F R A C T U RE sy DANIEL MADISON SWITCH THE DECK The mind secretly repairs the fractures in reality, and invites you to deceive yourself. Copyright Daniel Madison 2012. All Rights Reserved.Fracture is a study on the subject of deck switching, with specific focus on the Fracture Gimmick - my modified version of an underrated device. The Fracture gimmick takes up no room and hides in the open. It is a device designed to aid the switching of one deck for another. Either in the hands or on the table, Fracture allows you to openly and confidently switch decks right in front of your spectators. At the 2012 Blackpool magic convention, Christian Engblom demonstrated The Cooler for me. Despite clearly seeing the ‘action, reality did not appear to have been disturbed and | was forced to tell myself that | had been mistaken. This psychology enraptured me indefinitely... Openly executing a bold ‘move, which, although with cover or misdirection would offer a perfectly imperceptible deception, even when seen, fools the witnessing eyes and psychological contractual agreement between reality and self-delusion: You are invited to lie to yourself, and for the sake of reality, you accept. This book will offer a few devices, detailed explanations, psychological theory and the encouragement to make every idea your own. 1am Daniel Madison. Welcome to Fracture.MAKING THE FRACTURE DEVICE The Fracture device is a modified deck shell. it is a simple device that you will need to construct. The construction will take you no longer than 10 minutes using the following materials... Scissors. Sticky Tape. Double Sided Sticky Tape. | x Playing Card Box Image SEVEN exposes the final device. It is a Deck Shell with the left side cut away. The device is essentially a box that only has three sides... The front, the bottom and the right side. | invite you to withhold judgement on the device until you have con- structed and taken time to understand the ingenuity of removing that lefts side of the standard deck shell. Simplicity will invite you to cut off the top, left and back sides of the box and hence forth, however, the life and durability of the device relies heavily on the construction instructions. ONE. Cut the back of the box, from top to bottom at the left side. TWO. Remove the excess card stuck to the back of the left side. THREE. Cut the back of the box directly across the bottom from left to right. As you reach the right side, the box will unfold. Cut the back of the box off leaving approximately one centimeter at- tached to the right side. Cut off all of the small flaps apart from the one at the bottom of the right side. Cut the top of the left side diagonally at the top by approximately one centimeter. Cut the same from the top flap/lid of the box and then cut the lid off leaving behind approximately one centimeter. Your device should appear the same as that in image three. FOUR. Apply double-sided sticky-tape to the back of the sides and lid. and fold them in to stick to their opposite sides. FIVE. Apply double-sided tape to the face of the small flap at the bottom of the right side and apply a small strip of normal stick tape to the back of it. SIX. Stick the small flap to the back of the bottom side. You now have a Fracture device.1vOaWvalS 66 x BTEAMBOAT POKER Rtas v7 Two Rau EIGHTThe idea is simple. You will have a secret deck in your hand hidden under the shell. You will take the performance deck in your free hand. You will then transfer the shell from over the hidden deck onto and over the performance deck. Thus switching the deck. Your execution of this simple idea will require a mixture of confidence, timing, misdirection and more importantly, a relaxed natural manner. As the idea is simple, and the technique can be mastered with good practice, your successful execution of the switch relies almost entirely on the psychology of your performance. No script, patter or instruction will cater entirely for your usage of this device. Every time you use this device will differ from the last. There will be a manipulated window of opportunity for the switch, the details of that window are decided and controlled by your performance decisions and abilities versus the spectator rapport and environmental conditions. However, after practice and successful executions, you will gain the confidence to execute the move freely and openly without consciously awaiting that window. The devil in me makes me pull the move at it’s most dangerous moment, and | am yet to be discovered. It is that part of the witnessing mind that corrects the glitch in reality that allows me to succeed and it’s the understanding and the experience of this that will do the same for you. The Fracture shell will cover the cold deck, which will be in your left jacket pocket. The shell and cold deck will need to be presented, held in left hand dealing grip, therefore it must be waiting in your pocket in the most logical position that will allow for this easy pre- sentation. Hold it this way and place it in your pocket, however natu- rally it lands is however naturally it will rest. Before you retrieve the cold deck. you will need to have the regular card box somewhere on show before hand to plant the psychological seed that the box is a justified visual part of your presence. You will first switch the regular box for the shell and cold deck as the spectator is preoccupied. For each deception in play you will create a different moment of cover. Here follow my suggestions...From the start, you will remove the cards from the box and hand them to the spectator to shuffle. As you talk. As they shuffle. You will take the empty box to your right pocket, your left hand will go to the left pocket at the same time to retrieve the shell and cold deck. After a few beats, during patter or distraction, you will remove your hands leaving the regular box and presenting the shell. This simplicity can, if need be, be distracted by you removing a pen from your right pocket. The spectator will witness the box that they are already used to, and a foreign object that they are not, and there- fore their attention will be directed to the pen. The fact that the box switched hands will be blocked and the witness’ mind not process any further. The same box switch will apply to the same pocket with only the left hand and the same psychology applies. You may decide to use your free right hand to retrieve a pen from a pocket, however, reaching across your body to move something or to gesture to somebody will provide adequate cover from the one hand - one pocket box switch. Should this feel to risky to you, you can simply state that you will turn away as the spectator selects or signs a card. Open your mind to the thought that your hands are not the focal point of the current situation. The spectator shuffles. You are in no position to manipulate it. The regular box is openly placed in a pocket to the left other than that holding the shell and cold deck. The hand then instantly makes its way to the loaded pocket to fetch the shell and cold deck. Until you have experimented with the idea of switching these boxes whilst stood, your judgement of the idea will be off. It is a situation switch and not a structured switch. You will base the move on your spectators and limitations within the environment that you are in. But think, you have so many opportunities when with ine spectator to switch the boxes, then pace the loaded Fracture shell on thesur- face awaiting the effect. You do not need to attack with this device, in it’s greatest form, it will box-switch and then await it’s attack. The longer it can sit in the open, the better the execution of the switch. It is in your best interest to leave it in the open for a while, then execute the deck switch in your own form, or, as follows...If the cold deck, covered by the Fracture shell, is on the table, as your spectator is in possession of the deck, for whatever reason you have conjured, take the cold deck from the table from above with your right hand as in image ten. Your hand should hang over and shade your right side of the deck - their left. Momentarily, your left hand will hold the box from underneath. This is a deception. Your left hand will shift the deck out of the shell by approximately one centi- meter to your right as exposed in image ten. The deck will be gripped between finger4 and the thumb at the back, the left hand can now return to be free. To the spectator, this will look no different to that in image fourteen. You will now take the play deck back in your free left hand. Perhaps you have invited them to select a card, at this point they have the card so that you can invite them to sign it. Perhaps their card is being written down. This is your performance. During this deception. You will skew the deck as in image ten. You are now ready to execute the Fracture deck switch. As the play deck and the device are brought together, the skewed play deck is brought underneath the device, then brought up into the open space created between the device and the cold deck as in image eleven. The hands now separate. As they do so, the device slides off of the top of the cold deck falling directly onto the play deck. The deck’s have now switched and the box can either be placed down or taken to your pocket along with the play deck. Hidden in gestures, this can be executed openly and even whilst your hands are being burnt. As you talk, you will use many gestures, side to side, back and forth with your hands. You will know from trying this when to execute the switch. You may simply execute the switch as you begin to pass the box to your left hand to take to your pocket; in one action, the box will merely appear to travel from the hand to the pocket. The deck will still be there and will not be suspected of de- ception. In the style of a Top-Change, you will be able to execute the switch but for your safety you will find that the switch can take place as soon as all eyes are elsewhere. However, that psychological glitch will even fix itself for you in the mirror and you will fool yourself, let alone the suckers that you will perform for. At the most, it will simply appear as though the box and deck have switched hands, but as this is a non-action, or an unimportant action, it will not register.FIFTEENSWITCH THE DECK IN THE HANDS - TWO With the cold deck, covered by the Fracture device, held in left hand dealing grip, finger one adds a little pressure to the end as the thumb pushes up at the left side of the device. This causes the device to be lifted at the back as in image twelve. When you take the play deck back with your right hand, you will grip the deck as in image twelve. The grip on the deck is between the thumb at the back and finger three at the very top right corner. Fin- gers one, two and four are able to move freely. As before, your switch will be executed with the help of a chosen gesture and good timing. As the decks are brought together, the play deck enters the open gap between the cold deck and the device at the back right corner as in image twelve. With fingers one and two out of the way, as the device slides over the play deck where fingers one and two press down on top of the device causing it to lift from the cold deck and secure itself on top of the play deck as in image thirteen. The device will not fully cover the play deck, it will be slightly exposed at the right side, however, your right hand offers suf- ficient shade as in images ten and fourteen. Fingers two and three grip the device at the top end, fingers one and four then move either side of the device and play deck and square them together. The deck switch is now complete.ri SEVENTEEN reriaa) NinaSWITCH THE DECK ON THE TABLE If the cold deck, covered by the Fracture shell, is on the table as in image seventeen. As you take the deck back it is placed to your left of the deck fairly close and at a similar angle. As the spectator is pre- occupied by the distraction of your chosen performance, with your right hand you will slide the box off of the cold deck and tilt it up at the left as in image eighteen. You will take it to the left placing it di- rectly over the play deck as in image nineteen. As both decks are momentarily exposed, your right arm will shade the cold deck. You will then pick up the play deck, now hidden in the device and either move the deck to the side of the table out of the way, or take it to your pocket. You have now switched the deck. This is not executed at great speed, as with every switch you attempt with the Fracture device, it is all about timing supported by your di- rectional deceptions.A FEW THOUGHTS ON FRACTURE Off the ten plus switches | have mastered with this device, | end my offerings here as these are by far the greatest and only practical switches that one would need to execute the move. However, we shall continue with Fracture as the subject and deal with every aspect of the device and switching decks. As your Fracture device is made from a card box, it will weaken. | recommend that you add support to the inside of the box in the form of a simple cutoff card folded and stuck to the inside sides as in image nine. It is important that the box matches the device in quality and wear; if you present a used box and then a clean and new device, you risk unnecessary and unwanted attention. When it's not in use, you can keep your cold deck in a regular box. The device will then sit over the box perfectly thus protecting it from bending. As a card is freely selected and then the deck is switched, you will be presented with a duplicate card which can be taken advantage of at your own discretion. To offer a few ideas to the unassuming, you can present the deck in order after it has been shuffled by the spectator. Perhaps you can switch the deck for one of a different design, the top card of which matches the play deck, the selection is placed under the tilted top card and the two are held as one and presented as the only card of that design from a fully different deck. | am confident that you will find your own usage for the device. To aid your new Fracture device, | offer a study on deck switching for performances. Once you grow confident with the device, it will occur to you that switching the deck is not as hard as it may at first seem, and at times, you realize that the deck deck can be switched much easier without the device.The following is a study on deck switching techniques designed for performances, with and without devices. The Cold Deck was published and released in 2011 and it now Originally produced as Deceptions Volume Three, finds its resting place here as a part of Fracture. pwd ©) ni (aa ea a O © Ww ai iTHE COLD DECK A COLLECTION OF DECK SWITCHING TECHNIQUES sy DaNieL MADISON The Cold Deck is a term used for a deck that is about to be switched with the deck in play at the card table... The Cold Deck must invade the game unnoticed, in return, the Play Deck must leave as invisibly; a change that must be bought about by hand. There is an art to the switch, which deserves discipline and time, you will not be rewarded for the move with praise and impressions, the move is secret, however, you you may be rewarded at the table should you ever acheive the switch. I will describe with generous and ample detail the mechanical techniques and psychological subtleties that I've been successful with at the card table and in performance. One should note that techniques explained for card-table deception are written from the dealers per- spective. | will also touch on thoughts of stacking the deck. I take no credit for any move, technique, sleight or effect published in this book. Everything | explore and write about has been discovered in practice and play without influence from other resources (unless stated and duly credited.) Any similarities to existing sleights / tech- niques are unintentional, and purely coincidental. Due credit will always be given and | offer thanks to those who take the time to let me know of such similarities. Please note that this book is written in a consecutive order and designed to be read from page to page, and not sectional as suited: Vital information needed for later ideas is written throughout earlier techniques, therefore skipping a section may leave such a reader confused about assumed missing information. Please note that although techniques and sleights are explained in detail, | assume that this book has met its target audience who will already have a grasp on basic sleight-of-hand tech- niques, some of which ( usually the basic sleights ) | have subsequently refrained from explain- ing. You will need two deck’s of playing cards.the patch To achieve the desired result of a Deck Switch, one must first analyze the procedure, actions and dangers. The action describes the process. The deck in play is switched for another deck - typically a stacked or marked deck - and all other players are none the wiser. They call it the Cold Deck as it has yet to gain any body heat from the using hands of the dealer and players alike... The more skeptical and knowledgeable gambler will keep a subconscious check on the temperature of the cards, and in the midst of a cheat can bring a hex to his attempts or even use them against him. In most all cases, the player must retrieve the Cold Deck by hand and lose the Play Deck the same without notice. There are few ways around this and this is something he must come to terms with before confronting the idea. This is the obstacle of the switch. Hands in pockets draw attention and a deck unnaturally covered for any longer than a split-second will invite questions. The Patch Deck Switch not only involves muddling, but takes advantage of it. The deck never leaves the sight of the players and it never leaves the same hand of the player. The idea works, in concept and method, however, the act requires imperative tailored distraction. To avoid annoyance from the start, | will expose the mechanics first, so as not to distract you with the crappy act of distraction - which can be tailored to your suitability. | shall first ap- proach the situation as if one were to apply this technique at a card table. The Cold Deck, which is stacked, is in the left jacket pocket, with the faces facing away from the body. THE MECHANICS: |. The deck is cut and collected by the player - right hand above the deck, lifting and placing it into left hand lower mechanics-grip. The right hand retains the same grip offering shade throughout. 2. As the deck is placed into the left hand it is set free and the top card shifted forward by no more than an inch. The right hand, maintaining the same grip, now only holds the top card of the deck yet appearing to hold the entire deck. 3. The lower 51 cards are gripped into the hand with finger4. 4, The left hand tilts almost face down to the floor whilst at the same time retreating to the trouser pocket. Done correctly and with steady speed and motion, the hand will appear empty and the deck will appear to be still held in the right hand over the table. 5. The deck is dumped in the trouser pocket. After ‘The Act’ the left hand returns to the jacket pocket to collect the cold deck in the same palming grip. 6. The cold deck is now returned to play and secretly loaded under the single shade card in the right hand. The right hand instantly releases the top card offering the illusion that the deck was passed from the right to the left hand,This deck switch, aside from ‘The Act’ is faced with a problem. Although you have brought a full cold deck into play, you are left with a stranger card on top of the deck, which will duplicate one of the cards in the new deck. The player can combat this before he begins. Lets’s say the top of his stack is the 2 of Clubs. He can remove this card from the deck. During play, he can locate, or await the 2 of Clubs being dealt to him, which he will then Crimp. Upon his deal he can control the 2 to the top and palm it away from the deck for the cut. Once cut, in retrieving the deck, the palmed card is added to the top of the deck and the deck switch proceeds. By completion of the switch, the 2C is at the top of the stack - where it belongs - and there are no strangers in the deck. Assuming that these precautions weren't followed, the player must employ a series of sleights to eliminate the excess card from the game... Faced with an extra card on top of the deck, following the switch, the player must second deal until his first card, then deal himself the stranger card. He must then deal himself a double on his final card. This will leave him with one more card than he needs: the stranger card at the bottom of his pile, which can be removed by bug / lap /palm /other. To fully understand the mechanics, one must first be confident with ‘The Act’ The Play Deck has been palmed to the trouser pocket. The Cold Deck awaits in the jacket pocket. The player must be seen going to his trouser pocket, and then going to his jacket pocket, right in that awkward moment between the cut and the deal. In fast company, no excuse for an act would not play, so one should always be intelligent with the devices he uses to foil his victims. THE ACT // ONE: Hold on, | need more money... With money in the right jacket pocket. |. The Play Deck is palmed and dumped in the left trouser pocket. The player goes there in search for his money. 2. Upon finding no dough in his trouser pocket, he tries his left jacket pocket. This is where he loads the Cold Deck into palm. 3. Finding no bacon in his left jacket pocket, he returns his secretly loaded left hand where the right hand connects and drops the shade card on top. This appears as though the deck has merely been passed from the right hand to the left. 4. The right hand then finds its way to the right jacket pocket, where he finds his cheddar. Amongst drunkards one can find an easy ride with this act. Players generally frown at money finding its way to the table mid-play so one must be wise in the act construction by having a low stack (of chips/change) at the table and also hope that no other player mentions this before the act. One will find ease with this ‘excuse’ in a friendly or lazy game and should never risk without confidence. One will feel the urge to speed up the process, as the time he must hold the single card as if holding a full deck may induce panic, but this only causes unnatural actions within the pockets. Here are some other ideas for playing out ‘The Act.’THE ACT // TWO: Mum, | told you not to call me at the office... With his portable telephone in his left trouser pocket, he is able to hide the switch in the warm- ing mist of humiliation... |. The Play Deck is palmed. The player reacts to a vibrating phone in his pocket and so, appar- ently keeping the deck in his right hand, he dumps the Play Deck in his left trouser pocket and takes out his vibrating phone. 2. “Mum, | told you not to call me at the office, I'll call you back tomorrow.” 3. He returns the phone to his left jacket pocket where the Cold Deck awaits. 4, The Cold Deck is palmed back into play and the game continues. One may wonder how to plan the phone-call so accurately, but the play is simple as the phone never rings nor vibrates. The player does not make a big deal about the call, he simple becomes aware of the vibrating phone and answers it. He is careful to hold the phone in a way that shades the blank screen from the other players and of course has already set the phone to silent (in case it rings when he is pretending to talk on it.) It's a quick call, loaded with humor and will hopefully create a little conveniently distracting banter at the table. IN PERFORMANCE: Learning the card table methods for this deck switch will have already set you a few paces beyond the needs of the performer, as a duplicate card in the deck (for most) is not a disadvan- tage but a rather welcoming advantage. Even if the duplicate has no use to you, it causes no risks that cannot be easily solved. Because of the relaxed nature of performance, one needs very little excuse nor need to explain his mid-performance pocket-visits... Were the spectator to sign a selection, the performer would have the opportunity to removelreplace the pen from/to his pocket, he would also have the opportunity to turn away as the card is signed - to prevent any goose-necking. An ‘act’ quite unnecessary yet worth a mention would see that the performer placed a joker atop his stack. Following the switch and into patter he would double lift to show the joker and state that he does not need this card in the deck, which he then places in his pocket (with the stranger card hidden behind it) and the stack would then be pure. Most - in the right mind - will not be of the pocket-visiting sort. To which | offer you something rather intriguing... Slaine...slaine As stated, one takes a risk searching his pockets with one hand whilst the deck is in the other. When sat at the table, one as the opportunity to load the Cold Deck on his lap, which would sit in the shade of the table, he would then only need to ditch the Play Deck from his lap between the completion of the switch and his exit from the chair, offering suffi- cient time for the sleight. Slaine is a device which eliminates the pocket. The Play Deck however is lapped and ditched after the switch (which will be covered.) Slaine, is a ‘Deck Dropping Device’ which will attach to the inside of your jacket. Ideally you'll be wearing a suit jacket or one of similar length. The device will place a full deck of cards in your hand whenever you need it with no inconspicuous moves or any visits to your pocket... To construct the device, you will need a card box /// an elastic band of a size comfortable enough to wrap around the deck once without too much pressure /// sticky tape /// and a safety pin. DEVICE CONSTRUCTION: |. Cut approximately one inch from the top/bottom of the box. 2. Wrap the elastic band around the box with the deck in it. 3. Feed the enclosed safety pin under the band and tape both to the box.With your jacket on, the device should be in a perfect position to reach naturally and se- cretly without the need for any questionable motions... Pin the box to the bottom inside left of your jacket so that it can be easily reached by your left hand. Practice knocking the elastic away from the box and allowing the cards to slide out into your awaiting hand. Be- cause of the comfortable location, actions will go unnoticed; it should appear as though you are simply holding your hand at your side. One may wish to make further effort in sewing a patch of material to the inside of the jacket so that it is hidden when the jacket is open. | took the time to unstitch the seam of my jacket so that the device hides inside an open ‘upside-down’ pocket, however, this is quite unnecessary for the performer. THE MECHANICS: Specifically clever for card-table artifice, t ther away from the table as he should be... ue is designed for one sat down, a little fur- |. As the deck is surfaced for the cut, drop both your hands to your sides to adjust your seat, ideally puling your chair closer to the table. It will appear that both hands are used for the grip on the chair, however, only the right hand will move the chair. 2. The left hand connects to the device and releases the deck into a finger-palm grip, which is instantly adjusted into a gamblers cop position. The hands are brought back to wait at the players laps, or instantly to the table for the deck switch. My intentions to refrain from offering a deck switch method at this point will make more sense when you continue with the next method (Veil) as this section is dedicated to the device alone. IN PLAY: As with most performance devices, one need not stress about his moments, as they can be ma- nipulated and controlled without question. However, this device allows you to load a full deck into your hand right in front of your spectators. With practice in front of a mirror (and with the device in the correct possition) you will notice that you can load the deck with no unnatural movements or stature whatsoever. Once you have the deck loaded, your choice of deck switch is your peril, however, | have always found the OTT Deck Switch is the easiest for stand-up performances - which will be covered in a few pages.veil Introducing deck-switchnig methods with Patch was a consious step to prepare you for the sug- gested mechanics for deck-switching at the card table: by the means of using the top card as a shade card as the deck is switched beneath it. | suggest this as a strong and proven method and using the idea with the Slaile device will offer a much easier procedure In this case, however; | offer a technique far more accessible and far less risky - with a little help from the Slaine device... THE MECHANICS: |. As the deck is surfaced for the cut, drop both your hands to your sides to adjust your seat, ideally puling your chair closer to the table. It will appear that both hands are used for the grip on the chair, however, only the right hand will move the chair. The left hand connects to the Slaine deevice and releases the deck into a finger-palm grip, which is instantly adjusted into a gamblers cop possition. 2. The right hand then aproaches the deck as the left hand hovers at the table level, tilted, hiding the Cold Deck. 3. Finger! of the right hand is curled in to contact the top of the deck. The thumb at the back of the deck. Finger2 connects with the top card at the inside left corner causing it to breach the end of the deck by a few millimeters; the thumb stopps it from pivoting from the deck. Fingers3 and 4 curl over the front of the deck and the deck is lifted. 4. As the top card is slightly seperated from the deck it is gripped between finger2 and the thumb and kept in place by finger one on top. The deck is taken back and over the edge of the table as it makes it’s way to the left hand. As the deck reaches the end of the table, the deck is released keeping only the top card in hand, in the same action, the left hand brings the Cold Deck under the single shade card for the complete move. This entire action will appear simple. As the deck is cut, the dealer pulls his chair in, then takes the deck from the surface and passes it to his left hand and begins the deal. The grip on the top card will take a good practice run for a comfortable sleight and one must ensure he drops the Play Deck on his central lap, so that it lands complete between the legs. Once again you face the issue of having a stranger in the deck, and for this situation | would reccomend that the ‘sec- cond-dealing until the players deal’ idea would best suffice. A THOUGHT FOR CLEANING UP A LAPPED DECK: There is no such sleight devised for vanishing a lapped deck that one would care to apply at the card table. One may employ the use of a Toppit, however this would require the player to launch the deck into his open jacket in hope that it goes unnoticed - something | have not attempted for obvious reasons, however; | have been tempted.With the deck on your lap, you won't have an opportunity to clean up whilst dealing, so the soonest one could take action is following a fold or during another players shuffle and deal. It is important that the player sit close to the table, and lean in even closer following the drop as he needs as much shade as he can forge over his lap. In resting moments, when there is nothing to hold on the deck, the player can sit back and drop his hands to his lap without the worry of suspicion, as this is a common behavior of one who is out of play. The player can use this to his advantage for the clean. There is no technique surpassing the obvious. One must simply gather the deck in the shade of the table and get it to his pocket. Nonetheless, here is my method... |. With the deck in left hand finger-palm, the player makes room visit. 2. He swivels to his left bringing his left hand to the left side of the chair. His right arm swings over to the left as his entire body turns. He now has enough cover to dump the deck in his pocket as he stands to leave. 3. During his bathroom visit, the deck is dumped in the toilet cistern. is excuses to drop out for a bath- Alternatively, the player has the opportunity - once the deck is loaded in left-hand finger-palm - to retrieve and check his phone for messages etc. In which case the deck is simply taken to the pocket at an appropriate moment for the act. One should avoid attempts to ‘sleeve’ the Play Deck. not only is this an awkward process but it carries way too many risks. One may be fortunate enough to be seated at a table that has a double-structure providing a small platform under the table suitable for the Play Deck ditch I have practiced the idea of itching the left ankle and secretly forcing the deck into the sock at the same time. This is very tricky and can consume more time than one would expect to take ona simple leg-scratch. One may be of the sort to have invested in the wear of / and be incline to wearing combat jeans I trousers to his game, in which case he has a natural reach to a pocket situated near the knees, making for a very appropriate deck-dump. However, I'm yet to meet a serious player sporting such an outfit. Following, are some direct deck switches, which take advantage of the Slaine device, most of which also incorporate one of the mentioned clean-up methods.grit Named apropriately for the balls needed to apply this to a game, Grit is Veil with a death-wish. This technique eliminates the cover card and is a direct deck switch - one-for-one. It is a bold move and has a discrepant moment where the hand will appear to be holding a deck, when really holding nothing at all.. Providing you have your Cold Deck loaded from the Slaine device, prepare to lap the deck from the table... |. Following the cut, take the deck from the table with the right hand and bring it over the the awaiting (and loaded) left hand. 2. As the right hand breaches the table, drop the entire deck to the lap. 3. The right hand, keeping it’s shape (as if holding the deck still) meets the left hand, which has since turned face up to produce the loaded Cold Deck. To put this move into perspective, the Cold Deck makes its show before the Play Deck touches the lap, of course, they are not seen at the same time, but this should explain how quick the move is. The deck isn’t dropped until both hands appear to meet at the table edge. As the deck is dropped in motion it will travel down at an angle, therefore the body turns slightly over to the right, which incidentally offers more shade over the lap. One should not attempt to speed though this technique, although the actual switch takes a split-second, it is not done at top speed. The shade is offered from the movements made by the arms and hands meeting. You will find through practice that the hands play a great part in shad- ing the deck. In the mirror, you may even at times fool yourself. Seeing the deck leave the right hand is not always a bad thing, as the appearance of the Cold Deck will offer the image that the Play Deck was simply dropped into the left hand for the deal. This switch takes practice that cannot be fully translated on paper. The Play Deck is dropped with perfect timing as the hands meet. Nothing is done without natural motion. The deck is not thrown and there is no room for error. Without a term of practice, one should avoid this switch. Perfecting Veil, will offer the best training needed for Grit.slide This is the first deck switch | mastered and the only one | used in my early days. It inspired the OTT Deck Switch (following) and makes the most of the Play Deck, which remains in the game right up to the point of the first deal. Providing you have a loaded Cold Deck in palm, prepare to lap the Play Deck |, Maneuver the palmed Cold Deck into a lower Gamblers Cop; gripped between finger? and mid-palm. Finger! curls over covering the end of the deck. 2. Following the cut, collect the deck from the table with the right hand and bring it over to the left. 3. Raise the left hand loading the Cold Deck under the Play Deck. The Play Deck sits on top of the Cold Deck slightly forward. Finger! now curls over the front of the play deck. 4. The top card of the Play Deck is pushed over for the deal. At the same time, the dealing motion of the deck hand begins by tilting up at the front and down at the back, almost as if to flash the bottom card but seen to simply be passing the dealing card to the taking right hand. 5. In the rocking motion of the deck, as it tilts back, a moment of shade is offered over the deck. In this motion, the Play Deck is released allowing it to be thrown/slide off of the Cold Deck and into the lap. The top card of the cold deck is then the first card to be dealt: The motion of dealing covers the move. The Play Deck, sits on the Cold Deck, and is then simply thrown out of play to the lap in the motion of the first deal. This carries as many dangers as any deck switch, but uses a natural motion to cover that sliding ditch/lap. One may wish to attempt sliding the Play deck over to the lap the instant it touches the hand (before the deal) but one will find no cover wiser than the actual deal As with all techniques, practice is key. The arms need to be in contact with the table or as close as they can be to hide the fall and one should put as much practice in the landing of the lap as the actual technique itself. For those in performance, either stood or sat, The OTT Deck switch follows the same initiation as Slide, but has a safer clean up than lapping the deck...ott Following Slide, one can assure a safer performance technique in OTT (Over The Top.) Al- though | displayed this change toward the end of the Subterfuge One demonstration video, it's not a move that can be applied at the table unless the player is in cahoots with the dealer (something | am strongly against.) | designed this technique for display and performance only. Itis quick and direct and the Play Deck will be long-gone before anybody know’s what's hit them. It can be done in extremely close surroundings without danger and hides itself in a simple cut of the deck. |. The spectator is invited to shuffle the deck. In this act, load the Cold Deck from the Slaine device and prepare for the switch. Adjust the Cold Deck so that it is in a Gamblers Cop. 2. Take back the Play Deck with the right hand and load the Cold Deck under it. The Play Deck will be overlapping the Cold Deck slightly. 4, Without hesitation, with the right hand, grab the Cold Deck at the very back ends and strip it from under the Play Deck. Draw the entire deck back to the body tilted downward and circle it up and over, slapping it on top of the Play Deck. This should appear to be a simple end-strip cut, cutting the bottom half to the top from the back. 5. As the Cold Deck makes its way to the top, finger! pushes the Play Deck further back into the hand. The Deck’s will end in the same position as they were after the load. 6. The right hand now takes the Cold Deck from above as the left hand tilts palming the Play Deck away in a Gamblers Cop for the ditch. I have ended explanation at this point, as how you continue from here depends on your choice of effect. The deck is taken back from the spectator after their shuffle, all that is seen is the player cutting the deck. ‘You may have a pen in your left pocket, which you will need for the next part of your effect. This gives you a valid excuse to make way to your pocket for the ditch. If you have switched in a memorized stack, once you have palmed the Play Deck away, tilt your body and reach over the surface with your right hand, as the deck touches the surface you will turn it face up and spread the deck face up across the surface. In this motion your twisted body will provide it’s own shade for the Play Deck in the left hand to be dumped in the left back pocket. Executed at a table, you can reach back with your left hand to pull your chair closer to the table. The Cold Deck will remain in sight and the Play Deck can be dumped on your chair during your move, which you will then sit on.heat Unlike other previous entries, Heat allows the player to show an open left hand as the Cold Deck is hidden in the collecting right hand in a rather difficult full-deck flat-palm... I. Once the deck is loaded in the left hand, the player transfers it to a right-hand flat-deck-palm (below) :The deck is bevelled into the hand and gripped between the thumb and the inside of finger4. All fingers are completely straight and the hand is held flat. 2. Following the cut, the player takes the deck from the table with his right hand, the Cold Deck is dropped on top of the Play Deck. Both decks are lifted and taken to the left hand 3. As the left hand tilts upward and over to feed the top card to the right hand for the deal, the Play Deck is set free and dropped over the edge of the table to the lap. It’s not the players intention to wave at his opponents to prove his empty left hand. It is a psy- chologically subtlety. Practice and precision with the flat-palm is the drive behind this switch. No unknowing player will imagine that two decks could ever be held in one hand unnoticed, so the act naturally avoids suspicion. The grip on both decks in the right hand lasts for no longer than a seconds, and the same when held in the left. The act should be understood and practiced as one solid move and not a series of sleights; there are no breaks in motion ‘On an ending table (without an edge or bumper) one can complete the switch without lifting the deck. Once the Cold Deck lands on top of the Play Deck, both decks can be slid off of the edge of the table. The Play Deck of course, falls to the lap as the Cold Deck takes over.the edge This is a simple technique for switching the deck at the table, which has also been referred to as the Seated OTT deck switch. To begin the pro- cedure, you must be seated a little further away from the table as usual. As the deck is surfaced for the cut, drop both your hands to your sides to adjust your seat, ideally puling your chair closer to the table. It will appear that both hands are used for the grip on the chair, however, only the right hand will move the chair. The left hand connects to the device and releases the deck into Gamblers Cop, gripped by fingers3+4 toward the top right corner of the deck, fingers +2 offer shade over the front of the deck, as in image fifteen. As the hands are brought back to the table, the left hand reaches across the body where the deck can be held overlapping the table as in image sixteen, the right arm then folds over for cover. When ready for the switch, the right hand then picks up the deck from the table, the left hand slowly draws on top of the table and the Play Deck is placed into left hand directly overlapping the Cold Deck. Without hesitation, the right hand grabs the Cold Deck at the very back ends and strips it from under the Play Deck. The deck is drawn back to the body, up and over where it is slapped on top of the Play Deck, slightly overlapping. This should appear to be a simple Hindu style Strip cut - cutting the bottom half to the top. The right hand now takes the Cold Deck from above as the left hand tilts and retreats back to the edge of the table in the folded-arms position as before the switch. The Play Deck can then be dropped to the lap. Alternatively, as the Cold Deck is stripped from under the Play Deck and brought over to be slapped on top, the left hand, resting on the table near the edge can release the Play Deck allowing it to fall to the lap. This is a method of lesser control over the landing condition of the lapping deck, however, it does eliminate the chances of the cheat being seen with a clumpy hand. One can also eliminate the cutting action by executing the switch immedi- ately... Once the Cold Deck is loaded and ready for the switch, the right hand collects the deck as standard and simply thrown over the top of the Cold Deck to land in the lap. This is done in a casual fashion and appears as though the deck is simply placed from the right hand into the left hand. To put this move into perspective, the Cold Deck makes its show before the Play Deck touches the lap, of course, they are not seen at the same time, but this should explain how quick the move is. The deck isn’tdropped until both hands appear to meet at the table edge. As the deck is dropped in motion it will travel down at an angle, therefore the body turns slightly over to the right, which incidentally offers more shade over the lap. One should not attempt to speed though this technique, although the actual switch takes a split-second, it is not done at top speed. The shade is offered from the movements made by the arms and hands meeting. Seeing the deck leave the right hand is not always a bad thing, as the ap- pearance of the Cold Deck will offer the image that the Play Deck was simply dropped into the left hand. The Play Deck is dropped with perfect timing as the hands meet and nothing is done without natural motion. When sat at the table, one has the opportunity to load the Cold Deck onto his lap, which would sit in the shade of the table, he would then only need to ditch the Play Deck from his lap between the completion of the switch and his exit from the chair, offering sufficient time for the sleight. With the deck on your lap, you won't have an opportunity to clean up whilst dealing, so the soonest one could take action is following a fold or during another players shuffle and deal. It is important that the player sit close to the table, and lean in even closer following the drop as he needs as much shade as he can forge over his lap. In resting moments, when there is nothing to hold on the deck, the player can sit back and drop his hands to his lap without the worry of suspicion, as this is a common be- havior of one who is out of play. The player can use this to his advantage for the clean. There is no technique surpassing the obvious. One must simply gather the deck in the shade of the table and get it to his pocket. Nonetheless, here is a method that works... With the deck in left hand Finger Palm, the player makes his excuses to drop out for a bathroom visit. He swivels to his left bringing his left hand to the left side of the chair. His right arm swings over to the left as his entire body turns. He now has enough cover to dump the deck in his pocket as he stands to leave. During his bathroom visit, the deck is dumped in the toilet cistern. Alternatively, the player has the opportunity to retrieve and check his phone, in which case the deck is simply taken to the pocket at an appropriate moment for the act.thoughts Instincts will beguile the beginner with false priorities... Hide the deck. Hurry the switch. Distract the players. These are all misplaced thoughts. The best cover for any sleight is con- fidence and a natural disposition; anything that betrays nature or appears to force attention away, will only attract unwanted eyes and suspicious minds. Practice will mould your ini- tial-stumbles into a second-nature and is imperative. The same is said for all sleights. The deck switch is not needed by all, but demonstrates an ability to deceive in a way unlike no other; it is a true test a bravery and skill. The content of this volume has been written from the dealers perspective. There are many opportunities to switch the deck when in- vited to cut for the dealer, allowing them to unknowingly deal out your stacked deck; as such a procedure requires lesser work i have decided to leave it right here, as no more than a suggestion. Methods for deck-switching are a rare find outside of the Deck Shell. Slaine shares a concept with an idea many years old. Trevor Duffy created the Deck Dropper, which is a fantastic device, how- ever, through my interest and research, | found that it is designed to only drop a deck that is boxed. For further thoughts on deck switching at the card table, 1 would highly recommend Steve Forte's Gambling Protection Series... Although deck-switching is not taught, it is exposed and per- formed beautifully. For further ideas on deck switching for performance, | offer the following suggestions... Hugards Magic Monthly Volume 15 (1957) Magic Circular Volume 56 (1961) Many beautifully executed methods for deck switching can be found online, and like similar sleights, are instinctive and logical, as opposed to created methods.| do not claim to have invented any device in this book, these are simply, and no more than, ideas. Understand that Fracture IS a deck shell and therefore can be used as a standard shell. | withhold as much information as | can and only offer that which is needed to tempt your desire to be creative. | discovered the ideas in this book within my own private studies on the outside of the related industry; uninfluenced. Any likenesses are purely coincidental and | assume no, nor ask for credit of any kind. There is nothing new under the sun. | believe that everything you do should be yours and therefore if you choose to add Fracture to your repertoire, you should treat it as your own and create your own deceptions around it. Like many ideas, Fracture took off in one place and landed some- where else. Through this journey | have received help from a few and offer due thanks to them. The people | can name are Michael Weber, Jonathan Bayme and Randall Freeman. | offer thanks to Christian Engblom for inspiration. lam Daniel Madison. Magic is dead. It is for you to convince your audience to believe otherwise.www.-DANIELMADISON.co.uk