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Very briefly this effect consists of the performer finding which one of seven black cards a

spectator has in mind and then causes the remaining six to change to red. There is more to the effect
than the above bare outline which is just a pointer to assist the reader to understand the end objective
as he studies the explanation of the methods used combined,with the really important part - the
entertaining story without which it would be just another card trick.
A pack of cards which include a joker and the ability to perform the Curry Turnover Change
plus a small packet switch to change a packet of six black cards held in the right hand for six red ones
on top of the pack held in the left hand.

Commence by giving the pack a casual shuffle and spread the cards faces towards you. Find the
joker and cut the pack bringing it second or third from the face of the pack. Next, remove the first
seven black cards starting from the right of the face up spread and drop them face downwards onto
the table, and then move six red cards to the bottom of the face up pack. Turn the pack face down
and hold it in the left hand. The joker is now near the bottom of the pack and the six red cards on
the top .
Square up the tabled seven black cards and pick up the packet with the right hand, fingers at
the outer end and thumb at the inner, explaining that they represent the seven days of the week.
With the packet held close to the table surface extend the left second finger and press its tip on the
top card of the packet as the right moves to the right with the other six cards (Fig.1). The tabled card
is now turned face up by sliding the left side of the packet in the right hand under it and flipping it
over and during this action the right hand continues its movement until it is close to the pack held in
the left hand. This is a conditioning action which is repeated with the next five cards - each
succeeding card when it is turned face up should overlap the previous one, the last one being placed
face up at end of the spread.
As each card is turned face up remark that it represents a certain day. It is then that the
important business of creating entertainment really begins, and as much amusement and fun as
possible should be obtained-as the face of each black card is exposed.
When turning over the first card, it will of course be a black one, say "Monday is always a
black day, it is the day I start the week's work", turn over the second card, saying "Tuesday is also a
black day - the mother-in-law comes round in the evening" and when turning the third card
"Wednesday is no better - my wife insists we go to the cinema, and I hate pictures, another black
day". You now get more intense and as you turn over Thursday's card say, with much feeling,
"Thursday, the mother-in-law comes round again." Another black day." Continue "Friday is a black
day, we always have fish, and I hate fish." As you turn over Saturday's card remark, "Saturday, I do
not work, but it is still a black day, nothing but sport on television, and I hate sport."
You are now left with one card, and before turning it over say, "Ah, now Sunday that is a good
day . . . for some people ... for me, NO, all day I am thinking, what a black day, (turn over card)
tomorrow I have to go to work." Drop card at end of the spread.
A spectator is now invited to pick up and shuffle the seven cards. Meanwhile you remove the
top six cards (the red ones) and fan them out faces towards yourself as an example of what you want
him to do, requesting him to think of the cards as days of the week and to concentrate on the card
occupying the position of his `black' day, and remember the name of the card. When he understands
what is required, replace the six cards back on top of the pack which has been retained in left hand,
and take a left little finger break beneath them.
When he has a card in mind gaze into his eyes and suggest that you believe that you now know
his black day - but maybe you are wrong - it is not important as you are merely play acting. Request
him to shuffle the cards and put them on the table. You then spread them in an overlapping line face

Pull one card out of the spread, say the card in Tuesday's position, saying "Tuesday is a bad
day." The spectator may deny that this is his black day and you reply "But it is my black day."
Gather up the remaining six cards and hold them squared in the right hand with the fingers at the
outer end and the thumb at the inner. You now adopt a confident attitude and looking at the tabled
card you pulled from the. spread say "What card did you think of?" When he replies you flip over the
card by sliding the packet beneath it, the right hand continuing to the pack held in the left hand
switches the six black cards it holds for the six red ones on top of the pack held in the left hand.
Immediately the switch is made (for detailed explanation see Expert Card Technique p.149) the
hands spread apart, the right putting the packet of red cards face down onto the table, the left doing
likewise with the pack. Both hands are now free and move away from the cards.
The exchange of the two packets will escape detection for two very good reasons. The
spectators have seen a tabled card turned over face up using the same action five times previously and
do not in consequence regard it with suspicion, and also they are intent on watching the card being
turned over. When their attention moves back to the performer his hands are empty - the deed has
been done and the cards are on the table, and both hands are empty.
Assuming that the card is not the one chosen affect an attitude of disappointment at having
failed, and then suddenly, with obvious delight you remark, "Ah, I have a friend." Pick up the pack
as you move the wrong card to a suitable position for performing the Curry Change. Run through
the pack to find the joker which you push upwards outjogging it for about half its length from the
spread and then find the chosen card - (remember you have been told its name) and cut it to the face
of the pack getting the third finger under it in preparation for the Curry sleight. Remove the
protruding joker and place it face downwards onto the table without letting its face be seen. Call
attention to it saying "This is my friend", turn it face upwards and at the same time the left hand
apparently turns the `wrong' card face down and pushes it away, and in so doing exchange it for the
chosen one by means of the turnover change. This should be performed casually, the whole attention
of the audience being directed to the joker. The pack is now placed face downwards on the table.
Spread the six cards into an overlapping line and pick up the joker as you ask the spectator his
black day. Assume that he says Thursday.
Spread the six cards into an overlapping line and slide the joker into Tuesday's position and
immediately withdraw it saying "Oh, that was my black day - what was yours?" He replies
"Thursday" and you repeat "Ah, Thursday" and insert the joker into Thursday's position -
pause a moment and then withdraw it and as you look intently at it ask the spectator the name
of his card and when he names it (he will have forgotten that he did this earlier) you show pleasurable
satisfaction saying "Good, good" and keeping the joker on a level plane carry it slowly and carefully
to the face down card and push it under what the audience believe to be the wrong card, flip it over
to reveal the change to the chosen card. This should be done slowly making it obvious that no move
takes place.
Look affectionately at the joker and murmur "Ah, my very good friend." Turn to the assisting
spectator and say, "Do you know why I know Thursday is your black day? because it is the only
day you really work." Simultaneously, with the above remark turn the packet face up and spread to
reveal that they are now all red faces.
The really important parts of the presentation are when giving reasons why the various days are
black days at the commencement of the trick. It is then that every ounce of comedy is extracted
creating a fun atmosphere. Later, when the wrong card is chosen the mood completely changes and
the performer shows dejection and dismay at his failure to produce the right card. Suddenly his
expression changes - he remembers his friend the joker. With its aid the correct card is found and the
performer remarks "Ah, my very good friend" and then turning to the spectator concludes with the
little leg pull mentioned above, thus ending on a humorous note, which is topped when the six black
cards are seen to have changed to red.
Once the switch of the two packets has been made the performer is free to concentrate his
whole attention on presentation and really enjoy himself in the process. The two sleights are well
covered by misdirection and take place some considerable time before the double climax - a very
strong point.
One last observation. The success obtained when performing the effect will be commensurate
with your ability to act sufficiently well to convey to the audience that you are having fun, you are
dismayed when things go wrong, you are relieved at having found a solution and exhilarated by
success. Even with moderate acting talents the `entertaining' content of the presentation will be
considerably enhanced and found to be far more acceptable to audiences than would be the case if it
was performed as a straight divination effect which would probably then be regarded as something to
be solved, in other words, a puzzle.

Editorial Note: In describing the above effect I have attempted to give some indication of the
approach of Tamariz to the presentation of card magic. It has only been possible to give a general
outline in what may seem a lengthy description but to include every detail would have made the
article unduly long. However, if I have been successful in some measure to show the difference
between the average card trick one sees and one which has received the Tamariz treatment - so be it.