Nursery Rhymes vol.

2 NR 2 PDF ADDITION

Written, illustrated, photographed, designed, and published by Dan and Dave Buck

Enjoy…

These notes were purchased at www.dananddave.com

© 2004 by Dan and Dave Buck

Nursery Rhymes vol. 2

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Nursery Rhymes Volume 2

Foreword 03
As a production, 2nd method

04 Molecule 2 08 The Forte Flourish

Transplit 11 “Dribble This!” 15
Kryptonite

22
2nd method

…at the Card Table 25

27 Ace Ventura
Single card revelation

31 West Coast Chaos

Nursery Rhymes vol. 2 Foreword

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As Dave pointed out in volume 1 of Nursery Rhymes, “Our style of magic is very flashy and visual, it happens in your face.” Continuing with the theme of our illustrated style of magic, we bring you Volume 2-more approaches on “antiquated moss-covered ruses”. Since the release of volume 1 many people have asked “why Nursery Rhymes?” I think now is a good time to clear this up. Nursery Rhymes are what Erdnase called “antiquated moss-covered ruses.” In other words “old-school” techniques that are refurbished to reflect the changing times. In this volume we bring you two new ace productions. P. @ T.C.T is an ace production done on the table, and looks as if all four aces appear at once. The production also has a nice follow-up trick to go along with it. Both productions are “fast paced” and eye catching. I know you guys will enjoy this one, The Forte Flourish an extremely visual one-card production done on the table, really nice! A one handed false cut, and “Dribble This!” a fast-pace flourish-style card control which leaves you with many applications to go into. Next comes Split Change Transpo, the name pretty much gives it away, a stunning visual transposition effect with a new split-change idea and that’s just the beginning. This volume is twice as big as volume 1 so sit back and enjoy the ride. Most of the material in this volume is practical and surprisingly not that hard. Of course that’s what everyone says about their own material, anyway hope you enjoy our stuff. Until next time, enjoy practicing! -Erdnase’s quote can be found in The Expert at the Card Table on page 13 under the title of Professional Secrets, 12th line down. Dan Buck 17 April 2002

Nursery Rhymes vol. 2 Molecule 2

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As a four card production, 2nd method This is another variation of the Molecule 2 explained in volume 1. There are a few differences in the methods, however, if you already learned Molecule 2, this will come easy. Setup: • Ace, face down • Ace, face up • Remaining cards, face down • Last two aces face down To prepare for the production you will need to obtain a break above the bottom two aces. The best way is to pull down the aces with your left little finger. With your right hand, swing cut a third of the cards as you keep the two aces on bottom by holding them back with the little finger. This is a variation of Harry Lorayne’s HaLo Cut. When completing the swing cut, hold a break between the two halves. You should now be holding a little finger break above the face up and face down aces with the other two on bottom of the deck. You will need to hold the cards in a special grip. Your left middle finger goes on the upper right corner of the deck and your left index finger is curled underneath the cards, Figure 1. Come over with your right hand and grip the top third of the deck in Biddle Grip. Lift the outer edge; the inner edge should still be in contact with the rest of the cards. This top packet should be at a 45° angle to the deck, Figure 2.

Your right thumb picks up at the break held by your left little finger while still holding on to the top packet. Your left middle finger is used as a pivot point to lever this center packet up, Figure 3. You’re basically doing Z Grip used in Sybil cuts, only with your middle finger as a pivot-point and not your index finger. Make sure you have a firm grip on the top two packets before you continue. With your left index finger underneath the deck, tilt the bottom packet up as you would

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for the Charlier Pass, Figure 4. However, it is important that you keep your left little finger extended and not at the rear of the bottom packet. If you need extra support on the bottom packet you could grip it between the index finger and thumb of the left hand.

Once in a position similar to figure 4 (above), curl your left middle finger inward as you lower both right hand packets and rotate the top packet to the right just a little, Figure 5. Continue to curl your middle finger inwards until the center packet is in-jogged about 1 inch beneath the vertical packet held up with the left index finger. Simultaneously lower the vertical packet on top of this packet, Figure 6.

As you’re lowering the vertical packet your right hand is going to revolve its packet 180° over into a face up position. To do this your right index and middle fingers should be resting on top of the packet; your thumb is at the bottom edge and your ring and little fingers are at the top edge, Figure 7. The left hand has been taken out of the picture for more clarity. Revolve your thumb around the backside of the deck until it contacts the bottom card. Simultaneously rotate your wrist forward, towards the viewers. Continue revolving your thumb around until it reaches the center of the packet and rotate your wrist around until the packet is face up, Figures 8 and 9.

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Flip this face-up packet over, like you would for a double lift, on top of the deck. Flip it over so that the center packet will be out-jogged, Figure 10.

The center packet contains two facedown aces on bottom and a face up and face down ace on top. Strip this center out-jogged packet out by bringing the right index finger in contact with the left edge of the center packet. With this finger, rotate it around, clockwise, using your left ring finger as a pivot point. Once this packet is perpendicular to the rest of the cards, pinch the packet with your thumb and index. Continue to revolve the packet around until it clears the deck. Once it has cleared the deck and is parallel to the other cards, bring it to an upright position by repositioning your grip so that your right middle finger is holding the long edge in the center, opposite the thumb, and the index finger curled at the center, Figure 11.

Let go of this packet with your thumb, this will revolve the packet around to a face up position. The packet is now held or clipped between your index finger and

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thumb of the right hand. Lever this packet up as you slide off the top and bottom aces using your index and middle fingers, Figure 12. Once these cards clear the packet, use your left thumb to revolve the bottom ace around the packet and on top of the deck to a face up, out jogged position. Figures 13 shows the revolving action taking place.

Simultaneously to the left hands actions spread the right hand aces and display the final production, Figure 14.

Nursery Rhymes vol. 2 The Forte Flourish

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The idea for this method of producing a card came while reading Ernest Earick’s book By Forces Unseen. “Cross Purposes”, one of the effects in the book, lies on the concept of a Ben Harris idea in which a card rises crosswise from the deck. In the following version, rather then the card rising from the deck, all the cards fall from a vertical position to a horizontal position with the exception of the chosen card. If you read Ernest Earick’s version of this effect you will see that it doesn’t relate to this version. Believe it or not the idea came while looking at “figure 178” of that. This shows a card protruding face up in a vertical position from an interlaced (half shuffled) face down deck of cards lying horizontally on the table. Taking the figure into consideration and applying a Steve Forte idea, we came up with the following method. The Steve Forte sleight enables one to balance a tabled spread in an upright vertical position. Figure 1 shows the position of the cards in their vertical position.

In order for the cards to stand upright you must first reverse spread them on the table. That’s going from right to left rather than a normal table spread which goes left to right. Figure 2 shows the reverse spread on the table in the perspective of the viewers.

NOTE: Ignore the perpendicular card in the reversed spread. This card comes into play later.

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Notice that the left side of the spread still contains about half the cards. Regular spread the cards back over the reversed spread cards. In the end it should look like you have just spread the cards once, Figure 3.

With this done, you will be able to lift the cards to an upright position. This is accomplished by placing your right thumb on the top card of the right side of the spread, and fingers below or underneath the spread. It’s best if you have a closeup mat, as it will make it easier for you to slide your fingers under the spread. Lever the packet up, towards yourself, until it’s in the position shown in figure 1. We believe this belongs to Steve Forte. In figure 1 you will notice the left index finger positioned at the upper right corner of the vertical spread, above the right fingers. You’re going to move this finger to the left of the spread, knocking the upright spread cards down (in a waterfall fashion) to a horizontal position on the table. Figure 4 shows the index finger moving to the left. It’s important not to move your right fingers and thumb. Keep a firm grip on the cards as the left index finger moves to the left, knocking the spread down. When done correctly it’s really stunning to watch. The cards seem to take on a waterfall effect as they cascade down one by one. Figure 5 shows the finished flourish. Notice that the left index finger now rests on the left side of the horizontal spread. It is important to follow through with your index finger. This will cause the cards to be evenly distributed throughout the spread.

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As a production: Have a card selected by a spectator. Place it back in the pack and execute Juan Tamariz “Perpendicular Control.” This can be found in his book Sonata, Bewitched Music vol. 1 p. 21. A quick explanation of the move can be given by looking at Figure 6. The idea is to place a card in the deck and secretly move it to this position. The actions are very similar to the diagonal push through used in the Erdnase Diagonal Palm Shift. Instead of palming out the card just straighten it out with the left little finger to a position show in figure 6. Obviously the right hand covers these actions. Ernest Earick’s “Longitudinal Steal” (By Forces Unseen p. 63) may also be used, as the final positions are similar.

End position of Tamariz perpendicular Control (TPC).

Nursery Rhymes vol. 2 Split Change Transpo

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Effect: Have a spectator name any even card in the deck (lets say the 8♣). Spread through the deck and remove the eight placing it on top. Turn it over and hold it as if you were going to rip it in half. You apparently rip the card right in front of their eyes, however you are holding the two black fours, in other words the eight splits into the two fours. Place the fours on the table as you tell them you will do it one more time. This time remove the 8♠ and again split it into the two black fours. After placing the fours on the table you turn over the other two tabled cards and show there’re now the two black eights. Not only do you get an extremely visual splitting effect, you also get a very visual transposition. It is important that you have a copy of By Forces Unseen by Stephen Minch in your library, as this effect employs Ernest Earick’s handling of Horace Goldin’s snap change. It’s also important that you’re familiar with Chris Kenner’s for4for switch found in Totally Out of Control by Chris Kenner p. 46, and the No Break Marlo-Curry Change by Edward Marlo in Marlo Magazine volume 1 p. 7-11. Have someone name any even card in the deck. Let’s say they name the 8♣. Turn the deck face up. As you’re spreading through the cards, looking for the 8♣, cull the two black fours underneath the spread. When you arrive at the 8♣ push the spread over, to the right, (separating your hands) so that the eight gets lodged above the two fours. Situation check: Spread of cards in your right hand, the 8♣ is to the far left of the spread above the two black fours, which are hiding underneath due to the prior cull. Place the right hand packet underneath the left hand packet. The eight will be third from the top with the two black fours on top. As you turn the cards face down, obtain a little finger break below the top three cards. This is easy as the eight will naturally be side jogged. NOTE: If you arrive at the 8♣ before you have culled the two black fours, just pass it up as if you missed it. When you have culled both fours go back to the eight. Execute the Vernon push-off (Ultimate Secrets of Card Magic, p. 54) and lift all three cards as one. Lift them off the deck by gripping them at the bottom right corner with your thumb on top and second and third fingers on bottom. You are now in position to do Ernest Earick’s finesse on Horace Goldin’s Snap Change found in By Forces Unseen by Stephen Minch, pages 21-26. However, instead of using it to change a card you will use it to apparently split a card in two. The technique is basically the same with the exception that you will also use your left hand. When in position to make the change hold the top left corner of the card(s) with your right thumb and index finger, Figure 1.

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Peel the top card off by moving your left hand slightly forward. Simultaneously move your right hand back and execute the “Snap Change,” Figure 2. The eight will now be behind the four in the right hand. Bring the cards back together holding both fours in the right hand. The cards should be spread apart so both are visible. I load the eight on top of the deck (using Mr. Earick’s method) as I turn my wrist towards myself so that the two cards land on top of the deck face up.

With the two face-up fours on top of the deck, lift them up (about an inch) as you get a break under the top two cards with your left little finger. You are now going to do Chris Kenner’s for4for switch with only two cards. Do this by inserting your little finger deeper into the break and tilting the cards up just a little. The two faceup fours are used for cover as this is happening, Figure 3.

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Turn the two face-up fours face down inserting them below the top two cards, Figure 4. Notice that this is an exposed view. Normally the hand would be tilted down and to the right covering this.

Once the cards are squared on top of the deck immediately push the top two cards to the right and drop them on the table. Make sure that when you drop the cards on the table, the top card (the eight) is spread about one to two inches to the right. Turn the deck over so that it is face up and spread through the cards until you arrive at the 8♠. Separate the spread so that the eight is the last card in the right hands spread. As you do this pull down the two fours with your left little finger and insert the right hand spread above them as you flip the deck face down. Another alternative is to get a break under the two fours before you flip the deck and spread. Right before flipping the deck over you step the cards to the left and when the deck is face up the step will be to the right. This makes it easier to obtain the break. Either way the eight of spades should be third from the top with the two black fours on top. Repeat the splitting action explained earlier and load the eight of spades on top of the deck using Mr. Earick’s method. Your spectators will be surprised to see the black fours again. Place them face up to the right of the face down tabled cards. You’re now going to turn both facedown cards face up doing the “No Break Curry Turnover” to the card on the left with your left hand as your right hand turns the card to the right over in the same manner.

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For those of you who don’t work on the table, an “…in The Hands” method follows: The only disadvantage to this method is that it uses a duplicate card. This means that you will not be able to ask your spectator to name a card in the beginning. However, it is my favorite method as it cancels out the Curry Turnover and allows the spectator to turn over the facedown cards in the end. Alls that is needed is a duplicate even numbered card, such as the 4♦. Place this card on top before the start of the trick. Spread through as before culling the two red twos as you look for the 4♥. Use the same procedure as before so that the four of hearts will be between the spread and the two red twos. However, before cutting the right hand spread to the top you will need to buckle the duplicate four of diamonds now on the bottom of the left hand packet. When you cut the right hand spread to the top, the buckled four of diamonds in the left hand needs to go between the four of hearts and the spread in the right hand. Close everything up and turn the deck facedown. This will leave the two red twos on top followed by the four of hearts and the four of diamonds fourth from top. Repeat everything as before except this time after you do the for4for switch the 4♦ and the 4♥ will be on the table allowing the spectator to turn them over. In the end you will be left with another four of diamonds on top. You could either cut the cards getting rid of the evidence or you could palm it off as you set the deck on the table and go to your pocket for the box. In the beginning I like to take out a box of cards from my pocket. I remove the cards from the box and hand them to a spectator to shuffle. As I put the box back in my pocket I palm out the duplicate card and load it on top as the deck is returned. I hope you enjoy this effect and play around with the Split Change, which I believe is my own variation on the Snap Change.

Nursery Rhymes vol. 2 Dribble This

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“Dribble This!” is a fast-paced stylish card control. It fits well in the flourish style of magic. The control leaves you with many options to go into. They will be explained or mentioned at the end of this explanation. With the deck held in your left hand, come over with your right hand and dribble the cards. Ask your spectator to say stop as you dribble the cards, when he says stop, thumb over the top card of the left packet, Figure 1. Place your right second finger on top of the thumbed over card, and your first finger below, look at figure 1. Pinch the card between the two fingers. Swap your two fingers around so that your first finger is on top and second finger is on bottom of the card. This will cause the card to rotate 180° around turning face up, figure 2.

Revolve your right wrist forward as you execute the above “spin move” to display the card to your spectator. Figure 3 show you what your spectator will see at this point.

Hold the position in figure 3 to let them register what their card is; this will be the only time in the sleight that you will pause. As said above, this is for the flourish style of magic. The control should be in movement the entire time.

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As you make gestures (body and hand movements) with your hands place the top card of the left hand packet into right hand “Clip Palm”. Do this by thumbing over the top card in-between the third and fourth fingers of the right hand. This is easily covered as stated above by making simple gestures. Figure 4 show the card in “Clip Palm.” Figure 5 is what your spectator will see. Card is hidden in Clip Palm.

Come over with your left hand and re-grip the card by pinching it with your right thumb and index finger, Figure 6 shows the spectators view. Figure 7 shows your view of the clipped card and the re-gripping actions taking place with the selected card.

Separate the two hands. The selected card should now be clipped or pinched between your thumb and index finger of your left hand. The next move is basically a “top change” done with a different grip of the cards. The actions about to follow should be done in one smooth action as you come forward with the right packet. Figure 8 shows the two packets coming together and getting in position for the switch.

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Figure 9 shows the two cards just about to be switched. When doing this, make sure the left hand stays in the same position. The switching takes place as the right hand moves forward. Figure 10 shows you that the selection has been switched. Again notice the hand positions, it’s very important to do the switch in a forward action, keeping the left hand still. In figure 8 the right hand is behind the left hand packet and in figure 10 it’s in front, which shows you how, the switch should be made, in a forward motion.

Once the switch has been made continue moving your right hand forward, and place the packet on the table. Now without re-gripping the packet, spread the cards on the table, squaring the bottom clipped card with the spread as you do so. With your, now empty, right hand grab the X card (what they think is their card) and drop it onto the spread, leaving it out-jogged half its length. Grab the remaining packet with your right hand and continue the tabled spread, losing their “selection” in the spread. Cleanly square everything. The selection is now on bottom, from here you can go into whatever you want that requires a card to be on bottom. Preferably something stylish to fit this moves fashion. Controlling a card to the BOTTOM: method two The following method is much simpler, and quicker to do then the previous. It’s also done in the hands rather than on the table. With the “selection” out-jogged on top in your left hand and the “real” selection underneath the packet in your right hand, figure 12, your ready to move on. Place the right packet onto the left packet; you will see that the clipped card automatically goes to the bottom, figure 11.

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In order to get the card to go to the bottom you must move your left fingers out of the way. You can accomplish this by simply straightening your left fingers as you hold the deck between your index finger and thumb, figure 11. Push the outjogged card into the deck; the selection is on the bottom. Controlling a card to the TOP: method one Perform the above control up until figure 10. Place the left hand packet on the table. The indifferent card will be out-jogged resting on top. Call attention to their supposed card (the out-jogged tabled card), this will give you enough misdirection for the next move. Your right hand contains half the deck and their selection below the deck in “Clip palm,” figure 12. This figure also shows the left hand in position to take the packet, which is what you’re going to do.

Take hold of the packet with your left fingers and thumb or in other words: just put the packet in your left hand, really simple. Right hand should still be holding selected card in “Clip palm.” In a squaring action place the card on top of the packet and return the packet back to the right hand. The above movements simulate that of a “side-steal” and when done correctly, will look as if the hand never separated. The above actions will be covered by the misdirection you lead them into, however the movements of your hands should look as if you’re just toying with the cards or giving them a simple riffle. Move toward the tabled packet with your right hand and place the packet on top of the out-jogged “selection.” Spread the cards on the table to further emphasize that their card is really in the center. Square the deck along with the out-jogged card, or you could have them square up the deck and your finished…Oh Yeah! Their card is on top. Have them turn the top card over or proceed with a preferred trick.

Nursery Rhymes vol. 2 Method two: done in the hands

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With the “selection” out-jogged on top in your left hand and the “real” selection underneath the packet in your right hand, figure 12, your ready to move on. Dribble the right packet of cards into the left packet. However, keep hold of the “Clip Palmed” card as you dribble the cards. Release the clipped card the second the last dribbled card falls. It should look as if this card is part of the dribble. Cleanly push the out-jogged card in and your set. Their card is of course on top. The above “Dribble Control” belongs to Ed Marlo and can be found in the SIDE STEAL, or Revolutionary Card Technique chapter four. Credits: The clip palm, to my knowledge, is a variation by Ed Marlo on Arthur Buckley’s “Single Card Shift” found in Card Control by Arthur Buckley on page 25, Dover edition 1993. Marlo’s improvements can be found in the Side Steal under “Clip Palm” on page 22. No palm card to cardcase: The following version of “No palm card to cardcase” is very similar to Paul Gertner’s method “Skinning the Card to Cardcase” which can be found in his book Steel and Silver on page 134. With the “selection” out-jogged on top in your left hand and the “real” selection underneath the packet in your right hand, figure 12, your ready to move on. The cardbox should be resting on the table with the opening of the box pointing towards the eleven o’clock position, figure 13.

Approach the table with your left hand and thumb off the “selected” card, figure 13. As your left hand is approaching the table your right hand is subtly making is way to the cardbox, figure 13. The second you thumb off the out-jogged card onto the table your right hand places the lower-right corner of the clipped card into the cardbox, figure 14.

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The insertion of the card in the cardbox will be much easier to accomplish if you bow the box prior to performance. An impromptu way of doing this is simple to squeeze the sides of the box (which will form the box into a convex shape) as you set it on the table. Once you have tabled the “selected” card bring your left hand to the rear of the cardbox, figure 15.

The reason for placing your left hand behind the cardbox is to help support the box, and prevent it from sliding back as you push the clipped card into the box with your right hand, figure 15. Continue rotating the box inward while you push the card into the box. Stop rotating the box in when the box reaches a vertical position, the clipped card should, at this point, already be inside the box. Drop or set the right hand packet onto the left hand packet, this is accomplished by releasing pressure with your thumb and second finger. Your third and fourth fingers will continue to hold the box in its upright position, revolve these fingers inward until the box sits horizontally on the deck, figure 16. This end position leaves you with many options for which you can go into.

As previously said, the above actions are very similar to Paul Gertner’s method, if your not the flourish type I recommend you check out his version as it’s quite intriguing.

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Although I only explained a few after-methods for the above control I want you to know that there are many more and believe I’ve given you enough to get started. All in all I hope you enjoy and use this tasteful method for controlling cards.

Nursery Rhymes vol. 2 Kryptonite

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We explained this cut in Artifice Ruse and Subterfuge in The Hands, however, it was written incorrectly. We have also been enlightened the basic mechanics of the cut belong to Harry Levine. He explained a cut in Trapdoor that is very similar although not false. He described his cut as a method of cutting to a brief in the center of the deck. Start the cut holding the deck in the left hand mechanics grip as if you were going to do the Charlier Cut, Figure 1. With your thumb lift up two thirds of the cards using your fingers as a pivot point. Separate half of this packet with your index finger maintaining a firm hold on the cards, Figure 2.

Your thumb and index finger should be the only ones supporting the bottom two packets. The top packet rests on the middle packet; your second and third fingers keep it from falling. The little finger is at the rear of this packet for support, also keeping it from falling. Extend your second, third and fourth fingers causing the top packet to slide down until it falls onto the pads of these fingers, Figures 3 and 4.

Bring your second and third fingers up clipping the “new” bottom packet between your second and third fingers and the base of your index finger. Basically all you

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do is curl these fingers inwards until this packet is secure. Use your thumb to rotate the top packet almost 90° counterclockwise or until your third finger comes in contact with the lower left corner (your perspective), Figure 5.

YOUR POINT OF VIEW Grip this packet with your index and third finger and let go with your thumb. Continue revolving this packet another 90° by moving your index finger inwards towards yourself, Figure 6.

Once the top packet has been revolved around 180° your going to let it slide back on top of the center packet using mainly your third finger to push it. The packet should be pushed over the index finger. To make this easier lower your index finger as you push the packet on top of the center packet. Figure 7 shows the index finger beneath the top packet and the third finger pushing it over the index and onto the center packet to a position shown it Figure 8.

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From figure 8 you need to rotate the bottom packet on top. Do this by lifting your index finger up to a vertical position (carrying the top packet with it). Pull down on the bottom packet at the edge with your second and third fingers causing it to pivot up. Once the bottom packet has been tilted slightly, your index finger lowers as it slides down the left edge of the bottom packet, Figure 9.

Continue lowering your index finger until the bottom packet clears the top one. Use your second and third fingers as before to push this packet flush on top, Figure 10 and 11.

Nursery Rhymes vol. 2 Pandemonium at the Card Table

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This is another variation of a production in our book, Artifice Ruse and Subterfuge in The Hands, called Pandemonium at the Card Table. Start with the four aces on the bottom of the deck. You’re going to do Jim Steranko’s “Action Reverse” found in Steranko on Cards page 10. This will reverse the bottom ace as you shuffle. Cut the cards in half as you would for a standard table riffle shuffle. Make sure that when you shuffle the four aces stay together on bottom. When the riffle is completed do not square them together. Tilt the shuffled cards, forward and up to a vertical position leaving the bottom ace on the table, Figure 1. As soon as the cards are in the position shown in figure 1, slide the ace on the table up the deck using your right thumb, Figure 2.

When this ace is squared with the cards, finish the shuffle by executing the bridge flourish or just push them flush as you bring them back down flat on the table. Double undercut the four aces to the top. This leaves three face down aces followed by one face up ace. Slip cut the top two aces to the right. Simultaneously, your right index finger pushes the top ace diagonally forward clipping it between your index and middle fingers. Once clipped revolve your middle finger around your index finger flipping the ace into a face up position, Figures 3 and 4.

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Look at figure 4 and notice the position of the right and left hands. They are in perfect position to pick up the top cards of each packet with your index finger and thumb and turn them to a face up position. This is accomplished by gripping the top card, of each packet, with your index finger and thumbs; now turn the aces over, Figures 5 and 6.

Place the right hands ace below the right packet and left hands ace above the left packet. These last actions should happen simultaneously. I like to use this production as an effect. I start with four of a kind on bottom and classic force one of these cards. I do the production above making sure the first card I turn over is NOT theirs. I pause asking them if this was their card. They obviously say “No”. I then respond, “Well, how about one of these”, as I finish the production not only producing their card but all of its mates.

Nursery Rhymes vol. 2 Ace Ventura

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This sandwich uses Brian Tudor’s Y.T.B.N cut found in his video Show Off II. It also utilizes the same principle as Bill Simon’s “Business Card Prophesy” move, however this version doesn’t involve you turning the card over as you cut the deck, as the original did. The actions of this move are covered by a one-handed cut. -If you learned the previously explained One Handed False Cut than the following will come easy, as our one handed false cut is very similar to Brian Tudor’s. Explanation: To start, cull two desired cards, one to the top, and the other to the bottom. For the explanation we’ll assume your using the two red aces. Spread the cards in your hands and have someone touch a card. It’s best if they touch one in the lower half of the deck, this will make the sleight much easier later on. Turn the selection over, leaving it protruding half its length from the deck. Square up the deck. Place it in your left hand upper, or raised full grip, with the exception of your little finger that is placed at the inner-end of the deck. This is to help support the cards for the next move. Your index finger breaks half the deck towards the outer corner of the right side, Figure 1. Move the lower packet, with the out jogged selection to the left. This packet is held by your thumb and index finger. Your index fingernail helps glide the lower packet to the left and prevents cards from sliding out of the upper packet. This is an example of overcoming friction with the nail by S.W. Erdnase. Figure 2 shows the lower packet in motion as well as the upper packet being supported by your second and third fingers at the right side of the deck and your fourth finger at the inner end, keeping the cards from falling.

Continue moving the lower packet to the left, when it clears the upper packet place your index finger on the outer-end of the upper packet, now the lower packet. Figure 3.

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Slid the “new” upper packet down, to the right, until it hits your second and third fingers. Maintain the break or large gap with your thumb. The position now looks as if you are about to do Brian Tudor’s Revolution Cut, which you are going to do. Figure 4 shows the staring position of the revolution cut.

Notice the finger positions. As you continue revolving the packet around your left thumb and index finger are going to maintain their hold on the out-jogged selection, figure 5 & 6. Your thumb is also going to extend forward, to help revolve the selection out of the packet. Notice the difference the thumb position takes in figure 5 followed by figure 6.

After completing the “Revolution cut” place the packet on top of the deck instead of underneath the lower packet, as you would for the original “Revolution Cut.” Figure 7 shows the action of placing the packet back on top. All these actions have caused their selection to be sandwiched between the two red aces.

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A cleaner explanation of the “Revolution Cut” can be found in either of Brian Tudor’s Show Off videos. To construct the above sleight into a trick execute the following: Set up: Place the two red aces on top and bottom, the two black aces go second from top and second from bottom. Simply culling the aces to these positions can do this. Have someone select a card, place it back in the deck, and control it to the top. Perform the “Molecule 2-one card production” found in Nursery Rhymes volume 1. The selected card will now be face up in the center of the deck and your setup will not be disturbed. Place the deck in your left hand, mechanics grip, and your set for the next move. For the next move you have on of two options in which you can choose from. Two methods for sandwiching selected card: 1. Place your right thumb on the top card (ace) of the deck and your right fingers on the bottom ace of the deck. The palm of your right hand is covering the front edge (and out-jogged selection) of the deck as you do this. Pull the top and bottom aces forward, out-jogging them half their length. Situation check: Face down out-jogged ace on bottom, face up outjogged selection in the center, and face down out-jogged ace on top. Pinch the three cards together and continue stripping them out. Once they clear the front edge of the deck rotate your hand palm down to reveal the two face-up aces sandwiching their face down selection. The actions described above simulate a Bill Goodwin idea in which he also sandwiches a face up card in the same manner. 2. The second method for sandwiching their card is basically the same as the first, except it’s done with only the left hand. Place your left thumb on the top card (ace) of the deck and fingers on the bottom ace, thus pinching the deck between your thumb and fingers. Toss the deck, with a jerk, into your right hand; however keep hold of the top and bottom aces in your left hand by applying light pressure. As the top and bottom aces are sliding off the airborne deck pinch the selected card. This will be easier to do if you angle the out-jogged card to the left before going into the tossing action. The end result will be; deck in your right hand and sandwich in your left hand. Let them pull out their card and place the aces face up onto the table. The other two aces are still on top and bottom of the deck. Have them place their card anywhere in the deck and perform the “One Handed Sandwich Cut” as described above. This will sandwich their card between the other two aces. The end effect

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would be that you found two aces with their selection and they found the other two. You can now go into your favorite four-ace routine. I think this is a somewhat good effect; it’s simple and short, and rather then just producing the four aces you can get a small effect out of it.

Nursery Rhymes vol. 2 West Coast Chaos

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West Coast Chaos is a multi-packet cut first publishes in our book, Artifice Ruse and Subterfuge in The Hands, second edition, page 53. The following is an explanation of the single-handed cut used in West Coast Chaos. I also explain the most laboriously “appearing” revelation of a single card as the conclusion. Enjoy practicing. This one isn’t easy! As a single handed cut: 1. When doing this cut I like to hold the deck in my right hand. This is because of the way in which you must hold the cards. This cut should be done with the cards held in a vertical position, Figure 1. 2. The thumb is at the upper rear edge. The little finger is at the lower rear edge. The ring finger rests at bottom center. The index and middle fingers are towards the outer top edge. The little and middle fingers hold or straddle the cards. If all other fingers were removed, these two fingers should still be able to hold the cards in place.

3. With your thumb and index finger lift off the bottom half. The top half will now only be supported by the straddle position of the little and middle fingers. It may be easier by first lifting with your thumb, pivoting the packet on your index finger, and then lifting it up with the thumb and index finger. The object is to move the bottom packet up as you move the top packet down until they clear each other. You then will close the packets to complete the cut. It actually isn’t as difficult as it sounds since you do it at an angle. In the second figure you will see the thumb is to the right (your perspective). If you move your thumb to the left, or forward in actuality, the bottom packet will almost automatically clear the top packet, Figure 3.

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The only other move really necessary for the two packets to clear each other easily is to move the top packet down a little by extending the second, third and fourth fingers. Make sure to maintain a firm-hold on both packets. Really you’re extending all your fingers as far as you can, including your thumb. 4. Move your thumb back down until both packets are aligned. Squaring both packets as you move your third and fourth fingers back around to the front of the deck, Figure 4.

The cut can now be repeated or the cards can be placed back in the left hand. You could also revolve the cards around into the left hand by doing a move explained in the Molecule 2 cut found in Nursery Rhymes vol. 2, figures 7-10. As a production: 5. It’s very important that you have surpassed mastery levels of this cut before proceeding. The card to be revelationized starts on bottom. Therefore the cut must start horizontally rather than vertically as explained above. Once the two packets clear each other rotate your wrist so the card to be produced (Ace of spades) is visible, Figure 5.

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6. This figure looks very similar to figure 3 but if you look closely you will notice the differences. You will see that the bottom packet is not straddled but clipped between the second and third fingers. The little fingers support this packet from levering up. The middle finger also is in contact with the Ace of Spades, Figure 6.

7. Use your middle finger to revolve the Ace of Spades around the top packet. This is accomplished by pulling down and towards yourself on the Ace with your middle finger. At this point the bottom packet rests on your third finger as your little finger supports is from falling. Continue to revolve the Ace around the top by moving your middle finger underneath the top packet, Figure 7.

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8. The action of revolving the Ace around the top packet is very similar if not identical to Aaron Fishers One-Handed Popover first published in THE SLIEGHT ALBUM-The Magic of Aaron Fisher, 1995. The move was explained in an effect titled “You Say Goodbye, I Say Hello”, p. 16. It can also be found on his video Control Freak, 1997. Now lower the top packet in the same way described earlier or as seen below in Figure 8.

9. The squaring action or closing action is different from that explained earlier. Once the cards are fairly squared let go with your thumb and position it along the left edge of the cards, Figure 9. To make the closing action faster the bottom packet can be brought up by moving the third and fourth fingers inwards as your thumb levers the top packet back down.

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10. Notice the little finger is no longer at the rear of the deck. The middle finger is now behind the cards. The entire deck is now going to revolve 270° around concluding the final production of the Ace of Spades. With your middle finger behind the deck move your thumb back as you let go with your fingers and pinch the cards between the thumb and middle finger, Figure 10. 11. Now lower the cards so that they rest on the fingers. Move your thumb out of the way as you curl your fingers inward flipping the deck over revealing the face up Ace of Spades on top of the face down deck, Figure 11.

Another alternative: From figure 9, put pressure on the cards with the middle finger. Let go with your third finger and the deck will flip around and land in your waiting left hand.

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