealt the first card) and hold it face down, commenting, “/ won't even look through these cards. We'll just eliminate them all at once.” 1lere, cavalierly toss this entire half aside onto the discard pile you previously started. 4) Immediately pick up your remaining half and say, “You know the laws of chance are clearly against me. The oddsthat 1 still have both your cards here are now only I out of 4, so there's a 75% chance that I've already screwed up the trick. But let's eliminate a whole bunch more.” As you speak, you'll commence a second back-and-forth deal with your

is

remaining half. The dealing procedure easy to remember because it’s exactly the same each time: start the deal with the first card going to spectators, and that first pile dealt is always

the

the one that gets eliminated. Each successive deal moves faster, because there are fewer cards. You can deal casually, even sloppily, so long as don’t miss cards and so long as your you any half stays in order. The dealing procedure is mechanical and invariable, so you can deal without thinking and just concentrate on your spiel. You can chatter about how scientific the elimination process is, or howthe odds become increasingly greater, or how you developed this trick while playing solitaire. The important thing is simply to keep the pace moving. The final card of this second deal will fall to the spectator (because you started with an odd number of cards, 25). That's fine. Just deal it with abandon. Once you complete this second round of dealing, again pick up the forward half and casually toss it aside onto the discard pile, saying “Well, we ‘ve eliminated lot a of cards, so now the odds are only 1 out of 16 that I still have both your cards.” 5) Look at your spectators and say, “You

I should eliminate even more cards.”

don't seem particularly impressed. Maybe Immediately commence a third deal with your

remaining pile, following the standard procedure. When you finish dealing, once again pick

DIVIDE AND CONQUER

23

up the forward dealt cards and toss them onto the discard pile. Pick up your own remaining packet (it will only contain six cards) and display how small it looks as you explain, “For those of you with a calculator, the odds are now more than 250 to against me that I still have both your cards. The difficulty factor is so great that you should be impressed even if

|

I miss!”

6) Pause as you look at your spectators, “But somehow you still don’t look impressed, so I'll eliminate even more cards.” While you speak perform one more back and forth deal, and again jettison the forward cards aside onto the discard pile. Comment, “The odds against my still having both your cards left are now infinitesimal — which is a very high number!”

your few remaining cards between your hands to reveal that your pile now consists of only three cards. Say, “I can't possibly eliminate any more cards than this ... no, wait, I can eliminate one more card.” As you utter this final sentence, take the top card of your three-card packet and toss it onto the discard pile, lcaving you with only two cards remaining. Conclude, “Well, that's the process of elimination. I can't go further than that” 7) Spread

(with a nod to Stewart James).

8) Hold your two remaining cards so that only you can see their faces and ask Adam selected card. When he does dramatically toss his card face up on the table. Then to name reveal Bonnie's selection in the same way for a double climax.

his

Comments (1) Learning the Indicator Cards. The faro check method mentioned in the text is an efficient way of learning the identities of the two cards at 11™ and 36™ position. It’s also open to the following variation. As in the text, use a faro check to learn the top and bottom cards of one of the 26-card halves, but instead of replacing that half on top, put on the 52™ bottom as you reassemble the deck. You now know the 27" and card. If you now move the top 16 cards from top to bottom, your two known cards will be in the correct positions. You could run off 16 cards with an overhand shuffle, or just start to spread the cards face down between your hands, secretly sight counting the top 16 cards. Obtain a break bencath these 16 cards, square, and cut the break.

it

at

Here's how I set up, spreading from the face of the deck. Take a shuffled deck and as you start spreading the faces, note and remember the bottom (face) card of the deck. You're going to spread and count a total of 36 cards, but here’s a simple way to count them quickly and without losing your place. Sight count the first 12 cards by pushing off four groupe of three, silently counting the groups yourself “1, 2, 3, 4.” Continue spreading, repeating this same group counting for another 12 cards. You've spread through a total of 24 cards. Now repeat this same group counting for a third set of 12 cards, but as you push off the first group of three cards, note and remember the middle card of this three card group. When you've counted this last set of 12 cards (for a total of 36 cards), just cut the deck at that point. The two cards you remembered are now in the correct 11® and 36" positions.

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24

UNDO INFLUENCE

(2) The Process

of Elimination.

The presentation of finding the two selected card much variation. For instance, instead of casually tossin, open to packets aside with abandon, you could change the presentation so that after each round o dealing you take one pile in cach hand and carcfully “weigh” them, trying to receive som vibration or mental impression.

by successive eliminations

If you're

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at

of

adept equivoque, on each round you might have one or the other the spectator: point to a pile and then play off his response, nevertheless always eliminating the pile yor know is appropriate. John Bannon uses a humorous equivoque: he apparently offers the spectators a choice of piles. If they guess right, he says “Right!” and eliminates it; if the; guess wrong, he tells them “Wrong!” and climinates the correct pile anyway.

(3) Controlling the Aces. Ilerc’s an interesti ng adjunct the “Divide and Conquer” procedure that you may want to experiment with. Pre-set the four Aces positions 4, 8, 9 and 10 from the top. Now remember the identity of the two cards at positions 11 and 36 and perform “Divide and Conquer” exactly as written — with just one difference. Each time you deal the cards, keep the discard piles separate. Since you deal four times, you'll be left with four separate discard piles in a row on the table. (At step 7 toss the single card onto pile 4). Despite the spectators’ free cuts and the multiple rounds of dealing, you'll find that the rop cards of piles 1 and 3 and the bottom cards of piles 2 and 4 are the four Aces. To reveal them, Just turn the top cards of piles 1 and 3 face up and replace those Aces back onto their respective piles. Then turn over the entire piles 2 and 4, reveal the remaining two Aces.

to

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I’m not a big fan of “kicker” climaxes, and I'm not recommending that you add the above Ace climax to “Divide and Conquer.” I point out this ability to secretly maintain control of these four cards throughout the routine only as a preview some of the stack-preservation features of the UnDo Influence control discussed later.

of

But there is a practical use for controlling these four cards. Instead of revealing the four Aces as a kicker, you could instead save them for use in a subsequent effect. For example, here's one sequence that works well. When you finish “Divide and Conquer” casually collect the four separate discard piles by dropping pile 1 on top of pile 4 and pile 3 on top of pile 2. This leaves you with two combined packets, cach having an Ace on both the top and the bottom. You now can go directly into my “Mark-a-Place Aces” from The Aronson Approach. Briefly, spread each pile and have a spectator touch any card, which is turned face up to mark its place in its respective half. Actually, you secretly perform my “Mark-a-Place” move (described in “Spell It Out” later in this volume). Then reveal that the cards on either side of the touched cards are the four Aces. You could, of course, substitute Bill Simon’s Prophecy Card move, using the two selections left over from “Divide and Conquer” as the two stabbing cards. Alternatively,

once you've assembled the two piles with an Ace secretly the top and bottom of each, you're in a perfect position to perform a sleightless production on of the Aces, using the

Gemini “deal and stop” procedure (twice on each separate pile). I recommend Dean Dill’s suggestion of using four $1 bills and having the spectator insert them at each “stopped” point. (For further discussion and variations, sce Allan Ackerman, Las Vegas Kardma, 1994, pp. 13-

DIVIDE AND CONQUER

25

21; and my “Quadmates,” Simply Simon, p.73). (4) Background and Credits. Credit for the alternating elimination deal to the table belongs to Lennart Green. Lennart’s version involves only one selected card and can be seen in his effect “One in Fifty-Two Bet” (A-1 MagicalMedia Videotape Green Magic, Volume 3, 2000). Lennart uses a totally different control to place the single selection into the requisite numerical position. When I saw Lennart’s routine I instantly realized that I could double the number of selections by using my UnDo Influence control. I worked out the necessary elimination positions for two cards, and I added the joke of the first two “eliminated” cards, which provides the excuse for performing the secret packet displacement. Lennart and I sharc a penchant for stacks and things mathematical, and I've enjoyed his friendship, his magic, and his confidence for several years. My wife Ginny will never forget Lennart’s FISM act, in part because of the unique context in which she viewed it. Lennart had come to Chicago to deliver an evening lecture and planned to stay at our home. I had raved to Ginny about this “must see” magician, but unfortunately Ginny had an important meeting scheduled for early the following day, and she had alrcady gone to bed by the time Lennart and I arrived home. Lennart and I then scssioned together until the wee hours of the morning, finally retiring to bed. Bright and early the next moming Ginny was preparing to leave for work, but I felt it would be a shame if she completely missed meeting Lennart. So, I asked her to wait a minute while I woke up Lennart, just to say hello. Lennart stumbled into the kitchen, please perform just one thing — anything onlyhalf awake, and greeted Ginny. I begged him — for Ginny before she left. He wiped the sleep from his eyes, sat down at the kitchen table — and proceeded for the next 20 minutes to do his entire FISM act just for her! Hc was wider and wider Lennart’s miracles and as Ginny's eyes kept getting completely prepared, unfolded. It was one of the best “impromptu” magical performances I've ever witnessed.

to

With

Lennart and Jim Steranko

Euph-oracle

(an Alternate Take)

preceding climination plot is an intriguing one, but it’s not limited solely to the particular back-and-forth dealing procedure that’s described in “Divide and Conquer.” Indeed, the UnDo Influence control can be applied in combination with other elimination procedures — either mathematical or otherwise — wherever the ultimate outcome of such an elimination procedure depends on secretly starting with the two selections at two specific positions.

T=

After devising “Divide and Conquer” I came up with a different version I call “Alternate Take.” It uses a quite different elimination procedure that allows the spectator a free cut to divide the pack, which apparently randomizes the cards further. It moves faster than the back and forth dealing used in “Divide and Conquer” and can even be done entirely in the hands.

Ill first describe this

alternative double climination procedure separately, because it has other applications in its own right, quite independent from the UnDo Influence control. Once you understand how works, you'll see why UnDo Influence the perfect entry.

it

Euph-oracle

—

is

a Double Elimination Procedure

is

The “Euph-oracle” elimination procedure my elaboration of Karl Fulves “Oracle,” which applies repetitive Reverse Faros to winnow down a packet of cards until only one card remains. My refinement discovers a second selection by working a second set of Reverse Faros offthe bottom of the deck. Don’t worry, it’s not as complicated as the previous sentence sounds. In fact, you don’t even perform a faro. Here's the detail. For illustrative purposes, take a shuffled deck and note the identity of the card that exactly 16" from the top and also note the card that exactly 16" from the bottom. (Those are the two cards that the Euph-oracle elimination procedure will ultimately discover). After suitable false shuffles or false cuts, or legitimate shuffles that maintain the two cards in the above positions, ask a spectator cut the deck in half. In “Euph-oracle” the underling mathematical parameter that must be met is simply that, afler the cut, both resulting portions must contain at least 16 but not more than 31 cards. With full 52 card deck the “LEuph-oracle” procedure works so long as the spectator cuts anywhere from 22 to 31 cards inclusive, which offers comfortable leeway. There will be even greater leeway when we later apply to a 50 card deck in connection with UnDo Influence.

is

is

to

a

it

Pick up the original top half in your left hand and commence a Reverse or Backward Faro, as follows. Thumb the top card, taking it into your right hand in an outjogged position, then thumb the next card and take into your right hand under the first card but in an injogged

off

off

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EUPH-ORACLE

27

position. Continue this procedure, outjogging the third card, injogging the fourth, and so on until you exhaust the cards from the left hand. Just make sure that each card goes under the complete, strip out previous one taken, i.e., not reversing their order. When this procedure discard form them pile. a hand and left aside, to the place the outjogged cards with

is

Now repeat the same Reverse Faro procedure a second time with the remaining cards. As before, start with an outjog and then strip out and eliminate the outjogged cards. Toss the stripped out cards onto the discard pile. Now repeat this climination procedure twice more. After four such Reverse Faros you should be left with only one card, and regardless of where the spectator cut (within the limitations noted above) it will be the card that was originally 16" from the top. Without revealing it, put it face down on the table.

That's as far as Fulves’ original “Oracle” procedure went. You'll find that this in-the-hands alternate jogging can be done fairly rapidly, certainly quicker than reverse dealing piles onto

the table. Although the procedure is traditionally described (and is described by me above) as starting by always outjogging the first card, in fact this isn’t necessary. The only thing that’s necessary is to eliminate whichever portion (out or in) receives the first card dealt. 1 find this an easier rule to follow and it allows you greater freedom to control which portion will be eliminated, by simply starting with either an outjog or an injog as you prefer, and cven mixing your starting points on successive rounds. So, the procedure boils down to cards, and then observing to which portion the first alternatively outjogging and injogging dealt card went. Then just eliminate that portion. This formulation will make it easicr to remember my added “mirror image” procedure (described next) for discovering the second card.

the

Pick up the remaining packet (the bottom half) and, holding it face down in the left hand, immediately commence the exact same Reverse Faro elimination procedure described above Instead of watching where the first card goes, just watch where — with one simple difference. the last card (i.e., the bottom card) is dealt, either outjogged or injogged, and eliminate whichever portion receives that last card. Toss the eliminated cards onto the discard pile. Repeat the elimination process three more times, each time discarding whichever portion (out or in) receives the last card dealt. As before, you'll find that after four eliminations you'll be left holding just one card, which will the lone be the card you originally noted at 16™ from the bottom. Isolate it on the table next comfortable card that remained at the end of the eliminations from the top half. Once you get with simply watching the first card dealt (for the top half) and the last card dealt (for the bottom half) you'll find the procedures can be done without much thinking.

to

Depending on the particular effect you're performing, you could reveal the final two remaining cards with suitable fanfare as either predicted cards (per Fulves’ original presentation), or previously selected cards, or as matching mates, or whatever. Note that you can vary the order in which you perform the Euph-oracle elimination procedure. For instance, you could do the eliminations using the bottom half first, or indeed whichever half the spectator chooses. The order makes no difference.

28

UNDO INFLUENCE

Alternate Take

is

“Alternate Take” a variation of “Divide and Conquer” that combines the “Euph-oracle” elimination procedure with the UnDo Influence control. Nowthat you understand how the “Euph-oracle™ procedure works discover two cards, the application of the UnDo Influence entry is straightforward.

to

We're going to follow the basic plot and patter of “Divide and Conquer.” Before you begin, secretly learn the identities of whatever two cards occupy positions 16 and 33 in your 52 card deck (instead of positions 11 and 36 as in the “Divide and Conquer” text). Then follow steps I and 2 exactly: have the two selections cut, noted and replaced and then do your gag about finding them by of elimination. process Jokingly “eliminate” two cards by naming the two cards you previously remembered and then run through the faces and remove them. As you do you'll secretly perform the Face-Up UnDo. This will have the result of automatically controlling the two selections positions 16 and 35. (You'll note that these positions are 16" from the top and bottom respectively of the remaining 50 card deck, exactly where you want the cards to be for “Euph-oracle™).

the

to

From here on the effect works itself. You can use the same basic patter, just adapting the dealing of the tabled piles the “Euph-oracle” in-the-hands elimination procedure. Be sure to emphasize how the spectator’s cut of the deck into halves “adds complete randomness” to the order in which the cards get eliminated. Because this cut is made in 50 card the deck, a spectator can cut anywhere from 20" to 31" positions from the top inclusive, which conveniently adds greater lecway to the permissible cutting range.

to

You can now complete the effect as in the text, revealing that despite the freedom of the original selections and the random elimination procedure, the final two remaining cards are indeed the two selected cards.

I

Whether you prefer “Divide and Conquer” or “Alternate Take,” think you'll find that the use of UnDo Influence in conjunction with the elimination procedure transforms a fairly straightforward mathematical location into an inexplicable mystery.

Comments (1) More-or-Less-acle. Karl Fulves’ “Oracle” originally appeared in his magazine Pallbearers’ Review, Vol. 6 No. 1, November 1970, p. 374. Shortly thercafier Lin Searles contributed a surprise climax in which the four Aces were produced as the top cards of the four climinated discard piles (“Moracle,” The Pallbearers’ Review, Vol. 6 No. 6, July 1971, p. 430). The problem with such extra kicker endin gs is that they frequently telegraph the fact that a stack is involved. In my opinion, whether not such an ending is a benefit largely depends on how subtly one gets into and disguises the necessary pre-arrangement. One of the more successful uses of the “Moracle™ ending can be found in John Bannon’s “Beyond Fabulous” (Kaufman, The Looking Glass, Spring 1996, p. 56, also in John's Cardzilla is Coming lecture The

or

EUPH-ORACLE

29

notes, 1998) where John uses the “Oracle” elimination procedure to discover the final AS in the Henry Christ Fabulous Ace Routine and then, per “Moracle,” shows that he’s also produced the remaining four cards that make up a Royal Flush in Spades. My “Euph-oracle” procedure can produce not one, but two, sets of four-of-a-kind kicker a Bic-acle, or even a Twice-acle) endings — sort of a double “Moracle™ (maybe that makes in interested those For to? — but would experimenting, here are the bare bones. you really want

it

in

a regular 52-card deck pre-set the following cards at the Just for illustrative purposes, 16, AS at 37, following positions (from the top): 10H at 1, JH at 2, QIT at 4, KH at 8, AH KS at 45, QS at 49, JS at 51 and 10S at 52 (the bottom card). You'll note that the Spade positions are in fact at 1, 2, 4, 8 and 16 from the face, so they mirror the Heart stack.

at

Let’s put aside UnDo Influence for the moment, and focus solely on the elimination procedure. Cut the deck approximately in half (remember, anywhere between 22 and 31 inclusive) and just run through the “Euph-oracle™ elimination procedure for the two cut halves, doing the bottom portion first. However, when you strip out each discard portion, instead of combining the eliminated portions together into one discard pile, keep them separate so they form a row of four distinct, face-down eliminated piles. Then pick up the top half and again perform the standard elimination procedure, again producing four more scparate eliminated piles. This drop directly on top time, you eliminate cach of these discard portions from the top half, corresponding pile in the rowof four discard piles you previously of (so it coalesces with) At the end of all the eliminations you'll be left with only two half. formed from the bottom remaining cards — and four combined discard piles.

as

its

it

For the standard elimination ending reveal the two final cards are the AIT and the AS. Then for the first kicker turn over the top cards of the four discard piles to reveal the rest of the Heart Royal Flush. Finally for my added sccond kicker, turn over the four discard piles to reveal the rest of the Spade Royal Flush on the faces of the four packets. In our Saturday Chicago session group we experimented with many plots (producing two fourtotal often selections or a suit sequence running from Ace to Ten, ec.) of-a-kind, producing different controls to place two forced selections into the 16" positions from and a number top and bottom (try two crimps). I haven't yet found a kicker ending that’s worth the elaborate set-up, so ultimately | opted for leaving those creations on the cutting room floor. That's why the heading of this comment and variation is “More-or-Less-Acle.”

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a

In my opinion, perhaps a more deceptive usc for these eight controlled cards is not as a surprise kicker, but as a delayed set-up for use in the next trick. Just use the “Euph-oracle™ climination process to discover two selections, predictions, or mates. Now, you're way ahead because you've secretly controlled eight specifically planned cards (for example, four Aces and four Kings) to the tops and bottoms of the discard piles. Then proceed with your next effect, where you can use them either as secret key cards or to be magically produced. See to “Divide and Conquer” for some suggestions. comment

3

(2) Alternate Take with the Additional Climax. The comment above describes the cight-card kicker that can be obtained using the “Euph-oracle” procedure, but that was without

30

UNDO INFLUENCE

the UnDo Influence entry. Since UnDo Influence starts with two free selection cuts, it might seem that this kind of kicker ending could not survive the UnDo Influence procedure. Ilappily this is not the case. In fact, you can still produce four (not eight) climax cards with a fairly easy set-up, which makes for a potent weapon. Here's a brief illustration.

Let's perform “Alternate Take” exactly as written, but in addition to knowing the 16" and the 33" card, also pre-set the four Aces at positions 8, 12, 14 and 15 from the top of the deck. Now run through “Alternate Take” but conduct the elimination procedure exactly as described in comment (i.e., do the bottom portion first, keeping the four discard piles separate. Then drop the top four discard piles directly onto the bottom four discard piles). You'll bring the

1

cffect to its successful conclusion, winding up with the two selected cards as the two final non-eliminated cards. But you'll also have the four Aces at the faces of the four discard piles, to reveal or use as you like.

(3) Alternate Take Deck Switch. Josh Jay prefers “Alternate Take” because he’s found it can actually be done walk-around, by using your jacket pocket to dump the discard piles. But there’s an additional advantage: a deck switch. Ilere’s Josh's idea. Have a stacked cold deck already in your jacket pocket, with something to act as an impromptu pocket divider (c.g., a comb, the card case). Perform “Alternate Take” exactly as described, repeatedly depositing the discard piles into your pocket (on the other side of the divider) until only the final two cards remain. Reveal them as the sclections and take your applause. Now remove the cold deck from your pocket, deposit the two selections on top, and casually cut the deck. During the offbeat, casually fan through the pack with the faces toward yourself, as you comment, “I'll remove the Jokers for this next one.” Actually upjog the two selections you just replaced into the deck moments ago. Then simply remove and pocket them without ever actually showing them to be Jokers. This effectively gets rid of the duplicate selections, without the necessity of palming them off. You're now left with a fully stacked deck for your next miracle.

Random Tandem \A/

ith the previous effects under your belt, you should be able to zoom through this next one. Once again, we'll locate two selections, this time with a “mental stop” procedure. But there's an added twist — we'll discover them simul taneously.

Some magicians don’t particularly care for presentations where the cards are person fied, but please bear with me. My patter about detectives finding criminals is completely optional (indeed, I suggest alternatives in comments 2 and 3). My main point is to offer another subtle application of the UnDo Influence control.

Effect

a

The performer gives an illustration of how team of detectives can track down two arch criminals. He explains that the two black Jacks are the detectives, and he enlists the help of two spectators to act as witnesses to a crime. Each spectator selects a “criminal” by freely cutting to a card in the deck. Each remembers his or her respective criminal card, and the deck is reassembled. The magician removes the two black Jacks, explaining that these detectives will divide the territory, so that cach can search for one of the criminals. One of the spectators stabs either frecly divide the pack into two piles. The deck is of the detectives anywhere into the deck the point indicated and one of the halves is tumed face up. The two detectives are separated left on the table face up as “leader” cards, so they can “scrutinize” the cards as they are dealt. The performer commences dealing cards from the two piles in pairs, simultaneously dealing one face up and one face down. The spectators are asked to watch for their selected criminal say anything. As the magician cards, but if they happen to sce one, they are cautioned not is card; indeed one of the spectators’ deals, he suddenly stops at one particular face-up criminal cards.

at

to

to

it

explains that the detectives have long known that criminals always work in pairs. He turns over the face-down card that he has just dealt (the one “paired” with the face-up selection), and

He

it is revealed to be the other spectator’s selected criminal card.

Working By now you'll recognize the UnDo Influence procedures at work. But we'll get a “freebie” randomly added climax, with a ruse that makes it seem as though the spectator himself determining the make up of the two piles.

is

Secretly pre-set the two black Jacks

at positions

14 and 29, and

you're readyto go.

32

UNDO INFLUENCE

1) Begin your spiel about detectives and crime solving, “Have you ever heard of the Blackjack Detective Agency? It's operated by Jack Spade and his partner, Jack Club. The black Jacks are worldfamous detectives, but the ‘re y stumped by a crime wave raging thro ugh this deck right now, perpetrated by two arch criminals. So far, no one’s ever been able to identify the two villains.” Address your two spectators, Adam and Bonnie, “I'm going to ask the two ofyou to put your lives on the line, and act as witnesses who just happen to catch a glimpse of these two criminals. And, once You see these evildoers, know I you'll remember their faces for as long asthey let you live.” Obviously write you can your own script (you probably want already), but whatever you say, it’s important to mention the two black Jacks, so that their eventual removal will have been foreshadowed in this preliminary patter.

to

We'll begin by having two selections made and replaced in the same manner used in the previous two effects. Tell Adam that he’ll “witness the Jirst crime and get a look at Public Enemy #1.” Ask him to cut off “slight!ly less than half the deck, so that Bonnie will have some cardsleft for her.” As the previous effects, Adam’s cut must fall somewhere between the black Jacks (more precisely, from position 15 through 27, inclusive) so the limiting phrase

in

“slightly less than half” helps focus Adam toward the center of the permitted range. Have Adam remember the card he cuts to, “because you're the sole witness this arch criminal 's

appearance.”

to

2) Repeat the selection process with Bonnie, making her the only eye witness to Public Enemy #2. Her only limitation is that Bonnie’s cut must fall somewhere below the 29 position, which should cause no problem. I explain, “These two criminals have lefi no evidence, no fingerprints at the scene of the crime, and the only way the detectives can solve this crime is with the help of our two brave witnesses. 3) After both spectators have viewed and memorized their respective “criminal” cards, have the packets replaced back on the deck — in inverted order, just in the previous effects. This is a good place to throw in a casual false shuffle, to show howthe criminals are “lost in the deck.”

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4) Remind your audience, “Let's find the Blackjack detectives and see if they can solve the crime — with the help of our witnesses.” As you say this, openly spread through the deck face up, and remove the two black Jacks as you come to them, dropping them face up on the table. In fact, as you remove the Jacks, secretly perform the Face-Up UnDo displacement exactly as described in step 5 of "Queenspell.” Table the rest of the deck face down in front of Adam. Display the two detectives, as you embellish on their detecting prowess. I'll often joke with something like, “You may have read about the famous detective Sam Spade — well, this is his brother, Jack Spade. Do you know why he only has one eye?" - here, point the head of the IS ~ "it's because he’s a private eye.” (Now you'll definitely want to write your own lines).

to

5) Ask Adam to pick up either of the detectives, as you explain, “The detectives divide up the territory between themselves, so please stick that Jack somewhere into the

RANDOM TANDEM

33

pack, wherever you like.” Here, simply have Adam insert his Jack face up, so great that there’s virtually stabbing into the center of the face-down deck. Your leeway no way that Adam can go wrong — because the UnDo Influence procedure already has secretly that Adam the 14™ and 39™ positions! The only requirement controlled the two selections insert the Jack anywhere between those two numbers. Given those parameters, I don’t find it necessary to guide Adam any further; indeed, you'll see from what comes next that the resulting picture looks even more random if the two piles are uneven. middle

of the

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it

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to

Once Adam complies, very cleanly ribbon spread the deck from left to right across the table, to reveal the face-up Jack. Explain, “We 'll divide the deck exactly where Adam indicated.” Using both hands, split the spread into two portions by pushing all the cards immediately below the Jack to the left (squaring them into a pile), while your right hand pushes the cards above Jack to the right (squaring them to form a second pile). Place one Jack face up in front of cach pile. I explain, “Each of our detectives will keep an eye on one part of the deck, trying to track down our two criminals.” You've been completely fair, and actually have separated the deck at the point Adam freely chose; this should be a particularly fooling point to those attempting reconstruction.

the

Continue, “We 're going to conduct a lineup, and since you two witnesses are the only ones who can identify the criminals, our Blackjack detectives need your help. But there's no Witness Protection Program available, so to safeguard your own lives, the detectives don't want you to say anything.” Without comment, casually turn the pile on the left (i.e., the cards that comprised the Jower half of the deck before the ribbon spread) face up (Figure 1). 6) You're now going to commence a “tandem” deal, taking cards from the two piles simultaneously, dealing them forward, and depositing them onto the two face-up Jacks as still “leader” cards. Your right hand takes the top card from the face-down pile and places the from face-up face down, onto one Jack, as your left hand simultaneously takes the top card in this Continue tandem, Jack dealing the 2). facc other (Figure pile and deposits up onto making it clear that cach face-up card is “paired off” with its corresponding face-down card.

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|

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Before I begin this tandem decal, I explain, “We 'll take these two piles exactly as Adam has separated them. I have no idea whether either of the criminal cards might be in the face-up pile or in the face-down one. I'm going to start dealing cards from these piles simultaneously, and both ofyou witnesses will watch the face-up cards as I deal. Ifeither ofyou happens to

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34

UNDO INFLUENCE

see your criminal card when 1 deal it, just mentally think ‘stop’ — but keep that thought just to yourself. The detectives don't want you risking your lives by giving any verbal help or telltale signs. So really watch carefully, but ifyou see a criminal pass by, you have the right to remain silent!” Make sure the spectators understand their task. Methodologically, there’s nothing left to do except count because the two selections will both be dealt simultancously on the 14" pair you deal. That's because Bonnie's selection was controlled to 39" position, which, when you think about is also the 14 position from the the deck. The ruse of letting Adam divide the deck wherever he likes is simply Jace of “smoke,” because once the lower half'is turned face up, it actually makes no difference where Adam cut! (Not only does this fact somehow escape notice, actually enhances the apparent randomness of the spectators’ cuts and choices).

it,

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7) Continue dealing in tandem as you patter about “rounding up the usual suspects.” As you deal, secretly count the number pairs you deal. (Actually, there's an even easier way

of

that avoids having to count; see comment 4). As you deal the 14® pair, stop suddenly, as though influenced by a “mental surge.” Explain, “The detectives Just received a mental clue, and told me stop right here. They 're telling me that you, Bonnie, just recognized this Four ofSpades (or whatever card happens fall 14" in the face-up pile) as the mastermind criminal you've been thinking of— is that right, Bonnie?" Here, gesture with the face-up card to your second spectator. And, of course, you'll be right. Pause to let this first climax sink in.

to

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8) “But there's still one more criminal on the loose. Adam, you haven't seen your Public Enemy #1 yet, have you?" When he responds no, continue, “Well, our criminals are members of the same gang, and they always stick together. You've seen how we've been dealing these suspects in pairs, and every face-up card has been paired with just one facedown card. Adam, it would be amazingly good detective work if you cut this deck so that both criminals happened to be dealt together, wouldn't it?” Here, pick up the last dealt face-down

card (the one that was paired with Bonnie's selection) and gesture toward Adam, asking “What was your criminal card?” When he names it, turn it over to reveal that the detectives have indeed found both criminals simultancously, “because crime, like magic, does not

pay."

Comments (1) Alternative Positions. This effect is a good illustration of the flexibility of the UnDo Influence concept. You can (within limits) choose the resulting positions of the selections, measured from either end of the deck. The math formulas (discussed later) will then tell you where to place your indicator cards, to achieve the desired results. More specifically, you aren’t necessarily tied to having the selections appear 14" fromthe top and bottom, as described in the text. Here arc a few more alternatives:

RANDOM TANDEM

Ending Position (from top and bottom)

2

Indicator Cards Start At and and 15 and 16 and 12

[3%

13

Ish 16™

35

25 27 31

33

and so on. As you can see, I've used the combination which I think optimizes the permissible cutting ranges for the selections, but depending on the trick you're creating, you'll have a number of choices. (2) Alternative Presentations. My choice of the black Jacks is somewhat arbitrary; makes for an (arguably) humorous patter theme about detectives and criminals. just Obviously, you're free to choose any other pair of cards and construct appropriate patter around them. For example, instead of the Jacks you could substitute, say, a pair of Queens, and talk about how woman's intuition will help you find the selected cards. Or, you could use two sevens, which are “lucky numbers” that can help you find the “lucky cards” chosen by each spectator. (When I experimented with sevens, I even considered “7 pointing out, plus 7 equals 14, so let's deal exactly fourteen cards, startingfrom where Adam divided the pack”). Indeed, you could skip any attempt to weave the two cards into the plot and instead remove and toss aside the two Jokers. Go through the tandem deal, without any face-up leader cards, and you'll still achieve the desired climax (but remember to adjust for 54 card deck). a it

[do want reiterate that a key to making the Face-Up UnDo displacement occur subliminally — even though it physically occurs under the open eyes of your audience — is to provide some to

logical rationale for the spreading and removal action. That's why it’s important for the the game that the trick involves the two Jacks (or whatever spectators to understand early pair you plan to remove). You want the removal of two particular cards to be foreshadowed, so that there's no uncertainty (and thus less curiosity) over what you’re about to do as you begin to spread the cards.

in

As a matter of fact, it’s not absolutely necessary that you remove any cards (as “Twice as Hard” illustrates later on). All you need is some plausible excuse that justifies running through the cards, just enough to accomplish the secret displacement. The UnDo Influence essay suggests a few morc approaches. (3) Blind Luck. This effect can be built up into a dramatic piece that plays bigger, a simple but powerful touch of showmanship created by Darwin Ortiz — and that is to present the tandem deal revelation blindfolded! (see “Blind Aces,” Ortiz, Cardshark, 1995, p. 95). Once the deck has been divided into two piles, ask Bonnie stand behind you and to cover your eyes with her hands. Thus “blindfolded,” proceed with the tandem deal and stop as you deal the 14" pair. Being blindfolded makes no difference to the but method, dispels any notion of key cards or the like. (My suggested presentation theme: “In the land of the blind, the one-eyed man is king.” Use the JH and the JS (the one-eyed Jacks) as the two indicator cards, and remove them (as you secretly accomplish the Face-Up UnDo) to serve as “leaders” for your dealing, since you'll be blindfolded). by adding

to

it

36

UNDO INFLUENCE

(4) Key Card Variation. In the text | focused on how the selected cards appear as the pair you deal, because I wanted you to appreciate how the UnDo Influence procedure controls the two selections simultaneously to 14™ from the bottom and top of the deck. But you don’t really need any to remember any numbers to accomplish the effect because there's an even simpler shortcut that completely eliminates the silent mental count to 14. The tradeoff is the use of one key card, but it couldn't be easier: when you start, just remember the original top card of the deck. This key card will be appear in the face-up pile immediately preceding Bonnie's selection (i.e., your key will be the 13" card dealt). Instcad of counting, just watch for this key card and then stop on the next card dealt (but don’t try this version blindfolded). 14™

This proximity of selection 2 to the original top card is a corollary of the interesting fact that, during the UnDo Influence procedure, the entire top stack of cards is maintained in its original order, and this stack is then delivered to you, immediately after you deal/count to the second selection. This feature will be used to great advantage in the next effect “Worker Bees,” and is discussed further the concluding essay.

in

(5) Shuffles. 1f you want to give the deck a casual shuffle and still maintain the Jacks positions 14 and 29, the overhand jog shuffles described in “Prior Commitment” (both and the variations embellished in that trick’s comment 3) work finc here. at step Alternatively, you can use a vanation of the “double Ireland” shuffle described in “Queenspell.” Just start by sctting up the Jacks at 14™ and 29" positions from the bottom (instead of from the top); this allows you to give the deck one overhand shullle, being careful to run single cards as you approach the approximate positions of the Jacks. After reversing the set-up with one overhand shuffle, the Jacks will end up at 14™ and 29" from the top, ready to go.

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1

(6) Setting Up. Here's a quick way to place the Jacks into positions 14 and 29 from the top. Start with one Jack on top of the deck, and the other on the bottom. Hold the deck face up in your left hand, and spread the cards into your right hand, pushing off a total of 14 cards (four groups of three each, plus 2 more single cards). Square up those cards in your right hand and repeat the exact same thing again, i.e., spreading 14 more cards ontothe face of the balance right-hand packet. Finally, break the spread after that second group of 14 and drop of the left-hand cards onto the face of the right-hand packet. Turn the deck face down and you're ready to go. The Jacks will now be at 14" and 29" position.

the

(7) Sympathetic Selections. 1’ve long favored plots where two selections somehow magically appear together “sympathetically.” It’s a premise that plays especially well for a romantic couple, where you can use the emotional hook of two people being “on the same wavelength.” I’ve experimented with a series of such tandem deal plots in my various “Doublestop™ effects (culminating in “Doublestop Simplified,” Simply Simon, p. 79). “Random Tandem” is my current favorite because the control is more subtle (and the back and forth dealing required in my “Doublestop™ variations has been completely eliminated). Indeed, Adam’s final cut seems 10 take the makeup of the piles completely out of your control.

Worker Bees

S

o far the effects in this section have involved the pre-arrangement ofonly two cards.

If

you combine the UnDo Influence control with a fully stacked deck, the miracles multiply. The present routine incorporates ideas from the preceding effects, a special stack, and a concept I call the “double progressive” speller. The product is a three-phase spelling routine, with each phase more impossible than the last.

Effect Two spectators, Adam and Bonnie, cach freely cut to and remember a card and the deck is then reassembled. The magician explains that he hasn't quite worked all the “bugs” out and ribbon spreads the deck face down, revealing two cards with “bees” on them (the Jokers from a Bee deck). He explains that these aren’t just ordinary bees, they re “spelling bees,” and offers a demonstration. One of the spectators freely cuts the deck in half, and each spectator takes one pile. Bonnie's dealing pile is turned face up, and Bonnie names her selected card. The magician spells to is staring her in one card for each letter, and at the final letter of the spell, Bonnie's selection the face.

it,

Adam’s half is kept face down. Adam doesn't name his card; in fact, he merely thinks of its name, silently spelling it to himself as the magician deals cards. Amazingly, the performer stops dealing exactly when Adam reaches the final “s,” and when the next card is turned over it proves to be Adam's selection. The performer offers to try once more, this time under challenge conditions. He fans a large packet of cards in front of Bonnie, and asks her to merely think of one. The entire deck is then reassembled and shuffled. The deck is then given to Bonnie, who silently spells to the card she’s just thinking of. The card at the end of her spell is revealed to be her mental selection.

Working The Worker Bee Stack The deck must contain all 52 cards, and will be stacked according to a special arrangement (which is based on the number of letters needed to spell cach card’s name). There's actually a fair amount of flexibility within the stack, but for descriptive purposes, here’s one specific full-deck stack that works fine. Let's call it the “Worker Bee” stack. Arrange your deck, from follows: top down,

as

38

UNDO INFLUENCE

3D, 5D, 38, 4H, 68, 2C, QD, 9D, AD, 9H, KC, 10C, 2S 6H, 2H, 4C, 9C, AH, 5C, 10H, AS, JC, 10S, JD, 9S, KI QC, 5H, JS, 8C, 3H, 7H, QS, 2D, 8S, 6D, 8H, 7S, QH 10D, 48, 58, KS, JH, 3C, 7C, 4D, 7D, 8D, 6C, AC, KD Comment 5 explains how the Worker Bec stack is constructed; once you learn its underlying parameters, you'll be able to sct it up faster and cven construct your own alternatives. (For a quick and practical way of keeping track of the stack, sce my suggestion for a “prompter” card described at comment 2 in “Choices,” later in this volume). appreciate that some readers may have already paused at this point, wondering whether it’s worth setting up an entire stacked deck just to work through this trick. T hope you'll take the time try it — you'll find that the synergism among the various principles makes one of the most deceptive spelling effects you'll ever perform. I

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The Bees Obtain two Jokers from a Bee deck; the sole reason for using this design is because of the picture of the jumbo Bee (see Figurc 1). While you (and your audience) may groan at the disarming, and more importantly, offers a plausible reason for these two puns, the humor cards to suddenly appear in the spread. Readers will already appreciate that the two Bees actually serve as the indicators, marking the place where the packet displacement will be made for the UnDo Influence control procedure. Since the Bees function somewhat as a “gag” there’s no special reason why their backs must match the backs ofthe deck you're using — but if they do, so much the better.

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After you've arranged your deck in Worker Bee stack order, insert one of the Bee cards face up at 13" position from the top (immediately below the 10C in the stack). Insert the remaining Bee face up at 26" position from the top of the now full 54 card deck (i.e., immediately below the JD). 1)

You're going to begin by having two spectators, Adam and Bonnic, cach select a

card utilizing the same cutting and replacement procedures employed in each of the preceding effects. Adam cuts first, and your instructions must subtly guide Adam so that his cut falls anywhere from positions 14 through 24 inclusive. (This range comprises the “11 spellers,” i.e., the stack of cards each of whose name spells with eleven letters). 1 ask, “Please cut off slightly less than half the deck ...," and as soon as Adam makes his cut, I conclude my sentence, “... because we need to leave some for Bonnie.” You could alternatively suggest that he cut off “a third”

WORKER BEES

39

a precise sort of fellow. The cleven card bank is but here it’s particularly important to choose a spectator who

of the deck, if you think your

spectator

provides some leeway, to be careful and attentive. Once

the

first

appears selection has been made, you're home free.

Bonnie's cut can be anywhere within a 22 card range, from positions 27 through 48 (of the 54 card deck) so she’s effectively got free rein. 1 say, “Cut off about half the remaining cards,” both to be consistent with my previous instructions, and to try to guide Bonnie's cut toward

the center

of the 22 card range (where all the “13 letter” spellers are located; see comment 5).

Once the two selections have been made and noted, have the cut-off packets replaced in inverse order, just as in the previous effects. 2) Say, “I'm going to find your cards with a magic spell, but I haven't quite got all the bugs out. Look.” Here, snap your fingers over the tabled pack and then widelyribbon spread the deck from left to right. The two face-up Bees will stand out in the face-down spread. Hopefully this visual appearance of two “bugs” will produce a chuckle. Separate the spread at the points where the Bees are, push the Bees forward out of the spread, and then reassemble the pack. In fact, you'll perform the Face-Down UnDo exactly as described at step 6 of “Prior Commitment.” This is a completely natural action, and fits perfectly with your pun about “getting the bugs out.” To your audience it scems as if you've simply spread the cards, in fact, all you've done). But by pushed the Bees out, and gathered up the deck (which virtue of the UnDo Influence control, Adam’s selection has secretly been controlled to 12 position from the top, while Bonnie's selection has been controlled to 40" from the top (which is equivalent to 13" from the bottom). Both of the selections are thus automatically set to spell from the two ends of the deck.

is,

3) You'll now have Adam divide the deck approximately in half. You could simply ask Adam to “cut off half the deck, ” but I like to use the Bees as much as I can. I thus have the deck divided as we did in step 5 of “Random Tandem,” using one of the Bees as a stabbing card. Just hand one of the Bee cards to Adam and ask him to stab it face up into the middle of the pack “wherever he likes" (his permissible range is from 13“ through 39, so there’s no problem). When he does, ribbon spread the deck across the table and very cleanly divide it into halves at the exact point indicated by the face-up Bee. Slide the original lower half in front of Bonnie, leaving the upper halfin front of Adam. Emphasize that Adam “could have cut anywhere.”

The Face-up Spell 4) Remind your audience, “I said we 'd find your cards with a magic spell. You see, these aren't just ordinary bees — they 're spelling bees! So, we can spell to your card. In fact, I'll make it easy for you to watch the cards.” Pick up Bonnie’s half of the deck, turn it face up, and hold it in your left hand. Ask Bonnie to name her card aloud. When she does, explain that you'll spell one card for each letter, and she should make certain you spell correctly.

40

UNDO INFLUENCE

to

Worker Bee stack, Bonnic must have cut a card that spells with either 12 or 13 letters, and since the UnDo Influence control has placed her selected card 13" from the top of this now face-up half, you can successfully spell to it in either instance — without having to change your procedure. Let's suppose Bonnie’s card is the QH. Spell Q-U-E-E-N-O-F-HE-A-R-T-S dealing cards one a time for each letter to form a face-up pile on the table. On the final ‘s,’ Bonnie's QI will be staring her in the face. Everyone should be stunned. Put the selected QH in front of Bonnie, as a reminder of your feat. It doesn’t matter whether Bonnie's card spells with 12 or 13 letters, because you'll proceed exactly the same way either instance. If her selection spells with 13 letters, her card will appear on the °s’; if it has 12 letters, it will be revealed at the face of the left-hand packet, when you deal the “s” off. Since the cards are face up, you'll see where it appears, so there are no “outs” to remember. In either case, deal her card to her when it appears, act as though that was what you intended, and take credit for the magic spell.

By

virtue of the

at

in

Casually put the balance of the cards remaining in your left hand aside facc down on the table. For convenience, let's call this the “discard” pile. There's still a face-up pile in front of you (the ones you spelled to reach Bonnie's card) with the 3D at the face. Tum this pile face down, and casually place it aside for the moment, keeping it separate from the discard pile. This pile contains exactly 12 cards and is my “double progressive spell” stack; it’s just been reversed as part of Bonnie's spelling procedure. Tt will be used shortly for the mental selection in step 6.

The Face-down Spell Address Adam, “Now that you understand how the magic spell works, we'll try your card in a much harder way. We won't even look at the cards.” Pick up Adam’s remaining half ofthe deck, hold it face down in your left hand, and explain, “In fact, to keep things secret, don’t even tell me the name ofyour card. Just think of how to spell your card, and as I deal the cards, just spell its name silently to yourself, one letter for each card I deal. When you reach the final 's,’ just mentally think ‘stop’ to yourself — but don’t say anything. And don''t forget the “of.” just like we spelled with Bonnie.” Make sure Adam understands these instructions, and then start dealing the cards one at a time into a face-down pile, at an even pace. 5)

We know that Adam's card spells with eleven letters (due to the stack) and it’s already been controlled to the 12" position. As you deal, just count to yourself and when you've dealt the 11" card to the table, stop suddenly as though something “jarred” you. Look up at Adam and ask, “Did you think stop right there? I felt a strong vibration.” Assuming Adam can spell, he’ll nod affirmatively. That's your first climax. Take the next card off the left-hand packet and hold it in your right hand, still face down, as you say, “Heres where our magic spell brought us. What was your card?” When Adam names his selection, dramatically turn the card you're holding face up to reveal it’s correct. It appears that the

trick is finished (and, indeed, if you want to simplify the set-up, you could

WORKER BEES

41

end the effect right here). You've discovered both selections by spelling to them in a very free manner. Casually replace Adam’s selection back on top of the left-hand packet, and deposit these left-hand cards onto the discard pile. There's still a face-down pile comprised of the 11 cards that you just dealt to arrive at Adam’s selection. Casually retricve Bonnie's tabled selected card and deposit it face down onto this pile. You're now ready for the final phase.

The Mental Selection

—

Double Progressive Spell Stack

6) Say to Bonnie, “I'll tell you how that was done. You see, these spelling bees are worker bees, so they did all the work. They were hiding in the deck, so they could see exactly where the two ofyou cut. But it’s much harder for themif, instead of cutting to a card, you merely think of a card. Let's try one more spelling bee." To recap, there arc now three face-down piles somewhere on the table: the discard pile, the pile you just dealt to find Adam’s card (which now contains 12 cards because you added Bonnie's selection onto the 11 cards you counted), and the “double progressive spell” stack latter pile and spread it in a fan, faces that you placed aside earlier at step 4. Pick up toward Bonnie and backs toward you so she can casily see all of the indexes. (If you haven't looks like a bunch of random cards, in no already looked at these 12 cards do so now; particular order (Figure 2).

this

it

In fact, there is a specific pattern governing the order of these twelve cards: in the first set of six cards (from 10C through QD) each card spells with one more letter than the previous one, then repeated in the second set of six cards (from and this progressive spelling arrangement first six in addition, 2C through 3D). But, are all high-valued cards (above eight), and the the second six are all /ow cards (below a seven). This combination of principles allows Bonnie amental selection of any of these twelve cards. Later, after just one subtle fishing ruse (which tells us whether Bonnie's card is high or low), we'll be able to set the cards so that her selection will automatically spell, no matter which of the twelve cards she has thought of. (I'm quite happy with this double progressive stack, because, in my opinion, the ability to offer a fan of twelve cards (as opposed to only six) is what makes the mental selection feel truly free).

is

As you display the faces to Bonnie, make it appear as though you just casually picked up one of the tabled piles simply because it happened to be there. The amount or order of the cards shouldn’t seem important. Make it clear that you're mot looking at the cards you're showing her as you say, “Just think of one of these cards, any one of them, and don't let me, or the Bees, know which one you're thinking of. Have you got one?” When she confirms she’s made her choice, square up the fan and drop it face down onto the discard pile. Finally, pick up the last pile (containing 12 cards) and casually dribble it onto the top of the tabled pile, thus “burying”

42

UNDO INFLUENCE

the cards you showed Bonnie. [Ter mentally selected card is now “lost™ in the deck. 7) You now need to lose the top three cards. You could simply undercut them to the bottom, but it's more convincing it you give the deck a casual overhand shuffle, as follows: run off three cards singly; then chop off a block of about half the deck (it must be at least 21 cards); run one more card singly, injogging it; and finally shuffle off the balance of the deck.

Obtain a break below the injog and commence a second overhand shuffle up to the break, and then toss the balance on top. (Status check: From top down the deck now has 9 indifferent cards, followed by the “double progressive” stack). Table the deck in front of Bonnie.

At this point any of the six high cards in the stack will automatically spell and appear on the final “s” without any further adjustment. If you were lose six cards from the the stack would be to spell automatically. top of the deck, then each of the six low cards favor the high cards. This that indicates effect trials this usually of laymen My experience may be because high cards are more desirable in card games, or because they're more visually interesting, or, assuming the spectators “read” the fan from left to right, because the high ones are the first cards seen. But whatever the reason, there's more likelihood that Bonnie will think of one of the high cards so I've arranged the stack so the high cards are ready go, without any adjustment. However, to cover both possibilitics, at this point I ask some question or use some line to get Bonnie to divulge, in an offhand way, whether the card she’s thinking of is high or low. 8)

to sct

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Here are a few alternative ways of narrowing it down between high and low. You could make some ambiguous remark such as, “You re not thinking ofa low card, are you?" Or, explain “Low cards spell differently from high cards. Since you'll be doing everything in your mind, do you need the instructions for the high or the low ones — which is closest to the card you're thinking of?” This is a complete ruse, since you'll give Bonnie the same instructions sounds plausible, and it does elicit the information you need. regardless of her response, but Or, you might use the two Bee cards again. Separate the two Bee cards on the table, and as you point first at one, then at the other, explain, “These bees can read your mind. They re very specialized. This first Bee focuses exclusively on just the high cards ... and this other Bee over here concentrates only on low cards. Depending on whether the card you re thinking of is high or low, pick up the appropriate Bee ... ." Here pause while Bonnie picks up one of the Bees (and when she does, you'll learn whether her card is high or low) and continue right on with your patter, “... and stare right into the Bee's big eye as you concentrate on your card. Just be careful you don't get stung.” Needless to say, try to downplay your remarks, or pass them off as a joke, so they don’t seem to be an important part of the procedure.

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fact thought 9) For explanatory purposes, let's assume you learn that Bonnie has of alow card. Pick up the deck and casually spread off the top six cards into your right hand, making it scem as though the number of cards is unimportant. Say, “Remember, I showed you a bunch of cards and you merely thought of one ...." As you speak, spread the six cards ina loose fan, and flash them in front of Bonnie's eyes for a moment to illustrate your words. cards facc down onto the table. Now Then square up the fan, dropping the right hand’s drop the balance of the deck on top of the six tabled cards. Continue, “Don't tell us what card you're thinking of. Just take the deck in your own hands and spell the name ofyour card to

six

WORKER BEES

43

yourself; dealing one card for each letter. And don't forget the word ‘of.’ Just stop when you re holding the card that falls on the final 's.’" Make sure Bonnie understands the instructions and then have her proceed. When she stops, ask, “for the first time, what isthe card you merely thought of?" Then reveal the card she’s holding as her mental selection to end your spelling bee. Obviously, if Bonnie thought of a high card, just omit the transfer of the top six cards and proceed directly to the final spell.

Comments (1) Credits and Background. It’s tough to claim much credit for newideas in the context of spelling effects, since so many of the really sophisticated spelling ideas were in vogue throughout the early part of the last century. Indeed, the chapter “The Spelling Bee” (John Northern Hilliard, Greater Magic, 1938, pp. 309-324) contains a wealth of spelling effects and credits the use of “banks” of cards whose names spell with the same number of letters to T. Nelson Downs. That chapter also thoroughly explores the use of sets of six cards which spell progressively and even suggests the use of more than one such set successively, for multiple selections. ITowever, to my knowledge, the idea of integrating two such progressive stacks together to incorporate a distinction that allows you to fish between them hasn’t seen print before. While I'm hesitant to stake my claim without further research, I'd be proud to be the originator of such an extension of the concept.

all

created my double progressive stack first, in conjunction with another, Chronologically, less (and interesting) effect. 1 subsequently created just the first two phases of separate “Worker Bees” as a stand alone effect; at that time I was focused on just two selections in the context of the UnDo Influence procedure. The serendipitous combination occurred to me only later, after I had both independent parts. T

Obviously the double progressive spell stack can be applied to many other spelling and mental selection effects, completely apart from the UnDo Influence control. I've experimented with other versions of this double progressive idea but the high/low distinction is, to my mind, the most subtle. One other arrangement I've found useful is the following twelve card sequence: AC, 9C, 511, 7S, 9D, 3D, 6C, 2H, 4S, 10D, 4D, 8D. If you arrange these 12 cards in order in front of your eyes, theyll appear as a rather unexciting, random bunch of spot cards. Actually, the first six are all odd-numbered values and the second six are even values. The odd/even distinction allows you to narrow down to the appropriate set. Note that I've intentionally avoided including any Jacks, Queens or Kings, both to avoid any cards that stand out, and to eliminate the need to explain that “Jacks are 11, Queens 12, and Kings are 13.” (2) Additional Mindreading Climax. If you take the trouble to memorize the 12 cards comprising the double progressive spell stack, you can perform an added, powerful mind-reading climax. At step 9, as Bonnie spells her mental selection silently to herself and stops when she reaches the final °s,” if you secretly count the cards as she spells, you'll actually

44

UNDO INFLUENCE

of

know the identity her sclection, before she says anything. In such a case, once she stops, announce that, “the Bees have read your mind, and the latest buzz is that the card you're thinking of is the Nine of Hearts [or whatever.” This pretty strong stuff, and is capped ofl’ by having her reveal the card she’s holding.

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(3) Mental Selections. Allowing a spectator to “merely think” of a card is, for me, one of the strongest beginnings for a card effect. Our Chicago group has spent countless sessions exploring ways in which to accomplish or approximate a “free feel” for such a mental choice, given the reality that some restrictions must fact be operative. One question we've often wrestled with (particularly in the context of Vernon's “Out of Sight, Out of Mind”) is the issue of how many cards a spectator must see or be shown for him to feel uninfluenced or “un-channeled.” While there’s no single answer this question, I'm very comfortable with a 12 card group that can be shown with the casualness, openness, and relaxed pace that works with my double progressive stack.

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If you want to make look even more casual, try putting the 12 card sequence in the center of a deck, marked off by either a crimp, pencil dot, or other key. Start to spread the deck

between your hands and then raise it up to the spectator’s view, timed so that just these 12 cards pass in front of his eyes. Then lower the fan, as you continue to spread the cards (now out of his sight) toward the bottom of the deck. This takes work and practice and you need to develop ways of blocking off the remaining cards in a subtle way. Done well, can create the impression, even to the viewing spectator himself, that he saw vastly larger number of possible choices.

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(4) Landing on the Target Card. The first spelled card (on Bonnie's face-up spell at step 4) will sometimes land on the final “s™ and sometimes on the next card, depending on whether Bonnie has cut to a 12 or 13 speller. The second spelled card (on Adam’s face-down spell at step 5) will always land on the next card, because it’s always an 11 speller and the card is controlled to the 12 position. One nice result of spelling Adam's card face-down is that, because Adam spells to himself mentally, there is no way for Bonnie or anyone else 10 notice whether you stop on the “s” or on the one after there thus are no obvious discrepancies. For the final phase, I've sct the double progressive speller to land on the final *s,” but if you prefer it to fall on the next card, just alter the shuffle sequence 7 step slightly, running off only two single cards instead of three.

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Parameters of the Worker Bee Stack. As mentioned, it’s not absolutely (5) use the exact sct-up listed in the text. You can easily create other arrangements necessary that will work equally well, so long as they comply with a few underlying spelling requirements.

to

The easiest way to understand the parameters is for you to first divide your deck into five separate groups as follows:

Group A — 12 cards: From top down: 3D, 5D, 3S, 4H, 68S, 2C, QD, 9D, AD, 9H, KC, 10C. These twelve cards must be stacked in this particular order with the 10C at the face. This stack comprises my “double progressive speller”

WORKER BEES

the

cards which is used in step 6 to allow Bonnie to think of any of group. This is the only group that needs to be in a specific order.

45

in this

cards: (in any order) 4C, 5C, 9C, JC, 2H, 6H, 10H, AH. 25: 10S, AS. These comprise all of the remaining cards (other than those already

Group

B— 11

used for group A) whose names spell with exactly11 letters, e.g. F-O-U-R-OF-C-L.-U-B-S.

(inany order) 3C, 7C, 8C, QC, 5H, JI1, KH, 4S, 38, 9S, JS, KS. These comprise the remaining 12 letter spellers.

Group

C— 12

Group D

—

10

cards:

cards: (in any order) 3H, 7H, 8H, QII,

10D. These comprise the remaining 13 letter spellers.

78,

8S,

QS, 2D, 6D,

7 cards: (in any order) 6C, AC, 4D, 7D, 8D, JD, KD. These of balance the the deck. comprise

Group E —

Once you've got your floor covered with these five separate groups, we'll now stack the deck from top down as follows:

1

Group A

2

Group B, followed by any single card from Group E

3;

Any

C, followed by Group D, followed by the remaining six cards from Group C

six cards from Group

The remaining cards from Group E.

4.

The Bee cards then get inserted face uy, immediately following levels 1 and 2. Actually, the above requirements necd not be adhered fo complete] y; if you want to simplify it, the 22 cards comprising level 3 can be collapses togetins;, ra dry’ order, since they all spell with either 12 Ji%he ten “13 spellers”) in the exact center or 13 letters. My sole reason for puting, of that 22 card group isto maximize
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The bottom line is that, as a practical matter, we're really concerned with only three large each phase of the effect. The top group is the “double progressive speller” setgroups, one up (which must be in order). The middle group is the cards that spell with 11 letters, plus one “leftover” card at the end from Group E. The last group is the cards that spell with either 12 or 13 letters (followed by the remaining “leftover” cards, which are positioned at the very bottom of the deck where they won’t be cut to).

for

Twice as Hard his routine is the most complicated effect in the book. of the rest of the UnDo Influence effects, and forms Ironically, also is the genesis the basis for understanding the UnDo Influence control.

it

[tall began several years ago, as [ wrestled with a card problem that perplexed me for months. I sought to “generalize” a particular trick I had seen, by adapting it to a memorized

deck. Gradually, 1 produced a viable solution, and started demonstrating “Twice as Hard” around, to laymen and magicians. After I had been performing it for over a year, I realized that the various mathematical formulas I had worked out to accomplish this specific effect could be used to create additional, new, non-memorized deck tricks — which would be much simpler, because all the math would be done beforchand. Hence was borne UnDo Influence. Please don’t let the mention of a memorized deck prevent you from reading this effect. Even don’t currently know use a memorized stack, the discussion here will help vou comprehend what's really happening during the UnDo Influence procedures and displacements. 1°1l describe formulas, alternative displacement procedures, and practical tips that apply generically to all UnDo Influence effects. Once these you grasp ideas and mathematical relationships, you'll have a powerful and flexible tool that be used to can develop your own UnDo Influence effects.

if you

I promise —and you

or

ifuse a “number” deck

you'll get a lot more out of the explanations you follow along with deck in hand don't need a memorized stack to do so. Just

(with the cards set in order from through 52), or even a pack arranged in newdeck order. But if you want to get the most out of the following discussions, here's an idea I use in my workshops for beginners on memorized deck magic. Spend five minutes and make yourself an “instant” memorized deck — a stack with “no memory required.” Just take an old deck and in Aronson stack order (depicted arrange it on p. 197). Witha marker, write the numbers 1 52 on the to faces. With such a tool you can follow along and analyze what happens in any memorized deck effect. 1

Although the method of “Twice as Hard” may be complex, fortunately the plot is straightforward. It’s a quite different slant on the classic “any number, any card” plot — with the added challenge that you'll make it twice as hard, by performing it simultaneously for two spectators. Although the mental gymnastics seem may intimidating at first, the result is an effect that offers a powerful double climax, under stringent conditions.

Effect Two spectators, Adam and Bonnie, each choose a number between

1

and 52, They then cach

TWICE AS HARD

47

freely cut to a card in the deck, remember their selection, and then replace their cut-off packets. The performer does not know either of the selections. The performer makes a magical gesture over the deck and then he (or the spectator) counts down to Adam's named number and isolates the card at that position. The performer continues count down in the deck to Bonnie's number and takes the card at that numbered position. Upon turning those two cards over, they are revealed to be the two sclected cards.

to

Background The above description is admittedly purified. It omits a few critical procedures and limitations. But it’s not like a disappointing dealer's advertisement, because the effect certainly will be remembered along the basic lines outlined above. My for excuse why I've confessedly streamlined the above description simply, that I have several alternative ways of presenting the effect. Each version involves tradeoffs between which steps are likely to be noticed and remembered, and which ones are de-emphasized and forgotten.

is,

You'll need nothing more than a memorized deck and the ability to perform a few mental

calculations — but to avoid future frustration let me suggest that this is probably not an effect for those who are just beginning their work with a memorized stack. The calculations must be performed somewhat “under fire,” while and the you patter effect, and you'll need present to be able to quickly scan for two or three particular stack numbers as you casually run through the faces of the cards. Moreover, there are two alternative calculations; whether you will use one or the other depends on the particular numbers your spectators happen to name in any given performance. So you need to stay flexible and then calmly hone in on the particular calculation needed. The bottom line is, you must know stack cold and your you'll need to practice this routine for a while to get comfortable with the variables. don’t mean to scare you away with the above caveats, because although it will take some explaining, in any given instance the specific calculations required are not particularly ~omplicated. What does get complicated is the theoretical basis for what's going on, so I will mercifully defer a discussion of why this effect works until later (see the discussion of the ‘Fixed Middle” and also comment 3). 1 urge you to read those discussions to get an inderstanding of what happening within the deck as various packets get transposed. It will 1elp you feel more comfortable and in control of the procedures — but it’s not absolutely ssential. I don’t want drive my readers crazy, so in the following description of steps I've listilled the calculations into just a few un-theoretical, cut and dried rules. If you prefer, you eed go no further than learning and following these rules seriatim to produce the effect; you an always return to the theoretical comments later. [

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Jefore we begin, might be helpful if I take a moment point up some of the key differences etween “Twice as Hard” and the earlier tricks “Prior Commitment” and “Queenspell” ~ ecause those tricks each constitute one specific case of the effect we're exploring here. lowever, those two prior effects are simpler in several ways. There, the magician himself lans the specific outcome, in the form of the two predetermined numbers (or spelling

to

48

UNDO INFLUENCE

positions) beforehand. This, in turn, allows him to pre-set two specific indicator cards (the two Jokers, or the two Queens) to mark off the displacement of packets he'll need.

in

“Prior Commitment” and “Queenspell” In “Twice as Hard” we'll expand on the procedures in three different areas. First, in “Prior Commitment” the two ending positions for the selected cards were pre-determined as 18" and 43™; here, we'll add flexibility by allowing the first be any number to be any number between 10 and 25, and we’ll allow the second number each will number between 35 and 50. Second, since the two chosen numbers now vary performance, the particular places where we divide the deck for the secret displacement of packets must also vary each time we perform the effect. This, in turn, means we won’t be able to pre-set any specific indicators in the deck. Instead, we'll calculate the numerical positions of the correct indicator cards each time we do the effect — and our memorized stack numbers will automatically tell us which particular cards occupy those positions. We can then run through the faces of the deck to find those indicators so we can divide the deck at those points. And third, this means that we’H have to alter the Face-Up UnDo displacement (described in “Queenspell”) to devise a presentation or justification for running through the cards face up that doesn’t involve removing two cards. Whew! That, in a nutshell, is what I'm now going to explain, step by step.

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Working Usually when describing an effect I select one particular presentation as my favored, or primary, onc and then I mention alternative presentations in the Comments section. For “Twice as Hard,” however, there are two presentations which I use often, cach of which different excuse for scanning through the faces of the cards. The first is based on employs the time-honored pretext of “making sure there’s no Joker in the deck,” and the second is predicated on doing some mindreading to discern the cards the spectators are thinking of. | haven't yet decided which one I like best, and since they offer interesting tradeoffs, I'll describe them both and you can decide for yourself which one suits you.

a

Joker Presentation 1) Start with

your deck in a memorized stack order, and then place a face-down Joker

between the 2nd and 3rd card of your stack. This Joker will later provide an excuse for running through the faces to remove it; I'll offer the mindreading presentation afterwards, which doesn’t require the Joker. (While this effect stack-independent, I'll occasionally use the Aronson stack as a concrete example. Thus, in the Aronson stack the Joker would go between the KC and the 5C).

is

find that spectators are intrigued with inside stories about magicians so I've built my presentation around letting them see a special trick that I perform in our “private magic sessions.” I explain, “There's one legendary card trick called ‘A Number and a Card’ that very few magicians have ever attempted! But when we magicians get together privately, just among ourselves, we work on these classics of magic — and sometimes we try to make them I

TWICE AS HARD

more challenging, even more impossible. I'm going to show you a — but I'll make it twice as hard!”

‘A

49

Number and a Card’

I then address my helpers, Adam and Bonnie, “In the traditional version, a number. Let's make it twice as hard by having two people each name

a spectator names a number. Adam,

would you name a number between, say, 10 and 25? ... 16? Excellent choice. And will you, Bonnie, name a different number, one between, say, 35 and 50? ... 39? Wonderful.” We'll order to work with a concrete example, that 16 and 39 are the particular numbers assume, chosen, so at each step of this description we'll follow the calculations for this specific hypothetical. But the named numbers really can be anywhere within the designated ranges. Later, when we get into the alternative formulas and the theoretical underpinnings, you'll find that there's a direct relationship between which two numbers are chosen and the areas within which the spectators may cut in the deck to select their respective cards. Suffice it to say that the closer the chosen numbers are to the middle of the requested ranges 10-25 and 35-50, the greater flexibility you’ll have. (That's why in “Prior Commitment” the pre-set numbers were chosen to be 18 and 43). Thus, try to devise your patter to subtly steer Adam and/or Bonnie toward the middle of the ranges. For example, if they initially name numbers near the extremes, you could offer them the opportunity to change their minds — but don’t make them feel pressured or forced.

in

Now, here’s where the methodology starts getting a bit complex. Because, although it doesn’t seem like much has happened yet, your mind should already have started making some basic but extremely important calculations — which will govern everything that happens next. For ease of reference in the following discussion and to make it easy to reduce the calculations to shorthand formulas, I'm going to refer to the first spectator’s chosen number as the Low number, or simply “L” because it’s somewhere in the lowrange of 10-25. We'll refer to the second spectator’s chosen number the Iligh number, or simply “H” because it will always be in the higher range, somewhere from 35 to 50. So, in our specific example, L = 16 and H = 39.

as

As soon as you hear the two chosen numbers, you're going to calculate (to yourself) three specific numbers, which I will refer to as “A,” “B.” and *“C.” Each of these three variables will be a stack number, somewhere from 1 to 52, with A being the lowest one, B lying somewhere in the middle, and C being the highest of the three. These three stack numbers are all you need to finish the trick. They govern the permissible ranges within which the selected cards may be cut. They also will constitute the “dividing points” between the packets when you perform the secret displacements that will automatically move the selected cards into the named Low and High positions. So you need to know exactly howto calculate A, B, and C under any eventuality (i.e., for any given combination of L and H) and you must feel comfortable performing such calculations in practice.

of

To help you get comfortable, I'll immediately simplify things. For the majority cases, you'll — of need B with and and you can completely two the variables, A to concern yourself only forget about variable C! This makes things considerably easier. I call this two-variable situation the “Basic” situation, and we'll deal with it first because you'll use it most of the

50

UNDO INFLUENCE

time. (I just want you to remember, somewhere in the back of your mind, that there are in fact three variables at work here, and the Basic situation happens to be the special case where one of them, C, drops out of the picturc. We'll deal with the full three-variable situation later, under the discussion of the Fixed Middle calculation).

The “Basic” Calculation (3 Packet Displacement) 2) As soon as my spectators name their two numbers I perform a simple, rough and ready test: just subtract Low from High. As long asthe resulting difference is not lessthan 20, then it's safe to use the Basic calculation. So the threshold step, the very first thing you'll do, is mentally calculate “H minus L,” as soon as you hear the two named numbers. Our present example is thus an instance of the “Basic” situation, because 39 - 16 = 23. Let's refer to this simple test of whether the difference between L and less than 20, as the “Threshold Test.” H

is

Here's a simple, practical tip, that helps me perform this Threshold Test more quickly and

almost without any thinking. As soon as I hear the first spectator name his number, | mentally add 20 to it (a very casy, almost automatic calculation). I do this before I even ask my second spectator, Bonnie, for her number. I then simply wait see if the second spectator’s named number less than my mental total; as long as it’s not, then we automatically qualify for the Basic calculation. So, our present example, the moment I hear Adam say “16,” I instantly think “16 +20, = 36,” and then I ask Bonnie her number. Since she named 39 (which isn’t less than 36) I proceed with the Basic calculation.

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So once we've passed this Threshold Test, what cxactly is the “Basic” calculation? promised, it’s actually quite simple. It consists of two formulas:

As

A=52-H B=L+A. More specifically, first, we calculate “A,” which we do by subtracting the High number from our present example, Bonnic named “39,” and so A = 13 (i.e., 52 -39=13).

52. In

The second step of the Basic calculation is to calculate B, and this can be done as soon as you've determined A. Simply add A to the Low number, and the result will be B. Thus, in our example, B will be 29. (We reached that number by adding 16 (Adam’s named Low number) to 13 (which is the value for A we just calculated. Thus, 16+ 13=29). All you need to remember are the two gencral formulas set forth above. Those are the only two formulas or calculations you'll need in the Basic situation, and you should practice doing these two mathematical steps early as possible during your presentation.

as

Note that in the Basic situation you'll always do the calculation in the same order: first A, then (because, of course, B depends on A). Once I’ve got both answers, mentally repeat them to myself several times (13,29 ... 13,29 ... 13, 29) just to drum them into my head. And, B

|

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51

ou’ll see in a moment, it will be quite helpful that you're remembering them in that A/B order ecause you're going to use this A/B mantra (in our example 13, 29) to guide you through the

est of the effect.

3) Hopefully, all of the above calculations have occurred during your introductory emarks, or at lcast by the time you begin the selection process. Once the two numbers have een named I address Adam, “In the classic version, a spectator thinks of a card. I'm going o make it twice as hard, by using not one, but two cards. But you'd be surprised how often eople think of the same card. To avoid that, Adam, will you please cut off slightly less than alf of the deck ...and look at the card you've cut to. Burn it into your memory, and then put he packet down on the table so I can’t see anything.” Note that this selection procedure is he same as the one used in cach of the previous UnDo Influence effects, and is subject to imilar limitations which govern the permissible range within which Adam can cut. In the arlier effcets, the first spectator could cut anywhere befween the two pre-set indicators. Here, he outer boundaries of Adam’s acceptable cutting range will change somewhat and will be lifferent each time you do the trick.

already know these boundaries! They are, not surprisingly, A and B. Your first pectator’s cut must be guided so that it falls somewhere between the A and B which you've ust calculated. Thus, in our example, Adam's cut may be anywhere between (but not 3ut, you

ncluding) stack numbers 13 and 29 of your memorized deck. These positions, the range etween A and B, generally will comprise a comfortable bank which will usually be located o that the instruction “slightly less than half” a sufficient guide to assure that the cut will all between those boundaries. But you need to stay on top of your calculations so that you can djust your patter appropriately, if the particular A/B range that you just calculated requires

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{ere’s another example: suppose, under a different set of named numbers, you've calculated \ as, say, 8 and B as 19. This means you would have to guide Adams cut to fall somewhere etween 8 and 19 (exclusive of the two endpoints 8 and 19 themselves). In such an instance, *d direct Adam to cut off “about a quarter of the deck.” The rule is straightforward, but nust be adhered to for the effect to work. Remember that the rule is between A and B, not at ither of those endpoints. I generally do not have any problem guiding Adam’s cut to a safely yermissible area. If sense that Adam's cut is too deep or too shallow, or if I'm simply not ure in my estimate, I don’t hesitate to gesture for Adam to replace his proposed cut and try gain. | cover this by commenting, “No, not that much — we'll need to leave some for Jonnie,” or something of that sort.

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I

stated, after Adam has made his cut and remembered his card (and shown it to other pectators if you like), I have him place his packet face down on the table. This provides a ime delay and a subtle justification for the eventual replacement of the packets (at step 5) in nverted order.

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4) You'll now have Bonnie similarly cut to a card. In the Basic situation she’s elatively free as to where she can cut. There's only one limitation: she must cut deeper than 3. instruct her, “And Bonnie, will you also please cut off a nice deep pile and look at your

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card. Remember it and put your cards face down on the table.” Generally, this is all that is necessary. But again, you can’t take the situation for granted. You need to keep B in mind and estimate how deep Adam's cut was, just to be sure that Bonnie's cut isn’t too shallow. For instance, it’s hypothetically possible, if B is a relatively high number, say 33, and if Adam only cut off about a dozen cards, that quite a few cards still remain above B. In such a case, you may need to ask Bonnie to “cut about two thirds of the deck” to make sure she cuts comfortably below B. With all the different hypotheticals I'm describing it might at first sound as if the effect can “go anywhere” and that the whole thing is subject to many exceptions and special cases — but it’s just the opposite. In the Basic situation, there's just one set of rules, and they govern everything you need to know. Just calculate A and B, and have each of the selection cuts made within the permissible ranges. Once you get the hang of it, it’s straightforward. I just wanted to give you a flavor for how to guide the selection cuts, under different sets of possible A’s and B’s. 5) Once the two selections have been noted, ask, “Now will you, Adam, put your pile back, and Bonnie, you replace yours also. Square up the edges so there's no way of telling where those cuts were.” As in “Prior Commitment” and the other UnDo Influence effects, the crucial procedure is that the packets must be replaced on the balance of the deck in the the one that winds up on opposite order from which they were cut. Thus, Bonnie's packet You should, of course, minimize the attention paid to the deck at this point. What's top. apparently important “squaring up the edges,” not the order of packet replacement. While I not essential, generally pick up the deck at this point and give it a couple of false shuffles.

is

is

The “Joker Removal” Face-up Displacement 6) Atthis point in “Queenspell” you'll recall that we spread through the deck face up and subtly separated it into three blocks in the act of spreading to remove the two red Queens. As the deck was squared, those blocks were reassembled in a different order. Ilere, under the Basic situation, we're going to accomplish the same ultimate result — but we don’t have any Queens remove or mark the points of separation. Instead we'll rely on the two cards in our memorized deck that have stack numbers A and B. These cards will indicate where to separate the packets. Here's how.

to

Hold the deck face up in your left hand. You've been keeping your A/B mantra in the front of your mind, reciting to yourself (in our example 13, 29). If you know your stack well, these two stack numbers should immediately translate to their respective cards in your memorized stack. (In the Aronson stack, they happen to be the 2D and 4H). Make sure you have these two cards firmly in your mind because you're going to quickly spread through the cards. The ostensible reason will be to check on the whereabouts of any Jokers, but your actual purpose will be to spot cards A and B in the spread. As you run through the cards from the face, the selection procedure guarantees that you'll first come to card A. Then, as you spread through further, you'll rcach the Joker. Finally, somewhere beyond the Joker (as you near the top of the deck) you'll reach card B. These relative positions allow you to spread through the pack

TWICEAS HARD

53

in a natural way to remove the Joker. In the process, you'll secretly execute the displacement of packets that will accomplish the miracle you're looking for. Here are the specifics. As you're smiling at your spectator and recapping what's happened, pause and look concerned as you suddenly ask, “Just minute — neither ofyou is thinking of the Joker, are you?" As you say this, start to spread the cards from your left hand into your think, in retrospect, that you right hand, going as rapidly as you can (you don’t want anyone be able should You to spread very quickly if you focus solely on one were counting cards). stack number 13, the 2D in our example. thing: card A. The only card you're scanning for that card before you start to spread the cards, the determined Since you've already mentally process reduces to a very simple one: you're spreading the cards to look for the 2D. You should initially be able to spread past a good-sized block of cards at the face (about %4 or even more of the deck) in one chunk because it’s the original bottom portion of your stack. This portion remains undisturbed, still in memorized order. Once you pass this bottom block, you'll immediately start another descending run in your memorized order and that’s where you'll find card A (the 2D). As soon as you reach card A, split the spread between your hands, taking all of the already spread cards into your right hand and leaving card A at the face of the left-hand cards (Figure 1). a@

to

is

Pause for just a moment and casually square up the cards in your right hand as you gesture with both hands, looking up at your spectators for a response to your question. Adam and Bonnie will either verbally respond that they aren’t thinking of the Joker or they'll shake their heads negatively (because, of course, the Joker was positioned where it couldn’t possibly have been chosen). Immediately after your pause, even while your helpers begin to answer, start again to spread the balance of the cards from the left hand into the right, still ostensibly looking for any Jokers. But this time spread the left-hand cards onto the face of the already squared block of cards in your right hand. Don’t make a move out of this and don’t make any particular effort to hide it. Indeed, don’t pay any attention to the other cards because supposedly they aren't important. Your only concern is the Joker(s) you're apparently searching for. The pause is a momentary one, just enough for you to break rhythm as you separate your hands to gesture. | then continue rapidly spreading, as I mutter, “/ may have left a Joker in here...."

if

Again, you'll be able to spread quickly you focus your mind on just one target: you're now looking for card B (in our present example stack number 29, the 4H in the Aronson stack). Let everything else rush by in a blur — except that at some point your eye will spot the Joker. When you see it, upjog it length and out of the spread for about half continue spreading (still above the block in your right hand) until you see card B. It should be somewhere near the top of the deck. The right hand's original packet

its

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remains concealed beneath the spread. Separate the spread with card B at the face of the remaining left-hand cards (Figure 2). With Joker your left hand (still holding its remaining cards) reach up and remove the upjogged aside face up. As1 do this, I finish my muttering, “When you re dealing (Figure 3) and toss with numbers, a 53" card could cause trouble.” Casually reassemble the deck by replacing the left-hand cards behind all of the right-hand cards (Figure 4), square up, and drop the entire deck face down onto the table. You're finished. There is no further work to be done.

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This step 6 is the crux of the entire effect and accomplishes everything you want because, believe it or not, Adam's selected card is now positioned at Adam’s named number, and Bonnie's selected card is now positioned at Bonnie's named number. But important as this to accomplish it step actually is, your goal in a casual, unimportant, and unobtrusive manner. Your presentation emphasizes the completely free conditions under which Adam and Bonnie have chosen their numbers, and have selected cards to “think™ of. Then, almost as an afterthought, you suddenly realize a potential hangup (the Joker) so you deal with it. Your “internal mental script” runs something like this: Oops, there could be 53 cards if there's a Joker present. However, I've been operating on the assumption of only 52 numbers. | better make sure that neither spectator is thinking of the Joker. They're not, so, it’s okay to remove it. In the space of that minor interruption, you've accomplished all the dirty work and you're now set for a double climax.

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The Discoveries 7) Snap your fingers over the deck, or make some other magical gesture. Address Adam, “Adam, earlier you selected a random number, which was what? ...16? And you have one card in your mind — it might have been any one. Let's count very carefully... That is the 16th card.” Pick up the deck, and deal the cards singly, counting deal aloud. You have a choice of whether has Each down. face the pile face up or certain advantages: dealing face down is

to

TWICE AS HARD

55

faster and has less visual clutter; dealing face up is a bit more open, revealing no apparent order and foreshadowing the impending coincidence, because neither selection will be seen. (Dealing face up will also enable you to preserve your stack, as described in comment 1). Whichever dealing orientation you prefer, deal the 16th card face down for suspense and stop. Then address Bonnie, “That's where the classic version stops — with just one card. But we didn’t stop there. You, Bonnie, also named a second random number, which was 39. Look, we ‘ve already dealt 16 cards for Adam, so this is 17, 18, 19 ... and this is the 39" card.” Begin dealing a second pile, starting on whatever number you left off (in our example, 17). Again, isolate the 39" card face down in front of Bonnie. 8) Recap what's happened. “Two random numbers and two cards that you're just thinking of. Adam, for the first time, what card were you thinking of?” ‘When he announces

his card, turn over the card that fell at the

16™

position to reveal his card at his number.

to

Everyone knows what expect bythis time, so milk it for the applause. Have Bonnie name and her selection, conclude, “ ... Well, that's where the classic version ends — but we made it twice as hard. If this is your card, we should get twice the usual applause!” Turn over the remaining card for the second climax. It’s actually not difficult to gather up the dealt cards and restore stack order, because there's been no real shuffling throughout the effect. Sec comment for details on how to accomplish this.

1

Mindreading

—

A

“Non-Removal” Displacement Presentation

The most challenging part of your presentation is to establish some plausible reason for running through the faces at step 6, so that you can perform the secret packet displacement unobtrusively. I like the “Joker removal” justification a lot, but it’s not the only presentation I use. My original presentation doesn’t involve any Joker and instead adds some apparent have been made and the packets both selections mindreading to the effect. Basically, after replaced, I pick up the deck and quickly run through the faces, trying to get mental impressions from the two spectators. | first read their minds and actually name their cards, and then I do the counting to reveal the two selections at the named numbers. It changes the nature of the effect somewhat, but strong points are worth your consideration. Here's the detail.

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Proceed as in steps 1 through 5 above, but without any Joker in your deck. Pick up the deck and start to spread through the faces, scanning for A. We're going to perform basically the same displacement that we used above at step 6, except that there won't be any Joker to upjog orremove. As you spread, say “Now, in the classic version, the spectator announces out loud the name of his card. Here, your cards are secret, known only to you, so i'm going to make it twice as hard and try to read both your minds. Concentrate onyour cards.” As soon asyou spot A, break the spread at that point (with A at the face of the left-hand cards) pause and look directly at Adam, saying, “... I'm getting strong thoughts from you.” Then resume spreading further, this time running the left-hand cards onto the face of those already in the right hand.

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When you spot B, put your left thumb on its index to hold it in place (Figure 5). Bend both hands inward slightly at the wrists. This allows the right long edge of card B and all the remaining left-hand cards to slide under and behind all the right hand’s cards (Figure 6, exposed view). Push both hands together to square up the deck and as you do, glimpse the index of the very top card of the deck. As you complete this spreading action, look at Bonnie, saying “... and you're sending a definite impression.” You've completed the secret packet displacement and both selections have been controlled to the respective named numerical positions.

Note that even though we’ve just looked through the faces, we haven't tried to ascertain the identity of either selection; indeed, we haven't cven thought about them. Any sophisticated cardman who is familiar with stacked decks will be aware that, given the particular selection and replacement procedure, it would be relatively easy to discover the identity of both selections. You could find where each run of your stack stops and note the cards lying just above this point. Alternatively, you could use your original top card as a key because the second selection now lies immediately above it. But, even though we could proceed that way, we aren’t going to usc those keys, because searching for them takes a quantum of time and attention and interrupts the rapid flow we're working toward. I’ve found it’s much smoother, faster, and less distracting to spread through the cards with the sole goal and purpose of looking for A and B, and then to exccute the packet displacements at the moments you're addressing Adam and Bonnie. Once you've accomplished the packet displacement, your mind is completely free (because there’s nothing left to remember or compute). It’s then no trouble to glimpse and remember the new top card. And that’s all you need to proceed. address Adam, “Let's see how well I did. If I could tell you you're thinking ofthe Five of Spades (or whatever), then it must be mindreading.” Adam should be surprised, because this revelation comes out of the blue. In fact, all you do state the name of whichever card in your memorized stack lies one before the top card key you just glimpsed. In my example, the card I glimpsed happened to be the QD, which stack number 21 in the Aronson stack, so the card at stack number 20, the 5S, will be Adam's selection. “But the mindreading is an added bonus. We're doing ‘A Number and a Card," and earlier you named a number, was it 16? ...Let’s check.” Here, I deal the cards face up to commence the first count, dealing the 16th card face down as in step 7 above. 1

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TWICE AS HARD

57

then address Bonnie, “That's where the classic version stops, with just one card. But the ‘twice as hard’ version is only half over. Earlier, you named a different random number, 39. Look, we 've already dealt 16 cards so far, so ...." Start to deal the next couple of cards face up, counting aloud 17 and 18, but then pause suddenly as you remember, “Oops, I almost forgot to read your mind. Your card is ared card, a Heart, the Ten of Hearts.” Howwill you know this? Simply use the first card you deal face up as you commence re-dealing as the key for Bonnie's card and recite the name of whichever card immediately precedes this key in your stack. This is a very convenient time to get the second key because you won't ever need to remember more than one key a time. (In our present example, when | commenced restack number 39 in the Aronson stack, dealing, the card dealt on count 17 was the 6H; this so I simply called out the card at stack number 38, the 10H). Bonnie should be suitably impressed. Then, finish dealing to Bonnie's number and complete the effect, revealing both selections at the named numbers, just as in step 8 above. I

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In our Chicago sessions I’ve experimented with both the Mindreading and the Joker versions (among others), and our comparative analysis reveals interesting tradeoffs. The mindreading docs add another strong punch that particularly impresses laymen, but it also could suggest that since you somehow knew the selections, you might have manipulated them into the appropriate numbered positions. T urge you try both presentations and see which one plays best for you.

to

The “Fixed Middle” Calculation (4 packet displacement) everything always worked smoothly according to the calculations if outlined far, and in a theoretical sense it will. But we can’t perform tricks

It would be convenient

and procedures so in theoretical world; they have to work in practice, under whatever situations may arise. just a Given the wide ranges offered to the spectators for their choice of numbers, occasionally the above Basic calculations will create less than ideal situations. More specifically, a problem can sometimes arise with the location of the permissible ranges within which Adam and Bonnie must cut their sclected cards. Recall that Adam must be guided to cut between A and B and Bonnie must then cut below B. As long as variable B calculates out to a number which is slightly higher than the center of the deck, then as a practical matter it’s fairly easy to guide both Adam's cut to be somewhere a bit /ess than B and also guide Bonnie's cut somewhere greater than B. However, situation can arise where the Basic calculation may produce some awkwardly located ranges for either Adam or Bonnie to cut into. This is more likely to happen if L or H happen to be close to the endpoints of their permitted latitudes, from 10 to 25, or from 35 to 50, respectively.

a

Here's an extreme example.

Suppose Adam names 25 (his highest eligible choice), and Bonnie names 35 (her lowest possible choice). According to the Basic calculation A is 17 (52 -35=17), and B 1s 42 (25 + 17 = 42). It’s child’s play to guide Adam to cut somewhere within 17 and 42, but it might prove awkward getting Bonnie to cut decp cnough that she gets below 42. Such cumbersome situations don’t arise too often, and there are practical steps you can take to lessen their occurrence.

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Please understand that I'm mentioning these “problem” situations not to worry or confuse you, but merely to be complete and to offer some tips on how to handle them. Indeed, the first tip is that, if you prefer, you can completely ignore treating such problem situations in any special way, and just stick exclusively with the Basic calculation — because it will always work. The Basic calculation offers a desirable simplicity in formulas and in the secret packet displacement; the tradeoff of using all the time that, occasionally, you may need to exert more verbal guidance and limitations, to get your spectator to cut within the allowable range. But as long as you don’t mind such occasional cajoling, you could stop right here. it

is

As mentioned, the difficult situations start to occur with more frequency as B gets significantly higher than the center point in the deck. The purpose of the Threshold Test mentioned previously (see step 2) to let you know early on whether you're potentially in one of those cumbersome situations. As long as the difference between H and L is not less than 20, B won't be greater than stack number 32 and, to me, that’s an acceptable area to work with. But if the Threshold Test shows that H Jess than 20 (what I call a “negative indication™), then B will be somewhere between 33 and 42. This an areca that I'd like to avoid, possible.

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So, my second tip is that, with a bit of planning and flexibility, you can significantly lessen the frequency of such negative indications. You'll discover that the instances where the Threshold Test is less than 20 tend to be when Adam picks a high number for L. The higher his choice of L, the more likely you'll get such a negative indication — also depending, of course, on what number Bonnie subsequently chooses as H. And that’s where the planning and flexibility comes in. Since you'll already know what L before you ask Bonnie for her chosen number, you can adjust the range which you offer to Bonnie, to eliminate many of the negative indications. Here's my personal guideline: if Adam names an L that is between 20 and 25 inclusive, then I'll approach Bonnie to choose her number, saying “And let's get a really different one, say, somewhere between 40 and 50,” instead ofthe normally offered range of 35 to 50. This small change will automatically eliminate over half the possible negative indications. And, once you play with the mathematics and get a feel for when the negative indications arise, you may want to adjust these guidelines and range boundaries further suit to stay flexible. your own preferences. Put simply, the point

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to

But suppose you nevertheless get a negative indication that you don’t want to work with. Indeed, suppose you would like B to always be just a few cards above the center, in all situations. (That would enable you to always instruct Adam to “cut slightly less than half” and then to instruct Bonnie to “cut off about a third” — and both cuts would always be com fortably within their permissible ranges). Well, that’s where the “Fixed Middle” calculation comes in. Because there is a very straightforward alternative set of formulas that will always result in B being a fixed number, a constant that you can decide upon beforehand. There is, un fortunately, a tradeoff, a price to pay — namely, you'll need to deal with four packets in the displacement, instead of three. But, it’s not particularly difficult, or much more noticeable. So, let's briefly examine this alternative, Remember, at the outset I mentioned that there would be (Aree variables, A, B and C representing three different stack numbers in the deck (which thus logically divides the deck into four sections or portions — the packets on cither side of these three stack numbers). 1 told

TWICE AS HARD

39

I the you that I'd defer any theoretical discussions until later, because wanted to give you just nuts and bolts, the rules you needed, to perform this effect. For the Basic situation we then immediately dispensed with variable C completely, because under the Basic calculation it doesn’t really play a role. I now need to explain just one piece of the mathematical underpinnings here — because then you'll understand why we were able to forget about C.

In fact, A, B and C are “dependent variables,” which means that as soon as any one of the three is set at a specific stack number, the other two will be fixed and can be determined with certainty by simple formulas. During my early explorations of this effect, I made a major breakthrough when I realized that, most ofthe time, I could just arbitrarily set variable C to be equal to position 52 — the very bottom of the deck! This has a major advantage: for all causes C to completely drop out of the picture! Why? Because, when practical purposes the packet or portion of the deck falling after (or below) stack number C now you think of has no cards in it! When C is 52, the “fourth” packet, which comprises the cards lying below C, is empty, so it disappears.

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This may sound somewhat theoretical, but in fact you've already witnessed its very practical result. You see, the main reason we're concerned with the indicators A and B (and C) is because we have to move packets around within the deck, and A, B and C inform us where the several packets begin and end. If one of the packets always has zero cards in it, we can We obviously dispense with that packet (and with the particular variable C that generated nutshell, in how don’t have to worry about where to put or move a zero card packet. That, a I came up with the Basic situation: it occurs whenever we set C at 52. As long as C is stack number 52, we only have to concern ourselves with three packets (not four), and we only need to calculate the remaining two variables, A and B, because they define or constitute the parameters for those three packets. That's what allows the Basic situation to be so simple (relatively speaking).

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However, we could devise equally valid sets of formulas for calculating A, B, and C that start with different assumptions. And that’s what the Fixed Middle situation docs. Instead of setting variable C at a fixed number, we'll instead begin by setting the middle variable B at a fixed number. And since we’re the ones making the assumption, we can set B exactly where we want it! My personal choice is to set B at stack number 30. In my experience position 30 greatly facilitates guiding both selection cuts, and it's an easy number to work with in arithmetical formulas. Under this Fixed Middle assumption, B will always be the constant 30 and A and C will then be determinable. And the formulas for calculating A and C are just as simple as (and, indeed, are parallel to) those in the Basic calculation. When B is fixed at stack number 30, the two formulas to first calculate A and then calculate C are:

A=30-L C=H+A. Here's an example. Suppose Adam names 23 as his number (I. = 23) and Bonnic chooses 37 (H=137). We could stay with the Basic calculation, which would produce A= 15 and B = 38. But we could alternatively use the Fixed Middle calculation, by applying the above alternative

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UNDO INFLUENCE

formulas. This would producc A=7 (i.c.,30-L =30-23 = 7), B = 30 (under our Fixe Middle assumption, B will always be 30), and C = 44 (ie, H+A=37+7=44). So, howd we then use these three variables? Well, we use them in exactly the same way we used the A-B-C variables earlier: first a guidelines for the permissible cutting ranges for the two selections and second as dividin; markers for the packet displacements. More specifically, the indicators work exactly as they did in the Basic situation to provide the outside boundaries for the two selection cuts. Adam may cut to his selection anywher between A and B, just as before. In our current example we calculated A to be 7 and B is fixec at 30, so Adam can cut anywhere between 7 and 30. Likewise, Bonnic may cut to he selection anywhere berween B and C. (Bonnie's range limitation is actually the same in the as Basic mode, even though we didn’t discuss it earlier. You see, even under the Basic calculation Bonnie still had to cut between B and C — but since that situation C was the very bottom card of the deck, was simpler just to say “cut below B.” But the theoretical “lower limit” of C was always there). Thus, in our example Bonnie can cut anywhere between 30 and 44,

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in

Note that, even though the two named numbers are the same, the permitted selection ranges come out differently under the two different calculation modes. Under the Basic mode, Bonnie's cut had to be between 38 and 52, but under the Fixed Middle mode, her permitted range is between 30 and 44. T think you can see how it’s lot easier to guide Bonnie's cut a somewhere between 30 and 44, because there's much less danger of her possibly cutting too shallow. By using the Fixed Middle calculation, you will always be safe using position 30 (or whatever other middle range number you select to fix B at) as your mid-point that separates the two selection ranges. Your patter should comfortably guide the spectators that Adam so cuts slightly above position 30, and Bonnie cuts slightly below position 30. That's the advantage of this alternative Fixed Middle calculation. So, assume that the two selections have been appropriately cut, noted, and the packets replaced. Now, using either the Joker presentation or the Mindreading presentation, you're going to pick up the deck and quickly run through the faces. But this time you'll be scanning for three specific stack numbers instead of two. How do we proceed?

is:

The short answer we just add one additional step to the spreading procedure described at step 6 above. Everything else remains exactly the same. That one additional step is how we deal with our new stack number, C — which will always be located the bottom near (face) of the deck, within the bottom clump of cards that still remains in your memorized stack order. Let’s continue with the specific example we just mentioned, where A = 7,C=44, and B, course, = 30. As you spread from the faces you'll always reach the three stack numbers in CA-B order, just as you did when spreading in the Basic mode (where C was always 52). So, start spreading the cards from the left hand into the right hand, first looking for card C (in our example, stack number 44, which is the 6S in the Aronson stack). This virtually automatic because even before you begin, you'll know exactly where you're going to find it — namely, in the 44" position from the top (which is 9" position from the face) — because that portion

of

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TWICE ASHARD

of your stack has never been disturbed. Just onc push

by

61

the left thumb of a few cards into the

right hand is usually enough to bring C into view. When you see card C, put your left thumb onto its index just to hold the left-hand cards steady, your right hand casually depositsall the cards below into a face-down pile on the table.

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the only difference between the Fixed Middle That simple additional action, in a nutshell, calculation’s 4-pile displacement, and the Basic calculation’s 3-pile displacement. That small the extra fourth pile, and it starts and ends on the bottom (face) pile you just put on the table of the deck, both before and after the displacement. So, as I promised, this is not a particularly complex alternative.

is

Note that here — as in all other cases — your target card (in this case, C) remains as the face card of the lefi-hand packet. This is a consistent rule for all A’s, B's and C’s, in both the Basic and the Fixed Middle displacement handlings. You never have to think about where or on which packet any target card goes, because the invariable rule is to always break the spread below the

target card.

description of this 4-packet displacement. You've just formed a facedown pile of the few cards below C. Without comment or pause, continue spreading and looking for A and then B, exactly as you did in step 6. Suppose we're using the Joker presentation. Rapidly spread the cards into the left hand, just looking for A (= stack number split the spread with the 3H as the face 7, in the Aronson stack the 3H). When you spot of card the left-hand packet, as you pause momentarily to inquire whether either spectator happened to have selected the Joker. As in step 6 you then continue re-spreading onto the face of the right-hand cards, upjogging the Joker when you come to it but continuing to spread past it, until you reach card B, which will always be stack number 30 (in the Aronson stack, the KH). Split the spread below the KH and remove and toss the Joker aside with the left fingers. Then replace the left-hand cards behind all of the right-hand cards. If you're doing the Mindreading presentation, you'd take this opportunity to glimpse the very last card of the spread, the top card of the deck, for your key. To conclude, just drop all of the cards face down on top of the small tabled pile, and you're done. So,

let's finish up our

it,

realize that I've gone through some repetition here but I wanted to demonstrate and reassure you that this alternative Fixed Middle displacement procedure really is, with the one minor exception of the initial tabled pile, identical with what we did before. This is very important different, and your in practice because it means you don't have to Icarn something new mind doesn’t have to waiver in limbo, not knowing which way proceed. Once you've calculated A, B, and C (using either calculation) you should feel confident spreading through the cards without hesitation. I

to

or

Finally, let me mention two benefits of this Fixed Middle alternative calculation. First, will always be fixed as stack number 30, because the third card you're scanning for, B, stack each time the effect in card in the Aronson the same (for example, your perform your stack, it will always be the KH). This adds an immediacy and smoothness as you complete your spreading, because there’s no mental hesitation deciding what card you're looking for. The only actual variables in each performance will be C and A.

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Second, for my mathematically inclined readers, remember that for the Fixed Middle calculation we arbitrarily chose 30 as the fixed value for B — but you could just as well have picked any other number. Thus, for instance, you want Adam to be able to always cut up 32 cards, just sct B = 33, and adjust the A and C formulas accordingly. to, say

if

Finally, let me just summarize how and when I use the Fixed Middle calculations. I always plan to use the Basic situation, because I think the 3-packet displacement is more subtle and less noticeable. In those instances where Adam names a number between 20 and 25, then | narrow down the range I offer for Bonnie's number (as described on page 58), still hoping that the Threshold Test will not be less than 20. If, however, Bonnie's chosen number causes the Threshold Test to be less than 20, then I immediately flip into Fixed Middle mode, and calculate A and C, using B fixed at 30. I then proceed directly into the 4-packet displacement procedure, without hesitation. I find that I don’t have to resort to the Fixed Middle calculation fresh in my mind. very often, but I do mentally practice it occasionally, just to keep

it

*

*

*

There is more that might be said about the mathematical relationships and principles that operate within and underlie this effect, but I think you've got enough here to play with. Comment 3 explores a few more points that may be of practical help. You've certainly got enough to present a card mystery that your audience will find entertaining, challenging, and seemingly impossible.

Comments (1) Restoring the Pack’s Order. It’s easy to restore your memorized deck back to the conclusion of “Twice as Hard.” The main thing is to deal and count original stack order face up at step 6, thus not reversing the order of the cards. When you complete the effect, you'll be left with three face-up piles. Pile comprises the cards you counted to reach Adam's card at L. Pile 2 includes the next cards — the ones you counted to reach Bonnie's card at H. Pile 3 is the balance of the pack, the uncounted cards. Assume you've used the Basic calculation. With all three piles face up, pick up Pile 1 and quickly spread the cards looking for B. Casually cut this Pile 1, bringing B to the face, and then drop this pile ontothe face of Pile 3. Next, pick up Pile 2, run through looking for stack number 52 (in the Aronson stack, the 9D), and cut of the face to this Pile 2; finally, drop this pile onto the face of the tabled cards, and your stack is back in order.

at

1

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it

If you've used the Fixed Middle mode, the pick-up procedure varies slightly. First, pick up

Pile 1 and cut B to its face (casy here, because B is always stack number 30, in the Aronson stack, the KH), then replace Pile 1 back on the table. Next, pick up Pile 2 and cut stack number 31 (in the Aronson stack, the 4D) to the top (rear) of Pile 2 and drop this pile face up onto the face of Pile 1. Pile 3 will comprise a few cards from the top of your stack and a few from the bottom; both portions will remain in stack order. Split this Pile 3 at the dividing the top and bottom of the combined tabled packet to point and replace the two portions restore your stack.

at

TWICE ASHARD

63

If you plan beforehand you can actually set up the two desired cuts of Piles 1 and 2 while you

perform your face-up counting during the effect. More specifically, as you deal face up, does, continue your dealing counting to Adam’s number, just watch for B to turn up. When the pile. Then, do the same thing as and counting but simply injog the next card you deal on

it

number 52, in you deal Bonnie's pile but simply watch for C. (In the Basic mode, C is stack dealt deal directly after C) and (the one the Aronson stack, the 9D). Injog the next card you then continue to deal and count until you reach H for the climax. At the end of the trick, these two injogs will enable you to casually cut each of the two piles back to stack order without even looking through the packets. (2) Packet Displacement Variations. Because the displacement of packets is so important, let me mention a few other approaches I've experimented with, to accomplish the secret packet displacement step 6; you may find something to your liking. Inall cases, let’s assume we're in the Basic mode, with just the three packets.

at

Conceptually let's think of the face-down deck as comprising three sections, referred to from the top down as sections 1, 2 and 3. All that happens during the displacement that the order of sections 2 and 3 switches, leaving section still on top of the face-down deck. Or, if we turn the deck face up and work from the face downward, we'll first come to section 3. All we need to accomplish is to switch it with section 2, located immediately below it. is

1

The boldest and easiest displacement procedure is to simply cut the separate piles to the table. Just quickly spread the cards face up between your hands until you come to A, and deposit all the cards to the right of A into a face-up pile on the table. Continue spreading until you come to B, and deposit this next portion of cards (those below B) face up onto the tabled pile. Now, pick up the full tabled pile and replace it back onto the face of the cards still in your left hand. The displacement has been accomplished. Obviously, you'll need to develop a plausible presentational justification for the spreading and cuts. These may include removing a Joker, showing the cards are well-shuffled, or tongue-in-cheek apparently pointing out some mysterious pattern, like, “Look, all of the Hearts are located at positions corresponding to

prime numbers.”

Here's a more subtle variation of the above. Start to spread the cards face up between your

hands, holding the spread only a couple of inches above the table. Openly display the faces of the cards to your audience, indicating their random order. When you spot A, insert your right pinky above its face under the spread (as in a Wedge Break) and continue spreading face, and toward the top of the deck. As soon as you spot B, put your left thumb onto separate your hands slightly — just enough so the middle section is released and drops onto the table! Ttlooks as if you've been spreading hastily, and got a tad clumsy, dropping some cards. This fallen section 2 may land with a few cards askew but, because your hands are close to the table, they won't go out of order. As soon as these cards “accidentally” fall, place the righthand cards onto the face of the left-hand cards to free up your right hand. Then, with your right hand pick up the section that fell and slap them onto the face of the left-hand cards. Mission accomplished.

its

I"ve also explored more technical approaches to accomplish the packet displacement,

which

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UNDO INFLUENCE

are discussed in the concluding UnDo Influence essay; they have general application to other effects. Finally, for completeness, I should mention that I briefly tried using marked cards, order to accomplish the displacement entirely face down. It’s not worth it. But while it may not be feasible for “Twice as Hard” because of the floating indicators, the use of two pencildotted cards becomes practical for some of the other UnDo Influence effects, in conjunction with the Face-Down UnDo displacement described in “Prior Commitment.”

in

find the underlying mathematics and (3) Mathematics: Theory and Practice. displacements that go on in this trick fascinating. When | first began exploring this trick I had no theories, formulas or examples to guide me. I started by trial and error with spreadsheets plotting out hundreds of combinations just to get a handle on what goes on within the deck. Gradually, by induction, I developed some consistent formulas and started drawing multicolored bar graphs to visually represent cach stage of the deck throughout the routine. My fellow members of the Chicago session thought I was nuts. (Now they know it). But the results have been successful and the outcomes — both “Twice as Hard” and its UnDo Influence progeny — are currently some of my favorite effects. And I'm confident that there's still more to be developed, using these mathematical relationships; maybe you'll come up with the next creative advancement. 1

The analysis in the Fixed Middle discussion is actually the more comprehensive one; it’s more generic (and helpful) to think of three different points (A, B, and C), and four different sections or portions of the deck. Within that structure, you can fix any one of the three variables you want, and the other two variables will derive from that fixed point, according to the formulas already discussed. Hypothetically, you could even begin by setting A at some fixed position and then B and C would be uniquely determined for any given named L. and H. One of the interesting consequences of this analysis is that, in fact, there is more than onc set of A-B-C’s that will work, for any given I. and H. When you're working on some specific cffect, keep this flexibility in mind. Sometimes one sct of three variables may function better than another. What I’ve called the Basic calculation is actually a sub-set, a particular case, of the Fixed Middle calculations where we've elected not only to fix the C variable, but also to fix it at the most extreme stack number: the bottom of the deck. As mentioned, this has the tremendous practical advantage of reducing the four packets to three (which simplifies the packet displacement) but the underlying math is the same. For practical purposes, there are two different concepts you should keep in mind, which can help you guide the spectators to cut within the permissible range. First is the /ength of the permissible range, and second is the location of that range within the deck. Let's focus on our first spectator, Adam, and think about where he can cut. The mathematical answer, previously given, is “between A and B.” But you have to wait until you've calculated both A and B before you get a feel for where, and how long, this permissible range is. Conveniently, there are some short cuts (which are all functions of the formulas discussed earlier).

Here's an easy

the length of Adam’s

permissible range is basically equivalent to whatever number he chooses as his named L. (Actually, it’s one less, but we're discussing things one:

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TWICE AS HARD

“practically” here). As soon as Adam names his chosen number, you'll know how much leeway you'll have, within which to guide his cut. Thus, if he names a very high L, say 22, cut; if, however, he names a low he’ll have a wide range of 21 cards within which to make L, say 12, then he'll only have a narrow range of 11 cards within which to choose. That's go precisely why I offer Adam a possible choice of numbers starting with 10; 1 don’t want instructions and the would cutting too create tight a range any lower becausc a lower number could get too restrictive.

his

to

But the length of Adam's permissible range is only half the story — you also need to know where in the deck that range is located. Here's an example: suppose Adam names 15, which it located? It makes tells us that his permissible cutting range is 14 cards long — but where that 14 card whether directions Adam, to all the difference, when giving appropriate cutting range runs, say, from 2 to 16, or from, say, 16 to 30. As a practical measure you can judge this location quickly by working from either of its two endpoints, which we know are A and B. So, as soon as you know just one of those two variables, you'll knowthe location of Adam’s range. If you're using the Fixed Middle approach, you'll know B even before you learn either L or H, because under that approach B is fixed at 30. This means that thc moment Adam chooses you'll know both its length and its location. (Example: Adam chooses 15 as his number. In the Fixed Middle mode, you know instantly that he must cut within any of the 14 cards immediately preceding position 30. In the Basic calculation mode you'll need to wait a couple of steps so that you can calculate A, which is the starting point for Adam's range. Here's a tip: in the Basic calculation, variable A is dependent solely on IT (Bonnie's chosen number), and not on L. Indeed, since A = 52 - H, A will be inversely proportional to howhigh His. So, if you don’t want A (the starting point for Adam’s range) to be too low, you could influence it by asking Bonnie to name a number between 35 and 45, instcad of the normal suggestion of 35 to 50. But the practical point is to calculate A carly so you'll know where Adam can begin his cut range.

is

L,

The length of Bonnic’s range runs from B to C, which in the Basic mode runs to the bottom of the deck. Another way of quickly determining the length of Bonnic’s range, even before you calculate the A-B-C variables, is simply totake the difference between the two named numbers, L and H — which is exactly what you're alrcady doing when you perform the for practical purposes, equivalent to the length of Bonnie’s Threshold Test. That difference range. For example, let's suppose Adam names 15 and Bonnie names 37. The length of Bonnie’s range will equal 21 (H - L - 1, because we don’t count either endpoint). And where is this 21 card range located, within the deck? Again, two easy short-cuts are available. If you're using the Basic mode, it’s located at the bottom of the deck, just above the bottom card. Or, if you're using the Fixed Middle mode, it’s located immediately after the 30™ position.

is,

could go on, but this is a book on magic, not math. So, let's end this effect here with the hope that these notes have shown you that the more you understand the theoretical underpinnings of the effect, thc more you can enhance its practical workings.

I

(4) Bare Bones. thank each reader for his patience, if you've got this far. It’s taken quite a few pages to explain “Twice as Hard,” but once you learn the procedure and practice it a few times, think you’ll find that it’s not as difficult as it might first appear. To encourage

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you to tryit, and to save you the time of having to pore through the entire text just to refresh yourself on one or two points, I've included a chart that summarizes the main procedural steps and formulas for “Twice as Hard” (the Joker Presentation). I realize that the chart will make no sense to you if you haven't first read and worked through the full text at least once. Of necessity the chart omits lots of the presentational subtleties and details, but I hope it will provide a helpful summary and overview.

TWICE AS HARD

67

Twice as Hard (Bare Bones) Set-up: Joker inserted between positions 2 and 3 of memorized stack 1

-

Two Numbers Named chooses L, between 10 and 25 Spec. Spec. 2 chooses H, between 35 and 50 1

2 - Threshold Test:

H-L

If result is > 19, use Basic calculation, and 3-packet displacement If result is < 20, use Fixed Middle calculation, and 4-packet displacement 3 -

Calculate Indicator Positions for A, B and C:

Indicator

Basic Mode

Fixed Middle Mode

A=

52-L

30-L

B=

Be

30 (Fixed)

C=

52 (so it drops out)

H+A

4 - Spectators Cut to Selections Spec. 1 cuts between A and B Spec. 2 cuts between B and C Replace packets in inverse order. 5 -

Packet Displacement Translate A, B, and C into equivalent cards, by memorized stack numbers. All spread separations leave target cards (A, B, or C) at face of left-hand packet Basic 3-packet displacement: i) Spread first block, to A il) Spread second block onto face of first block(upjogging Joker), to B iii) Remove Joker, replace remaining left-hand cards behind all right-hand cards Alternative Fixed Middle 4-packet displacement: Begin by spreading all cards below C, and depositing them face down on table. Continue with all three steps of Basic 3-packet displacement; then drop deck onto tabled pile.

6 - Discoveries Count/deal to L for first selection. Continue counting/dealing to H for second selection.

UnDo Influence:

Theory and Practice the preceding effects I've tried to give you a sense of the range, flexibility, and the fooling power of what I've dubbed the “UnDo Influence” control. Each effect has also been a vehicle to illustrate and explain different facets of this unusual, almost self-working control, so if you've worked through all seven you'll already have a pretty good grasp of what's involved.

I:

Here, I'd like to summarize some of UnDo Influcnce’s more important features with emphasis on the nuts and bolts — the practical potentialities and limitations that will allow you o create your own effects. I'll assume you're familiar with the foregoing effects so that I can refer back to them, both as examples particular concepts and to save repeating a point if an explanation has previously been provided.

of

So, what exactly is this UnDo Influence control all about? In summary, it’s a way of simultaneously controlling two selected cards to two pre-determined positions within the deck. Although it’s based on mathematical principles, fortunately most ofthe time you use you will not engage in any mathematical calculations or mental gymnastics — because any required arithmetic or sccret counting is done beforehand, in creating the effect and in pre-setting your two indicator cards. (“Twice as Hard” the obvious exception to this general rule). The result is a procedure which appears as if you didn’t do anything — and that’s what all magic about.

it

is

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Mathematical Considerations The

first thing to note is that in all of these effects, there are fwo separate

procedures that occur more precisely, two independent displacements of portions ofthe deck — and the UnDo Influence control is the combination of both of them working together. The first displacement of packets occurs when the selections are made and then replaced. A second displacement occurs while you spread through the deck, either face up or face down, ostensibly to remove some indicator card or for some other apparent purpose, and then reassemble it. I call these two different displacements the “selection” procedure and the “adjustment” procedure, respectively. —

Both of these displacement procedures are dependent upon two numerical positions in the deck. We've used two cards which are pre-set either or immediately after those positions to mark off or indicate where those positions are. The actual identity those indicator cards may be relevant to your presentation (e.g.. Queens, detectives, Bees, etc.), but is basically irrelevant to the modus operandi. All that important is where in the deck these indicator

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THEORY AND PRACTICE

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cards are placed, because a change in the position of cither indicator will change the outcome, affecting where the selections will wind up. The indicators essentially function as an easy and subtle way of quickly getting to the desired positions with certainty and without counting.

Calculating A and B So, how do we determine what these two critical numerical positions are? The formulas presented in “T'wice as Hard" under the section entitled the Basic calculation tell the whole story. I'll assume you've re-read that section, because that’s really the guts of howto work out the necessary mathematical relationships. I'll expand on that discussion briefly to clarify how work with those formulas, depending on the size of the deck you start with, and whether or not you're removing the indicator cards from the deck.

to

In “Twice as Hard” the calculations are done in performance, during the process of the effect itself — but that’s only because in that effect, when you begin you don’t yet know where you want the two selected cards to end up. Those final resting positions get determined by the spectators’ own choice of numbers, which differs each time you do the effect. But once the two end positions for the selections have been named, the calculation proceeds at once. I'll continue here using the terminology adopted in “Twice as Hard:” Lowand High, shorthand L and H, will refer to the two final positions where we desire to place the selected cards.

in

From here, we work backwards: once we know the two specific positions we want the two selections to end up at, Low and High, then the formulas tell us what two positions in the deck (referred to as positions A and B) must be used as indicators, to bring the selections to Low and High. Let's quickly review those two formulas (from p. 50), applying them to “Prior Commitment” as an example. In that effect we want the two selections to end up at positions 18 (= Low) and 43 (= High) in the deck because those arc our “predicted” outcomes. We calculate the positions for our indicators, A and B, by applying the formulas as follows: A = 52 - H, which in this example equals 9; and B

=L + A,

which in this example is 18 + 9, or 27.

So for “Prior Commitment,” 9" and 27™ are the key numerical positions we need to know; they are the calculated A and B for that cffect. Once we determine these A and B positions, we can proceed with the effect.

Positioning the Indicators The next thing we need to do is mark off those A and B positions, so we can later find them quickly in a spreading action, without having to do any counting. The previous effects in this book illustrate two different approaches for marking off the A and B positions. The first way is 10 use two “extra” removable cards and place them immediately below A and B. That way, the action of splitting the spread to remove the extra card will automatically divide the deck

70

UNDO INFLUENCE

below the appropriate A or B position. In “Prior Commitment” the Jokers function as such cxtra, removable cards (as do the Queens, Black Jacks, and Bees in their respective effects). The second way of marking off the A and B numerical positions is used when we're no: employing or removing any extra cards; in thosc cases, we just remember the identity of the particular card that lies at the A or B position itself. This allows us to quickly spread, scanning the faces for just that particular card we remembered. When we spot it, we can separate the spread immediately below — without removing any cards. This is the approach used in “Twice as Hard” (and in “Pscudo Memory" and “Pseudo Estimation” discussed later).

it

The above formulas and calculations are based on the assumption that we're ending up with a 52 card deck. Those formulas are geared to the final size of the deck at the end of the effect, when you countdown discover the two selections. In our example of “Prior Commitment” the positions A and B are 9 and 27, which means the 9* and 27" positions in a 52 card deck. We then placed the two extra cards, the face-up Jokers, immediately following each of the A and B positions. The Jokers themselves thus start out at positions 10 and 29 (counting from the top of the full 54 card deck) but after the Jokers are removed from the deck during the adjustment procedure, reverts back to being a 52 card pack. However, in other effects (e.g. “Queenspell” or “Random Tandem”) you may start with a regular 52 card deck, but once you remove two of those cards (c.g., the Red Queens or the Black Jacks) you'll end up with only a 50 card deck. In such cases the final positions L and H are counted to in a 50 card deck, instead of a 52 card deck, so the appropriate A and B positions have to be determined accordingly. And for other effects (e.g., “Twice as Hard”) you won't remove any cards at all, so you'll start and end with a 52 card deck. As long as you're aware of this minor variable, you can easily make allowances for it by moving your indicators up or down a notch, or revising the formulas to take account of whether you end up with a 52 card deck or a 50 card deck. The underlying mathematical principles are the same, even if the formula is slightly different. For completeness, I've included in the Appendix to this section alternative formulas to cover these other situations.

to

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During the selection procedure, the numerical positions A and B will govern where the spectators may make their selection cuts. Our first spectator, Adam, must cut between 4 and B (but not including them) and our second helper, Bonnie, must cut below B. This rule explains why in “Prior Commitment” I was careful to point out that Adam's “ permitted range thus comprises all the cards between the two Jokers — except for the sole card lying immediately above the second Joker.” The exception, of course, is the card occupying position B itself, which we can’t let Adam cut to. So as a practical matter, whenever you're using extra, removable indicator cards that lie below the A and B positions, you'll find it expedient to envision the permitted range as falling anywhere berween these two indicators — but do remember that the single card at position B is the one exception.

Practical Limitations In principle, that’s all you need to know L and II, in whatever particular effect

to control the two

selections

to

two desired positions, create. In practice, however, it’s not quite you want that simple, because certain chosen outcomes may not work well. For instance, suppose we

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THEORY AND PRACTICE

71

had wanted to perform “Prior Commitment” using positions 10 and 20 as the predicted outcomes, instead of the original18 and 43. AtL = 10 and H = 20 the formulas generate A=32 and B=42. Now, while thesc positions will work theoretically, you'll quickly appreciate that as a practical matter this is an extremely difficult pair of numbers to work with, because of the limitations imposed upon the selection procedure. Remember, A and B govern where the selection cuts may be made, and this example produces two difficult problems. First, the range for the permissible selections is extremely narrow. Adam's cut must be between A and B (not inclusive) which means there are only nine eligible cards. Likewise, Bonnie's cut must be below B (technically, from 43 to 51 inclusive), so she also only has nine eligible cards. Second, the /ocation of the range isn’t well placed. Even if there's a good sized range, it’s not convenient if either Adam’s or Bonnie's range is too deep in the deck. In practice, these real world selection limitations mean that occasionally you'll have to play with the numbers a bit to find a set of two numbers that work well. Sometimes this means that a certain desired outcome just can’t be accomplished. Other times it means that you'll be able to control one selection exactly where you want it, but you may have to alter the desired position for your second selection. You can also be creative and think outside of the box — when I needed spell to two low numbers (e.g., in “Worker Bees™) I came up with the idea of counting from both ends the deck. As you try alternative combinations you'll find that need be to made: when creating “Prior Commitment,” ideally wanted the compromises may second selection to wind up at a lower number than 43, say something closer to 33. However, that would have imposed scrious limitations on the permissible selection cuts. For that particular effect I wanted to offer both spectators maximum freedom, so I settled for 18 and 43 as my predictions.

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Once you try a few examples you can get a feel for how the variables interact with each other: the discussion at comment 3 to “Twice as Hard” explores these interrelations further. When you're creating your own new UnDo Influence effects, if you just can’t seem to devise a workable compromise that gives you the positions you want, check out what I call the “Reverse Mode™ approach, discussed later. It offers another way of getting to different positions that may solve your problem.

Selection Procedures of the effects in this section have used the same selection procedure, because in my it’s the most efficient and simplest way of achieving the required displacement of the

All seven opinion

two packets, namely having the cut-off packets subtly replaced in reverse order from how they were cut. But there arc other ways by which the “selection displacement” can be accomplished. It’s worth exploring some alternatives, some of which may suit your particular effects or presentation styles.

the

So here are three more ways two cards can be sclected and then replaced. They have a different look and feel to them (e.g. spreading actions, or done without a table) but they nevertheless result in a selection displacement equivalent to the method you already know, For descriptive purposes, imagine the deck as comprising three sections. From the top down

72

UNDO INFLUENCE

they'll be referred to as sections 1, 2 and 3. The division points separating these three sections aren't hard and fast; in fact, they can “float,” and will in any given instance be specifically

determined by where the two spectators cut. Each section will most likely be approximately 1/3 of the pack, though there's wide tolerance for variation. As you know, the only absolute requirement will be that the division point between sections 1 and 2 will be somewhere between positions A and B. Similarly, the division point between sections 2 and 3 will be somewhere below or after position B. With a deck in hand, try each of the following alternative procedures.

Cutting to Face-Down Cards. Have Adam cut off “about 2/3's” of the deck and table the cut-off portion (a combined Adam then looks at and remembers the top card of the remaining pile (section 3).

1

& 2).

Bonnie then cuts off “about half” of the pile Adam first cut off and drops it on top of Adam's sclection, burying it. (This places onto 3). 1

Bonnie now takes the top card of section 2, looks at and remembers it as her selected card, and replaces it on top of the combined & 3 pile. Finally, she drops section 2 on top of her card, thus burying it and reassembling the deck. 1

Withdrawing Cards from a Spread. Ribbon spread the deck face down across the table, and have that one of Adam and Bonnie each withdraw a card from the spread. The only requirement the cards must be taken from somewhere between A and B, and the other card must be from somewhere below B. You can guide your spectators to the appropriate areas in the table spread simply by gesturing, but spectator management can also help. Position Adam directly across from you, and Bonnie to your left. When the cards are spread from left to right in an arc, each spectator will be in close proximity to his or her respective range. If you want more certainty, you could spread the cards between your hands, timing your spreading action so cach person reaches into the appropriate range as it passes under his/her hand. When both cards have been removed, square up the pack.

Here's another alternative.

is

The replacement follows the same procedure used in Cutting to Face-Down Cards above. First have Adam cut off “about 2/3's” (a combined 1 & 2 pile) to the table, and have him replace his selection onto section 3. Next have Bonnie cut off about half from the combined 1 & 2 pile and drop it onto Adam's card. Finally, have Bonnie replace her selection on top of the combined 1 & 3 pile and then bury it by dropping the remaining pile (section 2) on top, thus reassembling the deck. Obviously this particular selection method can’t be used for effects like “Prior Commitment” or “Worker Bees,” because the spreading action would prematurely reveal the face-up indicators. However, as long as there are no face-up cards hidden in the deck, the spreading

THEORY AND PRACTICE

action, particularly on the table, has a nice free feel to it. You may want to consider “Queenspell” or “Random Tandem.”

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it for

Henry Christ Variant. This actually has nothing to do with Henry Christ, but the procedure uses actions familiar to any magician who's ever performed the Christ/Balducci Cut Decper Force. Hand Adam the deck. Ask him to cut off 1/3 and turn his pile face up onto the rest of the facedown deck. He then remembers the card now staring him in the face. (This leaves section 1 face up). Adam then passes the deck to Bonnie, who is asked to cut deeper (approximately 2/3's) and to turn her entire cut-off portion over, onto the remaining pile. She now remembers, as her selection, the newcard staring her in the face.

to

the back-to-back division. Finally, ask Bonnie to spread the face-up cards until she comes Instruct her to flip all of those face-up cards back face down onto the deck, thus losing her card, and reassembling the entire deck face down. Once again, this particular selection procedure is inapplicable to effects where there are secret face-up indicators, but otherwise it’s an efficient procedure, that let's both spectators handle the deck. And it doesn’t require a table.

Notwithstanding the apparent variety among the above three procedures, all of them accomplish the requisite selection displacement and set you up for the “adjustment” displacement.

Adjustment Procedures As you've seen in the previous effects, the adjustment displacement basically consists of interchanging the bottom and middle sections, as defined by wherever the A and B indicators what finally places the two selections into the happen to be located. This switch of sections desired Low and High positions. It’s meant to be a secret action in the sense that the audience isn’t supposed to realize that such a switch is occurring, but as long as it’s done in the guise of performing other procedures or maneuvers which are done naturally and appear justified, then the switch can occur out in the open.

is

The two main adjustment procedures presented in the foregoing cffects — the Face-Down UnDo (in “Prior Commitment” and “Worker Bees™) and the Face-Up UnDo (in “Queenspell™ and “Random Tandem”) — are my favorite ways of accomplishing the adjustment openly. Both seem to sail right by laymen and magicians alike because the act of removing a couple

74

UNDO INFLUENCE

of cards

such a plausible motivation. But please don’t pass up the face-up in-the-hands-spread action described in the alternative Mindreading Presentation of “Twice as Hard.” In some ways, that’s perhaps the most utilitarian approach because all you have to do is casually spread through the cards, pausing occasionally, with perhaps a gesture —and the job is done. It’s important to have an apparent reason for your spreading action, but it doesn’t have to be grandiose. It may be something as innocuous as displaying either that the cards are well-shuffled, or that the spectators” cards are lost somewhere the deck. One advantage of this procedure is that, since you're not removing any cards, your presentation can be more streamlined and straightforward; you don’t have to create a plot or patter that involves two “special” cards.

provides

in

I"ve also explored more technical approaches to accomplish the adjustment displacement. The following are relatively easy, and very efficient.

Center Cut.

first one

simulates an in-the-hands cut. Hold the pack face up and start spreading through the faces rapidly, scanning for indicator A. When you spot it, downjog it and all of the cards behind (above) as you continue to spread until you spot indicator B. Raise the left-hand cards, including B, back up to normal level, as you finish spreading to the top of the deck. The result is that the middle section has been downjogged (Figure 1, above). This entire run through can be done quite quickly. Square up, still holding the deck face up, and do a center cut, actually stripping out the injogged middle portion and slapping onto the face of the deck. That’s all there is; the displacement of the middle and bottom portions has been accomplished. (Or, if you wanted to keep the cutting action covert, you could flip the deck face down bookwise, maintaining the injogged middle section, and then perform a Top Block Cover Pass, shifting the injogged center block to the bottom). This

it,

it

Zarrow Shuffle with Crimped Indicators.

If you're comfortable using a couple of

crimped cards for your indicators, there are some very efficient and relatively easy technical approaches to accomplish the adjustment displacement. Remember, after the selection displacement has occurred indicator A will be somewhere about 1/3 from the face and indicator B will be approximately 1/3 from the top. Let's both B and A assume are crimped in a way

THEORY AND PRACTICE

75

that’s casy to visually spot and cut to during a table shuffle. For descriptive purposes, let's refer to the deck as comprising three sections: the Top (from the top card through indicator B), the Middle (from below indicator B through indicator A), and the Bottom (all the cards below indicator A). We'll use the mechanics of Herb Zarrow’s wonderful false shuffle. Basically, the Bottom will be shuffled into the Middle, then secretly unwoven and “Zarrowed™ in under the Top block.

Here's how: set the deck on the table in readiness for a riffle shuffle. With your left hand cut at the Jower crimp (indicator A), placing this combined Top/Middle portion to the left. Now shuffle, riffling the right-hand cards into the /ower half of the left-hand cards, below crimp B.

Hold back a few cards at the top of the right portion until your left thumb, riffling upwards, reaches the B crimp. Let the balance of the right-hand cards fall and then finish by releasing the block of left-hand cards (Figure 2). Now, perform the actions of the standard Zarrow, un-weaving under cover of the large upper block of left-hand cards, and continue by pushing the right-hand cards into the left, actually sliding them in directly under crimp B. The adjustment displacement is complete in the guise of one casual shuffle.

Triple Table Cut with Crimped Indicators. This next crimp approach comprises a series of three quick table cuts. With the crimps set exactly as before, table the deck with its long edge parallel to the table edge. Both hands grip their respective ends of the deck, just as if you were about give it an up-the-ladder cut. For the first cut, the right thumb lifts up the top section at crimp B, as the left hand undercuts all the cards below crimp B diagonally forward and then slaps them back on top, but stepped slightly to the right (Figure 3). Continuing, the right thumb now lifts up at crimp A, as the left hand again undercuts all the cards below it diagonally forward (Figure 4). These left-hand cards comprise the combined Bottom/Top portions, still in stepped condition. To complete the second cut, the left hand slaps its cards on top of the remaining tabled pile (Figure 5, thumbs raised for clarity), aligning the right end of the stepped upper portion (the original Bottom) so that it lands flush with the right

to

76

UNDO INFLUENCE

edge of the tabled pile. This lcaves the center third of the deck sidejogged to the left, but this jogged condition is basically hidden by the back of the left hand.

the third cut, the left hand strips out these

leftjogged cards, again carrying them diagonally forward, and then slaps them back on top of the tabled cards to complete the cut. Although for convenience I've broken this description into three separate cuts, in fact they all flow together as one continuous series of running cuts. The actions of this triple cut are quite similar to the classic Hustler's False Cut (Darwin Ortiz, The Annotated Erdnase, 1991, p. 257) except that here two packets actually do change their relative order. All that’s happened is that the Middle and Bottom sections have changed places — which is exactly what we want. If you try it, you'll see how easy and convincing this cutting sequence is. For

Overhand Shuffle with Crimped Indicators. The third crimp approach uses an overhand shuffle handling. Since I'm left-handed and perform the overhand shuffle the opposite from many readers, when I describe overhand shuffle actions I generally adopt a “neutral” description. Thus, instcad of referring to the left or right hand, thumb, or fingers, try to speak in terms of the “upper”or “holding” hand versus the “lower” or “chopping” or “taking” hand. Hopefully this lets everyone apply the shuffling actions to his or her own hand preference.

I

Hold the deck in readiness for a standard overhand shuffle. The chopping thumb pad reaches up to contact the top edge of the deck and separates the upper third at crimp B; if you glance down at the top of the deck the crimps will serve as a visual guide. Begin by chopping off this Top section. Next, similarly chop off the next cards up through crimp A (the Middle section) simultaneously stealing the first chopped packet back behind the cards still remaining in your upper hand, retaining a break between these packets. Now, chop off all the cards above the break (the Bottom), letting them drop onto the cards already your lower hand. Finally, throw the rest of the cards (the previously stolen Top) on top and you're done. This simple four chop overhand shuffle has accomplished the adjustment displacement.

in

of

One note of caution when using any the crimp approaches. I'm a worrier, and I'm a bit concerned that the crimps might be noticed by the spectators when they lift up their cut-off packets during the basic selection procedure as they look at the face card they've cut to. Obviously, this depends on how visible your crimps are, but to be safe, you may want reserve these crimp adjustment displacements for situations where you use one of the alternative selection procedures. Both Cutting to Face-Down Cards and Withdrawing Cards from a Spread (described in the preceding section) are safe selection procedures, because they don’t involve the spectators lifling up any packets to eye level.

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THEORY AND PRACTICE

77

Revelations/Creating New Effects It's an old cliche that if you have one way of controlling a sclection, but a hundred ways of revealing the card, you've got a hundred different tricks. That analysis is certainly applicable

~~ to the UnDo Influence control. It may be a very subtle, very fooling method for secretly placing two freely selected cards at two known positions — but then, what do you do next?

The first few cffects in the book illustrate different ways of revealing the sclected cards (counting to a predicted number, spelling, elimination, having both cards appear in tandem, etc.) but the more ways you can think of to discover those two selections, the more new effects you'll have. I've explored a number of other revelations in experimenting with this control fill up this entire book just with UnDo Influence material. So, I thought but T don’t want I’d share some of my ideas with you in just a brief, summary form, so you can play with them for possible further development. Consider this section as a checklist, to spark your imagination in thinking up new applications for the UnDo Influence control.

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Stop It!

Knowing exactly where the two selections lie immediately suggests a “stop” trick as a possible theme for discovering the selections. If the magician himself deals and stops when he gets a mental urge, it’s automatic (since you know where to stop), but it still disguises the mathematical nature of the method by converting overt counting to a “mental impulse” presentation. You might even combine sleight of hand adjustments (second deals, double turnovers) with psychological forcing to let the spectator call “stop” as you deal. Twice as Hard ... the Hard Way

If you like the “Twice as Hard” theme of two cards at any two numbers but you don’t use a memorized stack, you can approach this same theme from a different perspective by applying sleight-of-hand adjustments affer you've set the selections with UnDo Influence. For instance,

suppose you use UnDo Influence to secretly control two selections to positions 15 and 35. Ask your first spectator Adam to name a number from 10 to 20, and ask your second helper Bonnie to name a number between 30 and 40. Whatever number Adam names, secretly move the few the first named cards needed to adjust his selection from 15 to his named number. Count number and reveal the first selection. If you keep track of how many cards you've moved, you'll know where Bonnie's selection now lies, from that point in the deck. Sometimes you'll be lucky and Bonnie’s card will be at or close to Bonnie's named number. Most of the time you'll have to do another simple adjustment of a few cards, and then you'll be able to continue counting to Bonnie's named number for the second revelation.

to

There are numerous ways of maneuvering a few cards, e.g., an overt cut, an overhand shuffle (either face up or face down), an “accidental” drop and replacement of a few cards, a pass, palming, a second or bottom deal, etc.) but any method that either gets rid of a few cards from the top, or transfers a few cards from bottom to top may be useful. Since we're counting from

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UNDO INFLUENCE

the top down, the cards below the second selection are of no importance, and thus can be moved with impunity.

Spelling

If you like spelling as a way of disguising the counting, you

be able to create

plausible presentations by spelling words other than just a card’s name. Since you can cause the sclections to arrive at any pre-determined position you want, you could spell the names of your two spectators, your host or corporate sponsor and slogan or product name, the affair you're celebrating (e.g. “Happy Anniversary”) or whatever else your imagination hits on. If you have advance knowledge of facts about your spectators (their children’s names, their favorite movie star, zodiac sign) you could innocently ask them for the information and then spell it for the revelation. may

its

If you're

familiar with my “Self-Control Lie Speller” (The Aronson Approach, p. 27) and you like to think on your feet, you could perform a Lie Speller by asking questions and spelling cach answer, subtly guiding the final question soits response lands the sclection. I’ve tried this and it works great for one selection — but you'll need to use a different revelation for the other spectator’s card. (A “double” lie speller would give away the method, once the second spectator noticed that the questions and possible responses were different on the second go around). I solved this by saving the Lie Speller for the second selection. For the first spectator I explained that I would ask a series of very personal questions — and he had to answer truthfully. I then asked a scrics of innocuous questions whose answers were known beforehand: his wife’s name and the name of his company. Spelling to them revealed the first selection. I then told the second spectator I would question her about something much more personal: her sclected card. But to keep her sceret inviolate, she had the opportunity of lying at each response. The Self Control Lie Speller nevertheless winds up on the second selection.

on

Pseudo Estimation Here's a completely different application. The UnDo Influence procedure can be used as a pseudo-demonstration of other (supposed) skills. If you want credit for incredible precision in estimating, secretly control the selections to, say, 18" and 35", and simply announce that, by estimating the spectators’ cuts, you're able to discern “pretty closely where they cut.” Announce your estimates of 18 and 35, and say, “Let's see how close I was.” Countdown to 18 and showit, which of course you hit exactly. Tell them you might be luckyonce, so the second one is the real test. When you count hit 35 and again, they'll be convinced you've got the skill of a cardshark.

to

it

Pseudo Memory An alternative skill demonstration is a convincing pseudo-memory feat. Have the deck thoroughly shuffled by your spectator as you patter about card counters trying to keep track

THEORY AND PRACTICE

of high and

low cards. Then, take back the deck and quickly spread through the faces

79

as

you patter about trying to sense a few patterns or sequences that might help you; actually, just use this opportunity to count to and remember your two indicators. Table the deck, and have two selections cut to, remembered, and replaced. Pick up the deck once again, and ask someone to time you on their watch as you try to “memorize as many cards as I can.” Here, spread through the faces, at whatever pace you feel looks appropriate for supposed “rapid memorization.” Actually, just perform the adjustment displacement described under the Mindreading Presentation of “Twice as Hard,” breaking your spreading action at your two indicators. It’s quite natural to pause momentarily as you apparently digest what you've memorized thus far, so the secret packet displacement blends right in. Table the deck, and the cards. Have Adam announce the name ofhis announce that you've memorized many card. Furrow your brow and say hesitatingly, “/ think that was at the 18" position.” Do the same with Bonnie's card and then count to each to show your success as a memory expert. For an immediate repeat, as you deal and count face up during the revelation, you can note and remember two more key cards and use them as new indicators for a follow-up demonstration.

of

For a real convincer, when you initially run through the deck to get your two indicators, secretly note and remember the top one or two cards of the deck. Proceed as above to reveal the first selection. Then have the second selection named but act a bit unsure of location. Suppose you knowthat it’s really at position 43. Say, “7 think it was near a King, the King ofSpades.” Here, name the top card you glimpsed, which will in fact be right after the second selection. “That King was at 44, so your card is probably right next toit, either at 43 or 45. It must be 43. Let's check.” You can now count the 43” card and reveal as Bonnic’s and almost card, then, as an afterthought, deal the next (44") card and reveal that it is indeed the KS you “remembered.” If you've glimpsed the top two cards, you can go even further, by “recalling” the 45™ card as well. These extra cards make your audience believe you've memorized all the cards.

its

to

Plots with the Face-Down UnDo

—

it

and Odd Cards

is

Another fertile source of ideas for new revelations to think of different or unusual cards that could be used in the Face-Down UnDo. When two strange cards suddenly appear the facedown spread (as in “Prior Commitment” or “Worker Bees™), it's a built-in surprise that facilitates the subtle adjustment displacement — but those two special cards need to be woven into the plot or patter. Perhaps you can devise something using blank cards or cards with odd backs. I've played with “Magic Castle” cards suddenly appearing; I then explain that this effect won first prize at the Magic Castle.

in

Sometimes novelty or product advertisment cards may suggest their own unique presentations. For instance, there are widely distributed commercial decks that have the Pepsi Cola logo on the backs, and similar decks bearing the familiar large red Coca Cola symbol. If you and your audience are familiar with the respective advertising campaigns promoting these two competing products, you could develop a presentation theme that finding the two selections “is a real challenge.” Ribbon spread the deck face down, and one Pepsi card and one Coke card suddenly appear. Remove the two cards from the spread (secretly performing

80

UNDO INFLUENCE

the Face-Down UnDo) and explain that magicians have taken “the Pepsi challenge.” Spell the words “The Pepsi Challenge” (for a total of 17 letters) revealing the first selection on the last letter of your spell. Then spell “Things Go Better with Coke™ (22 more letters) and reveal the second selection. For corporate or trade show work, it’s completely natural for two special cards to suddenly appear that tout your company’s name, logo or product. It’s also an excellent way of integrating your host's message into the magic (and, of course, these magical indicator cards serve as memorable giveaways).

Plots with the Face-Up UnDo The Face-Up UnDo is more impromptu because you don’t use special or odd-looking cards; instead you just run through the faces to remove two regular cards (as in “Queenspell” or “Random Tandem”) which have been secretly positioned to mark the indicator positions. But you still need a presentational theme or a purpose that justifics why you're removing those two cards. They must fit into your plot and ideally should somehow be used in the trick.

‘ortune Telling I've played with a fortune telling theme, explaining that whatever card a person chooses as his

lucky card can tell something about that person or his future. I alert people that in every deck

there are two “cursed” cards that carry bad luck: the Ace of Spades, which signifies death, and the Nine of Diamonds, known universally as the Curse of Scotland. After two selections have been freely cut to and replaced, I openly spread through the faces to remove the cursed cards (which have previously been positioned so they function as my indicators). In the act of removing them I secretly execute the Face-Up UnDo. I can then give a humorous or serious cold reading for each spectator, which includes giving each one a lucky number. At the climax, their selections appear at their respective lucky numbers. (Or, you could spell “The Nine of Diamonds” and “The Ace of Spades” locate the two selections).

to

Blackjack I've also experimented with a Blackjack theme, where the two cards

eventually remove are the AS and JS. I patter about 21 being a winner and then find cach selection by counting exactly 21 cards — twice. If you pre-set the AS and JS starting at positions 9 and 31, the act of removing them using the Face-Up UnDo automatically places the selections at 21 and 42. If you think about other special or memorable pairs of cards, perhaps they'll suggest other plot themes. I

THEORY AND PRACTICE

81

Doubly UnDone — with Two Decks You can devise more elaborate plots if you extend the field to two-deck effects. Here, I'm thinking of dealing two decks face up in tandem, and causing the two selections (in one deck) to match up with any two pre-determined cards you want (in the other deck)! For instance, in a red deck pre-set the two Black Aces, placing the AC at the 17™ position and the AS at the 39" position. Ina blue deck, place the corresponding blue-backed Black Aces at positions 12 and 30. (If you check the formulas in the Appendix, you'll see that 12 and 30 are the appropriate A and B positions to ultimately control two selections to the final target positions 17 and 39, in a resulting 50 card deck). Begin your presentation by having two spectators each select a card in the blue deck, following standard UnDo Influence cutting and replacement procedure. Explain that the Black Aces will help find their selections. Spread through the faces of the blue deck to remove the Black Accs, secretly performing the Face-Up UnDo. Hand one Ace to each spectator hold, making sure that the first spectator gets the AC. Now remove the red deck from its case, which has been in full viewall the time. Start a tandem deal of the two decks, dealing the red deck face up and the bluc deck face down. When the first Black Ace (the AC) appears in the red deck, stop dealing. Turn over the corresponding dealt card in the blue deck to reveal that is the first spectator’s selection. For a second climax, continue the tandem deal until the AS appears in the red deck. Stop there and reveal that location similarly matches that of the second selected card in the blue deck.

to

it

its

try this “double

UnDo" presentation. In a red deck, secretly pre-set the two red Sevens at, and 30. Do the same thing with the two black Sevens in the blue deck. say positions You're now set for a four-person, two couple effect. Have two women cach cut to and replace a card in the red deck, while their respective husbands or boyfriends each separately cut to and replace a selection in the blue deck. Now, explain a test that will determine howwell suited they are for each other. “To bring you luck you'll need some special cards.” Run through the red deck to remove the “lucky” red sevens, giving one to each of the women to hold. Similarly, remove the lucky black sevens from the blue deck, and distribute one to each of the guys. Since you've just done two Face-Up UnDo displacements right under the noses of your spectators, the decks arc now perfectly set for a double matching climax. Just start dealing both decks face up, and ask each person to watch his or her respective deck, and yell “stop” when their card appears. The first couple will cry out in unison. As you continue dealing, Couple 2 will also simultaneously yell stop. Or,

12

As a Control By the

way, sometimes you may not be performing a specific UnDo Influence effect — you may just want use UnDo Influence purely as a control to keep track of two selections. For such I've found it helpful to decide on onc pair of numbers that I'll use regularly. work, impromptu When your indicators are always the same, the procedures become more habitual and automatic. It’s then quite easy to either count or set up your two UnDo Influence indicators on the fly. Suppose you want to control two selections to, say, positions 18 and 35 (my habitual choice, for reasons discussed below). Our basic formulas produce A =17 and B = 35 as indicator positions; I've found these particular positions are not only easy to remember

to

to

82

UNDO INFLUENCE

also easy to locate (because they almost match the predetermined outcomes) but they’re cards in groups quickly. Just take a deck, and start spreading from the faces, silently counting Butdon’t card. last remember and the total of 18 cards) of three. Count six such groups off six more stop — just keep right on spreading and do exactly the same thing again, pushing don’t need You done. and you're groups of three and remembering the last card. Square up, the 17 and 35 to cut the deck or move any cards. Those two cards you've noted are, in fact, end of a prior the cards from the top. You can perform this casual spreading and counting at trick or when you're first handed a deck (perhaps to check for Jokers, or to show they're shuffled).

(a

One more practical tip: whenever you have a moment to prepare, I find it’s very helpful to preyour desired indicator positions. That way, you set a pair of mates, say the two black Tens, action don’t need to remember two disparate keys. This makes the subsequent spreading and casual visual during the adjustment displacement a snap, because it reduces to a quick scan for the black Tens, without any memory work.

at

Faro Shuffle. Finally, UnDo Influence has intriguing possibilities when combined with the positions 13 and 39; then give the deck For instance, you can use it to control two selections in the center. one out faro, and both selections will come together conveniently

to

after the two selections have been controlled to those two positions bythe UnDo Influence control, you then can give the the deck as many out faros as you like. Because ofthe faro re-stacking cycles, despite 35! and 18 repeated shuffles the two selections will always remain at positions

Here's my personal reason for favoring target positions 18 and

335:

effects possible with hope these suggestions stimulate your interest and illustrate the scope of the UnDo Influence control.

1

Stack Preservation

is

extremely flexible. On the one hand, itis very cfficient and can The UnDo Influence control be almost impromptu, requiring the secret placement of only two indicator cards. On the other magical hand, can be used with either partial or full deck stacks, which can enhance possibilities.

it

its

is

that 2 As we've seen, one of the most intriguing aspects of the UnDo Influence procedure prearranged set-up, even a full deck stack, can be maintained throughout an UnDo Influence effect. 1 don’t want to repeat my earlier discussions so let me refer you back to “Twice as Hard,” and particularly to comment 1 of that effect. That particular effect uses a memorized stack, and the comment describes an easy two-cut procedure which allows you to completely restore your entire stack back to its original order so it’s secretly ready for a subsequen memorized deck effect. But that restoration procedure isn’t limited to memorized decks; on the contrary, it's applicable to any full or partial deck stack, and therein lics its power for maintaining a “delayed” stack.

THEORY AND PRACTICE

83

When you think about it analytically, it’s not too surprising that a prearrangement can be maintained — because the various steps throughout the selection displacement and the adjustment displacement all involve cuts but not shuffles. So, although blocks of cards move around to different places in the deck at different points of the procedure, cards still stay their relative order within those large blocks. Once you understand just how these together discrete blocks change their positions, you'll be able to take maximum advantage of these stack retention capabilities.

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So, what’s going on within the deck, as the UnDo Influence displacement procedures are performed? One picture is definitely better than 1000 of my words, so let me depict the deck graphically at each step from start to finish and you can literally see what's happening. The three diagrams below each depict the deck at three different stages of the UnDo Influence procedure. Each diagram shows the entire deck from top down. Along the front side of the deck, right down the middle, I’ve labeled certain sections or packets. These sections get “defined” both by where the A and B indicators are located and by where the two spectators make their selection cuts; those particular positions constitute the division points separating the packets. The left side of each diagram shows this data. By comparing the three diagrams you can get a visual sense of how these various packets move around in relation to each other, at each stage of the UnDo Influence procedure. I've numbered the packets through 5 at the right side of cach diagram to help you keep track of the original order of the deck. 1

Ra

Top.

i

TTR

EB

First Spec's Card

Upper

Middle

B

Lower

Middle

3

Upper

Bottom

4

Lower

Bottom

5

Second Spec's Card

Stage

1

—

2

—

Deck at Outset

The diagram above labeled Stage 1 depicts the deck as it starts out. We can imagine the deck being made up of three major parts, with A and B as the division points. The Top section (labeled 1 at the right) runs from the top of the deck through A, A being the face card of this Top section. The Middle section then extends all the way through B. Our first spectator, Adam, will cut somewhere within this Middle scction when making his selection. It doesn’t matter where, but his cut will itself subdivide this Middle section into two parts, shown as an Upper Middle and a Lower Middle. Adam's selection will be the face card of the Upper

84

UNDO INFLUENCE

Middle. The full Middle section is thus shown as itself comprising two sub-scctions, labeled 2 and 3 at the right. The Bottom section includes all the cards below B, through the bottom ofthe deck. Bonnie will make her selection by cutting somewhere within this Bottom section, and her selection cut will likewise divide this Bottom section into two parts, shown as an Upper Bottom and a Lower Bottom (labeled 4 and 5 respectively, at the right). Bonnie's selection will thus be the face card of the Upper Bottom section. For convenience we can refer to any of the five separate sections either byits name (e.g., the Lower Middle) or by its number (c.g., section 3).

to

Take a moment get familiar with what each section represents, because in a moment you'll see some fascinating juxtapositions as these five sections shift around, vis a vis cach other. Just keep in mind that although sections 2 and 3 move around separately, taken together they separate sections, comprise the overall Middle. Likewise sections 4 and 5 will move around shaded the three aide visual I've but taken together they comprise the overall Bottom. As a main sections (Top, Middle and Bottom) differently, but the sub-sections within the Middle and the Bottom are ofthe same shade.

as

8

Lower

Middle

3

Upper

Middle

2

Lower

Bottom

5

Second Spec's Card »

$TITer

4s

t4

$ogbaisndidodl fitatetads

First Spec's Card

Stage 2 — Deck after Selections are Cut and Replaced The second diagram shown as Stage 2 above depicts the make-up of the deck affer the selection displacement, i.e., after Adam and Bonnic have each cut to their respective selections and replaced their packets in inverted order. Adam has cut off the original sections 1 & 2 taken together, and Bonnie has then cut off 3 & 4 taken together. These two combined cut-off packets were then replaced in inverted order. Stage 2 thus shows the combined 3 & 4 now “above” the combined & 2; the lowest section 5 hasn't moved and still remains at the bottom of the deck. 1

Note the new locations of indicators A and B in Stage 2, each still at the face of their respective original sections 1 and 3. Cards A and B are our two indicators and will become the dividing points, to tell us where to perform the upcoming adjustment packet displacement. In our previous discussion of the adjustment displacement we said that it switches the center

THEORY AND PRACTICE

85

and lower “portions” ofthe deck (as divided by A and B) while the upper portion stays where itis. If you look at Stage 2, you can see that the “lower” portion below A now consists of sections 2 & 5 taken together, while the “center” portion (below B) comprises sections 4 & taken together. It is these two combined portions that will switch places during the adjustment a I'ace-Up UnDo, or one displacement (regardless of whether you use a Face-Down UnDo, of the sleight-of-hand techniques). 1

or

8

Lower

Middle

3

First Spec's Card

Upper

Middle

2

Lower

Bottom

5

Upper

Bottom

Second Spec's Card 4

es

«

0p th

*

Stage 3

—

Ha

4 PEAT

EVER

EDR

Deck after Adjustment Displacement

The final diagram, labeled Stage 3 above, depicts the deck affer the adjustment displacement has taken place. Basically it’s the same as Stage 2 except that the combined 2 & 5 portion has switched places with the combined 4 & 1 portion. This is the end result, the condition in which the deck winds up before you reveal the selections. And, the revelation (whether by dealing, spelling, or counting) is performed face up, this order will be completely maintained. If you study this Stage 3 diagram and compare it to the starting position Stage 1, we note several interesting observations.

if

First, look at Section 1, the original Top of the deck. That section has basically changed its the top of the deck (in Stage 1) to winding up at the bottom of the position from starting out deck (in Stage 3). Of more practical importance, in Stage 3 you'll see that Section now lies immediately below the second spectators selected card. But as Scction 1 moves its way down through the deck, its own internal make-up never changes, never gets cut, and never gets intermingled with any other cards. This means that whatever stack or pre-arrangement you establish in Section 1 (i.c., in the portion of cards that start out above indicator A) will be fully maintained, and will be available to you at the climax, immediately following your revelation of Bonnie's selection. (This is how controlled the double progressive spell stack in “Worker Bees™). This feature also tells us something important about calculating or choosing an appropriate A for a particular effect — because A controls the size of the Top section. Since A is always the bottom card of Section 1, the greater A is, the larger the Top stack (that you can preserve throughout the effect) will be.

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1

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UNDO INFLUENCE

Second, take a look at the overall Middle section we defined initially, and watch what happens

to it during the course of the UnDo Influence procedures. At the end of Stage 3 you can see in fact still together as a unit, that this entire Middle section (consisting of Sections 2 & 3) but its two halves are in inverted order, i.e., its two parts are now in 3 & 2 order. The overall Middle section has simply been given onc “internal cut,” at the point where Adam's selection was made. This same relationship holds true for the overall Bottom section (defined initially as sections 4 & 5). The two parts that make up the Bottom are still together at the end of the either the effect, only they're nowin 5 & 4 order. The only internal change that occurs Middle or the Bottom is this single internal cut. That's why only takes one cut within each all you care about 18 pile to restore the stack back to its original order. Note further that, keeping the overall group of Middle or Bottom cardstogether, but you don’t care about their internal order within that group, then you wouldn't even need to worry about any correcting cut at all. (This is how handled the red/black deck separation described in comment 6 of “Prior Commitment”).

is

to

it

if

I

just on the three large groups (Top, Middle, Bottom) you'll sce that they if you focus simply “cycle up” through the deck. From start to finish, it’s as though you merely cut the Top section (Section 1) to the bottom of the deck. This brings the Middle to the top of the deck and carries the Bottom to the center of the deck. It’s sort of one large loop, with the single added complication the internal cuts within the Middle and Bottom sections. Third,

up

up

of

The bottom line of all of this is that there's great room for stack preservation, because if its original order. From a nothing has been shuflled, then everything can be restored back fact the that the Top section stays practical standpoint, to date I've made the most usc out of intact. You can use this pre-arranged portion as a climax or additional phase to your UnDo Influence effect (as I did in “Worker Bees™) or — what think is a more subtle and more to defer or delay secret set-up for use in a subsequent effect. For fooling application — use instance, suppose in an UnDo Influence effect, indicator A starts at position, say, 14. That means that all the cards above it (the 13 cards starting at the top of the deck) can be stacked for any subsequent trick you wish (e.g., a full suit sequence, or an ordered value sequence for a spelling bank a countdown effect like the Perfect Stop Trick, or a couple of poker hands, — literally anything) and they'll remain in that stack order throughout thc UnDo Influence effect. Once you've produced Bonnie's selection to complete your particular UnDo Influence effect, you'll be left holding that exact stacked block, as the remaining bottom of the deck. You can then proceed directly into your next effect and use this secret stack to maximum

to

it

a

I

or

advantage. Now, I realize that much of this discussion may sound abstract, so if you don’t care what happens a theoretical level you can feel comfortable in passing through this section quickly. But often a grasp of theory will help you in your own creations; or, as my friend John Bannon has remarked, at least it’s intrinsically interesting.

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THEORY AND PRACTICE

The Reverse Mode I’m hesitant to open a Pandora’s box of variations, but I want to leave you with one final intriguing (at least, to me) thought. And that is, the entire UnDo Influence procedure can be reversed, sort of “turned on its head” so to speak, and done from the bottom of the deck “up.” The set-ups, sclection procedures, adjustment procedures, and the final positions of the two selected cards all become mirror images of what we ve explored up this point. I'll offer just a brief explanation, becausc this new approach doesn’t affect anything we've explored far. It’s just one more theoretical piece of candyto savor and perhaps explore at a later time.

to

so

The easiest way to describe what I'm talking about is to walk you through a variant of “Prior Commitment.” In this new version, the plot and effect will remain the same but the procedures will change, in some interesting ways. So, have two Jokers handy, which (if you actually perform this variant) would have the predicted positions written on the back. Instead of using 18 and 43 as predicted positions, here the predictions will be 10 and 35. Into a 52 card deck, insert the Jokers face up so they occupy positions 26 and 45, counting from the top of the full 54 card deck. The first change is in the selection procedure. You'll see instantly what I mean about everything being a mirror image, because instead of cutting and looking at the face cards of the cut-off packets, the spectators will instead cut and then look at the top card of the remaining packets. More specifically, have one spectator cut the deck into thirds. The only that the upper cut must be somewhere above A, and the lower cut must be requirement somewhere between A and B; the two indicators have been chosen to provide wide leeway. (Note how even these cutting requirements are mirror images of the normal cutting limitations). For convenience, let's call these three cut sections top, middle, and bottom. the top card of the middle section, and Bonnie looks at the top card of the Adam now looks bottom section. The deck is then reassembled to bury both selections, by first dropping the bottom section onto the middle section, burying Adam’s selection. Finally, drop the original top section back on top of the combined pile, covering Bonnie's selected card. The above selection displacement thus inverts the middle and bottom portions, which is the mirror image of the normal sclection displacement procedure. Now, spread the deck face down revealing the two face-up Jokers. Slide them out of the spread, dividing the deck into three separate piles. When you reassemble them, perform a variation of the Face-Down UnDo adjustment displacement so that the middle and top sections are secretly switched, with the bottom remaining at the bottom. (Again, note howthis is the mirror image of the original Face-Down UnDo adjustment displacement).

is

at

If you now count from the top of the deck exactly as in the original version (no mirror image at this point) you can discover Adam's selected card at predicted position 10 and Bonnie's selection at predicted position 35, exactly where you wanted them!

it

This Reverse Mode can be useful for several reasons. First, as a practical matter allows you to select different sets of predicted numerical results that still offer realistic cutting parameters. It permits combinations which simply aren’t available under the original procedures. This is because, although I've worked everything from the bottom up, the final counting is still done

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UNDO INFLUENCE

from the top down. In the foregoing example the predictions 10 and 35 are actually 18 and 43 from the bottom of the deck — the same numbers used in the original effect. But if you tried to use a predicted outcome of 10 as one of the results under the original procedure, you'd wind up with quite narrow, restrictive cutting limitations. Second, the stack preservation principles get inverted. We'd have to drawan entirely new set of diagrams for this Reverse Mode, but basically they'd look like the mirror image of the diagrams shown earlier. The mirror image of our original Section 1 is now the starting bottom section (below indicator B). This means that under the Reverse Mode you can start with a prearranged stack or other secret set-up at the bottom of the deck (instcad of on top, as in the normal procedure). After the adjustment displacement, before you count to either selection, this stack is secretly delivered to you, waiting at the very top of the deck. This can be very convenient. Third, the face-down selection procedure has a couple of advantages. It looks free and allows the spectator to take off a single card to show around. Moreover, it makes the use of crimped indicators far more practical. Since the spectators aren't lifting up packets to their eye level, theyre far less likely to ever notice any crimps. And this, in turn, opens up the way for using some of the sleight-of-hand adjustment procedures discussed earlier in this essay. However, because of the “mirror image” concept, just bear in mind that you'll need to rework those procedures slightly so they accomplish a switch of the top and middle sections, instead of the middle and bottom sections. You'll find that such modifications can be easily made.

it

Finally, just to keep this complete, note that in this Reverse Mode you can accomplish a parallel Face-Up UnDo adjustment replacement, which is a mirror image of the normal procedure (e.g. as used in “Queenspell” or “Random Tandem™). Here's a simple way, done in the act of removing the indicators. Remember, in Reverse Mode the adjustment procedure keeps the bottom (face) section at the bottom, and secretly switches the middle and top portions. Holding the deck face up in the left hand, start spreading the cards into the right hand until you reach indicator A. Upjog A about halfway out of the spread and separate your hands, splitting the spread above A so that the upjogged card becomes the rear card of the right-hand packet. The right hand tosses A onto the table, and then turns palm down to deposit its packet of cards face down onto the table. Next, continue spreading until you reach indicator B and deposit onto the table in exactly the same manner. Once B has been tabled, the right hand with cards still spread, goes behind the cards remaining in the left hand. The right hand grips all the cards together and drops this combined pile face down onto the already tabled packet. The adjustment displacement is now complete.

its

it

I'll end this discussion of the Reverse Mode here.

Needless

to say, there are formulas you can

use to figure out the A and B indicator positions. These formulas are parallel to those used in the original mode. I've included them in the Appendix. (In our “Prior Commitment” variant, our calculated indicator positions are 26 and 44, which you'll note are the mirror images of 9 and 27 uscd in the original. In the Reverse Mode approach the Jokers get inserted immediately above these indicator positions, as opposed to immediately below them).

THEORY AND PRACTICE

89

Background and Credits Readers may be interested in how the UnDo Influence control concept originated, and 1 certainly want to give appropriate credit to my inspirational sources and to predecessors who've explored this kind of stuff before me. Obviously there have been many mathematical displacement ideas used as an underlying methodology for card discoverics, and I'm quite cognizant of standing on the shoulders of pioncers like Alex Elmsley, Ed Marlo, John Hamilton and Gene Finnell on such topics generally. More specifically, a number of mathematical locations are based on counting or moving blocks of cards located between two known keys (often initially positioned 26 cards apart), including contributions by Elmsley, Marlo, Scalbert, Harry Riser and Mike Powers. Some have been applied in connection with the faro shuflle and, to my knowledge, all of them employ two keys to find or control one selection. (The only one I'm aware of that controlled nwo selections the particular Elmsley effect discussed below and that uses three keys). I'm quick to acknowledge that, at some level of abstraction, there’s going to be some overlap among various mathematical principles, but the generalized UnDo Influence so far I've not yet come across material that’s very similar the specific applications that I've presented in this section. control procedures is

to

or

owe my initial inspiration for the material in this section to a prediction trick that Alex Elmsley performed on his American tour several years ago, because that wasthe starting point for my Twice as Hard. Elmsley’s effect required a full deck cyclic stack (Si Stebbins, Eight Kings, etc.) and was limited to the performer predicting cards at the specific numerical positions 13 and 26. After the selections and replacement of packets, Alex openly divided the deck into four separate tabled piles (using three keys, determined by the bottom card of the cyclic stack). Ile then reassembled these piles and finally counted to the two predicted numbers. I was puzzled by the cutting and reassembly procedure, because initially 1 couldn’t comprehend why it worked. So I started experimenting.

I

I began by varying the division points between the four packets, to examine howthe outcome

I

would change. Gradually started to detect some patterns: I found that one “division point” affected only one predicted number but not the other, and noticed further that the other two division points affected both predicted outcomes, but in opposite directions! This taught me something quite important, that took a major step beyond Elmsley’s effect: if I could vary all three division points according to precise formulas, I could change and control the predicted outcomes! I was no longer tied to just 13 and 26. (My variable three point analysis is the kernel of what eventually became the Fixed Middle calculation, described in detail in “Twice as Hard™). The practical problem was, once I varied the division points — even just a little bit —acyclic stacked deck would no longer help me find where these “new” division points would be. My answer, of course, was to employ a memorized deck (because that’s pretty much my answer for everything)! From all of this, the idea for a new, quite different cffect gradually took shape. Instead of would be much stronger having the magician predict two specific numbers beforehand, the spectators could name their own numbers! For the next several months | went bananas trying to accomplish this, and our weekly Chicago session group bore the brunt of my experimentation. As | developed generalized formulas, a preliminary version of “Twice as

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UNDO INFLUENCE

Hard” was born. At a private gathering in May 1997 I had the opportunity to show Alex what I had accomplished to date; when I allowed him to name his own two numbers, he confessed he was quite fooled.

I

figured out how to reduce the number of packets from four to three (by setting one of the indicator positions at 52, as described in “Twice as most Hard”). This climinated the third key card, simplified the mathematics, and importantly — made it possible to exccute the packet displacement secretly. And, once you could get away with doing the packet displacement without anyone noticing, the result appeared more magical. This, combined with the flexible formulas | had developed, opened the way a host of other applications.

My biggest breakthrough came later,

when

—~

to

Although I developed “Twice as Hard” first, | always wished it could be accomplished with the deck completely face down. Except for some exceedingly unpractical approaches with a marked deck or multiple pencil dots, I never got very far in this quest. But the possibility of dawned on me: bysacrificing one doing everything face down still enticed me. Suddenly main feature of “Twice as Hard” — namely, the spectators” free choice of numbers — I could eliminate not only the memorized deck but also the face-up spreading action as well! Hence was born “Prior Commitment.” From that point, things flowed quickly into generalizing the UnDo Influence control and exploring various handlings and applications. I've presented my favorites in this section.

it

As far as I’m aware, the procedures I've described to simultancously control two sclections to virtually any two pre-determined positions you want using only two keys (which, nutshell, constitutes the UnDo Influence control) are original with me, as arc the generalized formulas, the particular displacement handlings (including the Face-Down and Face-Up UnDo) and the various applications and effects presented in this section. For the record, the Elmsley effect that started me going was subsequently published as “No-Calc™ (John Derris, Come a Little Closer, 1998, p. 54). There Alex mentions that his trick is derived indirectly from Jack Avis’ “Calcolate™ (The Gen, Vol. 14, No. 4, August 1958, p. 116). Avis’ original procedure was a location to find a single selection. Elmsley expanded this into a location of two cards in “Calcolate 2” (Steven Minch, The Collected Works of Alex Elmsley Volume 1, 1991, p. 361) and also used it in conjunction with faro shuffles to control two selections to the top and bottom in “The Fan and Weave Double Control” (Minch, The Collected Works ofAlex Elmsley Volume 2, 1994, p. 337). Readers will find that these Avis and Elmsley controls are quite different from what I've presented here, but since they are Elmsley’s self-acknowledged predecessors, they certainly belong somewhere in the pedigree leading up to my UnDe Influence control.

in

words were closer to “Give your readers a break ... ™) so I guess we'll wind up our discussion of the UnDo Influence control. If you digest the seven effects that begin this section, and spend some time with the many options and alternatives explored at the end of each trick and in this final essay, I think you'll have a new.

My

editors tell me that I should stop here (their actual

THEORY AND PRACTICE

exciting

—

and quite fooling

There's probably

—

weapon in your card arsenal.

more to say about UnDo Influence, but it can wait until a future time. a lot with fellow cardicians, so now it’s time for you to out and play with

like to share my toys UnDo Influence.

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go

With Alex Elmsley

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UNDO INFLUENCE

Appendix In each situation listed below, I first give the formulasthat determine indicator positions A and B, which can then be used to control the two sclections to a given set of Low and High positions. Sometimes you may find it useful to calculate the other way around, starting with two given indicator positions and solving for the resulting Low and High positions. Obviously, you could physically try the procedure using those given indicators and observe what occurs, but there are formulas that can help you. I've included them below.

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Original Mode 52 Card Deck (without removing any of the 52 cards)

A=52-H B=L+52-H

H=52-A L=B-A

Alternatively, L + A

52 Card Deck (removing two cards, leaving a 50 card deck)

A=51-H B=L+52-H

II.

Alternatively,

L+A +1

H=51-A L=B+H-52

Reverse Mode 52 Card Deck (without removing any

A=+1)-L B=54-L

of the 52 cards) L=54-B H=A-B+53

52 Card Deck (removing two cards, leaving a 50 card deck)

A=H+1)-L

B=53.-1

L=53-B H=A-B+52

Eccen-tricks

This chapter offers a smorgasbord, with a little taste of everything. For those who like sleight of hand, there's a new move, that both controls and reverses a sclected card. Its applications run the gamut from a glimpse to an “invisible” card, from a transposition to a Triumph. At the other end of the spectrum, some subtle gaffs do most ofthe work for you in an O’Henry Ace assembly and a Reverse Ace assembly. In both these routines the Aces appear one at a time in the leader packet, with no extra cards and no palming.

There's a new mental utility that will help you quickly and (almost) effortlessly accomplish some sophisticated spelling effects, and an application to an impromptu spelling location. There are a couple of two-deck effects, both of which build to an impressive coincidence climax. These play “big” and are suitable for parlor presentations. The two memorized deck effects are fast, entertaining and quite fooling routines. Both are stack independent and leave your stack intact.

a

And there's stuff that doesn’t fit into any simple category: a double location with spelling revelation, a gambling scam, and cven a presentation for an Ace production that’s already received a bum rap (you'll see what I mean).

Head Over Heels look — it's a move! Actually this is a simple, straightforward action that accomplishes two things simultaneously: secretly controls a freely selected card from the center to second position from the top of the deck, and it also reverses it. It’s efficient, quick, and easy to do.

H:

it

I'll first explain the move separately and then suggest

a few applications that use it to

advantage.

The Head Over Heels Move Hold the shuffled deck face down in your left hand. Start to spread the cards between your hands, as you request your spectator, Adam, to touch any card. Try to time it card around the middle of the pack. so Adam touches 1)

a

When Adam complies, separate the spread above the touched card. Casually flip the entire right-hand spread face up bookwise onto the left-hand cards, where they should fall fairly and slowly, because square onto the lower half. This entire action should be done openly and ask him to cut Adam hand toward extend there's nothing to hide. (Alternatively, just your off about half the deck and turn it over face up onto the balance of the pack. This is the first step of the well-known Christ/Balducci Cut Deeper Force and gets you to the same position). Start to spread the cards from your left hand into your right hand displaying the faces of the reversed upper portion of the deck to Adam. Explain, “You might have touched standard any one of these cards ...." When you've pushed over about ten cards perform a Hofzinser-type cull to secretly slide any face-up card under the spread, where it will be held in place below the spread bythe right fingers. (This culling action is described in detail in this chapter). Don’t be afraid of culling a face-up card, because in “Two Beginnings” later this situation there's no heat on you. There's motivation for the spreading action, and the faceneed to note up cards are not the focus of whats going on. For this basic move you don’tcven which card gets culled, but of course it’s easy to sce the card's index since the spread is face up. 2)

in

Continue to spread all the face-up cards until you reach the face-down section and separate the hands at that point. The culled card is still hidden beneath the right-hand spread. Use right-hand cards gesture at the top card of the squared lefi-hand section (Figure 1) saying, “But you chose this card here.”

the

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ECCEN-TRICKS

With your left thumb push the top card of the left-hand section to the right for about half its width as your left hand lifts up to display the face of this card to Adam (Figure 2). Ask him to remember the card. Then lower the left-hand packet back to a horizontal position, keeping the selection side-jogged (Figure 3). 3)

4) You're now going to square the face-up right-hand spread onto the left-hand cards, but as you do you'll secretly cause the selected card to slide above the single culled card that is hidden under the spread. Think of closing the right-hand spread toward the left as your left hand holds its cards ina stationary position. As your hands come together, lower the left end of the right-hand spread slightly, so that the back of the leftmost face-up card (the KC in the photo) presses down a bit against the back of the sidejogged selection. Your left thumb is still resting on the back of the selection, holding it in its sidejogged position. By maintaining this light downward pressure or tension as the right-hand cards are squared to the left, the gap between the spread and the culled card hidden underneath will widen slightly. The right edge of the selected card will automatically slide into this gap. Figure 4 depicts an exposed view of this condition. Your fingers will sense when the sclection has entered into the gap, above the culled card. As soon as you feel this happen, release the left thumb’s grip on the selection and complete the square up of the two halves (Figure 5). Your left pinky maintains a break between the halves (the left pinky will thus be touching the back of the culled card). This entire squaring action takes only a moment. To complete the move, you're now going to flip all the cards above the pinky break face down, back onto the lower section. Here's perhaps the casicst way to accomplish this. As soon as the packets square, just change the position of your right hand to re-grip the upper half by the ends from above, closer to the right cdge (Figure The pinky break facilitates this. 6). Immediately revolve the right-hand packet facc down bookwise (Figure 7), back onto 5)

HEAD OVER HEELS

97

the lower section. A back shows, exactlyas it should. Once you get comfortable with this turnover action, you'll find that you can actually accomplish it a bit carlier, in the very act of closing the spread, without having to change the right hand's grip. ITere’s how. As the right-hand cards arc almost squared, your right fingers (which are on the back of the culled card underneath the spread) simply extend toward the left a bit. This pushes the culled card further to the left, where it slides under the face-down selection. Your extended right fingers themselves enter into the separation between the halves, so there is no need for a pinky break. The face-up cards will still be slightly spread. In a continuing action, just lever your right fingers up to flip thc upper portion over bookwise, where it finishes closing face down onto the lower section. Just be carcful that the culled card is pushed sufficiently to the left so that it covers the face of the selected card, to avoid any inadvertent flash of the selection’s face as the upper packet is flipped face down. Done looks as if the face-up spread is correctly simply flipped face down to close, almost without ever coalescing with the deck. It’s very convincing.

it

Under either handling, the action looks like you've simply squared the face-up cards and

flipped them face down onto the deck, apparently burying the selected card back in the middle, where it came from. In fact, the sclected card is now face up immediately beneath the top card of the deck. 6) As an optional touch, you can immediately do a finger fan of the deck spread the top two cards) (taking care not deck face down, exactly the entire to display as it should be. Casually point toward the center of the fan as you remark, “Your card is about here.” Square the pack, again taking care not to expose the reversed card.

to

That's the basic move. Ilere are a few uses.

Applications Head Over Heels Transposition Ask Adam to shuffle the deck. Take it back and have Adam select a card using the Head Over Heels procedure to 1)

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ECCEN-TRICKS

secretly control

it face up second from the top. to

be perfectly fair you'll use whatever 2) Explain that you will also select a card, but card Adam has shuffled to the bottom of the deck. Flip the entire deck face up into your left hand. Pull down at the inner right corner with your left pinky to obtain a break above the lower two cards; the back-to-back situation creates a natural separation which facilitates taking this break. As you do this, re-grip the deck by its ends with your right hand from above. Your right thumb takes over the break at the inner end.

at

the front end of the face-up deck with your right Lift up about half the cards into your left hand as your right thumb maintains its break above forefinger and swing cut the face-to-face double at the rear of the deck. (Figure 8 shows the performer's view of the action, with the break exaggerated for clarity). 3)

it

4) Call attention to the identity of “your” card (the 2S in the photo). “My card is the Two of Spades.” Push the 2S to the right for about half its width with your left thumb. Ina continuous action, flip the 2S face down onto the left-hand section, using the right-hand cards as a lever. In fact, you'll perform Jack Merlin’s Tip-Over Addition (often called the Drop Sleight) to secretly unload the two cards below the break directly onto the 2S in the act of flipping it face down. Briefly: lower the left edge of the right-hand section below the right the right-hand packet, causing the 2S to flip edge of the sidejogged 2S (Figure 9) and then follows section face down. The right-hand through this turnover and for a brief moment it grip covers the now face-down 2S (Figure 10). At this instant your right thumb releases section. left-hand the cards to drop onto at the break, allowing the two face-to-face Immediately move the right-hand section off to the right, revealing the apparent back ofthe 2S (really Adam's selection).

lift

its

Your left thumb pushes this face-down card to the right, letting it drop to the table (Figure 11) as you repeat, “The Two of Spades.” An indifferent face will showon the left-hand section, so all appears normal. Drop the right-hand cards onto the left-hand cards, casually turn the entire deck face down and place to the side of the table. At this point all of the dirty work is done.

it

Pick up your supposed 2S and explain that it will act as a magic wand. Wave it over the face-down deck and state that Adam's selected card will magically turn over. Ribbon spread the deck across the table revealing a face-up card — but it’s the 2S, the very card you're supposedly holding! That's the first magical climax. 5)

6) Ask Adam to name his selection. When he does, snap the card you've been holding and turn it face up to reveal Adam's selection.

You're left clean, with no reversed cards in the deck.

HEAD OVER HEELS

99

Head Over Heels Glimpse The Head Over Heels move creates an excellent situation for a secret glimpsc card.

of

the selected

After performing the move, just hold the squared deck in your left hand and tilt it upward slightly, just enough to take the top of the deck out of the audience’s linc of sight. Then push the top card slightly to the right about 1/4™ with your left thumb, so that the index of selection is staring you in the face (Figure 12). Once you've secretly glimpsed this index, pull back with your thumb, to hide the selection again, as you lower the deck back to level.

the

The entire glimpse only takes a moment. I do the glimpse in the act of squaring the deck; it’s quite natural for your left hand te tilt up slightly to meet your right hand, as the hands come together to square. It’s a subtle glimpse because the audience thinks the card is face down and is still buried in the center.

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ECCEHN-TRICKS

Head Over Heels, into a Visual Change After the Head Over Heels move you're in a perfect position to cause the sclection to visually appear face up, by performing a color change. Perhaps the simplest is the Paintbrush Color Change. Just grip the top two (face-to-face) cards left thumb as one at their right edge and carry them off the right side of the deck. With your card as a lever, flip push over the next card to the right. Then, using the right hand’s double for about half the double deck, injogged the onto deck. Lay this single card face up onto the its length. Then, do the Paintbrush Change by pushing the double card forward, flush with the deck to momentarily cover the face-up card and then immediately draw back just the top card to reveal the face-up selection. You can flash the face of the right hand’s card to show that it’s an indifferent card, and then replace it on the bottom of the deck. You can follow with a for an “Ambitious Card” double turnover of the two face-up cards, either for another change move.

or

Alternatively, after lead Over Heels you can make the selection instantly appear face up on top of the deck by simply performing the Erdnase Color Change.

Head Over Heels Invisible Card

to

present a quick, impromptu and visual combine the above glimpse and the Erdnase Change “Invisible Card” cffect. Since you already know all the moves, herc’s a brief description.

I

Have a card selected and controlled via the Head Over Heels procedure. Explain that you'll make the spectator’s card invisible. Hold the face-down deck squared in your left hand and pantomime withdrawing an invisible card out from the center. As you glance down at the deck during this pantomime action you have plenty of opportunity to perform the Head Over Heels Glimpse and secretly learn the identity of the sclected card. Place the imaginary card on the table saying, “Now there's your card, invisible, but of course I don’t know what is. Doyou know why?” The usual response is “Because it's invisible.” Deadpan, “No, because it's face down. IfIturn it face up ..." — here, pantomime turning the tabled invisible card over — “then as surprising as it is funny. I can see it's the Three of Spades.” This announcement

it

is

1'll place the Three of Spades face up, right here on top of the deck.” Pantomime these actions, and continue, “Now it’sface up, but that's hard to notice when it's invisible. ... I'll make visible so you can see for yourself.” Cover the deck with your hand, performing the Erdnase Change. Lift your hand to reveal that the selected Three of Spades has magically “Look,

it

appeared face up on top of the deck.

Head Over Heels In-the-Hands Triumph 1) Begin by performing the Head Over Ileels move to control a selected card face up

second from the top.

HEAD OVER HEELS

101

2) Hold the deck in your left hand as your right hand grips the pack from above, as though beginning a double undercut. Obtain a break under the top two cards with your right thumb as your left hand undercuts about half the deck from the bottom onto the top. Your left pinky takes over the break, now in the center of the deck. 3)

Ina continuing action, you'll now

perform the Tenkai Optical Revolve. With your right hand, cut off all the cards above the break and turn your right hand palm upward. At the same time, turn your left hand palm downward. This is a simultaneous “twisting” kind of two-handed action that turns both packets over. E

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automatically turned 90 degrees so Having turned your right hand palm upward, its packet the long sides arc parallel to you. Place the left-hand packet onto the right-hand packet so the packets overlap about half their length. A face will show on the lefi-hand packet while a back shows on the right-hand packet (Figure 13). It appears as if half the deck has been reversed and that the halves have been placed back-to-back. In fact, all the cards are face up except for the selection. 4) Adjust the deck so that you can take one half in cach hand, to prepare for a Faro shuffle. Weave the two packets together. The Faro doesn’t have to be precise and it doesn’t matter which cards wind up on the outside of the interweaved deck. Push or cascade the halves together, taking care that your audience can’t see the true orientation of the supposed facc-down cards. As far as the spectators are concerned, you're shuffling a face-down halfinto a face-up half. 5) Hold the deck face down and cut the deck to center the selection. Spread the cards

between your hands, revealing that they've all magically turned face down except for the selection.

Head Over Heels is a utility move. I'm sure that if you play with Head Over Heels, you'll come up with other imaginative applications.

Comments (1) Background and Credits. The first part of my Ilead Over Heels move was inspired by Roy Walton's effect “Whispering Henry” (Peter Duffie, Five Times Five Scotland, 1998, p. 118). It was Walton's idea to combine the first cut from the Christ/Balducci

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Force action with a cull of one of the face-up cards (as in steps and 2 of my description). Dave Solomon then varied Walton's displacement of the selected card, by first displaying above the culled card later (per face while it is still on the left-hand packet and then loading steps 3 and 4 in my description). 1

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From this point my Head Over Heels move and Walton's effect proceed in different directions. Walton actually “rights” only the face-up spread, leaving the sclected card face-down in the center of the deck, and then cuts the top half of the deck to the bottom to bring the selected card to the top, still face down. He then follows with a second Christ Force cut, to reverse the the context of having a second selection made. This makes perfect selection in the center, sense in Walton's effect, but I realized that I could short cut everything by initially flipping al/ the cards face down together (including the face-to-face culled card and the selection) in the natural action of righting the facc-up cards. That way I could get an instantaneous reversal and a control of the sclected card, while leaving the original top half still on top and entirely dispensing with any second selection. It’s quite efficient.

in

Once I developed the basic move, John Bannon and Dave Solomon helped me with many of its refinements. John deserves much of the credit for the “In the Hands Triumph” procedure. Readers may want to compare Head Over Heels with Ron Bauer's handling of the “Screened Leipzig Card Pass” (Steven Minch, Daryl 's Ambitious Card Omnibus, 1987, p. 73, also in Jon Racherbaumer, Card Finesse 11, 1992, p. 190). The Bauer/Lcipzig move also controls a selection from the center to second position from top (though not reversed) by a quite different route. The Paintbrush Color Change is attributed to Stanley Collins and Dai Vernon (see Minch, Daryl’s Ambitious Card Omnibus, 1987, p. 28; also Bruce Elliott, Classic Secrets of Magic, 1953, p. 155). The Erdnase Color Change first appeared in S. W. Erdnase, The Expert at the Card Table, 1902, p. 151; a more recent and helpful description can be found under the title “The Houdini Color Change” (Giobbi, Card College Volume 3, 1998, p. 744). Jack Merlin’s Tip-Over move is described in the foregoing works (Minch at p. 53, and Giobbi, Card College Volume 1, at p. 206). The Tenkai Optical Revolve is described in “Tenkai’s Reverse Cards Mystery” (Harlan Tarbell, The Tarbell Course in Magic, Volume 1, 1941). (2) Variations. Inthe Head Over Ileels Transposition, instead of the Drop Sleight sometimes substitute the James/Ellis Loading Move (Wesley James’ “On the Up and Up,” in Frank Garcia, Super Subtle Card Miracles, 1973; Tom Ellis’ “Super Rise,” in Karl Fulves, The Pallbearers’ Review, Vol. 9, No. 6, 1974). Aller levering the 28 face down, the right second finger contacts the back of the face-down 28 and outjogs it. As your left hand turns palm down to flash the face of the outjogged 28, the left pinky pulls off the two face-to-face cards, flush with the deck. Turn your left hand palm up again, as your left forefinger from below pushes the outjogged card flush. In a continuous action, thumb off the now face-down supposed 2S. The appearance of a face up card makes the subsequent visual retention particularly convincing.

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As soon as you start to play with Head Over Ileels you'll find it is open to much variation. For

HEAD OVER HEELS

103

you display two selections together (the top two cards of the face-down section) if can load them both above the culled card at the same time. The Head Over Heels move

example,

you will then reverse both of them and bring them to

2™

and

3™

positions under the top cover card.

Sometimes you may want to force a particular card as the selection. Just start with that card on top, and when you're ready to perform, cut the deck, holding a break between the halves. Riffle force to the break, and turn the upper half face up. Explain that you don’t want to see the identity of the card, and spread through the face-up cards, secretly culling one, until you reach the “stopped at” face-down card. Nowproceed with the Head Over Heels handling.

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Alternatively, sometimes you may want specific known card to be the one that winds up as the top cover card; if so, try starting with that desired card secretly face up on the bottom of the deck. Run through the regular procedure, but instead of culling a card from within the face-up spread, cull the desired card from the bottom. Once it’s pulled under the right-hand spread, proceed to use it with the regular handling. (3) Positioning the Card to Any Number. If you cull rwo cards under the spread instead of one, you can bring the reversed selection to position from the top. When I he mentioned this to Josh Jay, soon came back with a far more flexible variation. Fittingly (but completely coincidently) Josh applied Tony Kardyro’s Simple Simon move, which subtly positions a packet containing a determinate number of cards under the spread. Here's the idea. Suppose you want to have the selection wind up face up, at say, 12" position from the top. When you start to spread the face-up cards, simple push them off in small groups so you can sight count them as they go by. When you've spread 11 cards (one less than the desired destination) separate your hands at that point and pause momentarily. Square the right hand’s 11 cards, and immediately continue to spread the remaining face-up cards on top of this block. The right-hand packet will be concealed beneath the face-up spread, where can be treated essentially as a singularly culled card. If you now complete the mechanics of the Head Over Heels move, loading the hidden block below the selection and then flipping the entire packet over, the selected card will wind up just where you want it, face up 12* from the top. The key in this variation is to establish a haphazard rhythm as you spread the cards, so that your counting isn’t noticeable.

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O’Aronson Aces Ace Assembly is a classic, if sometimes overworked, plot. So let me offer a few temptations or teasers to pique your interest. First, this isn’t merely another “pure” assembly; it's my version of the O'Henry Ace plot, which is a considerably less explored plot. Second, it offers an extremely clean and easy handling; there are no extra or introduces some new gaffs double cards and the required sleight of hand is minimal. Third, which do most of the work for you; you'll find they're quite useful in other effects. Finally, Marlo’s “cheating at poker” theme offers an immediate hook that advances the presentation a step beyond simply the “adventures of the props,” and the surprise ending keeps the entertainment level high throughout the routine.

T=

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Effect The performer offers a lesson in cheating at poker, and proposes get four Aces into a hand that has been dealt him.

to

to teach the spectator howto

start four hands, and then fills in each hand by adding The magician deals out the four Aces The cards each indifferent Ace. three to performer displays his own hand, showing that quite plainly contains only one Ace. He magically “steals” an Ace from one of the three other hands, and then repeats it with a sccond hand. Each time, he shows the Ace to have vanished from the other player’s hand and to have arrived in his own hand. He now has three ofthe four Aces in his hand.

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He asks the spectator play the role of a professional cardshark and to guard the remaining hand. Even under these conditions, final “cheating transposition” occurs — but not the way the audience expects. The performer displays his own hand to reveal no Aces at all, and when the hand he’s been guarding, he discovers all four Aces. the spectator looks

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Working The Widespread Gaffs

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It is only proper begin this explanation with a bow of homage to Brother John Hamman’s routine and to Alex Elmsley’s “Atomic Aces,” both of which pioncered the use “Final Ace” of double-ended gaffs in the classic Ace Assembly plot. This present routine also uses double enders, but mygaffs vary from these two predecessors in two significant respects. First, only three gaffs are employed instead of the traditional six. Second, two of the three are special galls, which allow the spreads and “shows” to be particularly free and open. Figure I displays the three gaffs involved.

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O'ARONSON ACES

You can have a set of these gaffs custom made, but as of the publication date of this book I’ve arranged to have these gaffs, along with the two additional gaffs used in the following effect, made available on Bicycle card stock. You can obtain a complete set under the title “Aronson’s Aces” directly from me (check my website simonaronson.com for information, or contact me at my postal or email address noted in the Preface) or from A-1 MagicalMedia or other quality magic dealers.

As you can see, all three are double enders displaying an Ace index at one end, and an indifferent card index at the opposite end; refer to them as the “3-gaff,” the “5-gaff,” and the “9-gaff” respectively. The 3-gaff is a standard double ender, but the other two are what I call “Widespread” gaffs — because they allow you to display a full two thirds of the card, from both views, the either direction. Figure 2 gives a graphic portrayal of what I mean, where, this in fact the 9-gaff. It is this “widespread” feature that adds visual cleanliness rear card effect, and equally important, allows for a free and casual handling of the cards. And when adds a confidence and openness to you aren’t as concerned about the tightness of a spread, cards. the your attitude toward

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touches and twists this routine, there are a number While the gaffs are one key element I’ve developed especially for “O’ Aronson Aces” which work together quite well. If youdon’t happen to have a set of these gaffs handy on your first reading, suggest that you nevertheless work through the routine by quickly making a “mock-up” set, using three old cards and a marking pen. Once you see how the procedure flows, think you'll be inspired to obtain a set of the Widespread gaffs.

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The Set-up

You're going to usc the four regular Aces, the three gaffs, and nine indifferent cards, none of which should match any of the gaff indexes. For explanatory purposes, I'm going to describe a set-up using nine specific “x” cards, but once you sce how the routine works, you'll be able

to substitute whatever indifferent cards you like, thus making the set-up relatively easy (see comment 2).

From the face

of

the deck,

arrange the following 12 card set-up: 8S, QII, 3-gaff, 7S, 9-gaff,

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5-gaff, 9C, 5D, KS, 10H, JD, 2C, and then the rest of the deck above this stack. The 8S is thus the face card of the deck. Note that the 8S is a subtle “pointer” card; the middle pips in the outside rows point toward one end. Orient the 8S so that points toward the end of the deck when that that shows the 3-5-9 end of the gaffs; you pick up the deck you'll know way, instantly which end of the deck to spread to display all indifferent cards.

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Let's assume the four regular Aces are already out on the table from a previous effect. Arrange them in a face-up pile in the following order from the face: AC, red Ace, red Ace, AS. (If you want to start by removing the Aces from the deck, see comment 2 for a subtle tip). We're ready to begin. The Layout Hold the deck face up in your left hand, pointer facing outward, as you explain, “People wonder whether a magician 's skills allow him to cheat at poker. Ifyou promise not to spread it around, I'll show you how to magically get four of a kind into a hand that's dealt you.” While you patter, with your right hand pick up the Aces. Spread them to show front and back, and drop them on the face of the deck. Say, “We 'll use the Aces, and 1-2-3-4-5-6-78-9-10-11-12 more cards, that aren't Aces.” Spread the face-up cards from left hand into right, first spreading the Aces and then thumbing over the next 12 cards one at a time as you count aloud from to 12. Tilt the deck toward your audience so they can easily view all the cards. Although you're simply spreading (and not dealing) the cards, it’s important to push each of the indifferent cards singly as you count so that your spectators can appreciate that there are no extra or hidden cards. Hold the 16 cards in your right hand as the left hand tables the balance of the deck face down, step 8). your left. (We'll use the deck later on, 1)

1

at Casually spread the 16 cards between your hands once more to display all the faces at

2) again and then resquare them, secretly obtaining a left pinky break beneath the top seven cards. You don’t need to sight count seven cards; just look at the indexes and take your break beneath the 3-gaff. Square the cards in your left hand, and with your palm-down right hand, lift up the block of cards above the break. Your right fingers are positioned at the outer end to cover the the face of the left-hand cards, to the thickness. The similarity of the 7S, which now shows original 8S minimizes any momentary discrepancy. Lower the left edge of the Ace packet under the right edge of the left-hand cards and use the right-hand packet as a lever to flip the left-hand packet face down in the left hand. Set the right-hand packet onto the now face-down left-hand cards, obtaining a left pinky break between the packets.

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Continuing with the poker patter, “If four people are playing poker, the Aces probably wouldn't start out together. The lawof averages saysthat each player would likely get one Ace, so that’s how we'll start.” Timing these words your actions, you're going to perform

to

Herb Zarrow’s add-on, as follows. Spread the top three Aces to the right singly, and then push off the remaining block with your left thumb, as apparently the fourth Ace (Figure 3). Your right fingers beneath the spread enter the break and help move the block as apparently a “single” card. Without hesitation, your right hand draws the fan to the right (Figure 4) and flips its cards face down onto the left-hand packet, allowing gravity to close the fan (Figure 5).

O’ARONSON ACES

107

Immediately respread the top four face-down cards to the right, sidejogged off the left-hand packet (Figure 6). The impression given is that the Aces never fell quite square onto the lefthand cards. (For an alternative add-on and switch using the Braue Addition, sce comment 3).

3)

hands,

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In a continuing action you're going to deal these four (apparent) Accs to four approximately the positions shown as A through D. D

Cc

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The first card will be dealt to yourself dealer position (A) and you'll display face in a particularly convincing way. This top card is now the 3-gaff, with the 3 index at the outer end. With your palm-down right hand, grasp this card at its outer right corner, right fingers on top and right thumb beneath (Figure 7). Rotating your right wrist this card face up stud fashion. outward, turn Your right thumb will be in perfect position to cover the 3 index and the rest of the card will show as the AC (Figure 8). Move the

its

B

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to

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left edge as the the table. Then, using left long edge card to position “A” and lower axis, with your right fingers flip the card bookwise face down onto the table (Figure 9). It’s a very casual, natural way to first show the Ace face up, and then turn it face down. Immediately continue to deal the remaining three supposed Aces face down, without displaying them, counterclockwise to positions B, C, and D. The real AS will be at position D. I generally have my participating spectator seated at my left, and since he’s going to cover the cards at D later on with his hand, I make it convenient for him by dealing the four at your right, you can just as your spectator supposed Aces counterclockwise as shown; left from cards deal to three right. well the

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The actions of steps 2 and 3 all flow together and only take a few seconds. Bythe time you speak the lines “... so that's how we 'll start,” you should be dealing the four cards to the table, illustrating your words. 4) You're now going to put a group of three (supposed) indifferent cards onto each will appear as though your audience sees the faces of all twelve cards; (supposed) Ace, and in fact, they’ll only view nine cards, but the handling lulls them into believing they saw a group of indifferent cards for each Ace.

it

Flip the packet face up bookwise in your left hand and start to spread the cards into your right hand. The spread can be open and casual, but be careful not to spread the last four cards. Since you're not counting cards trying to prove anything, it makes no difference that fewer than 12 faces are seen. Just spread until you see the 2C (the ninth indifferent card from the a benefit of using face) and simply hold the block of Aces unspread under the 2C. This specific indifferent cards in your set-up; by knowing which particular card to watch for, you climinate any need to count exactly nine cards, and your handling is correspondingly nonchalant. As you spread, explain, “Now we ll fill in each of the hands. We ‘re going to put these odd cards ... ."

or

is

Resquare the cards, flip the packet face down bookwise and immediately spread the top three cards, in a fan sidejogged off the right side of the packet. Continue your sentence, “... in groups of three...," pointing to these three face-down cards with your right hand. There's a subtle visual retention that works your advantage here. The spectator has just seen a spread

to

O'ARONSON ACES

109

of indifferent cards face up and now sces

three cards spread face down; he instinctively assumes these face-down cards are the ones he just saw. Your left thumb holds these three cards momentarily in place, still spread, as your right hand picks up the card at face to the audience position D and flashes the AS), as you conclude your (displaying sentence, “... onto each Ace.” Turn the AS back face down and return it to position D on the table.

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Immediately take the three spread cards with your right hand at their inner right corner and casually drop them face down onto the just-shown AS, as you say, “That's three... .” Be careful you don’t flash their faces. Continue by pushing off the next three cards with your left thumb and, as before, grip them at their inner right corner, right thumb above and fingers beneath. Turn your right wrist inward to momentarily display the faces of this fan of three cards. Your audience will see exactly what they should — just three indifferent cards. Turn your wrist outward, bringing the three cards back to a face-down position, and drop them onto the card at position C as you continue, “... that’s six ... .” Now repeat this twice more with the remaining two groups of three cards, displaying the faces of each group as you place them onto the Ace at position B “... that’s nine ...,” and finally on your Ace at position A concluding, “... and that’s twelve.” You should handle the last group of three exactly as you handle the previous groups. You can casually show the faces because theres nothing to hide. Figure 10 depicts the audience’s viewpoint, and you can see that the rcal 78 in front allows you to spread this group of three quite widely. Your audience will be convinced they’ ve seen twelve indifferent cards.

You're now going to display all four faces of the cards in your hand (position A), it in a particular way that will set up the indexes for the subsequent appearance do but you'll of the Aces. Pick up your hand and spread the four cards face down between your hands. Rest your left thumb on the hack of the second card from the top (Figure 11), while your right fingertips underneath press lightly against the face of the third card, the 7S. Now simply pull separate the four cards into two pairs; the second and third your hands apart a few inches cards will slide across each other as the hands scparate (Figure 12). Your right hand now 5)

to

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holds the first and third card, while your left hand retains the second and fourth card (Figure 13). Simultaneously turn both hands outward, thus turning the faces of both pairs toward your audience, and pause (Figure 14). Think of turning both wrists inward about 1/4 turn so that the backs of your fingers will be toward the audience and your fingertips point down at the table. The cards will rotate about 1/4 so that their long edges are parallel to the tabletop and their faces are toward the audience. As a result of this display, you have subtly turned the original narrow ends ofeach pair 1/4 of a turn in the opposite direction; these outer ends are now facing each other in the center of the display. Your left fingers cover the 3C index, and the audience apparently sees two full cards, at the face of each pair (Figure 15). As you perform this display, say, “The dealer looks at his hand, sees he has only one Ace, and decides he'll have to cheat by stealing a card from the other players.” You should glance down at your cards as you deliver this line, apparently checking out your hand along with the audience. Each pair contains a red and a black card, and all looks quite random. Continuing to hold both pairs in that horizontal position, place the right-hand pair in front of the left-hand cards. Grip all four cards at the left end between left thumb and fingers, and release your right hand. Turn your left hand palm up, thus turning the packet face down, and place the packet back at position A. (Status check: the outer indexes of the packet, from top to bottom, are the 9, AC, AH, and 7S at the face). This display takes only a moment and is a convincing way of showing that you haven't done anything — you only have onc Ace. But this display has also efficiently reversed two ofthe four cards to set you up for a magical appearance of the first Ace. Note thatthe AC gets buried in the middle of the packet. That's okay, because in this presentation we're not trying to emphasize any one particular Ace as having “magnetic” powers. The AC is not a “leader” Ace or even a special Ace. What's important is simply how many Aces are in your hand. The First Steal 6) You're now ready to demonstrate some “magical cheating.” Explain, “First the dealer looks for the most naive player,

O’ARONSON ACES

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this innocent beginner over here.” Point to the hand at position B and tap it gently a couple of times with your right palm. Look up at your spectator, and explain, as though revealing a confidence, “That's your first lesson. Never let anyone touch your hand. Because he might palm off an Ace like I just did.” -

You'll now display the cards in hand B, revealing that there is no Ace. Since that hand actually contains only four “x” cards, you can show it any way you want, but I've developed a little display that looks pretty and sets up a consistent pattern that can be used on each of the ensuing hands. Pick up hand B and separate it into pairs, taking the top two cards in your right hand and the bottom two in the left. Swivel your thumbs forward so that two backs show ineach hand (Figure 16), and then move your thumbs back again. Place the right-hand pair back onto the left-hand cards, and then flip the packet face up bookwisc into your left hand. Immediately spread the four cards face up between your hands, and take the fan in your right hand, fingers below and thumb on top (Figure 17). All four of the indexes will be seen, showing no Ace.

a

final convincer, you'll apparently show the face of each card singly as you remove each one from the fan and toss it aside face down, to form a discard pile off to your right. With your left hand, thumb above and fingers beneath, grip the leftmost card (in this example, the KS, see Figure 18) at outer left corner. Turn your left hand palm down, rotating this card face down end-for-end (Figure 19), and deposit it face down on the table to your right. In quick succession, turn each of the remaining three cards face down in a similar manner, depositing them onto this discard pile. (I appreciate that this action is fairly basic, especially As

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here where there's nothing to hide, but since this display works so well later on when it’s done with the dealer’s hand at step 11, think it’s helpful to establish the pattern early on; hence the detailed description). As I show these four cards singly I say something like, “This player has

I

nothing... ."

7) Pick up your dealer’s hand, flip it bookwise face up into your left hand and immediately spread the cards between your hands, revealing a pair of Aces in the center, flanked by a 9 and a 7. Whenever you're spreading the gaffed packet, think of spreading the cards straight across horizontally, and not in arounded fan; this prevents any inadvertent flash of a hidden pip at the outer right corner on the Aces. You can spread all of the cards quite widely, because the design of the gaffs allows you to show the full center pip (if you want to spread that far). You can thus handle this packet quite freely and openly. Take the packet in your right hand, thumb on the faces, exactly as you held packet B at step 6. As you reveal this first magical “steal,” finish your sentence, “... while I've bettered my hand to

a pair ofAces.”

The Second Steal Continue, “The second player is more experienced, he’s not going to let anyone touch his hand.” As you speak, your left hand grips the 9D at outer lcft corner (Figure 20, just as you removed the single cards at step 6) and rotates the 9D face down, end-for-end. Use it to point to the packet at position C (Figure 21). Mcanwhile, your right hand casually flips its remaining three cards bookwise face down onto the table at position D (Figure 22). (Status check: the 9gaff’s AD index is now at the outer end). 8)

its

Pause, and look to your left, where you “notice” the balance of the deck (which you conveniently left there, way back at step 1). Casually drop the left hands card back onto your dealer’s hand. Apparently interrupt your train of thought as you explain, “Just a minute, this deck should be over here,” and illustrate your words by picking up the pack and moving it across somewhere to the right side of the table. Look up at your audience and smile as you say, “That was misdirection. You let yourself be distracted.

O'ARONSON ACES

The

second lesson is: never get distracted.

When

Are. i

you looked away,

I secretly stole

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another

9) Pick up the hand at position C and reveal that the Ace has vanished from it, using exactly the same actions used at step 6. At the conclusion of this display there will be a total of eight cards in the discard pile. As I show these single cards, I comment, “This hand's a

bust"

Because of the end-for-end rotation of the 9D at step 8, the outer indexes of the cards in your the face. Pick up your dealer’s hand arc now, from top down: AD, AC, AH and the face into left hand and immediately spread the cards cards, flip them bookwise your up between your hands, revealing three Aces. Conclude, “... while I've got three ofa kind, a very strong hand.” Let the picture sink in. 78S

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The Third Steal — from the Dealer’s Hand Square up your cards, and with your left hand offhandedly turn them face down end-for-end, dropping them back onto the table as you point to the last packet, at position D. Address your helper, “This last player is a professional cardshark, a gambler who already knows the score. Will you play that role? A knowledgeable cardshark always guards his cards like a hawk — just cover them with your hands. Now, don't let me touch your cards, and don't let me distract you.” Have the spectator cover packet D with his hands. 10)

11) You're now ready to make the most out of the surprise climax, because everyone steal the final Ace out of the spectator’s hand. All your work is done, is expecting you to try so you can devote full attention to your presentation. I say, “You would think it would be impossible for someone to cheat under conditions like this. But that’s because you're watching the wrong guy. When we began, I promised 1'd teach you to cheat, and right now you're playing the cardshark. You see, the third lesson of cheating is: never cheat alone. You're actually my confederate — because it would be far too suspicious if I dealt myself the four Aces. So, look, I've got nothing... ." Here, pick up your packet, flip it bookwise face up

to

into your left hand, and immediately spread the cards between your hands, revealing four indifferent cards! This should come as a complete shock to your audience. Note that you can spread the cards quite widely, except for the 3C which should be kept to slightly less than half its width showing. But don’t worry about this display because you're instantly going to follow up with a final “proving” action, by apparently showing all four of your cards singly. Just grip your face-up spread cards in your right hand, and take the cards one at a time with your left hand, tossing each face down onto the discard pile exactly as you did previously at step 6 and step 8 with the other two “loser” packets. Even though three of the four cards are gaffed, this action is completely deceptive and it’s impossible for your audience to glimpse the gaffed faces.

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Indeed, when I initially tried this final show felt so guilty that I instinctively rushed through it, and subconsciously tilted my hand up to try to hide the faces. That's not necessary! Tilt the cards down toward your audience so they can view the full fan. Take each card slowly and

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casually, tossing it aside onto the discard pile. Try it in a mirror to convince yourself how good it looks. 12) Assoonas you've tossed your cards aside, everyone's attention will focus on your who's still covering packet D with his hands. They now know what's going to happen, helper,

and conveniently, you're completely clean so that the spectator can turn over his own cards for the climax. I point to his hand and remind him, “Take a look, because I've kept my promise. I've taught you how to get four Aces literally into your own hand.” All cyes will be on the spectator as he turns his cards over to discover the four Aces. The fact that he is physically handling the Aces helps add an extra quantum of legitimacy and closure to the effect.

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the

discard pile with my right While he’s turning over his cards, without comment pick up hand, turn it face up end-for-end, and sct it on the table. I then casually spread all twelve cards face up from left right, showing one final time just twelve indifferent cards. I think a faceup tableaux is a more aesthetic picture to end with, and quells any lingering suspicion or question.

to

Once all four Aces have been turned face up, I wink at my helper and conclude, “Dont teach that to anybody else.” 13)

If you want to end completely clean, it’s relatively easy to palm off the top four

cards from the discard pile (the 7S, plus the three gaffs) and lap them, or just leave them in the card case or your pocket when you put the deck aside. Or, use the top card of the discard pile the face; you can then palm (7S) as a scoop to pick up the discard pile, thus bringing the just the three gaffs from the top. 7S

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Comments (1) Background and Credits. While double-ended cards date back to Hofzinser, Brother John Hamman pioncered their use in Ace assemblies in 1952 with his brilliant “Final Ace” routine (Richard Kaufman, The Secrets of Brother John Hamman, 1989, p. 229). Elmsley expanded and popularized their use in 1957 in his “Atomic Aces” (Stephen Minch, The Collected Works of Alex Elmsley, Vol. I, 1991, p. 217). created my first set of Widespread gaffs in the 1970s, but used them only for variations of the “Final Aces” and never published the idea. Since that time, other cardmen have also come up with similar gaffs that allow such wide spreads, but to my knowledge, not in the context of an Ace Assembly; sec, for example, Pit Hartlings “The Chameleon™ (The Finger Flingers’, The Book, or Don't Forget Point, 1998, p. 79). In 1997 my friend Bob Kohler was putting the finishing touches on his amazing “Aces in Their Faces” routine (which uses very different but quite deceptive gaffs) and Bob showed our Chicago group some of the neat combinations he had worked out. We all spent a lively evening working on variations, and that session inspired me to go back and take a fresh look at my Widespread gaffs. I

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The O’Henry surprise ending is generally credited to Wesley James in “L. S. D. Aces,” (Karl Fulves, Epilogue #16, November 1972), although the James’ description itself refers to the ending as “suggested by Trevor Lewis in the Jan. '72 New Pentagram.” Later versions added an extra climax (usually dubbed the Hitchcock ending) wherein the dealer's pile changes to four Kings. Darwin Ortiz credits the James efTect as the starting point for his “The New Hitchcock Aces™ and mentions that the O’Henry plot was “first published by Roger Smith in his marketed effect Four-Ace Switcheroo (1971) (Ortiz, Cardshark, 1995, p.58). The addition move used at step 2 is from Alex Elmsley’s “1002™ Aces” (Minch, The Collected Works ofAlex Elmsley, Vol. 1,1991, p. 213); Elmsley, turn, credits the push-off portion of the addition to Herb Zarrow (for an excellent description of this now-classic Zarrow addition. see Minch, The Vernon Chronicles Volume 3, 1989, p. 30).

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The premise of stealing Aces from separate hands to build up your own poker hand as a presentation for the standard Ace Assembly originated with Ed Marlo, and was used by Ed in one of his rare television appearances, on Chicago’s Norman Ross show. (2) Touches. The nine specific cards and the arrangement described in the text were chosen with some care, c.g., there is an appropriate mixture of reds and blacks and all four suits. Further, I think that a picture card helps distract attention away from a nearby gaff. The use of other nines and fives blurs the recollection of the specific 9-gaff and 5-gaff. The 8S and 7S help minimize any discrepancy during the add-on in step 2. All of this being said, except for the placement of the three gafTs, the 12 card packet can comprise whatever cards you like, if you want to minimize your set-up time. Astute readers may have noticed a slight discrepancy with the AC during the add-on; theoretically it shouldn't wind up being the card dealt to your dealer's hand. No one has ever noticed this; indeed, I’ve intentionally capitalized on this by putting the real AC as the face card of the Ace packet at the outset, because I think it has a visual retention quality, that carries through to its being the card dealt to your hand. If you want, the Ace packet can be in any order except that the real AC can’t be the top (rear) card. In my description, we started with the Aces already out on the table. Obviously, you could start with them scattered in the deck and then remove them for, perhaps, a slightly more impromptu feel. If you do, here's a minor little touch: spread through the deck, upjogging the four Aces. To remove them, place your right index finger at the outer left edge of the Aces and swivel them 180° out of the deck, dropping them onto the face of the pack (where your gaffs have been pre-set). If any knowledgeable magicians think about it, they'll remember that, because of this 180° twist, they saw both ends of the Aces. For magicians, this helps dispel any thought of double-enders. (Clearly such reconstruction is inapplicable when performing for laymen, but the twist such a natural way to remove the Aces that it hardly constitutes lily-gilding).

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(3) Braue Addition. If you don’t use the Block Push-Off Addition, here's a simple adaptation of the Braue Addition, which accomplishes the necessary switch. Sct up your 12 card packet face down, from top down: x, x, 3-gaff, x, x, x, X, x, x, 5-gaff, 9-gaff, the last x

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at the face. After showing the faces to be twelve indifferent cards, flip the indifferent packet face down into your left hand and then drop the face-up Ace packet (in AC, red Ace, red Ace, AS order from the face, just as in the text) face up on top. Spread the cards, obtaining a left pinky break under the third face-down card, and square up. With your right hand from above, lift up the cards above the break and perform the standard Braue addition, peeling off the AC and flipping it face down onto the left-hand packet. Repeat this action with each of the red Aces. Finally, drop the right-hand packet (supposedly one card) on top, and flip the AS face down. Immediately deal the Aces out, this time first dealing the three cards face down in a row (in D-C-B order). Finish by dealing the fourth card to yourself, using the stud turnover handling described at step 3, to show the AC as your card. This is a simple, dircct switch. avoids any discrepancy with the AC. Additionally,

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(4) Other Uses. While the handling as described is my current favorite, obviously this routine is quite susceptible to variations, with different add-ons, or different ways of Once you start showing the vanishes or revealing thc one-at-a-time appearances. with these other find other experimenting gaffs, you'll tricks. My application applications to the Reverse Ace Assembly plot follows next.

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NMosnora

Aces

“Reverse Ace Assembly” plot has a special place at our Chicago session table, because it was my friend Dave Solomon who first used the sudden dispersal of the Aces as an instantaneous climax to an Ace Assembly. So, after I developed “O’ Aronson Aces,” it was natural that I would try to apply my Widespread gaffs to the “Reverse Aces.”

T=

Effect The magician describes a dream he had about, what else — a card trick. He illustrates his dream by performing a classic “Slow Motion Ace Assembly,” in which each of three Aces vanish one-at-a-time from their respective packets, and appear together the leader packet.

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Ie then

explains that, unfortunately, “That's when I woke up.” When he displays the four is seen that his card miracle was, indeed, only a dream — because the leader packets again, packet contains just the leader Ace and three indifTerent cards and the remaining three Aces have each returned to the face of the original three packets.

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The Gaffs

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Here, three Widespread gaffed cards are employed. One of them, the SIT/AIL, identical to the gaff used in the previous effect, so that particular gaffed card can serve double duty, depending on which trick you choose to perform. The other two gaffsdisplay the SD/AD and the 9C/AC. The choice of two red fives is intentional, and helps to disguise a minor discrepancy that occurs at one point in the leader packet. All three of the gaffs arc pictured in Figure 1.

The Set-up

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the previous effect, you're going to usc the four regular Aces, the three gaffs, and nine indifferent cards, none of which should match any of the gaff indexes. The nine indifferent cards should display a mixture of red and black spot cards. Each of the vanishes from the non-lcader packets will employ procedures which effectively display threc of the indifferent cards as four. Therefore it’s prudent to select and arrange specific indifferent cards so that in each As

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packet the 3-faces-as-4 discrepancy will be minimized, by displaying similar looking red and text consistent with the illustrations, black cards. For explanatory purposes and to make you should work through this description using the particular nine cards I've chosen, but in performance you have wide flexibility to change the indifferent cards, particularly you elect to employ different vanishes from the ones I've selected.

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Starting from the face of the deck, arrange the following 12 card set-up: 98, 8C, 6D, 10D, 9D, 8H, 5S, 8D, 6H, SH-gaff, 9-gaff, SD-gaff, and then the rest of the deck above this stack. The 9S is thus the face card of the deck and its center pip should be oriented to point toward the end of the deck that shows the 5-9-5 end of the gaffs. Scatter the regular Aces throughout the deck, with the AS closest to the face of the deck. Let's begin.

Working The Layout Explain, “I get some of my best ideas for magic in my sleep. Just last night I had a dream about card tricks — I have this dream a lot. In my dream, I had four Aces and twelve more cards that aren't Aces." 1)

As you speak, hold the deck face up in your left hand, with the center pip of the face card pointing outward, and spread through the deck, upjogging the four Aces as you come to them. Strip them out and drop them still face up onto the face of the deck. Then spread the face-up cards from left hand into right, first spreading the Accs and then thumbing over the next 12 cards one at a time, as you count aloud from 1 to 12. Hold the 16 cards in your right hand as the left hand places the rest of the deck aside; it won't be used any further. 2) Continue, “In my dream I dealt out the Aces like this ...." You're now presented with a rare opportunity (in Ace Assemblies) — you're actually going to lay out all four Aces completely fairly! The paradoxical situation, however, that if it looks too clean, too perfect, it might later signal that you must be using duplicate Aces. So, even though you're going to really deal out the Aces, and then cover each Ace with three indifferent cards, | recommend employing a feint — some procedure or handling that perhaps casts just the smallest shade of the doubt in the minds of your spectators. I wouldn't ordinarily employ such a ruse, but in climax when the the maximum order to produce “Reverse Ace Assembly” plot, surprise at the Aces suddenly return to their original packets, the spectators must be convinced that the Aces really are gone from those packets. So, a feint helps plant that hint of suspicion at the outset.

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I simulate the actions

of the Elmsley-Zarrow addition used in “O’ Aronson Aces” (see step

of the previous effect). Simply hold the four face-up Aces as a block and use them

2

to flip the and then flip faces face down. the cards Aces rest the Spread once more to display their them face down onto the packet. Then deal the four Aces face down on the table in standard “T” formation, with the AS at the leader position. Don’t overact try to be furtive. Just do the best “Addition Move” you've ever done, which should be effortless since you're not of

or

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switching any Aces out. (If you'd prefer to imitate the actions of a Braue Addition, simply start with the AS at the opposite end of the Ace packet so that it becomes the last Ace displayed and gets dealt as the leader).

You're now in a position to once again spread the faces of the remaining 12 cards to show they're the indifferent cards. Again, the paradox is deciding how much proving you want to indulge in. Since the gaffs allow you to show 12 indifferent cards, you could openly and

deliberately spread the cards, recounting them singly to prove there are 12 indifferent cards — but for the reasons mentioned above, I think it’s better to be more subtle. I simply spread the face-up indifferent cards casually without comment, fairly quickly. The feints in steps 2 and 3 are, of course, entirely up to you, My strong belief is that it’s often it helps build or accentuate the overall dramatic better to reveal or prove less than you can, surprise.

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So, after briefly flashing the faces, turn the 12 cards face down bookwise in your left hand and immediately thumb off the top three cards (the gaffs) into the right hand. Drop them face down onto the leader Ace. Continue by pushing off the next three face-down cards into your right hand and drop them onto the Ace at the right end of the row. Similarly, push off the remaining two groups of three, dropping one group onto each Ace. If you want, you can casually flash the faces of these groups (other than the cards going on the leader Acc) as you deposit them on each Ace. During these actions I continue, “And in my dream 1 put three spot cards onto each Ace, just like this.” This laydown can be done in pretty much any way you that the three gaffs want, since you're not doing anything furtive. The only requirement I around the that and find wind up on the leader pile counterclockwise, starting dealing groups with the leader, appears natural.

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4) You're now going to display the faces of the cards in the leader packet to remind your spectators of the status of each pile. Pick up the leader packet with your right hand, flip it bookwise face up into your left hand, and immediately spread the four cards face up between display the AS at the face and three indifferent cards (Figure 2). Note that the your hands allow gaffs you to spread the cards fairly widely but you should still practice spreading the leader packet, to develop your visual sense of just where to stop the spread before inadvertently revealing the secret. (If you think of spreading the four cards straight across in a horizontal line, and not in a rounded fan, you'll be safc). Hold the cards in your palm up right hand, under your right thumb, and point to the indifferent cards with your left index finger, saying, “Each pile has three spot cards ... and one Ace.”

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As youmention the Ace, you're going to take the 5D into your left hand and usc it as an impromptu pointer tap the face of the Ace. In doing so, you'll “set” the leader packet for the subsequent appearances. You're going to perform the same actions that were used in

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outer left (index) step 8 of “O’ Aronson Aces.” Briefly, your left hand grips the 5D at corner, thumb on top and first and second fingers below (Figure 3). Rotate the 5D face down end-for-cnd and use the face-down card to indicate the AS (Figure 4). Now, continue your description “One Ace in each of these piles,” as you tap each of the other three piles successively with the face-down card (Figure 5). Meanwhile, your right hand casually flips its remaining three cards bookwise face down onto the table in leader position (Figure 6). Finally, drop the left hand’s card back onto the leader packet. (Status check: the SD has been secretly turned 180° so that now the outer index end of the leader packet, from top down, shows the AD, 9C, 5II and the AS at the face). The Vanishes

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illustrate how “in your dream” the Aces disappeared from their packets in the leader packet. The galls will permit a particularly clean one-at-a-time and reappeared four Aces the leader packet. The display, first showing two Aces, then three, and finally will be accomplished by simple slcight-of-hand. vanish of each Ace from its respective packet You'll employ what has by now become somewhat traditional techniques for displaying three indifferent cards as four while hiding the face of the Ace. There are a number of viable, convincing 3-faces-as-4 counts available (see comment 2). Below I'll describe three of my favorites, but you should certainly feel free to substitute one or more of your own preferred that each Ace starts out and ends displays. As you'll sce, the only procedural requirement packet. up at the face of

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NOSNORA ACES

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Obviously in any display of 3-faces-as-4, one card will be seen twice (I call that particular card the “Discrepancy” card) and the vanish will only be convincing to the degree that the visibility or awareness of the Discrepancy card is minimized. There are a number of general techniques that can help in this regard and I offer a few observations on this topic in comment 3.

~~ First Vanish - Ed Marlo’s Swindle Count

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the left end of the row and comment, “There are 1-2-3 cards 5) Pick up the packet and an Ace," as you fairly count the four face-down cards your hands, reversing their order. is the of Ace result As a now on top. this reverse count,

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." Perform some magical gesture to indicate that the Say, “In my dream I just did this ... magic is supposedly occurring at that moment. I first press my right palm onto the top of the packet, as though palming a card, then move my right hand about 6 inches above the leader empty. packet, crumple my right fingers, and finally turn my right palm face up to show indifferent faces four of apparently “And the Ace wasgone. Look ...." Here, we'll show the cards, using a minor variation of Ed Marlo’s procedure from “Swindle Aces” (Marlo, The Cardician, 1953, p. 108):

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(i)

Holding the packet face down in your left hand, do a triple turnover of the top three cards as one, flipping it over bookwise face up onto the packet. Since this constitutes all the cards except the bottom one, a buckle or a push-off makes this triple quite easy. Immediately turn the triple back face down and deal the single top card to the table, at the original spot from where that packet started, as you say, “No Ace ...."

(il)

With your right hand, grasp the next card at its outer right corner, and turn it face up stud fashion. Lower its left edge to the table, next to the first tabled packet saying, “No Ace ...." card, and flip it face down onto

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(iii)

Momentarily grip the packet between your right thumb and fingertips and with your left hand take the bottom card of the remaining two at its inner left corner. Turn your left hand palm down, turning its card face up. Then drop it face down onto its pile, announcing, “Gone ... ."

(iv)

Finally, your right hand, holding the last card, turns palm down to briefly flash its face (just enough so that the spectators see that it’s not an Ace) and then deposits this card face down on top of pile as you announce, “nor here.” Your audience should be surprised.

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6) Immediately pick up the leader packet, flip it bookwise face up into your left hand and spread the cards between your hands, revealing that the AD has arrived at the left end of the spread, as you conclude, “ ... and that’s because it’s over here.” You can spread all of the cards quite widely.

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If there’s no one on my right, I'll sometimes be so bold as to grip the fan in my right hand and

left

thumb and fingers. I then turn the AD take just the AD at its inner left corner, between face down and use it to tap the leftmost pile saying, “It came from here ... ." Just a moderately-paced wrist turn of your left hand is sufficient to prevent the 5 portion of the gaff from being seen. Now, return the AD back face up to its position at the left end of the spread leader packet. This additional “show™ certainly isn’t essential, but it does add an openness to your handling and subliminally convinces spectators that they’ ve seen the full face ofthe justarrived Ace. As your audience appreciates this first magical transposition, casually square up the lcader back onto the table at leader position, as you packet, turn it face down end-for-end, and drop say, “But my dream didn't stop there.”

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Second Vanish

—

Elmsley plus Partial Rhumba Count

For this (and the next) vanish we'll need to reposition the Ace so that it’s second from the top of the face-down packet. The simplest way of accomplishing this is to perform the display we uscd for the vanishes in “O’ Aronson Aces” (see step 6 of the previous effect), but here we'll actually alter the position of the cards. Briefly, pick up the middle packet and into two face-down pairs, taking the top two cards in your right hand and the bottom split two in the left. Swivel your thumbs forward so that all four backs show and then move your thumbs back again. Place the right-hand pair under the left-hand pair. Once again, perform a magical gesture to cause the Ace to travel and then flip the packet face up bookwise into the left hand. 7)

it

Immediately perform a face-up Elmsley count to display apparently four indifferent faces. I the fingertips) so the perform the Elmsley using the left-hand mechanics grip (instead of cards into your right hand, the in ends and hand; if packet begins my left you Elmsley count then at the conclusion of the count, replace the face-up packet back into your left hand.

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Without pausing, immediately proceed directly into Jean-Pierre Vallarino’s Rhumba count — but we'll only do it for one count. Briefly, your left hand is holding its packet face up. The palm-down right hand grips the packet by 1ts right long edge, fingers above and thumb below (Figure 7) and rotates it end-for-end face down. As the packet turns face down, the right thumb pulls just the top card (the Ace) to the right, about %2 inch (Figure 8). Your right hand, still holding all four cards, lowers the packet so that the left edge of the left-jogged packet touches the left fingers. Then, using this left edge as a fulcrum, your right hand moves up and to the left a bit, flipping the three-card packet bookwise face up into the left palm (Figure 9). The right thumb and fingers retain hold of the face-down single card (the Ace), and your right hand immediately deals this single card to the table at the original spot from where the pile started (Figure 10), as you say “That's one ... ."

You're clean for the rest as your right hand deals

of

this pile, so you

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don’t need to repeat the Rhumba count. Instead, face-down card to the table, the left thumb pushes the next face-up

NOSNORA ACES

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card to the right slightly, just to make it easy for your right hand to take it. Your right hand immediately returns to the packet, grips this next card at its outer right corner, right fingers above and thumb below. Turn it face down stud fashion, rotating it end-for-end, and deal onto the first face-down card as you count, “That's two ...."

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Without missing a beat, continue to similarly decal cach of the remaining two cards stud fashion, turning each face down onto the center pile as you count “That's three, and that’s

four.

”

8) Continue, “Because in my dream, the Ace traveled over here,” as you at once pick leader the packet, flip it bookwise face up into the left hand, and spread the cards, now up revealing three Aces. Again, you can spread the cards quite widely, so long as you spread the outer right corner basically in a horizontal line (just prevent any flash of a hidden pip, of the AC and the AH). As | mentioned earlier, there is a slight discrepancy at this point: the two “traveled” Aces that now show are the AC and All, whereas after the first vanish it was the AD that initially appeared in the leader packet. The color arrangement of the gaffs helps focus the spectator’s eyes on the newly arrived AC and the similarity of the red Fives minimizes this change.

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To emphasize this arrival (and to set up the leader packet for the next appearance) you'll now momentarily separate the cards, taking the 5D in your left hand and the three Aces in your right. Hold the fan in your right hand, fingers below and thumb on top. With your left hand, thumb above and fingers beneath, grip the leftmost card (the 5D) at its outer left corner and turn your left hand palm down, rotating the 5D face down. Use this face-down card to point

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at the three face-up Aces (Figure 11) summarizing, “Three Aces have come together ... ." Now, turn your right hand palm down to display the backs of the three Aces (Figure 12). This is a particularly innocent display, showing both the fronts and the backs of the cards, and can be done slowly and openly. Conveniently, the action of turning both hands palm down has subtly turned the 5D 180° vis a vis the other three cards. Drop the right-hand cards face down onto the table, as you emphasize the single card in your left hand, saying “and one to go” (Figure 13). Finally, drop the left-hand card onto the top of the leader packet. If necessary, adjust the leader packet, turning it clockwise, so that the Ace indexes (of all three gaffs) are at the outer end. Third Vanish - Broken Elmsley Variation “People ofien say 'You must be dreaming’ and this time they're right. In my dream I took the last packet ... ." Here, pick up the packet at the right end of the row and repeat the two pair swivel display from step 7 to reposition the Ace second from the top. Now perform your magical gesture and then (Status check: flip the packet face up. assuming you're using the particular set-up I suggested, this packet now runs, from the face, 8D-6H-Ace-5S). 9)

now perform a variation of Marlo’s Broken Elmsley Count. (I'll describe it using the grip that begins and ends in the left hand, but if you prefer to Elmsley count from left hand into right, it can easily be transposed). Start by performing the first two counts of a regular Elmsley count (including the Double Push Off and steal-back on the second count) clearly showing two indifferent cards as you say, “That's not an Ace, and that’s not an Ace,” and then pause. Your right hand still holds two un-counted cards. Swivel your right thumb forward, spreading the righthand pair so that the faces of both its cards are displayed (Figure 14). I

From this position you’ll proceed to deposit each of the cards singly onto the table face down, alternating between left and right. Begin by turning your left hand palm down. With your left fingers push off the rear card of the two (the Ace), dropping it face down

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onto the table (Figure 15). Your right hand, which has been displaying both its cards in a faceface card (the 5S) face down onto up spread condition, now turns palm down and releases the Ace. As your right hand turns down, the left hand, with its remaining card, simultaneously preparation for the third card. Your left hand flashes the face of its turns palm up again, card and then turns back palm down, dropping its face-down card onto the pile as the right remaining card for hand simultancously turns palm up. Finally, your right hand displays face down on the pile. The key to this display is to maintain an a moment and then drops even rhythm and to coordinate the turning of the hands. (It’s similar in feel to Larry Jennings’ “Rhythm Count”). This combination of the Broken Elmsley with the subsequent individual “shows” can be quite disarming. As I perform this four-beat display I explain, “In fact none of these are Aces. And why is that? ... Because the Aces are over here.”

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10) Pick up the leader packet, flip it face up bookwise into

your left hand, and spread

the cards to reveal all four Aces as you smile happily, saying “And that's the kind magicians dream about.” Pause and lct the climax sink in. Flip the leader packet face down end-for-end and think the effect and your dream are over. The Reverse Climax Say, “But then came the most disappointing part of my dream. Do you know what happened next?" Your audience will not know how to reply, so help them by explaining, “J woke up!” As you say this, with your left hand turn the leftmost pile face up end-for-end, and immediately spread it to face followed the left, revealing an Ace on cards. In indifferent three a continuing by action, turn over the middle pile, and then the right-end pile, turning each face up end-forend and spreading each to your left, as you 11)

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drop

of magic

it back on the table. The audience will

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did the first pile. (This allows the spectator easily see all the indexes, and allows the leader be with the Finish consistent other the pile to three). by turning the leader pile face up, same end-for-end manner, and spread it to the left as you say, “/t never happened, it was all of the Aces are back a dream.” The final display (Figure 16, performer's view) shows where they started.

in

all

~~ I

conclude by saying, “Well, we can still dream, can’t we?”

Comments

(1) Background and Credits. My contribution to the Reverse Ace Assembly genre is the introduction of my Widespread gaffs and the consequent handling of the leader packet to produce the one-at-a-time appearances. I'm partial to this routine but it’s certainly not the first time gaffed Aces have been used in such an effect. My friend Dave Solomon published “The One at a Time Reverse Assembly” (Marlo, Marlo 's Magazine Vol. 3, 1979, p. 16) using a split card gaff. Dave also published a double-faced version “Two Faced Dis-Assembly” our joint book (Aronson and Solomon, Sessions, 1982, p. 76).

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The carliest published instance I've located of Aces dispersing from one pile into disparate packets is Ed Marlo’s “Aces in Reverse” (Marlo, Let's See the Deck, 1942, p. 13). In “secA ruoF™ Phil Goldstein presented a 3-phase Ace Assembly and dis-assembly routine, with a four King climax (Goldstein, Card Tricks for People Who Don't Do Card Tricks ... and Some for Those Who Do! 1974, later reprinted in Goldstein's Focus 1990 p. 118). The notion of using the reverse assembly as an instantaneous climax to an Ace Assembly belongs to Dave Solomon.

I owe a special thanks to Dave and to John Bannon, who over the past few years have helped

refine both “Nosnora Aces” and the previous “O’ Aronson Aces” routine. In our repeated sessions, we've worked on countless variations for the gaffed leader packet, the various secret turnarounds of the gaffs and particular combinations and sequences of vanishes. It was John's idea to use a partial Rhumba Count the second vanish, and John suggested the “dream” presentation that sets up the surprise ending. me

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(2) The Vanishes. As mentioned, there are a number of other 3-faces-as-4 counts or displays that would work well in this routine, to show that the individual Aces have vanished. While the three vanishes I've described in the text are some of my favorites, and have touches that are interesting in their own right, they are by no means the only ones I use. For instance, I'm quite partial to the combination of a face-up Elmsley Count leading into the Olram Subtlety.

For descriptions of other excellent vanishes and finesse on such techniques, I recommend that readers consult Darwin Ortiz’ “Modern Jazz Aces” (Ortiz, At the Card Table, 1988); Allan Ackerman’s “OPOS Count” (Ackerman, A! Cardpone Lecture Notes 1995), as well as several of Allan’s Rhythm count variations, shown on his videotape (A-1 MagicalMedia, Allan Ackerman’s Advanced Card Control, Volume 7 False Counts, 2000); Bob Stencel’s

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“Revertible Ladics” (Jon Racherbaumer, Card Finesse II, 1992); Randy Wakeman’s handling of Marlo’s “Jumping Jacks™ (Wakeman, Formula One Close-Up, 1985); and Larry Jennings’ “MacJennings Aces” (Kaufman, Genii, January 1999). (3) Discrepancies. Modern card magic has made some bold advances by operating on the assumption that certain visual discrepancies will pass unnoticed, even under the gaze a valid, prudent basis for attempting of astute spectators. But whether such an assumption a particular move or technique, or only just a product of wishful thinking, does not depend entirely on chance or on the happenstance of each individual spectator’s visual alertness. While there's no mathematical certainty in planning howto keep a discrepancy from being noticed, there's literally more than meets the eye.

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It’s one thing to utilize a 3-faces-as-4 count just once in a particular trick, when the spectator isn’t anticipating anything, and has no prior basis of comparison. It’s quite another attempt it three times in a row to accomplish three successive showings that a packet contains no Ace. It certainly can be done successfully, but there are lots of little touches in technique, timing and attitude, that can help it along. I'd like to offer a fewpersonal observations on making the 3the case at hand, faces-as-4 counts more convincing. I'm specifically limiting my comments different, i.c., showing that a packet of four cards does not contain an Ace. (Note that this off, three in some key respects, from trying to pass Kings as four). say,

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First, there's a question of the performer’s attitude, which can either focus the spectator’s attention directly on the display, or alternatively relax and distract the spectator’s gaze. Obviously the last thing you want is to manifest a “proving” attitude of “look what I've done.” I find that helps to act as though the magical transformation has already happened previously — that’s why a previous “magical gesture” is important, to focus attention on the face-down packet some earlier moment. Ifthe performer’s energy is at a high level when he makes the magic happen, and then at a correspondingly lower level when he does the 3-faces-as-4 display merely to “confirm” what has happened, the audience’s energy and attention level will follow somewhat. Tt also helps to immediately follow the display with some other action so the spectator isn’t given much time to dwell on what he’s seen. That’s why, as soon as each 3faces-as-4 display is complete, the hands immediately go to the leader packet, which is flipped face up. It’s almost one continuous flow where the subtext you convey is, “There's no Ace here ... because, of course, came over here.” Finally, patter can play an important role in lessening the audience’s attention. For instance, we never refer to the particular suits of any of the Aces, because to do so would be to affirmatively invite the audience to look for a specific feature or card.

it

at

it

is

The second point the general theme of varying the vanishes and their components. With variation, the spectator has less basis for comparison. Moreover, whatever the spectator may subliminally anticipate based on one vanish doesn’t reoccur in the subsequent vanish. This variety can take many forms. Obviously, each of the three vanishes are different, but even within a single vanish, variation in the manner in which the Discrepancy card is shown in each of its dual presentations can be engineered into the display. For instance, perhaps the Discrepancy card can be shown once in the left hand and once in the right, or once with a bookwisc turnover and once end-for-end, or by just flashing its face. Variety is also acceptable

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in the flow or pacing of these counts. As long as your hands maintain a natural rhythm, you can select techniques that lessen the amount of time that the face of the Discrepancy card is actually exposed. Remember, this isn’t a “Twisting” routine where it’s important for the audience to see which particular cards are showing face up or face down. Here, it’s just the that they ‘re seen not opposite: the identity of none of the cards matters. All that is important to be an Ace.

is

Next, how you chose the specific Discrepancy card and its surrounding neighbors obviously is important. Two approaches offer assistance. First, the Discrepancy card should blend with the other cards. Second is a somewhat less explored idea of intentionally selecting one of the surrounding cards to be different, so it attracts the eye. Cardicians have often recommended combining just 6's, 8's and 9's, because of their similar index and similar pip layout. Naturally it’s best to avoid using the same value Discrepancy card in all three vanishes. Since the Discrepancy card is an 8 in my first vanish, I switch to a 9 in the second vanish so my audience doesn’t see a multiplicity of Eights throughout all the subsequent vanishes. Performers often choose three cards of the same color (e.g., my second vanish). When only one packet is involved this works well, but with three packets, you may feel it looks too Some cardmen bite this bullet and “planned” to have each packet monochromatic. intentionally use, say, twelve red spot cards. Apart from looking somewhat contrived, in my “Nosnora Aces” that’s just not possible because the 5-9-5 gaffed Aces must include opposite colors in the leader packet.

If you wish to avoid a monochromatic packet you have two choices. You can make the

Discrepancy card the odd color among the three cards that are seen, which results in a display of two red and two black cards. Alternatively, the Discrepancy card could share the color with one of its neighbors, which results in a display showing a 3/1 color mix. I think this latter combination has some advantages which are worth noting. Let’s look at a specific example, using the particular cards I've chosen in the text for the first vanish, at step 5. You'll remember that from top down the packet runs: 6D, 8C, 9S, and then the Ace at the face. The first given a fair count, reversing its order, and then you proceed with the Swindle packet Count display. The first two cards shown are both black (first the 8C, then the 9S) and then the third card (the 6H) attracts the spectator’s eye a bit more — because it’s red. Immediately on the heels of this red “show” the final card (the 8C again) reverts back to being black, thus blending in with the majority of the packet. I don’t want to make too strong a point of the perception psychology that’s operating here, but if you'll try such combinations, you'll see there’s a noticeable difference.

is

Next there's the threshold decision of whether to perform a single versus a double display

sequence. For example, the first vanish in the text uses only one display, Marlo’s Swindle Count, while the second and third vanishes each display the cards twice (an Elmsley Count, plus something more). Clearly if you have one 3-faces-as-4 sequence that by itself is extremely strong, it’s probably better to stop there. After all, if the spectators are truly convinced they've seen four “x” cards, what would you gain by showing them again? Besides, why run the risk of exposing another Discrepancy card by repeating the exercise.

NOSHORA ACES

129

There arc countervailing arguments. The “best” sequence might not leave the Ace in the desired final position. Sometimes running two sequences together, one right after the other, can help cause the various Discrepancy instances to blur together and be less accentuated. Finally, two sequences tied together may have a canceling component, where the strengths of one help compensate for the weaknesses of the other. And, of course, even if you have one particularly strong vanish, you may not necessarily have three such “stand alone™ sequences. On cach successive vanish, the audience will grow more curious and likely will watch more closely, so what may be acceptable on vanish might not work as well on vanish 3. 1

These are individual judgment calls, and you may find that, depending on how attentive a particular audience you may want to employ different sequences. My preferred choice is to mix the alternatives, sometimes a single display and sometimes a double; just adds to the variety. There’s no need to perform double display sequences on every vanish solcly out of a rigid sense of uniformity, or worse, just because you've got a lot of techniques in your arsenal that you're itching to try out.

is,

it

When you're performing a double display sequence to effectuate the vanish, consider whether that sequence utilizes just one Discrepancy card that appears twice in the first display and again twice more in the second display, or two different Discrepancy cards, one of which appears twice during the first display, and a different one which appears twice during the second display. Again, there's no simple right or wrong, or casy preference here. Sometimes the way the two displays run together may necessitate that there be only one Discrepancy card the cards between the first and second “shows” (unless you engage in some rearrangement — which can adversely affect the flow and rhythm). You'll find that it’s often casier to plan for amore convincing color mix and blending with the surrounding indifferent cards when you only nced to concern yourself with one Discrepancy card, instead of two.

of

Let me offer one final opinion about selecting the mix of the cards. Sometimes there's a temptation to make a routine more impromptu by not pre-setting the surrounding indifferent cards all, and using whatever the randomized deck provides. That would be a short-sighted tradeoff, especially in routines such as this, where you want the vanish to work three times in arow. Take the time and select cards that work best for you. The set-up in the text is the one | habitually use.

at

have no doubt that if both hands arc coordinated so the shows of each card continually flow into the next, one can successfully get away with three 3-faces-as-4 vanishes. But if you're still hesitant, there’s a completely different approach to the vanishes that doesn’t involve any discrepancies. My next comment points the way.

I

(4) 5-as-4 Vanishes. The alternative to performing 3-faces-as-4 vanishes is instead to secretly add an extra “x” card onto each of the three packets so that each pile actually contains a total of five cards. This would then be followed by different displays of your choice, e.g., the Stanley Collins Ace Vanish, the Ascanio Spread, a Buckle Count, or any other technique which displays the four indifferent faces while hiding the Ace behind one of them. The 5-as-4 vanishes offer strong tradeoffs — on both sides. On the plus side, you climinate all discrepancics, and get to showfour full faces each time, quite slowly and deliberately. On the

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a

false count of 4-as-3, and you're using extra cards, so the minus side, you have to perform handling isn’t quite as free. This means, for example, at the climax at step 11, you can’t simply turn over the three packets and casually spread them, because each contains an extra card.

to

position each vanished Ace so they Naturally, you'll want to experiment with the best way can be quickly revealed at the reverse climax. I've found that, in these 5-as-4 vanishes, it’s as the fop card of each packet after easier to manipulate cach vanished Ace so that it winds it’s been vanished (instead of the face card). Then, when you announce you “woke up,” for reveal the Aces, and the climax you can simply turn over just the top card of each packet finally flip the entire leader packet face up and spread it.

up

to

For more information on 5-as-4 counts and displays, see “The Buckle Count” and “The PushOff Count” (described in Roberto Giobbi, Card College Volume 2, 1996, p. 318) and “The Ascanio Spread” (Giobbi, Card College Volume 3, 2000, p. 595), and my description of “The Collins Ace Vanish” (Aronson, The Aronson Approach, 1990, p. 4; also well described in Stephen Minch, The Vernon Chronicles Volume 2, 1988, p. 225).

Simon's Flash Speller

M:=

finesse is somewhat akin to technical finesse. Sometimes you may already be able to perform a particular physical technique competently, but a particular hint, or difference in pressure, or a slight variant in fingering, or even a different way of thinking about it (what you mentally focus on) can actually make a big difference in the overall move. What I'm offering with my Flash Speller is simply a mental finesse that should enable you to perform a mental action faster, smoother, and with more confidence ~ thus making your thinking less obvious. But, like physical techniques, these mental procedures need to be practiced until they become habitual, almost automatic.

Flash Spellers So, what is a Flash Speller? Ilere’s a quiz: quickly, exactly how many letters are contained in the words “King of Hearts?” How about in the phrase “Five of Diamonds?” The answers are, of course, easy to calculate (or “count” would be more correct). The point is, those answers aren’t instant, automatic, or intuitive. It takes a quantum of time and mental effort. A Flash Speller is simply a mnemonic device that tries to short cut such a calculation. call the number of letters needed to spell a particular card’s name its “spell-count.” Thus, the spell-count for the AS is 11, because “Ace of Spades” spells with eleven letters. A Flash Speller is a way of quickly arriving at any card's spell-count. Ed Marlo offered one of the first practical Flash Spellers, and later revised it and taught me his new approach (see comment 1). T'used Ed’s method for years, but a few years ago, while experimenting with impromptu “jazz” spellings in memorized deck tricks, I devised what I now think is a quicker, easier Flash eliminates much of the memory and simplifies the arithmetic. It's a utility Speller — because that will prove helpful whencver you need to think on your feet in spelling tricks. [

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The Basic Rule: 11-12-14

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For my Flash Speller, in a nutshell all you have to memorize the numerical sequence 11-1214. That's it. There's nothing else to remember (sort of). So, what does 11-12-14 mean? It stands for the “basic” spellings for all four suits. The 11 is for Clubs, the 12 is for Hearts and Spades, and the 14 is for Diamonds. Spend a few minutes repeating these three correlations to yourself over and over so they'll be permanently imbedded in your mind. The suits conveniently run in standard CHaSeD order. If it helps you remember, think of skipping a number (going from 12 to 14) because there are two suits at 12. But fundamentally, just memorize this basic spelling chart:

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Clubs =

11

Hearts, Spades = 12 Diamonds = 14

Once you've got this 11-12-14 sequence in your brain, you've automatically learned the spellcount of 20 of the 52 cards — the 20 “basic” cards. Now, what do I mean by “basic here? I'm simply referring to all of the cards whose values spell with four letters. These are: Basic, or Four-letter values

Four Five Nine Jack King But, you don 't have to memorize this list of values. These are the automatic spells, the default cases, the ones that need no further calculation. The 11-12-14 rule (for Clubs, Hearts/Spades, or Diamonds, respectively) tells us the exact spelling of any and all of these basic (four letter value) cards. For instance, “Four of Clubs” spells with 11 (because it’s a basic Club), “Five of Hearts” or “King of Spades” each spell with 12 (because they're basic Ilearts and Spades), and “Nine of Diamonds” spells with 14 letters (because it’s a basic Diamond). Whenever you deal with any of the five basic values, the 11-12-14 rule gives you everything; you need nothing further. Indeed, as a step-by-step learning exercise, try this now: deal through a shuffled deck, turning cards face up one at a time, and every time you come to any one of the basic cards (i.e., any card whose value has four letters) deal it aside in a separate pile, saying aloud the appropriate 11, 12 or 14 (for respective suit). Try for accuracy, concentrating solely on spotting all the basic value cards: the Fours, Fives, Nines, Jacks and Kings. (If you like mental aids, may help to remember that Males are pretty basic, so the basic group includes all the male court cards — plus the 4's, 5's and 9's). The only computation here — if you can call it that — is simply looking at an index and determining whether it’s a basic value, i.c., whether or not that particular value has four letters. That's the only thing you're doing at this point. You should find it proceeds almost intuitively. At the end, check to see if you've got 20 cards in the basic pile just to make sure you didn’t miss any. The point is, simply, that it’s pretty easy to recognize and pick out four letter value cards at a glance. Run through the deck a few more times and you're trained for life.

its

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SIMON'S FLASH SPELLER

133

Plus or Minus “1”

or

five letters, so after considering the basic All thirteen values spell with either three, four, values, you'll see that each of the remaining values is only one letter away from the basic values. There are four values which spell with three letters (the Ace, Two, Six and Ten) and four values that spell with five letters (the Three, Seven, Eight and Queen). But again, don’t feel you need to memorize these lists. You'll find it doesn’t take much (if any) calculation or mental energy to quickly recognize which is which. Indeed, try another brief exercise. Shuffle your deck and deal through again, this time dividing the entire deck into three piles, depending just on each card’s value: three-letter, basic (fourletter), or five-letter. Don’t try for speed, just accuracy — all you're doing is training your eye and mind to intuitively recognize the three possible values. I find it helpful to think of the 3letter values as Less, because they're one less than the basic (or, -1), and to think of the 5-letter values as More, because they're one more than the basic (or, +1). So, I think of dividing the cards into three piles: Less, Basic, and More. When you're done, check to make sure that each of the Less and More piles has 16 cards in it. Shuffle and try one or two more times. You'll find it’s pretty easy.

it

The first improvement that my Flash Speller offers is that, for a large group of cards (the 20 basic ones) there’s no calculation needed at all. The second improvement that, for the is and the calculation needed cards, 32 most simple, easiest, quickest calculation remaining the you can envision because all you need to do is to add or subtract “1.” Many performers tell me that even simple mental arithmetic can make them anxious or flustered, especially when they're trying to speak, act, and be the center of attention, all at the same time. So, I devised my Flash Speller to minimize the extent of any calculations. By starting with the basic 11-1214 sequence and orienting your thoughts on these basic numbers, the most you'll ever need to vary away from the basic is by 1. Quick: what's “14 minus 1,” or “12 plus 1,” or “11 minus 17” I'll bet in all cases the answer came to you before you even finished reading the question; that’s how quickly my Flash Speller will operate for you.

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The second rule, which by now you've probably surmised, is that if the value spells with three letters (an Ace, Two, Six or a Ten) you simplysubtract “1” from the basic, and if the value spells with five letters (a Three, Seven, Eight or Queen) you just add “1” to the basic. (This is where my mental categorization of them as Less or More seems to make the -1 or +1 instinctively come to mind). That's it. You have leammed everything and there are no exceptions. So in summary, the entire Flash Speller boils down to this one simple rule: 11-12-14, and sometimes a “minus 1” or a “plus 1.”

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In Practice

—

Suit, then Value

In applying the Flash Speller in actual performance, I've found that it helps my mental processes to look at the card's Swit first, then its Value. As soon as I see or hear the name of a card, I immediately focus first on the suit of the card (because it’s the suit that triggers either determine the spell-count for the Six of Diamonds, I think “Diamond, 11, 12 or 14). Thus,

to

Six,” so the first thing that comes to my mind is “14” (for Diamonds). An instant later, I've taken cognizance of the value (Six, which I instantly recognize as a three letter value or a “minus 1”) — and my mind knows instinctively that “14 minus 1” is 13. If] see the Five of Clubs, I'd initially think (“11 for Clubs) and an instant later I'd glance at the value, notice that it’s a four letter “basic,” and go no further. So, proceeding “Suit, Value” seems to solidify the process for me. To practice, take an old, used deck and with a marker, write the number of letters in its spellcount on the back of each card. Then, shuffle up and use this deck as a set of flash cards to practice using the Flash Speller. As with any mental action, practice only for accuracy and let the speed build up at its own pace. After awhile you'll find that you develop positive habits of instantly recognizing certain cards, as your nerve synapses literally get trained to respond to visual stimuli of the suit pattern. For example, there are only 4 cards that spell with 10 letters. Theyre the three-letter Clubs (the Ace, Two, Six and Ten) and you'll find that these quickly become instantly recognizable. Similarly, you’ll soon recognize the only 4 cards that spell with 15 letters — the five-letter Diamonds (the Three, Seven, Eight and Queen). Use the Flash Speller as a mental crutch: it’s easy, it minimizes the chance for error, and it adds confidence to your mental skills. My Flash Speller is a utility that you can learn in ten minutes and use for a lifetime.

Comments Background and Credits. Ed Marlo’s “Flash Speller” first appeared in Alton Sharpe, Expert Card Chicanery, 1971, p. 30, and has recently been re-described with a helpful chart in Paul Cummins, From a Shuffled Deck in Use, Part One, 1996, p. 17. It accomplishes (1)

the exact same thing as my Flash Speller, but I find the nine item chart more cumbersome than simply remembering 11-12-14, and then minus or plus 1. In the late 70’s Marlo came up with a different formulation, which he taught me. He remembered the sequence 7-8-10, which stood for the number of letters comprising “of Clubs,” “of Hearts (or Spades),” and “of Diamonds,” respectively. He would then add the value count (3, 4 or 5) to the appropriate suit count (taken from 7-8-10), to get to a card's total spell-count. T used this for many years. My new Flash Speller takes what I think are the best, most practical, parts from both of Ed’s versions and combines them into one easy process with minimal calculation.

SIMON’S FLASH SPELLER

135

(2) Applications. The Flash Speller instantly tells you a card’s spell-count (i.e., how letters it spells with). As mentioned, this utility has immediate application to those who usc a memorized deck. For instance, cut off a packet from a memorized stack and turn the cutoff packet face up, revealing the card on its face. The combination of that card's spell-count and its memorized stack number can instantly tell you on which card you'll wind up if you spell the cut-off card, starting from that point in your stack. And it works spelling in both directions, either up or down in the deck. This can be of assistance in jazzing or working with multiple outs. many

~~ But you don’t need a memorized deck to make use of the Flash Speller. The following effect “Spell It Out” (and my “Dizzy Spell,” described at the end of “Breathing Spell”) offers an impromptu location and card discovery that’s quite deceptive. And much of the fooling quality comes from the ability to think on your feet within a narrow range of pre-programmed outs that tell you exactly how to proceed.

Spell It Out

Th

effect is side it uses control and in the deck where

deceptive because of the combination of principles involved. On the mental my Flash Speller and a set of multiple outs. The integration of a simple choosing a random spot a sleight makes it seem as if the spectator herself the magic takes place. It’s quick and impromptu.

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Effect

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while the magician’s back A spectator freely selects a card from a shuffled deck and replaces is turned. The performer then explains that he’ll find the card by spelling to it, but since he doesn’t know the card’s identity, he'll spell the name of any orher card the spectator designates. The cards are spread face down and the spectator freely touches any card she wishes, which is turned face up at position in the spread. The name of that card is spelled, one card for cach letter, starting the spell at whatever position in the spread the touched card occupies. The card at the end of the spell is revealed to be the spectator’s original selection.

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Working

of

three different methods. First, the selected card This effect is accomplished by the interplay is secretly controlled to a position 13" from the top of the deck. Second, once the spectator indicates a card in the spread to be spelled to, the deck is secretly cut at that point (around the designated card), bringing the selection to 13" position below the indicated card. Third, by the selected use of a specific set of multiple spelling outs, the spell will always wind up card. The first two steps are quite easy and subtle and involve well-known techniques. The multiple outs offer some new wrinkles, because the randomly designated card provides additional flexibility.

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Controlling the Selection We'll begin by having a selection made and then secretly controlled to 13" position from the top. Since I’m particularly fond of “hands off” effects, I'll describe a procedure (in steps 1-5) that allows the spectator to cut, shuffle, freely look at a card, and then bury it, all while the deck is out of the performer's hands. All you'll need is a crimp in the 13" card from the bottom of the deck. You could pre-set this beforehand, and then shuffle while maintaining the bottom stack intact, but it’s actually simple to set up the desired condition right under the spectator’s nose, in the guise of explaining what she is supposed to do. Here's how do it.

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SPELLITOUT

Hand the deck out for shuffling, commenting, “Perhaps several ofyou may want to shuffle because later on you'll see how important it is that the cards are in a random order.” It’s worth emphasizing the shuffles because if the spectators remember later that you didn’t know the order or positions of any of the cards, the effect seems significantly more impressive. Upon receiving the deck back, secretly put a crimp into the inner left corner of the bottom (face) card. I find Jerry Hartman's “Knuckle Jog” (Hartman, Affer Craft, 1996, p. 19) extremely cfficient. As you hold the deck face down in left-hand dealing position, simply curl your left index finger under the deck at the outer end and let the first knuckle push inward against the bottom card, causing it to injog. As your right hand squares the deck from above, your right thumb pushes down on the inner left corner of the injogged card, giving it a strong downward crimp. 1)

2) Start to spread the cards face down from hand to hand as you comment, “/n a moment I'm going to have you pick one of these cards in the fairest possible way I know. In fact, to make it completely fair, I won't even touch the deck.” As you spread, secretly sight to push off four groups of three. Then square count 12 cards from the top; the easiest way up, holding a left pinky break under this block of 12 cards.

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3) Your right hand now takes the deck from above and moves to put on the table thumb takes the break the inner end. leave the deck on the at over as your right Explain, “I'll table and you may cut offa packet of any size you wish, like this...." Place the deck onto the table. In the very next motion, your right hand immediately lifts up, taking with it all the cards above the break as a demonstration of what the spectator is supposed to do. Done nonchalantly, no onc will imagine that you've cut off a specific number of cards. Continue, “...and then shuffle your packet, and when you re satisfied they re mixed, put the shuffled cards on the table.” Suiting actions to words, give your packet of 12 cards a casual overhand shuffle, making it clear you're not glimpsing any of the faces. After the shuffle, drop them on the table. “Then, look at the top card of the shuffled pile.” Point to the top card of your demonstration packet (but don’t look at since you don’t want anyone to consider the notion —" and remember it. Feel free to show to your friends. Then, leave it on top of key cards) the cards. shuffled Finally, bury by dropping the rest of the deck on top, like this.” of Conclude your demonstration by dropping the balance of the deck onto the 12 shuffled cards.

it,

it

it

I've found that this simple demonstration is not only helpful in showing the spectator what

is

also a successful “convincer” that she’s making her selection from she’s supposed to do, but random deck. In actuality, the crimp is now exactly 13 cards from the bottom a completely of the deck and the selection procedure will automatically place the selection 13" below the crimp. 4) Step back from the table and have your spectator, Ginny, make her selection by running through the above procedure. If you want, you can tun your back while the selection is made and verbally guide her through the steps. After she confirms that the selection has been made, remembered and buried, offer her the opportunity to cut the deck and complete the cut, to further lose her card. 5)

Pick up the deck and explain, “I'm going to find your card by spelling

to

it,

but

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ECCEN-TRICKS

since I don't know the name of your card — and don’t tell me — I'll spell the name of some other card, in fact, any other card you want.” As you speak, you have ample time to casually cut the crimp to the bottom of the deck. (Steps 1-5 have been a somewhat lengthy description of how to control the selection to 13" position from the top; comment 1 offers some other practical ways of achieving this result).

Designating the Spelled Card and Marking the Starting Place 6) Explain, “To insure that things are completely random, we'll start the spelling somewhere in the middle of this shuffled deck, wherever you select. Let me show you.” At this point I casually display to Ginnythe faces of the top few cards, and then the bottom few cards, to assure her that her selected card isn’t near the top or the bottom and thus “is lost somewhere in the middle of the deck.” 1 then start to spread the cards face down from left to right, slowly and openly, and ask Ginny to touch the back of any card she wants, “and don't let me influence you.” You should have safely spread past the top 13 cards as you say this. Ginny really can touch any card she wants, once the selection (at 13*) has gone by. When Ginny touches one, pause for a moment. You'll nowapparently turn the touched card face up position in the spread. In fact, you'll execute my “Mark-a-Place™ move which secretly cuts the deck in the action of turning Ginny's touched card face up. 7)

atits

Briefly, you're holding the cards still sprcad between your hands, with the touched card somewhat centralized. You're going to flip the touched card face up by using the left-hand portion of cards (i.e., those below the touched card) to lever up the left long side of the touched card. Meanwhile, the right-hand cards press down lightly on the touched card’s long right edge. As the touched card starts to flip over (Figure 1), your right and left fingertips underneath the spread help maintain the card’s position and prevent it from falling. The touched card will rotate face up to land on the right-hand packet (Figure 2). As does, the left-hand cards will automatically be brought above the now face-up card (Figure 3) and the entire spread is casually squared (Figure 4). It appears as if you've simply flipped the touched card face up in its original position; in fact, the packets above and below the touched card have secretly been “cut.” (As an alternative to my move, you could use Bill Simon's Business Card Prophecy move, described in “Jack Coincidence” later in this volume). As the face of the touched card comes into view, call attention to it by saying, “You've chosen to spell the Nine of Spades (or whatever) ...."

it

8) Square the deck and place it at the right side of the table. Ribbon spread the deck the table from right left in a wide spread and point to the face-up card, continuing, across “and you chose to start the spelling nght here.” Tt looks for all the world as if some random position, somewhere in the center of the deck, has been designated. In fact, the 13™ face-down card below the face-up card is Ginny's selection.

to

to

As soon as you see the face of the touched card you'll use my Flash Speller learn its spellcount. This only takes a moment, and as you do the ribbon spread you have ample time to decide exactly how to spell the card’s name, by utilizing the following multiple outs.

SPELLITOUT

139

The Multiple Outs This set of multiple outs allows you to successfully wind up your spell at the 13" card, regardless of how many letters are contained in the name of the face-up card. You're going to spell the name of the face-up card. You'll start at its position in the spread and spell one card for each lctter, moving toward the bottom of the deck. You want the spell to end at the selection, which lies at 13™ position from the face-up card. I make three starting assumptions, cach of which is probably the most “normal” way of proceeding. First, the spelling starts on the first face-down card (i.e., the one after, or below, the face-up card). Second, we’ll spell both value and suit, including the “of.” i.e., S-E-V-E-NO-F-S-P-A-D-E-S. And third, we'll produce the selection on the last letter, the final *s’ of the suit. There's nothing surprising here; it’s exactly what you'd expect. And when the touched card actually has a spell-count of 13, that’s exactly how we'll proceed. :

The rest of the “outs,” covering the other five possibilities, vary one or more of these three assumptions. Here is my summary chart of the six possible outs:

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ECCEN-TRICKS

10 = add THE 11

12

13 14 15

= = = = =

add THE, and Return Next Exact (No change) Return delete OF

So, what docs “Return” mean, and howprecisely do we use these outs? In detail, here’s how

you'd handle each of the possibilities. 10 Spell-count: THE

(4 out of 52)

Just add the word “TIIE” to the beginning of the spelling, e.g., T-I1I-E-S-I-X-O-F-C-L-U-B-S. like to repeat the name of the face-up card a couple of times, starting with the moment it’s flipped face up in the spread (at step 7), and then again when I ribbon spread the cards across the table (at step 8). I'll even emphasize “The Two of Clubs” each time I say it so that my spelling has been foreshadowed by my words.

I

11 Spell-count: THE + Return

(13 out of 52)

Cleanly separate the table spread above the face-up card, and with your left hand push all the face-down cards that are above the face-up card off to the side of the table. Pick up the faceup card to display it momentarily as you remind Ginny that she’s chosen to start spelling “right here, on the Two ofHearts(or whatever). ” Then confidently turn the face-up touched card face down and replace it back onto the still-spread face-down cards below it. For convenience, I refer to this action as a “Return” because you're turning the face-up card face down and returning it to its place in the spread. The net result of a “Return” is to move the selected card from 13" to “Return” you'll actually start the spelling on the touched card itself.

You'll nowproceed to spell its name, adding the word

(the same as with the10 spell-count above).

12 Spell-count: Next

“THE™

14™

position. With a

to the beginning of the spelling

(14 out of 52)

Just confidently spell the card, pushing one card along the spread for cach letter — and also push the final “s™ aside as you spell it. Then, point to the next card as the one you've “reached” as the result of the spell.

SPELLITOUT

13 Spell-count: Exact

141

(12 out of 52)

This works perfectly with no changes

14 Spell-count: Return

(5 out

at all.

of 52)

Just “Return” the face-up card (as you did with the 15 Spell-count: Delete OF

(4 out

11

card spell) and start the spell on it.

of 52)

Here we're going to omit the word “of” and just spell the value and then the suit of the face-up card. To make it seem more natural, like to foreshadow this by mentioning the value and suit as soon as | sec one of these four possibilities turn up. I say something like, “4 Queen, and not just any Queen, the Queen of Diamonds. You wanted me to start spelling right here, so let's spell Q-U-E-E-N, and also its suit, D-1-A-M-O-N-D-S." The chart above summarizes this by reminding you to delete the word “of.”

|

*

*

*

All six of these outs work quite smoothly. The option of being able to return and use the faceup card provides flexibility and eliminates what might otherwise have been a somewhat awkward or contrived spelling. The important thing is to learn the six “outs” by heart so that you can confidently proceed to spell any card without hesitancy. There is a two step mental process, but both steps are straightforward (once you've practiced them) so they should flow smoothly and directly. To summarize: as soon as you flip the touched card face up, your first step is to applythe Flash Speller; then, as soon as you know the spell-count, just use the “outs” chart to convert it into the appropriate spelling procedure. Here are a few examples, indicating my full train of thought covering both the Flash Speller and the multiple outs. If I see the QC turned face up, my thought process proceeds through these steps: Clubs =* 11 plus one equals 12 —* Next. And so I confidently spell “Queen of Clubs” and use the next (following) card. Or, if] see, say a 10D, say to myself Diamonds — 14 — minus | equals 13 — Exact. So I spell “Ten of Diamonds” and use the final “s,” because it’s a direct hit. For the JD, I think: Diamonds — 14 — Return. That's it. If you play with this for half an hour I think you'll be surprised at how quickly you pick it up.

=

I

9) So, let’s finish our effect. Spell along the spread cleanly and deliberately to reach the target card. Slide it out of the spread, still leaving it face down. then recap all the conditions. “Ginny shuffled the deck; she could have picked any card; 1didn’t know what card she picked or where it was; she chose the card to be spelled; and she chose the point where the spelling would begin.” Finally, ask Ginnyto name her selection. When she does, reveal the card “spelled to” for a baffling climax. 1

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Comments (1) Alternative Controls. There are, of course, many ways to control the selection to 13" position from the top. One (or more) overhand shuffles with runs totaling 12 cards on top of the selection is certainly one basic way. You could also overhand shuffle just six cards on top of the selection, and then give the cards one out faro shuffle, to bring it to 13" position. The faro nced not be precise, except on those six cards. sometimes shorten the procedure in the text as follows. I start by crimping the bottom card, and then sight count 12 cards and obtain a break as in steps and 2 of the text. Undercut this block of 12 to the bottom and then spread the cards for the spectator to touch any one. Show it and then cull it under the spread to the bottom. A cut at the crimp will now position it at 13" from the top. I

1

John Bannon suggests an intriguing use of the Riffle Force — to force a specific position instead of a particular card. Just take back the deck after it’s been shuffled and sight count 13 cards as you casually spread the top few cards. Obtain a break, square up, and then Riffle Force to the break, lifting up the right-hand portion to display its face card as the selection. Drop the right-hand packet on top and immediately hft about half the deck and dribble them back on top. This suggests that the card is somewhere near the center of the deck.

to

do “Spell It Out” completely impromptu, (2) There's Always a Joker. Ifyou want perhaps with a borrowed deck, you should be prepared for the possibility that a Joker might be the touched face-up card. No problem. [Here are two solutions, courtesy of Josh Jay. First, Just explain, “Jokers are Wild. So, you get to name any card.” Whatever card the spectator names, proceed exactly as in the text to use the Flash Speller and whatever out is applicable to the named card. In some ways, this situation is even more amazing, because you're now working with a freely named card. Alternatively say, “Jokers arc Wild.” Now spell just that: J-O-K-E-R-S-A-R-E-W-I-L-D for an exact hit. While you won't find many Advertisement cards left in the deck (since they're usually twosided), Josh also points out that spelling A-D-V-E-R-T-1-S-E-M-E-N-T is another direct hit. (3) Background. My “Mark-a-Place™ move was first described in The Aronson Approach, p. 11, and also in Simply Simon, p. 127.

Decipher

T>

is little that’s original, in either method or cffect, in this next trick. Indeed, “Decipher” was developed almost by accident, while devising a solution to a problem I faced in performing another trick. I'm offering it here for three reasons. First, the presentation is particularly strong; indeed, its intriguing hook makes a virtue out of a nccessity. Second, the practical problem this effect was designed to solve is a general onc that occurs in a number of popular effects, so you may find it has application to some of your own routines. Third, “Decipher” has a secret weapon, an added bonus — but I'll save that for the comment section.

Effect The performer recounts that during the war, agents were sent on dangerous missions to deliver top secrets behind enemy lines. To ensure that these scerets remained inviolate, the agents were each entrusted with only a portion of the necessary information, so that even if they were captured, the enemy could not discover the “whole” truth. The performer offers a demonstration with his pack of cards. One member of the audience selects a suit and a second spectator selects a value, so that between them a particular playing card has been uniquely identified — but no one person knows its full identity. The deck of cards is shuffled by the spectators and placed into the performer's pocket. The performer reaches into his pocket, and withdraws one card, which is revealed to be the exact card jointly “chosen” by the spectators.

Working First I'll explain a bit of background so you'll sce the problem I wanted to address. I frequently perform my version of a simple two-card transposition, wherein two freely chosen cards, one placed in my pants pocket and one placed under my foot, instantly change places. It’s a quick, impromptu routine, but at the end you're left with an “x” card secretly in your getting that extra card out of my pocket. I wanted to come up with an efficient, clean way pocket and back into the deck, so that I'd be playing with a full deck for subsequent effects. (A similar situation arises in versions of the “Homing Card,” the “Repeater Card to Pocket,” Peter Duflie’s “Double Fantasy,” and other classic routines).

of

The Set-up So, our starting point for “Decipher” is that you secretly have a card in your pocket, whose identity you must know. It may be there from an earlier effect, or if you want to test how

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ECCEN-TRICKS

strong this routine plays, just secretly pre-set any card in your pocket, or glimpse one and palm it off. Let’s assume it happens to be the 9C. 1) The method is as simple as anything

I've ever written; you're going to force a Club card on one spectator and a Nine on another spectator. They'll then shuffle the deck to their heart’s content, and once it is placed into your pocket, you'll be able to withdraw the 9C because it was always there.

like to use an Under the Spread Force, twice in a row, because it’s quick, casual, and innocent in appearance. (For an alternative non-sleight-of-hand force, sce comment 3). 1 preset any one of the remaining Nines and any one of the Clubs at positions 6 and 7 (from the top) of the deck. It doesn’t matter which one goes where, as long as you remember which is which. I

If you

the opportunity to prearrange

these two cards, do so, but it’s actually quite easy to set such a combination into position on the fly. Just casually spread through faces of the deck, looking for each of the Nines. When you spot one, glance at the card on either side of the Nine, to see if either is a Club. There's a high probability that you'll find a Club next to at least one of the Nines. When you come to any such pair (any Club next to a Nine) you're in business — just spread five more cards beyond this desired combination and cut the deck at this point. That sends the Ninc and Club cards and 7" position. If you don’t find such a Club/Nine combination happily waiting for you, don’t fret. One casy solution is to cull a nearby Club card into position, next to a Nine. But there's actually an easier solution, that doesn’t involve any culling. Just expand your scarch slightly by looking also at the cards located one more card away, on either side of the Nines. That simply scan for any three card combination of Nine and a Club, separated by one “x” card. When you spot such a triplet, silently count five more cards above and cut at that point. The result is that one of the desired Ninc/Club cards will be at 6" position and the other will be at the 8" position (instead of the 7"). But this will work just as well; just remember where is. have

the

to 6

is,

a

it,

it

In any} event, let’s assume you've 2 got the two force cards into p position. We're The Plot

ready y

g to begin.

- Finding a Card that’s so Secret, No One Knowsits Identity

As mentioned, it’s the presentation that builds this effect completely out of to proportion what's actually involved. So, I'll concentrate on the patter I use. I've performed a few tricks already, so I remind my spectators, “You've already seen how a magician can discover a card that someone has picked, or even one that someone just thinking of. Well, I'm going to try to find a card that so secret, that no one in the entire world knows true It’s this last line that piques the curiosity of your audience. Theyre at once puzzled identity”! as to whether you’re just pulling their leg — because, if no one knows the card, howwill they know when you're successful? — and at the same time they’re intrigued how you might possibly create such a situation. Continue, “Let me show you something I learned when worked for the CIA. Sometimes critical information was classified as so lop secret that it wouldn't even be entrusted to just one person. Instead, such special information would be 2)

is

is

its

|

DECIPHER

145

broken down into pieces and each CIA agent would only learn one part of the total secret. But no agent, however good he was, would know the whole picture. And that was for his own safety. I'm going to apply this exact same technique to something far more important than military secrets or national security — I'm going lo use it in a card trick”! Obviously, much recall that of this is spoken tongue in cheek, but people are familiar enough with spy movies there’s a grain of truth in the scenario you've painted.

to

Give the deck a couple of false shuffles that maintain the position of your two force cards and then approach your first spectator, Adam. “Adam, you'll playthe role ofSecret Agent Number 1. Your task, ifyou accept it, is to help convey the secret identity of one particular playing card behind enemy lines. But that playing card is so important, so vital to the success of this mission, that I dare not burden you with its full identity. Instead, you will be responsible for secret identity, — its suit! As I spread these cards, wan! you remembering only one half of touch the back of any card you'd like, but don’t let me influence to extend your finger and

its

you. At this point, you're going to perform an Under the Spread Cull and Force ofthe card at 6" position, which, for this example, we're assuming is the Club card. If, when you set up the force combination, the Nine happened to be uppermost, just alter your patter accordingly to force the “value” first. The technique for culling the 6" card under the spread and forcing it on your spectator is described in detail later in this chapter (sec steps 4 and 5 of “Two Beginnings™). But here it’s card, you're going to lift up the righteven easier, because as soon as the spectator touches hand section to show the full face of the card he’s apparently touched. This upward motion of your right hand provides ample cover for both the left thumb’s slight pushing action against the edge of the card he’s actually touched, and for the sliding movement of the force card to the left, where it becomes the bottom card of the right-hand packet.

a

As you raise the right-hand packet to show Adam the card he’s supposedly touched, turn your body away from your second spectator, Bonnie (whom we'll assume is on your left) so that she can't sec the face of the card you're displaying. Explain, “Adam, just remember the suit of this card; that's the only thing that's important now. That suit will be one half of the identity ofour super secret card. Bonnie, for your own safety, I don’t want you to see the suit, so don’t look.” 1f I'm playing for a group of people, I actually try to bring the entire audience into the “spy” roles by displaying the “suit” card toward the half of the room on my right and later the “value” card just to the half on my left. Once Adam has seen and remembered the suit, very cleanly drop the right-hand packet onto the left-hand cards and square up the deck. 3) Tum to Bonnie and explain, “Your mission is even more daunting. Adam knows the suit of the secret card, but you alone will know the value, its number. So, reach out and touch any one you'd like.” Here, you'll repeat the cull and spread force, exactly as you did with Adam. This time, however, the Nine that was originally at 7" position has moved up to 6™ position (because the Club has been displaced somewhere lower in the deck), so when you

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ECCEN-TRICKS

cull the 6% card this second time, you'll automatically get the desired “value”card. (When you there happened to be an “x” card initially cut the two force cards into position at step 7" instead of the 6™. This will card between them, then for this second force just cull the card, lift up touches compensate for their starting at positions 6 and 8). Again, once Bonnie side of the left the the right-hand packet to display the force card just to Bonnie (and those on room). Warn her, “Now it’s vital that you burn this value, the number of this card, into your behind enemy lines with memory, because in a moment we're going to send the two of you don’t want your secret message. But don’t say anything aloud; for Adam's own protection, we him to know too much.” Once Bonnie sees the value, again drop the right-hand packet onto the remaining cards and immediately hand the deck to Bonnie. 1,

if

a

4) Ask Bonnie to shuffle the cards, to thoroughly destroy any trace or clues of her the secret information. I then have her pass the deck to Adam, and have him shuffle and cut cards, “just to make the task a true mission impossible.” 1 then retake the deck and explain, “I'm going to play the master spy and decipher the secret identity of the card that the two of work undercover.” Here, you, jointly, are thinking of. Bul, like any master spy, I'll do my drops onto the hidden 9C. very openly drop the shuffled deck into your pocket, making sure

it

You can build the ending up as much as you want. I've found that, because the force was split between two people, the audience actually buys into the notion that the card’s “full” name. I caution my identity was determined randomly, and that no one yet knows helpers, “Imagine you're on a mission to deliver your half of the code to me, but you can’t endanger each others life, so don't share your information. Everything is only on a need to know basis. Adam, just think of the suit, and you think of the value, Bonnie. I'll try to pry that information out ofyou. 1 promise won't use torture, but we magicians do have our ways ...." Pausc, ham it up a little, and then plunge your hand into your pocket and remove the 9C, holding it with its back toward the spectators. 5)

its

Conclude, “I promised I'd find a card whose identity was so secre! that no one in the entire world knew what it was. But the two ofyou, together, have the pieces to the puzzle.” Have Adam announce the suit he’s thinking of and have Bonnie announce her chosen value. Reveal that the card you're holding is indeed the 9C, for a successful “mission impossible.” Remove the rest of the deck from your pocket and continue with your next miracle (see comment 4).

Comments (1) Plausibility. The idea of forcing a suit card and a value card to uniquely define a particular card is as old as the hills, and there are countless effects in magic literature utilizing this basic concept. But we should candidly acknowledge that it’s a somewhat identifying a chosen card, that, taken by itself, can raisc eyebrows unusual, indirect way deal among discerning spectators. Its validity as a method of sclection thus depends a great on three factors: first, the strength and conviction of the force, second, whether there's a plausible rationale for why the card’s identity has been thus bifurcated, and third, what

of

DECIPHER

147

particular magical event occurs in connection with the card so identified. For instance, onc of the strongest effects making use of this suit/value sclection process is Daryl’s presentation of “Untouched” (Michael Ammar, Easy to Master Card Miracles Videotape Volume 4,L & L Publishing, 1997). There, the plausibility is obvious: an unknown card has already been physically withdrawn from the deck, and the “magical effect” is simply one of identifying that unknown card. On the other hand, in my personal opinion, taxes credulity to use this indirect selection process to create effects which purport to cause a chosen card to vanish from the pack, only to reappear in some impossible location. Audiences are not so shortsighted that they cannot remember what happened just moments earlier. When something allegedly vanishes, an audience will quite naturally compare the before-and-after situations, and the suit/valuc sclection is one that can casily remind them that they never actually saw the card in the deck to begin with!

it

My experience suggests that in “Decipher” all three factors blend together nicely to mutually support the plausibility of the suit/valuc selection procedure. The premise of no one person the card logically leads to two people, each knowing only one knowing the full identity part; the Under the Spread Force is a casual, clean and natural procedure; and the effect of pulling an unknown card from a shuffled deck in your pocket, while challenging, doesn’t highlight the possibility that it never was there from the start.

of

(2) Routining Prior Effects. If you're going to use “Decipher” as a follow up toa Homing Card routine (or any other effect that leaves an “x” card in your pocket) a little forethought and planning with that prior routine can generally engineer a convenient and natural time to glimpse the card that will ultimately become your “pocket” card. Naturally, you should allow an appropriate time delay between the trick that secretly leaves the “x” in your pocket, and “Decipher.” It would be a bit obvious to perform two tricks in a row, both of which involved the same pocket. (3) The Deal Twice Force. For an alternative, non-sleight-of-hand force of the suit and value cards, the age-old “two pile deal” works fine. Just secretly position the two desired force cards on top of the deck. Hand the deck to Adam and ask him to start dealing the cards into a face-down pile. Once he’s dealt at least two cards, stop him and explain that he doesn’t have to deal them singly; he’s allowed to deal in small groups, say two or three at a time, and he can deal from anywhere the deck he wants. Finally, he should stop dealing whenever he wants. When he stops, have Bonnie pick up the dealt cards and deal them back and forth into two face-down piles (thus reversing their order). Adams looks at the resulting top card of one pile for the suit, and Bonnie gets the other top card for the value, (Just keep track of which is which).

in

(4) “Decipher” Deck Switch. 1’ve saved the best for last. At the end of step 5, when you've finished performing “Decipher,” said you can continue with your next miracle. And youreally can —because “Decipher” enables you to accomplish an any-time, undetectable deck switch. It’s obvious, once you think about it, but I'l] confess that I didn 'f think of it until after

I

had performed “Decipher” a few times, just as described in the text. I then realized that. instead of starting with a single card in my pocket, I could start with an entire cxtra deck

I

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ECCEN-TRICKS

(stacked in a desired order) left loose in my pocket. Remember the top (or bottom) card of your cold deck, and use that one for “Decipher.” At the conclusion of the effect, bring out the rest of the stacked deck, and you're ready roll.

to

I'll sometimes use “Decipher” as a way of secretly introducing the Aronson stack. Indeed,

when I expect to be performing magic, I'll generally carry one (or more) decks stacked in my memorized order. The convenient thing about the “Decipher” deck switch is that it takes so little advance planning. As long as you've got your stacked deck loose in your pocket, you're completely free to decide whether and when during a routine you want ring in the stack. The top card of the Aronson stack is the JS, I just arrange a Jack and a Spade at 6" and 7" so positions in the regular deck I'm using.

to

to

practical tip: use something as a pocket divider keep the two loose decks separate for the brief time they're both in the pocket. It doesn’t have to be anything fancy. I find a pocket comb, wallet, or even the card case works well. One

Finally, you may think that once you decide to usc an extra deck, you could simplify the effect greatly by eliminating the two component, suit/value force altogether. You could just involve one spectator, and force the duplicate Jack of Spades on him and then proceed with the rest of the effect and the deck switch. Analytically that’s all true, but from a presentational viewpoint, it doesn’t work well. Because without the dual spectator, two part selection, the whole theme of card’s identity being so secret that no one knows goes out the window. In the final analysis, I honestly believe “Decipher” a strong, entertaining piece primarily because ofits patter and presentational theme — and the suit/value selection procedure actually enhances this theme. The deck switch simply adds some flavorful icing on this cake.

a

is

it,

Two Deck Canasta A

s a teenager, one

of my magic idols was Chan Canasta. Indeed, it was his rare

performances on American television (on the Jack Paar show) that partly inspired my penchant for mentalism. My recollections of Canasta’s specific performance pieces are few, but certainly his unique take on discerning two cards which a spectator had freely selected and put into his own pocket remains as one of the strongest effects I've ever witnessed. So, I confess to some trepidation in even suggesting a variant of Canasta’s masterpiece — except that I've performed the following on and offfor over 25 years and it’s something which I can unhesitatingly attest is capable of being built up to blockbuster proportions.

Effect Two decks are introduced and shuffled and two spectators are asked to help in an experiment that concerns choices. The first spectator, Adam, asked to choose either deck, hold it behind his back, and freely cut it anywhere. He is then given a choice of cither his right or left pocket, and the card he has freely cut to is deposited unseen in his chosen pocket. A second card is placed, also unseen, into the spectator’s remaining pocket. The remainder of this first deck is placed aside.

is

is

The second deck is then shuffled again and spread. A second spectator, Bonnie, asked to choose one point anywhere in the face-down spread. The two cards on either side of her freely chosen position are isolated. All of the choices made by each of the spectators arc completely free.

The performer emphasizes the fair and random conditions and then asks Bonnie to tum over the card on her right; is, say, a 3D. Adam for the first time removes the card from his right and it pocket, proves to be a matching 3D. Pushing the coincidence to the extreme, the card on Bonnie's /eft is now shown. It’s a 7H. Adam removes the card from his Jeff pocket and reveals a second match.

it

Working The Set-up The mechanics ofthis trick are incredibly simple — in one sense, cven simpler than Chan Canasta’s original effect because although two stacked decks are involved, here you don’teven need to know the order of the cards. But, as Canasta has demonstrated, even a simple method can become a miracle with the proper presentation.

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ECCEN-TRICKS

You'll need two decks with contrasting backs (let's assume red and blue), each secretly prearranged in the same cyclical order. That order may be any order you want, even a random that the cyclical orders match, you should cut one of the one. Since all that’s important

is

decks so that the bottom cards of the two decks are different. You do not need to know(let alone memorize) the order; you don’t even need a way of determining which card follows which. Tronically, the trick works itself without your ever having to know the identity of the cards in Adam’s pockets.

in

Since one of the stacked decks will be preserved at the end of the effect, for economy routining I employ an arrangement that | can use in succeeding effects, so I'll habitually usc this irrelevant Aronson stack order or Si Stebbins — but functionally a “known” order particular effect.

is

to

The First Deck spectator, select a gentleman who has two side pockets, either in his his jacket. If possible, try to use someone whom you've previously noticed handles trousers cards comfortably. You're going to have Adam cut the deck behind his back, so it’s prudent not to involve a first-time card handler. Have Adam stand facing the rest of the audience; you should be standing to one side and slightly forward of him. 1)

For

or

your first

Explain to Adam that you're going to give him a series of choices, and his job is to make sure that each choice is truly his own, without any psychological influence from you. As you patter, casually false shuffle each of the two decks, and leave them on the table. Tell Adam that his first choice will be whether to use the red or the blue deck. You can (and should) emphasize the freedom surrounding each choice the spectator makes. Whichever deck he chooses (let's assume blue), pick it up and spread it face up to display that the cards are different and random. Square up and hand it to Adam face down. 2) Ask him to cut and complete the cut, and point out that as a result of the cut the top card is now different card, one which no one could have known. This example gives him (and you) a chance to make sure he’s familiar with basic cutting procedure. Now, ask Adam to hold the deck face down behind his back so that you can’t see where he chooses to cut. Instruct him to cut the deck once more behind his back. Again, emphasize that this free choice of where to cut determines which card will be on top. Offer him a chance to cut again if he wishes. Have him retain the deck, still behind his back.

a

3) Once he’s satisfied with the cut, offer him a choice of either his right or left pocket. “Later on you'll appreciate the importance of this absolutely free choice, left or right.” After he chooses, instruct him to slide the top card of the deck into his chosen pocket, cautioning him to make certain that neither you, nor he, nor anyone else, sees its identity. Let’s assume he chooses his right pocket. Continue, “To take matters beyond the realm of chance, please take the next card, the one that's now on top, and without looking at it, slide it into your other pocket, the left side.” Remember whichever pocket, right or left, gets this second card. So, in our example we'll remember Jeff for later on. I explain,

TWO DECK CANASTA

151

When he’s done that, take the balance of the deck back from him. comment, “We ll put this aside. I don’t want people thinking that I looked through it to determine which cards are missing.” Put it awayin its case, or aside on the table, or into your pocket, secretly glimpsing the bottom card of the deck as you do. Remember this card as your key. You're now remembering two pieces of information: the second chosen pocket and the key.

The Second Deck Pick up the second deck, addressing Bonnie, “You get the deck that's left, but you're going to make some important choices with this one. It looks mixed ...." Here, start to spread the cards between your hands face up to display their random appearance to Bonnie. As you do, you'll scan the spread, looking for the duplicate of your glimpsed key card. Once casually injog the card below (i.e., the one immediately to the right of your key you sight in the face-up spread). Square up and flip the deck face down into left-hand dealing position. With your right thumb, lift up on the injog and cut the deck below the injog, completing the cut. (Situation check: your key card should nowbe second from the bottom. The top and bottom cards of this deck will automatically match the cards in Adam’s pockets). You can to simply cut your key to now forget about the key; it’s served its purpose. Please don second from the face while the deck is still spread face up; although the result will be correct, this runs the risk that someone might later recall seeing one of the two selections the face. Wait until the deck is face down before you cut. 4)

it,

it

try

at

All this occurs in the moment that you're showing Bonnie that the cards seem mixed. Immediately continue your sentence, “ ...but I'll shuffle them some more until you tell me to stop.” Tere, begin a legitimate riffle shuffle (on the table, or in the hands) except that you'll maintain the bottom and top cards of the deck in their position by letting them drop first and last as you shuffle. Those are the only two cards you need to concern yourself about. An overhand shuffle also works perfectly: just begin by running the top card singly, then the rest of the deck is shuffled normally, with the final card (the original bottom one) being held so that falls last, on top. Then simply repeat this overhand shuffle once more, and the top and bottom cards will revert back to their starting positions. This legitimate shuffle destroys the rest of the stack (which isn’t needed any more), and leaves a visual picture that will be remembered later. Use a shuffle that resembles the false shuffles you did at the beginning of the effect; this fair shuffle helps sell the legitimacy of those carlier shuffles. it

5) Have Bonnie stop you after a few shuffles. Spread the cards face down between hands as you explain, “You re going to make one final, all important choice. You're your going to choose one place, one spot, in this shuffled deck. 1 want you to point wherever you wish as I spread these cards in front ofyou — and make certain the choice isyours and that I don’t influence you.” Note that the instructions don't ask Bonnie to point to a card, but rather to a place, a location. In actuality, she will point at some card, which will then be turned face up in the spread, to indicate or “mark,” the position she’s chosen. However, we don’t want vest the card that gets turned face up with any special importance. Her free choice is not of a card, but of a place in the deck, between two cards. The patter sets this up.

to

.

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It’s important that Bonnie is convinced she’s truly made her own free choice of any position in the spread (which, in fact, she has) because the impossibility of the coincidences that follow depends on the randomness of the chosen place in the shuffled deck. So, let Bonnie hesitate or go back and forth as much as she wants. Offer her the opportunity to change her mind. Once she finally touches or points to some card, pause, holding the cards still spread between your hands, with the touched card somewhat centralized. Very cleanly turn the touched card face up, apparently at its position in the spread. In fact, you'll execute my “Mark-a-Place™ the action of turning the touched card face up. (The move, which secretly cuts the deck, move is described in detail in “Spell It Out” earlier in this chapter). It appears as if you've simply flipped the touched card face up to mark its place in the spread. In fact, the original top card of the deck is now immediately beneath the face-up card and the original bottom card of the deck is directly above the face-up card. As the card flips face up, don’t call out its name but instead say, “We ll mark the exact position you 've chosen, like this.” Slowly and openly square up the deck and drop it at the side of the table.

in

But — at which side of the table? Here we're going to use Adam's choice of pockets (which we remembered from step 3) to determine, in a subtle way, in which direction the deck will eventually be spread. The rule is simple: viewing left and right from the audience's perspective, place the deck at the same side of the table as the pocket chosen by Adam for his second card. In our example, at step 3 Adam chose to put his second card into his Jeff pocket, so in this case we'd place the deck at the audience's leff side of the table. That's it. You should, of course, determine beforehand (at anytime after step 3) which side of the table to use so this action can be carried out without hesitation. Although I've mentioned a number of factors in this step 5, all of them blend into one seamless action, which should be executed openly and calmly, and, to quote Vernon, “without guile.” All that appears to happen is that you turn the card over at Bonnie's designated position, square up, and table the deck. 6) Now, simply ribbon spread the deck across the table in a wide spread — in the only direction that makes sense, i.e., toward the center of the table. Then, move your finger across the spread as you comment, “You could have chosen any place you wanted among these shuffled cards, but you chose this particular position ..." — here, your moving finger stops, pointing at the face-up card — “right between these two cards.” Isolate the sandwich surrounding the face-up card, by separating the sprcad above and below the three-card sandwich and pushing all of the rest of the spread cards aside. Separate the now isolated sandwich, by pushing each of the two face-down cards to their respective right and left (audiences viewpoint), a few inches away from the face-up card, as you explain, “This particular card happens to be on the right side, and this one happens to be on the left side, of the one place you freely chose.” Without comment pick up the face-up card and place it aside, dropping it face down on one of the side piles comprising the rest of the spread cards. It has served its purpose of marking the chosen place, and is no longer needed. This leaves the table clean of any extraneous distractions for a very clear picture at the climax. Note that at no time have you ever mentioned the identity of the face-up card; it

TWO DECK CANASTA

153

serves solely as a marker.

“Of all the cards in this shuffled deck, you've chosen two cards, one on your right and one card here on your left.” Here, point to cach of the two face-down cards respectively so the

audience gets drilled into its mind which card is which. Since you won’t be using any equivoque of “whose left or right,” you want your audience to feel there's no possibility of ambiguity.

The Revelations

is

to recap the conditions and the free choices as much as you can 7) All that remains to build up to the double revelation climax. Once you've suitably impressed your audience with the sheer number of choices, ask Bonnie to turn over onc of her two cards. Suppose she turns over the onc on her right. Repeat its orientation, “The card on the right happens to be the 3D (naming whatever card is shown). Adam, for the first time will you remove the card you freely chose to put in your right pocket.” There's often a gasp as Adam withdraws and displays the matching 3D. Continue, “But, this might, just conceivably, have been a coincidence, so to rule out chance or luck, both ofyou each freely picked a second card. Bonnie, will you now show everyone which card you thought would wind up on the left?” Here Bonnie turns over her remaining card, say the 7H. Have Adam withdraw the card from his left pocket, revealing a second match. 8) The effect is over, but if you replace Adam's two cards back on top (or to the bottom) of Adam’s bluc deck, you can proceed with any other trick that utilizes that stack or set-up, since the blue deck has never been shuffled.

Comments (1) Knowledge vs. Coincidence. Chan Canasta’s original effect used only one person and one deck. He began with Adam’s selection of two cards into two pockets, as in steps 1-3. Chan himself would announce the names of two cards which he felt confident were the correct cards, but then he would ask Adam, “And where would you like the Three of Diamonds to be — in your right or left pocket?” Using some brilliant and subtle bits of equivoque, it seemed as if the cards appeared in whichever pockets Adam called. Though methodologically simple, as stack tricks go, Chan’s presentation was so powerful and the effect so direct, that it left an indelible impression on me (matched only later by some of Al Koran’s presentations). My two deck variant offered here is not intended as an improvement, but rather as the creation of a different sort of effect. In Chan’s version, the performer somehow received “vibrations,” or some special mental impressions, because he mysteriously Anew the identity of the two cards. But this wasn’t what people remembered; what made an indelible impression was that somchow the spectator himself seemed to be

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calling out the location

of

the cards.

In my routine, by converting the revelations to a double coincidence, the performer’s mental powers are de-emphasized, because he doesn’t know, announce, or predict anything. Instead, the effect becomes one of two spectators somehow acting in concert, with the performer merely administering the actions. But, of course, he receives credit for somehow orchestrating the awesome coincidence. This makes it a bit more of a magical effect.

a

Back in the 70’s this effect was regular feature of my mindreading act. 1 found it plays big, especially with the dramatic climaxes of the spectator slowly withdrawing each card from his pocket for everyone to see. When I first presented this effect, I was somewhat concerned that its method might be too transparent. [ worried that, since the two selections were next to each other when Adam cut the deck, and the two duplicates were later revealed to be together in the second deck, someone might realize that the two decks were similarly arranged. While this may be noticed by magicians, for laymen such fears are groundless. Most laymen don’t even realize that Adam’s two selections are together; they have just a general recollection that Adam “cut to his cards.” Likewise, they remember the legitimate shuffling at step 4, which further dispels suspicion of pre-arrangement. (2) Table Placement/Spreading as an Equivoque Substitute. The placement of the deck on either one side of the table or the other, which in turn provides the flexibility of naturally spreading the deck either to the left or to the right, to change the orientation of the two sandwich cards (in step 6) has application in other effects. When you know spectator’s choice beforehand, this option can sometimes provide a subtle alternative to equivoque.

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(3) Second Sight. I'm still quite fond of Chan's original routine. Mywife and I occasionally present it in our two-person mindreading act — but it’s Ginny, who’s been blindfolded throughout, who nevertheless divines the two cards that the spectator has freely placed into his pocket. This adds an extra, hands-off dimension to the experiment. (4) Without a Table. You can perform “Two Deck Canasta” stand-up, without any table, with only minor adjustments. Obviously the first deck presents no problem; after Adam has placed the cards into his pocket, when you take the deck back just drop the balance into your pocket, glimpsing the bottom card. After you've performed the “Mark-a-Place™ move achieve the right/left flexibility, you'll either do a normal (i.c., left with the second deck, hand into right) or a reverse (i.e., right hand into left) spread. I‘or ease in automatically achieving the proper orientation, I find it casicst simply to hold the squared deck in whichever hand matches Adams first pocketed card. You can then spread the deck intothe opposite hand and everything will fall into place. Thus, if Adam chose “left” for the first pocket, hold the deck in your /eft hand and spread the deck normally, i.e., from left hand into right, remove the sandwich, and put the rest of the cards in your pocket get them out of the way. If, however, Adam chose “right” for the first pocket, hold the deck in your right hand and reverse spread the cards into the left, before removing the sandwich.

to

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Choices deck effects can be problematic for small and informal close-up settings. They often require considerable table space and take time to present. Conversely, two deck effects play well as performance pieces, in amore lengthy act or show context. There, the mere involved intrigues audiences. The extra deck heightens fact that a second, odd-backed deck effect the plays bigger. The lengthicr time allows you to emphasize more visibility and conditions, as you build up the impossibility factor. Coincidence effects seem considerably more impossible when 104 objects are involved. Even the final coincidence “picture” looks better — as you display, say, two identical Six of Spades from matching decks, as opposed to two mates from one deck.

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I’ve always liked playing with the theme of “free choice” (one of my all-time favorite effects is “Fate” from Simply Simon). The theme resonates with all kinds of audiences, and even times belittle “mere” magic tricks, have at some point intellectual spectators, who might seriously pondered questions such as whether everything happens by chance, or whether apparently random choices are in fact connected, or whether seemingly free choices may somehow be part of some larger, cosmic pattern in which we all are players. You can play up such “heavy duty meaning” as much as you'd like.

at

This present effect and the preceding “Two Deck Canasta” both illustrate this genre. think to me, quite a bit more intricate, but the final denouement you'll find that “Choices” you're playing the patter seriously, even forcboding. imposing — perhaps, 1

if

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is,

Effect The performer shuffles two decks, one red and one blue. To begin the experiment, one in his pocket until later. spectator, Adam, freely selects cither deck (assume red) and keeps chooses blue second Bonnie, deck, a freely From the remaining a card by simply spectator, looking through the faces and removing any one that strikes her fancy. She retains that card in her possession, its identity known only by her.

it

Next, to determine a numbered position at random, the performer explains that he'll total the values of three more cards chosen by chance from the blue deck. He asks a spectator to cut the blue deck anywhere, to determine the place from where those three cards should be taken. Still another spectator freely designates whether to use either red or black cards. The first the blue deck, are isolated. three cards of that designated color, starting at the chosen point chosen the values those three totals the of cards, to arrive at a random sum. Finally, performer

in

Recapping the many free, random, and independent choices that have occurred, the performer explains that, in fact, those choices may all be somehow strangely interconnected. He asks Adam to remove his pocketed red deck and to count down in that deck to whatever numbered

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position has resulted from all ofthe other random choices. Adam does so and the card at that position matches Bonnie's freely chosen card.

~~ — Both decks are ordinary and all of the choices are,

in fact, quite free.

Working The Stack

This entire experiment depends on an elaborate stack, in each virtually self-working.

of

the two decks.

The effect

is

Take the red deck and arrange the following 33 cards in order, from top to bottom: QS, 2H, AC, 4D, 5C, AD, 2S, 4H, 38, 6H, 7C, 3D, 4S, 6D, 5S, 8H, 9C, 51, 6C, 8D, 7S, 10D, JC, 7H, 8S, 10H, 9S, QD, KC, 9H, 10S, QH, JS.

This will constitute the “stack” portion of the deck. Lightly pencil dot the upper left and lower right corners of the backs of the QS and the 9S, so the marks will be easily apparent to you when you spread or fan the cards. From the remaining 19 cards, place any 7 on top of the stack and the other 12 cards below the stack. Finally, replace the deck into its case.

Now,

set up the blue deck in exactly

the same way.

1) To set the tone, I say something like, “Albert Einstein said that God does not play dice with the Universe. Instead of mere chance, he believed there is some universal pattern or equation that weaves together all ofthe apparently random events in the world. Individual free choices, which seem so random, may in reality be pieces of one giant puzzle, which all fit together. Lel’s test this notion. I'm going to use two decks indeed, at each step there will be two alternatives because this next experiment all about free choice.” While you make these opening comments, remove onc of the decks from its case, leaving the empty case on the table. Give the deck a casual false shuffle, or a series of false cuts, and then place it down crosswise onto its case; this simply allows for an easy pick-up by the spectator, in a moment. Then do the same with the other deck.

is

Free Choice

#1

—

the Deck

2) Approach your first spectator, Adam, saying, “For the first choice, I'd like you to choose either the red or the blue deck, replace into its case, and keep it in your pocket until the end of this experiment. ...Good. We'll come back to it later, but remember, you had afree choice.” Let's assume Adam pockets the red deck.

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at

It may first seem inefficient to initially remove both decks from their cases, just to have one replaced a moment later. The reason, however, is important in setting the atmosphere of

CHOICES

157

randomness. You want to leave your audience with the distinct, even if subliminal, the best time to do it. At recollection that the decks were shuffled, and your opening patter its is from removed deck the climax, when the pocketed ultimately case, you'll want to avoid dispel any hint of your controlling the outcome. touching the deck,

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to

Free Choice #2 — the Chosen Card 3) Pick up the remaining (in our example, the blue) deck, and approach your second spectator Bonnie, emphasizing, “The next choice is the most important one. We need to have one single card chosen, which will serve as a test for all the other choices. The fairest way is for me to show you the faces of the cards and have you just reach up and point to any one that strikes your fancy ... Good, take it right out and don't let me see it.” Here, spread the cards from your left hand into your right hand, faces toward Bonnie, allowing her to see the cards go by in a slow, steady stream. If you're super-cautious, you may want push off the avoid the spectator’s noticing that the colors alternate. I've found cards in small clumps, that, since the top 8 cards have a random color mix, and the spectator is focusing on which card to choose, there's little chance of her noticing any color pattern. All that’s required is that she select any one of the 27 cards from dot to dot, inclusive. The force range (if you can call a bank of 27 cards a “force™) lies from position 8 through position 34, and since the backs of the cards are toward you, you can usc the pencil dots to guide your timing of the spread. This free selection is one of the strongest points in the routine, so don’t speed up, act guilty, or do anything that suggests that her choice is anything but fair.

to

to

As Bonnie removes

her sclection, casually separate the spread at the point of removal. Your

its

cards (the ones that were originally above the removed selection) and right hand squares face them down cards, and drops them places on the table. Your left hand then squares onto the tabled pile, to reassemble the deck. Without calling attention to you have thus cut from. the selection the blue deck at the place came

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it,

Ask Bonnie to hide her card in a safe place, e.g., her purse or pocket, so that only she knows the identity of her selected card.

Free Choice #3 — the Cut 4) Ifthere are more than two spectators comprising your audience, it’s more effective the further choices made by different spectators. Otherwise, ask Bonnie to continue have to to help. Explain, “I want to have some number chosen, a number that no one could have known in advance. So let's determine it by chance, by using three random cards. Whatever they happen to be, we'll add up their values together to reach a random total. Where should we take those cards from? I'll give you afurther choice, of any place in the pack. Just cut off a packet of any size, small, medium or large . . Good.” Here, we're going to utilize the venerable “Cut Force,” and the upcoming color choice will provide a built-in time delay. Indicate the tabled .

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it

blue deck and gesture for your spectator to cut off a packet and place on the table. Once she it the bottom original portion, give cuts, casually pick up a quarter tun, and place it perpendicular across the original top portion. (Please don 't say anything about “marking the cut.” The less attention, the better).

Free Choice # 4 — the Color 5) Continue, “I said we're going to take three cards from the place you chose. But, make it even more random, you get one more choice — you can choose which color cards to we ll use. From the place you cut to, we'll use either the first 3 red cards we happen to come to or the first 3 black cards — whichever color you prefer. What's your choice: red or black?” Again, the spectator really has a free choice, and you'll use whichever color she names. Assume she says black. Lift off the upper portion of the deck and place it aside. Gesture at the remaining portion saying, “This is where you chose to cut. I'll turn the cards face up, one at a time. Remember, we ‘re looking for black cards.”

Turn the top card of the tabled portion face up to reveal its color. Ifit’s black, say something like “That's one,” and toss it face up on the table. If it’s red, turn it back face down and discard it; I use the packet that was placed aside as a convenient discard pile. Repeat this display by turning over the next card, and either leave it face up (if it’s black) or discard it (if it’s red). Continue to deal off cards until you've isolated three black cards facc up. Because the colors in the stack alternate, you'll deal a total of either 5 or 6 cards (those are the only two possibilities) in order to find three cards of the chosen color. (You could have the spectator do this dealing herself, but it’s faster if you decal, and the fact that the packet tabled makes it difficult for the audience to suspect any skullduggery).

is

As you commence this deal, just watch and remember whether the designated color happens to fall first or second. You'll need this picce of information later on. (In our example, the spectator chose black. Let's suppose that the first card dealt is red, so you'd remember that the named color fell second. That's the only thing you'll need to remember). It only takes a moment run through this brief deal. The cards display a mix of colors and faces, which helps sell the randomness of the three isolated black cards.

to

6) Point to the three face-up black cards, explaining, “I said we 'd total your three cards to arrive at a random number. Jacks count 10, Queens are 12, and Kings are 13. Look, that’s 3, plus 9, plus 6, [or whatever] which totals 20. think you'll agree that random total, 20, isthe result of three freely chosen cards, of a freely chosen color, from a freely cut place in the deck.” Let the spectator check your arithmetic. Because of the way the stack is

constructed, the possible total could range anywhere from 7 to 34.

7) You've already spent a fair amount of time on the build up, so now's the time to emphasize all those conditions and free choices. Summarize, “And now we come full circle, 10 test the interconnectedness all those random choices. Remember, before we began, you chose (addressing Adam) freely one of the shuffled decks, the red one, and you've been holding on lo it for safekeeping. Will you remove that deck from its case? Since our random

of

CHOICES

159

total was 20, I'd like you to deal off cards one at a time into a face-up pile, counting out loud and stop just before you deal the 20th card.” Have Adam remove the red deck from his pocket and comply with your instructions. As he deals face-up and counts, the cards will

—

appear random, reinforcing their apparently shuffled condition.

There's only one thing you have to remember for this final instruction. Your patter line above told the spectator to “stop just before you deal the 20th card.” That's because, in step 5 above, you remembered that the spectator’s named color fell second. If the spectator’s named color instead had fallen on the first card, then you'd vary just this one line of instructions, to the only variable in the entire tell the spectator to “stop after you 've dealt 20) cards.” This

is

routine, and it lets you guide the count so that it will wind up at the correct card. Basically, it’s the equivoque of using cither the next card immediately after the count (a “Next™) or the exact card that the count ends on (a “Hit”). I simply remember:

falls

First = Next Color falls Second = Hit Color

8) In either case, Adam will deal and count, finally stopping at a face-down card. all those free choices your audience should believe that face-down card is truly arandom result; in fact, it will be the duplicate of Bonnie's chosen card. Point at this card, saying, “This next card is the final outcome of many small, independent random choices, made by each of you. But, if Einstein is right, you're all somehow interconnected. You're all working together to produce one special moment of entertainment — and mystery. Please show everyone the card.” Adam will tum it over and announce its name. When he does, there should be an audible gasp from Bonnic because she alone knows the card she freely put in her purse. Bonnie's reaction helps set up the climax. After

Turn to Bonnie, reminding everyone, “In your purse is one card, which you personally selected by looking at the cards yourself. You simply thought of one, and picked it out of the deck, isn't that right? For the first time, would you please show to everyone?” As Bonnie does, conclude, “Our choices really are all part of one magical pattern ... The 9)

it

Four of Spades.”

As the climax is revealed, hold up the two matching cards, one in each hand on either side of your face, as a well-deserved applause cue,

Comments (1) Resetting. This cffect maintains practically all of both stacks, making it fairly to reset. For Adam’s dealt deck, simply replace the matching card where it came from, easy and drop the dealt cards back on top. Because they were dealt face up, their stack order is retained. For

the other deck, you'll need to restack just the 5 or 6 cards (the ones dealt off when

finding the three “named color” cards) back in order on top of the deck. Then replace the selected card

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back on top. Finally, turn the deck face up and spread until you spot the QS. Cut the pack 7 cards above the QS so that the Queen winds up at 8" position from the top. This deck is now back in stack order. (2) Multiple Card Sum Stacks. The stack that makes “Choices” possible is one of my own devising and is based on the Multiple Card Sum Stacks I discussed in Simply Simon, page 134. Here, the stack comprises rwo interlocking Multiple Card Sum Stacks, onc comprising the red cards and one the black cards. In Simply Simon, I mentioned the possibility (at that time only theoretical) that the incremental increases of each card's value don’t have but could be, say, in units of 2 — so that each consecutive group's total will to be in units of also increase by 2. I concluded, however, that “I have yet to devise any practical, entertaining find a use for such a stack. magic based on this insight.” “Choices” is my attempt

1,

to

(3) Background and Credits. My original inspiration for this cffcct stems directly from Phil Goldstein's “Chipper,” which was contained in a supplement to his June 1998 Chicago lecture notes. Phil's effect and methodology are quite different, involving five poker chips, several magician’s choices, and a deBruijn sequence stack, all of which I've eliminated — but the overt procedure in “Choices” still reminiscent of its starting point in Phil’s routine.

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(4) Prompter Card for Stack Arrangements. Tlere’s a tip you may find helpful for keeping track of the required stack order (for this, and other lengthystack tricks). Except for my memorized stack, I initially used to resort to odd scraps of paper stuffed into my pocket or card case on which I'd scribbled the stack. As a more convenient way to carry such notes, I now reduce the written notation by means of photocopying, and then glue this miniature notation onto one side of an advertising card, which can then be carried without suspicion with whatever deck you're using.

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Breathing Spell pelling revelations can have a strong impact when they're combined with a particularly deceptive underlying location or control procedure. After working on a particular location for over a year, I finally came up with a combination that “clicked.” It was a discovery of two selected cards under challenge conditions. Two cards were freely selected behind the performer’s back, with the spectators freely shuffling and reassembling the deck. I then turned around and spelled the names of four random cards given to me by onc of the spectators and the selections appeared at the end of the spells.

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This is not that trick. When I showed it to our Chicago session group one Saturday, John Bannon immediately thought I must have used a prearranged stack with banks of cards that all spelled with the same letters — because otherwise there would be far too many possible combinations to deal with, and the mental gymnastics to work through the neccessary outs would boggle the mind (John boggles easily). But in fact there was no stack involved at all, and the effect was completely impromptu. You guessed it; I had decided to go the tough route and do a fair amount of thinking on my feet. Once I explained what I was doing and the simplifications I had worked out (which made it a lot easier than one might first imagine), Dave and John had two rcactions. First, they liked the location procedure a lot. Second, they felt the mental cffort required for the spelling revelations, while impressive, was something they'd never do. They wanted a simplified, easier variation, and they recommended that many of my readers would be grateful for a more automatic version.

to

their request and it actually preserves So, this present effect “Breathing Spell” is an answer much of the deception of the original. You can relax and breath during the performance, because it basically works itself. If you want to try something a little more challenging, my discussed in comment 4, appropriately titled “Dizzy original (and still my preferred) version Spell.”

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Effect Four cards are selected and placed aside face down, unseen by either the performer or the spectators. The rest of the deck is divided approximately in half between two spectators, Adam and Bonnie. Each shuffles his or her respective half. While the performer's back is turned Adam and Bonnie each freely selects and remembers a card. The selections are replaced and the deck is reassembled, except for a small packet of cards which Adam retains in his pocket. The performer does not know how many cards Adam retains and thus doesn’t even know how many cards are left in the deck.

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The performer turns to face his audience and reminds them of the four facc-down cards that when face is were selected at the outset. Ile asks Bonnie to turn over any one of them and revealed the magician spells name in the deck, dealing onc card for each letter. He asks Bonnie to turn over a second one, and upon spelling its name Bonnie's sclected card appears at the final letter spelled.

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The performer then turns to Adam and repeats the procedure, spelling the remaining two cards. Adam's selection magically appears at the end of this spell.

Working

is

required. These can be any four cards whose names spell with A small set-up of four cards follows: exactly 12 letters. There are 14 such eligible 12-letter spellers in the deck,

as

Clubs: 3,7, 8,Q Hearts: 4, 5,9,J,.K Spades: 4, 5,9,).K

If you mix the suits and values people won't have any visual clue that all four cards actually spell with the same number of letters. | habitually use the same four cards (the 511, JS, 8C and

QC) each time I perform the effect; this makes them more recognizable and thus quicker to set up. For reference, let's call those four cards the “Spellers.” a group in the exact center of the remainder of the deck and Arrange the Spellers together obtain a left pinky break above them, in readiness for a Riffle Force. There will be exactly 24 cards above the break, then the four Spellers, and then exactly 24 more cards below the Spellers. You're ready to begin.

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Here's a quick way of getting into the

position. Spread through the faces of a shuffled deck and when you come to each of the Spellers, cull it under the spread to the top. When all four Spellers are on top, flip the deck face down in the left hand. Now start three, and obtain spreading the cards between your hands as you silently push off 10 groups a break below these 30 cards as you square up. Cut the block that’s belowthe break to the top and retake a new break between these halves. You're now in starting position. It's more subtle if you can prepare this set-up in advance and then leave the deck on the table, marking off the Spellers by injogging the card immediately above them. When you're readyto perform “Breathing Spell” casually pick up the deck and lift up on the injog to obtain your break. above starting

of

Explain to your two helpers, Adam and Bonnie, “Before we even start this will know experiment we need lo isolate four special cards that will help us later. None of what they are. To make them random, Bonnie please call ‘stop’ as I riffle through the cards.” the break. This apparently Here perform a standard Riffle Force, separating the halves described in Riffle Force of mechanics are the the place where Bonnie stopped you. (The detail in “Aces Awry” on p. 199). Casually thumb off the next four cards (the Spellers) face down in a pile at the side of the table. Drop the right-hand packet back onto the left-hand 1)

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BREATHING SPELL

163

cards, secretly maintaining a break between the halves.

The Selection Procedure 2) You're now going

to divide the deck between Adam and Bonnie, making it appear

as if you don’t know or care exactly how many cards cach one receives. In an offhand manner simply split the pack at the break and hand one half to each of them saying, “In a moment you'll each select a card so here's a bunch of cards for each ofyou.” 1 generally dribble each half onto the table, one in front of Adam and one for Bonnie. Ask Adam and Bonnie to each shuffle their respective halves and then have both packets tabled. disarming, but in fact each spectator has exactly 24 cards.

This frec handling is

Explain that in order to make sure you can’t sec you'll turn your back, so they must be careful to follow your instructions. (If you don’t like to turn your back on your audience, there's an alternative selection process described in comment 2. Tt works quite well and even allows Adam to make a “mental” selection. I simply find it more deceptive when your back is turned).

to

3) With your back turned, ask Adam cut off approximately half of his tabled packet and to then deal those cards he’s cut off back and forth to form two equal piles on the table. Caution him to deal quietly so that you can’t count along or know how many cards he’s dealt. Remind him that the two dealt piles must be equal, so he should remember on which pile he starts dealing. Wait while Adam complies, and when he’s finished dealing ask whether his two piles came out equal. If they didn’t, instruct Adam to take one more card from his original tabled packet and add it to the short pile, to even it up. 4) Ask Adam to pick up either one of the two piles he’s just dealt and hide it away in his pocket his lap so that you won't be able to see

it.

or

Once he’s pocketed one of the piles, have Adam pick up his remaining dealt pile and shuffle it. When he’s shuffled that packet have him look at bottom (face) card. Ask him to remember that card. As insurance against his forgetting his selection you may want to have Adam show around other spectators. Finally, have him drop that packet face down of of balance on top the his original tabled pile, thus burying his selection. 5)

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6) With your back still turned, address Bonnie and explain, “We ‘re going to have you also look at a card from somewhere in your pile, but we'll make it a bit simpler. Just cut off about half ofyour cards and then give the cards you've cut off a shuffle.” Wait for Bonnie to comply and then remind her that no one could possibly have known how many cards she has cut off or how she would have shuffled them. Have her look the face card of the packet she’s just shuffled and show it around to anyone else she cares to . Make sure she remembers this card as her selection. Then have her drop that pile on top ofAdams tabled packet. This is a simple instruction but it's important to make it clear where Bonnie is supposed to put her pile (just so that she doesn’t inadvertently drop back onto her own original pile). I explain, “We're going to combine the cards back into one deck, so drop the pile you're holding onto

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Adam's pile." 7) Finally, instruct Bonnie to pick up the balance ofher original pile, give those cards

a shuffle, and then drop them onto the top of the deck, thus reassembling the entire pack (except for the cards still in Adam’s pocket). When Bonnie confirms that the deck has been reassembled, turn around to face your spectators.

Use whatever showmanship you want to emphasize how both spectators freely cut and shuffled wherever they wanted, and how would be impossible for you to know either the identity or the location oftheir selected cards. I point out, “Adam removed some cards at random and he still has them in his pocket, so I don't even know how many cards remain in the deck.”

it

call the foregoing steps 2 through 7 the “Selection Procedure.” Although it seems quite free and fair, its result is to control both selections to certain mathematical positions in the deck. the mathematics, but a little reflection will reveal You don’t need to know or remember any that Bonnie's card is now located exactly 24 cards from the top of the deck. Once those top 24 cards are removed, then Adam's card will be located at a position in the lower half that exactly corresponds to the number of cards still in Adam’s pocket. These results will allow us to discover the two selections in a way that hides the mathematics and makes it appear to depend on the apparent randomness of the upcoming spelling procedure. I

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8) Ifyou want you can proceed immediately with the spelling revelations (step 9) but have the option of casually mixing the cards somewhat. you

Obviously any false shuffle or false cut works here, but in fact you can actually shuffle the cards to some extent. As long as you're careful to mix just the top 23 cards and leave them on top, neither selection will change its position. For instance, commence an overhand shuffle by shuffling small groups of cards off the top of the deck. As you approach the middle of the pack, injog a single card and then toss the balance on top. Finally, usc cither a cut or a sccond shuffle to bring those shuffled cards (including the injogged card) back to the top.

Here's an even easier overhand shuffle. Take the deck in readiness for an overhand shuffle, the holding it in your lower (receiving) hand. With your upper hand cut off the top portion

of

deck (just make sure it’s not more than half) and immediately commence an overhand shuffle of those cards, shuffling them right back on top.

Remember, there is no heat on you. As far as the spectators are concerned, there is no way you could know where their selected cards are. The spectators shuffled, they cut, they removed a fewcards whose total number remains unknown to you, and they reassembled the pack —all behind your back. So, don’t feel guilty. Indeed, some casual handling or mixing helps reinforce the idea that you don’t knowor carc where their cards are.

BREATHING SPELL

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The Spelling Procedure 9) You're now going to spell to the selected cards, beginning with Bonnie's selection. Remind your audience of the four unknown random cards that they sclected at the beginning of the experiment. Arrange the four Spellers in a row, still face down, front of Bonnie. “There are four cards here, so each ofyou will get two. Bonnie, you can go first. Turn over any one of the four cards, and whichever one you choose, we'll use it to cast its particular spell on the deck.” Since all four cards spell with the same number letters, all the choices are completely free, so make the most of

in

of

it.

When Bonnie turns one card face up, recite its name aloud and then spell its full name, taking each letter, e.g., E-I-G-H-T-O-F-C-L-U-B-S. The spell is completely fair, as are one card all the subsequent spells, but in order to establish a pattern for a particular handling that will occur on the third card you spell later, here's how handle this first spell. With the deck held in my left hand, I simply thumb off the cards one at a time face down into my right hand, each card going under the previously taken cards, not reversing their order. At the end of this spell, I then drop this right-hand packet onto the table.

for

I

10) Ask Bonnie to turn over one more card from the three remaining in the row. Recite its name and then spell it, this time dealing the cards from the deck directly ontothe first-spelled tabled pile, one for each letter you recite (it’s okay to reverse their order). When you reach the final “s” of the suit you're spelling, pause with that last card still in your hand and say, “This is where your two choices have led us," as you gesture with the card you're holding. Ask Bonnie to name her selected card. When she does, turn over the card to reveal Bonnic’s selection. Everyone should be amazed. Toss Bonnie's selection face up in front of her as a visual reminder of your first success. 11) We're now ready to discover Adam’s selection. It may at first seem impossible that we could spell because there aren’t 24 cards left in your left-hand packet (indeed, you don’t even know the exact number of cards you're holding) and you don’t know where Adam’s card lies in that packet. You can forget both of those facts, because they are irrelevant. Conveniently, the following spelling procedure not only will reveal Adam’s selected card, but also will mirror the procedure we used in spelling Bonnie's two cards. to

it,

it

it

Ask Adam to turn over either of the two remaining cards. When he does, proceed to spell exactly as you spelled Bonnie's first spelled card, taking cards into the right hand, onc for each letter. Again, each card goes under the previous taken cards, not reversing their order. This is crucial (at this step only). When you complete the spell, casually drop these right-hand cards face down onto the table. Do nor drop them onto Bonnie's previously spelled cards because you're immediately going to “re use” the cards you just spelled.

As you finish this spell, pause and openly cyeball the edge of the cards you're still holding in your left hand, as if to judge whether there are enough cards left to complete the trick. There will be very few cards remaining. State aloud, almost to yourself, “We may not have enough. Let's use these.” Casually dribble all the left-hand cards on top of the tabled pile you just spelled. Now pick up that entire packet of cards back into your left hand and you're ready to

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spell the fourth card. The simple action described in the preceding paragraph automatically places Adam’s selection exactly into the 12" position. You won’t believe it until you try a few times, but it’s one of those neat places where magicians sit back and marvel, “Isnt mathematics wonderful!”

it

12) Ask Adam to turn over the last of the four cards. Proceed exactly as you did with Bonnie's second card. Recite its name and then spell it, dealing the cards one at a time face down right on top of the 24 cards you spelled to discover Bonnie's selection. (Later on, people may misremember and think you spelled all four cards onto this pile). At the conclusion of the spell, pause and call attention to the final “s.” Build up the drama as you sec fit and ask

Adam to name his selected card. When he does, reveal that the second spell has discovered his selection.

Laymen and magicians alike should be dumbfounded that such an incredible “coincidence” could occur a second time. At the conclusion, be sure to retrieve the cards still in Adam's pocket.

Comments (1) Background and Credits. 1 first learned the mathematical procedure that positions Adam’s sclection to spell correctly from Rufus Steele's effect “They Tell You Nothing” (W. F. Steele, The Last Word on Cards, 1952, p.32). Stephen Minch details its history (in “Spell by the Numbers”, The Collected Works ofAlex Elmsley, Volume 2, 1994, p. 349) citing Eddie Joseph's “Who Knows the Card?” (Eddie's Dumbfounders with Cards, 1950) as an earlier published source. The Steele reference actually includes three tricks using the principle, the third of which (“Tell and Spell) combines it with a spelling revelation (which is quite different from this present effect). Ed Marlo (in “Automatic Placement,” The New Phoenix, No. 329, 1955, p. 126) suggests secretly splitting the deck exactly into halves and locating two selections by applying the automatic placement procedure twice, but he keeps the two 26 card piles separate throughout. Dealing two equal piles and having Adam pocket one pile and look at the face card of the other the brilliant stratagem of Jack Birnman (from his (used at step 3 of the Selection Procedure) effect “My Spectator, The Clairvoyant,” Kaufman, The Looking Glass, Winter 1998, p. 133). It was created by Jack to avoid the more standard and obviously numerical procedure discussed in comment 2 below.

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(2) “Think of the Card at Your Number” Variation. Thc onlysignificant reason for turning your back during the Selection Procedure is so that your audience is aware that you don’t know the number of cards Adam deals to each of the two piles at step 3. If you don’t want to turn your back on your audience, there is a workable alternative procedure that can be substituted at step 3. Just ask Adam to cut off “about a quarter” of his pile and to secretly count the number of cards he’s cut off in his lap or under the table, so that you won't know the

BREATHING SPELL

167

total. Once he knows this secret number, pick up the rest of Adam’s pile in your left hand and start to count those cards aloud. Take them one time into your right hand (not reversing a their order) as you display their faces toward Adam. Ask Adam to remember whatever card falls at his secret number, but caution him not to say anything. After you've counted about a dozen cards, pause and confirm that Adam is now thinking of one. Then drop the packet you've shown Adam back on top of the balance of the lefi-hand cards. Leave the “secret number” packet in Adam’s lap. You can now proceed exactly as in the text. This “think of the card at your number” handling has been a standard procedure in mathemagic effects for years. A comparison with the Birnman variation testifies to Jack's genius and his subtlety.

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(3) Mathematical Parameters. The mathematical parameters underlying “Breathing Spell” can be varied to accommodate whatever cards you want to spell. The main concept is simple enough: in the aggregate, the total number of letters spelled to reveal Bonnie's selected card must equal the total number of cards comprising Bonnie's initial pile, and likewise for Adam. Within this constraint, virtually anything is open to variation. The split of the deck between the two spectators need not be equal. Likewise, the number of letters in each of the two cards of Bonnic’s pair does not need to be the same since the only thing that matters is the total spell-count of the pair. Indeed, once you have a grasp of the basic math, you can work with a deck that has Jokers in it or deck that’s missing a few a even cards, so long as you know the total number cards and compensate accordingly in planning the spelling. You could even intentionally short your deck byone or two cards if you want spell cards that together only have 50 or 51 letters.

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In “Breathing Spell” my only reason for choosing four Spellers that all have the same spellto allow Bonnie a free choice ofany two from count the four. If you're willing to among sacrifice this choice, then the four Spellers could all have different spell-counts. Just pre-set them in the desired pairs, and afier the Riffle Force simply thumb off the first two to Bonnie and then the next two to Adam.

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Note that there is no absolute requirement that you spell the names of playing cards. You could instead spell certain pre-planned phrases, slogans, or people’s names, so long as the total number of letters (taken together) exhaust the size of the deck you're using.

(4) Dizzy Spell. As mentioned, my original version did not force four particular cards. Instead, the four spelled cards are not chosen until after the selections have been made and replaced. When the performer turns around to face the spectators, he asks Adam to remove any four cards from the packet in his pocket. Those four random cards are spelled and produce the two selections. Although “Dizzy Spell” does involve some thinking on your feet, each step is programmed so that you only need to think one step at a time. Let me offer a what goes on, in case any reader wants to summary try it.

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a

“Dizzy Spell” completely impromptu and requires only 52-card deck; there is no set-up. At the beginning when you split the deck between the two spectators you secretly divide it so that each of them receives 26 cards. Adam and Bonnie then each select a card behind your back following the Selection Procedure exactly as described in steps 2-7 of “Breathing Spell.”

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The Selection Procedure secretly delivers the two sclected cards to two specific positions in the deck where they can each be spelled using 26 letters.

to

Ask Adam to remove four cards from the group in his pocket and hand them you. Take them and hold them in a fan with the faces toward you. It doesn’t matter if Adam sees the faces of the cards as he hands them to you, but I don’t make any effort to display the faces this point. As you receive the four cards, apply my Flash Speller to quickly determine the spell-count of each of those four cards. (To make things easy on myself, I request them one at a time. You'll thus learn the spell-count of each card he gives you before he can even withdraw the next one). Whatever the four numbers happen to be, repeat them to yourself mentally just so that you can work with them for the moment. You won’t need to remember them for very long.

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As you look at the fan, your next step will be to split the four cards into the best two “pairs” you can make, one pair for Bonnie and onc for Adam. All that matters is the total spell-count of each pair. During the Spelling Procedure we can either reveal the card that falls on the final “s” (a “Hit™) or showthe next card affer the final “s™ (a “Next”). So any pair whose spelleither 26 (a Hit) or 25 (a Next) will spell exactly to the selection. If we can’t make count either 25 or 26, we'll simply aim for the closest possible number a pair whose spell-count to that.

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is

To simplify the mental procedure, just focus on forming one good pair and let the other pair be the result of whatever two cards are left over. The opportunity to choose among four possible cards greatly enhances your odds of forming at least one 25 or 26 pair. If you can’t form any pair that totals 25 or 26, move down your mental priority list (24 or 27, then 23 or 28, etc.) and try for the next nearest total. Once you decide on the pairs, physically separate the four cards into the two appropriate pairs, placing the “best” pair you formed in front of Bonnie. Adam gets the leftover pair. Remember the spell-count of both pairs. I mentally repeat “25/22” (or whatever) a few times, just to reinforce it in my mind. Now we'll discover the two selected cards by using the Spelling Procedure, exactly as described in “Breathing Spell.” First we spell the two cards comprising Bonnie's pair to discover Bonnie's selection. Then we continue spelling the third and fourth cards (Adam's pair) and reveal Adam’s card. Remember, each of the selected cards already set to appcar 26" card spelled, so whenever you're dealing with either a 25-pair or a 26-pair, it’s on the automatic (using the Next ending if it’s a 25-pair or the Hit ending for a 26-pair). If both pairs happen to be either a 25 or 26, then you're home free because you won't need to make any adjustments. Fortunately, these fully automatic cases (pair combinations: 26/26, 25/25 or 25/26) do occur with some frequency.

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If you don’t get one of those ideal pair combinations, we'll simply adjust the deck slightly to re-position a selection so it will appear at the end of whatever the pair’s spell-count happens to be. If some adjustments are needed, they are relatively minor, consisting at most of a couple clean and fair. The important point is not of cuts. Once you start to spell, everything feel self-conscious about handling the deck, because the audience doesn’t suspect that you could be manipulating anything. As far as they're concerned, the selections are completely lost.

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BREATHING SPELL

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Even though there are a large number of possible pair combinations, fortunately you don’t have to memorize a large number of adjustment procedures. Instead, there are just a fewbasic ways of moving the cards around to cither increase or decrease the position of the selections. For both Bonnie's and Adam's card, we use 26 as our starting point, as a baseline from which we measure the adjustments (if and when necessary).

~~ first deal

with the simple, single adjustment case. Assume you were able to form a 25 or 26 pair for Bonnie, so her card spelled without the nced for any adjustment. After you've revealed Bonnie's selection, you're left holding the rest of the pack. Using 26 as our starting baseline, each card you lose from the top will diminish Adam’s final selection position by “1.” Conversely, each card you add to the top will increase the position of Adam's selection by “1.” Therefore a simple cut of a few cards, either from the top to the bottom or vice versa is all that’s needed. (Example: if Adam's pair totals, say, 28, simplycut 2 cards from the bottom to the top). In a nutshell, that one principle tells you basically everything you need to know about the adjustments. I execute the adjustment cut on the offbeat, following the revelation of Bonnie's card. AsT toss Bonnie's card to her I simply spread the top (or bottom) few cards of the remaining packet, sight count and obtain a break under however many need to adjust, and then casually cut to the break as I turn to address Adam. Let’s

I

The final category of cases are the occasional situations where neither of the two pairs either a25ora26. In these cases you'll perform two adjustments. We'll always work with Bonnie's card first because it’s the first onc we must spell. The starting baseline is always 26. You already know the exact adjustment procedure: simply cut from the top to the bottom of the deck (or vice versa) re-position Bonnies selection. The only additional step is to remember how many cards you moved (to or from the bottom). After making this first adjustment cut, you can spell Bonnie's pair and reveal her card, per the standard Spelling Procedure. is

to

Once Bonnie's card is out of the way, we can then deal with Adam's card. While your audience marvels at your first revelation, you make your second adjustment, placing Adam's card at its proper position to spell. This second adjustment follows the exact same procedures we've already used, with the one addition that you must take into account the cards you've already moved. If you previously added, say, 3 cards the bottom (as a result of Bonnie’s adjustment), Adam’s ncw baseline is 29 (26 + 3). Then, work from that new baseline in calculating how many cards to adjust for Adam. Even though the numbers may change, Adam’s adjustment will still only involve one casual cut. You then proceed to discover Adam’s selection by spelling the two cards of his pair.

to

Once you understand these adjustments, you can apply them to whatever situation confronts you. It requires a bit of thinking, but the options are within well-defined limits. I’ve developed some alternative adjustments and some short-cuts, but the above gives you the basic procedure.

Now, why would my session-matcs want a simpler version? (5) Queens and Kings. Instead of ending on the above weighty note, here’s a variation of “Breathing Spell” that goes in the opposite direction. It’s completely impromptu

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and 100% sclf-working. Spread through a shuffled deck, faces toward you, and remove the two Black Queens, placing them face down in front of Bonnie. Also remove the two Black Kings and deposit them face down in front of Adam. As you spread through the deck looking for these cards you have ample opportunity to secretly count 24 cards from the face (just push off 8 groups of 3). Downjog the 24™ card, square up, and flip the deck face down.

~~ Explain to your spectators that magicians have assistants who help perform the trick, and the four cards you've just removed are your assistants who will help you later. Casually divide the deck, actually lifting up at the injog, and give the top half to Bonnie and the bottom portion to Adam. Bonnic thus gets exactly 25 cards and Adam has 23, but as far as the spectators know, their packets were merely randomly cut. Now have Adam and Bonnie each select a card following the Selection Procedure, exactly as in the text. For the revelations, have Bonnic turn over the pair you previously gave her. Explain that the Queens are your female assistants and they will together find Bonnie's selected card. Spell “Queen of Clubs™ and “Queen of Spades” (in either order) and Bonnie's selection will appear on the final “s.” Then repeat the litany with your male assistants for Adam, spelling “King of Spades” and “King of Clubs” for the second climax. This version is somewhat less deceptive (because the performer obviously knows beforehand what cards will be spelled) but its simplicity and ease are valid tradeofTs.

Two Beginnings it

is an efficient marriage particularly happy with this effect, for two reasons. First, between the subtleties of a memorized deck and sophisticated (but fairly easy) sleight of hand. Second, the presentation is designed to provide a major “timing” surprise: you talk about two different ways of beginning the classic pick-a-card plot and casually demonstrate each. The spectators think the effect is “just beginning,” but at that point you pull the rug out from under them, revealing that the magic has already happened. As you might imagine, because of the patter about “beginnings,” | frequently use this effect as an opener to my card routines.

I~

Effect The performer asks the first spectator, Amy, to simply name any card she wants. He also asks a second spectator, Bob, to freely touch any card in the face-down deck. Bob does so, and that card is removed. When it is turned over, is scen to be the very card that Amy named. Atno time does the performer look through the faces of the cards.

it

Working Here's an overview of what really happens. The deck you're holding is secretly in memorized order. As soon as Amy names her card, you use estimation to give the deck just one cut,

which places the card into a position to be forced. (Don’t let the word “estimation” frighten you; it doesn’t have to be exact). You then use an under-the-spread culling action to force the card on Bob. The effect employs a technique I call the S. A. Combination, first published in my essay “The Open Index” (Simply Simon, 1995, p. 233). The “S. A.” stands not only for my initials, but also for “Self Adjusting” — because the culling procedure will automatically compensate, or adjust, for any imprecision in your estimation. Here's the detail. Grab your audience’s attention by commenting, tongue in cheek, “Did you know that there are only two officially approved ways to begin the classic “pick-a-card” trick? ... The first approved beginning is to have the card picked by simply naming any card aloud. For instance, Amy, what's your favorite playing card? Just call one out, any card you'd like.” Let’s say Amy names the King of Hearts. | like to reinforce its identity for the rest of the audience, and so I repeat the named card, joking, “The King of Hearts, an excellent choice. In fortune telling, the King of Hearts indicates incredibly good taste in choosing magicians.” 1)

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stack number in your memorized stack. 2) As soon as the card is named, you know You're now going to use your estimation skills to give the deck just one cut, with the goal of bringing the named card to a position approximately sixth from the top of the deck (where it can casily be culled in the act of spreading the cards). The easiest way of thinking about this

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is to simply subtract 6 from the card’s stack number, and then do your best estimation to cut off that resulting number from the top to the bottom of the deck. In our example, the named KH = stack number 30 in the Aronson stack. 30 minus 6 = 24, so I try, as best | can without making my effort obvious, to estimate 24 cards from the top (just a bit above the midpoint of the deck), and cut there. I actually do this estimation cut while I'm delivering the fortune telling line in step 1.

~~ 3)

You'll now glimpse the bottom card

of

the deck (this is the only card you'll need

to look at). don’t try to make this a sccret move. T simply hold the deck from above with my right hand and make sort of a shrugging gesture with my shoulders and both hands. In this gesture, the bottom card of the deck is clearly visible. As soon as you see this card, you'll know exactly where the named card lics — just subtract the stack number of this glimpsed bottom card from the stack number of the named card; the result the position of the named card from the top of the deck. For those who like formulas, this can be succinctly expressed: I

is

Named Card

-

Bottom Card = Force Position

In our example, let's suppose the glimpsed bottom card happens to be the 8S, which is 23rd in the Aronson stack. (We were trying to estimate at 24, so this means that our estimation cut was off by 1, but that doesn’t matter). What does matter that this glimpsed bottom card tells us that the named KH is now in the 7th position from the top of the deck (30 minus 23 = 7). Since you now know where is, you're in a perfect position to force it on Bob. is

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4) Most cardicians already know how to cull a card in the act of spreading and then force it. I'll offer a brief description here, but the cited sources in comment provide many valuable handling pointers.

2

Approach Bob saying, “The second officially approved beginning is used when the magician isn't allowed to know the identity of the selected card. In those cases, the card gets picked Jace down.” Tlolding the deck in your left hand, start to spread the cards between your hands until you've spread past the 7th card. Your left thumbtip contacts the back of the 6th card, while your left fingertips underncath contact the face of the 7th card, the desired KH. Address Bob, “I'm going to spread the cards like this ...." Pause and look up at Bob. As you do, your right hand moves the already spread cards back toward the left, partially closing the spread, but the left fingers underneath prevent the KH from moving with the rest ofthe spread. The result is that the rest of the spread will completely cover the back of the KH while your left fingers underneath can push the KI the right. The KH will be culled under the spread, where it is held in place by the base of the right first finger.

to

Immediately continue to respread the cards, feeding the cards into the gap above the hidden KH. The momentary squaring and respreading are accompanied by your comment, “Just reach out with one finger and touch any card you want, and don 't let me influence you.” Offer the spread cards clear he can touch any one he likes. When he does, separate Bob, making the spread below the touched card. The left edge of the touched card will remain exposed. The KH is still hidden below it, sidejogged slightly to the right.

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TWO BEGINNINGS

173

5) Your left thumb should be lightly resting on the edge of the touched card (Figure 1). Address Bob, “Now extend your left hand, palm up, like this ...." You're now going to secretly exchange the hidden KH for the touched card under the misdirection of extending your left hand forward to demonstrate. Just move your left hand forward, palm up, but as you do, your left thumb pushes the touched card to the right (squaring it with the right-hand cards) while the right fingers belowthe spread simultaneously extend, pushing the KH to the left, so that its left edge now extends slightly at the left end of the spread (Figure 2). (To illustrate where the switch occurs, for clarity in Figure 2 I've used a dark, odd-backed card for the switched-in card). The touched card and the KH slide across each other, and the switch is not a fast or sudden move; is rather soft and is covered bythe complete in an instant. This left hand and the spectator’s concentration on following your forward motion of your instructions. When Bob complies, your right hand drops the leftmost card of the spread (apparently the touched card, now really the KII) face down onto Bob's extended palm. Square up the rest of the deck.

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6) Continue, “4my, you could have named any card, and Bob, you could have picked any one of these cards.” Here, flip the deck face up, spreading them to showthe random mix of faces. I take this opportunity to obtain a left pinky break at the point in my stack where the KH came from. In our example, this position would be between the 6th and 7th card from the this break and turn the pack left end of the now face-up spread. | then casually cut the cards the KH back on the top or the the conclusion Now, the effect, if you replace of face down. bottom, your stack will still be cyclically intact.

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7) Methodologically the trick is over, but from the audience's perspective, it’s still in the “beginning” stages. Say, “Those are the two fairest ways to begin the pick-a-card trick. But taken together, they also make a perfect ending to the pick-a-card trick — because Amy, you freely named the King of Hearts ... and Bob, take a look at the card you freely pickedfrom aface-down, shuffled deck.” Have him turn it over to reveal Amy's named card.

Comments (1) Alternative Situations. Depending on what card is named, sometimes it won't be cven necessary to do any estimation cut (e.g., if the card is, say, between stack numbers 4

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if

the named card is very near the top of your stack, you may want to cut to 12). Alternatively, few cards from the bottom back on top to put it in better position to cull — or you could take a fortuitous location and employ any other force you'd like. advantage of

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Made

(2) Background. This routine was first published in my lecture notes, Memories are

of This,

1999.

Helpful descriptions of the “Under the Spread Force™ can be found in Roberto Giobbi, Card College Volume 1, 1995, p.189; Michael Close, Workers Number Two, 1991, p. 40; David Solomon, “Three Indicators,” Magic Magazine, February 1993, p. 45; or in my “Open Index” essay referenced above.

The Invisible Card

T:

theme of “invisibility” is an engaging hook, as the classic Don Alan/Eddie Ficlds “Invisible Deck” routine attests. It offers the spectator an opportunity to make believe, and the surprise of what was previously imaginary suddenly becoming quite real goes to the root of the archetypal magical experience.

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Many memorized deck tricks are locations — or at least the magic that occurs often of a mental or logical nature. This cffect is decidedly different, because a named card appears to physically vanish and then visually reappears. As memorized deck tricks go (at least as mine often go) this routine is extremely simple. It requires no complicated mathematics or advanced sleights, which leaves you free to concentrate on its entertainment value. While you may not fool knowledgeable cardmen, your lay audiences will find it humorous, mystifying, and surprising. The trick is stackindependent, and it leaves your stack order intact.

Effect The performer explains that he has one “invisible” card in the pack and he asks the spectator to remove it. The spectator pantomimes doing so and then freely names any card, e.g., the Four of Spades. The performer praises the spectator’s power of observation, commenting that the spectator has indeed correctly named the invisible card. To prove this, the performer spreads through rest of the deck face up to look for the Four of Spades. The spectator sces the faces of every card, but her one named card is missing! The performer asks the spectator to replace the tabled invisible card back into the deck, which the spectator again pantomimes. Unfortunately, the spectator has replaced it upside down (it’s easy to get confused with an “invisible” card) because when the deck is spread face up, one card is seen to be face down. That card is shown to be the named Four of Spades.

the

Working I'll often demonstrate this effect in my workshops to people just starting out with a memorized deck. While some memorized deck effects can be intimidating (because of the mental

gymnastics involved), this effect is actually a confidence builder for beginners. But don’t dismiss it from your repertoire just because you're already proficient. I think you'll find it to be a very entertaining and deceptive piece. With a deck secretly in memorized order, ask, “Have You ever seen an invisible card?..No? That's certainly understandable. Well, in this deck there is one, just one, invisible card. Let'ssee ifyou can spot it. Just point to where you think the invisible card is.” 1)

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Here, spread the cards face down between your hands and have your spectator, Suzanne, point to any place in the spread. Separate the spread at that point as you compliment her, “Exactly! It's right here, between these two cards — see and please take it out and place it on the —

table.” llave Suzannc continue to play along by pretending to remove an invisible card.

~~ 2) Close up the spread and then point to the spot on the table. “There's the invisible card. Ifyou can't see it, that means you're looking in the right place. Now, nobody knows what that invisible card is, for one reason. ... It's face down. So please lift it up and take a look at it. Since the rest ofour audience can't see, will you tell everyone just which card you saw. Use your imagination. Which card is it?” You may have to coax Suzanne to name a“ card. Let's assume she names the Four of Spades. Whatever card she names, congratulate her on correctly identifying the invisible card and repeat its name aloud to reinforce its identity with the rest of the audience. As soon as Suzanne names her card, mentally translate it into its stack number and then subtract 1. The result is what I call the “Target” number. (In the Aronson stack, the 4S = stack number 37, so in our example, the Target would be 36).

3) Justremember “36,” as you continue, “Let's check. Ifyou really removed the Four ofSpades out ofthe deck, then it shouldn't be here. Let's take a look. Here, you check with me." You're holding the squared face-down deck in your left hand. Spread off approximately a dozen cards from the top into your right hand. With your right fingers, immediately flip these cards face up back onto the deck. Immediately respread them again between your hands, this time face up, making sure that all their indexes can be seen. This spread should not look tight or precise; indeed, you'll sce later that helps if you spread a fewcards past the face-up block, so that the spectator sees one or two face-down cards at the left end ofthe face-up spread. The goal is a casual but somewhat quick spreading action. You want to make sure Suzanne can glance her eyes across the spread and that she appreciates that you're not hiding anything. Say somcthing like, “No, I don't see the Four of Spades here ... Do you?" By asking Suzanne to assent, you're subtly putting some slight responsibility on her to look carefully, because the rest of the audicnce may be relying on her. When she confirms there's no Four of Spades, square the lace-up cards onto the deck, but with your left fingers keep a slight separation between them and the rest of the face-down deck. With your right hand lift up this packet of face-up cards and place them on the table to start a face-up “discard” pile.

it

4) You're now going to repeat the spread and display action described in step 3 scveral more times, each time pushing off and showing the faces of about a dozen cards. Each time point out that the Four of Spadcs not among them, and then square those cards and them the discard The onto place pile. precise number of cards in each separate spread isn’t critical. On the one hand, the spread shouldn’t contain too many cards, because the spectator must be able to eyeball all the indexes so that she’s comfortable that her named card is not the spread contains only few cards, you'll need to do among them. On the other hand, more spreads to get through the deck, and that slows the pace of the effect. If there's appreciably more than, say, 15 cards in one spread, a card might easily get covered up, or the spectator may stop you to make sure she’s seen everything.

is

if

a

Your secret goal, however, is to make certain that one of your spreads ends exactly on the Target number, 36. This extremely easy, both to keep track of and to plan, because every

is

THE INVISIBLE CARD

time you flip over the next bunch where you are in your stack.

of

cards,

177

the face card's stack number tells you exactly

Let’s continue with our example to demonstrate what I mean. Suppose your first two or three total of, say, 27 cards (which you'll knowinstantly by seeing that spreads bring you through the face card ofthe spread is the 5D, which is stack number 27 in the Aronson stack). Since your Target is 36, by doing a simple mental subtraction (i.e., 36 minus 27) you can see that one more spread containing 9 cards will bring you exactly to the Target card. So, on your fourth spread, just push off exactly cards, perhaps in three groups of three each, trying to make this the previous ones. This is the onlyspread that needs fourth spreading action look as casual to contain a precise number of cards — just the right amount necessary to reach the Target.

a

9

as

it

Once you try it a few times, you'll see how easy is to plan ahead. Because you know the Target before you cven begin your spreading actions, you can plan beforehand about how large, or how many, spreads you'll aim for. But, don’t feel any need to be precise or exact, until you get close to your Target. If one particular spread has a few more cards, say 13 or 14, you can always compensate or adjust later on, as you get ncarer to the Target. If, in our example, the first three or four spreads took you up through, say, stack number 31, then your next spread would simply contain only 5 cards (36 minus 31) and it will still bring you to the to mentally keep track of approximately how close you're getting to the Target. The point Target, and start planning as you approach within, say, 12 to 16 cards of it.

is

Here's one more example: suppose Suzanne's named card was, say, stack number 15, giving a Target of 14 (i.c., 15 minus 1). In that case I'd be on the lookout from the very start, and I'd plan to push off two spreads of about seven cards each. I could count precisely seven cards each time, but I'd rather count only once. So, on the first spread I'd just push off a block of approximately seven cards. As soon as flip that block face up, the face card will tell me how many cards

|

I

if

actually did spread, and what I need to do on the second spread. Thus, the face card of my first spread is, say, stack number 9, then I'd immediately do my subtraction to know that my second spread must contain 5 cards, to bring me to 14. You've got a lot of flexibility, so you can relax and not let your thinking show. On each spread, you continue to confirm, “No Four of Spades yet ...." 5) When you reach the Target, as you respread the face-up cards to show their faces,

also spread the first face-down card — this will be Suzanne's named card. Obtain a left pinky

break beneath it. Once Suzanne confirms that this face-up spread doesn’t contain her card, square the face-up cards onto the deck, and this time lift all the cards above the break (the face-up ones plus the hidden face-down one) and place them onto the discard pile. Your actions this step should imitate the same pacing and casualness displayed in the previous and display™ actions. “spread

in

6) Continue spreading through and displaying the rest of the deck in similar size packets, to showthat the named card is (apparently) nowhere in the deck. Each face-up packet continues to be dropped on the discard pile. As you near the bottom of the deck, your spectator will gradually realize that your “kidding” about her having removed an invisible card is magically coming true! I like to leave the final bunch so that it contains only 3 or 4 cards.

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All eyes will be on these cards, searching for some hidden card, so I casually snap these last few cards to emphasize their singularity. Drop them on the discard pile as you say, “Let's this deck — but, of course, that's check these last few ... there really isn’t a Four of Spades understandable, because that's the one card that you removed and put right over here.”

in

All your work is done, so the rest is presentation. Explain, “So that I have afull and stick it back into the good deck, I'd like you to pick up that invisible Four ofSpades middle of the deck.” Get Suzanne to pantomime the actions you suggest. “That was almost perfect. You've done great, except for one thing. Remember, your invisible card was face down — and 1 think you stuck it face down into this face-up deck.” Spread the deck face up on the table, revealing one face-down card. Say, “Yes, here it is,” as you remove it from the over for the climax. spread, “and look, just as you said, it is the Four of Spades.” Turn 7)

...

...

it

to

reinsert the named card back in its proper place in the face-up 8) It’s an casy matter stack and your stack is back in order.

Comments (1) Alternative Situations. Here's a practical tip. If the named card is very close to give the deck cither the top or the bottom of your stack, you may find it more convenient one casual cut before the “spread and display” actions begin. This both helps centralize the named card and eliminates having to use very small packets at either the beginning or the end of the spreading process. Alternatively, the named card lies in a range of, say, between 6 the Target on the very first spread and do the “move” to 12 of your stack, you can count bottom of the discard pile). Later on, give the discard pile (placing the named card at the very a casual cut to centralize it.

to

to

if

(2) As an Out. Josh Jay uses this “Invisible Card” routine — but he keeps it in “jazzing”™ when trying to cut to, or otherwise magically discover, reserve, as one more way a card that has merely been “named” by spectator. If he can’t conveniently produce the named card, this routine becomes his fallback. He tells the spectator, “No onc can find thar card — because it’s the one invisible card in the deck.” And then he proves

of

a

it.

(3) Background. This routine was first published in my lecture notes, Memories are

Made

of This,

1999.

Oddly Enough

T

is not a magic trick. It’s a bet,

or very simple game, to be played among three

players. The odds are straightforward — each player apparently has an equal chance of winning and the payoff to whoever wins is suitably 2 to 1. Nevertheless, it 1s a scam because the odds are not what they seem. One of the problems with many hustles and scam bets is that the proposed rules ofthe game often aren't quite “normal.” The procedures may be roundabout, in that they get to their point somewhat indirectly. They may feel somewhat contrived, in the sense that they aren’t as clean as what one would have expected had a few people really just sat down “merely to bet” among themselves. In short, hustles often lack naturalness. Indeed, the extra steps or additional twists frequently are the essential camouflage in making the apparent odds different from the true odds.

a

I’ve always been fascinated by how hustler can manipulate the odds in his favor, but being of a skeptical frame of mind and being nurtured in the deceptive motives and schemes of magicians, I know I would have hesitated to play in most of the scams I've read about. | wondered whether one could devise an utterly simple game whose rules appear fair and natural — and yet still manipulate the laws of chance. The following bet would have suckered me in, minimalist trappings and its “obviously” logical, straightforward procedure. It because of be just what three innocent guys might do, perhaps in a bar, to see who gets a “pass” seems ofthe bill. share his on

to

its

The Game The rules are minimal. The hustler and two innocent marks each place their bet, say $5 each, into the pot. One of the marks shuffles and cuts a deck of cards and then deals one card face up to cach player. If all three cards happen to be of the same color (i.e., all red or all black) the result is a tie or a “push,” and the dealer would decal another round. If the dealt cards are two of one color and one of the opposite color, whichever player receives the single “odd” color card wins the pot. It’s that simple. The players can either stop after the first round, or they could each toss another bet into the pot and deal the next three cards face up to play another round. On any round, the odds against any individual player receiving the odd-color card arc obviously 1 out of 3, and the winner gets paid 2 to 1, so chance should give each playcr an equal opportunity to win or lose. At no time docs the hustler ever need to touch the cards, and the mark’s shuffle and cut are free and genuine. Indeed, if the mark wants, after the first round, he could give the deck another free cut so that the second round gets dealt from a different place in the shuffled pack. What could be more fair?

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The Scam The scam consists of three factors. First, there is an initial secret set-up of the deck. Second, the deck is given just one riffle shuffle. Third, the position of the hustler at the table as the cards are dealt is key. All three are easily controlled. The deck is initially set up with the cards sccretly arranged in alternating colors. The hustler positions himself so that he will receive the second card dealt in each round. All the hustler needs to do is to sit immediately to the right of the mark who will do the dealing. So long as the cards are dealt in traditional fashion, going around from left to right, this seating arrangement will insure that the hustler gets the second of the three cards dealt.

Ifthe cards arc handled according to the following procedure, the hustler will win significantly

more money than he will lose — because the “true” odds are that the hustler will receive the odd-colored card a full 50% of the time (i.e., on average, once out of every two rounds). The Procedure

Let's call the mark sitting on your immediate left Lefty and the other player Righty. Explain

the simple rules and have each

of

the three

players toss an equal amount into the pot.

You're going to want Lefty to be the dealer, sofor “fairness” and to lull Righty into the action, we'll have Righty mix the cards as follows: with the deck secretly stacked, cut the pack

toward Righty and ask him to complete the cut. Then have him cut the deck approximately in half and riffle the halves together. Finally, have him cut the deck again, this time toward Lefty. These cutting instructions can be varied as you like, since the deck may be cut as many that the or as few times you like, either before or after the shuffle. The important point deck be given only one riffle shuffle.

as

is

Lefty completes the cut and then deals one round of three cards off the top, dealing each card face up, starting with Righty, then to you, and finally to himself. The seating arrangement assures that you receive the second, or middle, card dealt. Look at the results, and give the pot to the winner. It’s that simple. If you prefer, all three cards could be dealt face down, and then the players would then turn them over to see who wins. This may affect the look of the game, but obviously it has no effect on the outcome.

If you

desire, you can immediately suggest an additional bet, and then have Lefty continue to deal one more round (i.c., three more cards). On such a second round you can offer Lefty the option of either dealing the three cards from the point he left off,or cutting into the middle and dealing from there. In either instance, it’s to your advantage to make that bet.

ODDLY ENOUGH

181

What’s Going on

If the deck had not been shuffled, it would be relatively easyto figure out how to win, because

an unshuffled alternating color stack guarantees that, if three consecutive cards are dealt from anywhere, the middle card must be the opposite color from the surrounding two. It’s the shuffle that disarms people. Indeed, even when you comprehend the underlying probabilities, it’s still hard to believe it really works in practice. The easiest way to convince yourself of the real odds is to go through the above procedure and deal out the full deck into 17 scparate rounds; you'll find that, over time, the second card dealt in each round will win about 8 or 9 rounds, and the two other hands will each win about 4 or 5. (Since this is based on probability, don’t be surprised if you need to go through a few full decks, more than just 17 rounds, before these overall odds start to appear. But they will appear eventually).

is

The reason this occurs because of a novel application of the Gilbreath principle. Magicians familiar with this seminal concept are, ofcourse, aware that the above shuffling and cutting procedure results in the deck’s being in successive pairs, with each pair containing one of each color (let’s refer to this as a “Mixed Pair”). The red card might come first in some pairs and second in other pairs, but the deck will, after one riffle shuffle, consist of consecutive Mixed Pairs. This means that you can never actually get three cards in a rowof the same color (but your explanation ofthe rules is designed to let the marks think that such a “push” a real possibility).

is

Second, and more importantly, it means that no matter where the cards are dealt from, every three consecutive cards dealt will always consist of one consecutive Mixed Pair, plus one more card (the “Non-pair” card). This Non-pair card must always be cither the first or the third card dealt (never the “middle” card of the three), because the Mixed Pair is always of two consecutive cards. The Mixed Pair thus must comprise either the first two cards dealt or the last two cards, and the Non-pair card will fill the remaining space. Moreover, this Non-pair card can never be the winning card among the three because its color will always match one of the two Mixed Pair cards. This means that the winner in each round must always be one of the two cards in the Mixed Pair — namely, the one whose color opposite to that of the Non-pair card.

is

is

The result of the above that, in any given round, each of the two cards comprising the Mixed Pair has a 50/50 chance of winning that round, and the Non-pair card has no chance of winning. Since the middle card dealt is a/ways one of the two cards comprising the Mixed Pair (regardless of whether the Mixed Pair falls either positions and 2 or positions 2 and of the chance second dealt card's winning any particular round is 50%. 3), the

at

1

it

One fascinating aspect of this analysis is that is counter-intuitive. It would seem at first the second card dealt in cach round has a “higher” chance impression (to me, anyway) that of winning, then if the deck had been cut just one card deeper or shallower, then such an alternative cut should move the “increased likely winner” fall into the first (or the third) actual fact, this is not the case — because the cut simply determines whether position. But,

if

in

to

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ECCEN-TRICKS

the Mixed Pair will fall either to positions 1 and 2, or 2 and 3. In cither case the card dealt second from that point, as determined by that cut, will still be one of the Mixed Pair. It’s always comforting, both in scams and in magic, when an underlying principle is counterintuitive, because there's less chance that it can be re-constructed later on.

Comments (1) Odds And Ends. The above scam is perhaps the simplest thing that can be accomplished with such a set-up, but there are other facets which I've played with. For instance, as you watch the cards being dealt, as soon as you see a “double” (two cards dealt consecutively of the same color) you can know both the color ofthe next card before it’s dealt, and also know the division points between each Mixed Pair from there on, as the deal continues. This allows you, in a more elaborate demonstration, to secretly count along for successive rounds and sometimes cven predict the next winning color. Don’t be tempted to deal too many successive rounds — because, frankly, it can look “too an erratic shuffler, it’s quite possible for long runs of regularly good.” Unless Lefty alternating colors to appear over successive deals, and such a repeated pattern could enlighten Lefty and Righty that something's not quite random. It’s better just to play a few rounds with the odds skewed in your favor, and call it quits. Tactically, if you know beforehand that someone habitually shuffles in odd clumps of twos and threes, select him to play Righty’s shuffling role.

is

I have experimented with altering the set-up in minor ways, by varying the alternating color scheme in just a few areas of the deck. Such a modified set-up creates the possibility of a

round of three cards occasionally being all the same color. This minor variation does change actually determined the odds in a de minimus way, but heightens the sense that the outcome you're going to play more than a couple of rounds. by chance. It's something to consider

if

is

For analytic purposes, the text presents a “barc bones” procedure. You can easily make it more convincing ifyou start by giving the deck one or two simple false table riffle shuffles and then casually hand it to Righty, for his cuts and shuffle. (2) Background and Credits. My starting point for “Oddly Enough” was Nick Trost’s “Odd Man Wins” (Trost, The Card Magic of Nick Trost, 1997, p. 93). Trost’s game to create an quite different from the ideas outlined above since his purpose procedure obviously controlled magic trick in which the “mark” never wins. To do this, he uses the Gilbreath principle in a fairly traditional manner, dealing out the entire deck into four piles. The victim then sclects one pile, and depending on which pile the mark has chosen, the performer then discards one of the remaining three piles. Next the performer enlists the aid of a second spectator to play his confederate, and each takes one of the two remaining piles. Between the two of them, they always beat the mark because one or the other of them must always have the odd-color card.

is

is

Trost’s procedure is acceptable in a magic context, but the illogicality of dealing out four piles

ODDLY ENOUGH

183

just to discard one takes it out of the realm of creating a realistic betting situation. Likewise,

Trost’s magical goal of overtly demonstrating complete control despite a shuffle (so that the performer or his confederate always wins) is antithetical to the psychology of valid scam, which generally lets the mark win just enough so that he doesn’t ever realize he’s being taken.

a

wondered whether, by eliminating these two “magic trick” elements, I could make the conditions more closely resemble an uncontrolled, legitimate game. I didn’t want to use a confederate, and I wanted my hand to be the winner (as opposed to Trost’s procedure in which one single mark is the loser). So I explored the possibility of using the Gilbreath principle to secretly skew the odds if only three hands were dealt, and was delighted when my initial trials proved successful. I immediately went out dining with some of my lawyer friends, and the ensuing bets paid for the evening. The result is “Oddly Enough.” I

(3) Exculpation. At the risk of being repetitive, please understand that this scam does skew the odds in your favor — but on any one or two rounds it doesn’t guarantee a win. The bet certainly worth making if you can afford the possible loss, but please don’t bet your house on it.

is

This scam and the odds-skewing principles sct forth are published entertainment and amusement only. So is the preceding sentence.

With Norman

Gilbreath

for purposes of

Rap-Ace-ious nd now for something completely different. It’s onc of my forays into the less serious side of magic. I was initially hesitant to include it in this book, but when I showed it to Bill Malone he was very enthusiastic and asked to learn it. Bill enjoys and can successfully pull off zany, off-beat presentations, and that’s certainly the appropriate category for “Rap-Ace-ious.” So, as adigression from the somewhat weightier stuff I've presented thus for your reading pleasure. far, I thought I'd include A

it

Succinctly, this is one of the rare occasions I've used rhyming patter — but with a modern twist. satire of a rap. (At the risk of It’s done as a “rap.” Not a scrious rap, but a comic one, the old “Super Bowl Shuffle” reminiscent it’s of probably more unabashedly dating myself, than it is of today’s raps). It’s something that my lay audiences have enjoyed, something fun that you can do for your friends. I'm not offering any new magical effects, moves or principles here; it’s included strictly for the light-hearted presentation. Or even just as comic relief between chapters.

a

Effect The performer mentions that for magic to stay popular in this modern world, the flow and be hip. So he offers an illustration of the “rap magician.”

it has to go with

The performer then recites arap. In step with his recitation he shuffles the cards and produces the Aces one at a time. He then buries the Aces back in the deck and gives the pack some more shuffles and cuts. He then cuts to each Ace and magically produces the final Ace as he completes his rap.

Presentation I acknowledge that this presentation isn’t for everyone or for every situation. Not everyone is cither a natural rapper (I'm not) or appreciates rap music. If you turn the page and read through the rap script, you'll quickly get a feel for whether this is something that might suit you. Imagine it being spoken with a medium-paced rap cadence. know it’s hard to visualize, without actually hearing it delivered. You certainly shouldn’t get “heavy” into imitating the most intense rappers you may have heard; a light rap beat or rhythm is all you need, just enough so that a “with it” audience can recognize your attempt. As long as you can recite the words, it won't matter that you don’t sound authentic; audiences appreciate that you're at least trying. 1

It helps to be a

bit uninhibited because it’s performed in a tongue-in-cheek, almost self-

deprecating mode. Your audience ought to knowyou first and recognize that you have a sense

RAP-ACE-IOUS

185

it’s not

intended to create a first impression. But once you've already performed some magic and the audience is on your side, it’s a fun piece for both you and the audience.

of humor, so don’t perform

it as your opening routine for absolute strangers;

You certainly need to be sensitive about your particular audience. There are some people who simply dislike rap; they instinctively identify with violence, or find it otherwisc offensive. Hopefully, your audience can appreciate your comic attempt to make magic “hip,” and the clear that raps opening lines of my introductory patter are intentionally designed to make aren’t a racial thing. However, if you have any inkling that your audience is too “politically correct” or uptight to let loose, then just don’t perform “Rap-Ace-ious.” The goal of magic is for everyone to relax and enjoy it, not to alicnate your audience or make someone feel uncomfortable.

it

it

is

for your audience to have fun, and perhaps Finally, although the primary goal of this routine to let yourself unwind and act a bit whimsical, also achieves another purpose. Many laymen know about and appreciate skillful sleight-of-hand, even if they don’t exactly know what itis. In much of my magic I incorporate a “hands off” approach, where my audiences won't suspect sleight-of-hand. “Rap-Ace-ious™ provides a vehicle for me to display, in a playful way, that I do have some dexterity with cards, without having to showoff or advertise it in a blatant manner.

it

Working Because my sole reason for including this routine is the presentation, and because I don’t want to make this write-up extremely lengthy by re-describing moves that are already well-known and in print elsewhere, I’m not going to explain in any detail the particular moves or flourish productions I use. Frankly, the mechanics of the effect are extremely basic. You'll start with four Aces under your control and magically produce them one at a time, using four different flourish productions. You'll then insert them into different parts of the deck and perform a multiple the top. You'll then cut to them one at a time, aided by a shift, secretly bringing the Accs crimp in the bottom card of the deck. Throughout you'll continually shuffle and cut the deck, just making sure that the top and bottom few cards remain intact. That's the entire method.

to

My particular routine and choice of moves and sleights is set forth in outline form. Most of the moves are standard and I assume myreaders are familiar with them. Sources, with detailed descriptions, are cited in comment 1. But | want to emphasize that all the moves in this routine arc completely flexible and open-ended. You can in all cases substitute your own favorite card productions or preferred sleights.

I

The introductory patter scts the scene. The rap script itself follows. Afterwards, list in I summary fashion the moves and sleights perform, in separately numbered steps. Each step is keyed to the bracketed numbers in the script.

186

ECCEN-TRICKS

Introduction “It's tough making a living with magic, but I have something else to fall back on. Rap music. While I'wait for the networks to offer me a TV magic special, I can always be an extra on MTV. But to keep my magic up with the times, I decided to combine the two. There are black rappers, white rappers, even candy wrappers — but, until now there have been no magic rappers. So, for your entertainment pleasure, here's my attempt to wrap it all together.” Script for Rap-Ace-ious I.

Zz

[1] I'm a "rap" magician And I got the timin’. [2] T perform sleight of hand While I'm rappin’ and rhymin’.

8

[12] Give the deck some shuffles So the cards get tossed, [13] And we add a couple of cuts So the Aces are lost.

gambler can win a card If he cuts

8.

[14] Now

[3] Now

Way down deep in the deck. [15] [16] Keepin’ up with this rhyme Is a pain in the neck.

a high do it four times Is impossibly hard. [4] But

3:

4.

to

[5] With the cards all shuffled It’s a mighty cool trick Finding four of a kind While reciting this shtick. [6] [7]

Now you probably thought

9.

6.

[9] Gonna showyou a trick

With these four magic Aces, Which I put into the deck In different places.

If you think this is bad It can even get worse, I"ve forgotten the words

To the next stupid verse. 10.

No magician alive [8] Is eccentric enough To do magic in jive.

3

I'll cut to a card

[17] But

I'll cut once again,

Just to build up suspense. [18] [19] Because nothing’s too good For you ladies and gents. 11.

Here's the point in the trick [20], When you people should clap, [21] If T really get the Aces, [22] As I end my rap.

[10] You can sce that the Aces Go far apart, [11] As I push 'em in the deck Diamond, Club, Spade and Heart.

Set-up Start with two Aces on top and two Aces on the bottom of the deck. The third card from the bottom (the one immediately above the bottom Aces) is strongly crimped.

RAP-ACE-IOUS

187

During the first four verses of the rap you'll produce the four Aces with four different magical flourish productions as you continually shuffle and cut the deck. Because I've chosen two flourishes that produce a card from the bottom and two that produce a card from the top, I start with the four Aces in those two positions. But you can vary this in any way you want (e.g., producing all four from the top) since the script will work with any productions you choose. It’s completely adaptable to whatever productions, shuffles or cuts you choose to incorporate. Just try to pick ones that fit with the rhythm and pace of the rap. Moves

is

Each of the following numbered moves keyed to the bracketed numbers in the script. The corresponding bracketed number tells you the approximate position in the script where I begin each action or sleight. Depending on how fast you talk (pardon me, “rap™) and where you choose to take a breath, you may want to adjust your timing slightly, for when to begin or end fits the inflection points and the appropriate text in the rap. a move, so that

it

1) Riffle Shuffle. This will always mean one legitimate riffle shuffle that maintains the top and bottom set-up intact.

a

2) “Hustler's False Cut.” This is simply three-step false cut on the table that retains the complete order of the deck. I like it because closely approximates the Up-the-Ladder cut, used later in the routine. Any false cut that maintains the set-up is fine.

it

3) Pick up the deck and undercut the bottom half to top, holding a break between the halves. Perform Neal Elias” “Cutting Discovery” to produce the first Ace from the bottom.

4) Table the deck and perform Art Altman's “Flip Flourish” to produce the second Ace from the bottom. Thumb it off face up onto the table, beside the first Ace. 5) Replace the original bottom packet face down onto the table, place the two other packets (still held in a jogged condition) face down onto it, and perform an Up-the-Ladder cut of the outjogged middle portion, thus bringing the remaining two Aces back to the top. 6) Turn the top card of the deck face up, revealing a third Ace. Toss

it onto the table.

7) Riffle Shuffle. 8) Perform Steve Draun’s “Ace Flipover™ to produce the fourth Ace from the top. At the conclusion of this step the four Aces are face up on the table, and the crimped card is at the bottom of the deck. I

repeat, virtually any method for producing the Aces singly, either from the top or the bottom

of the deck, can be used in lieu of the specific ones I've mentioned above.

9) With the deck tabled, riffle up the rear side of the pack, stopping to insert the Aces

188

ECCEN-TRICKS

face down into four different places within the upper half of the deck. The Aces remain outjogged for about half their length. 10) Pick up the deck and display the long edge of the pack, so the audience can see that the Aces really are going into different places; then lower the deck back onto the table.

Push the four Aces flush into the deck, and apparently square up the deck. set up for Martin Nash's “Multiple Shift.” Actually you'll “push-through” just the Aces, 11)

to

12) Perform Martin Nash’s “Multiple Shift,” with the ensuing Riffle Shuffle. Make the top. well as controlling the four Accs sure that the crimped card stays on the bottom,

to

as

“Up-the-Ladder Cut,” of the bottom half to the top. This places the crimp immediately above the Aces, in the center of the deck. 13)

14)

Cut

the top half of the deck

15) Turn over

forward, cutting at the crimp.

the card cut to (the top card the lower portion) to reveal the first Ace. of

Toss it face up onto the table.

16) Complete the cut, then Riffle Shuffle the pack again. Squarc up. Then do another

to

the top. This sequence can be spread out over the “Up-the-Ladder Cut” of the bottom half balance of verse 8 and verse 9. These verses intentionally provide extra time, in case you need to catch up.

of the deck forward, again cutting at the crimp.

17)

Cut the top half

18)

Turn over the card cut to, revealing the second Ace and toss it face up onto the

table.

Complete the cut and immediately perform another “Hustler's False Cut.” This leaves the remaining two Aces on top. 19)

20) Turn over the top card the table.

of

the deck,

revealing the third Ace and toss it face up onto

21) Perform the Benzais® “Spin-Out,” producing the top card face down. 22) Turn this final card face up to reveal the final Ace. *

Okay, that’s a wrap.

x

¥

RAP-ACE-IOUS

189

Comments (1) Background, Sources and Credits. 1wrote my original rap about four years ago, and have performed it almost exclusively for laymen (although I dimly remember performing it for Jon Racherbaumer and Lee Freed on the floor of a Denny's restaurant at 4:00 in the moming at arecent FFFT convention). I've constantly tinkered with the wording, but the text in the book is my current version — except for the second line of verse 1. My actual rap begins on a more personalized note: “I'm a rap magician/ and my name is Simon/... .” When | recited my rap for Bill Malone he wanted a linc that he could use (shades of Marlo’s proteges!) so Bill changed this second line to make it universally applicable. The sleights use are all in print. Neal Elias’ “Cutting Discovery” (P. Howard Lyons, Ibidem, No. 26, 1962, p. 9) is also described in Paul Cummins and Doc Eason’s recent book Fusillade, 2000, p. 56. The classic Hustler's False Cut is one of the simplest and most deceptive false cuts I know (Darwin Ortiz, The Annotated Erdnase, 1991, p. 257). 1 learned Art Altman’s “Flip Flourish” from Ed Marlo many years ago. Ed and Art were close friends, and Ed favored many of Altman's sleights, The “Flip Flourish” described in “Ace Cutting Collectors” (Randy Wakeman, Formula One Close-up, 1985, p. 31). The well-known “Up the Ladder Cut” simulates a false running cut. It’s described in Giobbi, Card College, Vol. 2, 1996, p. 388. Steve Draun was a regular member of our Saturday sessions for decades. He showed me his “Ace Flipover” probably 30 years ago. It’s described in “The Most Convincing Topsy-Turvy Aces,” in Steve’s book (Richard Kaufman, Secrets Draun from Underground, 1993, p. 105). Martin Nash's techniques are some of the most practical, time and audience tested moves I know. Ilis “Tabled Multiple Shift” (originally published in Stephen Minch, Ever So Sleightly, 1975, p.30, and more recently described in Giobbi, Card College, Vol. 3, 1998, p. 676) is used in “Rap-Ace-ious™ to bring the Aces the top, but Martin's procedure is flexible enough to also bring them to the bottom. The cutting procedure at steps 13 through 21 borrows heavily from Martin's “Celestial Aces” (Nash's videotape series Infinity and Beyond, Tape 2). As a teenager 1 was a member of F.A.M.E. (Future American Magic Entertainers), a boy’s club sponsored by the New York City Park District. One of my fellow club members was Johnny Benzais. He was cool way back then, and handled the cards very gracefully. His “Spin Cut” flourish was first published in “Bewilderment” (Benzais, The Best of Benzais, 1967, p. 66) and is also described in Giobbi, Card College, Vol. 1, 1995, p. 116. T

is

to

at

the thought, you can actually build the rap (2) The Beat. While some may cringe up to a program piece, by adding a recorded rap beat in the background. Just find someone who has one of those electric pianos or organs, and with the push of a button you'll get the rhythm/beat repeated endlessly. Adjust it to the speed that matches the tempo with which you'll speak the rap, and record it to tape.

Unpacking the

Aronson Stack

About 30 years ago, when I first decided to memorize a deck, I realized that it would be to my advantage to learn a stack that had other unique features built into it. So I devised my own full-deck stack that contains three separate poker deals, a perfect bridge hand, a spelling sequence, any poker hand called for, a blackjack deal, and a few other goodies. These features enabled me to perform a variety of non-memorized deck tricks, apparently impromptu, so long as | had this pre-arranged deck with me. I used my stack privately for a number of years, and then published it in 1979 in a booklet called A Stack to Remember (reprinted in full as part of my book Bound to Please). The timing was fortuitous, since memorized deck magic was just about to experience a rebirth of popularity and creativity, worldwide. As a result, quite a few magicians learned and use the Aronson stack. But neither they — nor I — ever appreciated how many additional features and effects still remained secretly hidden awayin my stack — features that can produce amazing magic and still maintain the complete stack in order! This section presents a panoply of new effects made possible by the Aronson stack. But | don’t want you to think this section is only for people who already use or have memorized my stack. Quite the contrary — the effects in this scction are instantly available to everyone — because you don't need to memorize the stack in order to perform the effects described here.

Stalking the Stack

B

of introduction,

let me make two comments. First, the material in this section has nothing to do with memorized deck magic, meaning you don 't need to memorize the Aronson stack to do any of the effects described here. Second, I'm probably more amazed with, or by, this material than almost anything I've come up with in the past 30 years. y way

Both points deserve some elaboration. First, even though magic with a memorized deck is enjoying a well-deserved popularity, there occasionally is some confusion, or at least looseness, in the way it’s discussed in some of the magic literature. In my lecture notes, | make the following distinction: “I use the term “memorized deck magic™ to refer

to just that area of card magic

whose secret modus operandi makes use, at least in part, of the fact that the performer knows the stack numbers of the cards by memory. | like to draw a subtle terminological distinction. Often the particular stack order which has been memorized has one or more special features imbedded in it that allows you to perform special tricks that couldn’t be performed without that specific order ... It often is quite possible to use those special features, and perform those specific effects, without having first memorized the stack. Where such memorization isn 't required, I generally don’t call it “memorized deck magic,” even though one might, in fact, have memorized the deck.” (Memories Are Made of This, p. 6). This distinction is important because a failure to appreciate it can cause one to overlook or miss an awful lot of good magic that may well appeal to you and be easily within your grasp. Just because you haven't yet committed some particular stack to memory (be it Nikola, Ireland, Aronson or whatever) doesn’t mean you can’t perform a wealth of good effects that may be contained uniquely within that stack. Indeed, even if you've already memorized one stack, you still might find that you like the built-in tricks of a different stack well enough to justify carrying that stack around with you. (Many magicians carry a deck in Si Stebbins order with them, for just this reason). Each of the effects in this section depend on the particular order or arrangement of the Aronson stack — but none of them requires that the Aronson stack be memorized or that you know stack numbers of any particular cards. As long as you start with a deck in Aronson stack order and cut the requisite card to the top (different for cach of the individual effects), you're set to perform some quite deceptive, surprising and entertaining card magic. But the that not only does each effect start from Aronson stack order, also returns the big “plus” deck back to Aronson stack order at its conclusion. And this cpens up a wealth of opportunities for longer routines with multiple, successive, and repeat tricks that can be used for all sorts of performance situations.

the

is

it

194

UNPACKING THE ARONSON STACK

For those of my readers who have already memorized and use the Aronson stack, this section

offers you a wealth of “freebies” — tricks that you can immediately add to your repertoire with the one pre-arranged deck you're already carrying! From now on, you'll never be at a loss to present one or more surprise climax card effects, not readily possible with a random shuffled deck. Better yet, you'll still be able to maintain the full Aronson stack for your favorite memorized deck cffect.

For those readers who haven't memorized a deck (and may never intend to), take heart! This section may be just what you're looking for. Spend a few minutes (less than five) and arrange just one of your spare decks in Aronson stack order (shown in the chart at the end of this introduction) and you'll be able to test run every one of the effects in this section, and sce for yourself all that can be accomplished from just one stacked deck. Don’t let inertia prevent you from actually trying these effects. You only need to arrange the deck once. You won’t even need to re-stack the cards between tricks, because you'll automatically be back in Aronson stack order after cach one! Once you sce the possibilities, you may start carrying a deck in Aronson order with you, even if you never memorize it. Of course, this also might be just the incentive or push you've been waiting for to convince you it’s worth memorizing! My sccond point — why T am so amazed by the material in this section — also needs some devised my stack about 30 ycars ago and have clarification and a bit of personal history. been creating and publishing memorized deck magic for just as long. But, as most of my readers know, the vast majority of my creations have (until now) been “stack independent.” Most of my energy has been devoted to exploring principles applicable to any memorized stack and very few of my memorized deck effects depend in any way on which particular stack one may be using. Morcover, since I don’t perform magic for a living, I've had the luxury perform. My preference — indeed, a picking and choosing when, where and what I want high priority — has usually been to perform a few select “blockbuster” effects that are quite fooling. If a particular memorized deck effect is enhanced by having the spectator shuffle the cards in a way that destroys the stack order, then so be it! That's a price I've always been willing to pay as a trade-off for accomplishing a single miracle that leaves my audience baffled. 1

of

to

While I still relish those impossible, even if “one-shot,” effects, I have a deep appreciation for the expansive power of memorized deck magic in other contexts, and have great admiration for what others have done to bring the memorized deck into the trenches. My friends Juan Tamariz, Mike Closc and Eric Mead have all developed the art of “jazzing™ with a memorized deck. They invent magic on the fly, combining their secret knowledge of the position of every card in the deck with quick “ad hoc” thinking and an arsenal of slcight of hand, to create trick after trick that “cannot be explained.” For example, once you know where every four of a kind in a deck resides, perhaps you can produce them with a scries of magical revelations. Most as to prolong the jazz jazz creations aim, as much as possible, to keep the stack in order, session.

so

Since Mike Close published his Workers 5 in 1996, in which he discussed his use of the memorized deck and described some of his favorite effects, I've taken a deeper interest in this “keep the stack intact” branch of memorized deck magic. My “Two Beginnings” and “The

STALKING THE STACK

195

Invisible Card™ (earlier in this book) are contributions in this area, that can be done with any memorized stack. But, in addition tostack independent effects I decided to look more closely the structure of the Aronson stack to see whether there might be untapped possibilities for additional effects that could be accomplished, based on the particular patterns of the cards in stack. You my see, despite the haphazard, shuffled appearance of the Aronson stack, the poker deals, bridge all deals and gambling demonstrations which I had originally built into the stack have resulted in many interwoven patterns of cards that are decidedly not random. Whenever a poker deal produces a three of a kind, full house, or four of kind, those particular cards will be in close proximity to each other within my stack, and will be separated at fairly regular intervals. This suggested to me that it might be possible to devise effects in which some, or even all, of those cards could be magically produced.

at

~~ a

a

I’ve always liked the flexibility that “spelling” offers (sce, for example, “Spell It Out” and “Breathing Spell” earlier in this volume, or my “Self Control Lie Speller,” in The Aronson Approach). The jazz approaches noted above have refined spelling “outs” into a veritable art form (albeit somewhat free form). Because of this I started playing around, trying to intcgrate spelling combinations with the subterrancan patterns of cards underlying the Aronson stack.

|

And the results are what have so amazed me. At the outset, supposed that perhaps with a bit of arbitrary or contrived spelling I might be able to come up with one or two passable effects. But as I experimented, more and more serendipitous combinations jumped out at me. My earliest efforts did involve a few spelling combinations that sounded somewhat unnatural, but the more I pushed, the more things fell into place. I'm with extremely happy the final combinations. But what amazes me most is the sheer quantity effects that are imbedded within the Aronson stack. still have a hard time believing that all of the following material has emerged from a stack I devised 30 years ago!

of

Enough of my generalized enthusiasm. This is supposed to be a book about magic “in practice,” so let me close this introduction with a few practical suggestions, caveats, and guidelines.

First, this section is encyclopedic in nature, because I want to cover the multitude of possibilities inherent in the Aronson stack. Even if you like and learn many of the effects (which I hope you do) I don’t expect that you'll perform more than few in a any one session or for any one audience. Many are quite similar, so sheer variety in plot choice as well as preserving the surprise element, dictates restraint. You might perform, say, any one of the four-of-a-kind spelling productions, Jack Coincidence (which isa prediction and produces four of a kind, but not by spelling), onc ofthe detectors, and perhaps Routine Maintenance (the poker deal) in any particular set, and save the rest for repeat performances. Moreover, you don’t want to give away the underlying secret, namely that you're using a fully stacked deck. Ifonly a few cards magically appear at just the right position, people won't know what to think and may credit your sleight of hand ability, or some other magical power. But amazing combinations of cards continually keep on popping such will repetition up, cause your audience to suspect a set-up and they may want to shuffle the cards. Use moderation.

lic

if

196

UNPACKING THE ARONSON STACK

Second, perhaps the greatest adjunct you could employ toward making these effects more fooling and convincing is the frequent use of false shuffles and cuts, together with a casual, almost loose, handling of the cards. Since the secret the deck itself, you don’t want to handle it too precisely, as though it were a fragile, precious thing. That would only draw more attention to the deck. Treat offhandedly and don’t stare at it as you patter. An occasional springing of the cards, dribbling, or spreading them across the table conveys a subtle sense of openness, as though you're not constantly trying to be in absolute control of the cards. One only has to watch my friend Bill Malone's handling of cards throughout his Sam the Bellhop routine, to sec how effective and disarming such a casual, haphazard approach can be.

is

it

the

Third, in practically all of the effects a card is selected (forced). For maximum impact, it’s essential that the selection be shown around to the entire audience. Since many of the effects involve having the deck magically indicate which card the spectator thinking of, this will enable the rest of the audience appreciate these magical revelations each step along the way. For this reason, and also because it keeps the deck in order, find a Rifflc Force is excellent for virtually all of the following tricks.

to

is

I

Fourth, each of the following effects is susceptible of many different handlings. The particular manner in which the cards get dealt (e.g., face up or face down, or from hand to hand or onto the table) can have a subtle, acsthetic difference to the look and feel of an effect — but it also has a crucial difference on whether and to what extent the deck stays in order. Which handling is right for you depends both on your own personal preferences and skills, as well as on what you're going to do with the stack immediately before and after the given cffect. Ifit’s the last effect in a sequence, or you don’t care whether the stack is maintained 100 % at the conclusion, you'll have more choices open to you. Sometimes you may only care to maintain a portion of your stack. Most of the time, you'll probably want to maintain the full stack, and there are a number of ways accomplishing this ultimate goal. All of the different handling alternatives are applicable to each of the separate tricks. To avoid repetition, I’ve chosen to discuss all of these various options, applications, and tradeoffs in some detail within the first described effect, “Aces Awry.” Even if you don’t choose to use them in that particular Ace effect, you'll want refer back to these alternative procedures and ways of getting into and each effect of out as you progress through the rest of this section. The material is quite open to such flexibility.

of

to

Fifth, many of the following effects treat the Aronson stack as cyclical, i.e., if you cut the deck, position 1 follows 52, and some ofthe effects start by giving the deck one pre-cut at some specified card. I recommend that you make the 9D (stack number 52, the bottom card ofthe stack) a tactile key by making it either a thick card, a corner short, scallop cut card, or by crimping it. This enables you to quickly get back into original Aronson stack order by simply cutting the 9D back to the bottom.

a

Finally, to keep the material susceptible to those readers who may not have yet memorized the Aronson stack, I'll generally refer to the names of particular cards, instead of referring to a card’s stack number. Thus, you need to prepare for an effect by injogging or getting a break at a particular card, saythe AI (in order to perform a Riffle Force), I'll tell you to casually spread the cards face up between your hands and scan the faces for the AIL Just keep in mind

if

STALKING THE STACK

197

that, for those who have already memorized the Aronson stack, such instructions (and many others) are duck soup because you'll instantly know exactly where in the stack to look. In general, one’s memorized knowledge of the stack will help in all of the following effects by letting you know exactly where you are in the stack afier each deal or spell.

if

But don’t worry you haven't memorized it. The tricks are all still relatively painless and once you perform any one of them a couple of times you'll remember the general area of your target card. It will always be in the same location, each time you perform. That's onc of the advantages of using a stacked deck. By the way, you may find it convenient to make a prompter card showing the stack order, so that you can always stack a pack with a few minutes preparation. Just photocopy the chart, paste it onto the back of Joker, and carry it with whatever deck you're using. If and when you do get motivated to memorize the stack, check out my suggested memory techniques in 4 Stack to Remember or Bound to Please.

a

So,

let’s

see what the Aronson stack can do.

Simon Aronson’s A

STACK TO REMEMBER

1-JS

14-KD

27-5D

40-3C

2-KC

15-7D

28-7C

41-28

3-5C

16-8C

29-4H

42-9H

4-2H

17-38

30-KH

43-KS

59S

18-AD

31-4D

44-68

6-AS

19-78

32-10D

45-4C

7-3H

20-58

9-8D

21-QD 22-AH

33-JC 34-JH

46-8H

8-6C

35-10C

10-AC

23-8S

36-JD

48-QS 49-6D

11-10S

24-3D

3744S

12-§H

25-7TH

38-10H

50-QC 51-2C

13-2D

26-QH

39-6H

52-9D

47-9C

Aces Awry

(Producing the Aces)

magical production of the four Aces has always been particularly impressive to laymen, but this initial effect also has several other points in its favor. It incorporates a “magician in trouble” theme (i.e., magician apparently bungles his task and then saves the day with a surprise success) and some self-deprecating humor, which adds a human quality to the performance. It works directly from the top of the Aronson stack so no pre-cut is needed. And it’s quite simple to perform. A

Effect The magician attempts to read a spectator’s mind to discern the identity of a selected card. The performer first tries to guess the suit of the selection, spelling his guess with one card for each letter — but he repeatedly guesses wrong! Apologetically, he promises to make it up on the value. He straightforwardly announces and spells the correct value of the selection: an Ace. The actual selected Ace appears at the end of the spell. The magician makes good on his promise by turning over the other three spelled “mistake™ piles — to reveal the other three Aces.

Working

in

this section, starts with a deck secretly arranged in This effect, as well as all of the others Aronson stack order. In my description of this initial effect, I'll go into a fair amount of (some of youmay think it exhausting) detail, and I apologize to the substantial number of my readers who already know ways of getting a break or performing a Riffle Force. My justification, however, is twofold. First, there are some readers who enjoy stacked deck work precisely because it doesn’t involve much sleight of hand, and I want them to feel comfortable with the this first trick I setup minimal amount of sleights that are involved in this section. Second, a basic pattern and handling that can be used for practically all of the following effects, so it’s the techniques, worth making sure this first explanation is complete. By going into many variants and details here at the outset, I can put them all in one place as a handy checklist for you to consider for each of the effects that follow.

in

of

The Riffle Force

You're going to begin by forcing the AI as the spectator’s apparently free selection. Once the card has been chosen and shown to the rest of the audience, you want it to remain in its

ACES AWRY

199

original position in the deck and you don’t want to disturb the order of any of the cards. The Force efficiently accomplishes all of these goals. Most of my readers are undoubtedly familiar with techniques for this force, but since it is used as a workhorse throughout much of the remaining material, I'll offer a summary description.

Rifle

Before you begin, casually spread the cards face up between your hands, looking for the AH. It’s located at the 22nd position from the top. (While this numerical information need not be remembered, those who have memorized the Aronson stack will, in this effect and all of the others, know instantly where to look for the target card). Once you see it, downjog it about ¥z inch as you close the spread. 1 find it easiest to place my left thumb on the visible index of the AH and then close both hands toward each other to coalesce the cards. As you do, your left thumb, applying a light pressure on the AH, starts a moment earlier and simply pushes or swings inward and to the right a bit. This causes the AH (and sometimes a few more cards to the left of the AH well) injog in a somewhat haphazard fashion ( Figure 1). The right-hand cards arc immediately squared into the left hand flush with the outer edge of the deck (Figure 2). As your hands come together, your right fingers flip the deck over bookwise, face down into the left hand. 1)

as

to

Your right hand, from above, now squares up the deck. As it does, the right thumb lifts up slightly on the injog and pushes the top portion flush, allowing the left little finger to obtain a break between the two portions of the deck. You're left holding the face-down deck in the left hand with a secret break immediately beneath the desired force card, thc AH. This preparation only takes a moment and should be done during an offbeat or before you begin to present the effect.

at

2) Start to riffle downward the outer left corner of the deck with your left thumb ask as you call out “stop.” Time the riffle so that the spectator calls your spectator, Ginny, “stop” after you've passcd the break, but as close to it as possible. At that point, stop your riffle and hold a gap at the stopped position with your left thumb. With your right hand palm down, reach over the top of the deck, apparently to lift up all the cards above the stopped position. As your right fingers momentarily cover the front of the deck, your right thumb at the rear grips all of the cards above the break as the left thumb relaxes hold on its cards, thus closing the front gap. With your right hand, lift all the of cards above the break and up display the face card ofthis portion, the AH, to Ginny and anyone else who's watching as the

to

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200

UNPACKING THE ARONSON STACK

apparently stopped-at selection. Make sure she remembers her card and then casually dribble the right-hand cards back onto the left-hand portion, reassembling the deck. (For an excellent and detailed description of the Riffle Force, see Roberto Giobbi, Card College Volume 1, force the top face-down card of the left-hand portion, instead 1995, p. 224. Giobbi prefers of the face card of the right-hand portion. If you choose this option, just obtain your break immediately above the face card. While I use both alternatives, I find that for multiple spectators it’s casier and quicker for everyone to sce the full face of the card on the bottom of the right-hand portion. Roberto has some wonderful disarming touches and finesse in his handling of this force, that are well worth your attention).

— to

The above Rifle Force procedure will be used to begin many of the effects in this section.

The Basic Spelling Procedure

Casually false shuffle the deck or give it a few false cuts as you explain, “I'm going to try to read your mind and get some ideas about your card. Now, don’l say the name of your card, just think of it. [I'll try the suit first.” Pause for a moment as though concentrating. You're still holding the deck face down in your left hand. Continue, “/'m getting an impression of S-P-A-D-E-S, yes, Spades.” As yourecite these letters, thumb off one card for each letter, taking each spelled card face down into your right hand, one under the other, not reversing their order. As you announce the final word “Spades” drop this group of six cards face down in a loose pile on the table, toward your left. You're eventually going to form a row of four such piles across the table, so position this first packet accordingly. 3)

As you finish your sentence, smile hopefully at your spectator and immediately continue, “Remember, don’t tell me the name of your card — but am I right so far?” 1 want to emphasize the importance of this patter line (or something like it) and its timing. You've just made a guess at the suit — but you were wrong and the spectator knows it. There's some temptation for Ginny to announce her card, either to correct you, help you, or perhaps because she thinks the trick’s over and you've failed. You should anticipate such a possibility and cut Ginny off before she inadvertently blurts out, “No, it was the Ace of Hearts.” 1've found that the foregoing line, reminding her not to reveal her card but seeking a confirmation just on “Spades” does the job. When she tells you, “No,” or “Wrong,” act crestfallen.

4) Continue, “Wait, I'll try again. It wasn't a Spade? Keep thinking of the suit ...no, not a Spade, but I'm getting the impression it was a C-L-U-B, a Club is that part right?” As you state this next guess, spell four more cards from the left hand into the right, one for each letter, just as you did previously (facc down, not reversing their order). Drop these spelled cards in a second face-down pile to the right of the first pile as you conclude with the word “Club.” Again, act optimistic as you look expectantly for confirmation and then react with chagrin as she again replies “No.”

Note that here (and in several of the following effects) the spelling format occasionally changes, e.g., from the plural “Spades” to the singular “Club.” That’s just the way the cards fall in the stack and most of the time your spectators won't notice. But, in order to minimize

ACES AWRY

201

I

any such differentiation, try to soften it by subtly foreshadowing what's going to be spelled. Thus, even though we spelled the plural “Spades” the first time, immediately refer to it in the singular: “It wasn’t a Spade?” This helps smooth the transition in the few instances where the format changes. This is not a big point but I do want to offer suggestions and touches, even on small procedures, since they may be useful in several of the tricks that follow. Undaunted, offer to try once more. “You know, I'm getting the strong impression it's ared card.” This gets a chuckle. Continue, “Yes, I'm getting the impression of D-I-A-MO-N-D-S, Diamonds! Is that part right?” Repeat the same spelling procedure as before to form another pile (of eight cards) to the right of the second pile. Smile triumphantly on this guess and then get shot down once more as Ginny tells you that you're wrong once more. 5)

6) Shake your head as though you just can’t imagine what went wrong and say sheepishly, “You probably wouldn't be too impressed if 1 told you I was getting the strong impression ofa [leart? ” This regularly produces a laugh (or at least a smile). Act determined, and announce firmly, “Look, I didn't do very well on the suit but I'll make it up to you on the value. Think ofyour card's value, from Ace to King. It could be any of thirteen possibilities but I'll stick my neck out. I'm getting the definite impression of A-C-E, an ACE, so here's your exact card, the Ace of Hearts!” As you recite this final spell, take one card with your right hand for each of the letters A-C-E, and then pause as you utter “an Ace,” while your left thumb pushes off the next card, sidejogged to the right on top of the left-hand packet. This card is the AH, but identity has not yet been revealed. Let the audience’s attention be this final card, the one that is the end result of all your spellings. Take drawn for a moment the face-down Ace beneath the three cards alreadyheld by the right hand and triumphantly turn the right-hand packet of four cards face up, end for end, to reveal Ginny's sclection. Drop this pile face up to the right of the other three face-down piles.

its to

You've been vindicated by finding Ginny's chosen card. Your spectator will think the trick is over; she may even think that your mistaken spellings were all just a game, to wind up at her card. But she won't be ready for the surprise climax. “Remember, I promised would make up to you on the value? Well, here I spelled Spades.” Suiting actions to words, 7)

it

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turn over the left most pile of the row face up, to reveal the AS on its face. Let this sink in for a moment and then continue to turn the next pile face up to display the AC as you remind her, “Here I spelled Clubs.” 1 intentionally misstate it as a plural for consistency, even though I actually spelled “Club.” This passes unnoticed in the excitement of this fast-moving triple revelation. Continue by turning over the third pile, saying, “and here I spelled Diamonds, ” as you reveal the AD on the face.

You're left with four face-up piles in a row across the table, presenting a nice picture of all four Aces. You've not only revealed the spectator’s selected card, but you've also discovered

its three matching values.

The Basic Clean Up 8)

The effect is finished but there are several different ways to clean up, depending

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on what you're going to do next. The basic and simplest procedure is to gather up the face-up piles, moving from right to left. With your right hand, put the right-most pile onto the pile directly to its left. Put this combined pile onto the face of neighboring “Clubs” pile, and all those three combined piles onto the face of the first, “Spades” pile. The of finally drop right hand then simply turns the resulting combined pile face down, end for end, and drops back onto the balance of the left-hand cards. Again, it’s helpful to employ a nonchalant attitude, slapping the piles together as though you don’t particularly care about what goes where. I call this simple procedure the Basic Clean Up, because it’s applicable to all of the following effects. Atthe end of the Basic Clean Up, your stack is back to the order you started in. In the case of “Aces Awry,” since we started with the deck in full original Aronson stack order without any pre-cut, the deck will, of course, be back in full Aronson stack order (from 1 to 52) ready for whatever further effects you choose to perform.

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Alternative Handlings and Procedures for the Aronson Stack Effects As mentioned in the Introduction, I’ve gone into a fair amount of detail in “Aces Awry” because establishes the basic pattern and approach that is used in many of the following cffects. As you've seen, this straightforward, unadorned procedure gets the job done in an efficient and natural way. You may prefer over all of the alternatives discussed below and it find that may you adopt as your standard modus operandi in performing the subsequent effects. However, there's more than onc way to spell a stack. So, in the rest of “Aces Awry™ I'll explore these alternatives in some detail. I realize that the ensuing discussion is somewhat lengthy, but it will make the write-up of the rest of the effects correspondingly briefer.

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Revelations “Along the Way” As you've seen, the basic pattern outlined above saves the revelation of the three matching Aces for a surprise climax, at which time they are revealed all at once as a kicker to the discovery of the spectator’s card. From a presentational perspective this has much to recommend, but it’s not the only way to go.

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The main alternative to re-structure the plot so as to reveal each Ace as you spell to it. Thus, on the first pile, you could say and spell S-P-A-D-E-S as before and then immediately turn all six cards in your right hand face up, placing them a face-up pile on the table, which reveals the AS on the face. You would then do the same thing with cach of the AC and AD piles. Such an alternative presentation involves a number of timing trade offs. On the plus side, gets the magic happening earlier. As soon as the spectator sees the very first Ace she knows she’s seeing some magic and realizes you're in control of the cards from the outset. This procedure spreads the magic over the duration of the spells, so there's less time when no magic is occurring. It also adds a bit more plausibility to why you're doing the spelling, by immediately showing the magical result of each spell; otherwise, the reason for why you're left hanging, at least temporarily, until the surprise climax. On doing the spelling procedure

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the negative side, it defeats the surprise element; once the first AS has been revealed, the rest of the Aces are more and more expected as they show up. A corollary negative, arising out of the first, is that revelations along the way make it casier and more likely for your audience to suspect a stacked deck. A spectator’s attempt to re-construct or figure out the secret generally doesn’t begin until he first appreciates what the “effect” is. That's why surprise is such a powerful building block in magical construction; by delaying the moment when the audience realizes the magic has occurred, prevents suspicion or curiosity from arising too soon — namely, at a time when there's still something for the spectator to learn, notice or remember. Bythe time a surprise revelation occurs, especially it involves multiple climaxes all at once, it may very well be too late for any effective reconstruction to occur.

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Personal choice and individual performing style will dictate which way you want to reveal the Aces. If you feel the comic lines and the situation of “magician in trouble” carry an cntertainment value sufficient to hold the audience's interest, then the tradeoff of separate, along the way revelations probably isn’t worth your while. But if you find the comedy lame or you aren’t the sort of actor who can carry ofl the mistakes realistically, then you may elect to go for an earlier display of your skills. Sometimes the plot of a particular trick may require revelations along the ways; this is true for some of the lic detector effects discussed later. There is one important piece of methodological flexibility that revelations along the way offers. To illustrate, take another look at how we handled the fourth pile. We spelled A-C-E and then paused for drama as the next (fourth) card was taken onto the face of the spelled cards. The whole pile was then turned face up to reveal the selected AH. This act of taking the next card, one more beyond the end of the spelled letters, is more natural and acceptable when you're going to immediately reveal that card. But if, hypothetically, you spelled A-C-E and then took one more card and placed the whole pile face down on the table (to be revealed at some later time), this last, extra card would seem to have been taken without any reason. When you're revealing something at the conclusion of a spell, it’s quite acceptable to show either the final letter or the next one (the one you arrived at afier the spell). This added flexibility, of being able to use up one more card, sometimes can prove handy in making your spells fit within the limitations of the stack. It's one more point to consider when deciding whether display revelations along the way.

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“Aces Awry” itself actually has an alternative set of possible spells which illustrate how taking the next card, after the final letter of each spell, might be useful. Remember, “Aces Awry” has one minor discrepancy in that the “Spades™ and “Diamonds” were spelled as a plural but “Club” was a singular spell. If, however, you opt for revelations along the way, and use the “next” card as discussed above, you could eliminate this singular/plural discrepancy as follows. On the first pile, spell S-P-A-D-E. Pause for a moment and then take the next card and turn over pile to display the AS. On the second pile, just spell C-L-U-B (in the singular) and turn over the pile without taking the next card to reveal the AC. For the third pile, spell the singular D-I-A-M-O-N-D and take the next card, treating it just as you did the “Spade” pile. The result is a somewhat more consistent spelling of the suits, as all are singular.

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Now, I'm not recommending this alternative spelling over the first one presented for “Aces

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Awry.” It merely trades off onc slight inconsistency (sometimes plural, sometimes singular) for a different one (sometimes taking the next card, sometimes not). I offer this example just to illustrate howyou can occasionally add flexibility to the spellings, and howthis flexibility is often tied to when you choose to reveal each card. The Double Push Off As long as we're considering ways of adding flexibility, there's nothing wrong with a bit of sleight of hand to help you over an awkward or intransigent spell. While revealing the next card will use up onc extra card, an even more versatile tool is the Double Push Off,secretly taking two cards as one as you spell. Indeed, the basic handling first described above for spelling the cards (left-hand cards pushed off and taken into the right hand, under the right-hand cards) provides ideal cover for a Double Push Off. A Double Push Off can easily be done on the fly, but since you'll know beforehand whether you're going to do a Double Push Off somewhere within the spell, you can get ready beforehand. This makes the move a snap. I generally do the Push Off on the second spelled letter, so before I start pattering, I casually spread the top few cards of the left-hand packet and obtain a left little finger break beneath the third card from the top and then square up. For the spell, take the top card singly for the first letter, and with your left thumb immediately push the block of two cards above the break to the right as one, as you recite the second letter. Take both these cards as one under the right-hand card. Your right forefinger helps cover the front edge and the first spelled card hides any slight misalignment. Then continue on in the same rhythm, spelling the rest of the word. As a further illustration, lct’s consider the Aces again. If you really want all suits to be spelled consistently in the singular you could employ one Double Push Off on cach of the S-P-A-D-E and D-I-A-M-0O-N-D pile. This would eliminate any need for using the next card alternative, which, in turn, would allow you to delay the suit revelations until one final, surprise climax (as in the basic version). The Double Push Off is quite versatile since it can be used more than once during a spell. If you set up beforehand with a break, you can perform a Triple Push OfT,thus getting rid of two unwanted cards. An additional benefit ofa Double or Triple Push Off is that, as long as you're using the basic hand-to-hand spelling procedure, retains the order of your stack.

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For the most part, I've worked out the spells for “Aces Awry™ and the following tricks so that you won’t need to resort to a Multiple Push Off very often, but it’s a practical utility that can help you, both in performing and creating neweffects.

Reverse Dealing Some performers may prefer to do the spelling by dealing the cards one at a time into a pile on the table. This has a somewhat freer, more open feel than keeping the dealt cards in your

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that dealing the cards singly face down reverses their order, hands. The tradeoff, of course, and thus potentially messes up the maintenance of your stack. But there are ways around this.

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First, if you've chosen to reveal each Acc along the way, instead of reverse dealing you could simply spell the cards one at a time directly face up onto the table. Just deal each card face up stud fashion as you form each pile of cards, and the Ace will appear on the face of the pile. Such face-up dealing leaves the stack in order, ready for the Basic Clean Up, and also has the added advantage of showing the faces of the rest of the cards as you deal, thus subtly demonstrating they're in a random order.

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deal face But what if you don't want to reveal the Accs along the way, and thus don’t want of normal dealing cards one at a time up. Suppose you just want to use good, old-fashioned, into a face-down pile. Well, doit! On the first pile, spell and deal S-P-A-D-E-S, then C-L-UB for the second pile, and so on, just as in the basic routine. At the climax, after you've spelled and dealt A-C-E, show the next card to be the selected All, and leave it face up on top of the last spelled three face-down cards as the fourth pile. Then, for the surprise climax, turn over the fop card of the other three piles to reveal the three matching Aces. It’s a very clean, direct handling!

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put your stack back in The tradeoff is that you still have some more work to do if you want the face-up Aces back each of the applause, turn order. But it’s fairly straightforward. During face down onto the top of their respective piles. Gather the four piles facc down from right to left (Hearts onto Diamonds, onto Clubs, onto Spades) and slap the combined pile back onto the left-hand packet. At this point your stack is back in order except that the top 22 cards are reversed. As you prepare for your next feat or stroll to the next table, casually run 22 cards singly in an overhand shuffle, thus reversing their order. Then toss those shuffled cards back shuffle long runs of single cards, 1 like to restore the stack to original order. When on top break them up into separate groups of 5 cards each, with a slight pause, and then I continue easier to keep track of the count, and shuffling five shuffling off the next group. This makes cards each time helps develop a comfortable, almost automatic, rhythm.

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If you plan for an appropriate moment when you can conveniently re-shuffle the reversed cards back to order, this a practical way of incorporating reverse dealing into your presentation.

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But there’s another way of utilizing reverse dealing which will nevertheless leave your original stack order intact immediately following the effect. You can pre-set the stack beforehand, so that the act of reverse dealing the cards will actually put the cards back into Aronson stack order. Here's a relatively easy method, that uses a preliminary overhand shuffle to pre-set all the piles for reverse dealing. It can be done on the fly, as you're chatting or before you begin the effect. Let's use “Aces Awry” for another illustration. You'll recall that in the basic presentation we spelled “Spades” (6 letters), then “Club” (4 letters), then “Diamonds™ (8 original letters) and finally “Ace” plus the next card (a total of 4 letters). With the deck overhand stack order, crimp the bottom card, the 9D. Now commence a casual, face-down, shuffle as follows: run 6 cards singly and then toss the balance of the cards onto those 6. Repeat again, this time running 4 cards, and toss. Then repeat with 8 cards. Repcat once more, but this time run one less than the number of cards comprising the final pile and toss.

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In our present example, this would be 3 cards. Note that you don't nced to remember these particular numbers (6-4-8-3) if you don’t want to; it’s just as easy to silently spell to yourself each of the four words (Spadcs-Club-Diamonds-Ace), as you run one card for each letter you mentally spell. (Status check: up to this point, you've run a total of 21 cards which are now below the crimp, and the selection to be forced, the AH, on top. From the face there are four distinct runs of cards: 7S to QD, 10S to AD, 3H to AC, and JS to AS).

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Obtain a left little finger break beneath the top card, the AH, and then cut at the crimp, bringing all the cards below the crimp to the top, still maintaining your break. This quite efficient, because not only is the deck now fully pre-set to spell with reverse dealing, but you've also got your break for the Riffle Force.

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This extra work before you start sets you up so that everything works automatically during performance. Riffle Force the AH as normal and proceed with the spells, using the basic word patterns. Spell “Spades,” reverse dealing the cards one at a time to form a face-down pile, then do the same for “Club” and then “Diamonds.” Finally, you'll spell three cards to the table for “Ace” and then turn the next card face up to reveal the selection. Drop thc AH onto the top of its 3-card, face-down pile. For the surprise climax, turn each of the other three piles face up to reveal the matching Accs on the face. To clean up, drop the AH back onto the lefthand packet, drop the rest of the right-most packet of three face-down cards onto the deck, and then do the Basic Clean Up with the remaining three piles. You're now back in your original order. There are alternative overhand shuffles to pre-set the reverse deal, depending on whether you want each of the matching three cards to appear on the face (as above), or on top of its respective pile (e.g., for Spades, instead of running 6 cards, run 5, toss, then run onc singly and toss), but I think we’ ve exhausted the topic for now. You can, of course, eliminate the crimp (or any other tactile key) by just running through the faces to cut the 9D back to the bottom. In your experimentation, you also may want to try doing the overhand shuffles off the face (so long as you don’t let the audience see too many of the faces). Working off the face has a allows you to see each desired stopping point, and it can be combined couple of advantages; with the single pre-cut that’s often needed to begin some of the other effects in this section.

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Setting up for the Riffle Force Since I've suggested using the Riflle Force for all of the effects in this section, it’s worth mentioning a few more ways of obtaining the desired break to set up for this force. Assume you're spreading the deck face up and you spot your target card; it will always be somewhere in the top half. As mentioned, mypreferred way injogging the force card is to use myleft thumb, but you can also injog it with the right fourth finger by pressing lightly against the hack ofthe desired card at its lower right corner. Alternatively, you can simply injog a block of few cards below the force card with the right hand in the act of closing the spread.

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You can eliminate the nced for any injog altogether by using Ed Marlo’s Book Break. Simply spread the cards face up, get a lefl little finger break immediately to the right of the target card, and close the spread. With the right thumb and forefinger at the inner and outer left corners the right face down, using the deck’s right long edge of the deck respectively, pivot the deck as its axis; the left little finger maintains its break throughout. You’ll wind up with the deck face down and there will be a step at the inner right corner (which will be hidden by the right hand holding the cards from above). Pull down on this step with the left little finger to regain a break beneath the target card, and you're ready for the Riffle Force.

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It would be ideal if we could get the desired break without having to spread the cards face up. This is eminently possible, and indeed quite practical, by using a few pencil-dotted cards. Once you decide on which of the effects in this section you'll most often perform, just pencil dot the force cards, using a system you can easily remember. It’s quite casy to mark, say, four different cards by putting a small pencil dot in the long margin, where it will be seen at the left as you spread through the face-down cards. To distinguish among the several dotted cards, you could put the mark on one card at the outer end, on another a third of the way down, on another two-thirds of the way down, and yet another at the inner end. Since you're doing some pre-arrangement by setting up the Aronson stack anyway, you might as well make it easy on yourself by using the pencil dots. All you have to do is casually spread the deck face down, note the desired mark, and take a break beneath it as you close the spread. Those of you who have memorized the Aronson stack can use these marks cven more efficiently by using them as quick and easy guidcposts for sight counting a fewcards. If you the locations of some target cards and know your way around the stack, you could count For cards. with fewer marked thus get away instance, you'll see in “The Mindreading Deck™ later on that one version uses the 98 (stack number 5) as the force card and another version forces the 6C (stack number 8). Since these two force cards are so close to each other in the Aronson stack, you wouldn’t need to dot both cards; just mark, say, the 9S, and then sight count three cards past to get a break under the 6C. With three or four dots placed judiciously through the deck, you can accurately sight count to almost any card you desire.

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When all is said and done, I should acknowledge that despite all the above variants, I usually perform “Aces Awry” exactly as first written with what I've called the basic handling. But this does not render this exploration of alternative handlings of only theoretical interest. Indeed, once you start doing a few of the effects in this section (and I hope you will) I have no doubt that one or more of these suggestions will appeal to you. They may suggest even more effects to create with the stack. If you start jazzing with the stack, these alternative tools will be of even further value. And don’t forget to consider whether and how two or more of these effects might be routined together. There's nothing wrong with doing a reverse deal that leaves a portion of the stack reversed, and then doing a second effect that reverses it back again. Indeed, check out “Fit Four a King” for a way of reversing the order of the entire deck.

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(1) Using the Aces. Once you've produced the Aces, you may want use them for one or two separate packet effects (c.g., “Twisting the Aces”) before you replace the Aces back into their positions in the stack. You can just leave the rest of the four face-up piles on the table during such packet cffccets and then reassemble everything later; otherwise, just do the Basic Clean Up on the four piles (without the Aces), and make sure the Aces get reinserted back into their proper positions in the stack later. Somc of my friends who use the Aronson stack, (2) Other Ace Productions. including Eric Mcad, Norman Beck and Josh Jay, have worked out their own ways of producing the four Aces from the stack and I'm indebted to them and to our sessions together for lots of stimulation and experimentation.

Here's a different procedure that I used before T developed “Aces Awry.” It’s fast and looks good but it does disturb some of the stack in a minor way; it’s certainly worth trying. With the

deck in Aronson stack order, first spell “Ace of Clubs,” using reverse dealing to the table, to form a face-down pile 1. Turn the final “s” face up to reveal the AC, and toss on the table, in front of pile 1. From the balance of the deck, spell “Ace of Hearts” in the same manner to form a separate pile 2, but this time confidently toss the next card, after the “s,” face up in front of pile 2, revealing the AH. Say, “Let's cut to the'chase, and go for the Ace.” (Rhyming patter, no less). Spell, “4-C-E"” and as you recite these three letters, use both hands in tandem to deal cards singly off the tops of both pile 1 and pile 2 simultaneously to form two more face-down piles in front of piles 1and 2 respectively. At the conclusion of this three card spell, continue with both hands turn over the next card from each of piles and 2 to reveal the AS and AD respectively, which are tossed face up onto the AC and All.

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I'll leave it to you to decide how to best reset the stack. A quick overhand shuffle of what's left of piles 1 and 2, running the cardssingly, will reverse them back into stack order, and the packets can then be gathered up as explained earlier.

Four on a Match

(Producing the Fours)

his is probably the quickest of all the tricks in this section, and yet it still packs a powerful, four-of-a-kind surprise climax.

Effect

it, but its matching its full name in three card as well. The spectator announces the card, and the performer spells the cnd of the spell. piles, e.g., “Four of Spades.” The selection appears

A card is selected and lost in the pack. The magician offers to find not only

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to find the matching card so he promptly spells The performer says his second challenge “Matching” and reveals the matching black four, the 4C, at the end of the spell. But he doesn’t stop there. Ile continues to turn over the remaining two piles (which spelled “Four” and “of”) to reveal the two matching red fours.

Working promised that, by going to some length in both the introduction to this section and in “Aces Awry,” the rest of my descriptions would be correspondingly brief. So, keep in mind my caveats about the importance of false shuffles and nonchalant handling, make sure you're familiar with the basic spelling procedure (hand to hand, face down, not reversing their order) and the Basic Clean Up, and you'll find that this trick almost works itself. I

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Before you begin, cut your stack so the QH is the top card, and obtain a break 4S. It will be twelfth from the top, an ideal position for the Riffle Force.

2) Riffle Force the 4S as Ginny's sclected card, drop the upper packet back onto the deck, and casually false shuffle. Explain, “I'll not only try to discover your card in a magical manner, but I'll go further and try to find its matching card as well." Your spectator probably won't have a clue as to what is meant by a “matching” card and in order to keep the pace moving I don’t even try to explain it; she’ll sce soon enough. All that’s important is that you with some importance because you start using the word “matching” in your patter and imbue want her to recall that particular word later on, when you spell it.

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“Cards understand the language of spelling. Since I don’t know your card, first tell me just its value, like was it an Ace, or a Ten or what?” When Ginny replies that it was 3)

a Four, spell F-O-U-R, placing the spelled cards face down as pile

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Continue, “Now, I already know that every card's middle name is ‘of, O-F.” Here, spell two more cards to form pile 2 face down. Pile 2 should be situated directly to the right of the first pile. 4)

“And its last name is its suit. What wasthe suit of your card?” When Ginny replies “Spades,” spell S-P-A-D-E-S, dealing a third pile of cards to the right of pile 2. Asyou summarize, “The Four of Spades," turn this pile 3 face up, to reveal the 48S at its face. “See, [told you I'd find your card a magical manner. That's because the cards obey spelling — I just cast a magic spell!” 5)

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“But I promised to do more. Each card has its own unique matching card somewhere in the deck. If [want to find a matching card, Ijust spell M-A-T-C-H-I-N-G and look!” As you recite these letters, spell and deal eight more cards to form pile 4. Turn this pile face up, revealing the 4C on the face. Your spectator will instantly and visually see what is meant by a matching card as the two black Fours nowstare her in the face. 6)

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But don’t stop there. Let sink in for just a moment and keep right on going, as you say. “As a matter offact, I've got a matched set!” As you speak, both hands simultaneously turn over their face. piles and 2 to reveal the two red Fours

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The row of four piles, each with a four on its face, leaves an impressive and pretty picture. Use the Basic Clean Up to reassemble the deck, and you're back to your starting order, with the QH at the top. If the 9D (stack number 52 and the bottom card of the Aronson stack) is a tactile key, you can cut your deck back to original Aronson order by touch. 7)

Comments (1) Mindreading Variation. Instead of asking your spectator to openly tell you the value and suit of her card before you spell it, you could change the plot slightly by having her simply think of each component. As she thinks of “Four” you'd then spell four cards and then stop there, apparently having read her mind since you knew where to stop. Spell the second pile “of” without any fanfare because “every card has the same middle name.” Then repeat the mindreading for pile 3, as you magically stop your spell exactly where needed while she merely thinks of the suit “Spades.” You can then proceed with the revelations exactly as in the text. This mindreading adds a bit more magic along the way, and still saves all the revelations for the climax. The Indicator. It's not accidental that three fours conveniently appear when “Four of Spades” is spelled. When I originally arranged the Aronson stack, one of my favorite effects was Harry Lorayne’s “The Indicator” (Lorayne, Deck-sterity, 1967, p. 62) so I decided to build it into my stack. You can still perform it as an alternative to the matching routine described above. Briefly, with the QII cut to the top, run through the deck, remove the 4C, and without showing it, place it aside face down as an indicator or prediction card. As youdo, obtain your break below, and then force, the 4S. Lorayne then asks the spectator for the value, (2)

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and spells to and immediately reveals the first Four, as “mere chance.” He spells “of” and reveals a second four, as a “coincidence.” He asks for the suit, Spades, and then spells it to find the selection itself, commenting, “We ‘re getting into the realm of magic!” 1le finally reveals his indicator card to be the remaining four, as “a real miracle!” Harry’s original trick requires setting up the necessary cards on the fly from a shuffled deck, and Harry says, “it wouldn't be much of trick” with a set-up deck. He's right — if your audience suspects the prearrangement. As with all the effects in this section, the challenge is to convince your audience that the deck is well-mixed, by what’s come before, your casual handling, and your occasional false shuffles.

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(3) Four More. There are alternative routines for producing the Fours. All of them make usc of the positions of the 4H, 4D and 4S, which appear so nicely by spelling “Four of Spades.” The variable is how best to deal with the troublesome 4C, which is located 8 cards after the 4S. You can create an almost ideal spell if you're willing to move a single card in the stack, just temporarily, for the duration of this trick. To pre-set, move the 4C from its regular position in the stack to between the 7H and QI, and then cut the 3D to the top. Now, Riffle Force the 4S and then spell “The Four of Spades" (including T-H-E) forming four piles, one for each word. Reveal the selection at the end of the spelling, as the face card of pile 4. Then for the climax disclose the other three fours at the face of the other piles. To clean up, “accidently” leave the 4C on the table as you use the Basic Clean Up to reassemble four piles. Then, reinsert the 4C back into its proper position.

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In experimenting with this variation, I found it’s quite easy to do the initial preset of repositioning the 4C by using an under the spread cull, as I'm running through the faces. At the conclusion, before the clean up, I spread the left-hand cards and get a break beneath the top seven cards. I then use the Basic Clean Up to replace piles 1, 2 and 3 back on top, but | replace pile 1, with the 4C at face, on the bottom of the deck. If you now do Lorayne’s HaLo Cut at the break, the 4C will be sent back its normal position in the stack. This allows both the pre-set and the re-set to be done in performance.

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Purists may balk at relocating any cards. So, here are a few more alternatives that leave the 4C in its normal place in the Aronson stack. As before, start with the QH on top, but this time force the 4C as the selection. Announce you'll read Ginny's mind (turnabout fair play, dear) and spell three separate face-down piles for “Four,” “of,” and “Spades.” Ask if this is correct and look disappointed when she tells you you're close but wrong. You'll now conclude by spelling a fourth pile. Here you have multiple choice options (some with comic relief) to reach the 4C, as follows:

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(A) offerto try “once more” and then spell O-N-C-E-M-0-R-E, and reveal the selected 4C at face; or

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(B) explain, “I was supposed to spell your card. Let me try Y-O-U-R-C-A-RD,” again spelling the next cight cards, reveal the 4C; or

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(C) ask her for the value first, and when she tells you, spell F-O-U-R, pausing midstream. Continue by asking, “Was ir a Heart, Diamond, Club, or a Spade?” On receiving her reply, spell C-L-U-B to reveal your target card.

~~ you've found her 4C, thus recovering from your supposed error. For the surprise climax, turn over the other three piles to reveal the three matching values. (Or choose (D), none of the above). In any case,

Jack Coincidence (Producing the Jacks)

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of my favorite four-of-a-kind productions is Allan Ackerman’s “Quick Coincidence.” It’s quick, efficient and fooling. Allan's routine starts from a shuffled deck, so there's a hard part and an easy part. The hard part is secretly culling the fourof-a-kind into the desired positions, and the easy part is the magical production of those cards. Fortunately, the Aronson stack accomplishes the hard part for you.

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The performer removes one card from the deck and tablcs face down as a prediction. The spectator then chooses a card and without looking at it, inserts it halfway into the pack, anywhere she chooses. The identity of the spectator’s card is then disclosed; it’s a Jack. The two cards on cither side of the inserted card are revealed to be two more Jacks. Finally, the performer’s prediction is revealed to be the fourth Jack.

Working Happily, no pre-cut is needed for this effect; the action of removing the prediction card itself efficiently sects up the deck for the Riffle Force. 1) Start by spreading the cards between your hands, faces toward your body, as you tell your spectator, Ginny, that you're going to remove one card as a prediction. When you reach the JD, upjog it for about half its length. Continue spreading for two more cards beyond (above) the JD, and then break the spread into two portions, between the JC and the JH. The JC will be the face card of the left-hand packet and the JII will be the top (rearmost) card of the right-hand packet. Your left hand, still holding its cards, removes the upjogged JD from the spread and tables it face down as your prediction.

Re-assemble the two halves, placing the lefl half below the right half. As the portions come together, your right thumb, which will be on the face of the 9D, injogs slightly. Flip the entire deck face down into the left hand, and obtain a break under the 9D as you push the cards flush. Naturally, if your 9D is already a tactile key (as discussed in the introduction to this section), you can dispense with the injog and simply obtain the break above the JS by your key. Situation check: you're holding a break immediatcly above the JS, ready for the Riffle Force. The top and bottom cards the deck are the JI and JC respectively, readyfor the Bill Simon's Business Card Prophecy Move. The JD is on the table, face down.

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of

2) Ask Ginnyto call stop as youriffle, and Riffle Force to the break. Extend your left

214

UNPACKING THE ARONSON STACK

hand, thumbing off the top card, face down. Ask Ginny to take it, but caution her not to look at it. When she removes very cleanly drop the right-hand packet back onto the left-hand cards and square the deck. No break is required between the packets.

it,

3) Instruct Ginny to insert her card face down anywhere in the deck, but to leave it sticking out halfway. Have her do so. 4) You're now going to perform the Prophecy Move to ostensibly turn the inserted card face up while secretly cutting the deck in the process. We'll use the well-known handling that avoids flashing the bottom card of the deck. Briefly, spread the cards between your hands until you come the outjogged card, commenting, “You could have stabbed your card any place inthe deck.” Take all the cards above the outjogged card in your right hand, square them slightly, and turn your right hand palm down. This turns the right hand's packet face up (Figure 1). Pinch the outjogged card at its outer end between the right thumb and the righthand packet, taking the outjogged card against the underside of the now face-up right-hand cards (Figure 2). Finally, rotate your right hand palm up again, as your right hand places half, with the now facc-up JS on it, beneath the left hand’s packet (Figure 3). The JS should still be outjogged from the center of the deck, this time face up. It looks as if you merely split the pack momentarily to turn the stabbed card face up and re-inserted it back in its place. The illusion is enhanced if your attitude and attention is firmly focused on the spectator’s card, and not on the rest of the deck. Say, “Let's take a look. The card you picked is ..." — here execute the Prophecy Move — “the Jack of Spades.”

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JACK COINCIDENCE

215

5) Continue, “and you stabbed it in the deck between these two cards.” Matching actions to words, spread the deck face down between your hands until you reach the card immediately above the outjogged JS. Separate the spread at that point (the face-down JC will be on top of the left-hand portion, and the 10D will be the face card of the right-hand portion). With your left thumb very cleanly thumb off the top three cards to the table, a face-down sandwich surrounding the face-up JS (Figure 4). Nonchalantly rc-asscmble the pack by placing the right-hand cards under the left-hand cards. The top card of the deck should now be the 10C. 6) You're ready for the first climax. Turn over the two face-down sandwich cards to reveal an amazing coincidence: Ginnynot only picked a Jack. but she inscrted it between two other Jacks! 7) Conclude by reminding her of your prediction, which was made before her card was cven selected. Turn it over to reveal the fourth Jack. 8) It’s quite easy to re-set your stack as you clean up. At the climax all four Jacks are face up on the table. With your right hand casually pick up the JH, JC and JD, that order from the face. Your left hand, holding the rest of the deck, secretly obtains a left pinky break beneath the top card, the 10C. The right hand flips its three cards face down onto the top of the deck, and immediately does a small packet Slip Cut of the cards above the break. That is, the left thumb peels off just the top card, the JD, as the right hand moves the right with its three card packet, and then immediately drops those three cards back on top. The net effect is simply to place the JD back into stack position beneath the 10C.

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All that remains is to cut the 9D back to the bottom, and replace the JS back on top. If your 9D tactile key, you can do this without looking at the faces. is

a

Comments (1) Paired Color Alternative. Some practitioners may prefer to invert the order of the climaxes. This looks more aesthetic if the two sandwich cards are the same color and the prediction card matches the color of the spectators selection. It's relatively easy to accomplish this minor change and still obtain the requisite set-up.

at

For this variation, step 1 you're going to remove the JC as the face-down prediction card (instead of the JD), but in order set the two red Jacks into position, proceed as follows. Spread through and upjog the JD as before but spread three cards more, breaking the halves so the 10D is at the face ofthe left portion. With the left hand, remove the upjogged JD onto the face ofthe left-hand cards and close the hands together briefly for a momentary pause, as your left thumb moves onto the face of the JC. Immediately separate the hands again, taking the JC onto the face of the left half. Thumb off the JC face down on the table as your prediction. Don’t act guilty. This is not a secret switch or a furtive move; indeed, don’t even call attention to your actions until you thumb the JC onto the table, when, for the first time, you mention, “This card will act as prediction of things to come.” Reassemble the halves

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UNPACKING THE ARONSON STACK

as per the text and you're ready to proceed. (2) Credits and Background. Let me strongly recommend that you check Allan Ackerman’s original routine (Ackerman, Here's My Card, 1978, p. 78). The cull sequence he’s worked out set up from a shuffled deck is extremely efficient.

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The “Business Card Prophecy Move” (Bill Simon, Effective Card Magic, 1952, p. 32) has deservedly become one of the great utility moves in card magic. The particular handling described above was shown to me by Ed Marlo and has appeared in print in various this book) publications. My own “Mark-a-Place Move” (described in “Spell it Out” earlier is a variation I use in situations where the spectator designates a place by pointing to a random card that already in the spread, because that position facilitates a “bookwise™ turnover. On the other hand, when the spectator designates a place by inserting a card halfway, favor the original “Prophecy Move” because in that position it’s natural to turn over the inserted card end-for-end.

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1

The Mind Reading Deck, Part 6 (Producing the Sixes)

D

on’t be thrown by the title; you didn’t inadvertently miss parts 1 through 5. I"ve come up with three separate but similar effects, all based on the premise of a mind reading deck. One version magically produces the four Sixes as a surprise climax, another produces the Sevens, and a third produces the Nines. So, to make each one quickly recognizable, I've titled them to denote just which four-of-a-kind gets produced. But there are only three such “parts” and this initial one ends with the revelation of the four Sixes.

Effect

is

selected, say the 6C, and the magician explains that he has trained his deck to read A card minds. The magician asks the spectator to merely think about various components of her suit. Each time the deck discerns the selected card: first its value; then its color; and then correct answer. After spelling cach such answer, the performer spells the card itself and magically produces it. For a kicker, each of the previously spelled piles are turned over to reveal the other three Sixes.

its

Working

is

This plot a bit more complex than what we've seen carlier with the Aces or Fours, but the added element of the deck’s correctly reading the spectator’s mind provides the best of both worlds: we get magic along the way and still preserve the four-of-a-kind surprise climax. Indeed, the mind reading premise steers your audience away from seeing the four-of-a-kind climax coming. Before you begin, cut your stack so the 4S is the top card, and obtain a break below the 6C. It will be 24" from the top. 1)

2) Riffle Force the 6C as Ginny's selected card; since the break is 24™ from the top you'll want to speed up the first part of your riffle to make certain you've gone beyond the break by the time Ginny calls “stop.” After showing the selection to your audience, drop the right-hand cards back onto the deck. 3) False shuffle as you explain how talented your deck is. “You all know that I can do card tricks, but my deck itself has an amazing power; it can actually read your mind — as long as you're thinking about playing cards. Let me show you. You've picked a card, so I want you to think of it, and we 'll see how well the deck can do. Think about your card, bit by bit. For instance, first focus on its value and think whether a high or low card. Seven is

it's

218

UNPACKING THE ARONSON STACK

the dividing concentrate. make some suggestions

either high or low. The deck will read your mind.” Let Ginny As you hold the deck in your left hand, wave your right hand over the deck or other magical gesture to indicate the deck is doing its thing. I offer some on how to dress up this part of the routine in Comment 2. line, so just think

“Let’s check.” Flip the top card face up onto the deck, displaying the 4S as you continue, “That's a low card, so the deck says the card you're thinking of is low, L-O-W." As you say, “That's a low card ..." turn the 4S back face down onto the deck and use the basic spell procedure to spell three cards from the deck into your right hand, not reversing their order. Drop them face down onto the table, toward the left, as pile 1. Note that after being shown and then turned back face down, the 4S itsclf becomes the first letter spelled. This same pattern will be followed with each of the following spelled answers. The deck has, in fact, provided the correct answer and your spectator may smile a bit at the fact that a “low” card did appear when it should. I’ve found that this plot is quite intriguing. As the deck reveals each successive answer correctly, the strength of the effect builds. It’s more interesting than the magician just announcing the answer — somehow the deck is magically finding cards that indicate those answers. The Mind Reading Deck premise also causes the spectator to pay less attention to the spelled piles, since they've apparently served their purpose already: this helps hide the upcoming climax. 4) Continue, “Next, think of the color of your card, red or black.” Do your magic gesture again, flip the top card face up (it’s the 3C) and say “The deck says it’s black, B-L-AC-K.” As before, turn the 3C face down. Then follow the same spelling procedure, and drop the right-hand cards on the table to form pile 2. This pile is placed to the right of pile 1. 5) Repeat the litany, this time asking Ginnyto think of the suit of her card. The deck reveals Clubs (the 4C) and you spell C-L-U-B-S to form pile 3. As usual, this pile is placed to the right of the others. 6) “Well, the deck has told us your card is black, a Club, and a low one. Let's go all the way and see if the deck can find your exact card. For the first time, tell us what card you've been thinking of.” When Ginny informs you it is the Six of Clubs say, “Let's go for it. S-I-X-O-F-C-L-U-B-S.” Here, spell the card’s full name as you recite and then pause at the next card as you drawattention to it. I sidejog it offthe top ofthe deck for about half its width. “And if the deck is right ...then this should be your card, the Six of Clubs.” Take it on the bottom of the right-hand cards and turn these cards face up on the table as pile 4, to reveal Ginny's 6C! The effect is apparently over.

Continue, “I'm always impressed at how much this deck knows. See, from your very first thought, the deck knew all along that you were thinking of a Six." Here, turn cach of piles 1, 2, and 3 face up in rapid succession to reveal the other three Sixes. The four piles, each with a Six on its face, make a visually magical display. 7)

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Use the Basic Clean Up reset your deck back to its starting position. You can then cut the 9D back to the bottom or set up for another of the effects in this section. 8)

THE MIND READING DECK, PART

6

219

Comments (1) More Mindreading. Obviously my suggested patter presents just one alternative, and the theme of a mind reading deck is rife with opportunity for personalization. You might find it preferable, at step 6, to continue in thc mind reading vein. Instead of asking the spectator to name her card, you could have the deck “whisper it in your ear.” Then, announce and spell the Six of Clubs. I'll illustrate such a variation in the next effect. (2) Adding Magical Productions. The procedure in the text above is about as clean and hands off as you can get but it’s not the only, or necessarily the best, way to go. Let me mention one little twist that | sometimes add, to give the effect a bit different feel. It has to do with turning the top card over to reveal the mindreading deck’s correct response to each question. Instead ofjust openly turning the card face up, consider using a flourish to magically produce that card. For example, John Cornelius” “Spring Set” is a snappy way to pop the top card face up. Or, the Benzais® Spin shoots the card out from apparently somewhere in the center of the deck. Or, after cach question to the spectator, while she thinks of her response, explain that you'll program the deck to read her thoughts and then give the deck a simple series of false cuts or a false shuffle — and then turn the top card face up. This is an intentional adding of apparent dexterity, which changes the effect a bit. Instead of the correct card’s appearing as the next card after the previous deal, the spectator isn’t sure exactly where it came from — but it still is correct as a revelation of her thoughts. It suggests the idea that your skill enabled you not only to read her mind, but also to instantly find a card from wherever happened to be in the deck and produce it in a magical manner. Such an additional bit of handling and the interim false cuts or shuffles further disarm any sense of a stack being in play. Try it out with your own favorite magical productions (that keep the rest of the deck intact) suits you. Naturally, these suggestions apply equally to each of the ensuing to see whether Deck” effects. “Mindreading —-

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it

(3) Background. It’s quite remarkable (to me, anyway) that all of the “answer” cards happen so serendipidously to fall into place and that the final spelling of the selection just works out so well. None of this has anything to do with the underlying poker hands in the Aronson stack, so I must conclude that a deeper magic was clearly present when I came up with the stack 30 years ago. Of the three “Mind Reading Deck” effects, I find this one to be the most tightly structured and the most efficient to perform.

The Mind Reading Deck, Part 9 (Producing the Nines)

I:

you've just read the preceding effect, you know pretty much exactly what's going to

happen here. The deck reads the spectator’s mind and provides correct answers about the card she’s thinking of, the 9S. At the end of scveral spells, the deck finds the actual selection and reveals the other three nines as well.

Since the patter ideas here run parallel to those in “The Mind Reading Deck, Part 6,” we can skip the shtick, and go directly to the nuts and bolts of the procedure.

Working 1) Before you start, cut your stack so the the 98, which will be 19" from the top.

2) Riffle Force the 9S, display packet back onto the deck.

611

is the top card.

Obtain a break beneath

it to the assembled crowd and dribble the right-hand

3) Give the deck some false cuts and false shuffles as you explain your deck’s mind just think of whether her reading talent. For the first question, ask your spectator, Ginny,

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card is a spot card or a picture card. Repeat the alternative, spot or picture, do a magical gesture over the top of the deck, and turn the top card face up to display the 611. Explain that the deck received the thought of a spot card. Turn the 6H face down and spell S-P-O-T in the nowstandard basic spelling procedure (not reversing the order of the cards) to form a facedown pile 1.

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think of the color, red or black. Turn over the top card, the KS, 4) Next ask Ginny revealing that the deck has discerned that the selection is black, and follow standard procedure, spelling B-1.-A-C-K to form pile 2.

Request her to think of the suit, phrasing your question so that it anticipates a the in singular, “Think of whether your card is a Heart, Spade, Club or Diamond.” response Let the deck read her mind, flip the top card over (the QS), and proceed to spell S-P-A-D-E to form pile 3. 5)

far the deck has received impressions ofa black spot card, a spade,

but which one? Let's see if the deck will tell me precisely what value your card is" Here, hold the deck up to your ear and riffle the corner of the pack to produce a whirring sound as though the deck might be whispering in your ear. Then announce, “The deck tells me your card is a Nine, N-IN-E, and if the deck is right, then this card should be your card, the one you 've been thinking 6)

“So

THE MIND READING DECK,

221

PARTS

this last

sentence, time your actions to the words as you spell four cards face down from the left hand to the right, one for each letter, then pause at the next card, and finally take it and turn all the cards face up, revealing the selected 9S at the face of pile 4. As before, your audience will think the effect is over.

of, the Nine

of Spades!” As you

say

7) Smile at your audience and look a bit doubtful. “You don’t seem to believe that the deck actually told me it was a Nine. Really, the decks been telling us all along that was a Nine.” As you say this, turn over the other three answer piles in rapid succession to reveal the three matching Nines.

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8)

The Basic Clean Up restacks your

deck

to its starting position.

Comments (1) Mirror Effects. One of the things worth exploring is whether similar spelling is in reverse order. Such “mirror” effects can be worked out if the stack (or a portion of effects can be useful in several ways. For instance, if the appropriate cards start in reverse order, you could then use reverse dealing for the spelling and still wind up at the end in normal Aronson stack order without having to correct or reset anything. Or, if you can develop a mirror effect that uses roughly the same portion of the stack that one of the other effects uses (in the normal order) then you could present both effects, using reverse dealing on both of them, and still end up back in original stack order at the end of the second effect — because the second effect would unwind the reversed cards resulting from the first effect. I'll offer a concrete example later in “Fit Four A King,” comment

it)

6.

(2) Mirror Nines. The Nines offer a practical, effective illustration of a parallel trick that can be generated out of a reverse Aronson stack. Bear with me and try the following. To pre-set, cut your stack so the 911 becomes the top card. Now reverse the order of the top 18 cards of the deck, from the 9H through the 3H, so the 3H becomes the top card and the 9H is now at the 18" position from the top. Leave the rest of the deck in its normal order, below the 9H. We're now going to perform a variant of the “Mind Reading Deck.” Obtain a break below the 9H, force it as the selection and explain the “Mind Reading Deck” premise. For the first thought, ask for the color. Turn over the 3H and then spell R-E-D, but in this variant, spell the cards face down, one at a time, reversing their order, to form pile 1. Second, the spectator thinks of the suit (in the singular). Turn over the 2H and then reverse deal, spelling H-E-A-R-T to form pile 2. For pile 3 you nced to generate another 5-letter response and you want to use the upcoming top card, the 2C, somehow as the “answer” indicator. The best response I've come up with follows, but maybe you can think of a better one. Explain that Ten is the dividing line between number cards and picture cards, so Ginny should think of whether her card is Over or Under a Ten. Explain she might (theoretically) have one of three “possible” answers. Repeat, “Over, Under or Ten,” turn over the deck’s response (the 2C, i.e., “Under”) and spell U-N-D-E-R, again with a reverse deal, to form pile 3. Finally, have the deck whisper the value to you (as in step 6 above). Reverse spell N-I-N-E to the table and triumphantly deal the next card face up onto these last four face-down cards

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UNPACKING THE ARONSON STACK

to reveal the selected card, the 911! For the climax, turn over the top card of each of the other three piles to display the four Nines.

You'll now do a different clean-up, which is even cleaner than the Basic Clean Up. Just turn

the four nines back face down, each on top of its respective pile; then gather pile 4 onto 3 onto 1 and drop the whole thing on top of the rest of the deck. The cards arc now back in normal, cyclical Aronson stack order.

2 onto

(3) Direct to the Nines. Since the Nines are exactly five cards apart, you could create a quick alternative effect in which you simply produce each of the Nines by spelling N-IN-E four times succession. Just start by cutting the 10H to the top . Using the basic spell procedure, spell N-I-N-E, pause on the next card, then take it under the spelled cards and turn them face up as pile 1 to reveal the 9H. Repeat three more times produce the remaining three Nines.

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The Mind Reading Deck, Part 7 (Producing the Sevens)

his is the third part in the “Mind Reading Deck” trilogy. I had to finaglc a bit to create an appropriate magical ending, but the result is an extra cffect: a magical appearance the selection between a sandwich. It fits perfectly with the accompanying patter.

T= Effect

A card is selected, the 7C, and the performer reveals features of the selection with the aid of his mind reading deck. All works well until he asks the spectator to think of whether her card is high or low. The deck receives only ambiguous thoughts and produces wo cards in response, one high and one low. The spectator acknowledges that her card is in the middle, between high and low, because it’s a Seven. Upon spreading the sandwiched high and low cards, one card is seen to have appeared between them — it’s the selected 7C. The remaining spelled answer piles are turned face up to reveal the other three Sevens.

Working 1) To prepare, cut the 10S to the top of the deck and obtain a break beneath the 7C, 18" card from the top. the

Hopefully the basic patter themes from the previous two effects are fresh in your mind. I'll run through this effect in a summary way, until we reach the new twist at step 6. Riffle Force the 7C and show around. Then drop the right-hand cards back onto the lefihand packet. Nonchalantly give the deck some false cuts or false shuffles as you explain the premise of how your deck helps you by reading minds. 2)

it

3) For the first question, ask your spectator (who continues to be Ginny, since she’s the only one who'll watch all these effects) to think of the color of her card, red or black. Perform a magic gesture or whatever it is you do to indicate the deck is warming up to demonstrate its mind reading skills, and turn the top card face up, showing the 10S. Remark that the deck received the thought of black. Turn the 10S back face down and spell B-L-A-CK using our basic hand-to-hand spelling procedure to form a face-down pile 1.

4) Repeat the procedure, this time asking Ginny to concentrate on the suit. Frame your request so she anticipates an answer in the singular, “Think of whether your card is a Heart, a Spade, a Club or a Diamond.” Flip the top card over, revealing the 8C and announce that the deck thinks it’s a Club. Recite C-L-U-B as you turn the 8C back face down and spell four cards to form pile 2.

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UNPACKING THE ARONSON STACK

her

to

think of whether card is a number card or 5) For the third question, ask Ginny a picture card. After due concentration (by your deck) turn over the top card to show the 58S. Tum it back face down as you announce, “4 Number card, N-U-M-B-E-R, " and spell six cards to form pile 3. 6) Here's where the procedure differs from the preceding two effects. The selected card, the 7C, is nowthird from the top of the deck and you want to reveal or produce in a that fits the mind deck theme. magical way We're going to use the fact that a Seven reading just happens to bc midway between high and low create a genuine ambiguity in the mind. We're spectator’s going to capitalize on this ambiguity by turning over fwo cards on top of the deck, one low and one high. This will get us to the point where the 7C lies and we can produce it cleanly, with minimal sleight of hand, and even with a pun of literally being between high and low. Here's the detail.

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Tell Ginny, “Next, just think of whether your card is high or low. No, don’t say anything. I don't want you to give me, or my deck, any hints. Just focus on the value ofyour card, high or low.” Now, the patter here is critical because I can tell you from experience, as soon as you ask a spectator to think either high or low, she’s going to seek clarification. She's got a dilemma; she’s been given instructions, but because of her uncertainty of whether a Seven is high or low, she doesn’t know quite how to follow them. Your goal is to cut her off so she doesn’t blurt out her card. If she does say something like, “What it’s not high or low?” or, “It’s in between, then her to just do the best she can. You can then actually pick up on her words later on when you reveal the card. ”

tell

if

Ginny has already seen your deck read her mind three times so she expects that you'll again turn over the top card. You'll change this procedure for this final pile and her very ambiguity will justify your turning over two cards. Do your magical gesture, then hesitatc and say, “The deck is getting ambiguous thoughts, both low and high, as though you're undecided.” Casually spread the top few cards so you can obtain a left little finger break beneath the third card from the top, the 7C. “It's telling me to turn over two cards. .." Here, in a continuation of the spreading action, flip the top two cards face up onto the left-hand packet, where they coalesce onto the still face-down 7C. Immediately take all cards above the break in Biddle Grip with the right hand and sidejog them about halfway off the deck so the left thumb is in position, ready to peel off the face card, the 5D (Figure 1). Now, finish your sentence, “One low, and one high.” To illustrate these words, as you say “one low" your left hand peels off .

THE MIND READING DECK, PART 7

225

the 5D and replaces it behind the card(s) in the right hand, revealing the QH as you say “one high” (Figure 2). Immediately square these face-up cards, the 7C now secretly sandwiched between them. Place this sandwich face up on the table as pile 4. 7) Your work is now done, so make the most

of the presentational situation. You've

been chattering on about high or low, not letting your spectator get a word in edgewise about the fact that, as far as she’s concerned, her card isn’t exactly either. Give her some relief as you ask, “The deck just got ambiguous thoughts, not quite high or low. Is that what you were in the middle, or thinking?” She’\l now answer, perhaps explaiming that it’s in between, that it was a Seven. Whatever her response, say, “No wonder the deck got conflicting thoughts. It’s in the middle, berween high and low.” Snap your fingers over pile 4 as you repeat, “Look, it’s literally between high and low!” Spread pile 4 to suddenly reveal a facedown card between the high QH and the low 5D. Recapitulate what's happened, “The deck right read your mind and told us your card was black, a Club, a number card, and now the face-down last the On these Seven Clubs.” be words, in the middle, so it must remove of card from the sandwich and turn it face up to reveal the selected 7C!

or

it's

to

gather the three cards that form 8) The trick is apparently over. I use this moment in the back, 5D the middle, and the selected 7C on pile 4 back into stack order face up: QI

at

the face. As Ginny appreciates that you've now magically produced her card, continue with the climax, “7 think the deck definitely read your mind, because it’s saying Seven loud and clear.” Here, turn over piles 1, 2 and 3 in rapid succession to reveal the other three Sevens on the face. 9) order.

Use the Basic Clean Up to restack the four piles back to their original starting

Two by Four (Producing the Twos)

Twos are located in the Aronson stack at positions which happily allow all four of them to be produced by spelling. But just because you can spell to all four doesn’t necessarily mean you should. I've arranged this present effect so that the magician spells to three of the Twos, but the final Two — the selected card — is produced in a different and morc magical manner.

T= Effect

A spectator sclects a card, the 2S, and the magician tries to read her mind and spell to it.

Unfortunately, the magician guesses wrong and spells to cach of the other three Twos. Confessing that his magic spell doesn’t seem to be working, the magician snaps his fingers and magically produces the selected 28S.

Working Writing up the basic effect poses something of a dilemma, because after you've spelled and produced the first three Twos, the discovery of the final Two is up for grabs. As you'll see, the procedure actually delivers the selected card to the bottom of the deck, so the climax is susceptible of any number of possible revelations, limited only by how much work you want to do and, of course, the need to keep the remaining portion of the stack in order. Somewhat arbitrarily, I've chosen the Leipzig Spin Cut production for the primary description, but the Comments section offers other quite viable options. Although the Riffle Force could be used for this effect, I find the classic Cross Cut force works well here because no secret break needs to be held. To pre-set, just cut the 2S to the bottom of the deck and place the deck face down in front of Ginny. 1)

Ask Ginnyto cut the deck, gesturing to indicate that she’s to put the cut-off portion on the table. Casually pick up the original bottom half and place it perpendicular across the cut-off portion. Create a time delay as you ask her if she’s ever witnessed a real magic spell. Whatever her response, explain that you'll give her a demonstration, so she should remember the card she just cut to. Here, lift the upper portion with your right hand and display the face card, the 28, as apparently the card she’s cut to. Then casually dribble the right-hand cards back onto the still tabled half, but as you commence the dribbling, secretly injog the first few cards you release to create a slight step, separating the halves. Pick up the deck in your left hand and square

up

the cards,

obtaining a left little finger break

TWO BY FOUR

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below the injog, immediately under the 2S. Double undercut to the break, secretly bringing the selected 28 to the bottom. (Status check: the 9H should now be the top card of the deck). 2) Explain that you'll try to find her card with a magic spell. Act like you're concentrating and then say, “/ think I've got it. I'm getting the thought of a Two, that's T-WO, ... of, that’s O-F....” As you recite this, start your spelling using the basic spelling procedure (hand to hand, not reversing the order), but pause once you've spelled these first five letters. So far, the spectator thinks you've guessed it right because her card is, in fact, a Two. But then, blithely continue with your spelling, “Clubs, that’s C-L-U-B-S, the Two of Clubs! Here continue spelling the next five cards and at the conclusion, triumphantly turn all the spelled cards face up on the table as pile 1 to reveal the 2C. You've successfully found the card you spelled; the problem is, it’s not her card. This sets up the running gag for the next two piles. 3) Look at your spectator, Ginny, expecting applause, but instead she’ll show her disappointment (my wife reacts that way often). Jump in with, “Well, I'm confident it was a Two so let me try a different one. I'll bet it was a Heart, that’s H-E-A-R-T, the Two of Hearts!” Again, time your spelling to the pattern established previously and smile expectantly as you turn these five cards face up to form pile 2, displaying the 2H as you utter name. It is the Two of Hearts but, once again, you're wrong.

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4) Offerto try again. Say, “Give me one more guess. It's got to be Diamonds, that's D-I-A-M-0O-N-D-S.” At the end of this spelling, pause and push over the next card (following the “s”) and take it under the right-hand cards as you triumphantly conclude, “the Two of Diamonds.” Turn the cards face up as pile 3 and display the successful result of your spell. Unfortunately, it’s still not Ginny’s card. (You might want to use one Double Push Off during the “Diamonds” spell; this would make the 2D appear on the final “‘s” thus making the spelling procedure for pile 3 completely consistent with piles and 2). 1

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be able find the Twos, the rule 5) Explain that, although your magic spell seems is three strikes and you're out — so, you'll need to employ good old fashioned sleight of hand to locate Ginny's card. Throughout the spellings, the selected 28 has been waiting secretly on the bottom of the left-hand packet and you can now employ whatever magical production or flourish you'd like to produce it for a magical climax. Two flourish productions of the bottom card that work well here include Neal Elias’ “Cutting Discovery” or J. K. Hartman's “Popover Flourish” (see comment 1). Or, you can do an under the spread force, begin by secretly culling the 28 off the bottom as you start your spread, and have the spectator herself “touch any card,” which turns out to be her selection.

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My preferred ending for “Two by Four” and yet looks quite dextrous.

is the Nate Leipzig Spin Cut production.

It’s simple

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UNPACKING THE ARONSON STACK

Nate Leipzig Spin Cut Production Briefly: the deck is held from above in right-hand Biddle Grip. Your left hand is below the deck, palm facing forward. Your left forefinger, pointing upward, presses lightly against the inner edge of the deck and breaks off about half the packet (Figure 1). Swivel Cut the top half into the left hand, pivoting it clockwise 180°; the right middle finger at the front edge functions as the pivot point (Figure 2). This upper packet is guided into the left hand and is allowed to drop into the left palm, where it is held in Dealer’s Grip. The right hand carries the original bottom half forward over the left hand to complete the cut — but before the right hand drops its half, the left thumb presses up against the 28 to draw it out the left (Figure 3) and flip it face up onto the top of the packet (Figure 4). Maintain a left pinky break, or establish a step, between the cut halves to aid in restoring the stack order later on.

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The 28S pops out of what looks like the center magical ending.

of

the packet, in a pretty

flourish. It’s quite a

6) This trick’s clean-up is easy. All you need to do is re-cut the left-hand packet at the break or step and replace the 28S back at the bottom. actually accomplish this as I display the 2S. Here's how I do it. As soon as the 2S flips face up on top ofthe left-hand packet I grip the upper portion (those cards above the break) with my right hand from above as my left thumb lightly rests on the face-up 2S. The left hand performs an “open” slip cut, moving forward with the lower portion of the cards as the 2S is l

TWO BY FOUR

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dragged forward and thumbed off onto the table. The left hand now moves back with its cards on fop of those still held in the right hand, thus unpacket and nonchalantly replaces the the Swivel Cut and packet back to its Aronson stack order. This is a quite restoring doing natural follow-through to the production of the 28S.

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onto 2 onto and dropping the the left-hand cards. combined pile on top of Finally, replace the 2S back on top or on the bottom and you're back in Aronson cyclical order.

Now perform the Basic Clean Up, picking up the piles

3

1

Comments (1) Background and Credits. The Leipzig “Spin Cut” appears in Bruce Elliott's Magic: 100 New Tricks, Faber & Faber 1957, p. 125. Neal Elias” “Cutting Discovery” appeared in P. Howard Lyons, lbidem, No. 26, 1962, p. 9 (and is also described in Paul Cummins and Doc Eason’s recent book Fusillade, 2000, p. 56). J. K. Hartman's “Popover Flourish” first appeared in Hartman, Packer Magic, 1972, p.2 (and is also in Hartman's Card Craft, 1991, p.140). (2) From the Pocket. A quite different, but quick and visual ending is to magically produce the 28 from your pocket. At the point when attention is initially drawn to the Two of Diamonds on pile 3, you've got ample time to bottom palm the 2S off the bottom of the lefthand packet in your left hand. Take the rest of the cards from above with the right hand as you say, “I can’t understand why it wasn't one of these three — because I always keep the last one, the Two of Spades, in my pocket!” Here, reach into your left pants or jacket pocket with your left hand and withdraw and display the palmed card for the climax.

you have considerable leewayas to when and how you palm the selected card. Since secretly bring the 28 to the bottom quite early, you could palm it at any time during the you spell of piles 1, 2 or 3 and then casually place your hand into your pocket as your spectator answers a question; this allows you to go to your pocket at the climax with an empty hand. While I prefer a left-hand bottom palm for this effect, it’s also open to a top palm, your prefer. Just control the selected card to the top of the deck after the force and palm it off before your first spell. In fact,

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(3) Magic Along the Way. This effect provides an example of a trick which really only works by revealing magic along the way. Even though the plot theme resembles “Aces Awry” (magician is wrong three times, then resurrects himself) the small differences between what gets spelled in the two effects nevertheless allowyou to delay the revelation ofthe Aces, but not the Twos. This is in part because in “Aces Awry” the value is not discerned until the end and also the three spellings are all parallel (always the suit), which attracts less attention to what you're doing. Sometimes subtle differences in what gets spelled are enough to tip the balance and justify one presentation route over another. (4) Spelling All Four Twos. As mentioned, the Aronson stack actually allows you to spell all four of the Twos (not merely three of them). To do this, just start with the 4D cut

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UNPACKING THE ARONSON STACK

as your top card and first spell T-W-0-0-F-S8-P-A-D-E-S, showing the 28 at the end of the spell. From here on, the other three piles spell per the text. If you choose this variation, just force the 2D as the selection since it gets produced last. If you like the idea of spelling all four of a kind, I think you'll find “Fit Four a King” be a stronger, more tightly-knit effect.

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Fit Four a King

(Producing the Kings)

is the last of the four-of-a-kind effects, and in some respects it’s the most unusual. It stretches the bounds of coincidence that the Aronson stack allows us to spell the value and suit of all four Kings — and then produce each one of them. But what's even stranger — and quite useful — is that the four spells taken together use up exactly 52 cards. And what's positively weird is that you can also spell the four Kings when the deck is in reverse stack order!

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This makes for some interesting possibilities. While the plot falls squarcly within the pattern set by previous cffects in this section, the opportunity to secretly reverse your entire stack, or reverse it back to normal, is decidedly unique.

I'll present sort of a “plain vanilla” effect for the primary description and then go into some of the variations and esoteric applications in the comments.

Effect The performer trics to read the spectator’s mind and spell to her card. Unfortunately he keeps getting the suit wrong and spells to and produces the three matching values. Finally, as he exhausts the cards in the deck (and possibly the audience) he spells to and discovers the selection as the very last card left in the deck.

Working You'll see that there are a number of ways to begin this effect — indeed, cven a number of possible force cards — but let's choose the easiest and most straightforward entry. Hold the deck face down, in original Aronson stack order. Spread the top few cards so that you can obtain a left little finger break beneath the second card, the KC, and square up. Now undercut approximately fifteen cards (the exact number isn’t important) from the bottom of the deck to the top, still maintaining your break. You've just set up for a riffle force of the KC, without any need to look at the faces. 1)

2) Riffle Force the KC as Ginny’s selection, display it, and then dribble the right-hand cards back onto the left-hand packet, maintaining a sccret left little finger break between the portions. Square up and double undercut to the break, bringing the KC to the face of the deck. This similar to the procedure used in “I'wo by Four,” and if you prefer to use a Cross-Cut Force instead of the Riffle Force, you can. Status check: the deck is actually in original

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UNPACKING THE ARONSON STACK

Aronson stack order, except that the top two cards have been cut to the bottom. You're now ready spell each of the four Kings.

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3) Ask Ginny to concentrate first on the value of her card. Look pensive and then say, “I'm getting the impression ofa King, that's K-1-N-G ... " spelling one card for each letter in standard fashion, but then pause midstream. You're still holding the four spelled cards face down in your right hand as you continue to ask, “... and now think of the suit of your card. Good, I'm getting the thought of D-I-A-M-O-N-D-S." Here, continue the spelling of the suit (without the word “of™) taking the suit cards under those already in the right hand. At the conclusion, turn all of the cards face up as pile 1 to reveal the KD on its face. Aronson stack

afficionados know that ordinarily the KD is one of the cards that automatically spell directly from the top of the deck; here, however, because we've eliminated two cards by the undercut, we have to eliminate the “of” in the spell. I find that breaking up the spell into two separate questions makes the “value/suit” combination acceptable. The rest of the spells are more natural, so it’s good to get the quirks out of the way early.

4) You can play up the magician-in-trouble scenario as much or as little as you'd like, but when Ginny tells you you've missed, offer to try once more. “Well, I got the strong thought ofa King, so let me try another. How about the King of, that's T-H-E ...K-I-N-G ...OF.”" As before, spell these letters (including the word “the”) into the right hand, pause, and then look excited as you receive the thought, “yes, Hearts, that's H-E-A-R-T-S, and this one should be your card, the King of Hearts!” Continue the spelling of the suit, and at the end push off the next card (the one following the “s™), as you draw attention to it. Take it under the right-hand cards, and turn them face up as pile 2, revealing the KH. 5) When Ginny points out you've missed again, proceed boldly with your next try. “How about K-I-N-G-O-F" pause briefly, then conclude, “S-P-A-D-E-S.” Repeat the process used with the KH of taking the next card (after the “s”) to reveal the KS on the face of pile 3. 6) Riffle the balance of the left-hand cards nervously, being careful not to flash the bottom card. “I know there's only one King left but 1 don't have many cards left either. Wish me luck.” With all eyes on you, do the final spell more slowly, making it quite clear you're taking one and only one card for cach letter; people actually wonder whether you'll run out of cards. Spell, “K-I-N-G-O-F-C-L-U-B-S" and snap the very last card in the deck for emphasis when it coincides with the final “s.” Take it under the right-hand cards and turn them face up as pile 4, revealing your final success as the KC stares them in the face. Obviously the Basic Clean Up puts the stack back to cyclical order. Hold the assembled cards face up with the selected KC uppermost. Double undercut two cards and the deck will revert to original Aronson stack order. 7)

Comments (1) Exhausting the Pack. While the spells are not fully consistent (onc omits “of,” one uscs “the,” and two go to the “next” card) I've found that you can get away with this in

FIT FOUR A KING

233

the context of a fast-paced, humorous presentation. The fact that you're spelling the value and suit for cach one is what stays their minds, and as you deplete the cards it actually becomes somewhat of a “magical event” that you finally arrive at their selected card at your very last opportunity. Theres a kind of extra surprise that the deck just fits your spelling endeavor.

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(2) Forcing Any King. One corollary of using all 52 of the cards the spells that, because the deck cyclical, you can actually force any one of the four Kings. Just force your desired King, control that King to the bottom, and then spell through all four Kings (using the suit cycle Diamonds-Hearts-Spades-Clubs) with the desired King appearing last. I’ve chosen the KC as the one [ force for two reasons. First, the order of the four spells gets progressively cleaner, and second, it’s much easier set up the force for the KC because of position as stack number

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to

2.

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(3) Four Selections; One Force. If you've got at least four members of your audience, you can change the plot and presentation radically. Instead of using the “magician misses, then makes good” theme, you could adopt an alternative, more success-laden theme, where four people each select from a four-of-a-kind and you spell and discover all four chosen cards successfully. Here's an outline. Explain to the assembled group, “Instead offinding one selected card, let's try something that's four times as challenging. 1'll try to magically find Jour of a kind, whichever four of a kind you re thinking of” You should be actively false shuffling the cards as you point spectator 1 and ask, “Sir, what ’s your favorite suit: Clubs, Hearts, Spades or Diamonds.” When he names one, say Hearts, repeat it, “O.K. sir, you remember Hearts," as you move on to spectator 2. “Ma'am, there are three suits left, which of those three would you like?” When she calls one out, re-enforce her choice and then proceed with two more spectators so that each has “chosen” a different favorite suit. Now continue, “Each ofyou has chosen a suit, but now we need to choose one value that all ofyou will share, so together you'll be thinking of a four-of-a-kind.” Point to of four one spectators, preferably one who's not sitting too close, because distance helps justify the Riffle Force procedure; you're having her call “stop” because she isn’t close cnough to conveniently remove a card physically. Explain, “Each ofyou already has a suit. Now Ginny will choose a value at random for all ofyou.” Proceed exactly as in the text to force the KC. Display it so that all four of the spectators can clearly see it and offer an example so that the spectators will understand. “Now you can all see what value this is, maybe Six a or a Ten or a Jack, or whatever. I won't look, but whatever value it is, combine that with your own chosen suit to form your own unique playing card.” Make certain everyone is with you, all the while continuing with your casual false cuts and shuffles. In fact, you've brought the KC to the bottom, exactly as in step 2 of the text.

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the

Now, point to one of the spectators, apparently at random but really choosing whichever person chose Diamonds as his favorite suit. Go through the mind reading litany to spell and produce the KD as the first selection. Everyone should be impressed because it’s not miss, a but a direct hit. Then proceed right down the line, just pointing to the spectators in the proper order (Hearts, Spades, and finally Clubs) and spell and produce each person’s chosen card in turn. You'll be left with a pretty display, fast-paced revelation, and a plot that scems to be quite challenging. Its success depends on your ability to convince them that the deck is randomly mixed, and that the choice of the value card was truly free. You could even

a

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UNPACKING THE ARONSON STACK

substitute the Cross Cut Force here and later remind your group that Ginnycould have cut to any card. (4) Reversing the Stack. If you use reverse dealing on each ofthe spells, you will accomplish something quite interesting: you will have reversed the entire order of the Aronson stack. The stack will still be in full order, but from the face up. This can be quite useful for certain tricks. One of my favorite memorized deck cffects is “Madness in Our Methods,” from Simply Simon; it starts with the pack in reverse stack order. Some of the “sequence spells” discussed later also work from a reverse stack condition. (5) Mirror Kings. Strangely, if you start with the deck in reverse Aronson order, there exists a (different) spelling procedure that will spell to all four Kings and will use exactly all 52 cards! To try it, just take a deck in normal Aronson stack order and deal all 52 cards to the table, one at a time, thus reversing their order. Then, cut the face card, the JS, the top, leaving the KC as the face card. For the “Mirror Kings” effect, force the KC in any way you wish; you can use the same Riffle Force and control procedure sct forth in step 2 of the text. Using reverse dealing (one card at a time dealt to the table) here are the four spells:

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First, spell K-I-N-G, then S-P-A-D-E-S, and turn over the next card, the pile |. Leave the KS face up on top of the rest of pile which is face down.

(1) KS,

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(ii) Second, spell K-I-N-G-O-F-H-E-A-R-T-S, and turn over the next one, the KH, for pile 2. (iii) For pile 3 there’s one extra card that we need to lose during the spelling. A Double Push Off would normally do the trick, except that here it would leave the two cards that get pushed off together un-reversed. To compensate, I add a little subtlety. At the end of pile 2, after revealing the KH, I point out, “Look, if we had gone just one or two cards more, we would have missed.” As [ say this, I thumb off the top card into my right hand and flash face (the I and then thumb the off 4H), next card (the 7C), taking it on top of the facedown 4H, and again flash the faces of both these slightly spread cards, showing no King. You've subtly reversed the order of these two cards during this display. Now, place them together face down back onto the left-hand packet, holding a left little finger break beneath them. Now, for pile 3, spell K-1-N-GO-F-D-I-A-M-O-N-D-8, still using reverse dealing but doing a Double Push Off as you spell the first letter, “K.” (Basically, just deal the two cards above the break together as one. The double immediately gets covered up by the following spelled cards, so it’s an cfficient way to get rid of the extra card and still keep your stack order reversed). After the spell, tum over the next card to reveal the KD.

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(iv) You're home free because pile 4 spells cleanly. Spell K-I-N-G-0Q-F-C-1.U-B-8, reverse dealing cards face down to the table. At the end, after the “s,” you'll be left with just one card remaining in your left hand. Snap it for

FIT

emphasis, then reveal

FOUR A KING

235

it as the KC and it face up onto pile 4. drop

Turn the Kings face down back on top of their respective piles. Gather the piles, 4 onto 3 onto 2 onto — and you're back in normal Aronson stack order! Just cut the JS back from bottom to top, get back to full original order. I've used this version to bring the deck from reverse stack order back to normal stack order. 1

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(6) Reverse Deal Routines. “Mirror Kings” opens up some intriguing possibilities for routining several effects together, to provide the best of all worlds: you can usc reverse the original Aronson dealing on all effects, with no pre-set, and no-reset and still return back the effects we've three of illustration combining stack order you started with! Here's an already discussed. Start in normal Aronson stack order and for your first effect perform “Aces Awry, using reverse dealing. At the conclusion, gather up the 22 cards (now in reverse order) and drop them back onto the left-hand packet, but keep a break beneath them. Now perform a brief, casual overhand shuffle as follows: start by chopping off all the cards above the break in one clump, then run 3 more cards singly directly onto that group, and finally toss the balance on top. Status check: the QH is nowthe top card, and the JS is at the face of the deck.

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Now, for your second effect perform “Four on a Match,” again using reverse dealing on each of the four piles. When you're finished, gather up the 20 cards you've just used (now in reverse order) and drop them onto the left-hand packet. Again, keep a break between the halves. Do one more interim overhand shuffle as follows: chop offall cards above the break, run 7 cards singly, and toss the balance on top, injogging this last tossed portion. Now cut the injog. Believe it or not, the entire deck is now in reverse Aronson order!

at

Finally, for your third effect, perform “Mirror Kings,” using reverse dealing throughout. At the conclusion the entire deck will revert back to normal Aronson order. (I know, it’s the “stack order” that’s normal, not Aronson himself).

I've chosen this particular combination of effects not because it’s necessarily the best from a presentation perspective, but because it’s the simplest illustration of the principle of combining effects, using reverse dealing. If you experiment, you'll find that other combinations are also possible. Even if some effects use overlapping cards, or “go around the horn,” you can

generally get around such obstacles by creating an interim overhand shuffle, either to use up cards between the effects or to put a few cards back where they belong so they can be used again in a subsequent effect. I'll leave such routining and devising the connecting shuffles up to you, but I did want to show you the principle in one concrete application.

Joshing With The Threes (Producing the Threes)

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friend Josh Jay is a creative and able practitioner with the Aronson stack. In a session extending late into the night, I showed him many of the effects in this section and then, somewhat exhausted, | went to bed. But Josh was intrigued with the kind of patterns and effects I had demonstrated and stayed up to experiment. The next morning at breakfast Josh showed me the following.

Effect This might have been alternatively titled “The Mindreading Deck — Part 3.” As expected, the deck correctly reads the spectator’s mind and provides answers about her selection, the 3C. At the end of the fourth spell the deck locates the selected card — and the other Threes as well.

Working For descriptive purposes you could imagine presetting the deck by cutting the 2C to the top, obtaining a break bencath the 3C, and then Riffle Forcing it as the selection. As an end result, that’s what we'll accomplish, but that would put the 3C at 42" position and it’s simply not practical try to Riflle Force a card that’s so close to the bottom of the pack. So instead, we'll get to that same situation in a two step process.

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1) Start by cutting the 3C to any position that you're comfortable using for a Riffle Force (I like it about 15" from the top). Obtain your customary break beneath it, and force it on your spectator. After displaying the card, drop the right-hand cards back on the left-hand packet, maintaining the break. Then cut at the break, bringing the 3C to the bottom.

2) As you explain about the deck’s mindreading prowess, casually spread the cards between your hands, secretly counting ten cards — just push off three groups of three and then one single card. Obtain a left pinky break under the tenth card and square up. 3) Ask your spectator to think of the color of her card, red or black, and tell her the deck will try to read her mind. Now double undercut to the break to apparently start the deck’s mindreading process. This brings the 2C to the top. From here on you're set to spell all the answers without any further adjustments.

Turn over the top card and remark, “It's a black card.” Explain that the deck always spells the full response and demonstrate byturning the 2C back face down and spelling B-L-A-C-KC-A-R-D, using the basic spelling procedure to form a face-down pile 1.

JOSHING WITH THE THREES

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For the second question, instruct your helper, “Think of whether your card is a number card or a picture card.” Always use the word “card” in your request because you're always going to spell that word as part of the decks full response. While this does make for somewhat lengthier spells, you do treat cach pile the same and this consistency helps foster the acceptability of these spells. While your spectator thinks, turn over the top card (the 6C) and announce that the deck is indicating her card must be a number card. Following standard form face-down pile 2. procedure, spelling N-U-M-B-E-R-C-A-R-D, 4)

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5) “Think of whether your card is an odd card or an even card.” Turn over the top card, revealing the AD. Announce, “The deck says it's an odd card, that's O-D-D-C-A-R-D.” Again, follow the protocol to form a face-down pile 3. Situation check: at this point, the top card of the remaining packet is the 7H; the face card of cach of the spelled piles a Three.

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6) Say, “So far the deck has told us your card is a black, odd, number card. Let's see if we can find out precisely which one. Concentrate on your card.” Riffle the deck near your car (as in step 6 of “The Mindreading Deck — Part 97). “The deck tells me your card is the Follow the basic spelling Three of Clubs, that's T-H-E-T-H-R-E-E-O-F-C-L-U-B-S.” procedure and at the end ofthe spell pause and point to the next card (the one following the “s™). Announce, “And if the deck is right, this should be your card.” Take it onto the face of the right-hand cards and turn them face up as pile 4, revealing the selected 3C. 7) For the kicker, explain, “The deck really did tell me it was a Three. See, the deck has been saying Three loud and clear.” Tum over the other three piles, to reveal the other

three Threes!

8) Use the Basic Clean Up and you're back in Aronson cyclical order. If you now undercut the top two cards to the bottom, the deck returns to original Aronson stack order.

With

Josh Jay

Routine Maintenance (Poker Deal Restoration)

my personal opinion, the most impressive feature of the Aronson stack — bar none — is the “Draw Poker Deal.” In this gambling demonstration you deal out five poker hands of five cards each; when you reveal these hands, each is better than the last, climaxing with a Royal Flush in Spades for the dealer. (The original description is in 4 Stack to Remember and in Bound to Please; that description also sets forth a “Ten Card Poker Deal” and a “Stud Poker Deal,” which are also contained within the Aronson stack).

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For those who habitually carry an Aronson stacked deck with them — I do — this “Draw Poker Deal” presents the kind of opportunity one wishes for. It provides the most effective context for showing your apparent prowess at winning at cards, namely when you can display your skill not as part of a planned act or even as a pro-active demonstration, but rather as apparently a spur of the moment, impromptu response to a spectator’s spontaneous request.

We've all heard the familiar spectator refrain, “Id hate to play cards with you,” or the inquiry “Can you cheat at cards?” uttered after you've performed a few card tricks. That's the situation I wait for (or try to prompt) to use the poker stack ~ as though it wasn’t my idea to cven raise the subject of poker, but more of an off-the-cuff, “Hey, since you're asking, I'll try something.” Then I casually cut the 6H to the top, give the deck a few false shuffles and a false cut while saying, “Let s see what we can come up with.” Over the years I've had several practitioners tell me that they’d like to perform that poker deal more often, but they were hesitant because it destroyed the stack. Well nothing’s perfect in this world, but I've always had three answers to such an objection. First, and most important, you shouldn’t care, because the “Draw Poker Deal” should be the climax of your set; there's doesn’t destroy the entire Aronson virtually nothing you'd want to do to follow it. Second, deck left order with stack; you're over half the still in stack you don’t shuffle the other 27 cards as part of the poker deal), which can thus be used for other stack effects. Third, it really troubles you, just carry another deck in Aronson stack order and switch it in after the poker demonstration.

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But recently, in exploring some of the other facets of the stack, started to wonder whether there might be a different, better response to the objection — namely, to devise a way of actually getting back into full Aronson stack order after performing the poker deal. I recently solved the problem in a delightfully efficient, simple and straightforward way. And now I use the Draw Poker Deal all the time.

ROUTINE MAINTENANCE

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Working

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Start with the Aronson-stacked deck cut so that the 61 on top and start to give the deck a series of false shuffles as you ask your spectator, “Do you happen to know how fully randomize a deck of cards?” Such a remark helps to later many shuffles it takes remind the spectator that the deck was indeed shuffled. Continue, “The rules ofpoker require that after the deck is shuffled, it must be cut also,” as you conclude by giving the deck your favorite false cut. 1)

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2) “People ask whether a magician’s skill could be used to win at poker. Let's suppose we re in a poker game one night, say among five players.” As you speak deal out five rounds until there are five full poker hands face down on the table, which we'll refer from left to right, as hands A through E (the dcaler’s hand is thus hand “E”). You can deal out the hands normally, but leave a bit of room at the front of your table, beyond the outer edge of hands A through D, just so you can deal one more row of cards there later on. Table the rest of the deck aside.

to,

“Ifyou're going to win at poker, there are actually two things you need lo do. First, you want to deal yourself the winning hand. But the goal isn’t just to win, it’s to win a lot of money. And for that, you want your opponents to also get some good hands so that theyll stay in and bid up the pot. It wouldn't help much if you won, while everyone else dropped out. So, I've tried to deal these other fellows a hand they'll bet on. Let's see how 3)

they did.” Here, pick up hand A (at the left) and hold it face down in your left hand. You're now going to reveal the cards in this hand one at a time by dealing them in a face-up row front of the existing face-down hands, as follows. With your right hand just take the top card outer right corner and deal it face up stud fashion at the lcft side of the table, (the 3H) at front of the space where hand A used to be. Continue by dealing the next in approximately identical fashion, dealing it as the second card in the row, just to the right of card (the KC) the 3H. Similarly deal the third card (the 6D) immediately to the right of the KC, as you observe, “So far this hand looks like nothing.” Figure 1 depicts the display at this point.

in

its

in

This gradual unfolding of each hand actually builds up the drama, because as each card is dealt the audience will see the hand getting better and better. Deal the fourth card (the 6S) to the right of the 6D and remark, “Wait, he's got a pair. That's not bad,” and then conclude by dealing the last card of hand A, the 6H, as the fifth card in the row. Point out, “Wow, three of a kind. That's very good for a pat hand. I'm sure he'd bet on it.” Your audience will be impressed — but this just the beginning.

is

4) You're now going to display the cards in hand B in exactly the same way. In fact, as you deal each of the cards in hand B face up, you'll deal them directly onto the face-up rowyou just formed, thus covering each of the previously dealt cards of hand A. Just take hand B face down in your left hand,

240

UNPACKING THE ARONSON STACK

saying something like, “Let's take a look at this fellows hand,” and deal the first card (the

6C) face up directly onto the face-up 3H, thus covering it completely. Continue dealing each card from hand B face up, putting the face-up 5C onto the KC and dealing the rest of this hand right across the row. After the third card has been dealt, I comment somewhat dejectedly, “Nothing so far,” then after the fourth card has been dealt, I pause and point out, “Look, a possible flush.” Figure 2 depicts the display at this point, just before you deal the fifth card. Slowly deal the last card (the 3C) onto the 6H, revealing the full hand B. Act enthusiastic when it is seen to be a Flush in Clubs. Proceed to show each of hands C and D following the same procedure. This particular way of displaying the five cards in cach hand, by dealing them face up directly across the row of previously shown hands, may be somewhat unorthodox as far as usual poker customs are concerned, but as a dramatic revelation in a magic trick it provides two significant benefits. The audience sees the hands build with cach card dealt, as a full house in hand C and the four-of-a-kind in hand D are gradually revealed. Also, by dealing right over the previously dealt hand, the prior hand is covered up and taken out of play. This lets the audience focus its full attention on the current hand being shown. Your patter can build up the suspense as much as you wish. Bob Kohler has a great line, as he drily comments, “Some of the better losers.” 5)

Finally, pick up your remaining dealer’s hand and summarize, “Well, we ‘ve achieved certainly our first goal of building up the pot. All of these hands are very strong, so they'll stay in and bet. But our second goal was also to make sure we actually win, by getting the best hand. Let's see how we did.” llere, deal your hand E face up, again dealing right 6)

to

reveal a Royal Flush in Spades. Your audience should be dumbfounded as across the row, you conclude your demonstration (Figure 3).

7) Leave the Royal Flush in full view

as you pause to let the full impact of all you've

accomplished sink in. Once the demonstration is done, casually gather up the five face-up piles from left to right, stacking them together as follows: with your left hand, pick up the

its

leftmost face-up pile (the one with the 10S at face), and drop it face up onto the pile to its immediate right. Continue down the row, picking up this combined pile and dropping it onto the next pile, and so on. Once all five piles have been so combined, turn it face down and combine it with the balance of the remaining 27 undealt cards. Your deck is now back in Aronson stack cyclical order.

= ROUTINE MAINTENANCE

241

Comments (1) restore the Again is a deals right occurred.

Once and Again. 1’ve dubbed the display and pick-up procedure that’s used to

order of the original stack my “Once and Again” display. Basically, Once and presentational subterfuge for accomplishing the second of a pair of cross-matrix in front of the audience's cycs, without their being aware that a re-deal has

The Once and Again display is not limited to this specific effect or even to any particular stack. It’s a quite helpful utility for many effects where you deal out successive hands from a stack, but want a way to unwind the intermixing caused by the deal and be instantly reset for a repeat performance.

Perhaps surprisingly, Once and Again isn’t limited to a 5 x 5 (or any other “perfect square™) matrix stack. To illustrate, here's another example that uses a 4 x 5 matrix (based on the Zens sequence that’s contained within the Aronson stack). Starting in original Aronson stack order, just double undercut two cards from the top to the bottom, so that the 5C becomes the top card. Deal out four face-down poker hands (of five cards each) in standard dealing fashion. You'll now show the cards in cach hand using the Once and Again display, starting with the leftmost hand. Just deal out its five cards in a face-up five card row across the table, exactly as you did for the “Draw Poker Deal.” (This first hand won't show much, just a pair of sevens). Next, reveal the cards in hands 2 and 3 to be a bust, by dealing cach one in exactly the same way, the cards from each successive hand covering up the cards comprising the previously shown hand. Finally, dcal out the cards in your dealer’s hand across the row, revealing you’ve got the four Aces, plus aKD. To clean up, pick up the five face-up piles, starting with the one on your left, exactly as you did in the “Draw Poker Deal,” combine them with the rest of the deck, and the pack is back in Aronson stack order. You can do this with any of the various poker hands contained in the 13 card Zens stack. Once and Again thus enables you to deal “Any Poker Hand Called For” and at the finish still be back in Aronson stack order! But the main point I wanted to make is that the Once and Again procedure is flexible enough to cover non-symmetric (i.e., 4 x 5) stacks.

(2) Poker Routine Deck Switch. In Bound to Please (p. 129) I describe a simple, practical deck switch that can be done in the course of performing a trick using a few or a small packet of cards (c.g., a sandwich effect, or an Oil and Water routine). This notion can be applied to the “Draw Poker Deal” in a way that allows you to ring in the Aronson stack anytime you want. I'll describe the same deck switch, in both a sophisticated and a more impromptu form.

First, here’s the more elaborate version, when you have a moment beforchand to prepare. Take your cold deck in Aronson stack order and cut the 611 to the top. Now remove the ten bottom cards (from 4H through 10H, stack numbers 29 through 38 inclusive) and put them away, because they won't be used. Leave the remaining 42 card stacked deck in your side jacket pocket. Using a matching backed deck, perform your favorite card effects, emphasizing whenever possible the spectator’s shuffling activities. When you’re ready to ring in your

242

UNPACKING THE ARONSON STACK

stack, bring the conversation around to poker and offer to illustrate poker “in its most basic form, using just the bare minimum possible to create two poker hands.” As you talk, casually spread through the faces of the deck you're using and openly remove the ten cards comprising stack-numbers 29-38 of the stack (i.c., they're the same ones that arc already removed from the cold deck in your pocket). Iland those ten cards to a spectator to shuffle while you casually drop the balance of the cards into your side pocket, since they won't be used. Now perform your favorite version of the classic “Ten Card Poker” routine using the ten cards in play (the KH is the Jonah card). As you conclude the last phase of your routine, casually rearrange those ten cards back into stack order (easily done with only ten cards) and leave them in a face-down pile on the table. Retrieve the balance of the deck from your pocket, actually removing the cold deck stack, and drop it onto the tabled packet. As an afterthought, explain, “That was about as basic as poker gets, but in real life, you play with a full deck, and there's a lot of betting strategy involved. Let me show you.” Now proceed with the full “Draw Poker Deal,” exactly as in the text. At the end, you're back in full Aronson stack order. As I mentioned in Bound to Please, such a partial deck switch is particularly effective because of the built-in misdirection. The action of going to the pocket is a completely natural way of temporarily placing aside the partial deck not in use. Since there's always a trick being performed using at least some cards, the spectator is left with the impression that the cards never lcft his sight. My second version of this deck switch isn’t as elegant. It’s a rough and ready approach that

fills the bill for those times when you hadn’t planned ahead to use this Poker Routine Deck Switch, but on the spur of the moment you suddenly decide to ring in the Aronson stack. Assume simply that you have a full Aronson-stacked deck secretly in your pocket and you're

performing other card effects with a matching deck. Whenever you want, remove ten cards from the deck you're using for the Ten Card Poker routine (and here they can be whatever ten cards you habitually use for that trick; they needn’t be the particular ones from stack numbers 29-38). As above, pocket the balance of the deck to put it aside and perform your version of Ten Card Poker. At the conclusion, hold the ten cards you've just used in your left hand, and with that hand reach into your pocket, apparently to remove the rest of the deck. Actually just drop those ten cards in your pocket and immediately withdraw the full Aronson-stacked cold deck. The switch is complete. You could go into any other effect you like with the stack but I like the continuity of howthe two poker routines blend together. So, I spread the deck face up as I comment howin the real world poker uses the full deck. I use this opportunity to cut the 6H to the top, and proceed with the “Draw Poker Deal” as above. (3) Mental High Card. The Once and Again display procedure was not my first solution for restoring the deck back to Aronson stack order after the “Draw Poker Deal.”

as

While my original solution is more lengthy and not self-contained as the approach in the text, it does have some merit and points toward an idea that combines with some strong “jazzing,” so I thought you might find it of interest. When first addressed the problem, I quickly realized that the mechanics of getting the cards to “un-deal,” or un-wind from their dealt positions isn’t particularly difficult: what you need to do is (i) properly gather up the five poker hands, (ii) then redcal those same 25 cards into

ROUTINE MAINTENANCE

another

243

set of five hands, and (iii) then re-gather those newfive hands.

The practical problem with was to come up some real world presentation or trick that would justify the second round of dealing.

Here's what I came up with. Assume youve cut the

6H

to the top and dealt out the five face-

down poker hands, again referred to from left to right as hands A through E (the dealer’s hand

is thus hand “E™). You'll then turn each hand face up, one at a time starting with A, spreading each one in a fan to reveal the impressive results. At the conclusion the Royal Flush in Spades is shown at E, and the demonstration is finished.

During the applause, reassemble the deck by gathering up the five face-up hands in clockwise order, starting with hand A. Put hand A onto B, then this combined packet onto C, and so on. Finally, turn this collected packet of 25 cards face down, and drop it back onto the balance of the deck (Situation check: the top card of the deck should be the 108). After a suitable time delay (moving to another table, performing a non-card trick, or whatever) you'll now begin a new card trick, “Mental High Card.” Explain, “More money is won or lost on cutting to a high card than in any other gambling game. Let's play Mental High Card, where you get to just think of a high card. We'll use a few physical cards, just to keep everyone honest.” Give the deck your requisite false shuffles and cuts and then deal out five face-down poker hands, again dealing around normally from left to right. Try to involve five spectators, but any number from to 5 people will work. Ask your spectators to cach pick up a hand from among the five, look over his or her cards, and mentally think of the highest card in his or her respective hand. Caution them not to remove or say anything, or even move any of the cards, because, “I don’t want to receive any physical hints.” (It’s critical that the order of the five cards within each hand remains as dealt). 1

it

is

Once each spectator thinking of a card, have them table the hands face down. Casually gather them up, this time reversing direction, i.e., pick up the face-down hands in counterclockwise direction, starting with hand E (onto face-down D, and so on), and then drop this collected packet back on the remainder of the deck. (If you check, you'll find the Aronson stack order is now completely restored with the 6H cut to the top). Remind your participants that you've never seen the faces of any of the cards and that each person has merely thought of a card. Now, proceed with whatever amazing revelations you like for each spectator — because, believe it or not, you already know identity of five mentally selected cards! (In hand A it’s the AC, hand B the AS, hand C the QC, hand D the QS and hand E the KS). As long as you keep track of which hand cach spectator held (which you'll be able to remember by the spectators’ positions around the table), you'll know which card he or she thinking of. Conveniently, no hand contains duplicate values its respective high card so there's no ambiguity or uncertainty.

the

is

all

of

Your revelations can be as straightforward as just reading their minds and announcing the card. Or, you can physically run through the deck and cut the desired card to the top; then, have it named and reveal (and then replace it back on the deck). When I'm working for I more than one spectator like to reveal each thought of card in a different way. If you've

it

244

UNPACKING THE ARONSON STACK

memorized the Aronson stack, you could use any “jazzing” techniques (e.g. sleight-of~hand productions, spellings, ad hoc “trick that can’t be explained” type choices by the spectator) you feel comfortable with — with the added major plus that. for each spectator, you already know his exact card and its location and thus can magically produce it without ever having to askfor it to be named. Even if you want to end your sct with the poker deal, “Mental High Card” can still be used to reset your stack — because nobody says the follow-up or “next” trick must be done for the same audience. You could end one set with the poker deal and then move to another group and begin your next set with “Mental High Card”; in the process you'd restore your deck to Aronson order. I'm going to leave the specific performance context up to you, but I think that a subscquent effect involving a redeal of the same 25 cards is an intriguing idea in its own right and offers greater flexibility with the Aronson stack. (4) Background and Credits. Bill Malone is one of my long-term magic buddies. Ginny and I still remember going to a small Italian restaurant, Ciao, on Chicago's Wells street many, many years ago to watch Bill at his first table hopping job. Bill and I have long had a running contest, half-gag, half-scrious, to see if T could get him to learn the Aronson stack; at one point he'd call me daily from Florida and each day I'd teach him one additional card. While I was writing this book, in a marathon all-day session between just the two of us, | started showing him all the different effects in this section of the book, onc after the other. When I demonstrated the “Draw Poker Deal” (using the foregoing “Mental ITigh Card” followup to restore the stack), he was stunned — because Bill had no idea that the poker stack was cven in the Aronson stack. He felt it was extremely strong, but he wished we could shorten up the follow-up restacking routine. Together we played around with variations and it was Bill's suggestion to display the hands in a separate row. I refined it so that it worked for the “Draw Poker Deal,” and generalized it to become the Once and Again display.

Truth-Sayer

Te

he plot now shifts — we're not going to find any four-of-a-kind in this effect. Instead, let’s see what the Aronson stack can offer when it acts as a lie detector. Can it discern a spectator lies or tells the truth? Of course it can, and not just in one trick.

Effect A card is selected and lost in the pack. The performer announces that his deck 1s actually a sophisticated lie detector. He'll ask questions about the selected card, the spectator can lie or tell the truth in responding to each question, and whatever answer the spectator gives will be spelled. At the end of each spelled answer the deck displays the correct answer, revealing whether or not the spectator lied. As a kicker, the selection itself is produced.

Working The “Lie Speller” plot has a venerable history, and I’ve certainly contributed my share of specially designed lic detectors (Cf. “Lie Detector Speller,” The Hierophant, No. 4, June 1970, p. 70, for a full deck stack version, or “Self Control,” The Aronson Approach, p.27, for a fully impromptu version). The Aronson stack happily contains certain sequences of cards that provide all of the various outs you'll need to spell whatever answers the spectator offers to each of three successive questions. This is possible by incorporating two limitations, one methodological and one procedural. First, the selection is forced, and by now you won't be surprised to see the Riffle Force used again. Second, the deck’s correct responses are displayed after each question, which means the spectator’s truthfulness or mendacity is thus revealed at each step. This makes it quite natural and logical to expect each successive answer to be consistent with what the deck has previously revealed about the selected card.

I've discovered a number ofdifferent lie detector sequences, for different force cards, within the Aronson stack. For variety I'd like to present my four favorites, but since they all follow a similar pattern, it’s easier to describe them together within one trick. So, keep in mind that in what follows you'll have a choice of four different variations for presenting the lic detector plot. I'll describe the first one in some detail, and the others can be described in a summary, almost chart-type fashion, but be sure to try them all. They all have tested quite well (at least in front of lawyers). Must be something about lying ... The Ace

of Clubs Lie Detector

1) To pre-set, cut the Aronson stack so the 8H is on top and obtain a break beneath

the AC, which will be 17" from

the

top.

246

UNPACKING THE ARONSON STACK

2) In this trick

I

can’t use Ginny as our spectator, because Ginny never lies.

Riffle Force the AC as Hillary's selection, display it, and drop the right-hand packet back onto the left-hand cards. Give the pack a fewfalse shuffles and cuts. 3) Explain the premise, “My deck helps me in playing poker. It actually can tell when another player is bluffing — whether you're lying or telling the truth. It works as a lie detector. Let me show you. I'll ask you a few questions about your card and in your answers you can either lie or tell the truth. But keep a poker face. We'll spell your answer, one card for each letter, and at each stage, my lie detecting deck will try to tell us whether you fibbed or not. Let's start with a simple question. What was the color of your card, red or black? You can lie or tell the truth, it's up to you.”

Whichever answer Hillary gives, red or black, use the basic spelling procedure, to very clearly spell either R-E-D or B-L-A-C-K, taking cards one at a time face down into the right hand under the previous card to retain stack order. At the conclusion of the spell recap, “You said Red [or Black] and as you can see, the deck tells us the card you've picked really is ... Black.” Here, as you say “Black,” turn all the cards in the right hand face up and place them on the table as pile 1. The face card of the pile will, in fact, be black (either the QS or the QC) indicating the correct color of Hillary's selection.

That's the basic spelling pattern that we’ll follow on each of the remaining questions, and in each of the remaining lie detector variations. You'll always pose a question that has two alternative answers, and you'll spell and then turn over whichever answer the spectator gives. Sometimes we'll take advantage of an ambiguity (e.g. spelling a singular vs. plural, or taking the card that falls on the last letter vs. the next card). At each stage, the card the deck displays will be correct with respect the spectators actual selection.

to

This now sets us up for question 2. Since the deck has told us that the spectator’s card is black, you're justified in expecting Hillary to be consistent with what the deck has already indicated. From here on, the possible questions and answers start branching out, depending on what's come before. This means that there's a bit more to remember concerning which questions follow which responses, to “steer” the spectator appropriately. Once you pick your own favorite from among the several lie detector effects and perform it a few times, you'll quickly learn the alternatives. 4) IfHillary did in fact respond with black, point out that the deck has confirmed her truthfulness. Remind her that she can still lie if she wants to on the next questions, saying, “You can always lie, ifyou want. It's good practice for real life.” Altematively, if Hillary responded red to the first question, emphasize that the deck’s response, a black card, has “found her out.” mention that her voice and tone certainly fooled me, but it’s pretty hard to fool the deck. T

Then, proceed with question 2. Depending on whether Hillary's first answer was red or black, we'll phrase the question slightly differently, to elicit an answer that’s either singular or plural. If Red, say something like, “The deck said your card is black, but it might still be Spades or

TRUTH-SAYER

247

Clubs. Which isit, and remember, you can lie or tell the truth." 1f Hillary's first response was black, ask the same question but phrase it to anticipate a response in the singular, e.g., “Was it a Spade or a Club?” You'll then spell Hillary's response and turn over pile 2, per the following alternatives: Question 2: Suit I.

If Question

11.

If Question

response shows the QS, spell either C-L-U-B-S and take the next card, or S-P-A-D-E-S (thus spelling 6 cards in either case). 1

I response shows the QC, spell either C-L-U-B (4 cards) or S-P-AD-E (5 cards).

In all cases a Club will be displayed (the KC

or the 5C) and you should point out that the deck is telling us that Hillary's selection must be a Club. I remark on the deck’s uncanny ability to unearth the truth and then proceed to the third question. Here we'll use multiple outs. There will be two different alternative questions, depending on which Club card was just displayed — but, of course, the spectators will never be aware of the path not taken. Briefly, we're going to make question 3 wind up at the AS, which, depending on what's happened so far, will now be either third or fourth from the top of the left-hand packet. Here's the set of alternatives: 5)

III.

If Question 2 response shows the KC, ask: “Is your card’s value High or Low?”

Spell: Either H-I-G-H, or L.-O-W and take the next card (in either case, 4 cards). IV.

If Question 2 response shows the 5C, ask: “Is your card a high card, Yes or No?” Spell: Y-E-S, or N-O and take the next card (in either case, 3 cards).

No matter which answer the spectator gives, promptly spell it with confidence and certainty. As long as you react immediately, spelling the appropriate responses (per the above guidelines) as though there isn’t any doubt or hesitancy about what you're doing, your actions will be accepted as merely repeating what the spectator has said and spelling it. It appears straightforward. When pile 3 is turned face up, the AS will show on its face. If the spectator has responded Low or No, you can tell her that she can’t put one over on the deck; if she’s responded High or Yes, praise her truthfulness. In either case, continue, “Nor only is the deck telling us that it's a High card, it's telling us the exact value — it’s an Ace!”

is

6) The three piles will now be all face up, and the display a visual reminder that the deck has been right three times in a row. Reinforce this as you build up to the climax, “Well, you can't beat a lie detector. The deck says your card is black, a Club, an Ace, so let's just check. If we spell A-C-E, then this should be your card — the Ace of Clubs!" Here, spell the three letters, push over the next card and pause, pointing to it for emphasis, take it onto the

248

UNPACKING THE ARONSON STACK

face of the right-hand cards and turn them all over as pile 4, to reveal the AC at the face. 1 usually set pile 4 in “T™ formation, just to visually differentiate it from the other three piles. The detector has found Hillary's card!

lie

7) Use the Basic Clean Up, and you're back in cyclical Aronson stack order. *

*

»

As mentioned, there is more than one lie detector sequence within the Aronson stack. Now that you're familiar with the plot and procedure for this theme, let me describe a few more of these possible effects for your perusal. While you wouldn't want to do more than one per session, you might well want to learn a couple for variety and for repeat performances. Indeed, if you frequently perform for the same audience, doing a different version of the lie detector actually heightens the mystery. When the selected card is different and yet the deck still force. produces “truth” indicators each time, seems to dispel the idea of

a

it

Each of the following lic detectors follows the basic patterns laid out above, but the particular questions, answers and outs vary. To simplify things even further, remember that in all cases the first question is the color, red or black, and the spectator’s answer always spelled and shown without taking any next card. Further, the second question always concerns the suit, narrowed down to the two alternatives that are consistent with the answer displayed by the deck in question 1. This means that the suit choices will always be between either the two red suits or the two black ones. How you spell the suit in question 2 and the content of question 3 is what varies in each of the scparate effects.

is

The Five

of Spades Lie Detector

Set-up: Cut 6D to top Riffle Force: 58 Question

1:

Color

—

Red or Black. Spell and display the response.

Question 2: Suit L.

If Question | response shows the 2C, spell plurals, either S-P-A-D-E-S, or CL-U-B-S and take the next card (in either case spelling 6 cards).

II.

If Question or

response shows the JS, spell singular, either S-P-A-D-E (5 cards) C-L-U-B (4 cards). 1

Question 3: We're going to force this response to end on the SH. IMI.

If Question

number or a picture card?” N-U-M-B-E-R and take the next card, or P-I-C-T-U-

2 response shows the 9S, ask, “Is it

Spell the response, either

@

TRUTH-SAYER

249

R-E (in either case, 7 cards).

If Question 2 response shows the AS, ask, “Is it a court card or a number card?” Spell the response, either C-O-U-R-T and take the next card, or N-U-

IV.

M-B-E-R (in cither case, 6 cards).

Point at the SH, “Not onlyis the lie detector telling us it's a Number card, it's also telling us just which number, a Five — so the lie detector has told us your card is black, a Spade, a Five, it must be the Five of Spades!” Climax: “And we can check, by spelling your card: Y-O-U-R-C-A-R-D!” Spell 8 letters and turn pile 4 face up to reveal the selected 58. hope the above outline is self-explanatory. The Basic Clean Up restacks the deck. Obviously vou can use any eight-letter spell at the climax to arrive at the spectator’s selection. At first I thought that spelling “Your Card” would sound hokey, but I"ve found it not only plays well, the end of the routine. If your spectator’s name happens it even adds nice touch of humor 8 to spell with letters, you could spell it to reach the SS. I

a

at

*

*

*

The Three of Diamonds Lie Detector

it

This one sets up a little differently. You're going to force the 3D and then control to the bottom (c.g., by a Double Undercut). See the alternatives offered for forcing and controlling the 2S in “Two by Four;” they're all equally applicable here. After the selection, the 7H will be the top card and the selected 3D will be secretly on the bottom of the deck. You're now ready to begin your questions. Question 1: Color

—

Red or Black. Spell and display the response.

Question 2: Suit

J

If Question

1

II.

If Question

1

response shows the 5D, spell either D-I-A-M-0-N-D-S and take the next card (9 cards), or H-E-A-R-T (5 cards). response shows the 411, spell either D-I-A-M-0O-N-D, or H-E-AR-T-S and take the next card (in either case, 7 cards).

Question 3: We're going to force this response to end on the 3C. III.

If Question

2 response shows the JD, ask, “Is it

Iligh or Low?”

Spell the response, either H-1-G-H, or L-O-W and take the next card (in either case, 4 cards).

250

UNPACKING THE ARONSON STACK

IV.

If Question

2 response shows the 10D, we need to use a total

of eight cards.

Ask, “Is it a Number or a Picture card?”

Spell the response, either N-U-M-B-E-R doing one Double Push Off plus the “next” card (or alternatively, one Triple Push Off), or P-I-C-T-U-R-E and take the next card (or alternatively, one Double Push Off). In all cases, you'll spell 8 cards. Point out, “Not only isthe lie detector telling us that it's a low card |or, a number card], it's also telling us just which one: a Three [the 3C]. So, the lie detector has told us your card is red, a Diamond, a Three, it must be the Three of Diamonds!” Climax: As you utter these last words, magically produce the 3D from the bottom of the left-hand packet, in whatever manner you please. See the production of the 28 in “Two by Four,” which is an exactly parallel situation. When I wind up at situation 1V, I sct up for the Push Off by casually getting a break under the fourth card for maximum ease in spelling either alternative. For “Number” I spell the first letter singly, then do one Triple Push Off at the break and I'm done. For “Picture” I spell the first two letters singly, then do a Double Push Off at the break. This reduces it all to one move without the need to resort to using the next card. At the climax, I sometimes produce the 3D from my pocket saying, “I've kept it here, just to keep you honest.” *

The Queen

ox

x

of Spades Lie Detector

This version is the shortest of the lic detector routines, because the climax comes on the third question; the selection is itself produced by the third spell.

Setup: Cut JC to top.

Rifle Force: QS Question 1: Color

—

Red or Black. Spell and display response.

Question 2: Suit I;

If Question

1

II.

If Question

1

response shows the 10C, spell S-P-A-D-E-S, or C-L-U-B-S and take the next card (in either case, 6 cards). response shows the 4S, spell either S-P-A-D-E-S (6 cards), or CL.-U-B (4 cards).

Question 3: We're going to force this response to end on the selection itself, the QS.

TRUTH-SAYER

251

to

build up the upcoming climax, because there's not much else left to do or say It’s important once the selection is staring your spectator in the face. At the end of Question 2, I say, “Now, the lie detector only gets three tries, so whatever the deck can find out on this last question, that's where we'll stop. So far, the deck has told us your card is black, a Spade. Let's see how close the deck can come, on this final question. And, as always, you can lie or tell the truth.” III.

If Question

2 response shows the

2S,

ask,

“Is it a Number or a Picture card?”

Spell the response, either N-U-M-B-E-R and take the next card, or P-1-C-T-UR-E (in either case, 7 cards). IV.

If Question

2 response shows the KS, ask, “Is it a Spot

card or a Court card?”

Spell the response, either S-P-O-T and take the next card, or C-O-U-R-T (in cither case, 5 cards) In all cases, at the end of your spell, pause before you turn over this final pile 3 and remind your audience, “This the decks last chance. Not only is the deck telling us that your card is black, a Spade — it's telling us that it’s this one [turn over pile 3, to display the QS| — the Queen of Spades!”

is

Comments (1) Presentation. Since the card is forced, the performer in cach casc will know whether the spectator is lying. This opens up additional presentation avenues, you want to pretend that you can read Hillary's “obvious tells” and announce (before the deck reveals answer) that she can’t keep a straight face.

if

its

(2) Memorization. These routines do require you to remember the various outs, and decide on perhaps onc or two that you like best, and just consequently you'll probably want stick with them. This is onc of those effects where having memorized the Aronson stack will be a significant advantage. It helps you keep track of where you are at any moment during the spells and of what cards are coming up next.

to

Odds And Ends know where to stop. (My friends have sometimes offered this critique as well). The foregoing effects comprise some of the more fooling and entertaining material I've come up with, but they certainly don’t exhaust the potentialities of the Aronson stack. So, to end this chapter, I thought I'd briefly mention some additional “neat” stuff, handling tips, or unique combinations you may find useful in working with the Aronson stack. Consider this loose ends from the scrapbook for you to play with and develop. melange just a summary In these discussions, the first or primary description is somewhat arbitrary, so be sure to check out the comments.

I=:

of

Deal and Duck Poker If you're willing to destroy a part

the

stack, here's a rather remarkable procedure for producing amazing poker hands. As you'll see, there are a number of different ways use it—and produce different poker hands — but the best way to explain it is to plunge right in with deck in hand (stacked, naturally). of

to

Last Five Standing Pre-sct by cutting the top five cards to the bottom, leaving the AS as the top card. False shuffle, and then hand the deck to your spectator, Ginny. Mention that, in seven card poker, the goal is to make the best five card poker hand out of seven cards. Tell Ginny there’s a new version, where she gets to make a poker hand out of 20 cards. Have her deal off pile of 20 cards from the top, reversing their order, and then have the remainder of the deck placed aside.

a

Explain that she will eliminate 15 of her 20 cards and whatever 5 cards remain will be her poker hand. Tell her the good news that, out of 20 cards, there's bound to be a great poker hand in there somewhere. But the bad news that she must discard 15 cards by a random elimination procedure. Then explain to her the standard “Deal and Duck” procedure (also sometimes referred to as the “down and under” deal). Briefly, she is to deal the first card down to the table, and then duck the next card to the bottom of the cards she’s still holding. This two-step process then continually repeated.

is

is

is

Have Ginny perform the Deal and Duck procedure with the 20 card packet, but stop her after she’s dealt 15 cards to the table. You can keep a silent running count aloud as cach card is tabled. Alternatively, you could have Ginny deal each tabled card face up, which displays the randomness of the packet, and just stop when you sce the 6C dealt. This leaves your spectator holding 5 remaining face-down cards. Recap the randomness and then have her look at her hand — she'll be amazed to find four Aces and the KD!

ODDS AMD ENDS

253

it

Impressive as this is, gets better. Because il you now take the balance of the deck and repeat the above steps (i.e., deal off the next 20 cards reversing their order, then Deal and Duck those 20 cards until only five cards are left) you'll wind up with another five card poker hand — this time a straight flush, the Nine through King of Hearts. As any poker player knows, this beats four of a kind! This sequence of two scts can be built up as a contest presentation, wherein you and the spectator will play a round of poker — but to be completely fair, you'll let her deal both hands. Just have Ginny first deal off one pile of 20 cards for herself, and then a second pile of 20 for you. Go through the two Deal and Duck sequences, leaving both hands face down until the climax. Have her turn over her hand first. When she sees all four Aces, she’ll assume she’s won. You can even feign anxiety, pretending that something went wrong, because that was supposed to be your hand. Then turn over your hand, revealing the straight flush.

Comments (1) Royal Flush. There's still more. Some readers may feel slightly disappointed that the performer doesn’t get a Royal Flush. Not a problem. At the outset, instead of undercutting five cards, just undercut one single card from top to bottom, so the KC starts as the top card. The first 20 cards will produce a 5 card remaining poker hand comprising an impressive full house (Aces over Kings) and the second 20 cards will produce the desired Royal Flush in Hearts. If you think two packets takes too long and want to just use one 20 card packet to go directly to the Royal Flush, just cut the AH to the top at the outset. (2) Any Kind of Poker Hand. You don’tneed to learn the theoretical underpinnings of why this all works because everything happens automatically. But for those who want explore this further, just review the section in 4 Stack to Remember entitled “Any Poker Hand Called For” (Bound to Please, p. 125). All of the above combinations (and more) are made possible because of the happy integration ofthe mathematics of the Deal and Duck procedure with Mike Zen’s “Zensational” stack (which is buried within the Aronson stack). The Zens sequence can produce 13 different poker hands (everypossible kind of hand, from one pair to a Royal Flush). In exploring the mathematics of dealing and ducking, I observed that in a 20 card packet the last five cards remaining were original positions 4, 8, 12, 16 and 20 in that 20 card packet. Since the Zens stack is evenly spread throughout the Aronson stack at every 4" card, this made the rest pretty easy. If you want any desired poker hand to appear, just cut first card in the Zens stack to the top and you're home free. Mike Close has combined these Zens poker hands with multiple faro shuffles in his effects “Tut Tut” and “Flushed With Success” (Close, Workers Number 5, 1996).

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254

UNPACKING THE ARONSON STACK

Reciprocal Spell Pairs As most practitioners know, the six cards at positions 10 through 15 of the Aronson stack each spell exactly from the top of the deck. While there are a lot of sophisticated uses for this bank the deck switch described in Bound to Please, p. 128), this of six cards (one of my favorites feature also offers an opportunity for a quick and casy, impromptu location. Briefly, Riffle Force any of the six specific cards located in this bank and then reveal by spelling to it. You can maintain stack order by either spelling face up, or using the basic hand-to-hand spell procedure. In an effort to embellish the foregoing somewhat plain effect, using reverse, facedown deals and yet still retaining the order of my stack, I came up with the concept of “Reciprocal Spell Pairs.”

is

it

The basic principle is simple: there arc many instances of pairs of cards which are located within the Aronson stack at positions which allow each card to be spelled and produced one at a time — but both spells can be done using a face-down, reverse dealing procedure. that the second spell unwinds the first, Nevertheless, the result of doing both spells together so the net effect is that complete stack order is maintained!

is

There are actually several different formats that lend themselves to this Reciprocal Spell concept; I'll describe the most useful one first.

Take Two

I'll illustrate the concept with

a simple double spelling effect I call “Take Two.” With your stack order, obtain a break below, say, the SH, and Riffle Force it as the first

deck in Aronson spectator’s selection. As you lift up the right-hand packet to showthe 5H on face, secretly obtain a lcft fourth finger break under the top card ofthe left-hand portion (the 2D). Dribble the right-hand cards back onto the deck, maintaining the break. Perform another Riffle Force to the break for the second spectator’s selection (she'll thus get the 2D). Dribble replace, false cut and/or shuffle, and you're now sct for two very clean and direct spelling revelations.

its

The particular presentations are up to you. Since you know both cards, you can introduce mindreading, silent mental spells, or a combination. For case of description here, let’s assume you just ask the first spectator to name her card aloud. When she docs, spell “Five of Hearts,” reverse dealing the cards one at a time face down. When you turn over the final *s,” will be the SII. Now, turn the SH back face down on top ofthe already dealt cards, and then replace that entire dealt pile back on top of the deck. For the second revelation, you're automatically sct to spell “Two of Diamonds” in exactly the same fashion as the first card and the 2D will last letter. Replace the 2D back on the balance of the deck, drop the dealt cards appear on back on top, and the full Aronson stack will be restored.

it

its

For variation and comedy with the second spell, on the last letter

sometimes do a double

an apparent mistake. Then, turn the double face down, thumb the single face-down card and make it magically change to the desired 2D for a more

turnover,

off

revealing the KD as

I

dramatic finish.

ODDS AND ENDS

255

Conveniently, you can perform “Take Two” with any of the five different consecutive pairs located between positions 10-15 ofthe stack, i.e., the AC/108S, 10S/5H, 5H/2D, 2D/KD, or KD/7D:; this flexibility allows you to repeat the effect with different results.

~~ Comments

(1) Next of Kin. Note that the “Take Two” procedure works simply because the second of two consecutive cards spells with one more letter than the first. And this means that if you're willing to make one pre-cut, you're not limited solely to working off the top of the stack. There are several other such consecutive pairs of cards within the Aronson stack, where the second of two consecutive cards spells with one more letter than the first. These include 8C/3S, QH/5D, JC/JH, 6H/3C, and 2S/9H. If you precut the stack at a place such that the first card of any such pair spells from the (newly cut) top of the deck, you can perform “Take Two” with that pair, and still retain stack order. (2) Identical Twins. With just a very minor variation in procedure, we can gencrate even more Reciprocal Spell Pairs — because the same procedure will also work even if the consecutive cards of a pair spell with the same number of letters!

the Try this. With your Aronson stack, undercut four cards from top to the bottom, so the 9S is now the top card. We're going to do the “Take Two" effect using the pair 3S/AD, each of which spells with 13 letters. Riffle Force both cards exactly as before and then spell to the first selection (the 38) using the reverse face-down deal. But this time lcave the 3S out on the second table once you've produced it. Replace the dealt cards and then spell and produce selection (the AD). It's perfectly natural, and even aesthetically preferable, to leave both selections out face up until the climax; then, just drop both selections back on the balance of the deck (in order), and replace the dealt cards back on top. With the appropriate pre-cut you can use this format for Reciprocal Spelling not only with the 3S/AD, but also with the consecutive “same number of letter” pairs: AD/7S, 7H/QH, 7C/4H, 4H/KH, 10H/6H, 91 KS, 6S/4C, and the QS/6D.

the

(3) Distant Cousins. The concept of Reciprocal Spell Pairs can be extended to using two cards that aren’t even consecutive in the stack — so long as the distance between them matches the number of letters each spells with. Here's the casiest illustration. With your deck in original Aronson order, spell “Five of Hearts,” reverse dealing the cards one at a time face down. When you turn over the final “‘s,” it will be the SH. Now, turn the 5H back face down on top ofthe deall cards and then replace the entire dealt pile back on top of the deck. You're spell “Jack of Spades” in exactly the same fashion as the first card, and the JS will now set last letter. If you replace this second dealt pile back on top, the complete stack appear on will be restored. This example works simply because the JS and 5H are 12 cards apart and each one spells with 12 letters.

to

its

Of course, you'll need to force both the 5H (at the 1 2® position) and the JS (on top), and that’s

as

the double Riffle Force noted previously. But it’s not particularly not quite as convenient difficult to devise a combination of forces that still leaves the deck in order. Try this: first

256

UNPACKING THE ARONSON STACK

to

Riffle Force the 5H per our normal procedure. Then, force the top card, undercut about a quarter of the deck from the bottom to the top, retaining the break. Riffle Force again to the break, thus forcing the JS. Now, control it back to the top with a double undercut. I’ve also uscd the disarming Blackstone “Revolving Pass” (Blackstone's Modern Card Tricks and Secrets of Magic, p. 13) as a substitute for a second Riffle Force. Any two cards that are thus located within the stack such that they can spell “back and forth” to each other can similarly be used. Cut one to the top, force them on two spectators, and then spell and produce each in a quick, efficient manner. Yet, for each such pair of spells, you still retain the stack intact because the second spell unwinds the first spell. For your information, here are some other equidistant spell pairs within the Aronson stack: 9S/8C, 3H/7S, 2D/7H, KD/5D, 4H/3C. If the stack cut cyclically, there are a few more such pairs that go “around the horn”: 9H/JS, 6S/KC, 4C/5C, 2C/6C.

is

(4) Distant Cousins, Once Removed. The format for equidistant pairs described in comment 3 is based on two cards that spell with the same number of letters. But it can be extended to produce even more such Reciprocal Spell Pairs, by finding “appropriately distanced” pairs where one card spells with just one more letter than the other. We can illustrate such double spelling with the JS (a 12 spell-count) and the 2D (a 13 spell-count). Start in original Aronson stack order and proceed as before with reverse dealing, first spelling “Two of Diamonds.” Reveal the 2D on the final “s,” but instead of replacing the 2D on top of the dealt cards, after revealing it, turn it face down back on top of the balance of the deck. Then, replace the dealt cards on top of it. For the second revelation, spell “Jack of Spades™ and you'll find that everything works out perfectly.

for

This alternative procedure of replacing the first spelled card back on the deck also works the following pairs: 95/3S, AD/4D, 55/10D, 8S/JD, JH/8H, 10C/4C, 4S/6D, and 6H/QC; just begin in cach case by first pre-cutting the first card of the pair to the top. (5) Family Reunion. Finally, for what it’s worth, you'll note that a few of these Reciprocal Spell Pairs follow each other sequentially, which allows them to be used in combination to spell four cards and still maintain the stack. One quick example, just to illustrate the spelling and replacement procedure. First, spell “Five of Hearts,” show it and replace it onto the already dealt cards. Second, continue to spell more cards from the deck onto the dealt pile for “Seven of Hearts.” Show the 7H and replace it on top of the dealt pile. Now replace the entire dealt pile back onto the deck. Third, spell “Two of Diamonds,” show itand replace it back onto the dealt cards. Fourth, continue to spell more cards from the deck for “Jack of Spades.” Reveal the Jack and put the dealt pile back on top and you're still in original Aronson order. leave the forcing procedure up to you. Frankly, if you want you'll probably prefer the “Sequence Spells” described later. I

to spell

four different cards,

ODDS AND ENDS

257

Threespell (using the UnDo Influence Control) In the UnDo Influence chapter there are a couple of effects that usc two mates, pre-set at specific positions in the deck. Fortunately, the Aronson stack has several such pairs of mates that are already at the requisite distance apart from each other, so all it takes is one pre-cut and the trick descriptions in the UnDo Influence section for the you're set. You can refer back specific effects and procedures; here, I'll simply point out the most convenient stack patterns.

~~ to

If you like “Queenspell”

(p. 12), the Aronson stack enables you to perform a parallel spelling

effect using the red Threes (instead of the red Queens) by simply cutting the KS to the top. This sets the 3H at 17" position and the 3D at 34". After the two selections have been made and replaced per the UnDo Influence procedure, spread through the cards face up. Remove them, secretly performing the Face-Up UnDo. If you now the 3H and the 3D as you come spell T-H-E-T-H-R-E-E-O-F-H-E-A-R-T-S, you'll arrive at the first selection. Then, spelling “The Three of Diamonds” produces the second sclection.

to

You'll, of course, need to devise a suitable presentation that justifies using the red Threes. I introduce the effect by commenting that Three on a Match is thought to bring bad luck, but in magic it can bring good luck. I later repeat the Three on a Match theme, and then remove the matching Threes to demonstrate.

You can retain your full stack in order by spelling each pile face up. This sets you up in a similar position as you were at the end of “Twice as Hard,” and the two cuts described at restore the stack’s cyclical order. What's more, you comment 1 to that trick are all you need can set up for those cuts as you spell: just injog the 6C as you spell through the first pile and injog the 7I1 as you spell the second pile. Cut at each injog, replace the two red Threes, and re-assemble the packets.

to

Comments

(1) Kingspell. For the record, there are other pairs of mates in the Aronson stack that work for a “Quecnspell” type spelling effect. I find that the court cards lend themselves best try using the red to presentational justifications for removing them, so you might want Kings. If you pre-cut the QS to the top, this sets the KD to 19" position and KH to 35" get to the first position. Proceed normally and at the climax spell “The King of Hearts” arrive at the second selection. selection, and “The King of Diamonds”

to

to

to

(2) Fivespell. For those who prefer to omit the word “The” from the spelling, the red Fives offer this option. Just cut the 3C to the top, which positions the 5H at 25" and the 5D at 40". Note that this is a somewhat less centered selection range; that's the price you pay for Accordingly, you'll need to adjust your cutting instructions the simplified spelling. reach the first accordingly. After the normal UnDo procedures, spell “Five of Diamonds” selection and then “Five of Hearts” for the second selection.

to

*

*

*

258

UNPACKING THE ARONSON STACK

Built for Two (using

the UnDo Influence Control)

“Random Tandem” (p. 31) can be performed with several different sets of mates already conveniently located within the Aronson stack. Again, you can refer back to the UnDo Influence chapter for the effect and procedure; I'll just describe how to get into it from the Aronson stack. The simplest pair to set up, and one that easily fits a presentational theme of detectives or leaders, the red Kings. To pre-set, all you need to do is cut a single card (the 9D) from the bottom of the Aronson stack to the top. This sets the KD at 15" and the KH at 31* position. You're now ready to perform “Random Tandem” exactly as written, removing the red Kings as you secretly perform the Face-Up UnDo. This time the two selections will appear during the tandem deal on the 15" pair you deal. Or, for the key card method described in comment 4 to “Random Tandem,” just watch for the 9D and stop on the next card.

is

Note that the tandem dealing of both piles simultancously doesreverse the cards you've dealt. This means you would need to un-reverse these piles, with a subsequent re-deal or a casual overhand shuffle, before you could re-set your full stack order. I like the “Random Tandem” effect alot, but I wanted to restore mystack relatively painlessly. So, I devised a minor variant is. on the tandem deal that works perfectly. Here

it

You're at the point where the deck has been cut into two piles in front of you and the bottom half has been turned face up. For descriptive purposes, let's assume the face-up half (pile 1) is on your right and the face-down half (pile 2) on the left. You're nowgoing to perform a two-handed simultaneous deal that turns over each card (from both piles) as you deal. Simply deal cards forward from both piles, turning each of them over end-for-end, to form the two dealt piles. The left-hand cards from the face-down pile 2 are dealt forward, turning each endfor-end face up create pile 3, while the right-hand cards from the face-up pile 1 are similarly turned face down and dealt forward to form a face-down pile 4 (Figurel). Both hands do their still maintained. dealing simultaneously so the tandem pairing concept

to

is

This pattern of dealing is visually intriguing, because the spectators will see the face of every card that’s dealt: the cards on the right start face up and then get dealt face down, while at the same time each paired card on the left starts face down but gets dealt face up. But the beauty of it from a stack perspective is that all of the dealt cards, in both piles, are maintained in their stack order! Continue the simultaneous tandem deal, watching for the 9D key in the right-hand pile. When you've dealt the 9D face down onto pile 4 and its paired card onto pile 3, stop. This leaves the second spectator’s selection face up on pile 1, staring her in the face. You can then turn over its paired card from pile 2 face up, revealing the first spectator’s selection for the climax.

ODDS AND ENDS

259

You can now get back to starting stack order quite casily. Just leave the second selection face up on the still face-up pile 1 (where it came from), but actually deal the now face-up first selection onto pile 3. This leaves a pretty tableau of four piles, two face up and two face down, with the two selections being the face cards of the two face-up piles 1 and 3.

~~ it’s easy to reassemble your stack. First, turn pile 2 face up directly onto the already face-up pile 1, pick up this combined pile and casually spread it between your hands. Give the packet a cut between the 2C and 4D (sending the 4D to the top and the 2C to the face) and then place this pile face down onto the table. Second, pick up pile 3 and cut it between the 411 and 7D (sending the 7D to the top and the 4H to the face). Put the KH on the face of this packet and the KD at its rear, turn this packet face down, and drop onto the first tabled pile. Finally, 4 place pile (it’s already face down) on top of the combincd tabled pile. Your deck is now back in its starting order. If you cut the single top card (the 9D) back to the bottom you'll be back in original Aronson stack order. Now,

it

Comments

(1) Keying the Selection. There's an added bonus when you use a memorized stack for the “Random Tandem” type effect — the stack secretly tells you, in advance, the identity of the first selection. In fact, you can use either of two different key cards. When you start the tandem deal, the very first card you turn face up from pile 2 will be the card that immediately follows the first selection in the Aronson stack, e.g., if the first card turned face up on the left is the AH (stack number 22), then I immediately know that the first selection is the QD (stack number 21). Alternatively, you can wait until you've dealt thc 9D. When you stop there, the face-up card on pile 3 that was paired with the 9D will key the identity of the first selection, because it’s the card immediately preceding that selection in the Aronson stack. In either case, you could name the selection — before you turn it over.

(2) Other Tandem Pairs. For completeness, let me mention that there are additional pairs of mates in the Aronson stack that also are well situated for the “Random Tandem” procedure. The following table summarizes the pertinent information:

Mates Red Fives Red Eights Black Sixes Red Threes

Cut to Top 2C JC KH 6S

Positions

5H at 14; 5D at 29 811 at 14; 8D at 29 6S at 15; 6C at 31 3H at 16; 3D at 33

Tandem Count 14

14 15

16

260

UNPACKING THE ARONSON STACK

Triple Trick Tip Here's an

odd

little

quirk that’s nice to know about the Aronson stack.

It’s an extremely simple display procedure that allows you to showthe faces of the cards, obviously mixing them in the process. Actually, the mixing is secretly done according to a controlled pattern that allows you just as quickly return to original Aronson stack order. The nice thing about this procedure is that it can be done casually, quickly, and without anything to remember. It’s based on a concept from Lennart Green's “1-2 Separation.”

to

I'll first describe the mechanics and then tell you how I use it. Ilold the stacked deck face up in your left hand. You're going to push off some cards into the right hand, but the particular cards will be determined solely by their colors. A “color group” means consecutive cards of one color (red or black). Basically, you're going to push off three color groups at a time — and that’s all you need to know.

To illustrate, push over the first four face cards in a small fan and study them for a moment. These four cards together comprise three color groups (red/black/red). The face card happens to be a single red card (the 9D); that’s one color group. The next two cards (2C and QC from the face) are consecutive black cards; that’s the second color group. The last card is a single red card (6D); that’s the third color group. Note that it doesn’t matter that the total number irrelevant because you're not counting cards. Note also that of cards is four. That number it doesn’t matter whether each color group contains only single card or comprises more than one card. The sizes of the color groups vary as you continue to run through the deck, and this is what gives the procedure its random appearance.

is

a

is

One nice thing about taking rhree color groups together its extreme simplicity. Since, by definition, the color groups alternate throughout the deck, there are only two possible such patterns of three color groups that can occur: either red/black/red or black/red/black. Also, the color of the card that starts on the face ofthe deck tells you the color you're going to end on, so there's no thinking involved. Let's illustrate this as we proceed through the deck.

You've just pushed over the first set of three color groups (the four cards from the 9D to the

6D discussed above). For shorthand reference, I call each such combination or set of three color groups a “Triple.” Take this first Triple in your right hand, still in a face-up, slightly fanned condition, and casually drop the Triple on the table.

black (QS) so that is Since the face card is black, can

You're now going to push off the next Triple. The face card of the

deck

tells you that this next Triple will run black/red/black. you quickly spread cards until you reach the end of the second black group; thus, this second Triple will end with the KS. More specifically, you'll push over the first black group (2 cards), then a red group (1 card), and then another black group (3 cards). As before, take this second Triple, still spread in your right hand, and drop it right onto the face of the first tabled Triple.

Now continue through the rest of the Aronson stack, pushing off cach successive Triple and dropping it onto the face-up tabled pile. It appears if you're simply displaying random

as

ODDS AND ENDS

261

of cards

from the deck. You can drop each Triple in a fanned condition, so that it falls somewhat loose, or messy, or a bit askew. This just makes the discard pile (and your Sspiays) look more haphazard and random. All that really matters is that you're able to square the tabled cards at the end without their falling out of order. Sumches

~~ For the first few run-throughs you may find that you have to think about what you're doing, Sut after five minutes of practice you'll see that you can run through the entire deck almost without thinking. That's the beauty of working with color groups. They are visually and instantly recognizable, without any memory or concentration. Sorting by color groups allows you to spread through the deck very quickly, paying almost no attention to the cards. Conveniently, the Aronson stack consists of exactly ten Triples, with no exceptions or odd combinations to remember. The Triples are of varied sizes, some of them comprising only three cards and some many cards.

When you've run through the entire deck face up, you will have basically reversed the Aronson stack in ten odd groupings. (The AS should be the new face card). How can we get back to original Aronson stack order? Very easily — just pick up the tabled cards and square them, still face up. Now just repeat the whole display procedure over again! Proceed exactly as you did on the first run-through, pushing off Triples and dropping them face up to form a pile on the table. You'll find that you're “undoing” what you did on the first run-through. At the end of this second run-through, your stack is back in order.

Howcan we use this Triple display procedure? Ilere’s one simple idea for those who like to “jazz” with the memorized deck. Start the first run-through to display the faces as you ask your first spectator, Adam, to look at the cards. Explain that he can see that the cards are wellmixed and ask him to think of any one as it flashes by, but caution him not to say anything until you're finished running through the deck. You'll probably finish your first run-through bythe time this patter is delivered. Then turn to your second spectator, Bonnie. Ask her to also watch the cards and to think of one that strikes her fancy. As you say this, conduct your second run-through, apparently to show her the faces of the cards and to further mix them. When you finish, each spectator will be thinking of a card and it will appear that the cards have been hopelessly mixed. In fact, the deck will be in full Aronson stack order. Now ask Adam to name the card he’s merely thinking of. When he does, you'll use whatever jazz techniques and locations you know to magically produce his card — aided, of course, by the fact that you secretly know exact location in the deck. Then ask Bonnie to name her card, and repeat the jazz location process.

its

This is not the place to open a discussion of jazzing with the Aronson stack, because it’s such an individual procedure and there are so many variables to take account of, Much depends on how many productions, discoveries, and sleights you know, on howgutsy you are, and how comfortable you are with thinking on your feet. I mention it here only because it fits well with the Triple display procedure. An excellent starting place for leaming such jazzing techniques with the Aronson stack is Mike Close’s “Wishing Trick” and his discussion of “Jazzing” (Close, Workers Number 5, 1996). Let me suggest that, with two selections, you can gain flexibility by initially asking both spectators to name their thought-of cards, before you find either one. Depending on their proximity or relative locations, sometimes the process of

262

UNPACKING THE ARONSON STACK

finding Adam’s card may conveniently or luckily put you in a good position for locating vice versa. The more information you know beforehand, the better you can Bonnie's card, take advantage of lucky breaks. plan or

or

Here's another simple use for the Triple procedure, and you don’t need to do any jazzing. Just pre-set your stack by doing the first run-though, and then put the deck intoits case, for later use. When you're ready to perform some of the Aronson stack effects, take out the deck and

casually display the faces by performing one Triple run-through, as you comment about the cards being “obviously mixed.” (You could even have a Joker in the deck, and do the runthrough as you apparently look for the Joker to remove it. Just be sure to place the Joker between one of the normal Triples, so it can be removed easily, without any hesitancy or extra upjogging of cards). Since this is actually a second run-through (after the pre-set) the net result will be to bring your deck into stack order. You're now ready to perform, with what appears to be a well-mixed deck.

Comments (1) Other Groupings. Obviously the Triple color grouping is a happy coincidence for the Aronson stack, but the basic notion of spreading through the deck twice, with the second run-through undoing the first, will work with any set of groups that suits your particular fancy. Hypothetically you could just remember certain specific cards, and use them for the endpoints of your groups. For example, I’ve used the cards at stack numbers 10-20-3040-52, to provide five fairly evenly sized groups. You might even be able to devise a particular effect that ties in to some specific division points and then get back to original stack order by using that specific group division in reverse.

Sequence Spells Ilere’s one final, more arcane, set of sequences buried in the Aronson stack that allows you to spell more than one card sequentially. In fact, if you choose your cards appropriately, you can spell your way through the entire stack, each time landing exactly on the card you're spelling. As discussed carlier, during any such spell procedure you can either reverse the entire order

of the deck (by reverse dealing the cards face down one at a time) or maintain the entire order of the stack (by dealing face up or by using the basic hand-to-hand spell procedure described carlicr).

ODDS AND ENDS

263

52 Pickup Here san illustration of a full deck spelling sequence. Lets use reverse dealing, forming facedown piles on the table. With the deck in Aronson order, first spell “Two of Diamonds.” Turn over the final card dealt (the *s™), and reveal the 2D. Continuing from where you left off, form a second pile by similarly spelling “Five of Diamonds” and you'll find that the 5D appears on its final letter. But we're only halfway there. Form a third pile spelling “Ten of Hearts” and then a fourth pile spelling “Nine of Diamonds.” Happily, you'll find that each of those cards their respective final letter. Further, the entire stack has been subtly reversed in the appears

at

process.

Note that if the above spelling of four piles had been done using face-up dealing, you could assemble the four piles at the end using the Basic Clean Up and the deck would remain in Aronson stack order. This particular sequence of 2D-5D-1011-9D (or you may prefer to remember it as stack numbers 13,27,38,52) is the only sequence that utilizes each and every one of the 52 cards. However, there are a number of other such spelling sequences that allow you to fully spell four cards sequentially, which get you almost all the way to the bottom of the deck. So, if your goal is to maintain the stack in original order during such a sequence of spells, then any of these other sequences will function equally well, because the few un-spelled cards that remain afier spelling four cards can be replaced at the bottom of your deck when you reassemble the spelled piles. So, for the record, here are some more four-card sequence spells that work within the Aronson stack: 10S-AH-JC-6S 10S-AH-JC-8H 10S-AH-JH-4C 10S-AH-JD-9C 10S-AH-JD-6D SH-7H- 10C-QS 2D-5D-10H-QC. Intriguing as these may be (to somebody, hopefully), the practical question is, how can such spelling sequences be used in a real world performing context. It’s not easy to devise a convenient force of four different cards located in four disparate parts of the deck. So, my preferred use to date for such a spelling sequence is as a secret deck switch, built into a fairly strong discovery of four selected cards. Here are the bare bones.

Sequence Spell Deck Switch Assume you have an Aronson stack “cold” deck in your coat pocket and a duplicate regular deck already in play, with which you're performing other card tricks. During some prior trick, manage to cull or otherwise gather together the four target cards in your spell sequence. (It’s pretty easy to do this during a run though of the faces, say, while you're ostensibly finding a

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UNPACKING THE ARONSON STACK

selected card, or removing a desired pair or four of a kind. I sometimes remove the first mentioned sequence (2D-5D-10H-9D) as the four red cards for an “Oil and Water” effect because no one pays any attention to their specific values. Once these four cards are under your control, you'll begin the effect by forcing them on four spectators. Use any force you

is

like. Perhaps the simplest to keep them together and do one Riffle Force, casually thumbing off the four cards at the apparently freely stopped at place in the deck. My preferred force starts with the four target cards secretly at the bottom of the deck. I ask four spectators to each touch a card as I spread the deck face down, outjogging cach touched card. I then switch the four cards in the act of apparently stripping out the outjogged selections and placing the rest of the deck aside. My handling is a variant of Derek Dingle’s “No-Lap Switch, Third Application” (Kaufman, The Complete Works of Derek Dingle, 1982, p. 85) which would work perfectly here. Have each of the spectators look at and remember a card while you secretly keep track of who has which card. Have someone shuffle the four selections back into the rest of the pack. Take back the shuffled deck, and put it into your coat pocket. Explain that you're going to find the first the person who had the 9D) “in the dark.” Reach into your pocket person's card (here point and remove the face card (the 9D) from the cold deck, keeping its back toward the audience. Have your spectator name her selection, and then turn it around to reveal is correct. Remove the balance of the cold deck from your pocket and you're nowset to reveal the next three selected cards by spelling to each.

to

it

Have the second spectator name her card, the 2D, and spell the cards face up (retaining their order), revealing the 2D on the final letter.

the third

spectator, whose card is the 5D, you could simply repeat the same procedure, but for variation I use the mental spell procedure described in Bound to Please. Ask the spectator to silently spell her card to herself, one letter for each card as you deal, and to merely think “stop” when she reaches the final “s.” Since you know the card (5D), you can secretly spell along with her as you deal cach card face up, stopping suddenly on the final **s” and holding the face-down 5D in your hand. It looks as though her “projected thought” stopped you dead in your tracks. Have her name her selected card and reveal for the climax. For

it

The last spectator’s card is the 10H. Although it spells automatically, the happenstance of the Aronson stack is that the card immediately following the 10H is the 611 (which luckily spells with the same amount of letters as the 10H); this allows us to add a bit of comedy and a surprise magical climax. I explain that I'll first read her mind and then spell to the card, but I caution her not to say whether I'm right. I then receive a thought and spell “S-1-X-O-F-H-EA-R-T-S" aloud, dealing one card for cach letter. I stop just before turning up the final “s,” smile triumphantly, and do a double turnover as I repeat, “The Six of Hearts.” Sure cnough, the card displayed is (conveniently) the 611 — only that’s not her card! It appears that I've made a mistake. Meanwhile, I turn the double face down onto the deck, thumb off the top single card and ask for the correct card. Snap the card and turn it over, revealing it has magically changed to the correct 10H. Leave each of the selections on the face of their respective piles, gather them up using the Basic Clean Up (replacing the 9D on the bottom), and you've rung in a deck that’s still in full Aronson stack order.

ODDS AND ENDS

265

Comments (1) Variations. 1've described just one presentation, but the revelations are obviously open to much variation. I originally spelled all four selections — which these sequence spells enable you to do — but decided it took too long. Although I've described the effect using the sequence 2D-5D-10H-9D, if you're going to produce the 9D from the face of the cold deck and only spell three selections, then you can use anyof the cight sequence spells listed above, even though the 9D isn’t among the cards in those other sequences. Just form your target force group using the first three cards of a particular spell sequence, plus the 9D as the fourth force card. You can then proceed as in the text.

~~ (2) Reverse Stack Sequence Spells. One final alternative is worth mentioning. It might be nice to start with the cold deck in reverse Aronson stack order and still have a sequence spell that works. This would allow you to perform the “Sequence Spell Deck Switch” using face-down reverse deals to the table. This is quicker and converts the deck back to original Aronson order at the conclusion. I've found one reverse deck sequence spell that fills the bill (plus a few more close fits).

Just pre-set your cold deck in reverse stack order, and then undercut the top card (the 9D) to the bottom. You're nowset to spell the following four cards sequentially: 3C-7C-KD-9D. Use a face-down deal and turn each spelled card face up on top of its respective face-down pile when you reach each final “s.” The complete spell exactly exhausts the entire deck, as the 9D conveniently appears at the 52™ position.

To conclude, tun the 3C, 7C, KD and 9D face down onto their respective piles. Gather up the the deck and you'll piles using the Basic Clean Up. Cut the 9D from the top to the bottom be in original Aronson stack order.

of

Note that if you only want to spell three cards during the “Reverse Scquence Spell” effect (instead of four) you can preset this by simply leaving the bottom 13 cards of the reverse stack (JS through 2D) in un-reversed order. The 9D still is cut to the face. After the Basic Clean Up the full deck will be in Aronson order.

For completeness, I'll list a few more sequence spells that work with the deck in reverse stack order. With the 9D cut to the bottom, addition to the scquence mentioned above you can also spell 3C-7C-KD-5C. Or, starting with the deck in reverse stack order, pre-cut the JS from the face the top. You can now spell any ofthe following sequences: 9H-KH-3S-AS, 9HKH-38-9S, and 9H-KH-7D-211.

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266

UNPACKING THE ARONSON STACK

Concluding Observations

to

appreciate that no one (in his right mind) would want use everything in this chapter, but I did want share with you some of the potentialities and idiosyncrasies of the Aronson stack. Not all of the effects presented here are of equal strength — but cach of them has its particular use. For example, among the four-of-a-kind productions, the Aces, Fours, Jacks and Sixes are my personal favorites (which is why they're the first four effects described), but the ending of the Sevens has an extra magical touch that I'm also fond of. The capability of subtly reversing the order of the entire Aronson stack makes “Fit Four a King” worthy of serious consideration, in the context of a planned routine. And I rarely omit the Poker Deal. I

to

Many memorized deck practitioners around the world are constantly experimenting with and discovering new patterns, sequences, and handlings, both for the Aronson stack in particular and for memorized deck magic in general. It’s by sharing these ideas among our brethren that this particular corner of our art can grow. Some of the ideas I've described here (e.g., the Lie Detector patterns, Reciprocal Spell Pairs, Sequence Spells) may also have application to other stacks. It’s worth looking through whatever stack you've memorized to see what patterns lurk therein — who knows what you'll find, the fact you give it a chance. I can certainly attest that sometimes seemingly random cards take on a sudden meaning, or suggest a new use, when one approaches the deck searching with patience and with an open mind.

if

I hope the Aronson stack’s many facets will captivate you, spell.

to

as it has

captured me, under

its

My chief Editor's observation: Me:

Ifind it incredible that these combinations are in the stack I'worked out 30 years ago!

Ginny:

It’s about time you figured it out.

Postscript

Ringleader is

“Ringleader” a last-minute addition to the book. It's something that I perform probably more often than any other single trick, because it’s impromptu, requires nothing more than a rubber band and a borrowed ring, and is extremely quick and visual. But this was intended to be a “cards only” book, and I had no plans to include this effect. During the final editing, John Bannon urged me to include it. I declined, for one simple reason — it’s virtually impossible to explain. Believe me, I've tried. I've run through it in detail for several magicians, and they've followed the moves along with me, but at some point fingers get tangled and cyes start to glaze over. Perhaps it’s a bit too much to remember, all at once in just one go around. Let me assure you, it’s not a difficult trick to do — just difficult for me to explain. I'm sure it would be helpful if it was written down, so there would be notes to constantly refer back to during practice. But not easy to put this kind of thing into words. Youreally need to see what's going on, step bystep. So, I gave up. (I admit that’s the wrong attitude in a book entitled Try the Impossible).

it's

John made one final attempt. He suggested that when we shot the photo illustrations for the rest of the book, we should take pictures of each step of this ring through rubber band routine. Then I could at least try to write it up with reference to a multitude of pictures. I'm hopeful that the accompanying photos will do the trick, so that you can too.

Effect The performer borrows a wedding ring and magically links it onto a rubber band. He tries to be really and permanently on the band. A spectator blows pull it off the band, but appears on the ring and it visually melts through the band. Both ring and band are immediately handed out for examination,

it

to

Working At the outset let me give credit to Bill Kalush, Michael Ammar, and Dan Harlan for their pioneering work on this type of effect (see comment 1). While my particular handling and my combination of moves differs from their routines, the basic positions and the main visual illusions I use were for the most part substantially explored by them previously. I've shown my routine to both Bill and Dan, and they liked the changes I've incorporated, but this in no these predecessors. way diminishes my debt

to

effect requires only one rubber band and a borrowed ring. The rubber band should be a thin one, least 2-3 inches in diameter. | typically use a standard #19 tan-colored band, but that’s open to whatever find available. The ring can be a plain gold wedding band, or a

The

at

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TRY THE IMPOSSIBLE

signet ring, or any other ring that type ring.

is at least 1/8" inch wide.

Just don’t use a very thin wire-

I'll sometimes use my own wedding ring, which is wide (see the photos). The wider the ring, the better the illusion looks. In the photos I used a dark, thick rubber band; this is strictly for photographic clarity, and isn’t what works best practice. In the text, for consistency “band” always means the rubber band and “ring” always means the wedding ring. In the interests of describing the moves an uninterrupted fashion, I'll defer any patter or presentation ideas until later. Finally, I'm a lefty, so all the descriptions and photos are as I do them. If you're right-handed, you may want to reverse the orientations. In that case, just hold the photos up to a mirror and you'll have a fully workable sct of right-handed illustrations.

in

in

1) You can perform this with spectators directly in front of you or to your left. The vulnerable is from only angle your far right. You don’t want anyone where they might see the back of your right hand. If everyone standing, and you hold your hands down at waist level, do it much surrounded. pretty you can

is

Openly thread the band through the ring, and then insert your right first fingertip through one end and your right thumbtip through the other end. Display the ring as in Figure 1, making it clear the ring goes around the outside ofthe band. 2) Turn your right hand palm up so the band is vertical, right fingers below and thumb above. The ring slides down onto the right fingers (Figure 2). Your right fingertips should be pointing toward the spectators.

the

3) You're now going to grip the ring between fingers and thumb of your left hand. The precise grip is important. Figure 3 shows the left first, second and third fingers, held together as a unit, entering the band above the ring; the left thumb has been moved aside for clarity. In reality, your left thumb presses on the outside edge of the ring, while your three left fingers press against the inside edge of the ring (Figure 4). With the ring thus gripped, bend your left wrist back a bit, to bring the ring up to a vertical position. Your left thumb will be at the bottom of the ring and your left fingers at the top. The band stretches just a bit, as your left thumbtip enters between the lower edge of the ring and your right first finger. The ring still down near the right finger end of the band, and your left is

RINGLEADER

thumb

271

is actually touching the right first finger.

4) There is really only one complicated move in this routine, and here it comes. It's how you get into the position where you can show one strand of the ring passing right through the ring. If you glance ahead to Figure 10 you'll see where we're headed. We're going to move from our present position in Figure 4 to the position shown in Figure 10, all in one continuous action. The next few photos depict several interim stages of this one action. In Figure 5 I’ve pulled the ring toward the right, stretching the band. This creates a loop between your left thumb and right first finger (designated as loop “A” in Figure 5). Loop A is purposely enlarged for explanatory purposes, because we're about to stick a lot of fingers through and into A. To accomplish this move, you're going to do two things with loop A at the same time. I'll describe them separately. First, let’s focus on what happens with the right fingers. In Figure 5 you can see that one strand of the band is pinched between your right first and second fingers. This pinched portion forms a pivot point for what happens next. You're going to turn both hands in a coordinated action. Your left hand, holding the ring, moves sort of counterclockwise (in and to the left) swinging loop A counterclockwise with it. Simultaneously, turn your right fingers to the right and upwards, by swivelling your hand at the right wrist. As both hands turn (keeping the band’s pivot point pinched) loop A will move off the first finger, swing around the tips of your right fingers, and move onto the right second, third and fourth fingers. Figure 6 shows the start of this rotation, where loop A is just swinging around the right first fingertip. As both hands continue their movement the three

er

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TRY THE IMPOSSIBLE

remaining right fingers will enter into loop A (Figure 7 shows this stage of the action). At the completion of this rotation of the hands, these three right fingers will have fully entered into loop A. Your right first finger will automatically go between the two strands that are around the right thumb, as seen in Figure 7. As the right hand swivels, your right fingers gradually turn up, so that, when this move is finished, they will be pointing upwards (look ahead, to Figure 10). That's the first half of what happens in this step 4, the part dealing with the right fingers. The second component involves the left fingers. Let's retrace our position back to Figure 5. two hands start to turn, your left first, second and third fingers, as a unit, first turn to point upwards (Figure 8). The tips of these left fingers then bend in, pointing toward you through loop A, and these three left fingers enter into loop A from the rear (Figure 9). And this left finger action occurs at the same time as the first action, i.e., while loop A is being swung around onto the right three fingers (as shown in Figures 6 and 7).

As

the

Both components described in this step 4 occur smoothly, and without the need for additional cover, because the back of your left hand hides the dirty work. As I perform this step 4, 1 wiggle my left hand just a little, to provide a light up and down wave-like motion. Although this lilting action slight, it adds cover any extraneous finger motion. This entire action is performed softly, and not particularly fast. There is no sharp, jerky or quick action.

is

to

As you complete these two simultaneous actions, your left thumb and first finger, still gripping the lower edge of the ring, turn or twist the ring a bit to the right, about 1/4 turn, just get rid of any twist in the band. The result of this combined action is the illusion shown in Figure 10.

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RINGLEADER

273

The ring appears to be threaded on one strand of the band. want to emphasize that this entire $izp 4 only takes a brief moment, and is done as you apparently simply grip the ring and blend or morph from its position at step 3 around the wiggle ita bit. The ring almost seems outside of the band (Figure 4) its visibly linked position at the end of step 4 (Figure 10). T

to

to

Although the picture in Figure 10 looks quite clean, there’s actually a mess of twisted band hidden behind the scenes. In fact, there are three dirty areas. Figure 11 shows an exposed view of the left thumb lifted, and there you can see the band on the lower part of the ring, running under the left fingers. This part of the band gets hidden by your left thumb and by curling your left second and third fingers around

it.

Figure 12 shows an exposed view of the back of the right hand, where you can see the doubled band running across the backs of the fingers; this remains hidden by simply keeping this part of your right hand facing away from the audience. Finally, Figure 13 shows an exposed view of the hands pulled slightly apart. You can see the band running between the hands, from behind the right fourth finger to behind the left third finger. In practice this condition is hidden by keeping your hands together. Just maintain some contact between back of your left third finger and the edge of the right fourth finger, as you display the ring in Figure 10 and throughout step 5, and nothing will show.

the

You now perform a convincing display, by moving your left hand forward and the right fourth finger as a fulcrum or your hands meet pivot point, as you move back and forth ring along one strand of the band (Figure 14). If 5)

back, using the contact point where

the

at

=

274

TRY THE IMPOSSIBLE

you turn your hands so the backs of your thumbs face the audience, your spectator can look directly through the ring and sec that the band moves freely through it. You can also twist the ring to the right (Figure 15) to display the other edge of the ring. The band is thus seen to run through from both sides of the ring. Then turn your hand back to the right, so you're back at the position shown in Figure 14, for the next move. 6) The illusion created thus far is quite strong, but it gets stronger. Because in the next display you're going to remove most of your fingers from the band, and the ring will still be seen to be linked on the band. For this next move, your left thumb and first finger will pull down on the ring, as if trying to pull the ring through the band, but instead the band will slip off your right second, third and fourth fingers and remain stretched just between your right thumb and first finger. If your audience had any suspicion about the right fingers before, this next display dispels any remaining doubt. Look ahead to Figures 18 and 21, to sce where we're heading. Now, how do we get there?

You're holding the ring as shown in Figure

14. Three things happen almost simultaneously as your left thumb and first finger pull down on the ring, stretching the lower strand. As before, I'l] describe each component scparately. First, starting as in Figure 14, your left first, second and third fingers pull back out of loop A (Figure 16). Note that although all three left fingers are removed from the loop, your left first finger still stays in contact with the ring to hold Your left second and third fingers do move away from the ring.

it.

Second, your left thumb and first finger, still holding the ring, stretch the band to the left, so that the strand on which the ring is linked gets pulled toward the right fingertips and snaps off the right second finger. Figure 17 is a posed “stop action” shot that catches the moment just before the band falls off the tip of the right second finger. In reality there is no pause. It’s all one instantaneous action, in which the strand snaps off the right fingers. Your right second, third and fourth fingers then curl in, once the band is released.

RINGLEADER

275

Third, as soon as the first and second actions occur, your left thumb and first finger pinch together, around and though the ring, to pinch the band and keep it from snapping away from the ring (Figure 18, audience view). Actually the band remains stretched around the bottom of the ring, and/or squeezed against the side of the ring (depending on where your left fingers catch it as it snaps off the right fingertips) but the left thumb and first finger hide its true location, and the pinching action makes it seem as if the band still is through the center of the ring. Figure 19 is an exposed view from beneath, where (if you look very closely) you can see a small bit of rubber band being held in place at the bottom of the ring just by the pressure of the left thumb and first finger. If you want, your left second finger can bend in, under the bottom of the ring, to further hide the band. In contrast to step 4, which happens somewhat slowly, this entire step 6 occurs all in one instant. One moment you're in the position shown in Figure 14, and then — zap! —you pull and you're at Figure 18. There are no visual interim pictures, because it happens as fast as a rubber band can snap. 7) At this point I repeat a display that looks similar to step 5, of apparently sliding the ring along the lower strand of the band. But the mechanics at this stage are different, because there isn’t any strand of band running through the ring. To create the sliding illusion, just maintain your pinch grip of the band and ring, and as you move the ring back and forth, the band itself will stretch along with it. It looks for all the world as if the ring is sliding along the band (Figure 20). In fact, the ring is staying in the same place vis a vis the band, but the band’s give and take creates the illusion of the rings horizontal movement.

Steps 5, 6 and 7 together strengthen the conviction that the ring is really on the band — it appears as though cven you couldnt pull the ring off when you tried! 8)

You're now going to visually

remove the ring from the band. This is the easiest part of the trick, because of course it’s already off. I remove

the ring in a series of three

276

TRY THE IMPOSSIBLE

continuous actions, all blending together. First,

I

ask the spectator to blow on the ring, as I down with my left thumb and first finger on the ring, so it seems as the ring itself is pull stretching the band (Figure 21). Then I pull the ring up, in the opposite direction, stretching the lower strand (on which the ring is apparently linked) above the other strand (Figure 22, shown from the opposite side of the hands). Finally, I simply relax the pinch grip, releasing the squeezed band, and the ring snaps off, as if penetrating the band (Figure 23). The picture of the ring tugging against the band, first in one direction and then in the other, and then “popping off” is quite visual. (I love to watch the eyes of the spectator, as they stare at the ring. You'll see their eyes suddenly widen, the ring comes off. It’s a magical moment). if

as

Hand everything out for examination.

Bue.

Presentation

try to use a wedding

ring, and I tie my patter to the wedding/marriage theme. Here's outline of my script.

I always

an

“There are three factors that make a perfect marriage. One is symbolized by your ring: the circle is eternal, it's never ending. Sometimes it feels that way. The second factor is symbolized by this rubber band. [Show, stretch]. It has flexibility, it gives a little. A marriage has to have some give and take. Ifyou combine an eternal commitment with a willingness be flexible, look! [Link, You be 4] step can perfectly linked. And you can see that it’s an eternal bond — because [Still linked, step 6] 7 can't get them apart. We have a slight problem here. You probably don’t want to leave your ring with me forever, but on the other hand, I can’t possibly let you keep my magic rubber band. It’s priceless. So, we may have to go home together. No, that won't work for long. So, will you just blow on your ring. [Penetrates off, step 8] That 's the thirdfactor in a perfect marriage — a little spark of magic.”

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RINGLEADER

277

Comments (1) Background and Credits. Bill Kalush was the first to cause a finger ring to penetrate on and off a rubber band. His groundbreaking routine “Rubber Ringer” was published in Richard Kaufman's Richard's Almanac, No. 13 (September 1983): Michael Ammar’s “Ring Band-It" appeared in Michael's Magical Arts Journal, Volume 1, No. 1 (August 1986), and later in The Magic of Michael Ammar, 1991, p. 135. Dan Harlan’s “Another Ringer” appears on A-1 MultiMedia’s videotape, The Band-Shark, 1993. My “Ringleader” is a synthesis of what I consider the strongest parts from cach of those routines. The wonderful illusion of actually showing one strand of band running through the ring (while hiding the other strand behind the back of the hand) is Bill's creation. My way for getting into this position at step 4 is a technical variation of Dan's linking action, but, for me, my handling makes the linking look cleaner, because the hands move around less. My main contribution is at step 6, where I developed the immediate open transition into a modified pinch grip. This snap-off-the-finger action allows me to move directly from the first sliding display at step 5 (from Bill's original routine) into the second sliding display step 7 (from Michael's routine). Because these two illusions appear similar, but are based on two quite different methodologies, together they have a nice canceling quality. The visual unlink penetration at step 8 flows naturally from the grip you're in.

at

I showed Dan my routine several years ago at an FFFF convention, and he shot video it for inclusion in an upcoming book he’s preparing on rubber band magic.

notes of

An Interview by

John Bannon

John:

So, now that the book

Simon:

Some relief, some trepidation.

John:

Explain each

Simon:

As you've seen, I'm not good at explaining anything briefly.

John:

Well, try it. I'll cut it down later anyway.

—

1s

finished, how do you feel?

briefly.

Relief, because the actual writing is the least fun part of creating a book. Ilove creating, playing around with possibilities, trying things out on you guys. But once the ideas have gelled and have been tested, improved and polished in our sessions, then trying to put all down on paper gets to be drudgery after a while. So the relief is simply being glad it’s behind me.

Simon:

it

John:

What about the trepidation?

Simon:

Completing a book is like sending your kid off to college. He's grown up with you, but nowhe’s leaving home, he’s on his own, and you wonder how he'll do. I've nurtured the material as best I could, and there’s a bit of me in every trick | create. But at some point, you let go and send it off to the outside world. You hope it will be accepted, but from then on it develops on its own, by its contacts with others. Other magicians will play with it, and hopefully use it, personalize it, and enhance it. I guess it’s just separation pains. But at the share the stuff and get feedback — and maybe somcone will really pick same time, I'm eager up the ball and make a touchdown with it.

to

John:

Does this mean that the material isn’t really finished?

Simon:

IU’s

as finished as I can make it, given my skills and orientation, but one thing our sessions have taught me is there's always room for improvement. Different minds approach things differently, and frequently they add something valuable. For instance, I'm very proud of “Shuflle-bored,” but it was Ali Bongo who came up with the presentation angle of successive, unfolding multiple predictions. That's a strong addition, that helps make that trick. I love it when creative minds bring the stuff further. Some of your material requires a fair amount of preparation, or prearrangement, or doesn’t reset quickly. Do you think that makes it less practical, for the working performer?

John:

Simon:

to

There are lots of answers to offer, but I don’t want get into a big debate about what circumstances or conditions constitute the “real world,” or how much effort or preparation a performer should be willing to put forth to entertain and fool his audience.

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“What's “practical” depends on many things, and I completely agree that much of my material is practical only in certain contexts. In a table-hopping, or cocktail context, I wouldn't

recommend doing effects that involve extensive dealing or take a long time.

John:

So, what would you do in such walk-around contexts?

Simon:

Of my own material,

regularly perform “Ringleader” and my “Quadruple Spellbound” [from Sessions]. With cards, I've being doing the “Head Over Heels Invisible Card” recently; it’s quick and visual. often carry a “Birthday Book™ or my “Calendar Card” {from Simply Simon] and that’s a strong and highly personal effect. I still do “Mis-Mate” and. my “Favorite Card Trick” [from Card Ideas] and at table-side I'd do “Under the Spell” [from The Aronson Approach] or “Prior Commitment.” Then, of course, | carry my memorized stack, so for strict walkaround I'll do “Two Beginnings.” If there's a table handy, then I can do 15 minutes of material just from the “Unpacking the Stack™ section, and never depart from stack order. I

And let me quickly add that I'm not married to my own material. For laymen, I want to perform good magic, no matter whose it is. Ido an Ambitious routine, or a card to pocket, or a host of routines that everyone else does. There's always an extra element of enthusiasm and pride in doing your own stuff, but I'm not that egotistical that I think only my own stuff is worthwhile.

John:

You're not?

Simon:

You can cut that remark out later.

John:

Your writing style is really detailed. How come?

Simon:

Probably the long-windedness of a lawyer, who gets paid by the hour or by the word. More seriously, I spent a long time [six years] in graduate school in philosophy, and 1 am truly interested in the thought process, the development steps that we go through with any particular trick. Things happen in layers, and sometimes it’s only when you push deeper into the underlying theory of why something’s happening that you can see how it relates to other effects or moves. For instance, that’s how all the UnDo Influence stuff developed. was already performing “Twice as Hard,” but it was only after I really understood the inner workings of that single trick that I came up with the other UnDo Influence applications. 1

Do you have any special ways you create new effects, any particular things you John: do to stimulate the creative juices?

Simon:

The primary way is brainstorming in our sessions. One is never aware of his critical and blunt as you and Dave, never have to worry about own blinders, but with guys I"ve anything being sugar-coated. definitely found that the more different substantive projects I have in my mind at once, then the more chance there is for things to “click” together, for some synergies to appear just by chance, or the more I might see a possible connection or combination. So, at any given time | try be in the middle ofreading two or three magic

I

as

to

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books, and maybe watching a couple of videos, and practicing a few moves, and working with you and Dave on your tricks. Then, connections just pop up.

John:

What else?

I'm probably overly critical, both of others and myself, and certainly of much of the magic I sce or read. But some good ideas actually are generated out of the weaknesses, Simon:

see. I cringe first, but then I ask whether there's something that’s worth working on, or I ask how would I get around that problem.

or lousy things,

I

also am willing to be patient, to work on a project or an idea for a long time, sometimes years. You know, you get the kernel of a good idea, but it’s only half baked. So, I keep notebooks, and I re-read them, waiting for that certain something that’s exactly what's needed to make an idea or an effect all come together. It's the way the three of us work together our sessions. Something starts one Saturday, and for the next few months we keep tinkering, massaging, polishing, discarding, and then coming back to the theme. Dave has been working on “Oil and Water” routines for over 20 years. You've been working on your triple Ace routine for over a year now. In contrast, I remember one magician coming up to me at a convention telling me, with pride, that he had worked an entire afternoon to create a trick he had just shown me. I

in

John:

How did you respond?

Simon:

I don’t recall exactly.

John:

And tact. Are you impatient with young or new magicians?

I'm sure with my characteristic delicacy.

Simon:

Resoundingly No! 1am so impressed with what's coming up the pipeline in magic. Kids now know and can do so much more than when I was starting, and they learn and think quicker. IfI’'m at a convention I like to sit down on the floor with the younger guys and watch and help and learn with everyone. I just have trouble trying to stand up again.

John:

Along time ago, Jon Racherbaumer wrote that you “play

still true? Are you something of an elitist?

to the gallery.”

Is

that

Jon wrote that when he reviewed my first book, Card Ideas. 1 think he meant that I tend to give my audicnces fair amount of credit for being observant and intelligent, so I try not to use methods that are obvious, or even that are easily figured out if one thinks about it. It’s a habit that came about because in college and graduate school most of my spectators were my classmates and dormmates.

Simon:

a

At the University of Chicago I was surrounded by supersmart, scientific types who stared at me all the time while I performed magic, as though it was a laboratory experiment. If had attended a school with lots of frat parties and drinking I probably would have wound up doing more fast, quick visual bar magic; as it was, I was surrounded by my fellowacademic types who wanted to learn everything, and went crazy if they couldn’t understand how something

INTERVIEW

worked So,

az

Sop These

I

281

considered it my job, as a magician, to drive them crazy. How did you do that? Howdid that affect the tricks you did?

Well part of my response was to develop a penchant for “hands of” magic.

guys were waiting for me 10 do something, watching for something aberrant, so | tried 20 make 2 look like | didn't do anything. But one can only watch during a trick, so I gained 2 healthy respect for using secrets that basically occur before the trick even begins ~ like stacks and pre-arrangements, or gaffs or duplicates. Or secrets that happen outside the spectators awareness, like multiple outs. The modus operandi has to occur at some point in time, either during the trick or otherwise. If you pay the price of advance preparation you get the benefit of there being less to catch during the performance. And all this led me more toward the mental methodologies and subtleties, instead of the physical ones. One of the best things I"ve seen you do is the two-person mindreading act you How did that come about, and how do you keep it in shape? with Ginny. perform

John:

Simon:

Of everything I've ever come up with

consider our two-person act the most deceptive, totally fooling, most “realistic” looking effect I've ever created. I only wish we did it more often, because, you're right, it’s hard to keep in practice when you only perform sporadically. But that’s one of the true concessions I've had to make, in choosing not to be really do that two-person act justice, a professional performer for my career. The only way from a speed and presentation perspective, to perform it all the time. But Ginny's willing to practice it up a few times a year, and until she retires that’s the best I can hope for.

is

I

to

John:

How did you come up with it? adopted?

Simon:

It all started in 1965 when I saw Eddie Fields and George Martz perform,

Is this someone

else’s system, that you

pitching horoscopes at the Woolworth’s in downtown Chicago. George was “Professor Martz”, and they did a ten minute spiel about twice an hour. I was absolutely captivated by what they could do and convey, and I watched them do their routine, probably 5 or 6 times a day, for several months. All told, I probably saw them do their act maybe 200 times. I basically gave up attending classes, just to hang out at Woolworth’s. Possibly the most valuable months I ever spent.

John:

Did they teach it to you?

Simon:

Absolutely not. They never offered, and I never asked. But I wouldn’t have expected them to. Keep in mind, this was their livelihood, and they did it everywhere, all the time. They weren't going to teach a 22 year old college kid their bread and butter secrets. But we got to be friends, and I"ve been in touch with Eddic Fields off and on ever since. I was also lucky enough to sec King and Zerita perform, and the Tuckers.

John:

So, how did you develop whatever

it is that you do?

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Simon:

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started to read everything I possibly could about two-person code acts, and Jay Marshall was amazingly generous. He made his library available, and lent me old manuscripts of vaudeville acts, sheets on old, crumbling paper that dated back to the 1920s. I studied everything, I compared systems, and I compiled charts of word usage and objects. At that time I knew virtually everything that had ever been written on code acts. I

And then I scrapped it all. Most of it was useless. It was devised for a time when performers spoke in a stilted, formal, flowery dialogue — it was so anachronistic. The exact opposite of the way college kids spoke in their normal conversation. You see, there's a major problem with hand-me-down codes, just like hand-me-down clothes. They won't fit you very well, because they were devised for someone else. So I decided to start from scratch, by tailoring my own system to the way I spoke, to the words that actually were natural for me.

John:

How long did it take you to finish?

This kind of act isn’t something that’s ever finished. Our basic system has been in place for over 30 years, but it’s constantly in flux, growing, getting tweaked. And when you describe objects, you need to stay current with the times. We don’t get draft cards anymore, but we get a lot of palm computers. Ginny and I will often fine tune things, even now.

Simon:

John:

Ginny's been a real partner in magic for you, hasn't she?

it

Simon:

both for me and because she really does enjoy Absolutely. And she does good magic. From the first day we started dating, she’s been a magic fan, and a critic, and a loyal spectator try out things, and of course an editor of all my writings, as well as the star ofthe two-person act.

to

Over the years we've had a number of great magicians visit and stay with us, and Ginny really gets to see some truly wonderful magic. And afterwards, I'll sometimes suggest to our magic guest, “Ginny does a trick of her own. Would you like to see it?” To be polite, they'll respond yes, thinking theyre going to see a simple, cute little nothing — and then Ginny knocks them dead with the mind-reading. It’s fun.

John:

I’ve shown many tricks to Ginny. She seems to know a lot of magic.

Simon:

She’s picked up things over the years, but she really doesn’t care about method much. She just cares about howthe effect looks, and she really admires great skill and great presentation. remember when David Roth stayed with us. David did a fewthings for Ginny, and Ginny turned to me and asked, “Simon, how come your coin stuff doesn’t look like that?” What could I do? That's the kind of standards she nowhas.

John:

So she gets along with other magicians?

Simon:

A lot better than

John:

You? Rough edges? [laughing] I never noticed. Has Ginny been your longest

1

do. She smooths down some of myrough edges.

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magic companion?

Simon:

No — my friendship with Dave [Solomon] predates Ginny. Dave and I met at Magic, Inc. when we were both in college. We formed a friendship over magic that’s continued for over 35 years. We started sessioning together, just the two of us; went to lectures, studied the early Marlo texts together, and Dave's been the continuing nucleus of my life with card magic. When we wrote our joint book together, Sessions, in 1982, our names were so linked in the minds of many magicians that lots of people didn’t know which of us was Dave and which was Simon.

John:

I’ve been sessioning with you both for about a dozen years, and I can’t imagine that kind of confusion.

I can’teither. Especially in our card magic, because Dave and I are so different Simon: in our tastes, our skills, and what we choose to work on. But we complement each other well, and we'll criticize the hell out of each other's magic, and then try to improve it. Over the years Dave has made so many improvements to my tricks, pointed out so many weak or blind spots, and helped make my stuff more natural or casual. And I think I've helped him too. My major regret is that I can’t convince either you or Dave to memorize a deck.

John: should learn?

Simon:

Maybe someday. Do you have a recommendation of which particular stack I

Yes,

for you I'd

recommend trying to lcarn new deck order.

John:

Earlier you mentioned that many of your methods were more cerebral than physical. Do you shy away from sleight of hand?

Simon:

all. at in

love to watch someone with great chops. And I'll include any move or sleight my tricks and my repertoire, as long as I can do it comfortably and well. I But by well, mean that to a layman it has to be invisible. There’s nothing better than a move that’s never suspected, but nothing worse than a move that telegraphs that something's going on. Not

I

There’s no way to have spent so much time with Marlo — over 20 years — without having developed an awe and admiration for great sleight of hand. Especially the kind of soft, graceful touch that Ed had. Nothing fast or snappy or flourishy. Just slow, natural hands that were completely disarming. I still remember his palming as the best I've ever seen.

John:

Did he actually teach you slcights and physical skills?

Simon:

He would always help, if I asked him to. I remember when I first started I palming, complained that my “windows” revealed the card. Without saying anything, he

showed me the back of his hands — he had windows, and yes, you could see the card if you looked — but I had never noticed it before.

INTERVIEW

John:

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You and Dave spent many years sessioning with Ed?

Simon: Absolutely. The Saturday session in Chicago was at “Ed’s table,” and once you were invited to sit down and participate, was a privilege that you'd never want to miss. Our lives were scheduled around that event, every week, for over 20 years. We'd all come home, every Saturday evening, reeking of cigar smoke. Ginny made me change my clothes out in the hall — but that was an casy price to pay for being with Ed.

it

John:

What kind of guy was Marlo, personally?

Simon: Socially he was somewhat shy. He didn’t open up casily around strangers, but once he was among friends, where he felt comfortable, he could be warm, friendly and even joking. I remember the first time he and Muriel visited our home — we live in a high-rise, with a balcony overlooking Lincoln Park, 29 stories up. Somehow we were talking about tossing boomerang cards, and Ed thought it would be fun totry off the balcony, with the hope, of course, that they’d sail around back to him. So, he started spinning cards off, one after another. He caught a few, but the wind took most of them, and he must have lost about half his deck to the fresh air.

it

John: Simon:

Was Marlo as good as legend has it?

Technically he was great. Things looked beautiful in his hands. But I was equally impressed with his depth and breadth in all areas of card magic, not just sleights. He was a card maniac, all facets of card magic, all the time, non-stop. He was a master of subtlety and of misdirection. Ie had a good sense for math and stacks, and wasn’t adverse to carrying

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a briefcase full

of gaffed decks. And it was

to work on memorized deck magic.

John:

Ed’s

piece in /hidem

No. 8 that first inspired me

Did Marlo actually use a memorized deck?

Yes, he learned the Ireland stack. The memorized deck actually has strong historical roots in Chicago. Bert Allerton used it extensively in his performances. Laurie Ireland had some great material, and since Laurie and Marlo were pals, Ed memorized the Ireland stack. I used to show Ed my carly experiments with memorized deck locations, and he got a real kick out of them. I really wish he could have seen “Everybody's Lazy.”

Simon:

John:

Is the memorized deck work the

stuff you're most proud of? You've really

started a rebirth. It’s not just me, by a long shot. I may have been one of the first to show how sophisticated it could be with my chapter in Card Ideas, but certainly Juan, Mike Close, and other professionals have done more to popularize it and brought its development much further along. But even my stufl was developed standing on the shoulders of old timers like Nikola, Al Baker, and Marlo. And nowthat it’s caught on, a whole new generation is coming up with more ideas.

Simon:

John:

It seems to be customary in these kind

of interviews to give some sort of

biographical sketch, the important dates, and how you got started in magic. Can you give one, again briefly.

Simon:

Born September 13, 1943. Started in magic at age 8 with a “Mandrake the Magician” set, then graduated to a Gilbert “Mysto” set. | was a non-athlete and I instantly was bitten by the magic bug. I devoured all the books in the public library, and then discovered Tannen’s.

John:

You lived in New York?

Simon:

Yes, Rye, New York but I'd go into the city every chance I had. On Saturdays virtually lived at Tannen’s on 42™ Street and at Flosso’s. I did my first paid birthday show at age 11, and from then on I performed at kid's parties almost every weekend, probably for the next 12 years. My sole television appearance was as a junior magician on the Magic Clown show. During the summers, as a teenager, | had a dream job: I ran the boardwalk magic shop at Playland amusement park, sort of a semi-pitchman of everything from Svengali decks to squirting fountain pens. I got to try out everything, and joked with and performed for hundreds of strangers all day. I even did “Guess Your Weight” and handwriting analysis, because the proprietor owned those booths also. I

joined F.A.M.E., a club in New York city, and there I met a bunch of teens who really started me on close up and card stuff. We had weekly lectures from New York's greats, and put on shows in Central Park. The club had a library — it was a wonderful, stimulating group.

I

INTERVIEW

to

Then im

287

1961 I moved to Chicago attend college, and I've lived here cver since. The first 358 was seek out Ireland’s Magic shop, and I hung out there whenever could. I met

I

“img | 2 Jot of great Chicago magicians, and they ve been very gencrous in helping me.

John

Anyone in particular?

I remember one incident, standing at the counter, when a guy walks in, wearing Simon: 55p boots and a cock-eyed hat. He spread a deck out and asked me to just think of a card; then Be shuffled the deck, dealt and stopped right on my card. That's that’s exactly how it fooked to me. His name was Johnny Thompson, and the effect was Vernon's “Out of Sight, Out ofMind.” Johnny introduced me to the “Inner Secret” series, which was brand new at the time, and | was hooked on Vernon's material. Similar inspirations came from watching Harry

it,

others.

Riser, and lots

of

John:

Did you perform professionally?

Lot's of children’s shows, and occasional close-up shows, but nothing 1'd call full-time or professional. Except for the mind-reading. Ginny and I did that all over Chicago and the suburbs, clubs and private parties, for six years, from 1970 to 1975.

Simon:

John:

Why did you stop?

Simon:

The pressures and conflicts with trying to be full-time lawyers, at high powered firms, it just got too much. Ginny was uncomfortable when some of her important law clients turned up in our audience. She felt it was a bit strange to be their lawyer by day and their mindreader by night, so we cut back on public shows.

John:

You practiced law full-time until recently. How could you keep up with all the

magic?

It wasn’t easy, and that’s one of the main reasons I retired. I got my first and Simon: only job right out of law school as a lawyer at one of Chicago's major law firms, and stayed

there all my professional life. Time was at a premium, but law is a people business and I constantly had an audience. I'd show new stuff to my fellow lawyers, secretaries, the mailroom guys, everyone. Especially clients. Magic is an immediate icebreaker, and relieves the pressure when negotiations get tense. In my office I used a speakerphone the time, just so I could shuffle behind the scenes. When I retired in 1999 the firm wanted to throw their traditional luncheon banquet, complete with stuffy speeches. I asked them to skip the talks, and instead Ginny and 1 performed our mindreading act for a hundred of my partners. They still talk about it, and about how retirement partics will never be the same.

all

John:

I

can’t quite picture you in the formal business setting, for over 25 years.

Simon:

I

can behave myself when necessary, but my typical attitude was somewhat

irreverent.

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John:

Anything else of importance happen in your magic life?

Simon:

Yeah, in 1988 a bright, young, rising magical star moved to Chicago. He and lot in common: U of C law school, both writing our first solo hardbound magic book, both creating new magic, both headstrong — and so Dave and | welcomed another generation into our Saturday session. And you've been a central part of ever since.

I shared a

it

John:

Thanks. I'm glad you let me in,

Simon:

The three of us really are so different in what we bring to the session, but it’s

1

think.

the

a great fit. To the extent I've learned anything about presentation over past ten years, | owe it to you. And, yes, [ acknowledge you have no responsibility for “Rap-Ace-ious,” or for my puns.

John:

I agree. Our Saturday get-together is a great testing ground for catching up on what’s new in magic, brainstorming and trying out new ideas and for just getting together unwind. And thanks for making coffee each week for the past ten years.

to

is already too long?

Simon:

Do you think this interview

John:

It’s about on par with the rest of your material.