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* HIGH CATIBER JoHtt BnuNoN s Q u AS H P U B LIS H lN G * C H ICAG 0 .

No portion ofthe book or any of its contents may be reproduced by any means now known or to be invented without written permission from the publisher. AII rights reserved. co m ISBN.13: 97 8-0 -97 44681 -9 -8 654321 . Squash Publishing Chicago. s qu a shp ubli sh ing. design and jacket design by Gabe Fajuri Copyright @ 2013 ]ohn Bannon. IL 60640 w w w.High Caliber By fohn Bannon Photographs by )essica Bannon Layout.

* Fon Jessrcn .

it seems to me. the art is concerned with useless matters. . G.l. The reasons are various. still it is held in no honor. Cardano De Subilitate.554 . second.And although this art is so wonderful.. fitst. it is practiced by men of low degree..

Over fotq. the tricks from my MAGIC MagaTfne appearance. Inpossibh. Most of the tricks were in a series of self-published booklets. I have always tried to write though the interaction of a session was Present. Please excuse thrs bit of redundancrr For those of vou who acquired one or more of the included booklets over time. So I kept both. Even though only the opening procedutes were changed. I am sure I will continue to produce them. When a parttctlar version of a trick had been overcome by events. Not as as a"teacher.I've collected all of my published material since Dear Mister Fantasy and put it all in one place. fun) to produce these smaller tomes. The advent of inex- pensive print-on-demand services made it easy (and. In a wa1r. Forever. I've been writing this book along the way. thank Iou for youf suppoft ovef the )rears. make a hardback book." but as a colleague. and then tetold in n ff^t1ve style in MAGIC. instead of waiting ten years. In High Caliber.. fot a mofe Permanent edition. "Origami Poker Revisited" was set fofth in Six.* FOREWORD Itthard to believe that I publishedDearMisterFantay almost ten years ago. I love the litde booklets. colorful. I have combined all seven of these booklets.then Similarl. and a couple contributed to other proiects. I left it out. They were small. both have merit. As I said in Dear Mister Faatay: Hrcx CnLrsER * Vll . A few tricks were pubJished and then either re-published or overhauled and re-pub- lished over the period. The time seemed right to gather them up and. Since that time. "Fractalfts62ll"-2 parttcular f2ys1i1s-i5 included in both Mega Vaue. You have been the impetus to continue. Those booklets are now out of print. tricks from my notes and others newly-created have found their way into print. Things.ri revised in Shffin'. There are a couple of exceptions. in a way. tricks in all. convenient and manageable. however.

" John Bannon Chicago."While I hope you like the tticks. with any luck maybe you'll finish feeling like we've spent some time together on one of our favorite subjects. Illinois Vlll * Joxru Bnurolt .

is always a product of the creator's influences. He made the Magic Seen arrd MAGIC MagaTine cover stories possible. Other than my own stuff. elevating the entire proiect in the process. he relendessly pushed for more and more promotion. John Bannon Hrcn Calrsen * lX . and foundation. Owen Packard not only made me look good on video. the writing. Liam Montier. As the "Chicago Session. Indirect collaborators provide inspiration. Direct collaboration is where the fun is. background. Mike Vance did vitat proofreading at the last momeflt. There are many people who helped with the tricks." Simon Atonson and Dave Solomon have been coflstant sources of both inspiration as well as helpful cdticism. The ever-creative card star. "Magic" is a collaboraive art. Magic. inside and out. Rai Madhok has been a consultant and confidant for a long time. whipped the entire work into fine shape. My publisher. is one to watch. there are three tricks that I do whenever I can' One of them is Liam's. in part. as well as a tireless editor. the "slim volumes" and this compendium. Gabe Faiuri.* ACKNOWLEDGEMENTS Directly and indirectly.


. .42 Origami Poker Revisited.81 Hrcn Cnuaen * Xl . 57 Opening the Open Predictron..61 Que Ser6 Ser6.69 * MEGA rWAVE (2010) . . THINGs... .14 * Srx...3 Duplicig.. 79 Nlega lMave..59 Fiftr-One Fat Chances.* CourENTs * Fnncrnl Cnno Mnotc (zooe) -t The Royal Scam.. ...31 \X/atching the Detectives.. . tr....25 Four Faces North. . 23 Counterpun ch.65 View to a 'Skill..44 Riverboat Poker. .38 Full Circle.46 The Einstein Overkill..rpossrBLE.... 34 NewJax... (zoog) .... 53 * Opeu AND NoroRtous (zoog) .

114 * BuLrEr PARrY (2011) .1. .169 Poker Pairadox Redux.. .0 * OuE OFF ..121 Bullet Catcher. ...141 Flipside Assembly. ...135 Four ShadowAces... . 215 Aces Over E asy Q010).229 Buf'd..220 * Alt lu (unatc Maoazrue..182 Elias Multiple Shift....21.0. 189 Flytrap False Cut....109 Wicked! (Itanspositio n) .. 195 B'rairiac.. .217 One of the Better Losers Q012)..186 Crocodile False Cut.FeeRunRy zo12l ..99 Mag-7.192 * TnlnaoucAl (wrrn LrRr"r MorurrER.Fractal Re-CaII...237 Xll * Joxn Bnruuon . Drop Target Aces. .. ..97 Short Attention Spin.. 119 BulletPargr...31. ... 148 Big Fat Bluff Aces.. .. ....161 Fat City Revisited.. .1. 227 Chrontc.154 BoxJumper.105 FractalJacks.206 Montinatot 5.175 Question Zero. 2011) .91 Short Attention Scam....

. 263 Spin Doctor...... . 298 Hrar Cnlreen * Xll! ... . .265 Power of Poker. Orrgr-i Prediction.Ot g^-i Poker Revisited... 289 .244 Ion Man..285 Fnctal Recall (R.253 Bannon at the Sidebar (R.278 Bannon Ttiumph.260 * SnurruNr (2012) .ai Madhok).emix)..





. Of the Ror-al Scam Steely Dan The Roya/ Scant . See the glon. .are paid in gold Just to babble in the back room AIi night and s'aste their time .How ther.

the other face-down. others areleft face-up. Some of the Aces are turned face-down. all face-down-almost like magic. No palming or difficult sleight-of- hand. An expanded version of Roy Walton's classic A number of identical red-backed Aces of Spades are shown. the remaining face-down 'Aces" afe tufned face-up and have now become a Royal Straight Flush in Spades. During the process. Unexpectedlyi each of the Aces in the face-up pile is turned face-down and is seen to now have a different-colored back.Tnr RoYnt ScnN. As a complete surprise. Nothing added or taken away.l PnEcrs c<Q'tr3g'tr[s"-on steroids. two piles of Aces are created: one face-up. You end clean and everything may be examined. Nevertheless. All of the faces and all of the backs are shown repeatedly. the packet of the Aces unde- tectably turns all face-up and. FRncrnt Cnno Mnatc * 3 . then.

e Royal Flush cards. You could use four duplicates of an1.ou could put together the set ). If you take this approach. but to emphasize the individualitv of each Ace. and Ten) in Spades u'ith red Biq. Arrange the cards in the following order from the face of the packet: Ace of Spadu colored-ltack Ace of Spadu co/ored-back Ace of Spadu colored-back Ace of Spades colored-back King Of Spades. r'ou require four duplicate Aces.r. mark the back of each Ace.) Since the cards are unprepared. An easier. r. face-down red-backed Ten Of Spades.ourself. Jack.. If you are having trouble finding four different backs.cle backs. I{ing. (Photo 1. one of the fi. Queen.Mrse Eu ScEue Mnrenrer You require a Rovai Flush (that is. In addition. Count. the Ace. )rou could substitute four duplicate Aces with red backs (with a blue-backed Royal Flush). r'et acceptable. face-down ted-backed 4 * Joxtr Bnruroru . procedure using the venerable Glide is explained next. each rvith a dif- ferent color and back design. with a permanent marker. mark each one differentlrr You don't have to use Aces. lN FonMnnoN This is a preferred set-up and lavdown procedure that uses a Hamman Count and a self-working Takagi Turnover Dispial.

" (Photo 2. Turn the packet face-down and deal the top card face-down onto the others.e11 appe r to pull the fourth Ace. however. In a minute. however. the right-hand packet is switched for the left-hand packet. it is important that you do not count the cards aloud or otherwise call attention to the actual number of Aces you have. As you execute the Hamman Count.) Fnncrnl Cnno Mnarc * 5 . I'lI refer to this as the "Tabled Ace Row. you would take the packet from above with your right hand and. In a "seven-count" Hamman Count. Turn the entire packet face-up and deal the next face Ace face-up onto the others. flip the packet face-down and deal the top card face-dowfl onto the face- up Ace in an ovedapping spread. Turn the packet face- up and give the packet a "seven-count" Hamman Count to show that the packet consists of all Aces. pull each of the first thtee Aces into your Ieft hand. (This self-working disptay count is from the Takagi Wild Card Routine. deal the uPpermost Ace face-up onto the table.Ace Of Spades red-backed Jack Of Spades red-backed Queen Of Spades red-backed Begin with the packet face-down in left-hand dealing position. After you complete the Hamman Count. The first thlss flsss-norru in your right hand-afe pulled onto the left-hand cards as the fifth.) You have created an ovedapping row of 'Aces" that are alternately face-up and face- down. As 1. sixth and seventh Aces. you will show eight Aces and eventually you will end up with nine cards. Now. with your left thumb. The discrepancies will not be noticed as long as you never specifically identify the actual number.

Turn vour left hand palm-dor. Turn the packet face- up and call attention to the Ace at the face of the packet. Deal that face Ace face-up onto the gliclc beck thc trcc card of the packet about half an inch.Finallri turn the packet face-up and give it an Elmslev Count to shos' four Aces.tack of Spades.n red backed Ace of Spades ted-backed Begin r. (Photo 3. face-dorvn Ir-ing red-backed Ten of Spades. You rvill apparentlr'deal the Ace on the face of the packet.ill shorv on the face of the packet. remove the second card ftom the tace (the (]uecn).) $(/ith your right fingers. thcc-dos'n onto thc hrst Ace. Arrange the cards in the follori'ing otder from the face of the packet: Ace oJ' Spadu colored-back Ace oJ' Spade.) 5 * Jonu Bnruruoru . face-dor. \-ou can achier-e the same objectives and position bv using the venerable Glide.r co/ored-back Queen of Spades red-backed Ace oJ Spades co/ored-ltack Jack of Spades red-backed Ace af Spades co/ored-l. using vour left finsers. Now. (Photo 4. ArreRnnre FoRunnoN (GLr DE VERSroN) Vrith this alternate procedure.r.r. Another Ace r.vith the packet face-dor.n in left-hand dealrng position. This completes the preliminarv displavs and lar-dorvn. Yout audience sl-rould have no rea- son to believe that vou are vorking rvitl-r anr-thing other than a set of identical Aces.r.

Another Ace will show at the face of the packet.) Turn your left hand palm-up-an Ace rvill show at the face of the packet. Fnncrnl Cnno Mncrc * 7 . Your audience should have no reason to believe that vou are $/orking with anything other than a set of identical Aces.) Finally. face-up and face- down. visual.Place the card. gliding back the face card of the packet. femove the second cafd from the face (the Jack) and place it still face-down into an overlappirlg rou/ on the tabled cards' You have created an ovedapping row of 'Aces" that are alternatell. this phase is a litde redundant. Again. sists of al1 face-up Aces. Deal the Ace face-up on top of the tabled Aces in an ovedapping fow. 0r Pnnnoe You are now going to perform a series of effects rvith the packet in your Ieft hand. Repeat the Glide by turning your left hand palm-down again. the bot- tom two afe tw'o face-down flush catds. into an ovedapping row on the Ace.. all of the catds are inexplicabll'face- down. I'il refer to this as the "Tabled Ace Row" (Photo 6. Ttr-is wiil be repeated a number of times. vou'll need to pay careful attention to this redundanct'. (Photo 5." ^. each time the uppermost card is face-down. Each time the uppermost card of the packet is face-up. still face-down. only the top three cards are face-up Aces. all of the cards are face-up. But. vou have just shown Elmslel'Count) that the packet in 1'our hand con- @. turn the packet face-up and give it an Elmsley Count to show four Aces. Rorroven 0nce Okal'. While ver1. Actuall). In designing )'our presentation.

(Photo 8. Give the packet an OPEC Count to show four face-up Aces. and then resume the count as if vou were counting the last three on top of the initial card.ou will end up doing four gtatuitous transfers. femove the bottom card.r. you will make the supposedlv face-down cards turn face-up." (Photo 9. The cadence is ( < Ofle. Give the packet an Out-Of-Position-Elmsler-Count (OPEC Count) to shorv tour face-dor. 8 * Joxn Bnnruon .) You can do the OPE. pause for be the start of the "Face-Down Ace Pile.C count in the regular "ens-twe-1h1ss-feu1" cadence." (Photo 7. the bottom card of the packet is taken instead of the top card. RottoveR Twrce Now. This card r. Deal the top face- down card onto the table to the left of the Tabled Ace Rorv. but cotr/d why inject a gratuitous transfer into the proceedings? Since this phase rvili be repeated four times.: This Ace rvill be the start of the "Face-Up Ace Pile. the mechanics are ex- actl1'the same as a regular Elmslev Count excePt that on the first count.) Pick up the face-up Ace from the end of the Tabled Ace Rorv and place it onto the packet." You move the bottom card to the top and then do a regular Elmslel' Count. I find it a little more effective if the rh1'thm is altered as follows: Instead of aiming for a smooth four-count. all of the other Aces turn face-down as well. ). For those unfamiliar rvith the OPEC count.Deal the face Ace onto the table to the right of the Tabled Ace Ror.) Pick up the apparentiv face-down Ace at the right of the Tabled Ace Row and place it face-down onto the packet. The OPEC Count is so much more efficient here. So the effect here is: When the top face-up Ace is replaced with a face-down Ace. b e ct t-1u/ cards.

(See Photo 10. The packet apparently consists of all face-up Aces. pick up the face-down'Ace" in the Tabled Ace Row and place it face-down on toP of the packet." You will now rePeat both of those phases again with the two temaining cards in the Tabled Ace Row.) Give the packet an OPE. "all face-down" and "all face-up.Ror.C Count to show four face-up Aces.oveR Tnrno There are two effects so fat. deal the top face-down card onto the table to the Face-Down Ace Pile to left of the Tabled Ace Row (only one face-up Ace remains in the spread). Deal the face Ace on top of the first Ace in the Face-Up Ace Pile.r. Fnncrnl Cnno Mncrc * 9 .et another OPEC Count to show four face-dov'n cards. Then. Pick up the last face-up Ace from the tabled spread and place it onto the packet. Nolg give the packet ). Rolloven Founrx Again.

flip the uppermost Ace of the left-hand packet. (See Photo 11. deal the top face-down card onto the Face-Down Ace Pile.our left hand and move it to the left. sometimes face-up and 10 * Jonu Bnnnon . Turn yout hand palm-down and. Take them from above with your right hand. Then. Remove the face-up Ace and place it onto the Face-Up Ace Pile. MnueuveRs \X/ithout pausing. but the last few should be done at a quicker Pace. NTith your left thumb. pinch the packet with your right hand and.runx At this point. push the top card to the right.) A face-up Ace appears sandwiched between nvo face-down cards. and then under the two right-hand cards. At the same time. Show the final Ace and drop it onto the Face-Down Ace Pile as well. face- down onto the packet-a red back should show: Give the packet a final OPEC Count to show four face-down cards. take the middle card with 1. Deal the top face-up Ace onto Face-Up Ace Pile. with your left thumb. then repeating them. You are left with a three-card packet. pull the top face-down card off the packet and drop it onto the Face-Down Ace Pi1e. All of these reversal phases should be done with dispatch. "squiggle" the top and bottom cards of the packet.oveR Frrrx Having done the face-up/face-down phases. 1'ou will now wraP up with a series of surprising reversals. There are no other Aces in the tabled Ace row. Square the remaining trvo face-down cards. you've completed a number of reversal effects. then downward. Turn yout right hand palm-up to show the Ace at the face of the packet. FrRsr FneuLous Cr.Rolr. Nevertheless. by moving your right thumb forward and fingers backward.

for illustrative pur- poses. Well. \'oa golta'pracfice' HereJ one of ng farurite cards-the Ace of Spad* I have a small co/lection of Aces of Spadel I ase these caruls to practice three things: ruoues. misdirection' and wE's of ntaking monel III showlou' Fnncrnl Cnno Mnalc * 11 . Spread them to- ward l.) You are clean and everl'thing can be examined' PReseurnttott Presentation is a personal thing.d it all together (sometimes it doesn't take much)." A simple 2lt1s12tie6-"moves. here is the presentation I use: yoa knory I accaruulate a lot of p/Eing cards. I haue draaercfir/l of them.verepeatedlyshownthefacesandbacksof the cards. These effects have been memorialized by the face-up and face- downpacketsoflthetable. however.Because)Iou. I use these extra cards to prartice. nothing could be further from the truth . So. (See Photo 12. like a hand of cards. Slowly deal each Ace into a face-down row to show that each has a different-colored back. Secoro FneuLous Cuunx The best is yet to come. I began with a Pfesen- tation Jon Racherbaumer had with the original "Cascade.ourself. . pick up the Face-Up Ace Pile. You need to give some thought as to how to tie all of the various effects togethef. misdirection. Pick up the Face-Down Ace Pile. (See Photo L3. of course. .) This is a uery surprising turn of events. People ask me what I do with a// of those PIE'ing cards. and making money"-1i. high. It's actually a bit of a challenge.sometimes face-down. your audience's conviction that the cards are all identical Aces of Spades should be ver1." involving the notion that magicians must "practice. Turn the hand around to show the Royal Flush.

The ke1 word. Face-down.mpathetic Cards" (and "QOOC") in a number of u'ays." This ex- tended version has eliminated the need to remove any cards from the packet in order to end clean. The17e still Aceq but thel're fron four completefi dffirent decks. I u/ent back to the drawing board. It's practice after al/. All of that being said.ms1." and the Ronnay and Griffin routines.^-. The single packet approach streamlines and clarifies the handling. I eventually came up with "The Royal 5." my eadier "Call. the "mlues." This trick improves on "The Sr. II/ place aface-down card onto thepacket and do the ruoue which imper- cepib! cattses the rest of the cards to tnnt laer:The1. I saw an internet video of Gerr1. Inc. Face-up. but the overall effect is still incoherent. The Griffin routine cleans up a litde of the handling (mainly by adding "Cascade"-type elements). But I don! use these Aces znlt t0 practice mouet. 6666n doing a trick called "Queens Out Of Control" which also appeared to be an extended version of "Cascade." or sleight of hand. the Ronnav trick is a technical and presentational nightmare. Frn. about a month later. the Griffin trick is apparentll. ThatJ misdirertion. I switched these Acesforfour compkte! df- ferent cards.n and West in the 1970s and is still being sold b). 2004.First.r BauruoN . rVith all due respect. Over the years." As it turns out. I also ase them to practice misdirection.ys allfau-down. A// the cards areface-up. Posr MoRren Cnrorrs This is essentially an "uber"-version of Roy NTalton's celebrated "Cascade. of the \fild. In JanuarT. I'll deal sotae Acesface-ap and someface-down. is "iruperceptib1. face-down. f. lrlow III do it again in slow motion. Combining elements of "Cascade.. fon-t. and the OPEC 12 * Joxr. whenlou werenT looking. Now I can do this all da1 kng. And remember the third thing was pracilcing wals of making monel? Remember when I said this trick inuolued one of ml fauoite cards? Here are the rest of n1 fauoite cards: A Royl Flush-and a Royl Straight Flush will alwals get the mone1. I had played around with combining "Cascade" with the equally clas- sic I{ane/Garcia "$7ild Card" without afly real success." which was marketed b1." Ill put aface-up Ace onto thepacket.p. just a technical variation of Magic Ronnay's "The Sympathetic Cards. The card that does all of the work (the normal red-backed Ace of Spades) blends nicely inle the final Royal Flush. Asfar as misdirection goes. of course. and now a// of the Aces haue turnedface-up.

Counts minimize gratuitous single-card transfers. the grouping of cafds at the climax (four color-changng backs and a five-card Royal Flush) is mote s)rmmetrical. logical and cohetent (such as these things ate) and therefore more mem- otable and appealing. Fnncrnl Cnno Mnctc * 13 . Most importantly.

virtually all of the magc can happen in your spectators'hands. very much along the a thought-card transposition lines of my "Twisted Sisters. In return. and then as a frnal cbmax. the cards no longer need to be handled by the performer during the various revelations. especially: the belying of one's true intentions by deceptive words or action." Much of of "Twisted Sistets" comes from the impact two features: First. all of the cards are ordinary and examinable. Instead. Nothing added or taken away. PnEcrs A red-backed Ace from one packet changes places with a blue-backed Ace in another packet." For many. In a series of surprising de- velopments. Yout spectator chooses which Aces transpose. speech. because they are ordinary. PRernce Card tricks are all about trade-offs. No difficult moves. or action.D u pucrrY du' plic' i' ty: contradictorydoubleness of thought. we trade-off the free choices of the first feature: the selection process is begun with one effective equivoque. Here. the trade- offs will not be viorth it. al. "Duplicity" is not necess aitly a better trick than "Twisted Sisters. The trick is with all the trimmings. the mentally-selected Aces appear face-up in each respective packet.r Bnrruoru . of the other cards in each packet are blank. A lot depends on how much you believe the free choices in "Twisted Sisters" strengthen the overall effect-you may not be willing to lose that 14 * Joxr. Everything is examinable. -very free selection of the first Queen with a very fair selection ^ of the second. But even better. and then their backs prove to be different. Ordinary cards. the popular multiple climaxes (revetsed with an oddback and all the other cards areJokers). This one 1s no exceptron. Second. A nice feature.

vn. as long as it has the othet colored back It doesn't matter ri-hich Ace and r-ou knorv s'hich Ace is in rvhich packet.the lvat) for the abiJrq' to examine and the increased freedom of conditions. rapid-fire surprises-mav be more than rvilling to give up some of the freedom of choice (the equivoque is a prettv good one. b\. red-backed. blue-backed blank face-dou. b/ne-backed.. red-backed blank face-tp.feature if of the trick depends upon the absolute free- you believe the effectiveness dom of choice. You could also use the Ace of Hearts and the Ace of Diamonds' You don't e-u'en need f9 lrss r\6ss-ant'r'a1ue 5ti1l rvork. Mrse Eu ScErur Plnvns You rvill need to construct the follorving nvo packets (from the top dorvn): face-dorvn. blue-backed blank is in rvhich packet. Both Aces must be of the same color. Ace oJ' Spades face-dos. blue-backed blank face-rrp. red-backed blank and face-dos. red-backed. Suit vourself (so to speak). FRncrnl Cnno Mnalc * 15 . Ace of C/rrbs face-dor.n.n.n. Others-those who find the strength of the routine to be the multi- ple.blank face-down.

" Now ask her to "remove" either the red or black Aces. Spades. I actualll. When she has finally decided. Which Ace wouldlou like to keepfor lour own? Arelou sure? Want to changelowr mind? Oka1.. I opt for Jokers. which of the Aces did she "remove. Be sure to give her the opportunitl. too. placing the last card on the bottom) and of the four Aces. and Diamonds." Remark that. Hearts. count (again. Blank cards ate not "ordinary" cards. say that you will take the other Ace as yours. since she has chosen the blue-backed packet. Give your packet an Elmslel. prefer blanks in this routine."? The presentation now varies slighdy depending upon her answer. While in "Twisted Sis- ters" I preferred Jokers. $7here the cards can be examined. ask the spectator to imagine that this packet. Spades.ou do this. give the packet an EI- msley count to show four. Here's whr. The question is ambigrrous because you don't say whether the Aces are removed to be used or to be discarded.. so let's first walk through the trick and emphasize the ke1. III take the otberAcq the Ace of [Clzbs/ Spades/)' 16 * JoHN Bnrunoru . I use the estimable "re- move" gambit that I first encountered in my friend Max Mavent popuiar "B'wave. and Diamonds. I give her vet another chance to change her mind. Now ask pointedly. the Ace of Spades and the Ace of Clubs. which are free. which are "ordrnar \/' and don't provoke anv undue cu- riosity. you again can give her the opporturrity to change her mind. " Clubs.6s1 spectator a selection of either the red-backed packet or the blue-backed packet. blue-backed cards-placing the last card on the bottom of the packet. the)'attract attention and civil-ians want to see and to examine them. As such. So in tricks like "Twisted Sisters" where some of the cards can't be examined. "C/abs. Instead of blank cards. Have her acknowledge that she has performed this mental instruction. Selrcrn Presentation is a personal thing. As 1. you are left with the red. consists Now we begin an equivoque to force the two black Aces. In retrospect. Once she tells you. Itt good to emphasize those choices. whv not use blanks to add an unusual aspect to the proceedings? I keep the packets in a "packet-trick wallet. face-down. Hearts. you can use Jokets or red spot cards." Ask your spectator to imagine the fout Aces. sa)r the blue-backed packet. Offer y. If she answers ttBlack" If she answers "Black. presentational elements." one ofl each side. To wit: "Good. to change her mind and to take the other packet if she wishes." ask her which of the black Aces she d like to be her Ace. ask her to imagine that the packet contains the fours Aces. Once she has finalized her choice. either interpretation seems plausible.

discarded. and then without pause.which "leaves" the black Aces. This statement. (The transposition element also provides some time misdirection auralr f1e11 the selection process. which conveniendy provides a runonale for the other of the rwo cards that possibly could have been selected. Now ask your SPectatof to an- nounce her selected Ace. You do not say which Ace from which pack- et will change places with which Ace in the other packet. say that you will take the other Ace as yours. is deliberately ambiguous." you must first establish that the red Aces were "removed. ffou must remember which Ace is where. the presentation changes a Litde./hich Ace wouldlou like to keepforlour own? Arelou sare? Would1ou like to change yur mind? Oka1. Ill take tbe otherAce. This ambiguity is the key to the whole trick (as in "Twisted Sisters"). you can give her the opportunig'to change her mind' When she has finall1. I simply remember that the Spade is in the blue-backed packet." that is. once she tells you. Along the lines of: "Good. jssiflsd.) Do rvhatever you do to "cause" the transposition.) Fnncrnl CnRo Mncrc * 17 . depending on which situation )rou have.) Again. If. too." TRnruspose Now comes the most important part of the presentation. The element of transposition justifies the existence of trvo packets. If the spectator's Ace is in the packet she is holding If the spectator's selected Ace is in the packet she is holding. This must be done faid1. You annouflce that a trans- position is going to occur: Her selected Ace will "change places" with your Ace. that leaues the Ace of Spadu and the Ace of Clubs.If she answers "Red" If she answers "Red. or (ii) face-up in the packet )rou are holding. The ambiguiry allows the transposi- tion to make sense regardless of which Ace was selected by the spectator and which was left for you. we'll remoue the red Aces. ask her which of the remaining black Aces she'd like to be her Ace. As before. ask her to slowly spread her packet. the Ace of [Ckbs/SpadesJ. blundy. (Photo 2. The selected Ace will be either (i) face-up in the packet she is holding.

The "transposition" is not cr-iclent. . but \-ou arc xbolrt to clrl'e that s-ith anotl-rer surprlse . r-et (but rvill be in a momcnt).The fhcc-r-rp of hcr tl-rought-of Acc. the tact of a transposition is not imn-iediatelr' obr-ious. too. this second surprise s-ill set a good re- sponse.) (. (Photo 3. Har-e her spread her packct to shos. Br:r s-ait. ." and sprcacl r-our packet to shos. ^ppearance is startlins. . If the spectator's Ace is not in the packet she is holding II t1-rc spectator's Ace is not in the packet s1-re is hoiding. Turn vout Acc over as u'c11." Instruct vour spectat()t to slos'h. Sprcacl vour packct to shos. (Photo 4. s'itl-r vour risht hancl slos. in her os-n hands. then it must be in the packet \'oLl are holcling. recall the name of "r-our" Acc and point ont that sl-re s1-ror-r1cl have vout card in hcr remove thc thce-up Acc ti-om thc packct.\sk \-our spectator to do thc samc. Bncrn Floldins the sprcad packct s-ith vour letl hand. Sec l-rrxv niceh. The .\ce. Nos.\ce. For nos' tl-rc appear^nce oi the Aces is cnough.s mofe . tl-rere'.tlrrn o\-er hcr .l-rer .vas hold- ins the carcls.ominq on thc hccls of thc first surprisc. In tl-rc first casc. is iace-up. A transposition has clearh'666u11sd-11rhile the spectator r. 18 * Jonru Bnnruoru .) Auain empl-rasize tl-rat \'ou promisccl to make the r\ces "change places.the fhce-up .\ce has t1-rc othcr-coloted back.this s-orks no matter s-hat the situation is? I think tllis is lareeh'due to thc snclclcn xppearance of thc thce-up Accs s'l-rich is jurstified bv the transposition sccnario.r-our selected . shos'ins its tull face.\ce thce up.\ce. in 1-rer os-n packet. Emphasizc that vou s'crc going to make the Aces "change places.

s111 right hands palm-down./oaldlow like to change lotr ruind? Spadu? OkE.) You won't have to point out that het selected Ace and . (Photo 5. here is the presentation I use.Pnrotctn Insert the now face-down odd-backed card into the packet. HeartL Spades. W'e want this t0 befair.a)'.loa get to nnke a/l of the choices. PReseurnrroru As I said before. I get the red cards. blae.611 t0 reil?ll. turning the packet face-up. I'/l take the otherAc4 the Ace of C/rrbs. t00. All of the other cards are blank (otJokers.) Ask vour sPectator to do the same. are the Aces. Which Ace u'orr/dJ. Herq hold onto it. or spot cards. Hauelou done that? Dolotr uant to cltangel'orr ntind? Oka1. Okq. Iruagine that these. that leaues the Ace of Spades and the Ace of Clubs. not Aces).ou and your spectator should slowll. Let rue showlou sonrcthing that cannot be exp/ained. but leave it sticking out about an inch. andDidnlnds-and I want1. we// rentot.youf selected Ace are the only trvo Aces in play-but go ahead and do it an\\r. turn 1. The onelou don! want wi// be ruine. Areltoa sare? If. Now both ). Spades. which ones didya retnoue? Good.our oa'n? Again ili1our choice. You are thisfar awalfrom the Twi/tgltt Zone.e either the red ones or the black ones. First. Again. I wantloa to choose one of these packets. For illustrative Purposes. (Photo 6. I wantloa to picture the Aces-Clabi Hearts.otr like to keepforl. or in an1' event. presentation is a personal thing. Fnncrnl Cnno Mncrc * 19 . red or blm. and Diantonds.e tbe red Aces. I wantl6y to iruagine that this packel contains the foar Aces-Clults. soltou get to ruake all of the decisions.

lVatch. A// of the other Aces haue uanished. Oru Tue Srneer As described above. m1 Ace of C/ubs isfau-ap. (ii) use of face cards is not required. Finalfi. And ouer here. "Duplicity" could be performed on the street. leauing onfiyur chosen Ace. Under perfect conditions (fot example. for exam- ple). Coming full circle. . only ordinaty cards are need- ed. Twilight Zone." In fact with a Jittle effort. Ied to "TVisted Sisters. Like I said." On the other hand. ItIl happen right aboat here. in turn. you must set the "packet trick wallet" 20 * Joxn Bnnruox . YourAce of Spadu isface-up. Second." I am now putting one back in to arrive at "Duplicity. blank cards [(ad Fulvesl). I could create a "Small-Packet Thought Catd Transposition" effect. First. That rcaltzation." and playing around with the "Small-Packet Brainwave. the odd-backed card fPaul Fox]. in a casual situation." Max Maven'5 '($'q72vs"-v[vich is a pardc- ulady elegant solution to the "Small-Packet Brainwave" sffs61-was another influ- ence. the reversed card [Dai Vernon]. and tarn it ouer." an equivoque-free SPTCT effect with all the bells and whisdes (that is. Posr MoRreu Wxo The parent is my own "TUisted Sisters. remember when I saidyu were this far awal froru the Twilight Zone? Put the Ace back into tbe packet. a formal shorv or a television appearance). After seeing "B'wave." I rea\zed that by doing the effect with rwo packets at the same time. . remember whea I said IA make the cards change places? Skw/1. spreadlour cards. and leaue it outjust a bit. any value may be used (Aces. "Duplicity" requires a working surface at one point only-while you are giving the fitst packet an Elmsley Count. having removed all equivoque to get "Twisted Sisters. Other collateral benefits include: (i) a table. is no Ionger requited.Here's whatl going to happen: I wi/l nakeyur Ace and m1 Ace change places-right beforeyur ey. and (iii) the presentation can be structured so that only one spectator parricipates." As a result. "Dupliciry" is not a better trick than "Twisted Sisters. See thel haue cbanged plaus. Three impossiltle thingt haue happened." but the conditions are much better. or other working surface. As I stated ear[er. I would likely do "Duplicity. takeloarAce out . I would likely do "Twisted Sisters. I\ow s/ow/1 turn zuerJlr/r cards.

count. limited b1. Fnncrnr Cnno Mncrc * 21 . then hand it to a second spectator and ask her to hold onto it for r-ou. 'nvhile card-like. tutn her hand over to show the blanks)." to involve two spectators. Take vour packet. there does not seem to be too much value added. shet just holding it for t'ou. . Jumbo Catd Theon'. Open the wallet on her palm and show het the two packets. You can also inYol'n'e two spectators bi' splitting up the equivoque part of the trick. Here is a way to do "Duplic- a ity" without a working surface. remo\-e and turn over the Ace. I wantloa ta choose one of these packets. iti a card tick. OkE.our ability to do an Elmsley Count. (This is what used to be called "wa1k around. making it complenfi street-read1. remove the packet from the wallet and leave the open wallet on her hand. The most ditect rvay is to have a main spectator select and hold her own packet. you should give it a tr1." This is because jumbo cards.selected. r. sttictlrr speaking. It's sti-[ ")'our" packet. "In here is something unexplainable. An added according to m1. This requirement can be worked around. routine "Duplici6. a trick with jumbo cards will not meld with the other card tricks vou ma)'be doing and is more likelv to be regarded (and remem- bered) as something special. 'Firct. Ask her to extend her hand palm-up. Do the Elmslel. red or blue. At the ap- propriate times. Now take the rvallet and give her the pack- et to hold. The onelou don't want wi// be nine. perceive tricks with jumbo cards as.our" packet from the urallet and Put the now-empty wallet away Presto. ajumbo. Two You can. 1. of course. I used the black Aces and red spot cards instead of blanks). But itI still anexplainable. are not technicallv plaving cards-you reallv wouldn't plat'a cardgame with them. is that audiences do not ^dvaflt^ge. Count. Place the closed packet trick wallet onto her palm. Remove "). have the second spectator perform the cortect actions (that is. Because the handling and blocking is much freer. spread the packet.ou are onl1. You are this far awal from the Twiltghl Zone. Hold outlour hand.down for bit.e it an Elmsler. stand-up "Duplicitv" is straightforward and easy to do. . Since the second Ace is not reallr. Lrvnrc Lnnce "Dupliciq.' is even more impressive when performed with iumbo cards. "card tricks. Accordingll.. gir. If 1'ou can cobble together the right jumbo cards (when I performed "DupJicity" at the 2007 Fechter's Finger Flicking Frolics.") Tell vour spectator you are going to show her something unexplainable. Proceed with the rest of the routine. When she has chosen a color.

The flce of the ^PPear face-up Ace is surprising only because it the correct is Ace. that the trick is mwch more effective if you show each packet to consist of four face-down cards with the same-colored back. there is no good reason to leave 1t out. have the second spectator choose which of Aces she wants for herself.Have the first spectator choose the color of the Aces to be "removed. I believe. the first spectator gets the remaining one." you can leave out the Elmsley count at the begin- rung-just place the selected packet into the spectator's hand." Then.t . howevet. Et-t"tslev Couur As I mentioned in "Twisted Sisters. If you can do an EC. 22 * Joxtt Bntuol. not because it is face-up in the first place.

lMPosslBtE.* slx. THlNGs. .

I al- ways did it for half an hout a day." she said." Lewis Catroll Alice in lYonderland ." "I daresay you haven't had much ptacice.Alice laughed: "Thete's no use ffying." said the Queen. some- times I've believed as many as six impossible things before bteakfast.Vhy. 'qWhen I was younget. "one cart't believe impossible things.

(ii) reverse all four Aces. In fact." SIx. When the performer is so informed. and then we'Il combine it with "Head Over Heels. circumstances are created in which your audience is Ied to believe that: (i) the trick has been screwed up in a way that it cannot be brought to a successful conclusion. yet. The problem is: the selected card is.ile few and far between. but we can debate the defirution of a "sucket trick" some other time.Cou NTERPU N cH This is a "sucker" trick.) Wh. First. but you are about to force the uppermost Ace. PnEcrs A card is selected and lost in the deck. he reveals that three of the Aces have vanished and he is holding only one Ace-the selected catd. He asserts that he will make the selected card vanish from the deck and apPear among the Aces. let's look at the bare bones force. (i) force the Ace. Txtrucs. The performer removes the Aces and tables the deck. Mrse En ScEue Begin with the Aces on top. * 25 . and (iii) control the re- vetsed Aces to the top of the deck (with one card covering). itself. while (iv) creating the illusion that the selected card is lost in the deck. these kinds of tricks can be among the more effective and memorable. with a gesture. (This last element may not be stricdy necessary. and suddenly the Aces are seen reversed in the center of the deck. They are in no particular order. (iii) the trick is resolved in a satisfactory way. lt'tposstBlE. in that. by combining a new bluff force I call the "Christ-Cross Force. we are going to. makes a move. indicating that (iv) the performer was colr- ning the audience all along. The performer says he needs help finding the selected cards. one of the Aces. and (ii) the performer is unaware of the problem." with a new appJication of Simon Aronson's "Head Over Heels" procedure. \X/ow And it's reasonably easy to do.

and begin spreading the face-up cards.. if you sptead all the way down to the first face-down card and act as if that was the card she stopped you on. as you spread thtough 26 * Jorn Bnnruoru . But we are going to do a little more than that' CC Meers HOH Let's back up a bit. you will have forced the top card of the deck." but done in the hands instead of on the table. Place the remaining portion on top. and with vour right forefinger. Now. Now with your right hand. angle-jogged packet face-up and onto the lower face-down pack- et. riffle down the side of the deck and ask vou spectator to stoP the riffle at some point.Txe Cxnrsr-Cnoss Fonce Hold the deck in left-hand dealing position. Now slowlv swing-cut the upper por- tion into your left hand. but you want a little time misdirection so l. S7ith your left thumb.) Pause. But there's more. "No\g you might have stopped me at any one of these catds . Turn the left-hand packet perpendicular and tap the right-hand packet against it once or twice. which half is which). but offset and angle-jogged to the right. take the deck from above. .. and then say direcdy to the sPectator something along the lines of: "Did you say stop atthat particular time for any particular reason?" You want to emphasize that you did not do anything fishy.e. When she does. widen the break at the stopping point..out audience forgets the precise configuration of the deck (i. To do Simoni "Flead Over Heels" move. Now flip the upper.. This is the same principle used in the venerable "Cross-Cut Fofce. saying. lift up the section of the deck above the break. " Now in the classic Christ Force tradition. return the left-hand packet to dealing position. (Photo 1.

\il. (Photo 3. los. (In the alter- native. raise vour left hand. Let's staft at the point rvhere vou'r'e flipped the upper packet face-up onto the lower packet. almost automatic \\-a\'. but iniogged about an inch.) Srx.) Then.'ith your right frngers. at some point. lift ofT the face-up cards in spread condition and gesture to the upPe.n cards as r-ou remark that vout spectator could have ended up s-ith anl of them. Norv for the HOH. iust spfead ofT the face-up cafds \-our hand and pull the toP card flush s'ith the packet. After she does. Take the upper card rvith vour right hand and take the second card beneath it. Rest the thce-up spread on the packet. pushing ovef the top card so lour spectator can note its identitv (it rvill be an Ace).the face-up catds I'ou usuallr. (Photo 5.) When r-ou reach the face-dosrn cards. cull anv card beneath the spread using vour far-orite method. pull the Iorver card of the pair to tl-re right.n catd.) Norv continue spreading the face-up cards off the deck. Txtruas. * 27 . feeding tl-rem in benveen the top pair. Ir{possrBlE. (Photo 2. (Photo 4.need to cull one of them under the spread.) The second catd is more-or-less automaticallv culled beneath the spread. commenting on the vafious cards that might have been selected.:most face-dos. Here is a much easier. Spread ol-er the first ser-eral face-dos.

our right hand. with 1. slide the upper half to the right and flip it face-down onto the left-hand half. Reit- erate that the Aces are going to help find the selected card. and close the t-an. Spread through the cards and the Aces will be seen face-up at or fle r the center of the spread. but in order to do that.6111 right hand ftom above. B)r a fortunate co- 28 * Jorru Bnruruoru . Squate up the remaining cards and take the half-deck with 1. \X/hy are the Aces here? How can the performer use the Aces to help "find" the selected card? Has something gone awrr. lift up slightlv at the back so vou can get a break between the packets with vour right thumb.As you do this. The culled card (which will now act as a cover card) and the four trapped cards (Aces) are immediatelv above vour thumb break. The upper face-up cards will looselr. of course). bringing the reversed Aces to the center. Give the deck a Chairer cut (or a regular cut).) You will find that the four face-down cards above the culled card were trapped and nov/ are at the back of the thce-up half. This is the first of many nice moments in this routine. To finish. Norv close the spread. secreth'insert the culled card under the fourth face-dorvn card. come over the cards and square the upper and lower halves. With your right hand.? Should the spectator have selected an Ace in the first place? Remove ail of the cards above the Aces and piace them squared to one side. (Photo 6. remarking that the selection is somewhere in the middle of the deck.out left thumb. I usualll. I'll need some help from some special cards. As vou do this. DOWru Txe GnnoEN PATH I now remark that it's mv job to find the selected card. The Aces are now re\rersed under the top card of the deck. pull each Ace off the top of the right-hand packet into your left hand. follow-through bv giving the deck a quick thumb fan (without exposing the reversed cards.square injogged from the lorver t-ace-down cards. however. With 1.

sa)I flothing for an extended pause. and it's all right. "You aren't bul.v. spectator and sa1. but the audience is not sure'nvhat to think at this point. (I believe you should not act like 1'ou n fact failed and must f. despite an1' of that. Txtrucs.. As vou take the last Ace.our angles on the right. the trick did not wofk. steal of the four Aces is the selected back the first three Aces under the right-hand packet in the classic Biddle tradition. I announce that the selected card will vanish from the deck and te-appear among the Aces. A slight inward tilt of yout left rvrist and holding the supposed packet in a deeper gdp helps immensell). \(e have now acLueved maximum dissonance-it looks like.4possrBtE. and your audience "vill will conclude that things happened as vou intended them to all along-that they wefe "tricked" in more wal's than one. The presumption that "the trick will wotk" means the performef must have some wa)'to resolve this predicament. slowly reveal that 1'ou onlv hat e the one Ace and i'ou have unequivocalll' "found" the selected card. !r. the selected Ace is mas- querading as all four Aces. and ask for the name of the selected card. You are very far ahead here. though. When she announces that she selected the Ace. At this point. SX/atch ). the work is over. the dissonance is easily resolved. It is a gende trickerl'. Then. Mnxrptutt Drssonnruce Snap your fingers ovef the 'Aces.) Place the right-hand cards on toP of the tabled half.incidence.) Now. On the other hand.nd a "magcaI" v/ay to Coffect the problem.) Nor. * 29 . HapPily. I look at m). there does not aPPear to be a resolution' There is tension. @hoto 8. Srx. (Photo 7. essentialll' 2." announce that you think the trick worked.6ro*tedging the goofiness of the "vanish" claim. In a moment. \'ou resolve the tension. ate )'ou?" She's not. the last Ace.

angle the upper half of the deck to the right and confirm her de- cision. Force the Ace using the standard Chdst Force. to do a Braue Reversal. 3) and an Eddie Fechter effect called "No Pile."4 Faces North. "Counterpunch" remixes u. with the Aces on top. (See Photo 1. Giobbi. Now when the deck is turned face-down. the deck is half face-up followed b). Separate the spread at this point and show the upper face-down card to your spectator. the Aces were used in a "Collectors" t\pe effect. Paul \ffiilson called "Punch. Now. Now with a double undercut. This will reverse the Aces at the back of a now face-up deck. You have essentially restored the deck to the original starting position-the Aces are reversed under the top card. move the face card of the deck to the back. follow up with the next trick. The easiest way to do ttus is. Either secretly re-reverse them. flip the upper half face-up onto the lowet half and spread down to the first face-down card (this will be one of the Aces). follo'*'ed by a face-up card. FIip over the face-up cards onto the deck. or as I do. this trick turned out to be quite different from R. square the face-up spread onto the deck (right nov/.hat is now being called the "Biddle Trick" (see R. Proceed as usual. Clenrurrc Up There is some clean-up to do: the three reversed Aces in the center of the deck. In a continuing action. As you can see. See S. This trick was inspired by a trick shou/n to me by the estimable R. and apparentlv unbeknownst to the performer. one of the Aces used to do the "collecting" was one of the seiected cards. Do not simply spread the deck to reveal them. the Aces will be reversed under the top card. Paul sa)rs his toutine was based upon a l2lllrJennings' effect called "Sucket Punch" inhis Thoughts On Cards. NThen she does. If you do. Paul's. cut the deck at the natural break below the reversed orig- inal top card. everyone rvill know how you accomplished the trick." Try Tbe Impos- sible (2001). Aronson. Low Tecx TuRnoveR There is a less sophisticated v/ay to handle the force and turnover of the Aces that some may prefer. Too." 30 * Jonn Bnruruor . one-is new. So is the bluff Christ Cross Force. Card College. cut below that face-up card)." The application of the "Head Over Heels" procedure to secretly reverse fesl 621d5- as opposed to onl1.Posr Monren BncrcnouND AND CReorrs Good "sucker" tricks arehard to find. Riffle and have lrour spectator stop you. "Head Over Heels. Begin with the Aces pre-reversed under the top card of the deck. Vol. fout face-down Aces.) Now. produce them flashily." In Pault trick.

however. Slx. I must add. about halfway in. which are face up together in the center of the spread. pick up the deck and hold in face-down dealing position. MIse Er. the deck is being held by both hands.I say "particulat" because it exploits the situation left at the end of "Counterpunch. Because of the situation." It's not a "stand-alone" trick. It makes for an effective clean-up of the reversed Aces because the final display-where all the cards are face-down. Tttnas. come over the deck and. With your left thumb. lt{posstBLE. contfol. Insert the selected Ace.incingll. and you have a right thumb break beneath three reversed Aces and above one Ace. The deck is immediately spread." 1'611 are holding the solitarli selected Ace in your right hand. or placement. push the face-up Ace into the deck.4 Fncrs Nonrn N7hat follows is a particular variaion of my "Last Man Standing" Triumph-type rou- tine from Dear Mr. and close the opening. Half the cards are turned face-up and shuffled into the face-down half-very com. creating an opening at the natural break under the three reversed Aces. push up on the left Iong side of the deck.r ScEue At the end of "Counterpunch.. PnEcrs The selected Ace (from "Counterpunch") is inserted face-up into the centef of the deck. get a right thumb break above the Ace' At this point. Fantasl. the handling is somewhat simplified-no selection. with 1'our thumb. face-up. except for the four Aces-mirrors the look when the Aces wete first produced. As )'ou do. With your right hand. and all of the cards are now face-down except for all four Aces. * 31 . $Vith your left hand.

) Your right hand now with- draws the lower. With your dght fingets. riffle the outet edge of the face-up packet. (Photo 1. Weave shuffle the two packets together. Be careful.) This is a simultaneous "twisting" kind of two-handed action. its packet is automaticallv tumed 90 degrees so the long sides are parallel to you. Tue GooowrNrJENNrNGs DTSPLAY Take the interwoven deck in left-hand dealing position with the apparently face-up half uppermost. iri Adjust the deck so it can be taken into your left hand in dealing position. apparently face-down packet in position for a"weave" shuffls-1h21 is. 32 * Joxr. cut off all the cards abor.. keeping the upper packet now outjogged for half its length.e the break and turn your hand palm upward.r Bnrurot . It appears as if half the deck has been reversed and placed on top of the other half-at this point the upper packet appears to be face-up and the lower packet appears face-down. Push the interwoven packets together only about one-half of their length-do not cascade them togethet yet. you nov/ do the Tenkai Optical Revolve. not to flash the very bottom card of the outiogged packet. as it faces in the opposite direction. a faro shuffle that does not need to be perfect. Having turned your right hand palm-up. the weave shuffle does not need to be perfect (or even very good). so the packets ovedap about half their length. as follows: NTith your right hand. Other than these two restrictiofls. and (ii) similady. the lowermost card of the left-hand packet (the selected Ace) will remain the lowermost card of the combined deck. (Photo 2. Place the left-hand packet onto the right-hand packet.Do Txe Tenrnt From this position. turn your left hand palm downward. taking c re that the following occur: (i) the uppermost thtee cards of the right-hand packet (the reversed Aces) wiil remain as the uppermost cards of the combined deck. however. At the same time.

) Turn over the interwoven deck toward t. riffle the outer end of the face-down packet-all face-up cards will show. The outefmost packet ap- pears to be the face-down one (this is a particulady subtle discrepancl). and as it tutns out. Accompany these actions b.ving that all of them afe flow face-dorvn. Give the deck a cut. lr. Foun Fncrs Cascade the intedaced halves together and square them in vour left hand.) (You might also trv the Duvivier handling. Txtttcs. * 33 . Srx. excePt for the four Aces. (Photo 3. AIl that remains is to slowil. it works just fine. shor.4possrBLE. be careful flot to flash the bottom card of the outiogged packet. Once again.ou. sending the selected Ace to the center. You will notice that the face-up card showing here is the selected Ace. I leave it to vou to comment or not about its ^ppe^r^nce. Take the telescoped cards with your right hand and riffle dorvn the outer edge of the deck with t'our left thumb. spread the cards.) (Photo 4. I began to shtug it off as a happy coincidence. While initially this bothered me. As before.The packet will appear to vour audience as all face-up cards.v saying that the face-down cards are being shuffled into the face-up cards. end-for-end.

femove (or produce) the four Aces.nes the trick. TheJacks and Ace are slowly pushed flush into the deck. and the performer states that the two Jacks will converge and end up on either side of the selected Ace trapping it in a sandwich. but we were really intrigued by the plot-a "garden path" sandwich effect." you will have the Aces out. Set down the Aces and femove the black Jacks and set them aside face-down to 1." S( James. I went on to play. As the days after the Saturday session passed. The deck is spread on the table." specifically Simon Aronson. we all reahzed the trick was a good one. Surprisingly. Dave Solomon and myself. If not. Enchantments (Hermetic Press. these three cards turn out to be the twoJacks-on either side of the selected Ace! Mrse Eru ScEne At the conclusion of "Countetpunch/4 Faces North."-. As I recall. 2003). PnEcrs Two Jacks and a selected Ace are placed into different parts of the deck A Jack is in- serted near the top and the otherJack near the bottom. and the selected Ace is insert- ed in the middle-somewhere between the Jacks. we spent almost an entire Sat- urday aftetnoon playing around with a \Tesley James trick found in his "Catch-Ace- Trap-Ee. Among other handlings we kicked around. 34 * Joxtt Bnnnot . at Simon's suggestion. !7e immediately moved on to other methods and variations.WnrCH ING TH E DETECTIVES A version of this trick originally appeared in MAGIC MagaVfne as'Among the Dis- cards" and was credited to "The Chicago Session. The other three Aces are set aside. making a longer rouune. it makes the trick really fun to do. I came up with a discrepant switch sequence that not onll' 511. and the performef now picks up the discarded Aces.e111 1ig[1.

pick up the face-down Jacks.evef.'as one of mr. tufn the Jacks face-dorvn onto the Ace packet. Using a block pushoff (r'ou could also use a buckle or pull-dosrn here). (Photo 2. with your left hand. need to use a little time misdirection here-\r.PDFB SwIrcrI Now. you'll smile to i'ourself every time t'ou do it. but verv decep- tir. So here. do the following choreographed sequence. The switch Sequence \r. (Photo 1. I usualll' chatter briefl1' about the selection. among othel feasons. Txtrucs." This srvitch goes bv e\-er\-one and gets vou verv far ahead of the game-it basicallv sets up the rvhole trick and does most of the rvork.) Now. If vou're like me. a continuing action. Now.contr-ibutions and. lr. hos. Remove the named Ace and turn it over on top of the Ace packet.e one of the Aces selected bt' name. so let's cali it the "Packet Discrepant Fat Block Switch. dbbon-spread the deck on the table in front of vou. * 35 . about this trick. so patter a little here. a little time misdi- rection is needed. The Jacks afe no\\/ in position to be srvitched out using a discrepant.e." or the "PDFB Switch. Without pausing. The discrepano'makes it fun. and slide them under the Aces.. Fantag'. rvith your right hand. It doesn't take much. Apparentlr. with vout right hand. too. Push ol'er the top Jack to show both black Jacks. Position check: the named \We Ace (here. Again.r-ou s-ill no\\. Hold the Ace packet squared in left-hand dealing position. pick up the Aces and hold them in a face-down spread. First. It's basicallt' a packet handJing of the "Discrepant Fat Block Switch" fuom Dear llt". Raise your left hand and har. brieflr' flash their faces.e want the audience to lose track of the orientation of the Aces.) In flip over the packet and hold it in left-hand dealing position. tufn over all of the catds abor-e the bottom card.rpossrBLE. sali the Ace of Hearts) is face-up on toP of thtee face-down Aces. take the top card of the packet-supposedlv a Jack-and insert it Srx. I feel a little "r'hv proprietarr. srvitch.

Take the next card-supposedll. Actually. apparendy reverse count the packet into your Ieft hand. this rather bold switch sequence works so r. One last swindle switches out the selected Ace and sets up the final sandwich ending. Leave it upjogged about one-half of its length. which supposedly moves the named Ace to the top of the packet. Do another block turnover of all but the bottom card as one to show the named Ace. and then the selected Ace was placed into the center of the spread somewhere between the two Jacks. outiogged like the other two cards. (Photo 3.into the right side of the ribbon-spread deck. Show the named Ace at the face of the packet to your spectator. all aPpears to be correct. It apPears that the Jacks were shown and placed near the top and bottom of the spread. The Jordan Count positions the named Ace third from the top and places the remaining Ace on top.) Sxrrr Cnnos Let's reflect on where we're at in this trick. The trick is basicallv over. give the packet aJordan Count. though. Do another block turnover to aPParently turn the Ace face-down. sandwiching the named Ace and setting up for the following multiple-turnover-based switch.v its right side. In realiry the select- ed Ace is already sandwiched between the two Jacks in 1'our hands. people. Take the top card and insert it into the center of the spread. Now.vell and fools so man1. 35 * Joxn Bnruruou . the other Jack-and insert it into the left side of the spread. effectivel). and the audience thinks it's just begun. You are very far ahead hete. That's wht. the face-up/face-down condition of the packet and the relative positions and orientations of the Aces and the Jacks are no longer salient to the 2udi6n6s-6r even remembered. Thanks to the miracle of time misdirection. take the packet b. With your right hand. Since the Ace was appatendy reverse-counted to the top.

it r. Yet. \sw. Srx. place the deck onto the table. losing them in the deck.Casually place the remaining cards of the packet (these are theJacks and selected Ace) onto the on your audience what has happened. I can reproduce them to comPlete a full set of Aces. almost evervone will realize s. Be- cause you are so far ahead. As soon as you do this. Snrrr Focus After the outjogged cards have been inserted (and shifted). anv multiple shift here will do. 2005). This is a reallr.iLl dar.rpossrBLE. allow the three cards to spread slightllr Scoop up the deck." in Dear Mr.nice moment in the trick. Nor.v 1'ou could simplv push the outjogged cards flush. the sandrviched. the audience does not expect the trick to conciude so soon. Of course.g. ner-ertheless . mainlv due to the efficient PDFB Switch of theJacks.. lt'. Instead. the other three Aces. Cardini. so move quicklr'here. leaving the three cards outiogged. selected Ace.r. * 37 . As soon as vou pick up the discards. NIv handling of this excellent move is set forth in detail in "Out Of Touch. Turn the top and bottom cards of the packet face-up. of course. Txrucs. There is a tim- ing element here of the type I worked on in mr' "Bullet Train" Ace assemblies. Explain that theJacks are going to come together and surround the selected Ace in the process.hat has happened-and that thet't'e been had. The moment is good here because evervone expects that you now must do something else to bring the trick to its conclusion. These cards ate. Steranko. It feeis like somethins more needs to be done.'". (Bannon. but I have never done it that way. however. pick up the three side-[ned cards-supposedlv the un-chosen Aces. I prefer to control the Aces. As 1-ou do this. Fantag. turn over l'our hand to shor. This is the way the original MAGIC instructions read. . One that brings the Aces to the top (e. Elias) would save the step of shuffling or cutting the Aces to the toP after the shift. . Nash. So I use an Elias Ntultiple Shift here to control the Aces to the toP of the face-down deck. so at some latef point (as we'll see).

to make a routine of it. mind. Mirage.our audience. This "Jack Sandwich" is also powered b). A card is selected and lost in the upper portion of the deck. I wanted to have a way to reproduce the now-missing Aces. The surprise "garden path" ending makes it fun for 1. The deck is now in position for an unds16u1-2nd a discrepant switch that has antecedents in my first booklet. you could stop right thete and have a fine effect. Surprising\i it is not the selected gavfl-i1is the selected Ace. The selected card is found sandwiched between the Jacks. Then. Mrse Eu ScEue Continuing on from the previous trick." H. hold about one-third of the deck. M1 Fauorite Card Tricks. I(eep the thumb break beneath the top two cards. get ^ right thumb break beneath the face-down Ace." PnEcrs A selected Ace (the one from "\WatchingThe Detectives') is sandwiched between two face-upJacks. the discrepancies may make it fun fot you. Lotayne. to m1. I added a re-structured version of Al Leech's venerable transposition made famous b). undercut about two-thirds of the deck 38 * Joxru Bnruruoru . makes it high\. Blurr Swrrcx Move Place the Jack sandwich on top of the deck and. Flash the face of the Ace to your audience. suitable to follow "NTatching The Detectives. the face-down Ace is sandwiched between two face-up black Jacks. Hold the sandwich in your tight hand and the deck in left- hand deal-ing position. With your left hand. Harry Lorayne as the "One-Eyed Jack Sandwich. \X'ith your right hand above. as you square the sandwich.New Jnx Okay. a discrepancy and a "garden path" construction which. The perfotmer sends a card spinning out of the deck. and the "sandwich" is cut into the center of the deck.

The lowermost black Jack shows in the angled break. Take the packet from above with vour right hand. . As vou do so.. Txrttcs. * 39 . Cover this action by saying somethiflg along the lines of. The face Jack has changed (from Spade to Club or vice versa). place it on toP of the packet in your hands.) Immediately. Have t'our spectator select one of the catds b1. "Lett create some susPense.6rr spectator. ltqpossrBLE." The "in a minute" phrasing is an import^nt P^rt of this switch. as it iusufies only pattially cutting the Jacks into the deck. As the left-hand packet is squated with the right hand packet-so far this is just like the traditional double u1ds1gu1-i1 2 continuing action. get a right thumb Stx. you will switch the positions of the top and bottom cards using aLar. But first. I need vou to select a catd from this half . Jennings double undercut technique.n. )'Iou can use Jokers instead of Jacks). The discrepancy is bla- tant.and place it on top of the right-hand portion. But look what happened: The upper Jack and the selected Ace have been srvitched out of the sandwich .ou. As you apparentlv cut the card into the packet. It's also efficient.. . Cournol Aruo Swnp "But first." Pick up the uppet packet and spread it in vour hands. (Photo 1. Outjog the card and square the packet. After the spectator has noted the catd. Interestinglli it's verv difficult to obtain the current position through con- ventional switching methods. deck. pivot all of the cards above the break to the right at about a 30-de- gree angle. but is taken as the upperJack. Norv remove the outiogged card and shovz it to 1. In a min- ute. . being careful to conceal the reversed Jack second ftom the bottom of the packet. but effective (if this bothers ).s. I'm going to bury the Jac[s-1v121 would 1'ou sar. place the deck onto the table in this angled configuration. but this is never noticed. touching its back.?-afout half walr de*t ir.

Place the packet on top of the tabled portion. the selected Ace is on top of the deck. it is now on the bottom underneath the face-up black Jack.. A little dorvnrvard pressure r. and 1. .break beneath the top (selected) card. As I'our ieft hand moves to the left.vith vour left hand. and mv right forefinger keeps the top card in place. In this move.) 40 * Jonru Bnnruoru . undercut about half of the packet. I take the top half with mv left hand. Spr u Y<'. remarking that the selected card is somer. While the selected card was apparenthr cut into the packet. In fact. A1l rve need to do norv is bring it home..) k The sidejoggsd 621d-d1s original bottom card of the packet-is slid a1l the ..our audience thinks the trick has just begun. r. pushing the sideiogged cornet onto the lorver packet.vith vour left thumb. Riffle the outer end of the packet. (Photo 4. the trick is vittuallr'over. angled to the right. the bottom card of the upper packet is retained br. undercut all of the cards beneath the right thumb break.'vav out and onto the lolver packet as the packet is cut to the top. hon. The selected card is betw'een tl-re Jacks. does the trick.tlr'eJarahead here. As lou complete the undercut bv sJiding the lett-hand packet on top of the right-hand one. saving that now you rvill cut the Jacks into the deck. As this firstpartof the cutis completed.vill zais Spin Out cut. Now give the deck a Ben- Say that vou r.vith mv the upperleftcornerof the bottom cardis jogged to the left. Then slowlv square the two parts.r'our left thumb. Be careful not to flash the reversed Jack. butremains cor-ered bvvourleftthumb.vhere in there. (Photo 3. trv to locate and isolate the selected card. \\'ith lour left hand.) In a continuing action. the bottom half r. The selected Ace is norv on top of the packet. r'our left thumb pushes over all of tl-re cards abor-e the bottom card of its packet. (Photo 2 shows an exaggeratedview. begin a tabled slip cut.

) Turn 1. (Photo 5. Ask for the name of the selection' once so informed. the three un-selected Aces are immediately below the sandwich. remind )'our audience that you were going to locate and isolate the selected catd. The illusion is quite good. both hands flick sharply outwafd. propelled from somewhere in the middle of the deck. spread over the next three cards as well (so you can get a break beneath them). Stx. If vou are doing this as part of the rou- tine. * 41 . apparentll. which explains why this classic production has withstood the test of time. Evefyone will be sure that the catd is the selected card. Sptead off the sandwich into your right hand. Turn over the spun-out card and show that it is the selected dss-ne1 the selected card.The buriedJacks should not inteffere with this process-that's why we cut them two- thirds into the deck rather thafl the exact middle' As the cut is done. lr. Tntuas. pick up the spun-out cafd. As 1'ou spread ovef the sandwich. Place the portion of the deck above the Jack sandwich onto the table. Ptopedl'done. the top card will go spinning forward. At the same time. Place the Ace onto the table and spread the deck in 1'e1rt hands.rpossrBLE. With your right hand. Place the left-hand half back on top of the deck. your right forefinger pushes the "slipped" top card forward. Square the cards and hold them in Ieft-hand dealing position. One face-down card is seen betrveen the Jacks.6111 hand to show that the selected card has been "located and isolated" be- tween the Jacks..

That way you end with all four and can go orr to a four Ace trick (or stop. at the same time. Pull the upper Jack onto the left-hand packet while. as you do. Square up the left-hand packet and. which makes this a perfect time to close the loop and bring them back. W'ith 1. The spread condition of the packet and the squaring action make this easy to do. or whatever). Position check Your left hand holds a spread half-deck.our right hand holds the three-card sandwich.our audience has likelv forgotten the other three un-selected Aces.6111 right hand. "New Jax" provides an intedude after WTD and conveniendy uses the same equipment-the black Jacks and an Ace. but a logical and surprising return of the three missing Aces. pick up all the cards above the break. slide out the selected card and drop it face-down on the tabled half-deck. the face-up Jacks and three face-down Aces below them. get a break under the fifth card from the top of the packet-i.e. ).) 42* Jorru Bnnruor . hiding the three Aces under the remaining Jack. place the Jack sandwich back on the left half-deck. a trick.. ). At the end. It adds a certain completeness and closure to the routine.Fu u Cr ncrE This is not realll. After showing the trapped selected card. (Photo 1. With your right hand from above.

bringing the trick (and the routine) to a successful conclusion. squares it and takes it into dealing position. and then spread it to show that not one. Of course. The spread is held momentarily while your left hand places its packet on top of the tabled cards. but fout cards are trapped between the Jacks. Your now-empty left hand comes back to the right-hand packet. Srx. Remove each Ace and place it face-up on the table. IupossrBrE. All of the preceding actions are done casually by way of "cleaning uP.) As your left hand turns face-up. you are now positioned to re-produce all four Aces to bring the routile to a nice closure.In a continuing action. With your dght hand. Square the packet. ITave the packet over the deck. once your left hand returns to palm-up dealing position. push over the now face-down Ace and insert it under the Jack held by your right hand (beneath the concealed Aces). ribbon spread the deck on the table. * 43 . Trrrcs. Presumably nothing more than that.turn your left hand palm-down and pick up the face-up select- ed Ace from the table. Continue by placing the face-upJack under the dght-hand packet. the Ace wi-ll be face-down on top of the face-up Jack and sideiogged to the right." The prior trick is over and you are reconstituting the Jack-Ace-Jack sandwich. (Photo 2. In this manner.

meanest.1. 44 * Joxn Bnrnoru .) Quickty remark that 1.e11 have a packet of "high cards.. and most stteamlined Odgami card p1rr.. 61is1 To perform." Close the spread and hoid it face-down in position for an overhand shuffle. an1. making this the leanest. evervone knows that this was the intended result.. a surprise Ro1. spread the packet face-up.OnIGAMI POKER RTVISITED As an alternate form of prediction. ending. yet. but don't spread the last three or four cards. (Photo 1. any order Followed br. W'hen the Rovai Flush shows up at the end.. Only twelve cards are used. The other seven Coutt cards. Remove a Royal Flush in Spades. you can use a "deiayed and self-referential" pre- diction s11uqtu1s-in othet words. five red Court cards and two Club Court cards (one of these last seven cards should be a ten) and group them as follows from the top down: Five Royal Flush cards. So it's like a prediction without a prediction.

As you were actually shuffling the packet. pull off the f. give the packet a frnal "fold" by rutrung lt over. Just like before. Slide the cards out of the spread in ordet. she can shuf- fle and cut as much as she likes. notice whether the Spade Flush cards end up face-up or face-down. If they end up face- down. Iet your spectator shuffle the cards. secredy counting seven cards. Srx. Once the face-up and face-down cards ate mixed. too. * 45 . The Royal Flush cards are now face-up in a face-down spread. Then. Spread the packet. After you've run five cards. TxtnGs. begin overhand shuffling the pack- et. luposstBLE. !flhen she's done. you can shuffle the remaining seven for real. spread the packet. Turn the seven cards face-up and shuffle them into the remaining face-down cards. deal the rorvs in a back-and-forth "snake" pattern and turn over every other card as you deal: 12*34* g*76*5 9 10* 11 12* '(ruRu rHEsE ovER As You DEAL) Have your spectator direct the "folding" of the grid. as long as none of the individual cards gets turned ovet. take the cards back and deal the cards into a four-by-three grid' Once again. As you complete the fold. Who knows.tst five cards one at a time if into your left hand. To end. maybe your spectator will misremember that the cards were in order when the packet was spread.

in the meantime. He asked to borrow a deck from out host and." By then the deck had arrived." He took a flote out of his pocket.RrveRBoAT Poren rWewere at a small dinner pa. . Bannon went through the deck and tossed out the four Aces. and in an old letter. Still it was intriguing. It was a tough way to make a living." Bannon smiled. "My grandmother still had some of his things. . Bannon was going to do a card trick or two (or five). 2N +1 N-1 N 1. I think. Iet me show you something interesting .one was suitably impressed. It said: Fot N players. thank you. shuffle: 1. tr2d all heard of "stacking the deck. From what I understand.. . Everl." but had never actually 46 * Joxru Bnuruoru .ty at a mutual friend's house. The1. In fact. Do you know what a 'run-up'is? It's a way of secretly stack- ing the deck right in front of evetyone. He was the black sheep of the fam)ly and was one of those riverboat gamblers-like you see in the movies. I wrote down the formula . I found a descrip- tion of a run-up system. opened it and shovzed it to us. "Me? !7ell. . and as he talked. and one of the guests actually said: "I wouldn't want to play cards'nvith 1rou. and after dinner. The civilians were as cleady intrigued. did one of his "fractal" packet tricks-the one that ends with a Royal Flush. neady everyone cheated. 2N Toss Cut at right place It might well have been Greek or Martian. But the one you really wouldn't have wanted to play cards with was my great grand-uncle.

I think." He quickil'pulled off eleven cards and tossed the deck. In that case 'N' equals fir. Bannon definitely had their attention. In the fourth round. the dealer got a face-up Ace.' Took me a rvhile to figure that one out. he got a face-down card just like everyone else. He said. "N minus one. "One is. though. lt"rposstBtE. He picked up the Aces and put them on the d66i5-f2ss up. He began spreading through the catds. That would be e1even. Should har-e seen that one comlng." He gave the deck a couple of cuts. Bannon said." He pulled off the top face-up Ace into his left hand and tossed the deck on top of it. one. Nline. the Aces are distributed throughout the deck. every now and then a face-up Ace rvould fs sssn-i1 was verv interesting." Bannon said as he did a riffle-shuffle.". "I guess that's s. like this. 'And two N would be ten. and a face-up Ace was about a thitd of the r. "You see. Txntos." One." Five cards." Fout cards this time. Sure enough. and the buzz s. The mote I thought about it. "'Cut at right place. that's four.didn't know vou could tealLr. thel'drdn't shuffle like tLLrs. "What this is. He turned the paper toward himself. too." He gave the deck an overhand shuffle." He began dealing fir-e hands of cards. I was beginning to wonder if this simple set of formulas was reallr'going to rvotk. So the shuffle rvould go Like this . * 47 .seen it done. in each of the first three rounds. I realized that Srx. He continued. .av dorvn. .ht'r'ou get fi\'e cards in Poker. Had something gone wrong? Bannon turned the face-dou. As he shuffled the cards. well. Back then. then tossed. "Do i'ou think it u'orked? Let's see. "N is five." "One.e. "Hadn't been invented 1'et. Lett say we have five players. is an overhand shuffle thtngs like that. He looked at the stfiking coilege girl and her bovfriend.. people shuffled cards overhand. "Remember back in the riverboat da1's." He shuffled off a big chunk of cards and tossed the rest of the deck on all about horv ther. The crou'd s. "I'[ stack the Aces and I'll leave them face-up so lou can see it happen. After a long pause." He dealt the last round and the last fhce-up Ace arrir." He closed the spread and looked back at the paper. "Two N plus one.n card face- up-the Four of Clubs. "For the 'toss.' I just chop a block of cards." Now ten more reallr'impressed.

Let's say Miss I(tty taps one on the shoulder and winks.out opponents fold and don't stick around to play S7hen that rvon't make any mone1. 'A full of money with a hand like house is a very good hand." He began dealing another five hands of poker." He turned his cards over-a Ro1. but 1. and then cut all of the cards into the deck. Bannon dealt the last round. fesl pla1zs1r. Let's say a fight breaks out in the bar and one of these players gets hit over the head with a bottle and has to drop out. and pulls out a derringer and shoots him. Showdown. all face-down this time. . What do you have?" He turned over the h2ni-1$/e Jacks. A full house-two iacks and three Aces. Needless to say. "I'11 stand pat.this was not a trick. Let's say one of these gentlemen accuses the other of cheating.. a Ten." He removed the spot cards and tutned the hand face-down again. N7ow. And. 'Aces are good. Bannondealt a fourth round. Bannon introduced them to this arcane gambJing secret. and now thev could all say they've seen it done. .al p1rrr1. Watched someone actuaily stack a deck. "Okay. of course. Let me show vou what I mean." None of the other hands had much. It was a demonstration of what was on the paper-thatt all reallrr Yet. I d draw two. You could make a lot that. Now we can draw. "Thatt only the first problem. but the. Let's see what it might be like if you were reallv playing poker on the riverboat. Then Bannon peeked at his cards. "Three players left. right? Any'rlzay. he wasn't finished. After he had dealt two rounds. a Two and an Ace. we discarded one of the other hands. You know who Miss I{itty is. he said. if I were )." He began shuffling ths sa1cl5-everhand. He dealt the third round. "We'11 leave all of the cards face-down this time.ou ran up against . SThat have you got?" We turned over our hand. "Now there are onl1. "A pair of Jacks with an Ace kicker. NThich hand should go?" We looked at the hands again and one of them improved to a pair of Jacks.ou. Bannon tossed them face-up to one side. in 48 * Jorn Bnnuon . We kept the hand with the pair of Jacks." He picked up the other hands. thought for a second. "You know life on the riverboat could be very dangerous. He dealt t\vo more cards to the hand. iust me and you. The second problem is that the riverboats were dan- gerous places. and then said. he's out of there. turned the Aces face-down and tossed them in among the cards. you ma)' have Aces.v aren't that good if 1. and 1'ou had to be prepared to deal with contingencies. Which one goes?" Another look and an eas)r call. Unless ). The college gid pointed to a hand that had a couple of middle cards. \X/hich hand should go? You can look at them if YOU Waflt.

I made up the part about the riffle shuffle having not been invented r-et." Bannon replied. I don't think I'r." "Here. on the rivetboat evervbodl' cheats. The first phase is right out of the 'Vernon Poker Demonstration. Ordinarill'. lr{posstBLE. I prefet to v/rite it down and to show it to the spectators. face-up. nou. I u.a)'.onder if it's true? Anru.Spades." * "Oka. Thev can be in any order. at the back. I'm trving to make the trick more interesting and intriguing." I made the necessarv arrangements with m1'deck. "You can have that. That wa1. it's a fairl1' s251' matter to cull the flush cards as )'ou remove the Aces. It makes the shuffle sequence more visuallf interesting. demonstrate an overhand shuffle and shuffle the top four flush cards to the bottom. \We sat down to wait for a taxicab. These eleven must go back on the deck a cut to move the stack SIx. Almost self-working. "I think so. performets mumble through the formulas.. "Where it savs 'toss. The reason whv l 'set' the trick on the riverboats is to justift'the overhand shuffle.. that poker deal was interesting. What was the other change?" "Pureh'presentational. * 49 ." "That was cool.' onll' I made a large and a small change to it. Jack and Ten of Spades on top of the deck. Bannon handed me the piece of paper with the formulas on it.e seen it done face-up before. is to plav it faidv straight. The large change is to leave the Aces face-up. Txrrucs." I made a note on the paper. Run the numbet of cards prescribed and toss the deck on top." He pointed to the step that said "2N *1." I said as we left the parfi'. "Do the shuffle as described.hat?" Bannon pointed to the paper. Bannon continued. and then repeat the mumb[ng rvhile thev are dorng the shuffle. Remember. put the Aces on top of the deck.. "Then it would just be one of the better losers. As Vernon did. You are essentialll. except for this step. \-ou run the eieven cards and toss the deck behind the shuf- fled-off cards. Queen. The Ace of Spades should be the last of the face-up Aces. You need to start with the Aces out and the ICng. I felt like I could see the cards getting stacked or something. after vou've shuffled the flush cards to the bottom." "Can 1'ou walk me through it?" The lobb1. r. it looks real-v/hich it is-as opposed to so much indecipherable mumbo-jumbo. "Now what?" "\f iththe Aces out.'iust shuffle ofi a decent size block and toss the rest of the deck on top. From a borrowed deck. the best wat.v." "Okat'. of the condo had some chairs and a small table. "It's also reallv easl'to do.

by the way. shuffle: 1. But. and came up with the protocol where a player dropped out each time. there is no crimp to cut to.r . I made two more annotations on the paPer. 2N Toss (cut some to bottom) Cut at right place (4 cards above the uppermost face-up Ace) Then. "Making that last shuffle '2N'in- stead of just 'N' is pute Vernon touch. Bannon said. but on the fifth. Brilliant." He continued. I've been doing cards for a while. the Spade flush cards." ^re This really u/as pretw simple." I said. one of the other players switched his cards for the dealer's cards. I had to agree that the "miss" on the fourth round and the "hit" on the last round were terrific. if we displace a few cards. "Very cool. the last Ace doesn't come on the fourth round. With me so far?" I nodded. Then. I thought. double-undercut to the break. spread thtough the cards until you see the first face-up Ace." 50 * Joxu Bnruol. Then. you'd get a Royal Flush. "Dave Solomon was playing around with a David Bridand trick called 'switch Poker." I started dealing five hands and sure enough the Aces came to me.a litde closer to the top.' In that trick. * "What about the second phase?'What's up with that dropping out thing?" "The second phase is a modified Martin Gardner poker deal. I began the shuffle sequence. Unlike Vernon. after each round. but I was impressed that the stack actually worked. For N players. Your spectators could choose which hand would be switched. and the audience could choose which hand was eliminated. "Now as you close the spread. It's a lot easier than you might think. if you as- sembled the hands and dealt five hands. I liked that dynamic. Because of the doubled number. get a break four cards above the face-up Ace-these. 2N +1 (back on top) N-1 N 1. Right now. we cafl set up for the 'dropping out' and still get a Royal Flush.

" I chimed in.s will get one of the Aces on the fifth round. Bannon r. So. as promtsed. You see. if thei. cut the top two cards to the bottom. Show the faces of these cards using both hands and casu- allr. of coutse. Turn vout left hand palm-up and close tl-re spread. "No. "Like I said earlier. but still didn't understand how it worked. Pick up the rest of the hands in anv order and drop them on top of the packet. cut the top card of the second hand to the bottom of the combined packet. shor. Deal out two rounds to fir'e plavets. So.. I do that because most of the time there will be apair in one of the hands and I want that one to stay in to the end. the one on vour left. "Here's horv it wofks. Fourth round. the next tu/o cards are Aces." I r. "Now pick up the second hand on top of the cards in vout left hand and. too.e the iorver three cards. but even if there's no pait. it all seemed so un- I controiled. an\r one of the first four hands drops out. make sure the four Aces are together and the other card is at the face of the packet (the Ace of Spades. Aces over. IttposstBLE. keep the pair and the Ace kicker and dfaw two catds. and an interesting shor.vas surprised that that was all there was to lt." "Which means a full house. Bannon continued.v vou afe going to apparenth'insert the Aces into the packet. Deal the tLrrrd round. Square up and drop the packet on toP of the deck. Holding these three cards. Got it?" I nodded. one of the remaining nvo. Betbre the third round. and the 'dropping out' makes it seem all so uncontrollable. You are all set-" "That's it? That's al1 there is to it?" "That's right. The fifth round is dealt to the sole remaining piat'et and t'ourself. but 1-ou must inseft them right abor.ou talk about a good hand not winning a lot of monelr if all the other plai. are the fifth hand. " I had to agree. the iast hand that stat." "Nos1 spread the packet of combined poker hands and break the spread abor-e the iast three cards.ou need to do. we get this interesting dynamic. That's all the adiustment 1.. * 51 . begin to pick up the dealt hands.v the faces of this hand. When t. tufn lour left hand palm down to scooP up the face-up poker hand s.ers fold. "Exactlr. or fourth from the face of the poker hand). Fkst. the last hand can draw three or four cards and still end up with thlss dss5-not too bad. You.ith the Aces.vas right.vdown."I let the audience look at each of the hands befote deciding which drops out." As he spoke. As vou square up. b1'the wali should be second from the top. Start with the first dealt hand. again using both hands to spread the cards. I encourage the spectator to Iook at the catds Srx. dealt the cards as instructed. Txtttcs. and then one of the thtee remaining Plavers drops out. I took a peek 21 61'621615-a Roi'al Flush. or uncontfollable.

this last hand. Not bad. Mado-Gardner." "Not bad all." he gestured to my opponent's hand. three Aces. of course. she'll still get a full house. with the face-up run-up." I replied. neaiy self-wotking. STith nvo pa:r. So if there's and she keeps the Ace kicker-full ^palu. three of a kind?" ^t "Good question. the top two cards of the deck are the other two Aces. I thought about the other re-cycling-type poker deals-Gardnet. Worst case scenario. I was definitely going to work this one up-if only to do it whenever someone said: "I wouldn't want to play cards with you.if she draws one. you don't have to talk her into keep- ing the Ace kicker. Lorayne. and the decent-hand-runs-into-a-Royal-Flush ending. If she draws two to the three of a kind. and. "IW{hat if the last hand has nvo pairs? Or.before deciding which hand to eliminate." AII fabulous." 52 * Joxr Bnnroru . demonstrations of card control. house. Very often. TVo pair is not a bad hand in draw poker. because your spec- tator still has a draw coming. But this routine had a lot going for it." The taxi arrived and we put away the cards. Even better. Let her do whatever she wants. Bannon's "Lessons Are Extra. Every time there will be one Ace. the successive dropping out. "will have a pat or better. she'll just get another Ace. If there are two pair or better.

This "stop" handling eliminates the awk- ward counting or presetting usually required. gives it a quick shuffle." I have returned to the playing cards and strearnlined the handling somewhat-doing it as a "stop" trick. And I mean Greater Magic. "I think I'm close.'when you feel the impulse. the sPectator tells him to stoP. and I want you to cut off a small packet of cards. if you stopped me at exacdy the right place. and the trick has been known since as "The Trick That Fooled Einstein. Second. He says. put the cards where I can't see them. vou'Il stop me at exacdy the right place. "Raquel. Txtues. rather than a prediction. you'll cut ex^ctly the right place. I'11 have three Stx. 'J7ith this trick. 'Stop. is in "Old $7ine In New Bottles. and begins to form a pile of cards on the table. but try not to cut more than a third of the deck. !7ith any luck." ^t The spectator does as requested. "Jackpot Coins." The result is al control over your spectatot's ^pParcnt actions. She has the option of dealing a few more cards. itself. On top of this streamlined handling. I am going to deal cards one at a time. Al I(oran applied the verbal trick to a bowl of coins." While the trick a chapter called was originally done with cards." He begins dealing the cards. or even taking back a few. luposstBLE. I am going to look away. You can cut off just a few. then three things are true about this packet of cards. The performet takes the remainder of the deck. or you can cut more. reinforced by an unexpected appearance of the Aces. * 53 . I want you to say. I'll have as many cards as vou do. really. Raquel. Once you've made the cut." I(oran allegedly fooied Albert Einstein." He adds the cryptic remark. the performer says. I added a control of three cards and imposed a subtlety I first saw in the Mado-Ack- erman-Harris trick "OverkilI. "Raquel.Tnr Erusrnu Ovrnmlt Let's start with an old verbal trick-a old-the version in tautology. First. PnEcrs The performer shuffles a deck of cards and places it in front of his spectator. At some point. Aftet a number of cards are added to the pile. "'With any luck.

)rou v'ould have cut to an Ace'" The performer turns the spectator's pile face-up-there is an Ace at the face. In the shuffle. ot you can cut mofe. pick up the deck and. . "Let's see if this will work. but then came uP with this subde- ty-based method that is really childt play. That's seveflteen. so hete is what I do. of course. and. and the performer has some left over. Ioosely square them and drop them onto the table. "Which. ideally. I sptead off three cards. I actually worked out a purely mathemarical way to make this trick work. lrou had sixteen." This instruction should keep the cut less thafl twenty cards' Q'{ote: If she cuts off 24 or morq the trick canrlot work. but try not to cut more than a third of the deck. You will now deal cards into a pile for the "stop" trick. "The same 25 1'6r. retaining their position. But did you also cut right where I wanted you to cut? Thete's one way to tell' If you cut exactly where I wanted You to. t$/enty.r Bnnuon . After I shuffle the Aces to the top. almost to myself. "So you stopped right where I wanted you to.more cards. Then six 54 * Joxr. Turn back. 'S7hen ready to perform.) Look away as she cuts and hides her cards. She has Sixteen. nineteen. Twenry cards are a lot to deal." He deals his remaining cafds on top of the sPectator's pile. "Three more. sometime aftet the twen- tieth catd." Three more cards are placed onto the table onto one side.rr Say5 11ra performer. "You can cut off just a few. I pause a bit and say. The performer places his pile back onto the deck. You must keep track of the number of cards dealt. I'll have enough cards left over to make your cards total to tweflty-ofle. . "Let's see. waflt hef to stop you. casually give it an ovefhand shuffle. Set the deck onto the table and instruct the sPectatof to cut off "a small packet" of cards. Start with the Aces on top of the deck and false shuffle." The performer and the spectator count their cards onto the table together. would go with these three cards'" The "three more" cards that 'were set aside are turned up and are the other three Aces! Mrse Eru ScErue This is a lot of effect for a trick that is completely self-working. leav- ing the fourth Ace on top. And third. run the last several cards singly into your left hand-this will bring the three Aces ftom the bottom to the top of the deck. twenty-ofle!" The performer deals his last cafd ofl the count of tweflty-one. "And enough left over to make your calds total twenty-one. as you speak. Let's see how well you did. however." Then. undercut (or shuffle) three of the Aces to the bottom. and .

more." Thirty minus three is twen- B'-seven. (These are the thtee Aces.il1 stop her in her tracks.) $7hen she stops vou. the kicker s. The first two statements are alwal's the same: "If you stopped me at exactlv the right place. B). nvent)' cards. and vou and she should count aloud your respective cards onto the table together.ou do.' when you feel the impulse. "the same as 1'ou. Raquel." is true. In the above example. I use this as a practical maximum-ideal11. "Three more. Now. I am going to deal cards one at a ttme. 1. Tnrncs. \X/ith any luck. I'll leave it to you to $/ork out whr'.ou would sali 'And third.11 in all. I'll have enough cards left over to make your cards total to twent\r-seven. In the above example." I start dealing cards. and vou would have some left ovet.ays be right." The third statemerit varies. The prediction is puzzling enough since not even the spectator knows how many cards she originallv cut off. Antwali have vour spectator retrieve her cards. "Raquel" must have cailed "stop" on the twent)'-fourth card. as long as )rou have cards left to deal. There is no maximum. The last propo- sition proves to be true as rr''ell.. lr*rpossrBrE. TVenq-fsrt minus three is rwenty-one. forming a frfteen-card pile.e11 will alu. silentll'counting ftom fifteen- (At fifteen cards. These are minimums. By twenfi'four. apparendl. The first statement. Fan 1'our remaining cards and hold the fan in t'our right hand. I look at my spectatof and sali "I think I'm close. I'11 have three more cards. If she stopped )'ou at thirni for examPle.ou to sali 'Stop.. continuing the count from rvhere lou left off. depending upon the number of cards in your packet. ). And 1. I want ). Deal t'our temaining cards on toP of the spectator's pile.our spectator canflot have cut more than eleven cards ot the trick rvon't work. and there is no wat' the performer could have known where she rvas going to stop his deal. I'll have as mant' cards as 1. she can have cut as man\r as twentv and sull have the trick work out. But." and click off the lowermost three cards of the fan into a short spread on the table. You knov' the "three more" cards are Aces. Sai'. The verbal trick is not as transparent as vou might think (once 1ou figure it out) and has withstood the test of time (and. even if she is trving to figure out how it works. nvenfi'one. then three things are true about this packet of cards.) The remaining cards are enough to make the spectator's cards total the magic number you have calculated-in the example. ). Second. note the number and subtlact three from it. i. This new number is the number 1'ou will use in your third statement. she has sixteen. Because the sPectator's packet was re- Srx. and six more aflq 111a1-6. she can have cut as man)r as sixteen. fooled Einstein).ou will have managed the cut so it is somewhat less than twenq{. First. * 55 .su'll stoP me at exactl)r the dght place.

55 * Jonx Bnrrou .versed-counted.It seems like she cut to the Ace. The subtlety here is to assert that the Ace was the actual card she cut to. they will not be ^pparcnt expected. As promised. Given all of the uncertainties. but as you wish them to be." Then. Show the other three Aces. As you have seen. you would have cut to an Ace. This just requires a litde time misdirection and calling things not as they are. there's an Ace at the face. the Ace that was originally on toP is now on the face of the packet. "If you cut exacdy where I wanted you to." Turn the spectatort pile face-up. I also switch from "with any luck" to she stopped and cut "where I wanted you to.


In theorr', there is no difference betr.r,een theorv
and practice. In practice, there is.

Albert Einstein

Oprurua rHE 0pru PnrotcloN
Alternatell, known as "The Open Prediction," or "Fifq'-One Faces North," or "The
Paul Curry Problem," the tdck is the bdte noire of dealing tricks. Your participant must
deal all the way through the entire deck, turning all but one card face-up. Your iob is
to make it interesting. Accordinglli the "problem" is a problem on many levels. You
have to be convinced that the payoff is worth it (your prediction is correct), and that
there is inherent drama in the dealing procedure (the wrong card could tufn up at any
time). And you still need a workable method and arL interesting framev'ork.

To be trult, effective, this effect must be presented from a pure mentalism standpoint.
"Mental magjc" is not as effective because of what I like to call the "tricks wotk"
presumption. Understanding that they are uratching a "titck" by a "magician," spec-
tators presume that the "ttick" will "work"; that is, that the performer will bring the
trick to a successful conciusion. Due to the ver1, nature of the Open Prediction plot,
surprise is impossible and interest depends totally on susPense. Suspense, though, is
inherendl, undermined when spectators understand the1, are watching a "trick," rather
than a bona fde "experiment." Because, deep down inside, they already know the trick
is going to succeed, there is no real "suspense."

Since most of
us do not exclusivell' do pure "mentalism," the "tricks work" pte-
sumption is a significant obstacle that must be overcome, whether through method,
presentation or some combination thereof. Indeed, even for most mentalists, the fun-
damental premise of the trick, an "open" ptediction, ma)/ tend to pose a similar pre-
sumption. The main problem, of course, is that once they cleadl'understand the ob-
jective, and are convinced that the trick will work, 1'our sPectators are ahead of you on
method and are busily hlpothesis-testing how t'ou are going to make the tdck work.

In attacking the problem, lve have our work cut out for us. N{ethod, presentation, and
presumption all must be adequatelv addressed. If ,vou are going to have a participant
take the time to deal all the rva,v through the deck, ),ou need to make it worth her
whjle. Is the problem surmountable? I have had success with the follorr,'ing approach-
es, though main-lv in verv informal situations. The sheer length of the trick means
you aimost need a captive audience whom vou have alreadv sold on your capabilities.

0per AND NoroRrous * 59

From a method standpoint, the trick boils down to two approaches: either a force,
or a switch. The "force" methodology involved fotcing a paricriar card to be dealt
face-down. The clear advantage here is that the moment of truth (that is, when the
face-down card is revealed) can be no cleaner. On the other hand, the switch method-
ology allows an1 card to be dealt face-down, because it will eventually be switched for
the target predicted card. Accordingly, this approach allows for a much freer dealing
procedure, but a problematic moment of truth.

This excursioo explores these different approaches to the "problem." I have not at-
tempted to "solve" the problem by meeting the fabled conditions, not have I checked
to see how close these solutions come. Instead, I tried to come up with a good, work-
able card trick within the general "Open Prediction" framework.

"Fifty One Fat Chances," a force-based solution that I've had for a long time (ate-nine-
ties), explores ways to prolong the suspense and, accordingly, interest, until the very
last card is dealt. It is also entirely self-working.
"Que Ser6 Seri" is a switch-based solution that I've had for even longer-though not
in an "open prediction" fe1621-11/fch permits yout spectator incredible freedom in
dealing and selection. It allows for aharder "sell" than a lot of these routines. S7hile
not self-working, it is not at all demanding.

The last trick has nothing to do with the Open Prediction. But it zi another deal-
through-the-whole-deck trick-my take on StewartJames's classic "Miraskill." Ag^ir,
this routine is also completely self-working. So, maybe the trick is not that out of
place . . .

50 * Jomtt Blurolrt

FrFry-Onr Fnr Cnnucrs
Bannon put a dollar bill onto the table. "I am going to give you a chance to win this
dollar. Now I know that it doesn't seem like that much of aptrze, but to be honest,
most of the time I lose. That's because I am going to give you 51 chances to win."

I had no idea what was going on, but I was cettain it was going to be a card tdck.

Bannon gestufed toward the deck we had been playing with all night. Bingo. He said,
"Take the cards and cut off less than half the deck and flip them over back on top
of the deck."
I compJied. The top card was a now face-up Two of Clubs. Bannon shook his head.
"No, that's not it," he said. "Cut off mlre thar,half, and flip them ovet back on top."
I complied, but still had no idea what he was talking about.

This time a Four of Hearts showed. "That's not it eithef," he said. I still had no clue.

Then, Bannon explained, "The card we're Iooking for is the Nine of Diamonds' If at
any point the Nine of Diamonds turns uP, you win the dollat. It's that simple. Norr,;
deal the face-up cards onto the table and stop when you get to the face-down cards.
If the Nine of Diamonds shou,s up, the trick is over and you win the dollar. Compli-
ments of me." (I was not surprised that Bannon could not resist the homage to the
late great Del Ray)

I dealt about 15 face-up catds onto the table before I hit the face-down cards. None
of the face-up cards were the Nine of Diamonds. Bannon gestufed to a spot on the
table next to the face-up cards. "Deal a few face-down cards ovef thefe; that will be
your 'second chance' pile. Two of three, whatever." I dealt two face-down cards'

Bannon continued, "Now cut off some of the cards, turn them over and Put them
back onto the deck. Deal the face-up cards onto the others. Remember, if the Nine
of Diamonds turns up, you win the dollar."
I or 14 cards. Still no Nine of Diamonds. Bannon said, "Deal a few
dealt anothef 1,3

more face-down cards into the 'second chance' pile." I dealt three cards this time.

0per AND NoroRrous * 51

"Great," he said. "Nolv again, cut off some cards, turn them over and put them back
on top. Deal them off. The Nine should shorv up ant' second nou,-. When it does, r'ou
win the dollar."

I cut off more than half of rvhat I had left, and dealt them onto the face-up pile.
Nope, no Nine. Bannon said, "Deal two or three more cards into the 'second chance'
pile." I dealt three more.

I about ten cards left. "Turn them over," Bannon said, "and deal them out. No

Nine? What are the odds of that?" I s.ondered about that. These cuts were totalll'
under m1- control; Bannon had not touched the cards at ali.

"You've had fortv or so opportunities alreadl', and we still have the 'second chance'
cards. Pick them up. Norl, deal the fitst card face-up and move the second card to the
bottom. Good. Now deal the next card face-up and put the next card on the bottom.
Good. Now just keep doing that until vou're down to one card, or until the Nine of
Diamonds shorvs up. Don't turn the last card face-up just vet."

I went through the mixing/dealing process. As I turned each card face-up, the inexo-
rabiliq, of the trick struck me. Somehow, bv nor.v, I knew none of them were going to
be the Nine of Diamonds. Sure enough, I got down to one face-down catd. No Nine.
I just stared at the solitarv card remaining.

Bannon picked up the dollar and put it into his pocket. "I guess I get to keep the
dollar. You've had 51 chances. I could have cheated vou kno'uv I could have taken the
Nine of Diamonds out of the deck altogether."

Thathad not occurred to me. Son of a...
'Just kidding. Turn the Iast card." It was the Nine of Diamonds.

Bannon said, "Open Prediction or Fift1, One Faces North. I've been kicking this one
around for about ten or twelve \rears now. \Xbn't fool too manlr rn2gi.ians, but civil-
ians won't have a clue."

Now I am no neophvte, but I think I reconstructed it. I tLrrnk. "There was a Balducci
force, I think. . .'Wasn't there?"

Bannon smiled. "This handling expands on I{ad Fulves's Balducci 'Cut-Deeper'
Force approach to the Open Prediction probiem. One of the problems with the plot,
though, is that after the face-down card is dealt, a lot of the suspense is gone. So what
I did was add a secon6l211r proceduls-1hs classic 'deal and duck' or 'down-under-
deal.'The additional la1'er of complexitv does a lot. It helps to disguise and/ot dispel
the initial Balducci force. And, it also maintains the drama all the wa1'to the end."

I picked up the deck and squared tt. "And," Bannon added, "r'ou still don't have to

62 X Jonru Bnruruou

and dealt rvas completeli' fait... of coutse. If there are eight cards." I asked. Nou. You'li need either seven or eight cards in the 'second chance'pile." I said.our participant forces the card upon themselves. the Nine is the first face-down cafd you get to.' The pozzlement takes some attention off of the cutting pfocedufe. After that. I will tell 1'611 to deal a specilic number of cards-eflough to bring the total to seven or eight. Everv other time I cut. With me so far?" "I got \.' Unless r-our participant is ps1'chic. Essentiall1. I need to keep track of hou.'o or thtee' cards. gir-e the vout Participant 'down/ 0peu AND NoroRtous * 63 . 1..' didn't vou? I kinda' like that. r-ou end the process bv having the rest of the catds turned oYeI and dealt. oka1.touch the deck. I have vou deal a'few' cards into a 'second chance' pile. At some point. but after the first s21d-1h6 force card-is dealt. "Your instructions for the Balducci cut were a littie different than usual." That's wht. thanks to the force.vas a lot less strained and procedure-iaden than 'cut deeper. Again I sali 'That's not it either." "Very perceptive." "Oka1'." Bannon continued. What (cut that means is that the subsequent and tufn ot ef' sequences are not 'Balducci's. ." "Exactlr-.ou ne'u'er touch the deck." I said.' you said 'cut less than half ' and then 'cut more than half. he or she won't knov'rvhat )rou are talking about.weren't thel'? Instead of saring 'cut' and then 'cut deeper. please. All I sa1." He took the deck out my hands. r-ou dealt 11166-1[21 u. After the second cut-turn- over-and-deal. "Certainlr'." "Explain that to me. Of course. but I dehberateli'do not fill in all of the pre- sentational details until aftef the Balducci mechanics are done. \'ou afe virtuallt'home ftee. the other six or seven do not matter. Hete." I said. 'All 1'ou need to do is know the toP card of the of a total of five." "Wait aminute. "\il/alk me through it. I've ahvat. 1'ou cut and turn over. is." "I introduce the dollar and the contest.' but are fak and square. 'That's not it. "I tell vou to deal a'fes/ cards into the 'second chance'pile. The first time vou dealt trvo cards. there afe se\-en ot eight cards in the 'second chance' pile and the lo"v- ermosr one is the force card. You deal through the first batch of face-up cards.' So I a1wa1's do it that wa\.. the Nifle of Diamonds-again. \. After r-our third deal.ou. So. "Now explain the 'game' and make \rour oPen prediction. manli that's all. will be vour 'open' ptediction.I had trouble remembering whether there rvas a Balducci or not. But now the mechanics are oYef and I can fiil in some of the details. I told t'ou to deal 't$. There's a decent chance that the initial cuts also will be remem- bered as fair and square as \\/e11." He flashed the top card at me. 'After r-ou have the right number of cards in the 'second chance' pile. turned over. Now I haye 1'ou cut 'deePer' and turn o\rer.s thought the 'less-than-half-then-more-than-half in- stfuction r. "That card. Once the Nine is dealt.

if you think about it. I was familiat with Bannon's pioneering work exploiting this presumption. ate ateal bastard some times. Of course." "Don't you think the down-under-deal looks a litde mathemaical?" I asked. You've got to ratio- rahze the dealing procedure. is a possible mslhed-61eates an interesting tension and dissonance." "You." He continued. when I fsll-n6. but as he just pointed out. isn't it?" I asked. give 'under/down'in- 51111s1i611s-fie first card goes under. not a controlled one. If there are only seven. At of a long dealing routine. Part of the OP problem is to come up with a decent presentation-otherwise it can be faiiy dry. "No. Otherwise why would the performer attempt it in the first place. Even if it may seem a little controlled. the second card is dealt face-up onto the table. as he puts it. under normal circumstances. if only btiefly. to suggest that the end maybe the target card isn't even in the deck-which." Bannon shrugged. mixing proce- dure. found the Nine. most of the time it was an obstacle to be considered." I recalled my own sense of inexorabi-Iity. sir. this last dealing procedure becomes the most suspenseful part of the trick-nght where it is supposed to be. Helps the interest level. I also recalled Bannon's theory on the ptesumption that. I think it looks and feels like a quasi-random. Bannon smiled. Yet. "Especially since the participant doesn't ever win." * I was a litde sutprised at Bannon's presentation for this problem. if not overcome. the tension resolves easily because she has. Why did you do that?" I remembered that I felt it was a particulady awkward moment in the trick. at some point spectators understand that the trick will succeed." If not from the start. there can be no real suspeflse. "There is a certain irony to the OP problem. It creates tension because the suggestion is at once plausible and renders the entire dealing exercise meaningless. you suggested that maybe the Nine wasn't even in the deck to start. "tricks work. what could you be conttolling? Given the structure of the trick. "I love th^tp^rt. and has what would be. a very good chance to win. after al). not surprise. the first card is dealt face-up onto the table. Not for civilians. at the end." 54 * Joxn Bnruror .1. That is. or even ask anyone to sit through it? The context assumes the conclusion. handed. The participant can't lose anything. Your participant has to wonder.under' instructions. because it is a trick. The trick by its very na- ture-an open predtctton-is predicated on suspense. and the sec- ond card is ducked under the packet. wl4t yott made her do all of this. "The dollar thing is a litde hear. The wager is only one-sided. "I noticed that before the denouement. kneu+-that the Nine would not turrr up. "I actually think it works well.

" From a shuffled deck. Dave Solomon andJack Parker both have done marvelous things with the "Discrepancy Ciry Display" and have more than confitmed its deceptive utility. The particip^rfirrr:. and the original three "predictions" to be the other three Queens. "stop" trick. but now wrapped in "open prediction" garb.ou beJieve you afe about to deal the Queen of Spades. deal one card onto the three "predictions. The deck is given to the participant to shuffle. In it. I designed that trick as a closed prediction. So. which is basically the same trick. (I-&L 1990) (also in my first set of lecture notes. the performer sets aside four catds. will be. Let's remix of one of my eadi- est tricks: "Discrepancy City Prediction. "In a moment." The stopped-at card was seen to be the Queen of Spades." SeeJ. three cards were set aside and the participant would. Impossibilia. ser6.Queen of Spades. At some point during the deal. I want you to deal the cards face-up onto the table." Open AND NoroRrous * 65 ." One of the four cards is returned to the deck." "But not just anv card. !7hat will be. at some point. notwithstanding certain glaring discrepancies. Go ahead. the performer explains. I want )rou to deal acard that you believe is the. That display forms the basis for this routine.. The trick introduced (and was totally dependent upon) a display count that over the years has proven itself to be highly effective. Pnfcrs "Do you think we end up whete 117s de-e111 lives. don't deal the card face-up. jobs. referring to them generally as "predictions." He gestures to the remaining three "predictions. \X/hile the deck is being shuffled. when }. families and friends-be- cause of destiny? That some things are simply meant to be and so they happen? Que ser6. I want you to deal one card face-down over here. Bannon.981).Que SenA SenA The modus operandi here is: switch.. but deal it face-down over here.ay freely deal any card aside be- cause that card will be switched for the predicted one. Cosmic Debis 11.

other card. Evenrualll'. [indiffetent card]. When )'ou are readl'to petform this trick. at some point. fan it. She is instructed to continue dealing to see if the Queen of Spades shou's up. Queen of Clubs." He picks up the four face- down cards and turns the uppermost one face-up. After dealing the face-down card. Queen of Spades. Your participant now deals cards face-up and. "That's because ). 66 * Joxn Bnuruon ." the perfotmer cautions. and none of the other Queens did either.r." The other three cards are the other three Queens.The participant begins dealing catds into a face-up pile. You should handle these cards so that it is obvious that vou have only four cards. hidden cards. Now. she has deait the face-down card and completed dealing the rest of the cards face-up. but rve didn't see anv Queens at a71. take the deck." You could iust remove the three Queens. "Obviousil-. I gener- ally either leave it behind in the card box. Close the fan and give the deck a quick shuffle. The performer observes. go through the deck and remove the three remaining Queens and an1. the patticipant can later change her mind and substitute a different face-down card. deals a card face-down rvith the three previoush-1sn). As you do this." At some point. Pick up the four face-down cards and square them in vour left hand. "You mal have noticed. explain that you will make one prediction openly and that will be "the Queen of Spades. but I think removing four cards and losing one back into the deck-even though it's a stone-cold bluff-visuaill' and logically helps sell the procedure and the eventual outcome. then destinv u'ill have gone horriblr- wrong and the wodd as \ve knorv it mat'come to an abrupt end. This dealing part has perfect conditions. At some point.. Piace the cards face-down on the table and spread them. all the cards have been dealt and there is no sign of the Queen of Spades. the participant deals a face-dorvn card. The particip^nt c n shuffle the deck-at the beginrung or at any time during the process. Point out that the Queen of Spades did not turn uP. Arrange the four cards in the foilowing order.ou successfulll' found the Queen of Spades and returned her safely to her sisters. there are no extra. As you do. or remove it along with the Jokers and place all three catds into the card box. but remo\re (either secredv or previousll) the Queen of Hearts. that is. from the face: Queen of Diamonds. It is the Queen of Spades. Mrsr Eu ScEue Use anv deck.d face-down cards. but not onll' did we not see the Queen of Spades. "if vou turn up the Queen of Spades. and insert the uPpermost of the tabled cards into the fan (this is the indifferent card). get a break under the second card in preparation for a double lurnover. and then hand it to your participant to shuffle as well.

the display looks good. The reversed card catches the r. You have conr. further reinforcing )'our '(open" prediction of the Queen of Spades. count back into your left hand. (Photo 1. do a double turnover. outjog the face-down card as )'ou come to it.) Continuing. turfl over the packet and do an Elmslel. Apparend).-ier. shou. instead of last-1'et.) After the count. and grasp the right side of the packet with 1'our thumb underneath and fingers on top. (Photo 2. As vou do the count. remove the face-down 621d-i1 i5 the Queen of Spades- and revolve it face-up onto the face of the packet. three face-up Queens and one face-down card-presumably the Queen of Spades-will shor.incinglr..n the four (and onl1. your participant stopped at this card. the Queen of Spades. (Photo 3. Discrepant asit could be-the Queen of Diamonds shows twice.vers' attention and dtaws it awat' from the twice-shown Queen. During the count.Without pause. Tutn your right hand palm-down.) Now'. Operu AND NoroRrous * 67 . allowing the double to land face-up on the pack- et. four) cards to be the Queens. the reversed Queen of Spades comes third.v. we will now sell the process and the procedure b1' showing the other three cards to be the other Queens.

a Larry Y/est clean-up move: \\'ith 1-our dght thumb on top and fingers belorv. the trick is over. I think this is a step backward. \f ith vout right thumb. Sho. The answer depends upon whether the "tricks work" presumption has krcked in yet. If so. The compelling part of the DC Display is that \rou can handle the cards in a wa1' that conclusively shows vour audience that 1'ou don'thave anv extra or hidden cards. then fir. \f ith due respect. but displaf ing them as three cards. That they know there are no extra cards reallv heips the illusion. man)'people have purpottedlr'"improved" the Discrepancv Ciw Dis- piav bv starting with ali four Queens.. pinch the right side of the Queens packet. I am in favor of speeding up the process as much as the method will allow. then there still mav be some suspeflse in dealing out the rest of the cards. is a little obvious and a likely candidate for theorizets. Less ls MoRe We can speed this up a little. 58 * Jonn Bnnruoru . This will shorten the procedure considerablir As she looks through the rest of the cards. I usu- a111. It's discrepant. So uniess you are the great Arturo Ascanio reincarnated. then as soon as the face-down card is finallr. In a continuing action.There is a [ttle cleaning up to do-the reversed card at the back of the packet. The presumption ensures that your audience will conciude that the face-down card will be the predicted one. Posr MoRreN4 Doru'r Do !r Ovet the )/ears. After she has dealt the face-down card and 1. let's not do this.6rr have been assured that she does not u/ant to change her mind. decided upon. after doing the Displall the improvers would shorv the packet as al1 four Queens and hid- ing the extra indifferent card. If the presumption has not kicked in. sr.e as four. or merell'prolonging the inevitable? Proponents of the Open Prediction often emphasize the drama inherent in the dealing procedure. pick up the four face-down cards and get ready for the double turnover. Again look to vour convictions: is the continued dealing trullr 5g5p6nseful and dra- matic. \'ou can ask t'our participant to look through the rest of the cards to see whether the Queen is among them. push all but the bottom card to the 1eft. Norv drop the right-hand card on top and you are done. use the bottom card to lever the upper three cards face-dorvn back into vour left hand.ving fout as thtee. but on the off-beat quick and efficient. Then. All in all.

e each turn over the top card of our packet.sort of. Got it?" It seemed simple. Bannon ran out of cards. he r.s how you plal'. if vou like. The game rvent quickh." Bannon said. But now.Vr ew To A 'Src tt Bannon said. \{. I used to play this game rvith mv NIom. Bannon was not iust a card trickster.hile I u'as shuffling.oritebar." He gave his half-deck a quick overhand shuffle. nodded. I want vou to be sure t'ou had a tree choice of color." I said "Red. "Here'. It wasn't the worst lecture I'd seen. Realli. it seemed that in most rounds no one 'nvon. it seemed. Operu AND NoroRrous * 59 . \.'av to determine the outcome. \W'e11." I said I'd strck u'ith red. I didn't ah.s her nuts. or said. at our favorite table. Fitst. Aftet. red or black. I get the black cards. There seemed no u. rl. \ile began to p1av." I handed him four of m1'remaining eight and rve plaved the last four rounds.e discard them. If both are b1ack. I get them. "Notv. talking about out favorite subject. Bannon wanted to show me a card game.vas also an avid catd plaver. If both cards are red. pick a color. "Just give me some of whatever cards r-ou har-e left. \\'hoever gets the most cards of their color lvins.vavs rvin. no v/e sat in the back shop. Rea1l1'd1q1. vert' fair. The game \vas ven' simple and. r'es. but alreadl' of the magic I lvas having trouble remembering any'thing the t oung man did. he iotted something dorvn on a couple of pieces of paper and set them aside. but I usuallv could tell v'ho was going to win. card tricks. I had been shuffling it all evening as 52. I didn't knorv where Bannon was I going rvith this. nobody gets them and u. "Is that a full deck? Go ahead and shuffle it. "Oka1'.enough." he continued.ou get them.eloping. I knew the cards had been shuffled. "I don't care rvhich ones. If one is red and the other is black. Bannon and I were at our fal." N{r' deck-a full Jokers-and I shuffled it. a number of rounds." "You can change vour mind. "Fland me about half the deck." he said. "S7hen I rvas little and mt'psvchic abilities were just der.

\'et Bannon nailed the outcome exacdy "Do you want to plal' again?" he asked. 6\I/e. he gave me a free choice of color-I kept the red cards. "I have fourteen cards. "How manlr fls you have?" I told him I onll'had twelve. then iust stared at it. I counted m). two cards. How did 1. "Twelve. Bannon had six cards left. what realh'used to drive my 81- Mom nuts was not onlv could I tell who would vi1-[s1 I could tell by how much. So did I." Then." We played again. He Iet me pick which three I wanted. Then. * "So? Are 1." he said. "How did 1rcu do?" Bannon asked. "You have foufteen. "How did I do?" He gestured toward his pile." "Nobody won? How strange. I did the same." I said. We pla1. he looked at the last slip of paPer. too. "Read the first one." Bannon gestured to the slips of paper he had set aside. cards. I chose my own color. Again. Bannon fools me a lot. but I just didn't get this one." Now. time. I counted them as well. he reminded me that I could shuffle my packet at ant." I said.ou going to tell me?" As I've said befote. As u/e began. He waved at the cards. the pla1. "Fourteen.ou do?" Bannon picked up the cards he won and counted them. I guess I win. I ran out of cards first. I read the paper aloud: "JB will wi1-!1. This time. 70 * Jonn Bnruuoru . 16r^r fair enough. Bannon was not particulady good at keeping his own secrets. I shuffled. "\We tie-nobody wins. It all seemed sofair.efl the last thtee rounds." he announced."Thatt how it's plaved. You bet I did. I shuffled. I grabbed it. "Shuffle 'em up. You know." He smiled. I gave him half the cards. "Sure.

shuffled deck. when you were done. 9n." Bannon expiained. "it was m). "You saw what happened. right?" "No. (Photo 2. you must have palmed off some cards and held them out. puttlng the red pairs into one pile and the black pairs into another (and the unmatched pairs into a third "discard" pile). but did not remember the conditions being as fair as what I had iust witnessed: . solution. if 1. I was remotel). mathematical trick. There was onl1. if )." Bannon replied." Bannon picked up the deck and shuffled it. "is that from a complete." "The basic Mitaskill principle. :Yr The predictions specified w'ho would win b1 natlle rTot color.Bannon said.ou take cards two at a time.Yr I chose my color-after the predictions wete made. "So. Or do some other maneuver to uPset the balance of colors. So. deck and it was complete. familiar with Miraskill. Hardly self-working. The problem is that ordinarily you need to palm cards into or out of the deck. He pushed over the top two catds and turned them face-up. #r I shuffled. The fitst was procedural.ou will turn up the same number of red pairs as black pairs. Let's talk about it. and .l." I was not exactly sure what he was talking about. \i7hen I handed you half the deck." "No vzal'|" "Way Now lett make a trick out of it.) Opeu AND NoroRlous * 71 . "Stewart James's 'Miraskill' is a great self-wotking. This method makes Miraskill com- pletely self-working." I said. I made two significant changes from the ttadi- tional l\firaskill. which v/as compiete. there would be the same number of red cards in the red pile as there are biack cards in the black pile.Yr My deck.ou went all the way through the deck.

We cou]d shuffle our respective cards at any time without affecting the trick. so I shuffled mine. You are actually dealing with the cards in pairs. "That's iust one of the advantages of this method. it redly felt like the cards were completely random." This time. but the procedure is a litde odd."The usual way is to take the cards from the top. \Xie quickly played another game. "I write both beforehand. Apparentll. I handed him two of the cards. does it?" I asked. I changed the protocol: Instead of turning over the cards in pairs. I use a 'game' protocol reminiscent of a card game called lW'ar. method-driven." He handed me half the deck. but it doesn't seem like it because each player is only dealing with one card at a time.. The trick works.' except that colots ate used instead of values. "I noticed you made these predictions before the colors are selected. "Okay. and will fool the heck out of you. You have some flexibility with these predictions. let's play through. 72 * JoHN Bnuuolt ." he said. The game mechanics really work well here. I chose the black cards. Taking two at a time has always seemed to me to be plainl1. I still had four left. Each player takes half of the catds and turns them over one at a time. But first. two at a time. there are the ptedictions. "The second change was more substantive. When Bannon ran out of cards. "So. but I think these are the best ofles to use. N7e firushed the last two rounds. Having done this before. But no$/. I still didn't get the freedom that was allowed. How can that work?" He smiled. go ahead and choose 2 gelel-1sd or black? This is a free choice." Ban- non said as he reached for the sJips of paper." I asked him." He shuffled his half of the deck. You'll see. the second announces a tie. the actual order of the cards made no difference at a[. The flrst says I will win by trvo. "It really doesn't matter who gets which cards. I haven't seen or read a presentation that adequately deals with the odd protocol.

Basically. of course." he continued. As soon as I am done. So if you announce frst. I announce the total plus two as the number of cards I have won. . The audience doesn't know this. which sets ).ou need to count your cards. Now look where we afe. and continued. I ask my sPectator 'how well she did. "It is critical that vou announce )'our number first. "In order to determine who won the game.' I have a litde head start on my spectator. work is done before )rou call attention to the prediction. you just lie about it. "Due to the IVliraskill in order to make the prediction come true. thel'wouldn't know exacdl'what was being predicted. Even if your sPectators remembered the prediction. I quickly count my cards and add two to the total. ." Bannon picked up his cards." I could see how Bannon's mrscali would work petfecdir The first prediction has an added advantage. which. So. began to spread/count them. AII of the drrq. I don't know how many. And. because I already picked uP my pile. we both have the sarue number of cards. there's no way in a million years that your audience would suspect that the number of cards is a/wa1s the same . Because of the Miraskjll principle. . but I know they are the same. no one could possibly guess that the number of cards will be the same or that there is any basis b1'which )rou could know the number of cards in your spectator's packet. 1. of course. marveling at the simpliciw of the thing. there is no apparent basis or reason to believe that you might be l1. This.ou up perfectly for avery effective niscall. So I pick up the packet of cards that I have 'won." Suddenly."Doesn't matter at all. will be two more than my spectator has." * I iust shook mv head. no one will be quite sure what is coming. I saw what he was doing.' Then. makes the predrction come true. " . . Clever bastard. 0per AND NoroRrous * 73 .

and I also had you count your cards first. "Whjle you are guaranteed that the number of red pairs will be the same as black pairs." I pointed out.Bannon gathered up the cards and continued." I picked up Bannon's second prediction and remembered how I reacted when I was the spectator. Bannon replied. then count mine.'you do not need to do anything. "The tie is really unexpected-almost like the game didn't work. The MiraskilI principle does it all for you. Of course.. it rvould be tricky to miscall two cards as four. I really wasfl't sure whether the prediction would work. \rou can repeat the trick. I didn't expect that you'd actuallv ptedict a tie." "By way of full disclosure. four cards as six would be only a little less tricky. in the second round you made me do all of the counting. "I need to point out there is a very small risk that the trick may not work. "Now." "I remember." "Yeah. This is great because there will be more scrutiny in the second tound. how much. that's right from the originalMiraskill. not the actuai number of cards. I want the audience's attention to be on who wlllwin. Ilike that partalot. I save for the end that I could teil b1." "But how likely is that to happen?" 74* Jonr Bnruroru . "I like ending with a 'tie. In these cases. And." He began shuffling the deck. "Exacdy. and it's impossible to miscall zero as two." We-h| - nn6o J7 urrs "\Whv is that?" I asked."' I said. you nlt gs^t^nteed how many pairs will turn up. since the second prediction is a 'tie. It is possible that no pairs ^re will turn up." Bannon said. I am reasonably comfortable misrepresenring six cards as eight. So. It's also possible that only one or two pairs of each will turn up. butit does complement the miscall perfecdy. "SV'hjle I hint at the beginrung that I've predicted who was going to win. With three pairs.

and the probabiliq' of either of these cases actually happening is verl'. very small. so the re- spective number of reds and blacks will stav odd unul the next unmatched pair turns up. "It's alreadv a long routine. With me so far?" "Yes. now the deck has 25 reds and 25 blacks. I am alwavs looking for wavs to speed it up-usualll'bi'talking less." "\\'hv it that?" I asked. shuffled deck. Time to go. so there will ahtnlts \s at least one more unmatched pair." I said. Because the number is odd. Sav we start with an equal number of reds and blacks and that number is an even nurnfsl-in a full deck.ith a complete.uvet.. thete will be at Ieast one /?.ore unmatched pair. \i7hat that meafls is that." He looked at his watch. Of those.. counter-intuitive mathematical principles out thefe. James discovered that if you take the cards trvo at a time. * As we were walking in the brisk Chicago winter back to the car. Besides. "Remember. "But itt one of the most puzz)tng. I wouldn't be comfortable doing the miscall twice. onl1' 1|-tt.2. each color would get a total of thirteen pairs.x."If no unmatched pairs turn up. "Ever think adding a third phase?" Bannon was quiet for a moment.1. If rve turn up an unmatched pair-one ted and one black-there rvould norv be an odd. alreadv losing mv grip on this explanation. No." "Can 1'eu explain it?" I asked. there would be 26 of each." 'Worth of the risk. cases at the low end and the case at the high end are problematic (0. starting ." "Exactlr'. the number of pairs of red cards would equal the numbet of pairs of black cards. And. "I stil1 don't get how it the cards are arcanged." Bannon explained. I decided." Bannon con- fessed. I was still marveling oYer the Nfirask:rll concept. then there w'il alwals be one red and one black card that cannot be remor-ed in a matched pair. but equal number of reds and blacks left in the deck. "Nlatched pairs of red ot black cards are ahval's removed two at a time. "I think it's easier to see if rve look at the pairs that don't 62161- the ones that have one red and one black card. or 13 pairs). ho." 0peru AND NoroRrous * 75 . So. the range of possibilities is from zero through thirteen. two's enough. "I don't know how StewattJames ever arrived at the N[iraskill principle. a third phase would have to allorv the same freedom of con- ditions.

" by Bill Cushman and sold on-line bv Oudavz Effects. 1883. made it eas1. while his routine a version of Miraskill had been published dated from the late-nineties. . 2000). N(hich means the number of ted and black matched pairs will also be the same. Which means the unmatched pairs'.v comprltng these massirre tomes of James's tricks and commen- tari." I'm never quite sure how to take it.Years flogestja." (1When Bannon savs things like "destroy'ing the obvious purit)'." He said. right?" 76 * Joxn Bnnnon .Tbe James Fi/ehad an entire chapter called "Nfiraschool" with ^tp^ge many variattons. handlings and ideas. but it's not drfficult either. the important thing to reatze is that there will ahvavs be an et'en number of unmatched pairs." "So. The Jarues Fi/e (Hermetic Press. or the gin. "False count. gs1. . Allan Slaight and crer. . consist of an equal and eten number of ted and black cards.) " . . there is another way \rou can effectively exploit the Mirask-ill principle with a borrowed deck. . I got a call from Bannon. * A couple of days later. Perhaps it was the hour.v cer- tainl1. recently (2008) that also incorporated a similar "War" card game protocol-an e-book called "Mira- bill. enough. It's not self-working.. I pulled down mv copies of Stewart James In Print: The First Ftf\. t'ou openly count your cards out loud." "Really? How?" "Evervthing is exactll' the same as we discussed. 1989) and the massive two-volume opos. except instead of a miscall." Then. Bannon had also told me that." "Uh huh" "Since the unmatched pairs remove an equal and even number ftom the red cards and the black cards."Uh huh." * So when I got home. I decided to go to bed. which he was calling "View To A 'Skill. I got the obvious purity of the self-working version we were playing with the other night . but having assembled all of m1." "Got it.r. . the remaining red and black cards are also equal and even. TFFY had the original routine (pubJished in The Jinx in 1936). 'At the risk of destrol. I thought I'd read up a bit on this Nliraskill. He said he had some more on the Miraskill routine. or the daunting amount of reading that was pos- sible. SJIP. In addition." "How can you do . resources. b.

Count aloud as you do this. I thought about it for a couple of seconds. Remembet you know the packets are equal."Exacdy. "Right about what?" "It destroys the obvious purity of the work.) 'After you have counted off nvo cards. "But." I said. pick up your packet in Biddle or end grip." I told him. steal the two cards above the break onto the bottom of the packet." Bannon replied. "Iknow. The Biddle count v/ould be fakly easy for most and would fool all civilians. Count the cards by using your left thumb to pull them off the packet into yout left hand. Then. Count the fouth card. So you false count the packet as two more than you have' Again. with a Biddle-type count. but I think you're right. "Continue counting until you reach the end of the packet." 0per AND NoroRrous * 77 . "For example. and then as you pull the fifth card. "But any of those Edward-Victor-eleven-card/bill-false counts could be used as well. But some practitioners-like our good friend Dave $elqrnen-v/euld1'1 be caught dead using a Biddle count." "That's cool. get a left pinky break above the second card as the third card is pulled into your left hand. with your right hand." I had not learned any ofthe Victor-type counts mainly because I was never a fan of the "Eleven Card fBill] Trick" subgenre. And she hasn't even counted her catds yet. but no one knows that you know. I still preferred the miscall "Good workable idea. no one should suspect that you are fixing the result. The total will be two higher than however many you started with-which means two higher than your sPectator has. it's child's play. Play the round. (Photo 6. Dave won't like it very much." I said.



So. of Chicago ...What about theorr'? T-Shirt seen at the Universiq. it works in practice.

removes the band. As demonstration of "hocus pocus. The first consists of the four face-up Queens. He then picks up the banded packet (which has been in plain sight). the performer "spins" the packet and then spreads it face-up-the named Queen has reversed itself. and reloaded remix of certain of Stephen Tucker's concepts from his "Omega" sedes of tricks." the performer states that if. wrapped with a wide band. The performer-and the packet-may be watched very closely as the audience can detect nothing as this happens. He offers to demonstrate the difference "between magic and mentalism. in aduance. There is no ^rty force. by using his psy- chic abiliqi he knew in advance which Queen the spectator would think of." the performer annouflces that he will cause the a named Queen to reverse itself in the packet through the use of sleight-of-hand. between sleight-of-hand and psychic abiJiqi between hocus pocus and mumbo jumbo. form: "great)y surpassing others of its kind" "Mega 1W'ave" is a re-vamped. and then to rr^lrr:re. After showing all of the Queens to be face-down. re-engineered. for example. repackaged. he could simply reverse that Queen. if he wanted to secredy reverse a card in a packet. PnEcrs The performer shows tv/o sets of four cards. A spectator is invited to think of. of the Queens.Mran 'WRvr ttMega-r" comb. and spreads the cards." The performer comments that. (The Queen packet is never placed behind the performet's back or otherwise out of the audience's sight. The second packet is face-down. there are only a few ways he could do it. remodeled. Reversed in the middle Mecn 'Wnve * 81 . The performer retains the Queen packet and tables the banded packet.) As a demonstration of "mumbo jumbo.

nothing is added or taken awal'. It has a different colored backl But that's not all! The performer inserts the odd-backed Queen into the packet. a band of paper ot plastic. black Queen Face-up. and the other three cards in the packet are all Jokets-not Queens at all. in order to shorv that it was nlt sleight-of-hand. that this Queen could have been rer. blue-backed. face-up Queen and turns it face-do'nvn. He shows the faces of the packet. and nothing is placed beLrrnd the performer's back or under the table. blue-backed. The trick is ver1. the performer makes one more obsenztion. The cards are in plain sight at al1 times. No extra cards are used. red Queen Face-up. it's all done with smoke and nilrrori. the performer remo\-es the re- versed. After all. black Queen The next three cards ate kept together b). of coutse. be examined.ith the first packet. The odd-backed. which gave me a plastic band that fits snugly around three cards. onlt' two veq'basic card moves are transfers ate used. blue-backed. Mrse Eru ScEre Ser-Up You will need an eight-card packet using the Queens (or other denomination) as fol- lows (from the top of the packet): Face-up.ersed bv sleight-of-hand. So.n Queen is removed from the first packet and gentlt' rubbed upon the performer's sleeve. 82 * Joxu Bnnruou . The face-dou. red Queen Face-up." * All of the cards ma1. easy to do. blue-backed.v him do exactlv that s. ho\trever. are the simpie words: "Smoke & Nfitrors. He expiains that rather than using "hocus pocus" or "mumbo jumbo. "That. No palming or Vernon-q. No prepared or gaffed cards are used in either packet.of the packet is the named Queen. the spectator sar. named Queen is the on/1' Queen in the packet! After the commotion has subsided.. but leaves it outiogged. proving that the performer knerv ahead of time '"vhich Queen would be named! The performer surmises." there is a much better explanation." The card is turned over and the Queen has vanished! In her place. on the blank card. I first snipped off the first inch and ahalf of a thin plastic envelope designed to protect collectable trading cards.

blank-faced card On the face o{ the blank-faced card. A crisp bill wrapped around the cards and tucked into itself works great. red-backed Joker Face-down. or different than described. The band should be snug enough so it does not move around too much. Mecn'Wnve * 83 .I write the words "SN{OKE & MIRRORS. but the loose blank card should have the same colot back as the face-up Queens. the larger or more interest- ing the bill.S. the back colors and designs can be teversed. but not so snug that it cannot be easily removed. Here is the otder of the banded packet: Face-down. dollar bil. blue-backed.Novui however. Face-down. You could also wrap an inch and ahalf strip of white or colored paper around the three cards and tape it together.) Of course. red-backed Joker The bottom card of the packet is loose. red-backed Joker Face-down." Of course. I use a U. (See Photo 1. the more intrigrring the trick becomss-fs1 no good reason. other than the audience may wonder why the cards are wrapped with such a special band.

Take the packet from above with 1. I use a left littie-finger pull-down (with the three banded cards. the difference between sleight-of-hand and psl. Point out the banded packet and remark that vou'Il get to it in a minute. That is. Now.PRnctrcnl FRncrnl Bring out the eight-card packet and spread over the top four face-up Queens.) As you begin putting the tdck in context. the break is virtually automatic). place the right-hand Queens under the left-hand Queens and square the packet. get a break above the bottom card of the packet (the loose blue-backed Joker). and then name any one of the Queens. you will set-up the entire trick with one easy sequence. casuallv showing the blue backs of the Queens.) Tell your spectator that you are going to demonstrate the "difference between sleight- of-hand magic and mentalism. 84 * Joxru Batruoru . (Photo 3. "Raquel.. you v/ant the named card to be one of the middle two Queens." If a red Queen is named. pull the Queens singly off the packet and into your left hand. Use the spread of Queens to gesture at the banded packet.) Rest the spread Queens on the left-hand packet and take the top tw'o Queens in vour right hand. keeping the othet two sptead on top of the banded packet in your left. along the lines of. .6u1 right hand. replace the right-hand Queens and square the packet. transferring the break above the bottom card to \rour right thumb."' With your ieft thumb. Between'hocus pocus' and'mumbo jumbo. If a black Queen is named.chic power. "I want you to choose very carefulh." Ask your spectator to think of. )'ou are going to wonder what would have happened if you had thought of a different Queen . because when this trick is over. I'm going to illustrate the age-old dispute between magicians and mentalists. . This is the well-known Biddle Grip. (Photo 2. You can make a hard sell here. Basically. (Photo 4.

third from the face of the packet). The basic idea rvith this first packet-rvhose sectet purpose was to Mecn'Wnve * 85 . Place the right-hand's "banded" packet onto the table and focus attention on the Left-hand cards. r'ou have simplv counted the Queens into t. Your right hand appears to hold a banded packet of face-down.) As 1. Hocus Pocus Apparentli'. (Photo 6. Ioad the bottom card of the right-hand packet 1.As pull off the second Queen. steal the named Queen onto the bottom of the right-hand packet. Position Check: The left hand packet has three face-up Queens with one face-down blue-backed card in the middle (actualI1'.releasing the right thumb break. red-backed cards.611 beneath it by simpll. get a left litde-finger break beneath the named card (it will be either the second or third Queen) and.ou come to it. (Photo 5. as vou pull the next Queen.) These actions are all standard Biddle mechanics.our ieft hand. Actually the named Queen is face-up at the bottom of the packet.

Instead. but don't pick it up right awat'. "sleight-of-hand" packet. Now.ance r. Ask for the name of the Queen (again). bt' sleight-of-hand. because right now ). Give the packet a "fivist. That's oka\." Spread the packet to shorv that the named Queen has apparentlv turned face-down. "banded" packet-is to justifi'its own separate eristence and to lead the audience arvar. "mental" packet is the same Queen that rvas in the initial. flip the packet face-down.vhich Queen you would think of.v in adr. horvever. In- stead. and give the packet an Out-Of-Position Elmsley count ("OPEC. now lett talk about psvchic 2[i]i11'-'1111mbo jumbo. Caution vour specta- tor to watch carefullr'. set the stage. That's the easiest \\/av to do it. I teversed the Queen of Diamonds?" 85 * Joxru Bnrunoru . pick up the "banded" packet (and the ioose card beneath it). to put a iittle time between the Biddle mechanics and the revelation of the face-dou.nv the named Queen reversed in the second packet. it rvould be reasonablv easv to cause the named Queen to reverse itself. If ). thev'd be right.' If somehorv I kner. Contrarv to coil'entional wisdom rvith respect to this trick. Thatt the single major issue s." and spread it with vour right hand to show that the named Queen has reversed itself.from concluding that the named Queen in the "banded" packet is the sarue Queen that rvas originallv in the Queen packet. It is better.provide the named Queen to be used in the other. showing four face-dorvn cards. The face-up named Queen rvill coalesce the three face-down red- "vith backedJokers. before s'ott sho. The Queen is implied because it is face-down and the outer three cards are face-up. the one thing1t611 tttust not /o is show that the named Queen has r.v turn vour attention to the "banded" packet. MuMeo Jut'4go Nor. turn the packet face-up. impl." see Post N{ortem).ou do.ith the trick: How to avoid the premature conclusion that the reversed Queen in the second.n card. virtually everv spectator will conclude-almost immediatelv-that the sec- ond packet was the destination of the norv-r'anished.anished from frst packet. named Queen-and. easr'.our audience does not know what is going to happen and has no reason to believe that the reversed card is not the named Queen (except that it's face-down). Ask for the name of the selected Queen (again). t'ou know.ied reversal in the first packet. all I would have to do is reverse youf cafd-in adyance. Explain that.. "rVhat Queen did 1'ou think of? Diamonds? What if before v/e started. "Raquel. Place the packet into vour left hand and slide the band off the upper end of the packet. let's settle for a nice. For example." \\'ith I'our right hand ftom above. Ask for the name of the Queen (again). do a "twist.

"Now. $7hy isn't that just sleight-of-hand. Further. but after the first two cards are "counted. (Photo 8. I kneu." \X/ith your right hand. too. slowly slide the reversed Queen out of the packet. Turn it over to show the different-colored back. (Photo 7. the only Queen in the packet. ^ppe You are now in a highly enviable position: The named card is odd-backed. all cards are regalar and exam- inable.Now give the packet an Elmsley Count. but I'm glad ). none of these cards are Queens at all. You see. Not only that. Mean'Wnve * 87 . and everyone thinks you simply reversed it using the same sleight-of-hand you aheady demonsttated.) The named card will r face-up in the center of the packet. Raquel. Smile to yourself and end the trick by dramattcally revealing the remaining multiple climaxes. I know what you're thinking.ou thought of the Queen of fDiamonds] because other- wise the trick would not have worked.) "That's why this Queen of fDiamonds] has a different back than the rest of the cards. too? I mean you just saw me do this by sleight-of-hand." spread them and count the next tv/o cards in spread condition. you would think that.

odd-backed Queen into the packet. slowly turn the spread face-up to show that. (Photo 9. at the conclusion of the effect.and you thought of the on! one that would have worked." of course. However. there should be litde heat on the reversed card in the first packet. So.) 88 * Joxn Bnrunon . pause a bit and sa11 "That's Hocus Pocus and NlumboJumbo. All the cards are examinable. Now. Sr"rore & MtnnoRs Okay." Insert the now face-down. So that was my plan. the trick is officially over. but leave it outjogged a bit.. which worked perfecdy with the "hocus-pocus-mumbo-jumbo" verbal fiamework. The notion of "secfets" also raises the ante a little here.. But do you know what the real secret of magic is?" (Oka11 we shifted geats here from demonstration. For example. even if a litde tongue-in-cheek. I left the card blank. Originally." That said. in this context. a1l of the other cards are not Queens. . of course." It's not inconsistent. closing bit. bt Jokers. methods are secrets. And. effectively wrapping up the trick and putting a bow on it. be- cause the context of this presentation is method. if you want to see real mag1c. feels like one. In fact. and if anyone actually wanted to see the "Queen. I came up with the "Smoke & Mirrors" blorv-off. after what was too long.of course. v/rap-up. This "vaflish. to "real secrets. you could put business information on the blank end with something along the lines of: " . other than the named Queen.give me a call some- time.. after the trick is officially over.) Put the cards face-up on the table. is an anti-climax and. to put t^gllfle or something on the ^ blank card and to use the final change as a blow-off." I would then make it disappear.ise be an anti-cli- max can be effective if ptesented as an ending Iine. though. an effect that would otheru.

rub it on your sleeve. even.o-card second packet as four. and behold. This packet needed to be jusufied and placed in context with the trick proper. In addition.v11'. Despite the undeniable cleverness of this central coricept. The pro- motion for the trick got mv attention because of a direct refetence to my routine. A trul1. Nores BncroRouND AND Cneotrs Stephen Tucker released "Omega" and "Omega Plus" as packet tricks and as an e-book in or about Februarr' 2005. Mecn'WnvE * 89 . in "Omega. and (ir) fulil. The central notion of "Omega" is to shuttle a named Queen from a packet of Queens to an isolated "prediction" packet so it would ^PPe r that the named Queen had been previouslv ptedicted. I found cettain aspects of the "Omega" and "Improved Omega Plus" routines to be prob- lematic.ith a palm and an add-on at the rvorst possible moment. Pass- ing off the tu. the first packet is tteated more- or-less as ajoke. Bringing the packets together. This clevet notion allowed for (i) a free choice of Queen. the supplement "Improved Omega PIus" is un- dated. smoke and mirrorsl" show the face of the "Queen. it r.6ell. Not exactlv magical.. And it's not mumbo jumbo. (iii) no tabling two cards as in order. -. . and (iii) the prediction packet to be ungaffed and fulll examinable. "Omega" is a treatment of the "Fout-Card Brainwave" problem (popularized b)'-. the condition actually caused the trick's procedurai problems. .er. the trick is over. It's all done with . not throvn arvav in an obvious. odd-backed Queen. manipulated.rutionahzed use of the 6rst packet. was to forego the phvsical separation of the two packets. however. together s. Despite the clever framew-ork. This approach has the following features: (i) no behind-the-back or under-the-table s. other cards not Queens). (ii) the multiple redundant climaxes (reversed." Now." In November 2005. but sigruficant tradeoff. "The real secret is flot hocus pocus. but presumably was released some time later (col.r.r. Vhile "Omega's" separation added some claritr. lvas pure self-deception. resulted in a number of promising procedural avenues." which has apparentll' Slor.ntfr^ct^l ending-all cards examinable and in context. (ii) no palming. the named Queen rvas shor.vas placed behind the performer's back. Not exactlY an effect.I purchased the e-book and began to play with the routine.v friend NIax Nfaven's "B'rvave")." to be reversed. procedure-driven manner.Slide out the reversed "Queen" and gendt.lectivelli "Omega").ork. A simple.r-otphed into the rvords "SN'IOKE & N{IRRORS. "Tivisted Sisters. I felt some rethinking and re-engi- neering r.

In the end. but for this trick. The band (which apparendy surrounds the second packet in its entirery) helps cteate sense of physical separation. not as physically separate packets. not the top. This trade-off makes the resultant handJing vety easy." with your left hand remove the bottom. the synergy between bringing the ^ packets together and the band illusion made apractcal. 90 * Jorr Bnruroru . continue with the Elmsley Count mechanics (a block pushoff. fingers below. OPEC Courur This is an "Out-Of-Position Elmsley Count." afancy name for a simple concept. 10'h edition. The definition of "mega-" comes from Mirriam N7ebstert Collegiate Dictionary. The mechanics are essentially identical to the Elmsley Count With your right hand grip the packet along its right side." followed by pulling off the next card on the count of "three'). thumb on top.One of the important trade-offs in this routine is that both packets begin together. commercial handling possible. From this position. On the (silent) count of "one. and a steal-back of the first card on the count of "two. card of the packet.that is. page723. place the last card under the left-hand packet (instead of counting it on top).

"Eddie. The performer goes first.. the trick has been consistendy well-received and." The performer nov/ turns up. while not exceptionally difficult. but I know for a fact I showed yot Spadu. State Street Eddie. it was a cheating contest. you may think i showed you Aces. a Royal Flush in Spades! ^ ".ith a renowned Chicago gambler. Spades and Diamonds. Over the years. PnEcrs The performef Iecounts his first meeting v. where I play cards. but after a logical opening sequence. leaving only eight cards in play. . sells well (which surprises me because. every day of the week'" Meen 'Wnve * 91 . Unimpressed. Nonplussed. the deck proPer goes away. Borrowing Eddie's Ace of Spades. it seems. the petformer turns all four of his cards into Aces of Spades. but cohefent wa)'. the performer takes back the Ace of Spades. and the remaining four ate set aside as Eddie's.. The packet is turned face-down and four of the cards are set to the side as the perfotmet's hand. Here's a wav to accomplish the same effect ftom an unprepared deck. Hearts.Fnncrnl RE-Cnu A perennial favorite since its introduction in1993. the trick has a lot of moves). An easily-achievable set-uP is required. . one card at 11me. The performef femoves eight face-up cards from a shuffled desk-a random assoft- ment." In other words. Eddie. And Eddie. a Roval Straight Flush beats fout Aces. to this day."Call Of The S7ild" was my attemPt to bring some logic and cohesion to the classic "Wild Card" plot. proposed a contest in which the performer and Eddie would each get four random cards and would take turns "seeing how well they could do. A Iot of magic happens here in a sutprising. one of rvhich happens to be the Ace of Spades. Eddie takes back the Ace of Spades and visually turns his four cards into four different Aces-Clubs.

like a swing cut. lvith your right forefinger in position. In 92* Jonn Bnuruoru . as follows. order. followed by the Aces in an1..our right hand pivots the cards above the break to the left so you can clip the packet with your left thumb. false shuffle as much as )rou care to. S. Overall. And. Using a simple Hamman Count action. 6ns more. followed b1. With your right hand. andit is childt play to simplv not shuffle into the stacked block.our right forefinger. the audience can see the face card of the deck change w-ith each shuffle. it's an effective switch strateg). you need a "slug" of cards.Up From anl. "tof ing" with the deck. S. Now hold the remainder of the deck with your right hand as 1. Even a sizable stock can be preserved this rvar. the most direct wav is to push over five groups of three cards. S. but is actually precisell'controlled. that is.our left hand slides the sixteen-card packet to the left. There are a number of ways to get this break. From there.. ril/ith 1. taking off eight cards and switching the packets on the count of eight. I often use a Nlike Skinner ploy for retaining a top stock-riffle shuffle the cardsface-ap.vety efficient and ^ deceptive switch. Cur Txe Sluc The "Siug" concept is a switch strategv I came up with plaf ing around with "Frac- tal" Wild Card routines. because the unused cards are the ones iust switched out. AS This is a telatively simple set-up that can be achieved "under fire" or certainif in some preliminarl. face-up of course. (Photo 1.Mrse Et ScEne A SMnLL Ser. thev are examinable as well.our right forefinger.In this manner. Jack and Ten of Spades. set-up the follorving nine cards from the top of the deck 6f6s7nq721d-an indifferent card. ). grasp the deck from above and transfer the break to your right thumb-de n61 actually pick up the deck. reguiar deck. the ninth card from the top of the deck: X. in anv order. pretend to swing cut the sixteen-card packet into 1. Now. You rvill need a break beneath the top sixteen cards. Drop the remaining righrhand cards onto the table. If I have a surface. as you are talking about the trick and apparently spreading the cards. A. swing cut about half of the remaining cards onto the left-hand packet. but with )rour left little finger hold a break between the packets.our left hand. we want it to appear that the sixteen-catd block was randomly cut from the center of the deck. Ac- tuallr'. the I(ing. First. Jog or Lift Shuffles work we1l. and then to place the remainder aside. but with the Ace of Spades at the face. S. is . With 1. Queen. A.) This action looks exactl1. A. The idea is to begin with more cards than you need-sari a packet of blank s21cl5-1e count off the number vou need.

Using non-identical cards and a Hamman Count methodology. With your left thumb. Txe CovenED SLUG SWITCX Hete. As you bring your left and right hands together for the "take. (fhese actions are identical to the well-known Frank Thompson false cut." On the count of "eight. cut off the left-hand cards above the break a continuiflg action. Before actualllr removing the packet from your left hand.eral things happen. do a buckle or a pull-down so )rou can get a break above the lowermost card with your right thumb. (circa 1990-91). You are now ready for a "covered" Hamman-tlPe switch.en are holding a sixteen-card packet that was apparendy cut from the center of the deck. and drop them onto the tabled packet.." the card beneath your fight thumb break is added to the face of the left-hand packet. a "random" packet of cards. This is the indifferent card that was part of your initial nine-card stack. It should aPPe^r that this is a random packet of cards cut from inside the deck. counting them aloud." set. because we are using a regular deck. While probably not necessary 90o/o of the time. the card counted as the seventh ends up on the face of the packet of remaining cards aftet the switch (a discrepant prize fot the truly observant). it is easl' enough to use a "covered" Slug- Hamman-Count procedure to remove the discrepancl'. l. and then as the eighth card (the Ace of Spades) is Mecn'Wave * 93 . Continue pulJing cards into your left hand. except that the size of the first packet is controlled.) Now with your right hand. "one" through "sev- en. flip the remaining left-hand cafds face-up (these afe the original top sixteen cards) and take the now face-up packet ftom above in Biddle (ot End) grip in position for a Hamman count. Oka1. a slightll'2l1s1ed approach to the Ham- man count "slug" concePt is used. pull the top card of the right-hand packet into y6111 left hand. I originaliy saw this in a Bruce Bernstein thought-of cards acfoss toutine I put in the Linkingking"Card Cor- ner" back in the da1. with your right hand.

e111 left hand.our right fingers underneath and thumb ofl top. the packet consists of the eight stacked cards. With vour left thumb at the extreme left edge of 1.apparentl)r taken. pinch the right side of this block and flip all four cards over onto the left-hand packet. At the same time. Frve !oenncAl AcEs Remark that. Repeat this "block turnover" technique to apparently turn the Ace face-down.our" four-catd hand. Hold the packet in left hand. Now you can let the "cheating cofltest" begln. 94 * Joxr.v that you noticed that Eddie had been dealt the Ace of Spades. It appears that seven indifferentcards and. (See Photos 2 & 3.r'ou are otherwise famrl- iar with the Hamman. in an overhand shuffle. take the top and bot- tom cards on the first "chop" and shuffle off.e1r. the packet. i5. Deal the top card of the packet onto the table.r Bnruruor .) This is standard Hamman count technique. Second-from-the-bottom. The simplest wa1.ou went first. With your right hand. Show the Ace and piace it face-down on top of your packet. the left-hand and right-hand packets are exchanged. It appears as if you turfled the top card of packet face-up to show an Ace of Spades. \. Pick up "). Flip the left-hand packet face-down and spread it. your left littie finger disengages the broken-off card and pulls it onto the face of the left packet as the packets are exchanged. r. There is a knack to it that mav require a Jittle practice e\ren if . the Ace is in position for a diminishing lift sequence. deposit the remainder of its packet face-down onto the tabled deck. That's one Ace of Spades. with 1..our" hand-and place the lower four cards to your left and forward a little-these are the Aces and will be Eddie's cards. squeeze to the right all of the cards except for the bottom card. Place the top four cards in front of you-these are the Spade flush cards and will be "). Sa.vith the addition of the extra card. Actuall1. Essentialll'. Shuffle the Ace to the position second from the bottom. fortuitouslli the Ace of Spades have been counted from the right-hand packet into 1. Slide away the Iowermost card of "Eddiet" four cards-it will be the Ace of Spades. in this chearing contest.

Slide the face-down Ace under the remaining left-hand card. Take the top two cards in vour right hand and the lower nvo in vour left and rub each pair back-and- Mecn'Wnve * 95 .Repeat the block turnovers to shorv a second Ace of Spades and deal it on top of the tabled card. You have apparentli'bor- ros." Pick up Eddie's cards and flip the face-up Ace face-do\\. In an continuing action. i'our right fingers push the lor.. To show the last'Ace" with an in-the-hands Nlexican Turnover. Nor An OccupnnoNAL HAZARD Continue \-our stor\.: "Eddie said a hand rvith four identical Aces is an occuPational hazard.ver card (the Ace) to the left. (Photo 5. turn- ing the Ace face-down.) As 1'ou do this. and then returned it.) Drop the face-dorvn card in vour right hand onto the tabled cards.fl. faise vouf right hand sharplv upward and allorv the lauercardto furn face-up. Repeat for the "third" Ace. simplr' flip the top card face-up. tufn I'ouf right hand palm-do'"vn and take the Ace with i'our right thumb underneath. momentafil\' pinch both cards and drag the pair toward the Ieft fingertips.ed the Ace of Spades. (Photo 4. (Photos 6-7. This is the classic Nlexican turno\rer technique. used it to change all four of 1'our cards to Aces of Spades. lf ith I'our right hand. And drop the remaining Ace of Spades face-up on top of Eddie's cards. For the fourth Ace.) Turn I'out right hand palm-uP.

ou continue to pull down this side of the card. as one. I use an up and down. Then put the dght-hand cards underthe left-hand cards and square the packet in vour left hand. eventually it wrJl turn all the way over in a half-pass action. The otiginal move uses a side- to-side spreading action to hide the half-pass reversal of the bottom card (this move is the essence of the trick). (Photo 9. do the Asher TVist move to shovu'that all of the cards have tutned face-up and that now they are all Aces. Now we'll use one phase of the 'Asher Twist" but call it a "change. almost "squiggle" action to cover the move. pull down on the lowermost card of the packet with y.) This is the traditional "squiggle" flourish." Using a block turnover.) 95 * Joxn Bnruruoru .our left little finger.forth a few times. I have a slighdy different handling for the Asher Twist. (Photo 8. The Ace of Spades is now third from the top. turn the top three cards face-up. Now without pausing (time misdirection is definitely notwanted here). to show the Ace of Spades. If 1. like this: After you've turned the Ace face-up (a triple card).

ou SPades. changed." Spread vour cards before vou like a poker hand and then. (f you are adept with the Asher TVist.our right thumb forward and fingers backward. and visualll. and now it's )rour turn again.ou and showed all four Aces.rd'rrg the toP three cards in a forward-to-backward spread. ". reverse the right-finger movements.) Even though the other three cards "magScally" turned face-up. spt. This is a vetlz sffsstire use of the Asher Twist mechanics. but I know for a fact I showed ). fingers beneath-pinch the right side of the packet. reveal the . but instandl. (Photo 10. . with your dght [21i-1[s6b on top. collapsing the now four card spread.To cover the move.) Senoes. And Eddie." Ror-al Flush. as the puil down occurs. because they were pre- sumed to be indifferent cards the appearance of the Aces is a surprise. Continue with the "squiggle" flourish. there is an extra dimension of change. (Photo 11. As be- fore.. do the half-pass move. Nor Aces So. Mecn'Wave * 97 . Eddre made fun of 1. Pick up vour cards. a Roval Flush beats four Aces any dat' of the week. that is si'nergisticalh- effective. The whole se- quence feels like the cards not onl).ou showed fout Aces of Spades. as well as revetsal. . turned face up. Take the top and bottom cards into your left hand and the middle two in your right. Now move ). In a continuing action. Then pick up the Ace of Spades from Eddre's hand and add it to your cards. There is a lot of cover here from many angles. \. card-b1'card. where I plav cards.vou cari leave the Ace of Spades face-up on top and do the sequence three times to turn each of the other Aces face-up. simultaneousll. Time for the tag line: "Eddie.) At the same time.. you may think I shorved vou Aces.

g'). give the plot a hard twist.C. 98 * Joxr Bnurolr .Posr MoRren Bncronouuo Auo CReorrs Start with Frank Garcia's "\Wild Card" routine. then slow it down a litde. moreover." fl. me) was never satisfactorily overcome by an1 presentation of this classic plot. opened new avenues for logical and coherent presentation5 2s lvsll- something that some believe (that is. In 1993. The group-based restructur- ing. Shake vigorously. Speed it up with Flip Hallema's "Flip's \X/ild Card Routine. Racherbaumer. Wagner thinking ( 'rVild Thi." Its use of logical groups of cards as change "targets.) Add some J. I ended up with "Call of the Wild. Kabbala fDecember 1972]." and the unexpected double-take climax makes COTSf's "Wild Card" roots bately tecognizable.

The1." into a densely-packed. in turn. the remaining five Aces turn into a Royal Flush in Spades. flashiet handiing. PnEcrs The performer cleady shows nine red-backed Aces of Spades. Four of the Aces are placed aside. here we skip those sequences and opt for a faster. The trick.Snonr ArrENTtoN ScnN4 "Short Attention Scam" re-mixes one of the tricks in the marketed Fractal Card Mag- ic series. the cards are: * Odd-backed Ace of Spades :k Odd-backed Ace of Spades Mecn'Wrve * 99 . fully loaded. enhances the quality of the surprise when the Royal Flush and Coloted Backs are revealed. Ser-Up You require the following nine cards which. 45-second magic-fest. The four Aces that have been set aside have also changed into completely diffetent $. so even without "The Ro1. In ordet from the face of the packet. Mrse En ScEue Right-thinking magicians who are famitar with "The Royal Scam" understand that. and now each Ace has a completely different-colored Scam" you can cobble together the requisite set. AII the cards are examinable. the initial face-up and face-down sequences establish a ueryhigh degree of conviction that the cards are all Aces of Spades and are all red-backed. not coincidenta\! ate the same cards supplied with "The Ro1." The cards are not gaffed in any way. far from being tedious and repetitious. That Scam. Immediately. so to speak. is to create the maximum amount of conviction in the minimum amount of time. That said. are still Aces. "The Ro1.r-. but each one is from a different deck.

bring out the packet face-down and apparcndy grve it a few overhand shuffles. with your left thumb. No g-uesses? Here's a clue: it's one of my favorite cards. Actually." 100 * Joxr. With your right hand. pull off the entire packet. hold the packet in position for an overhand shuffle.) On the fourth or fifth "take. I'll do a tdck with them. so to speak. With your left thumb. One of the things that must be done in this effect is to thoroughly establish that the cards are red-backed-without over-playing your hand. Essentially.* Odd-backed Ace of Spades * Odd-backed Ace of Spades *F Red-backed Ace of Spades * Red-backed Spade Royal Flush card * Red-backed Spade Royal Flush card * Red-backed Spade Royal Flush card * Rtd-backed Spade Royal Flush card Put the cards in one of those plastic packet-trick wallets and you are all set. (Photo 1. pull the first three or four cards singly into yout left hand. It has the added advantage of retaining the cards in ordet..) At the same time. If you cafl guess what they are.. OVCN-HnuMAN I NTRoDUcTIoN To perform. shuffle the remaining three or four cards singly onto the left-hand cards. They're all the same." I say something like: "I have a small group of cards here.) Now. (Photo 3. this is a Hamman Count made to look like an overhand shuffle. The Ovet-Ham- man shuffle helps to do this." steal back the first gtoup of cards into your right hand. you apply the "Over-Hamm n" shuffle/count approach introduced in "Call Of The Wild" (1993). (Photo 2.r Bnrurou . As I do ofle or two "shuffles.

As usual. Once you have shor. I do not actually "count" the Aces as I do the moves. These Aces have iust been shown to have red backs. ril/e'Il use this opportunity to again subdely emphasize the redbackcolor. the real reason is to flash the red back of the packet. As an added convincer (perhaps too subtle). they're all Aces of Spades. Foun 0ru Tus Sroe You will now place the four odd-backed cards into a face-tp row on the table. flip the packet face-down. just tell them: "Thatt right.Usually. Use the right-hand packet to flip the left hand cards face-up. turn 1'e111 left hand palm-down. Begin a face-down Hamman count by pulling face-down cards into )rour left hand. and use you left forefinget to "adjust" the position of the Ace.) Of course. (Photo the Aces." If not. Mecn'Wnve * 101 . make the exchange of the left-hand and right-hand cards on the count of "frve." then stop." Now turn the packet face-up and give it a Hamrrran count to show nine Aces of Spades. someone will guess 'Ace of Spades. after each Ace is thumbed off. N7ith yout left thumb. push the first four Aces off the packet into a row on the table.

Now.our left and rub each group back-and-forth a few times.) Turn your right hand palm-down.our left thumb. pull the top card of the packet into 1'our ieft hand. casuallv give the pack- et a Flushtration count. whatever). In any event.You are left with the red-backed Ace in r-our left hand. Nor Aces You will now casuallv shorv the packet as consisting of fir. Turn vour hand palm-up to flash the Ace on the face of the packet. just like we did in "Fractal Re-call.) Repeat this three more times. This is the ttadi- 102 * Jortt Bnruuon .e Aces. Senoes.2l Flush by using the Asher Twist. taik." Take the top two cards in 1. Use the right-hand packet to flip this card face-down. As vou chattet (patter. then change the cards into a Roval Fiush. take the packet from above with vour dght hand. show the Iast card as an Ace and place it face-down onto the left-hand cards. and with ).our dght hand and the lower three in ). (Photo 5. (Photo 6. Dtop the right-hand packet on top of the left-hand Ace. we'll "change" the Aces into a Ro1. Briefl1'.

with r-our tight hand." Meon'Wnvs * 103 . thumb on top and fingers beneath. turn the top four cards face-up. it looks like nothing has happened. fantastic mot'e. I{eep \-our e\-e ofl \'our rvodd. fantastic me1's-cl6ne cottectll-q/1 . If vou can guess what they ate. to show the Ace of Spades.ith them. reverse the card spread. Nor'v move vour right thumb forward and fingers backrvard simultaneouslr. The instant aPpearance of the Spade flush card is surprising and to gir-e some conte\t. therrre all Aces of Spades. If you continue to pull down this side of the card. Did r-ou knorv that a card trick can change the s. Remark that to the untrained e1'e. as ofle. The Ace of Spades is now fourth from the toP or second from the bottom. Pneserurnrron This trick is meant to be a straightforrvard "s. so I'l'e emplol'ed a mish-mosh of different ptesentation ideas: "I har.e a small group of cards here.e'll get to them later. do the half-pass move.) In right finger movements.. collapsing the now four a continuing action. Like this: After 1. BlsY's Gor Bncr Gesture toward the rorv of Aces on the table. Nos. No guesses? Here's a clue: it's one of mv far. turn over each one to shorv ther"ve changed into four Aces ftom four completeh' ditferent decks.Thatt right. \il. Continue with the "squiggle" flourish. Ther're ail the same.orn- pletelv change r-our rvorld. eventuallr' the card rvill turn all the rvav over in a half-pass action. and these cards. I use tl-iem to practice one particular. but that the Aces have changed into completelv dif- ferent cards. I generallr. as the pull dorvn occurs." "I'11 put these tbur aside and s. Take the top and bottom cards into vour ieft hand and the middle tu'o into your right. You mar ask s'hat do I do with identical Aces of Spades. so onlv minimal "pre- sentation" is reallv necessar\-. There is a lot of cover here from manr. pull down on the lowermost card of the packet with vout left little finger. Deal out the Roval Flush in order into a row on the table.2l Flush. spreading the top three cards in a forward-to-back- ward spread.orld? The one particular. At the same time..otite catds .atch this" effect.ou'r. (See "Fractal Re-Callr" Photos 9-11. Using a block turnover.s turned the Ace face-up (a quadruple card). do the Asher T$ist to show that all of the cards have turned face-up and that nov/ thev are a Ro1.'ithout pausing (time misdirection is definite11' notwanted here).angles. Then put the right-hand cards underthe left-hand cards and square the packet in vour left hand. I'11 do a trick s.tional "squiggle" flourish. To cover the move. pinch the right side of the packet.

but they have changed into completely different cards. fl. not a bad poker hand. it looks like nothing happened to these Aces. which was a su- per-compact and fast routine for the Garcia "lfild Card" plot. 104 * Jorru Bnrruor . is different now: This Ace is the same. I had already come up with many of the construction elements. but these rot-^ Royal Flush. You see."Did that look okay? The wodd. as we know it." "All from one particular.) During a recent re-visit to the trick." Kabbala [December 1972). The "one fantastic move" patter lifle is from Steve Draun's ttick of the same name. As set forth above. Racherbaumer. "Flip's Wild Card Routine. and the only real challenge was raising "back-color consciousness" sufficiently. with the added fractal advantage of ending clean." Posr Monren BncrcRouND AND CReoIrS Any righrthinking packet trick architect should periodically revisit some of the eady classics. they changed into Aces from four completely different decks of cards. I thought I might be able to streamline "The Royal Scam" in a similar way. farrtasic move. I keep coming back to Flip Hallema's wild-card routine." ^re "To the untrained eye.

If you'd like (and Mecn'Wnve * 105 . One-by-one. pic- tures. Of course. here is a strearnlined handling using some recent fractal techniques (in particular. letters. so this is mainly an adventure of the proPs. It moves along briskly. symbols.cult. I still have no good presentattonal approach to seven-of-one-card-changing-into-seven-of- a-different-card. You need seven blank-faced cards and eight Queens of Spades set-up in the following order (from the face): * Three blank-faced cards *6 Queen of Spades lK Four blank-faced cards lk Seven Queens of Spades To begin the trick. as each is brought into contact with the Queen. the blank cards change into dupl. it's not diff.ou could change anything into anything-cards. PnEcrs The performer shows a packet of blank-faced cards and a solitary Queen of Spades. Blanks and a solitary Queen will show. the changes work well. anyttr-ing." (J. Seven of the blank cards are taken.MAG. and does.icate Queens of Spades. words. Smoke dv Mirrors 119921atpage 127.7 One of my eadier "proto-fractal" forays was an ungaffed "Wild Card" routine called "Return Of The Magnificent Seven. Bannon. the "Slug" concept). Remove the Queen and set it on the table. using this method ). and it ends clean. have a lot of things going for it. Everything is examinable. Mrse Eu ScErue I've used blank cards and Queens of Spades for maximum contrast. with the packet face-up spread the first several cards.) While that trick did.

howevet. and setting the rest aside is a switch strategy I call the "Slug concept. Give the packet a "twist" (or whatever) and then an Elmsley count. Apparendy. Then. counting off some to use. holding the last two cards as one (the break makes this easy). (Photo 1. The last two cards are placed as one. 106 * Joxr Bnruuon .es1 right hand from above. The notion of beginning with more cards than you need. Take the Queen and slide it face-up under the packet. seven blank cards. switch the entire left-hand packet for the right-hand packet as in the well-established Hamman count. Pncrer Crnruce You ostensibly have three blanks temaining in your left hand. Make a magScal gesture and spread the packet. The packet nov/ apparently consists of three blanks and one Queen. TVo blanks and two Queens will show. each of the three blanks have been changed into a Queen. Give the packet another "twist" and then a reverse count. Take the packet with 1. completing the spread. say that you will demonstrate $/ith seven blank cards. I take the packet with my right hand ftom above and pull off three cards into my left hand in a spread condi- tion.) Close the spread.I'd recommend). you re- ally have seven Queens covered by a single blank card.) Reverse count the fout cards into yout tight hand and then flip the packet face-down back into your left hand. pull six blank cards one-at-a-time into your left hand. but as you do. After the switch. So. get a break above the lower two cards. With your left thumb. (Photo 2. and now hold." Continue by turning the packet face-down and dealing four supposed blank cards into a face-down pile on the table. Deal the top three cards face-up onto the table (showing both sides of the cards). while you apparendy have counted off. set the right-hand cards to one side. \il1'e'll change them one-at-a-time. As you apparendy pull off the seventh blank card. Turn the packet face-up. give the blank packet an "Over-H^mrn n Shuffle" (as described in "Short Attention Scam").

ancl rest tl-re packct o11 \'oLlr pah-t-r r-rp lctl finqcrs' \\'ith tl-rc sicle of yrlur lcfi tirrcfingcr' pr-r1lthe lr>u'cr-ruost carcl to thc lcti. thcc-up ()nto tltc packct. pull tl-rc tl. flip or-cr ali but thc bottom carcl as ouc (a quintuplc IifQ.) . (Photo 3. cor-ttrtct ti. \\'itl-r rrrr-rr risht thnmb.te scconcl-ti'om-the bortom carcl ancl pull it. too. (Photo 4. Thcrc arc four face-dos'n arc "blanks" on rl-rc table. too. Use tl're rernaining bottom card ro flrp the r-rppcr carcls thce r-rp into lrrur lcti hancl. Sl-ros' tl-rat it. pinch thc risllt sicic oi thc packet ancl pusl-r ovcr all but thc botton-i card oi tl-rc packct. Tr-rrn tl-rc bkrcli thcc-clos-n. thcr-r flip tl-rc risht-hancl carcl.r t1-rc tip ttf roLrr let1 seconcl fin.gcr:. s'ith a block turn()\-er. \\'iti-r tl-rc tip oi rrrr-rr left tirrcfingcr. s-itl. Int- mecliatcll back sprcad as firllos's: Takc thc paclict tr<rrn abovc s'ith ror-rr right hrr-rcl.ry7 Meon'WnvE * 107 . The uppcrn-iost card appcars blanli. pinch thc richt siclc of the clor-rblc ancl usc it to scoop up the initialh -tablcd "blank" carcls.rilcl-fiom thc-bottom calcl to the lctt as u'ell. Irir-ialh. t() tl-rc lcft.\ blenk carcl shos-s at thc face of the paclict. Pausc briellr'.) . Flasl-t both siclcs ancl toss this carcl s-ith tl-rc tablccl (].-rccr-rs. Place tl-rc packct into r-our lcti l-rand and. Tnen Au \bu lcti s-ith a thcc clos-n dor-rblc carcl in r'onr lett hancl. has tr-rrnccl into a Queen. a (]ucen. rclrl()\-e the top card ancl s'ar-e it or-er t1-rc tablccl Queens.Orue. \\'itli vour risht l-rencl. I senerallr-pich up tl-rc pacc a bit l-icrc.

Spread the blank packet." there are myriad ways to go. sJightly spread with the Queen outiogged. Posr MonreNl Pmy Ser of the fun of Part this trick. Deal the top three Queens face-up onto the others. You are done and everything is examinable. The remaining card (a double) is presumably the Queen you started with.) Place the blank packet on the table. at least for me. what to do with it at the end. Some ma1. lay downs. I have given the sequence a number of tweaks. The "slug" is new and solves a number of issues. once more showing the faces and backs of the cards. 108 * Joxu Bnrruou . creates clean-up ls5uss-fe1 all of us but the "just cop it off at the end" school. and place the Queen fourth from the top of the packet. but the basic frame- work is the same as the one I came up with back in the "Magnificent Seven" days. The dealt cards are presumably those that were previously blank. You are left with a double card in your left hand. You have changed seven blanks into Queens. (Photo 5. (Ihis display is reminiscent of the opening display.) Txe Tnrcr Wrrn A Queer Aro BlnruK CARDs Hold this display. You can have a lot of fun (and challenge) trying to figure out how to get the most mileage out of the solitary blank card. That approach. changes. prefer to take the balance of the slug (after the switch) out of play altogether. and then. unloading the extra blank card. is that after you've counted off the "seven blank cards. however. drop the double face-up onto the blank packet you set aside at the start. is over. in turn. The series of shows. The trick. It would be a straightforward matter to put the slug away. outiogged a bit. To clean up.The upper two catds are held as one. then flip the cards face-down into your left hand. to do the tdck and to gambler's palm the blank as you retrieve the plastic wallet (or whatever). and clean ups are infinite.

Finalll'.) Traditionallr. I am sufe \-ou didn't see me do anvthing. He picks up the dealer's hand and once more shows four . I beLieve the trick is generally known as same Jacks "the three-Jack deal. but the performet has the Aces." Mecn'Wnve * 109 .s unsuccessfullr'. . two hands of four catds ate dealt.'e all of the Jacks.ears. "Ordinarih'. Sharpe. I worked out this appealing handling relatively quicklr. He drops the Jacks ofl rop of the tabled cards. because . ." Solomoni Mind fPro-Print. but I must have done something. .ve'd each have two Jacks. The Jacks are on toP . He tables the bottom fout and shows the top four to be theJacks. alwavs off the deck. Let's do it one more time. but I must har. "Royal Aces.tgain. . This is repeated. .-e done some- Jacks. PnEcrs The performer spreads a packet of eight cards. 1997] at page 73. . Norv I am sure I'ou didn't see me do anything. thing. "Let's do this again. when I tried it with the top of iust eight cards. (D." He picks up the dealer's pile and shorvs fourJacks. Solomon & E. because I har.fourJacks are placed on top of the deck. The third time. apparenth.. and the performer's hand has all fourJacks. and alwat. picks up the packet and deals the cards back and forth into nvo piles. Once more two hands are dealt." The performer drops the Jacks on top of the tabled cards." E xpert Card M1'steries [Sharpe. the trick was done with three Jacks and was based on the discrepancv that the did not turn up each time. the Jacks and Aces. verv fairlr'. Itt a cool plot and one that has not been ovetlooked. '. (A. 197 5] at page 82.) I have attacked this problem manl' times ot ef the ). Burger. however. Dave Solomon has the best fuli-deck solution I've seen. "Poker Pait.Fnncrnl Jncrs This is a "fractal" version the four-Jack deal that I believe was fitst concocted by of Ron Ferris. the spectator gets the Jacks.TheJacks are on top." Ferris modernized the plot and the ptoblem significantly In his trick.

understand the effect.ou get a lot of retrospective credit because now thel' rea[ze that they teally had no idea how'r-ou did it.v eise can the trick be accomplished? B1. I really like this construction. both Simon and Dave disagreed. ther. round three. Using Aces rounds out the story a little. If vour spectators believe that 1. So. the absence of duplicate Jacks (and the total destruction of their proposed solution). Mrse Eu ScErue ConrRoveRstAr Using onll' eight cards changes the dramatic dlnamic in an unexpected r. When the Aces shor. seeing nothing in the dealing.vrong tree. must be Jacks.. That's when vou show that vou have no extra Jacks and the other four cards are to shorv the four Aces. In fact. if not all of them. the trick will plav verv differentlr'. the Aces are no surprise and nothing magical happens because I never showed the other four cards to begin with." He turns over the other hand and spreads the cards.ever. some of them. From their point of view.ou have four Jacks and four indifferent cards. ho\r. Think about how this trick would pla1. thev realize thev har. The other four cards could be anvthing. I am going to stick to mv guns on this one. you lose all of the Elmslev count discrepancies. in the Chi- cago Session. and even fourths. This time I gave vou theJacks. The surprise is realll. 110 * Joxru Bnnnoru . That wari the appearance of the Aces is surprising and magical." The dealer's hand is turned or. In mr' ftactal r-ersion. I don't shorv the other four cards until the verv end.e been theorizing up the r. Both recommend that four indifferent cards be shorvn. "I deal slowlv and fhidr. the other cards cannot be an1'four cards.var-. and then switched for the Aces. thirds. come to the conclusion that vou have dup)icates. Something like this: On the first deal. and thel'happen to be Aces. but a spectator is almost compelled to adopt the extra Jokers theorr'. This is probab\. "I kept the Aces for mvself. the trick'. While the appearance of the Aces rvill be a magical surprise. thev conclude that there must be more than fourJacks.o hands ate dealt. thev believe thev completeh'understand rvhat's happening. ). \.our spectators quickll. the trick purports to be a demonstration of dealing skill-seconds. the Jacks are placed on top of the other four cards and tu. a preferred "fractal" handling.v up. and begin wonder- ing how it is done. if vou used Jokers instead of Jacks. you can use the cards from a regular deck. Obviousll.vill seem more like a dealing trick.are the fourJacks. so to speak. ther. Ordi- narill'. On the second deal. This allorvs the spectators to lead themseives dos'n a "garden path" of sorts.Once more. If the other four cards are unknor. but reasonable minds mar. Their theo- ry destroyed.. but withJacks. but I must har-e done something.

but the color of the Aces does not. square the hand by placing the ^part frst dealt card (the original bottom card) on top of the second. spread the packet face-down. \X'ith your dght forefinger. In this way. spread the two dealt cards in the first hand so that two cards ate completely frorr. loosely squared. (Photo 1. Mecn 'Wnve * 111 . FrRsr Rouuo To perform. each hand should receive truio Jacks. As you deal. you have reversed the order of these two cards. Pick up the combined packet and deal it into two piles. the second pile being "youf" hand. Drop the Jack packet face-down onto the tabled cards. Comment that. Arrange them in the following order from the top of the face-down packet: * BlackJack * Ace * BlackJack *r RedJack *r Ace lX Ace * Ace *r RedJack The color of theJacks matters. Square the cards in your hands. Deal feul s21d5-twe to each hand-and then stop. Retain the top four cards and drop the lower four onto the table. Four Jacks will show. you will need to make a subde displacement. after two rounds. turn the packet face-up and give it an Elmsley count.) After your remark. each other. one in front of the other.Wonrrncs On-ly the Jacks and Aces are used.

There is one last displacement to make. turn it face-up. This time. as a display gesture. the last card goes to the back of the packet (the so-called "underground" Elmsley count).You have fout cards left to deal. Yet again. (Photo 2. Show the spectator that shet got them. and give it another Elmslel. counts. exposed. (Serendipitousll'. Hold theJack packet with your right hand on the right side. First.v count. qesnl-1[[5 time.) NTith your left hand. exposed. again apparendy placing theJacks on toP. Pick up the combined packet and deal it into two hands. As you do this. spread the face-down Jack packet. then close the spread very loose- ly---do not square the packet. four Jacks will show.) This effectively switches the top card of the lower packet with the bottom card of the upper packet. Pick up "your" hand. and give it anothet Elmsle. so deal out the rest of the cards. As you do this. Deal two hands one more time. (See Photo 3. horvever. two to each hand.) Txrno Rouruo SuRpRrse Turn the Jack packet face-down. Pick up "1'our" hand. You will now slide the left-hand cards undet the right-hand cards. allow the top card of the left-hand packet to slide above the bottom sideiogged card in the right-hand packet. pick up the tabled cards and spread them slighdy. and then show that you have four Aces. Pause a bit. the first hand gets all four Jacks. however. Again. four Jacks will show Secoro Rouruo Sunurse Turn the packet face-down and drop it onto the other packet-no displacement nec- essary. sidejog the lowermost card of the pack- et. work for the successive Elmslel. the colors of the Jacks automaticalll. tutn it face-up. 112 * Joxn Bnrunon .

My set uses four Tally-Ho Jokers and the Aces. Using a stand-alone packet (that is. consider using four Jokets. As a bonus. you get rid of those pesky Eknsley count discrepancies. You can almost see the spectator's thought process as the trick Progresses. The degree you can and do guide her down the "garden path" is remarkable. no "iolly iumping Jokers" patter. However. It really is a form of magic iudo where the spectator's owo processes are used against them. But you arc really limited by your imagination. all manufac- turing dghts (including. but not limited to. Mecn'Wnve * 113 . cards that flot even presumP- ^re tively removed from a deck) and usingJokers significandy strengthens the psychology of the trick. instead of Jacks.Posr MoRret"r Ever Monr Fnnctnl As I mentioned eadier. too. and four Aces (or four blank cards with virtually anything wdtten/ printed on them). this trick has an interesting dynamic. That being said. those versions with cartoon animals) are reserved. To make the trick a stand-alone fractal "packet" trick.

I tried to streamline the handling a bit by keeping the first phase in the hands. 52 Munoriu (Gladrvin 2007) at page 9. Mrse Eru ScEre Begin with the face-up Queens and a frfth card. tX/ith your left thumb. face-down Nine of Dia- monds. black Queen. in this order: black Queen.s a good thing in a purported "repeat'). The second phase provides an unexpected ending (aiwa1. red Queen. Gladwin. take the packet b1. (Photo 1.) 114 * Joxtt Bnruuon . Frnsr TRnnsponrATtoN With your right hand.Wr cKED I (TnnNsPoslnoN) This is a variant handling inspired Jack Parket's "I I(now I(ung Fu" take on Paul Har- ris' "Grasshopper" plot. pull off the upper black Queens and use the packet to lever the Queens face-down into your left hand. red Queen. say the Nine of Diamonds. fingers under- neath. its right side.. a card placed betqreen the trvo black Queens vanishes and appears between the red Queens. Now do the followingJack Parker switch. thumb on top. A. Basicalll.

Now- pull off the first red Queen face-up onto the left-hand cards (that is, do not flip
it face-down). Apparendy,, you wi-ll pull off the second red Queen, but actually slide
the left-hand cards under the right-hand cards, and with lrour right thumb, push to the
Ieft all but the bottom card of the packet. Take these cards with your left hand. This is
a'Jordan Count" mechanic and should look like you are just peeling off the Queen'

You are left with a single face-down card in vour right hand-presumably the Nine
of Diamonds. The card is actually a black Queen and the packet is in this order (from
the top): face-up red Queen, face-down Nine, face-up red Queen, face-down black

Hold the packet at )rour left fingertips, with )rour left forefinger cutled beneath the
packet (sort of "Chaiter" position). Tilt the outer edge downward slighdy. N7ith your
dght hand, pretend to slide the face-down Nine into the packet, but really hold it
against the bottom of the packet with 1,es1 left forefinger. (Photo 2.) This is like the
insertion in Paul Harris' "Bizare Twist," but done on the end of the packet. Leave
the supposed Nine outjogged about one-third of its length.

Lower the packet back into dealing grip. \{1th vour left little finger, pull down the back
right corner of the lorvermost card (actualll the second-to-lowermost, because of the
outjogged card).

'ff,'ith 1'our right hand from above, pick off the three cards above the pulled-down
card in Biddle grip. (Photo 3.) These are: the Nine, sandwiched between the two red
Queens. The outjogged card temains in place and should not interfere with this. It
should that r-ou have removed the upper red Queens from the packet.

Mecn'Wave * 115

Drag the right-hand packet over your left fingertips to sidejog and show the lower-
most Queen. (Photo 4.) Then, with your left thumb, push the sidejogged Queen

Separate yout hands. With your left forefinger, dramatically push the outjogged
card-presumably the Nine-flush into the left-hand packet. Using your left hand,
revolve the packet face-up and spread it. Only the black Queens show; the Nine has

Now with your tight hand, revolve its cards face-down (using a stud-deal type of mo-
tion) and spread them to show the Nine benveen the two red Queens.

Secouo TnnrsponrATroN
As the applause dies down, arr^nge the packet as follows (ftom the top, all face-
down): black Queen, black Queen, red Queen, red Queen, Nine of Diamonds. In case
aflyofle was watching, kill a Iitde time for time misdirection purposes.

Now you will apparendy turn the top two Queens face-up. With your right hand, take
the top card and move to the righq novz in taking the "second" card, with your left
thumb, block push-off all but the bottom card. With your right hand, flip over the
single card and the block onto the left-hand packet. The top single card will coalesce
with the block as the cards turn over. (See Photo 5.)

Now with your left thumb, push over the uppermost face-up Queen-the two red
Queens are seen. Repeat this sequence to apparendy turn the red Queens face-down.
Remove the top two cards and place them to one side. I usually set them crosswise
on the card box.

You can see where this is going.

Now spread the three face-down cards in yout left hand. \X/ith your right hand, take
the lowermost card and turn it face-up. Of course, it's the Nine. Slide the face-up
Nine between the face-down cards-presumably the black Queens-2nd square.

116 * Joxr Bnruruor

Claim the Nine has once again traveled. Spread the left-hand cards and the Nine will
show. Apparendy nothing has happened. With your dght hand, pick up the cards on
the box and show they are the black Queens. Now, slowly tufn youf left hand palm-
down to show that the Nine now resides between the red Queens.

Posr Monren

TnnrusposrrroN PResenrnrl o ru
In any transposition, it's important that the spectators know which cards are whete.
Here, the second phase is essentially a transposition of the red and black Queens.
Accordingly, it's particular\ important in phase two that the audience know which
Queens are where. To that end, I have adopted a Burger-esque "Wizard of Oz" pre-
sentation. The black Queens afe the "wicked" witches and the red Queens afe the
"good" witches, and the Nine (or whatever) is "Dorothy." Believe it or not, this sim-
ple labeling really makes it easy for spectators to have a better sense of which Queens
are where. It's up to the "good" witches to fescue "Dorothy" from the clutches of the
"wicked" witches, blah, blah, blah. You get the picture.

Mecn'Wnve * 117


The rules are simple: they Jie to us, u/e know theyte
lying, they know we know they're lying, but they
keep lying to us, and we keep pretending to believe
Elena Gorokhova
A Mountain of Crambs

by way of explanation. Overall. the other thtee cards are shown to be not Jokers but the Aces of Clubs. Initially.Bu ltrr Pnnrv Here we present a modertized offshoot of a granddaddy of such "fractal" card tricks. the Ace of Spades is revealed to have a completely different colored back- also suitably marked." The third Ace has written on its face. the pain-to-glory r^t1o is quite low. or changing. on its own is as remarkable today as it was 50 years ago. and then back to Joker. "Extra Card." Everything is examinable. but the roots are there. Then. the spectator is asked to keep track of an Ace of Spades among three Jokers. AIex Elmsley's seminal "Four Card Trick. together rvith some other business. 'Ace of Spades. Buuer Pnnrv * 121 . Practitioners like us are abit iaded with respect to effect. lots of fun. to Ace. the performer demonstrates a series of changes ftom Joker." The second Ace has written on its face. civilians not so much. This is currendy my favorite opening trick.. A lot of magic happens with only a few basic Elmsley counts. \7el- come to the part1. PnEcrs In a faux cheating exhibition. 'Another Ace.. "Secret Assistant. Hearts. and Diamonds-each suitably inscribed with its role in the drama: The first Ace has written on its face." Finalll. The simple effect of a card tutning over." Nluch has changed.

r'vith a marker. face-up AS. spread/count the top 122 * Jonu Bnruruor . cheat a me show a game of chance. (Photo 3. The answer is: Absolate!." (Photo 1. Four face-down cards have been shown.Mrse Eru ScEue Pncrer Regursrres Red-backed Ace of Spades. an introduction: '?eople ask me if I can cheat at cards. rvrite: "Ace of Spades" (Photo 2.) On the back of the red-backed Ace of Spades. s. take each card under the ptevious one in a spread condition.) Place the last trvo cafds. Soandfair?" Holding the packet in left-hand dealing position.) Arrange the cards in the following order (from the top down): AD AH. " Square the cards and give the packet a twist or spin." Diamonds: "Secret Assistant. ofr top of the right-hand cards. I wanted to get that oat of the wa1 ap front l-. AC. Hearts and Diamonds. This time.rite the follos-ing: Clubs: 'Anothet Ace. Square up the cards back into left-hand dealing position. With yout right hand. Joker." Hearts: "Extra Card. 'A game of chance with four cards. blue-backed Aces of Clubs. as lne. A Tnrcx Wrrn Foun Cnnos First. blue- backed Joker. On the faces of the blue-backed Aces. and then I proruise I// exp/ain exact/1 ltow iti done. It works best to insure that the pips on each Ace are oriented in the same $/ay. with 1'our left thumb push off the top three cards one at a time into your right hand.

" Square the packet and. Execute the "Triple Plal/'Displal'Sequence.taking the face-up Ace of Spades onto the iust-shown Joker. )rou can fetfact \-our fingers for a clear displat'. set forth be1or. pinch the right side of the packet in preparation for an Elmslev Count. keeping the last two. (The face-up Ace of Spades will sho. Because of the Elmsley Count exchange that occurs.three cards into your right hand.) 'lYhen I do this . showing the packet as consisting of the Ace of Spades and thtee face- down Jokers. A face-up Ace of Spades wrll be the second card from the toP. . apparendt' having magically turned face-up.) Bulrer PnnrY * 123 . "The Jokers are jrrst to distractloa. apparentlr. the Joker is norv at the face of the right-hand packet.) Turn your left hand palm-up and continue the second "count" of the Elmslev Count. .nv as the next card in the packet. If r-ou pinch the Joker between \-ouf thumb and forefingef. (Photo 6.) Turn t'our ieft hand palm-down to show the Joker. as one. the Ace of Spades turnsface-up-did I tellya I was going to cheat? The Ace tartts ilP because the Ace is the cardltou ruast keeplour e1e 0t1. (Photo 5." "TRtPLE PLAY" Dtsplnv Segueruce Pull the top card of the packet into vour left hand. (Photo 4.v. ho'uvever. rvith vour right hand. in your left.

.ver the cards and take the top card onto the face-up Ace in . but sq. (Photo 9. '\f. CttNce. For example./hen the Ace isface-up.ou. CxnNGe.vour left hand. (As an extra bit of finesse. riTith your left fingers.) 124 * Joxru Bnrruou . This is a "Flushtration" maneuver. )rou can show four complete face-down cards by doing a Buckle Count. two. show the iast right-hand card-aJoker-and place it on top of all. I try to follow E. This is the only time you wiil display "three" Jokers.) Square the packet and make a"magtcalgesture" (I give the packet a twist.Raise the right-hand cards to show the Joker at the face. third from the top. Finally. Now. . I would not sa)r. Ace of Spades is face-up. this is a very deceptive sequence. slide the top tq/o cards down to show the face-up Ace.lor. "There are lne." This is especially true in a situation like this whete you are showing the 'Jokers" in a deceptive. The Jokers are nlt mrlch of distraction . I've tried to invest them with an understated importance. especially if the distance between )rour left and right hands is somewhat far apart. I firmly believe you should resist the urge to "count" cards as you show them. (Photos 7 & 8. and I do the display slowly and deliberately. Now give the packet an Elmsley Count to show four face-down cards. instead of counting theJokers. three Jokers. Cxnnce Position Check: Joker is face-down on top. V/hite's near-universal admonition: "Omit unnecessary words. The Ace has apparently turned face-down.) As one mirror tdal will convince 1. itI easl to keep track of it . so make the most of it." That kind of na rattve patter is generally unnecessary and serves only to fill the silence.lized way So." As a general matter. or a "spin").B.

soruetimes. "Or. ".) Square the packet. With your right fingers take off the top two cards of the packet and slide them under the left-hand packet.) 'It's all aboat sleight of hand.'tsut if I do this. Did I tellyu I was going to cheat?' Flip the top card face-up-a Joker. . (Photo 10.for the Ace oJ Spades . Yoa rea@ don't staad a chance. Three face-down cards and the face-up Ace will show. couflt. holding the last two cafds as one." This is an impressive series of changes-from Joker to Ace to Joker-done onl)r with Burler PnRw * 125 . . outiog the Joker when you come to it. Three face- down cards and one face-up Joker lvill show. Give it another twist. spread the packet. . Ill secretfi switch a Joker. then an Elmslel' Count' Thtee face-down catds and one face- up Ace of Spades will show: It appears that the face-up Joker has turned into the Ace." Give the packet a twist. It appears that the face-up Ace has turned back into the Joker. Sometimes. and then another Elmsley Count. ll/ swilclt the Ace af Spadesfor a Joker. . It appears as if you turned a Joker face-up and buried it. itl a little harder to tell. . (Photo 1L. " After the Elmslel. .

three.foar cards.) 126 * Joxru Baruruon . The means: Wal- ton's devious Cascade Double Feint. two. I can try to make it easierforlow fu. prior diatribe. For example." Bring attention back to the packet. $7e are now going to clean up the packet bv gettrng rid of the Joker. Su. actually take the card. 'Bttt I can also secretlt palm the Joker back into the packet.) Norv cover the Joker rvith lour right hand in palm position. Give the packet a twist and an Elmsley Count." and a part I reallr'rvanted to maintain in this trick. but at the same time trr. you reallv did take the Joker and put it into 1.n on top of the packet. but actualll' take the Joker into palm position. The top card of the packet is a Joker.n in "tent vanish" convince the audience that we actualll' did not get rid of the Joker. do Ro1. Audiences do not know about the tent vanish.vou here.successive Elmslev Counts. and put it into your pocket. secret! pa/ming one of the Jokers and putting it into m1 pocket. counting each card aloud.e111 p66ks1-it's just that no one is sure that 1.ou did and likelv believes the Joker is still in the packet. Instead. Cnscaoe MnrusuveR Remove the outjoggedJoker and place it face-dou. you are not going to do a "tent vanish. Your spectators should think the1. Shorv it and place it face-dov. I stil/ haue one.ou supposedlt. Walton's Cascade Double Feint: Pretend to do a tent vanish. A sequence like this has ahvals been mv favorite part of the seminal "Four-Card Ttick. take the catd. (Photo 13. you more-or-less have to count the cards at this point. But. 'We can also moue cards in and oat of the packet." where ). but actually do not.) However. so act furtive just enough so the audience believes that you mav not have. Did I tellya I was going to cheat?" Q\otwithstanding m1. or did not. (Photo 12. are ahead of .

. . Wel/ . "Sonte peop/e actual!. Thel're ight. And I toldya I'd showloa how itJ card.ou are now squeaky clean. move to the multiple-climax finale.. the performer." Buuer Pnnrv * 127 ." Shou. 'Andsoruepeoplegosofarast0accilrerueof usingntarkedcards. . Everyone believes you have the Ace of Spades and at least a couple of Jokers.. (Photo 15. It is the Ace of Clubs with the words 'Anothet Ace" written on it. Of course." show the uppermost face-down card. This time." spread the left-hand cards and count the Iast trvo cards onto them in a spread condition.) '"fhatJ because this is agame of chance with threeJokers and theAce of Spades. the last face-dor. as if the trick v/as ovef. Place it face-up onto the table. .6.l'oaknow. It is the Ace of Diamonds u'ith the words "Secret As- sistant" on it. And the1he ight. The Ace of Spades will appear face-up." Wxnr You Snro Pause a beat. Some people think I haue anotherAce.the1 reight. . 'I toldlou I was going to cheat.) Place it onto the table or hand it to a nearbv spectator. I do use marked cards. /oo. think I haae a setet assistant.t After you salr Ace. . Place it onto the table to the dght of the 'Another Ace" card. You are rn great position here. the lowermost face-do'nvn card. I do harc (t ficret assistant. I do ase an extra card. "sontepeop/e thinkl use an extra card. ).I haue anotherAce. too. It is the Ace of Hearts with the words "Extra Card" written on it. (Photo 14.Give the packet a final twist and a final Elmsley Count." ((urro.And. Then. after the exchange on the second "count. The words ofl the card should echo the words just spoken bi." Shou.

but to end clean with no palming. "another Queen. but he could also get a second change.ented in 1954 and ^t released in 1959). ar. important variation in '"vhich he essentialy dupiicated the "Four Card Trick." H. The "Four Card Trick" used three blank cards and aJoker." but changing a/lfour cards at the end. of course. could he show the back coior change. The Magic Of Alex E/ms/e1." See "Off-Coior Monte. Peter Marshall had a fun. it wasn't until I broke that rule that I made an)r progress.) "So nowlou know all of the ycrets. The Elmsley trick seemed to me to require just four cards. See S. In the eighties.Slowly turn over the Ace of Spades to reveal the different-colored back and the rvords 'Ace of Spades" marked on its back. the back of the Joker was shown to have a different color." now the "Elmsley Count. with Alex Elmsley's seminal "Four Card Trick. In201." This is the trick that introduced the "Ghost Count.d at the end. Best Of Fnend5 Vo/ume 2. So." and literally rocked the magical world.ariation of the Marshall routine in which the 128 * Joru Bnruruoru . 1991) p^ge 23 (the trick apparendy was im. Start.Paul Gordon put forth an odd r. But. I plaved around with these tricks off-and-on for the next twenty )'ears or so without really getting anywhere. Roy Waltont Cascade Dou- ble Feint maneuver provided a"fractaizine" approach. 1985) at page 58. The goal was to have all four cards change in some v/ay. it wasn't until I developed the "Triple Play" Displav Sequence that I felt I had a viable approach to emulating the "Four Card Trick. Vo/. Minch.oravne." but without showing the face of one of the other three cards. (Photo 16. 1 (I-&L PubJishing. at the end.0.Lorayne." Posr Monren BncroRouND AND Cneotrs A bit of history here. Q. not onl1.

theoretically. Thinking it through. I think it's great. move your hand further and pretend to put the card into ). showing four face-down cards. that their musings rvill not get them veri'far. however.ith this approach either. the Joker contes back.our left inside breast pocket (or your shirt pocket).ing.tack onto the packel. wbeneuer I need the Joker back. Another approach is a Bob Farmer gambit from his Cascade variant. With vour right thumb..ith the Elmslev count. "If I pat one Joker into ng. \7e can argue about it over a beer someday. Now. In other rvords. added no additional requirements to the trick-I already had the four catd change I was after. The endrng is so unexpected. Now give the packet a four-as-three count. you need a conve- nient sleeve. of course. so to speak. Or there is the traditional approach: Take the Joker and openlt. that /eaues nte with on[ three cards. Without pausing. I thought to label each and everv card with its supposed purpose in the swindie. what happens is: You take the Joker with 1'our right hand and snap it so 1'our spectators are that ^ware itt only one card. A long time coming.catds vou reallr. v6.onder horv manr. need a convenient pocket. the "Bullet Parry. Mutant. The third card is taken on top of all. So." With the Cascade gin to s." Fernr PRnrse Some of will not like the Cascade Double Feint either mechanicalll. using words that echoed those iust spoken by the performer. horvever. though thinking spectators mar.have. if half-baked.. Ttaditional. That wa1. "Mu- tanz. Then. and once again I haue four cards: three Jokers and tlte Ace of Spades" Elmslev count the packet as fout cards.'onder about the number of cards. drarv off the upper card back into vout left hand. Silith vour right hand. pick up u. ltwt rea$ put it in m1. hiding the face-up Ace. pinch the packet along the right iong edge. some alternatives.our sleeve. You can call attention to this.ou have three cards left. I can shake m1 arm and the " Suit actions to your words and shake your left arm Joker gets /oaded l. ). With r-our left thumb. I like the kind of laveted misdirection the ploy provides as well as the "con man" attitude it requires. welcome to the parq.. Here. sa1.our coat and into ).pocket.ou or both. however. The label. climax. (Jn/ess do this [insert I vour preferred magic gesture heref. this double is taken on top of the first card. s/ssyr. norion. just vigotouslv enough that it's almost plauslble that vou reallv did re-load the Joker onto the packet.rong s.Put it into yout push off the next two cards as one. r'ou short-circuit their musings with the shocker. Put the card inside ). that is. ).ou must be wearing a iacket or sport coat. as the audience begins to s.word "extra" rru'as written on one of the blank cards-an interesting. Buurr Pnnw * 129 . There are. There is nothing s. showing ). 'I'll take the Joker and pretend to pat it in m1 pocket.

No SrnnuceRs In the interest of completeness. with the writing as icing on the cake. Ler's Ger SrRnuce Of coutse. the color-change is somewhat redundant. the other three cards don't have to be the other Aces with writing on them-they can be anything you want. the structure of this trick lends itself to a whole range of goofy. You could make up a set of cards with four Aces and aJoker from a red-backed deck. I guess I am a card trick purist and find coherence in having the cards change into the other three Aces. Since you are boldly marking the back of the Ace. and the "secret assistant" could be a prctq gid in a bikini. 130 * Jonru Bnruror .the Ace of Spades does not need to be from a differ- ent-colored deck. For example. so to speak. if you can. all rights are reserved. In fact. "another Queen" could be a pic- ture of Queen Elizabeth (or Elton John). Nevertheless. cartoon-y tl?e packet tticks. the "extra card" could be a facsimile of an American Express card. That said. you should keep it. it's way more dramattc to have the color change and.

Bu LLET CnrcH ER This fast. "Strangers' Gallery. He has found all four Aces." Buuer Pnnw * 131 . in-the-hands cut. I have not published the Strangers' Gallery procedure as a straight-forward Ace pro- duction. as if actually spotting each Ace and cutting to it. and then cil each zne lat of the deck. intent\ watching the indices flipping by 'lfhe worst thing abowt getting older is that m1 eysight is going. He then slowly riffles the outer left corner of the deck. the illusion is quite good. easy-to-do Ace production elaborates on a production sequence I originally designed fot use in a color-changing deck routine. How did I do?" He spreads the deck and raises it so the faces of the outjogged cards can be seen.." (Smoke And Mirrors 11. however. or whatever. used it with Aces. 'IfaL. " He begins a running. I play the production for real.en't done thatfor a while. so I am a litde surprised that in the intervening tweflty yeats "those who publish theit 'takes' on othefs' mateiTal" have not co-opted the procedure. The produced cards. are actually taken off the top of the deck. PnEcrs The performer shuffles a face-up deck a few times. 'These da1s.p14 lll get one or hvo Aces. rf I am luc.9921. and isolates four cards-face-down in a face- up deck. spot the Aces. . I used to be able to iffle the deck like this.) The procedufe appeafs as if the performer is reversing and outiog- ging certain cards at certain positions in the deck. and called it their own. as you'Il see. In any event. Good enough that.

being careful to keep the Aces at the back of the deck.Mrse Eru ScErue Begin with the Aces on top of the deck. \7ith 1. Try to estabJish/maintain arhlafim as you repeat these actions for a second card. each packet should have eight to ten cards. the whole produc- tion can be done standing.vour tight hand from above. You will be left with a small packet in your right hand. and starting a rh1rfi6. Iift up a small packet of catds and swing cut the packet into your left hand. Turn your right hand palm downward. turn your right hand palm-up and. If \-ou use in-the- hand shuffles ( use an off-center "weave" shuffle with a cascade). Place it face-up oflto the left-hand packet. \X/ith your right forefinger. the illusion is very stroflg that the outiogged cards were revetsed from various places in the middle of the deck. fingers in front. pull another face-down card onto the left-hand packet." You are about do a running swing cut of five packets. take the face-up deck with.our right hand palm upward. thumb in back-this is the well-known "Biddle Grip" or "End Grip. Your left hand is holding the face-up deck in dealing position with four face-down cards protruding from various places. 132 * Joxru Bnruruou .) This card is one of the Aces. pull off the face-down card so it is outjogged about one half its length. (Photo 1. Howevet. So keep this in mind as 1. Swing cut another small packet onto the left hand cards (burying the face-dovin outiogged card). In a continuing action. To do the production. with vour left thumb.) When this is done with dispatch and in rhythm. turn ).6tr1 left thumb. Turn the deck face-up and shuffle it a couple of times. Repeat this sequence two more times.ou read on. (Photo 2. pull off the now topmost face-down card of the right-hand packet onto the face-up left-hand packet.

Pnesentnttol.. is not true here. the estimable John Guastaferro has some very clevet apps in his excellent collection. played straight. is good enough to suppoft that claim.riad ways. that is. I reahzed at the time that the illusion was quite good and periodically have used the procedure as an Ace production." Bulrrr Pnnrv * 133 .6'^r"' and the "hard wa1"'-and ask the sPectator to choose. Then. "Thanks for coming. can be an effective "look behind the curtain" and can generate interest. From the ml. I needed to produce three seemingly random catds without showing theit faces. as if I actually spot the Aces during the riffle and cut them out of the deck. I believe.) Posr MoRreu PnRnuc Sxors As explained. the feat becomes more and more difficult. are the Aces.. whjle true for other moves. SVhich.Spread the deck between your hands and slowly raise the spread to show the faces of the outjogged 621d5-1hs). you are going to get ahead during a demonstration of the "easy wa)'. One Degree (Vanishing Inc. Over the 1.e215. as here. 2010). While most of the time the "hatd wav" is nominated. the sequence is essentially the same in "Strangers' Gallety. 2005] to get cofltrol of the Aces. say that if )'ou wanted to find the Aces. have the deck shuffled by a spectator-really shuffled." In that as trick. (Photo 3. FnoM A SrurrleD DEcK I often use the following gambit (from "Unlisted Aces" rn Dear Mr. Your mileage m y v^ry. I ended up at this one." This Bob I(ohler line is particulatlt' apt where.) This kind of candid confession. Fantasl fBannon. others have used the "strangers' Gallery" procedure for a number of differ- ent applications.t I piay this trick for real. First. Notabl1. I partrculady like explaining that because my eyesight is going. my answer is always. The "Bullet Catcher" illusion. there are trvo ways to do it-the "eas1'.

Fantasl. commeflt on how the spectatort shuffles placed the Aces in random positions throughout the deck. Close the spread. However. spread through the deck and openly outiog the Aces wherever they may be. however. it can be awkward if an Ace is too close 1e ths fxss-say within the first eight to ten catds." on page 1. A thorough description of the Elias Shift. If an Ace is too close. we'llbe using the Elias Multiple Shift. you cafl quickly close the spread and give the deck a quick overhand shuffle. Here.You are now in position for the "Bullet Catchet. you push them "square" in readiness for the Elias Multiple Shift. was first discusse d in Dear Mr. In a minute. After upjogging the Aces. too close to the face of the deck. leaving the Aces out- jogged. or simply openly displace the wayward Ace. On the next off-beat." 134 * Joxr Bnruror . execute the shift and follow through vrith a false cut (I would suggest the "Flytrap False Cut. but for completeness I've included the description on page 186 of this volume. Turn over the deck and re-spread it face-down. close the spread and apparendy push the Aces square with the deck. There must not be an Ace.Explain that the "easy way" would be to look though the deck and remove the Aces. including a useful touch to it.92). and while my handling allows considerable lati- tude.Agrir commeflt on the ran- dom dispersion of the Aces.

however.Dnop TnnGET Aces This routine was somewhatof a Holy Grail for me. turfled out to be the Aces. PnEcrs Three of the Aces are buried in the deck by dribbling a packet of cards onto them. Buuer Pnnw * 135 . the last few cards in the petformer's hands are thefoarAces. Those of you who have read Dear Mr. As the fourth Ace is about to be treated similady. this trick is easy to do. The last four cards in his hands. Fantay fl. Lennart's trick was a prime example of off-beat timing and was a maiot inspiration for my "Bullet Train" set of Ace AssembJies. the sequence of events combines in a fluid and natural application of the sleight." The Drop Sleight is seldom used. 2005) may recall my waxing enthusiastic about a Lennart Green trick in which each of the Aces was successively buried in an accumulating pile of cards. Bestof all. howevef. "Drop Target Aces" comes close to cap- turing the look and feel of that trick and retains all of the timing aspects I admired. Bannon. You may also recall my bemoaning my own skilI set with respect to this trick. Here. most Jikely because it can be awkward to attain the necessafy position in a nattraT-appearing way. relying almost exclusively on the venerable "Drop Sleight.

with the Ace of Spades at the back of the spread. !7ith your dght forefinger. Here I use a quick set-up Line in order to foreshadow the surprise ending. taking over the break above the bottom card with your right thumb. In less than a minute. with ). Retain the balance of the deck in your right hand. thefature /ooksjust like this. sa1. (Photo 2." I gesture with the Aces." As I say the word "this. "Since I haue the Aces. (Photo 1. Hold the deck in left-hand dealing position. swing cut the upper portion into left-hand dealing position. the trick will end with exacdl. Gtasp the deck with your right hand from above. and the Aces in your right hand in a face-up spread. Place the face-up spread of Aces onto the table.) The trick is direct and quick.) 135 * Joxtt Bnnron .ou do this.our left litde finger. so vou may opt for little or no patter and an "adventutes of the props" presentation. the Ace of Diamonds. I am going to use them to te// thefuture. Dnop Aro Grve Twexrv Pick up the uppermost Ace. /f 1ou know ltow to interpret them.Mrse En ScEne Foun Teur. the same gesture of a face-up spread of Aces. and place it face-up onto the deck. As ). riffle down the upper left corner of the deck and riffle off twenty e1 5e 62161s-ysry tearly half the deck. pull down the bottom card of the deck and get a break above it. I like to have them in alternating col- ors. Aslou knoq people haue ased PloYrS cards to tellfortunes and to predict thefutare. With your left thumb. The Aces should be in plal' aheady.

At this point. and 1.s11 have a right thumb break above the bottom card. thumb off the top catd of the left-hand packet (ptesumablt' the Ace of Diamonds) onto the table. t'our right hand from above. The other half is held b1." burving it. Use the right-hand packet to lever the Ace upward and to the left so it falls face-dou." With 1. 'Diamonds is the sait of monel Spent. (Photo 3.our left thumb push the Ace of Diamonds to the right. as the right-hand packet comes directlv over the ieft-hand cards. Perfect position for the Drop Sleight. release the right thumb break so the bottom card falls directll' onto the Ace of Diamonds. (Photo 5.) V/ith the correct timing.n onto the left-hand cards. (Photo 4. In a continuing action. Dribble the right-hand cards on toP of the tabled 'Ace.) Buller PnRw * 137 . about half the deck is in vour left hand with the face-up Ace of Dia- monds on top. this addition is imperceptible-visuallll and ps)' chologicallr'.) Furthermore.

get a right thumb break under the top three cards.) Clip the angled packet with your left thumb. (Photo 6. riffle off about half of the cards. and place it face-up on top of the left-hand cards. finall1. Alternately. and take the packet to the right." 138 * Joxr Bnruuor . Hearts. executing the Drop Sleight. executing the Drop Sleight. 'tfearts is tbe ruit of loue.) As before. Lnst. Place the next Ace. spread the small packet and. flip the Ace face-down.Dnop Slercxr CLue Pick up the next Ace. swing cut the three riffled-off cards into your left hand. with your right forefinger. Thumb off the supposed 'Ace" onto the tabled packet and dribble the right-hand cards on top of it. (Photo 7. "Clubs is the suit of hard work. re-gr1p the lower packet." Thumb off of the left-hand the top card packet onto the tabled packet. face-up on top of the packet. You will repeat exactly the same actions as before: Get a break above the bot- tom card. Riffle off exacdy three cards with your left thumb-the face-up Ace of Hearts and two cards beneath it. Dribble the right-hand cards on top of it. swing cut the upper section back into i. 'S7ith your right hand. HenRr Tnncer At this point. taking over the break with 1rcur right thumb. As before.. the Ace of Clubs. In a continuing action. the Aces of Diamonds and Clubs are the top two cards of the packet remaining in your left hand.our Ieft hand. get a left Jitde-fin- ger break above the bottom card. flip the left-hand Ace face-down. takrng over the break above the bot- tom card with your right thumb. in squaring it.

"shipwrecked Express. . I want to give them a short opportunir"y* to catch up with the trick. (And chagrinned that such a direct and simple solution did not occur to me years ago. because you are actually holding the Aces. it occurred to me that the trick could be choreographed using the Drop Sleight. thefature would look an awfwl lot.\6s-*I6 r{6s of Clubs.but aPP^fendy the "Drop Sleight." has been ultimately attributed to Jack Medin. or if you just are uncomfortable doing the want to mix it up a bit." a/k/a "Tip Over Change. Posr Monrrn Bncrcnouro I got the idea for "Drop Sleight Aces" from an excellent Jack Carpenter approach to Bill N[alone's Presentation of Darl'l's "Diamond Bar" assembly ttick' Jack's routine.) Buuer PnRw * 139 . I to solve my Lennart Green ptoblem in such an efficient and easy was very pleased way. showing the Aces. Then I lowet the fan." is quite a bit diffetent in method and has not been published per se.butwas performed by him on YouTube. "Spades is the suit of resolution. like this.ReMet4aenrruc Txe Furune Pick up the remaining Ace of Spades and place it face-up onto the left-hand packet. In watching his routine. I use a switch attributed to l7esleyJames as the "Load-Up Move." (I learned this move at an impressionable age from Frank Garcia's Saper Sabtle Card fuIiracles 119731.) I first learned the move in Expert Card Technique. Instead of the Drop Sleight. and gesture with them as I did at the staft of the trick. Jack's method is ptactical and typically devious. 'Remember. Resist the urge to grin broadly. however. Lono-Up Atrenrunrtve If 1. I often throw in a different move for the second. and I immediately began working it out.e11 Drop Sleight three times in a row." FJip the Ace face-down onto the packet and bring the trick home. . a minute ago-in the past-I said f ya cowld prEerfi innrpret the cards." I turn the cards toward myself and fan them so the audience can see there are four cards.

Presto.our right hand over the left- hand packet.) At this point.out left hand back to dealing posi- tion.Ftom the Drop Sleight position-see Photo l-bring 1. (Photo 9. with your left fingers. pull the broken-off card onto the iower packet. turn your left hand palm-down. Now.) Immediately. The retention-of-vision aspect to this switch is remarkable. In a continuing action. 140 * Jonn Bnrror . thumb off the top card of the left packet onto the tabled pile.) Extend vour left forefinger and place the tip of it on the outer edge of the outjogged Ace. With the tip of your dght middle fingeg push the top card of the left- hand packet forward about an inch. (Photo 8. showing the face of the out- jogged Ace. the dght-hand packet is direcdy above the left-hand packet. Now. push the outjogged card flush as you turn ). (Photos 10 & 11.

Aces" sefves an important function. I think you may find it pleasandy sophisticat- ed in construction and method-a little-known Mado switch wrapped around an R. The second and third Ace Assemblies in this series are some- what.vaftfllz-" assembly-where every- ^ thing is normal and goes as planned-which also educates your spectators as to what the routine is sapposed to look like." then prompdy sePafates them. Believe me." The Aces are flow vrith the Ace of Spades in the performer's packet. The performer explains that each packet now has four cards and reminds the audi- ence that "the Aces started out together . with the Ace of Spades at the back of the packet. Buuer Pnnw * 141 . you and youf spectators have a framework to refet to. shall we say. The Aces are pulled out in any order. In addition to being quick and mystifying in its own right.Foun Snnoow Aces This is the first of three Ace Assemblies of the "classic" all-at-once variety.. But first . Mrse Eu ScEue The set-up is quite simple. and the other Aces are placed into a face-dowll row. The performer keeps the Ace of Spades. The three piles with the other Aces afe stacked togethef. Paul lTilson subtlety that's one of the freshest Ace Assembly ideas I've seen in years. in either or both of next two routines. He points out that the "Aces start out togethef. PnEcrs The performer offers to demonstrate a classic magic trick.. you'll need it. unconventional We start with ". Exactly three additional cards are placed on top of each of the Aces.. "Four Shadou. This way. While straightforward in execution and effect.. The pile with the Ace of Spades is tapped against the combined pile.

Now with vour tight hand." or "Big Fat Bluff Aces. take the top card (the Ace of Spades). bdeflr' flash its face.) Foun To Mnnlo We'll start rvith a little-kno\\rn. Your right fingers should com- pletely cover the front of the Ace to hide the thickness. 2. $7e will leave the Ace of Spades face-up for nos: Flip the Aces face-dowfl onto the deck. flip them over downjogged a littie and. and the Ace of Spades behind (to'"vard vou) the middle card of the row.) You will apparenth'place the Aces in the ciassic "T-formation". the "Bold Substitution Laldq$/r. "The Bullet Catcher Routine. (Photo 2." or do all three assemblies. in squaring.(If vou are going to follorv rvith "Flipside Assembh'. Vol. that is. pick up all of the cards above the bteak as if one catd. see the discussion in this volume. three Aces in a face-down rorv. I simp11. get a left little-finger break un- der them. get the break. (Photo 1. then flip the Ace face-up onto the deck. 142 * Jorru Bnnruoru . but very efttctive Nlado srvitch. thumb on top and fingers underneath.) In an immediate and continuing actiofl> with vour right hand from above. Begin rvith the deck in left-hand dealing position and the Aces fanned face-up in r-our left hand. but as vou do." from l[arloi ]Iagaqine." for some routining tips.

with the left-hand packet. (Photo 1'our dght. and with )/our right hand. This subtext ^ that motivates the whole sq7i16[-"Q1. Give the deck a false-cut. because now the 'Ace" is replaced on toP of the deck. move youf left hand to the table and thumb off the top three cards into a rough row (Photo 3. Buuer Pnnw * 143 . deal the face-up Ace of Spades onto the table in classic "le^der" position. The left packet is turned perpendicular.) The Aces are now the Iast three cards of this face-up group. R. Then.) The right-hand half (the lower half) is put out of plat. once the face-up Ace of Spades is taken. and the two hah. if yss lip. slide the three tabled cards into fleater row. I need to straighten these Aces"-is 1's11r effective. and de- ceptive. I push over five groups of three catds each' Ftip the fifteen cards face-up on top of the deck. three Aces have been switched out and are on top of the deck. To are tapped together briefly. push over fifteen cards without calJing attention to the precise number. Txnee Okar. efficient. I like to do a false cut here because it puts more psvchological distance between the supposed Aces and the aPPafentl)'random cards placed upon them. Sure beats doing a Braue Addition.) The row must not be too neat. (Photo 6. P.Without pause. I do a quick in-the-hands cut where vour right-hand forefinger swings the top half of the deck into 1'our left hand.. motivated.) What a great switch-out for an Ace Assembly Itt fast. (Photo 5.

Thumb over the first three face-up cards and. and three Aces. Paul \)Tilson at the 2010 Blackpool convention. getting my left little-finger break. your spectators will have no idea why fout cards are "obvious. Without pause. spread off the top three face-down cards (the Aces) and place them on top of the Ace of Spades. Bring your right hand to the deck and get a break beneath the top six cards. repeat it again for the rightmost 'Ace.) Place this face-down packet onto the leftmost'Ace. The sequence was shown to me by the estimable R. Pne Oru The tdck. I have always found it fun to point out the "obvious" reason that three cards are added to each Ace. with vour tight hand. spread over the top three cards-shov/ing indifferent cards-and flip all six cards above the break face-down onto the deck. that reason being so the packet will have a total of four cards. and hold it benveen )rour extended left thumb and vour left fingers at a 45-degree angie to the deck-in other words. Paul calls the ploy (with a different initial Ace switch) "Royal Road Trip. Changing the pace a litde. then rcaitzed you'n/anted to turn the Ace of Spades face-down first. with your right hand. Then. for all practical purposes. E-Book. 2009). is over." There are six more face-up cards on the deck-three indifferent cards." Then. This lay-down stratagem is quite deceptive and shows a lot of indifferent cards be- t$/een the switch-out and then the switch-back-in of the Aces." Repeat this process to piace three face-down cards on the middle 'Ace." (Photo 7. Of course.)ral break. Now. flip the cards face-down. then re- place the packet. I simply lift off the face-up catds in a cutting action using the nar. in "tent vanish position." I stack the three non-leader piles into one pile. The subtext is that. turn the Ace of Spades face down in place." which appeared in Peter Duffie's 2009 collection.The Celtic Cabal (Duffie. I pick up the leader pile and tap 144 * Joxru Bnrunoru . you took the cards.

"It is one of the first truly expett tricks. Do the Aces "vanish and reappear. watch this. NTatch this. Motivation-why you are doing this-is more difficult still. I tend to go with presentational strategies that em- brace the "adventures of the props. you must be an expert. even the classic ones. then that alone may carry the Presentational burden: "Hey. I prefer not to resort to "Birds Of A Feather. van- ishing and reappearing ate far easier to talk about. "\l fact. For example . "Flipside Assembly"." A "clas- sic" has withstood the test of time and. must have some intrinsic merit." Strategies like: Showcasing the intrinsic worth of the trick by holding it out as "a clas- sicof against the combined pile. \r/e can use a strategy that gives the audience a "peek behind the curtain." or do they "transpose" with the indifferent cards? While transposition makes the most analyical sense. one of the oldest tricks with playing catds and one of the best." Here.) PResenrnrrou Ace Assemblies. if you are doing the trick. showing the assembly of the Aces. this is one of those tricks that magicians show eacb other Buuer Pnnw * 145 . Then I explain that there have to be exacdy four cards in each pile in order to do this." Bv this I mean seeminglv letting them into the culture and practice of the hidden magic world. much less to arive atarr acceptable presentation.Jot so coincidentally. (Photo 8.) Q. right? Finally. we could add. If you have an image and Persona like David Blaine. Another strategy involves your image and persona. Now." "Gathering Of The Clans" or "The Elusive Coterie" ap- proaches (a personal problem). accordingly. are difficult to explain." Ac- cordingly. this end game resembles the structure of the next assembly in the seties. I turn over the leader pile and spread it.

) 'T\dot hto. \X/e are a aded f lot." "Since we haue tbe Aces.) 'A classic of magic. the patter is essentially naraive." (Second pile. of course." (First pile. civilians are not so much.) 'I){ow we'// put sorue cards on top of each Acq it's important to put exactfi tbree cards on each Ace. . understand what is supposed to happen.) 'Not foar. each packet has a total of four cards in it " (Stack the non-target piles. tap with the target pile. a half-second later uzhen it does happen. Ba/.when they get together in secret.) 'Because then. IYith rne sofar?" (I\[ado switch. "Remember. " (Show the assembled Aces. second." lfith build up like that. who wouldn't want to see it? From here on. with the frame- a work established.r Bnruruon .) 'Do1ou know wh1 placing three cards is so important?" (Set the deck aside." helps create two levels of surprise: First. I have found. howevet.. the Aces start [started] out together . ^ Put togetheq these strategies create a framework of interest in which the "props" may propedy have "adventures. 146 * Joxr." I have found that. Infact." Qhud and target piles.) 'Remember the Aces started out together ." Qursgurs. Exact! three. this kind of thing can cre te high degree of interest among your spectators. Even when I show that each pile has a total of four cards-they still do not kriow what to expect-they do not see the assembly coming. if you cafl pull it off. tbis is one of tbe tricks ruagicians sbow each 61/1s7-wbsfi thry get together in recret.' but itl one of tbe best. 'I\ow the Aces start out together. I'd like to sbowloa one of tbe claric tricks of magtc It ma1 not be the 'oldut trick in the book. when they "get" the trick-that is.) 'But three. that beginning and ending with the phrase. III keep the Ace of Spadu and separate the otbers. " (Fifteen catds turned over. but I like to make ctyptic com- ments along the way that the end will v/rap up in a ftopefully) interesung way. .

Posr MoRreDl

Bncrcnouro Atto CReotrs
I began playrng with Steve Reynolds' myriad Ace Assembly concepts and ideas and
eventually ended up with the next two routines, "Flipside Assembly" and "Big Fat
Bluff Aces." As you will see, these routines are bit odd. They are fine on a stand-
alone basis for magScians. For civilians, though, you need to show them what the
Ace Assembly is supposed to look like so that they can appreciate (or, in the case of
"Flipside Assembly," even understand) whatt going on. Not hard to do. Simply start
with a quick, tight, traditional all-at-once assembly. To do that, all you really need is a
good switch-out of the Aces.

I had been famtltar with the Marlo "Bold Substitution Laydown" switch for a while
(but didn't knorv what to call it). Recendy, the incomparable Bill Malone used it in his
version of Marlo's "Bluff Ace Assembly." Malone on Mar/0, Vol. 1, (I-&L Publishing
DVD 2009). Initially, I was content to su/itch out the Aces and to distribute the cards
face-down. Combined with Paul Wilson's layout idea, howevef, the trick was no longer
iust a stfaw man, but a stand-alone, soPhisticated piece of work. Not iust a footnote.

Buuer Pnnw * 147

This Ace Assembly, based on Steve Reynolds' "TS Aces," is just plain weird. (S. Reyn-
olds, Seek 52 [Vanishing Inc. D\rD, 2009]). Every time I watched Steve's trick, I saw
the assembled Aces, I sensed magic had happened, but could not explain exacdy what
was sapposed to have happened. The closest I got is: "Indifferent cards assemble with
indifferent cards in the master packet, leaving behind the four Aces." Weird, right?

That said, there's a definite magqcdtry in there, and, with a litde extra thought, the
occurrence can be made clear, even logical. Basically, I substituted a moivated l-t
Tenps-qpe switch instead of the Vernon transfer Steve prefers. Flowever, in order to
motivate the switch, I almost necessarily clarified the effect.

I never do this trick without first pedorming "Four Shadow Aces." Never. You'll see
that the handJing here is justified by reference to what occurred in "Four Shadow
Aces." "Flipside Assembly," moreove! makes a perfect follow-up to "Four Shad-
ow Aces" because, as you'll see, the lay-down is squeaky clean. Furthermore, "Four
Shadow Aces" helps to justify the added procedure after the lay-down-which is, of
course, how the trick works.

The performer offers to repeat the classic Ace trick. Very faidy, the Aces are separated
on the table; thtee cards are placed on each Ace. Three of the Ace piles are stacked
together, and the Ace of Spades in the remaining pile is turned face-up.

The performet cautions that, "Nothing has happened yet." Meticulously, he shows
that the combined pile contains the other three Aces, each spaced three cards.
And, the Ace of Spades' pile contains the Ace and three indiffetent cards.

The performer takes the single Ace of Spades onto the conbined pt7e. After a purport-
ed "magical squeeze," the combined pile is shown to consist of only the four Aces-
they've "assembled" in a manner of speaking. The indifferent catds are found in the
Ace of Spades' original pile.

148 * Joxu Bnruruon

Mrse En ScEue
I told you this was a litde rveird. Previewed with "Fout Shadow Aces," though, the
twist at the end is sutprising, magical and not entirell, illogical (not entire!).

There is no set-up.

Foun Down
At the conclusion of "Fout Shadow Aces," after showing the assembly, do the trick
again, onJf in slow motion.

Take the combined pile face-up in left-hand dealing position. Slide the Aces face-up
into T-formation. From the left-hand pile, place three face-up cards onto the left Ace,
and turn the pile face-down in place. (Photo 1.) Place three more cards face-uP onto
the middle Ace, and turn the pile face-down in place.

Repeat with the right Ace and, with the last three indifferent cards, with the Ace of
Spades. This is about the cleanest ia,v-down ),ou'll see.

Now, stack the front three Ace piles and turn the top card of the Ace of Spades pile
face-up (this should be the Ace itself).

The patter should be similar to "Four Shadow Aces": 'Aces start out together . . .

three cards on each Ace . . ."

This, coincidentall),, is the same as the ending position of the previous trick, "Four
Shadow Aces." It is not unlikeh' that some of 1,out audience may anticipate that the
assembly has alreadv occurred. Given the clean lay-down, however, thatt obviously
not possible. That anticipation, however, you the perfect excuse to review and,
in the course of that revieur, to secredy accomplish the impossibie. So say out loud:

"I know whatlou're thinking, bat nothingl happenedlet."

Buuer Pnnw * 149

Revrewrruc Tre Srrunnor
Pick up the assembled packet and hold it face-up in vour right hand from above, fin-
gets in front, thumb in back-that is, in Biddle grip.

\il/ith your left thumb, pull the first three face-up cards into vour left hand. The fourth
card is an Ace, so as you pull it onto the left-hand packet, get a left Jitde-finger break
beneath it. (Photo 2.) Novz as vou pull off the fifth card, steal the Ace to the back of
the packet in the classic Biddle Steal manner. (Photo 3.)

Continue pulling the sixth and seventh cards onto the left-hand packet. As vou pull
the eight c rd-an Ace-get a break beneath it. As vou pull the ninth card, steai
the Ace to the back of the packet. Continue with the tenth and eleventh cards. The
"trvelfth" card is actually three cards, all Aces. Place this "c^rd" on top of the left-
hand packet, but get a left little-finger break beneath it.

Ostensibly, you have shown the packet to be copacetic, with the Aces distributed
throughout. I tend to use explanatoqr patter. "Here we haue three carh and an Ac6 three
more cards, arud anotherAcq three more and again an Ace-nothing's happenedlet."

With your tight hand, grasp the packet with 1,our middle finger at the top and 1'our
thumb at the rear. With 1,eg1 left hand, turn the packet face-down !1, pulling down
on its right side, allowing it to pivot between 1rcur right finger and thumb. (Photo 4.)

150 * Joxtt Bnruruoru

will almost automatically
Because you are holding a left litde-finger break, this action
sidefog the three Aces at the face of the now face-down packet. (Photo 5.)

Re-take the packet with your left hand and, using the automatic sideiog, get a break
above the lowermost three cards (Aces). (Photo 6.) I know this technique as Mado's
"Book-Break" technique. See, e.g., E. Mado, The Cardician (IVIug. Inc., 1953).

Now, with your right hand from above, pick up the Ace of Spades'pile and flash the
indifferent card at the face. Nothingb happened there yet, either.

A Sran oF LE Teups
Now all you need to do is to unload all of the indiffetent cards above the break onto
the Ace of Spades'pile as you apparendy take the Ace of Spades onto the combined
pile in the left hand.

I try to change the moment by doing a number of feints and unloading the indifferent
cards right in the middle of them.

Tap the left-hand "combined pile" with the right-hand 'Ace of Spades'pile." Say that
"nothing's happened yet." Rub the Ace of Spades pile on the combined pile-still

Italkalongthelinesof 'IfltaptheAcepile...notbinghappens.IflrubtheAcepile...
nothing happens. If I take the Ace of Spadu and shake . . ."

Buuer Pnnw * 151

This is where the dirfl, work happens. Bring ),our left hand over to 1'our right (vour
right hand will sta,v fair\, still during this patt). \With vour left thumb, pull the face-up
Ace of Spades onto the left-hand packet, but as vou do, steal all nine cards above the
break onto the bottom of the right-hand pile in the classic Biddle fashion. (Photo 7.)

In a continuing action, move vour left hand to the left and, u,-ith a broad side-to-side
motion, shake the supposed "combined" packet; actuallr'\'ou norv hold onlv the Aces
and all of the indifferent cards are in vour right hand. (Photo 8.)

squeeqe. . ."
Focus attention on l,our left hand, and casuallv place the right-hand cards onto the
table. I(eep both hands moving norv. With your right hand, flip the face-up Ace of
Spades face-down onto the packet and cover the packet. From this "cupped" posi-
tion, shake the cards in a broad up-and-down motion. (Photo 9.) Now, from this
position, pretend to squeeze the packet. Pause here a bit to slow dorvn and change
the timing, and then candidll'admit to ),our spectators that the trick has been done.

". . . ue//, now all of the Aces are here, and the other cards are a// oaer here."

Show the assembled Aces in vout left hand and the twelve other cards in the tabled
piie. (Photo 10.)

Weird, but oddly consistent.


152 * Joxru Bnuruox

ro Aro Cneorrs I mentioned in the intro that this tdck was direcdy inspired by Steve Reynolds' "IS Aces. Buuer Pnnw * 153 ." The odd approach and plot arc aL Steve's. As I said. The eventual "assembly''is not as abtupt. the occurrence is mote undetstandable. the endgame handling changed quite a bit. and iust as surprising. I substituted a Biddle steal for a Vetnon Ttansfer. As a result. and in context. along with some minot handling changes.Posr Monren BncrcRour.

I am exag- gerattng a litde-there are principles and deceptions at v/ork. flip them face-down onto the packet and deal the top three cards into a row. and the fourth card below ths 1ev/- 154 * Jonru Bnruott . Three cards are placed on each Ace. Each of the three Aces vanishes (that is. Not possible. becomes an indifferent card). Of course. Pick up the Aces (with the Ace of Spades at the face). Nevertheless. yet it sure looks and feels like a magc trick. blackKing. and with a wave of the hand. W'here did they come from? Mrse Er ScEne You need to start with the Aces out and three Kings on top of your packet of trvelve indifferent cards (or on top of the deck) in this order: blackKing. the fout I(ngs!? The performer is dismayed because "the last thing this world needs is another 'four-king' card tick. the 'Aces start out together" and are separated. Everything seems fair here. The Aces are placed into a face-down row. behind the row. All done very faidy." The four packets are turned face-down. with the Ace of Spades. designated as the per- former's Ace. Each of the first three packets is deliberately shown to have an Ace and three indif- ferent cards. .Bra Fnr Blurr Aces I tend to like tricks in this class where you reallv don't do anything and nothing really changes or moves.Iing of Diamonds. The perfotmer's packet consists of . here is a low-cost Ace assembly with a Hitchcock-type cJimax and a reverse assembly kicker. . an Ace appears as the top card of each pile. PnEcrs Repeating the classic Ace trick. too. The Ace is isolated face-down on the face-up packet. You may amuse yourself with this one-I know I do.

classic "T" forrnatlon. because it is-imagine that.) Place three face-down cards on top of the Aces. At the same time. but a little. Txe JB-Stvn Vnrutsx You will norv shor. the Siva fesnl-2 combination of Elmsler.v eachof the first thtee packets to consist of an Ace and three indif- ferent cards. deliberate manner. r'ou will set-up for both the Ace vanish and its eventual re-appearance in what appears to be a fair. but I want to inject a little uncertainfi' hsls-ne1 much. These are the Aces and this could be done more faid1. and rvith vout right hand. beginning with the Ace of Spades. Turn your left hand palm-down to show the Ace at the face of the packet. This appears fair.and Jordan counts.) Cd[ attention to the Ace. (Photo 1.) Buller Pnnw * 155 . Pick up the leftmost packet and place it in left-hand dealing position. Turn vour left hand palm-up.. (Photo 2. take it along the right side in position tor an Elmsle)'-g'pe count. ft\'e ate going to do the mother of a1l such counts. and the others have three indiffetent cards. The Ace of Spades has the three I(ngs on it.

156 * Jorru Bnruruou .) Call attention to the value of the card. Having shown the third indifferent card. not on the face.) Again. execute the Elmslev count exchange. the first card is loaded onto the face of the right-hand packet as )rour dght thumb pushes off and ).) Turn your left hand palm-down to show a second indifferent card.) Turn your left-hand face-down to show a third indifferent card.With your left thumb. and again call atten- tion to the value of the card. just as in the regular Jordan count. Turn \-our left hand palm-up.wn to show the face of the indifferent card. Nevertheless.) The same discrepancy flies past again. As you apparently take the next card. call attention to the value.our left hand takes two cards. the face card is different and the discrepancy flies. maneuver the left-hand packet face-up. As vou apparendy take the third card. pull the top card of the packet into I'our left hand and turn your left hand palm-do. but not the suit. (Photo 3. (Photo 7. In other words. as your left hand takes away the three-card block. iust as in a regular Elmslel. count. (Photo 5. (Photo 4. This is very discrepant because the card just taken is on top of the left-hand cards. execute the Jordan count exchange. bat not the sait. (Photo 6. Both left-hand cards are added to the bottom of the right- hand packet and your right thumb more-or-less simultaneously pushes over all but the bottom card.

Place the remaining right-hand card face-down onto the left-hand packet. and is now at the back of the left-hand supposed Ace and hold it slightll'above the tatget packet.anished.ith each of the remaining two face-dorvn cards. 2n6 show the Ace at the face. Re- peat this s. Squeeze the cards. Actualll'." (Photo 10. and table the packet in this configutation. sideiogged to the right. allouring the outer end to snap off vour right fingers against the tabled packet. Table the target packet face-down. Vnnrsn x 3 You rvill now "vanish" the Aces.) Drop the card face-up on toP of its packet. tutn the cafd face-up to sho"v that the Ace has "r. (Photo 8. pick up the first face-dor. Take the top two cards into 1'ourrighthand andgive the packet the venerable "squiggle flourish" and replace the right-hand cards underthe left-hand cards. Burrer Pnnw *157 . but sa)'you'll save a thatpacket forlater.Heret the cooi part: Your spectators have seen three indifferent cards and believe the remaining right-hand card to be the Ace shorvn at the beginning. be little co1. This puts the Ace of Spades second from the toP. With vour dght hand from above. the Ace has been switched for an indifferent card. There will be three face-up packets. (Photo 9. For the "target" packet.) Repeat this process with the next two packets. each topped with a face-down card believed to be an Ace.) You are now holding the card at the inner end benveen t'our right tlrumb and forefinger. and places the I{ing of Dia- monds at the face. With a fonvard "peeling" action.

Fon Aces Pause briefl1. square the packet. but it cost vou nothing. uh. The /ast thing the world needs is another 'foar King' card tick.Fon Ktncs If vour audience has seen Ace assemblies before (or if vou har.1or're notgoingto belieae this.. place the I(ing pile face-up on the table with the others. as if ). Kings. "Four-Shadow Aces').) After the displal'." (Feel free nzt to lse the 'four ICng' joke. This is not good at all. with purpose. pethaps. turn the piles face-dowfl two at a time.) Fabulous. the unexpected appearance of I{ings is almost as if the Aces changed into I(ings-almost. . . A dramatic pause-oka1. 158 * Joxtt Bnnruor . I try to downpiay the I{ing surprise as an unintended occurrence. (Photo 11. Do not overplay the "magician in troubie" 16ls-ne one really. . ne'aegot thefotr. Look a little surprised. . . a short.e preceded this trick with. Given the expectation of assembled Aces. dramatic pause. . Then. and do an Elmslev courit to shorv fout I{ings. it's not for evervone.our hands. 'And in tbe targetpile. bu1's it an\va\'. Iowet 1. You will alreadv be given credit for this expected inplud assembly Pick up the target pile and fan it torvard vourself. thev are ahead of vou here and expect the target pile to contain all four Aces.ou were trying to figure out how to remedy the situation. Time for the reverse assembly Now turn over the top cards of each of the piles to show the Aces have returned.

he added a second Ace to the master packet. the Krng combo rvill get lost in the deck." and often rl-iil stick "Flipside Assemblrz in the middle. is Darwin's. Tre BuLtET CATcHER RourtNE Each of the foregoing tricks can be done bv itself. the ma- neuvef relied upon an Elmslev count. black I{ing" combo on toP un- der the four Aces. but it is unLikelv that the I{ings ri-ill get split up. increases conviction that the last face-do'nvn card is. greatll. \'ou could shorv a different card on the face of the packet after each card was supposedlv taken. Duting the preceding tricks. to use the two-as-four count. The result is a complete bluff of an assemblli but a lot of magic. The "Hitchcock" ending. Bv leaving the initial assemblv implied. Betbre going on to "Four Shadorv Aces. The term. In plavrng with this. I discovered that bv using a Siva count instead of an Elmsle)'. Not surprisinglt'.vo-as-four counts to Present an assemblli then a change. Re1'n- olds. Steve's trick also used some tr. I{ing of Diamonds.Posr Monren Bncrcnouruo Aruo Cneotrs "Big Fat Bluff Aces" was inspired bt'Steve Ret'nolds' "N'Ionk's Assemblr'. Re-Pnoouce To start. do "Drop Target Aces. LosE. then a revefse-assemblr. I believe. while dis- crepant. But." srmplv look through the deck and casualh' cut the I{ing combo to the top. Buuer Pnnw * 159 . DVD. The use of the Siva count. is variouslv atttibuted to Danvin Ortrz and \il'esler-James.. To that end. har-e the "black Ir'rng. With just a little atten- tion to logistics." S. Not a convinced fan of two-as-four counts in this situation." ending rvithout ant' two-as-fouf counts and uitltont getting altead at a//." Then. I tend to do all fir-e oi tl-rem seiatiru and to think of the set as the "Bullet Catchet" routine.ays do "Four Shadorv Aces. but then l-rad to move it back to its packet for the re\rerse assemblv ending. 2010). Produce the Aces using "Bullet Catcher. Sterre had to Set one-ahead. Seek 52 (Vanishing Inc. I could get a Hitch- cock-ti. rru'here the assembled Aces change into a difttrent four of a kind." Ott To Assel{elv Lnruo I als. I s'il1 at least end s-ith "Big Fat Bluff Aces. Furthermofe. the Ace. m1'ending is consider- ably more streamlined. in fact. In that trick. he adopted an Elmsley maneu- ver for isolating a supposed Ace face-down in the packet. PRoouce. the tricks do plal nicelv together.

" forget about the ICngs and do the trick. Simple. perform "Big Fat Bluff Aces." Ifyou want to insert "Flipside Assembly. and the return of the Aces makes for a satisfiring." The appearance of the Kings after all-Aces-al1-the-time is a nice change of gears.8th. Obviously." lay out the Aces and then." At the conclusion. Now finish the routine with "Big Fat Bluff Aces.Perform "Four Shadow Aces. deal out the combined packet so the Kings are dealt to the Ace of Spades'packet. you will have to go through the packet of indifferent cards and move the Kings to the top-with the ICng of Diamonds in the middle. and 12th posltons. At the conclusion. the Kings in the combined pile are four cards the 4th. without too much fiddling with the deck. I usually cull the ICngs and make any necessary adfustment to the top three catds with the packet face-down. you will want to do this casually. ^partat To go direcdy onto "Big Fat Bluff Aces. complete ending. 160 * Joxu Bnrunot . Now. instead of placing three cards on top of each Ace.

PnEcrs A card is chosen and returned and left sticking out of the lower half of the deck. the performer selects a card.) I think the trick flows seamlessly and deceptively. or at least a face card. sort of a transposition. art "indirect transposition": A selected card is lost in the deck. Mtse Er. the perfotmer's card. but it turns out to be . Ideally. . a Queen. begin with a somewhat easy-to-remem- ber card on the bottom of the deck-an Ace. well-thought-out transposition of 1'u/6 621d5-\fi/ell. .BOx JUtvrpER This is a personal variatton Simon Aronson's trick "Switch Hit" that appeared in of MAGIC in August 2010. The perfotmer spins out a card from the center of the deck. The selected card is now cleanly removed from the card box. to dress it up. It's what I call. Presumab\1 it's the spec- tator's card. I liked it from the beginrung. Simon's trick was a cool. The trade-off was a litde bit less clariry for a little more control. Let's say itt the Ace of Clubs. iust used different moves in order to clarify the transposition. The deck is assembled. Not quite as straightforward as rwo isolated cards changing places. From the remaining half. and make it work the way I want it to wotk. Anothet selected card is set aside. Buller Pnnw * 151 . regular shuffled deck. The cards change places. and in the process. (For example. but the structure allowed more control over when the actual effect could be made aPparent to the audience.r ScEue No dupJicates. to eliminate a double-lift. I have not changed the basic structure. and places it into the card box. the spectatort chosen card is squared into the deck. known to everyone.

The upper spread. Almost as an afterthought." E. so that the edge of each of the last several cards is cleadv discernable. Spread the top half of the deck and break the spread so the selected card can be re- rurned on top of the left-hand half of the deck. place the selected card at the left end of the right-hand spread where it is held bv vour right fingers. Nfarlo. Actually though.near the end. (Photo 2. "The Flexible Switchout. chp huo cards at the end of the tight-hand spread. (Photo 1. remind vour audience not to forget the selected card. / (1. Let's say it's the Nine of Diamonds.) To motivate these actions. Raise vour left hand as if to take the face card of the spread back on top of the left-hand portion of the deck. with your Ieft thumb. Lift the spread so the face of the seiected card can be seen. No. l[arloi llaga7.1ne. Have a card selected and noted. should be spread fairh'er-enl1'. \\'e'll control the selected card with a little-known. especiallr. held bl vour tight hand.97 5) at page 1 5. but highlv deceptir-e and disarming Nlatlo move. Now comes the cool part.Cnno 0ne lu Tue Decr Shuffle the cards. leaving the "memorable" Ace of Clubs on the tace.) Now lower 162 * Joxtt Bnrunon .

Now s. shuffling off. swing cut about half the cards back into vour left hand.) \flith t'our right hand. do a pull-dorvn of the bottom card and get a break above it.over the letl-hand cards. push the top card to the right.'itch it for the select- ed card. release the right thumb Buuer Pnnrv * 153 . \\'ith I'our left little finger. taking over the break with I'our right tl-rumb. taking the top card singli. with vour right forefinger. (Photo 4. It appears that the top card of the left-hand portion is the just-shown selected card. Do an overhand shuffle.veen the first and second selections. take the packet from above.e'll use a Drop Sleight to show the Ace of Clubs and to srr. the shuffle takes the heat off the top of the deck-the last known rvl-rereabouts of the 6rst selection. This little-known maneuver will fool everyone who does not know it. but it's not. squaring it somewhat but not enough to lose sight of the sup- posed selectsd 621i-1hs wodd's easiest "con'. the Nine of Diamonds. Finallr.both hands. As the right-l-rand packet comes directlr. To use as a control. Use the right-hand cards to flip the top catd of the Ieft portion face-up onto the packet. I think the sl-rutfle provides some psvchological distance betr. and running the last card singll'. insert the apparent selected card into the middle of the right-hand spread.our lefttl-rumb. This shuffle switches the positions oi the top and bottom cards as rvell as giving the packet a mix.) \\'ith r.'incing" control. which has the selected card on top and the "mem- orable" Ace of Clubs on its face. separating them as i'ou do. \\'itl-r r-our right hand. Nos. Use the right-hand Packet to Ier-er the card ups-ard and to the lett so it thlls face-dorvn onto the left-l-rand catds. but leave it sticking out a little. place the spread on the table. Cnno Two ltt Tne Box You are left with the left-hand half. Also. (Photo 3.

The Nine is already in the box while quite convincinglv apparently lost in the center of the deck.v onto the top card. (Photo 6. or close it and give it to a spectator to hold. the Ace. almost perpendicular.break so the bottom catd falls directl. this addition is imperceptible-visualh' and psvchologicallr: \Without pausing.) Place the box onto the table to the left.) \\1th the correct timing. Lett pause and reflect on how far ahead we are. The card that is supposed to be in the box.v the just-shown Ace of Clubs-into the card box. (Photo 5. Now with yout left thumb. is on top of the deck. 164 * Joxu Bnruuor . PRoouce Depnnrueur Drop the left-hand half onto the tabled half. including the protruding card believed to be the selected Nine of Diamonds.our right hand benveen your thumb and third finget so the box can be held crosswise. insert the top card-supposedl. pick up the card box with 1. to the right-hand packet. Slowly square the deck.

(Photo 9. (Photo 8." But. fe\-erse the actions. Nlost of the time. and square them. described in the notes.rolate lour card. I r. \W-ith I'our left thumb and fingers. however. Your right forefinger. With 1. ftom the deck.) \\'ith r-our right and left hands. spinning it awa1. Lav 1'our right forefinger across the top of the deck. grasp the upper part of the left short side of the deck. grasp the lower part of the dght short side of the deck. produce the Ace instead.) No'nv vour left hand pulls the upper half to the 1eft. sharplv arc thefu respectiye halves fonvard and to the side with both hands. At the same time.our right hand pulls the Iower half to the right.) Once the top card has cleared the left fingets. (Photo 7. So let's sa1 we'17 produce the selected card. I v'ill use the iustifiablv classic Benzais Spin Out. Buuer Pnnw * 165 .vill use the "Fallout" move. '"fhe object here isfor me to locate and i. bringing the respective halves back together.6s1 right thumb and fingers. (At other times. The iliusion that the card rvas spun out of the middle of the back has s-ithstood the test of time and is iust fabulous. pu1ls the top card of the upper packet to the right as rr"'e11.) Turn the deck parallel with the table edge. and t. r'our right forefinger kicks the top card fonvard.

I alway do this." Look at the face of the card. wait a minute. . A super-nice touch I learned long ago fuomLarr\. in the card Ltox. nod slightlv and silentli. . .) This wa)r $'e provide a constant reminder that the card came from the box. tbenltoar card mttst be .expect that the trick worked. card. Pick up the card.r Bnrunoru . and sav something crlptic )tke. (Photo 10. Because of the expectation.) 166 * Joxr. the Ace of Clubs. V/henever I produce a card from the box.ould vou ask this question if you didn't think vou v/ere holding the selection? In fact. Now." Now execute vour favorite magical gesture on the card. if r-ou reallv did have the selection.u) card is ouer here . Think about this for a second. ^t And continue. pull out the selected card and show it. "Nine of Dia- monds. After the briefest of pauses. Your spectator replies. Pick up the card box. Why s. and ask lour spectatot what card she selected.'\'ou are notgoingto lte/ieue this. let's leverage the audience expectation. It is. it's almost like vou had the Nine of Diamonds and then did something to change it into the Ace of Clubs. sat'. look at it." Table the Ace of Clubs. thatl n4. Norv comes the fun part of the least catch up.1')7est: After removing the card from the box. Slos. turn it face up and put it back into the box. The ending displal. ptacticalll'tells the whole story (Photo 11." The pause lets the audience get a little ahead of 1'ou here-er. bv asking for its name before shorving it? Furthermore. gentll' shake it. but protruding about half wat'.'h' turn it face-up. if your audience has concluded that vou are at least competent. You get the moment of transposition for free. wouldn't 1-ou reveal it iust like this."He1. In other v-ords. ther. . "If . of course. then they are expecting the card to be the selection.Blurr TRnrusposrrroN You have apparentlr' located the selected gall-'a1 least attempted to.

vnrvard. pretend to be studf ing the deck and the riffle-as if 1. As this is done. some space and a decent surface ale required for smooth operation. so after the Benzais Spin-Out. Like this: With the deck in left-hand dealing position. The miscall is no doubt deceptive and effective. Bulrer Pnnw * 167 .ving both hands dor.ou were looking for something. For example. I developed the follos-ing "Fallout" move.-ith vour left thumb.) Raise the cards a httle higher than usu- al-about shoulder height-to just sh1. \'our left hand holds the lower section. freeing it.n benveen the n'u'o separating packets and land flatlv on the table.ip cut.) Nor. your right hand holds the upper portion.our left thumb. (Photo 12. and vour left thumb l-ies across the top card of the deck. As the halves sepafate.v input from the spectators. bring t-our right hand over it in Biddle grip. hold the top card in place with l. (Photo 13. opening a break about the center of the deck. he gets a glimpse of the first selection. in addition to providing the basic structure. then stop. he can miscall the card as the selected card without an. pull the top card to the left.v s'.Posr MoRrepl Bacrcnouno Simont originai routine. riffle the back end of the deck a couple of times. THE "Fnttour" Move As fabulous as the Benzais Spin Out move is. Now. Let the top catd fall straight dou. s. As )'ou do this. each taking its portion of the deck. Now all you wili do is essentiallr a sl. has some in- teresting asPects )'ou ma)I want to check out. For other circumstances. \With your right thumb. of eye-level.

flatl1. The illusion is quite good.The actual action is that your hands separate and at the same time sharplv arc down- ward in a semi-circular motion. and gendy.) Because the top card is held in place by your left thumb as the action commences. between 1. the card comes from the middle of the deck.our hands. it should fall straight down. (Photo 14. 158 * Jorru Bnuuott . Presumably.

but even back then I cautioned. "Retnerulter what I vid. a Chaiter cut. second time. The idea was to have everv catd except the selected catd appear ^t between the sandwich cards. vittualli'no moves are used at all. The performer correcdy di- vines the name of the selected catd.n card appears betrveen the face-up Jacks. I don't intend to do another ATFUS." The petformef cuts the two. two-phase routine: First time. The Jacks are set aside lvhile a card is selected. rilfe the edges andlour card a. but this time when the deck is spread. I am not as isk-adrerse at most perfornters. and spreads it to drsplay theJacks in the center of the deck. Buuer Pnnrv * 159 . 1. however. Just a couple of Doubie-Undercuts. I// toss the Jacks into tbe deck. it's probably better to introduce the sandwich concePt fitst before springing this strange version on them. and a Pull-Down Move-znd a litde audaciti'. "For lay persons. the card appears." Smoke and Mirrors @an- non. Then. \bu'll take a card and we// lose it in the deck. here no ATF'US is used." Sometime later." The performer duplicates his previous actions. PnEcrs "Mostperformers won't te/l1oa what thel're goingto do before thel do it. one face-dos. (Hoorar'. and cut into the deck.) Even better. rvhich is the card between the Jacks.992) p^ge 35.. riffles the deck. As I've said elsewhere. I came up with this streamlined.v appeared back in the day See "Fat City.i// appear betueen t/te Jacks. face-up black Jacks into the deck. Not a bad plot at all. Happilv. and the deck is shuffled.Fnr Crw RevtstrED "Fat Citl?'originall. In a minute. iffe the edges. The mechanics are based on Rein- hard Muellert seminal "Hal'e A Sandwich" from Jon Racherbaumer's The Hierophant.l'orr// rltoose a card and we'l/ lose it into the deck. so I an going to tellya exact/1 what is going to happen. Really. the whole deck aPPears. attdl'otrr card will appear between tlte Jacks.

onr card? Tlte Six of Spades. . (Photo 1. This time I uon'l cri tlte Jacks into the deck. and dolou know what ltappens? Tl:e entire deckjmQs l. The Six of Spadu? Is tltat ight? 5'hon' ererybo$'. Use anv deck and take out the nvo black Jacks (or rvhatever vour favorite sandwich cards ate. face cards mals. (Photo 2." demonstration plov when it can heip save a lot of work. as vou'll see. ." Mrse Eu ScErue No set-up at all.r ruostpetJbrnery so lets h1' this again. TheJacks are set aside again and the seiected card is cut back into the deck.the entire deck is be- tween them.telt.een tlte Jacks!" The Jacks are spread on the table. insert the Jacks into the gap and allorv the deck to close. 'Al/ exceptfor one card.) Now spread the cards to show the face-up Jacks in the middle. Begin a Charlier one-handed cut.) All of this is done b1." (I am a fan of the "in a minute. In a con- 170 * Joxru Bnnruoru . I'm going to .v break between the two face-up Jacks. I have amarglnal preference for the Chadier handling. Onlv one card is in left-hand dealing position-the selected card. Il/jrrst u'ate t/."Concentrate OilStsx1v cad.) Square up the deck and get a left pink. r'irtuallr. I'n not at isk-adt'erse a. "Mostperfornters uon't repeat tlte sarue hick.ork a little better). and as the cut is completed and the "V" condition begins to close. because it helps to disguise the fact that the sandwich cards are going benveen the top and bottom cards of the deck. way of explaining rvhat will happen "in a minute.) (Alternatelli vou can drop the Jacks face-up on top of the deck and give the deck a cut. this cail. Vlhat uas).teru ot'er ilte deck /ike tltis. and sure enough. Txe "lr-A-MTNUTE" No-Swrrcx Fnce-Up Swtrcx Hold the deck in vour left hand and the Jacks face-up in vour right.

Place the two cards cross-wise on the cafd box. immediatelv cut the deck at the break. as if 1." This card rvill need to be controlled to the bottom under the face-up Jack.tinuing action. rvhich at some ler-e1 reinforces the previous removal of the 'Jacks. (Photo 4. left-hand half. come ovef the deck and pick off the toP two cards. a Biddle-displav. But aiso do not let them spread too much. Now with youf fight hand.) Itappears that you simplv cut the Jacks to the toP.vhatsoever. (Photo 3. (This is the same ending position of the initial sr.ith r-our right hand.e the card replaced on top of the lor'"'er. follorved bv (ii) double-under- cutting the top t\\.r.) Drvrrue Satowtcx Spread the cards and have one selected. Cut the deck and har. one of the face-up Jacks has been switched out of the pair and moved to the bottom of the face-down deck.e vour spectatof stoP you.itch-out in the Mueller routine which emplol-ed (i) an ATFUS displai'/srvitch of the Jacks [which itself required an add-on. and then set them aside. Nos. pick up the selected card and caution l'es1 spectator to remember it. no moves r. Set the right-hand portion onto the table.ou rvere Lifting up the back of the top card and then the second from the toP. Replace the card on top of the left-hand half and. There are a number of rvavs to go here. s. a card steal. no revetsed Jacks show in the spread. apparentll' cutting the Jacks to the top. tvithout pausing.. Do not woffv about keeping them square.irh r-out right hand. Nos. but this is rvhat I do: fuffle dorvn the side of the deck and har. and an unload]. But look what reallt' happened: \With virtuall\.-o cards to the bottom of the deck.) Use nvo "picking" motions with vour right thumb. u. Of course. double undercut it to the bottom. pick up the tabled half and reposition the cards for an Buuer PnnrY * 171 .

and as before. (Photo 6.o cards (the se- Iection and the face-up Jack) in place. without pausing cut the deck at the break." Begin a Chadi- er cut with your left hand as vou pick up the "pair" of Jacks with r-our right hand and insert them into the deck as the cut closes. close the spread. you now divine the identrq. Again with your right hand. get a break above the bottom 172 * Joxn Bnunoru . Tutn vour left hand dos. We'll use the same no-switch switch again.or triple-undercut the card to the bottom (under the face-upJack). getting a break between the Jacks. double.rc Far Ctw Here comes a sneak. Believe me.) Spread the cards between vour hands.Vhtle )/our spec- tator is involved with the selected card. Place the two cards cross-wise onto the card box. Emphasize that the card is lost by spreading. Now just repeat the same actions you did during the "demonstration.n a bit so its packet is per- pendicular to the floor and tap it against the tight-hand ha1f. To confirm. Now. come over the deck and pick off the top trvo cards. then squaring the deck. Apparently losing the card in the deck. Drop it face-down on top of the deck. have the spectator remove the card between theJacks and "show it to everybody" (ot to "take a look").v part. \7eave shuffle the halves together. ENteRr. Take back the selected card from your spectator. of the selected card. apparently cutting the Jacks to the top. but this time a face- down card is between them For no better reason than that you can. TheJacks are in the middle. chosen weave-tvpe shuffle. this switch is strong enough to be repeated.) This action squares the cards for the upcoming shuffle. (Photo 5. taking care to leave the bottom tu. holding the deck in left-hand dealing position. but it also gives lou a psr-cho- logically-invisible opportuniq'to glimpse the bottom.

call attention to the remaining card.994). In my handling of the late. at all. there will be no discrepancl. Have ^ppe^r^flce it named again and then show it with a flourish. discrepant. The uppermost Jack will change.ou use identicalJokers as sandwich cards. I have used this approach to avoid an ATFUS-qpe switch for a long time. The switch is.) Once theJacks are over the deck. The whole deck will be between the two Jacks. Several things now happen at once. proving that this time all the cards except the selected card have been "sandwiched." demonstration technique to avoid an ATFUS and to streamline the opening sequence. With your right hand. (Photo 8') After two or three revolutions. Burrer Pnnw *173 . you shift the pack slightly to the left. I've employed this krnd of discrepant sandwich switch all the way [2sp in Mirage (1986). After the surprise of the deck. VHS 1. conclusivell. Jack Birnmani fabulous "Dragnet" routine. except fot the single card remaining in your left hand. pick up all of the cards above the break (that is. if 1." Posr Monren DeMoNsrnATroN Swtrcx Do not ovedook the efficacy of accomplishing the switch in the course of a demon- stration. gteat.I used a Biddle technique combined with an "in a minute .c rd-^pull-down will do the trick. Bring theJacks over the deck while. at the same time. Very high degrees of efficiency can be achieved. (Photo 7. move your right hand to the table and spread its cards. "New Jack Cily. the whole deck except for the selected card)." Smoke and Mirrors (DVD 2004. Immediately begin moving your right hand (with theJacks) in a clockwise circuiar motion around the supposed deck. Obviouslli though. course. N7ell. The moment of is good and the discrepancy is never lelissd-sven b1' 1[e56 who should know bet- ter. pick up the supposedJacks from above.

(Photo 9.t Mule :) The "demonstration" switch is also an effectir e and etficient set up lbr Rov \\/alton's classic sandwich effect. apparenth' cuttiflg the Jacks to the top. Have 1. In a continuing action.Evortcol. cut the deck at the break." but just keep going-no one rvill notice.our right hand. fuffle the edges and claim that her thought-of card has appeared betrveen them. Use two "picking" motions lt'ith vour right thumb.r"varia- tions. You can continue on with the classic Walton handling or anv of the man." Do it just as described abor-e. Not. Drop the'Jacks" on top of the deck.aries from what ). Hott'alsott tltat?" Hold the deck in vour left hand and the Jacks fhce-up in r-our right. Begin a Chadier one-handed cut. and tlte cardlou are thinkingof ui// appear bettt." :) 174 * Joxru Bnruron . come over the deck and pick off the top rrvo cards. immediatelr. this is a fairll' lame joke/effect. Ill askl. "In a mintrte.eett tlte Jacks.) While surprising. Square up the deck and get a break bets-een the two face-up Jacks. insert the Jacks into the gap and allorv the deck to close. spread the cards to show the face-up Jacks in the middle.) Ask for the name of the card. b1' necessin. (This r. Now with 1.oa to tbink oJ' a catd. and as the cut is completed and the "\/" condition begins to close.6s1 spectatol think of acard. so is hers. tbet I'11 toss tlte Jacks inlo tlte detk. then spread to shos. "The Smiling Nlule. as if vou rvere lifting up the back of the top card and then the second from the top.ou iust said rvould happen "in a minute. that et'eryt card is between the Jacks. ilfe tbe edges.

I probabll do the trick more often than I s-ould the full-blor.otr cor/d infrcnce tlte resrrhs in a garue oJ' rltance. Trost's trick has been s. bll infuencing hatt. The solution. and I wondered wht'it hadn't occurted to me soonet. so to speak. heard oJ' a gatte cal/ed Texas Hald 'Etu? In Texas Ha/d ' that it did not reset easilv enough. The onlv real complaint I got about the trick s. I guess. ]|y|.'$flhat vou get here is ml particular selection and combination (and re-invention) of brts and pieces. I revisited the reset problem. PnEcrs The perfotmet takes out a substantial packet of cards that have been taken from an actual casino deck.. topical presentation. this is an extended version of Nick Trost's "Nfatching Court Cards" (a/k/a "Court Card Conclave"). Anyrvali rvith the excuse of putting evervthing in one place.o1ume. rather than stack a deck. but it actuallv ties in somewhat nicelt'u. with a slight gambling spin' While it is based on "poker. titled "Poker Pairadox. rvhen I finallv arrivecl at it. 'ILat ercry'body. In this stacked deck version." I am tot re-c1'cling a trick to add volume to this l. Let'.ith the rvildlv populr g me of Texas Hold 'Em. I seldom get interested in tricks that require an1'kind of extensive stack or set-up.1r' and the effect is not exactlv poker-like. As befits a classic.r t5' an expeittent'" The performef counts the face-dorvn cards onto the table nvo cards at a time. In preparing fot the Billet Par4. As I get older. Basicallv.orked and re-rvorked bv manv or-er the r-ears. "Wl'or/dn't it be good iJ'l. I'r'e removed the requisite sixteen cards from a souvenir casino deck and rvrapped a nvo-doilar bill atound the packet-making this the "fractal" r. here's the temix. most of thrs trick appeated in A'tega \f.Poren PnlRADox Reoux Okal. rvrapped in a nes.ltoa onl1t get tuto Bulrer Pnnrv * 175 . ilte catds ttrn otrt. So. Redax. was painless and easl'. Gettins older." the presentation is not "hear..ersion.'/at'e. like poker? llot clteating exact/1.

The next pair is shor. eightTexas Ha/d 'Eru and all are matched pairs of high cards.ate placed face-dorvn onto the table. " "Sincelou on! get two cards." The performer picks up the tabled packet and spreads it so the spectator can select a card from the center.t the other. For the "fractal" version. Queens andJacks into a series of matched pairs (value and color). Queen of Clubs 176 * Joxru Bnnruoru . jast the Aceq kngs.ou do this. Accelerating his ac- tions. The best hands haL'e a pair of higls cards.four.. and Jacks. to var1. \N/oaldn't it be good if 1. hr0. Htgb pairc are ca/led prentiam' in no discernible order. None of the eight hands consist of paired high cards. Ace )X Queen of Spades. Idngs.emember I said. The next tlvo cards consis t of a matched pair of high cards-value and color. As 1. Also. ftv. of course. set-up the sixteen high cards." The top two cards are high. a good hand a'oa/d hat'e hto higlt catds. He shorvs the top two cards. 'B. again nvo unpaired high cards. "Cood hands haue hyo higlt cards in theru. too. TlsatJ n/1. He squares the packet and holds it face-dou. I like to take the cards from a casino d66[-1h6ss decks are available as souvenirs (usually with cJipped or drilled cotners) and are somewhat interesting. while not necessary in poker. but not paired. the performer turns over each of the remaining four hands. This is continued until ail eight pairs are shorvn. and a rea@ good hand has a higlt pair. W'e /ooked at each hand. six. Ther. sercn. The1.are placed on top of the first pair. I1v got tlte high cards here. fair and square. Here is one sample arrangement: * Ace of of Diamonds Hearts. the ICngs) at least one pair ftom ^pa:. So I haue enourt cards herefor lfie. And the two after that." The selected card is waved ovet the packet. The top two cards are now paired- matched in value and. ther. 'lI'e know a good band has two high cards. ttr. Ther. be sure to keep pairs of like value (for example. l.etl see ff ue haue ary high pairs. three. Mrse Eru ScEue Arrncr Txe Srncx You must. paeens." The performer shorvs the faces of the high cards. a1s tossed face-up onto the table. Arange the Aces.ou could infaence how the cards would tarn oat withoat actua@ cheating?' I\oq no one has cheated.n in dealing position. And the next rwo. the colors of the pairs. matched in color.

count the number of "hands" bv dropping the cards two at a time into a face-down pile on the table. (Photo 1. Queen of Diamonds *r Jack of Spades. Jack of Diamonds l* Ace of Spades. ICng of Diamonds Now. This is essen- tiallv the odginal Trost stack. KS. KC.Yr ICng of Hearts. now including the Aces. spread the packet face-up on the table so the audience can see the cards. AH.* Jack of Hearts. QH.JH. take out the packet and. Take a look at the faces of the catds and see l6sz good this arrangement looks. AC.JD IS. As lou remark that vou onll have the high cards. QS Even if \-ou are familiar rvtth the trick.JC. I{ing of Clubs *r Queen of Hearts. as t'ou explain the Texas Hoid 'Em asPects. r-ou still '"von't rccogruze this stack as applying to that trick. it helps makes the scene a little more interesting. The above sample arrangement norv Iooks like this: KD. QD. turn the packet face-down and move the top card to the bottom. QC. I feel. KH.Jack of Clubs . The stack is Norm Houghton's variant stack.) There is no good reason for ttus-I don't refer to it in the presentation-but just like the use of casino cards. lru Puce To perform. AD.erse count modifies the Trost stack to make it unrecogniz- able and indiscernible.vithstand examina- tion. Ace of Clubs *r ICng of Spades. Irvrap a two-dollar bill around the packet.JS. takes the Trost trick to the next level-one of m1'favotite Buurr Pnnw * 177 . It will r. This rer. and this displar'.

However. (See Photo 3. Now. is that the packet mysteriously reartanges itself. The effect.very clevet idea by Ryan Swigert. \l ) rJ Drs-Pmce Pick up the packet.) Point out that none of the two-card sets consists of a pair of high cards. Outiog the nominated card about half its lengh. Take each of the eight pairs one at a time. (Photo 2. a simple displacement is necessary-one card needs to be moved from the top to the bottom or from the bottom to the top.As you talk about high pairs.. Spread the packet ^ face-down and have the spectator touch the back of one of the catds. In fact. square up the cards and hold the packet face-down in dealing position. in order to match all of the cards. show their faces to the audience-each will consistof two high cards.) 178 * Joxtt Bnnruoru . fair display restores the packet to the original Trost stack.thing sneaky. now is the worst moment to make any kind of move. The following application of the Bill Simon "Business Card Prophesy" move to se- cretly displace the cards is . you need to be calling attention to the complete absence of any handling. This slow. after ail. but no paired s21d5-21d drop them into a face-down pile on the table. Be deliberate so your audience knows you aren't doing anl.

Take the top catd of the packet and show that now it matches the selected catd perfectll' in color and value. place the right-hand cards under the left hand cards. (See Pho- to 4. The actions ate highly motivated and the mechanics are effectively psychologically invisible. note the face card of this group of cards and remember it (the "glimpsed card'). in a continuing action.) At this point. . turn your right hand palm upwatd and.) Buuer Pnnw * 179 . Txe Mone Txtttcs CHANGE . Now. with your right thumb. take the spread cards above the outiogged cards. Turn your right hand palm-down and. clip the out. This highly deceptive se- quence is a thing of beaury. (Photo 6.ogged card beneath the spread cards. With your right hand.You will now apparendy turn the outjogged catd face-up. . have your spectator take the face-up outiogged card out of the packet and wave it over the top of the packet.) The outiogged card is now face-up and the packet has been secretly cut. Outjogged Card Is Different Ftom The Glimpsed Catd If the outjogged card is different from the glimpsed card. (Photo 5. The trick now has two slighdy different ways to go depending on whether the out- jogged card is the same as the glimpsed card (which is now on the bottom of the packet).

2008) (herein- after.e111 spectator take the face-up outjogged card out of the packet and'nvave it over the top of the packet. SeeTrost. pairs transforms the Trost stack to the Houghton stack." The Card Magtc Of I'Jick Trost (L&L) (heteinafter."Trost HbK'). 21s dealt to the table a second ume. Volume / (H&R. I always thought that the original Trost "Matching Picture Cards" trick had a number of problematic aspects. but it does make the trick look better)." One Saturday. lVtap the $100 dollar bill (ot whatever) around the packet and put it av. This trme take the top two cards of the packet and shorv that now thel' match perfecdy in color and value. If the outjogged card is the same as the gJimpsed card.Deal off the next seven hands to show that thev are now all high pairs (the fact that they are matched pairs is somewhat meaningless in poket. the "unmatched pairs" were shown and then ducked under the packet (a little too cozy for me. during the Chicago Session. bringing the trick to a successful conclusion. You will be left with one remaining card. "Court Card Conclave. LdvLat page 53. The initial reverse count b1. That's it. the court cards had to be handled face-down (because the stack was too transpafent). have 1. BncxcnouND AND CRrorrs While it is undeniably a self-working classic. again method-driven due to the nature of the stack). and finallli the ever-present and ever-goofy presentation of "royal marriages" or "matchmaking. As before. As it tutns out. LdzL)) at page 52. "Trzst. Now deal off the next six hands to show that now they are all high pairs. there is a necessary displacement that can be problematic (without returning to the deck or adding some setious sleight-of-hand to a self-working trick). Outiogged Card Is The Same As The Glimpsed Card. the procedure is just a litde different. we spent most of the day taking the trick apart and putting it back together again. Give it a flick and show that it matches the selected card perfecdy. rvhich in turn pairs the cards as the1." SeeThe Subtle Card Creations Of I'lickTrost. simply assemble the pairs and move the top card to the bottom. See "Matching Picture Cards. Specifically.tay. Norman Houghton aPParently had already figured out how to do that. we ended up basically re- inventing most of what appears to be Trost's last version of the trick. To my surprise. I had wanted to be able to show the "unmatched pairs" and to place them in a pile on the table rather than ducking them undet the packet. the to-the-table set-up procedure resulted in a stack that did not look like the Trost 180 * Joxu Bnrunor . Posr Monrepr lrusrnnr Reser To reset the packet.

Pure serendipiq. Swigert.arrangement at all. but this year's edition included Ryan Swigert's really good idea to use the Bill Simon "Business Card Prophesy" move to accomplish the necessary dis- placement. which. I received its unofficial. I'm sure. I could arrive at the Houghton stack in real time." The Aronlm (M. The Acronlm: TFD In OKC. R. Finallli I had the belated observation that if I simpll. but annual book of tricks. "Skal-ini Tim e. lost the opporruniqv to displal. you would not recognize or exPect that trick. the Houghton stack. The Second Deal. Steve Rel. Tams 2009) at page 10. Buuer PnRw * 181 ." The Reset came later. Even if you were fami\ar with the Trost trick. This was a srumbling block for a long time. a good displacement procedute was needed. Swigert for most subde and effective application of the "Prophesy" move. looking at this new arrangement.nelds sent me his method for providing for a reset. The next step was a nod to m)' o\un proclivity against stacked-deck tricks-the "fractal. I(udos to Mr. Then through the exclusive and eclectic internet forum. while clever.. Finally. counted the number of "Texas Hold 'Em" hands at the beginning of the trick. ^ It wasn't until I arrived at the notion of adding the Aces and the Texas Hold 'Em presentation (finally getting rid of the dreaded "royal marriages" theme) that I had a trick.

" I have included it here because it uses the "Fallout Move" described in "Box Jumper" and the Elias Multiple Shift described in the notes to "Bullet Catcher. Mrse Eu ScEne The foregoing is actually a fair description of what happens. and then revealed by the performet with ruo questions asked. The performer says..r Bnruuon . The spectator thinks of a particular catd and shuffles the packet so that even she doesn't know vzhich card is the one of which she's thinking. A card is really selected mentally. In any event.Wel. After concentrating a bit. shuffled deck-it doesn't even need to be a complete deck.Qu EsnoN Zeno This is actually a "bluff" thought-of card trick." PnEcrs From a borrowed. sort of. I do haue to askltou one question. You can use a botrowed. "l%e//. the spectator removes any five cards. This tdck is more-or-less a sneak preview from a wotk-in-progress on mental card m^glc. The cards are returned to differ- ent parts of the deck. apply large amouflts of guile. "Mentalissimo. the performer gives the cards a cut causing one card to spin out of the deck. tentatively tided. don't Iet the simple method put you off. The deck is squared and briefly shuffled. This has been a "secret weapon" of mine for a while now. 182 * Joxr. Then. IYhat card areloa thinking of?' He turns over the produced card. No force. it is the thought-of card. shuffled deck.

and accordingly. Tell her to look at the cards and to remember the highe$ card in her hand. Sow Renp Peer Take the packet of cards and insert the deck.fair?" Spread the cards and have her remove five cards from an)'where in the deck. I like the one-shuffle "lift" approach here because it's fastet than Buller Pnnw * 183 .) Continue shuffling off until you reach the end of the deck ptoper and toss the stolen packet back on top. Make a big deal out of this. "Got one? Good. 'LYe're going to p/a1 a game of mentalpoker. (Photo 1." The final shuffle misdirssl5 away from the "highest card" instruction. "If there is more than one card witb the highut ualue. The spectator's fir. Once she has het cards.1ou shffid the cards. number of false cuts or controlled shuffles. have her shuffle the packet. but actually execute an Elias Multiple Shift.) So far. chop off a small packet of cards.'e cards are back on top. Here you can simpll. (This trick is a good application of my "touch" on the Elias Shift. Norv comes the part that makes the trick work. Of course. the limitation is not as obvious as you might think.THe SuareRFuGE A-llow the spectatof to shuffle the deck. remember either one of them. it helps to emphasize the non-essential and de-emphasize the necessary.btta card from a field sf ens-shs "highest" card.our thumb. She did think of acard." Add a litde sell. She kruows that she doesn't know where her card is. now shffi the cards so euenllxl don't know which orte islour card. Ap- each card into a different part of parently push the cards flush. but more than five." And the closer. The bona fde sil. The catds do not need to be together. As you do the second "chop. by es- sentially grasping it between your ring finget and the base of 1. right? No doabt that it was afair shffie. but leave the five cards ofl top. which is described in the next section. The deck and the stolen packet are held in a "V" formation." steal the first packet behind the deck. but emphasize the fur shuffle part. she knows that neither cafl you. a litde context helps. No one couldpostibfi know the location of an1 card in that deck. That will beyzr 'ho/e' card. I do a Lift Shuffle: In an overhand shuffle. especially if we add some more layers. I wantlou to look through the cards and to remember the highest card inlour band. You haue a hand of cards. As we all know.uratton more-or-less trumps the limited choice. so good. and especially with some misdirection. In context. Be casual about the "highest card" part. "OkEt. do an1.

(Photo 2. rigltl?" As vou emphasize that no one could knos'rvherc tl-re card is. s. If I 184 * Jonru Bnuruou . those magicians s'ho knos-the joe shutfle mtv be puzl. AIso. as vou do "chop. The selected card is on toP.the stolen packet back on top. tun cards singlv until r-ou har-e run the selected card.per. to control the selected card to the top. Shuffle off.lile mtds. It must be face-dorvn because t'ou apparentlv do not knou. and vou don't rvant to spoil the sutptise.-1.) Once vou have the glimpse.on top. smile to r-ourself.orld r/. rotate the deck into a face-up position and. as these things go. corr/d po. Produce the cudface-dan'n tn r-our favorite mannel. Heret the most direct." steal tl-rc cards behind the deck. For example. if the card rvas third from the top.hat it is r-et.r in tlte deck.. CorurRol ANo Cot. After the shuffle. and tl-re second tl-rros. run four. Because the control was.orr are tbe onl. efficient. \bu har-e just controlled a mentaih-seiected card to the top of the deck. As follos.s: First.rou itt tlte t. keeping the backs of the cards torvard vour spectator.the nvo-shuffle jog shutfle. \os. run three.led bv the lack oi a second sl-rutflc. if fourtl-r t}om t1-re top. i.tN4nHo Ifthe higl-rest card of the fir'e is alreadr. immediatelv close tl-re fan and hold the deck in face-dos'n dealing position. Nlake tl-re tan so that the indices of tl-re top fir-e cards are r-isible. eivc thc deck a thumb fan (or finger thn). Time r-our shuifle and thn actions to c()rrespond s. s.itl-r a remark like the tbilosrns: "I\aqrre/.hile I a1n "concentrating" I uive the deck one more "lift" shuffle. there are lots of \\ravs to go from here.rn'l it? And no one carrld knol' t. 'f/tatlr trtre. eestute s-ith the tanned deck ancl look al t/te top . rigltt non.ltere //ttt nrd i.r-rilt/1' kttott'n'ltaf catd-yot are lhirHry ol. Al\ ou hm'e to do is see s'hich of tl-re fir'e cards is the hishest-obvioush' that's her catd-and note its position tlom the top. Tltuli ltLrc lao.

sometimes use the classic Benzais Spin-Out move. but can happen. I do haae to asklor one question. but that approach requires a little more tap-dancing. did not allorv for the extra diversion of "nor. of the card before the tabled card is revealed. then either st^rt ln or move on. The outs ate better than the fish. If vou get three cards of the highest value. Or. After the catd is produced. and produce it from 1'our pocket. without the production). If it does happen." The Unexpected Card Book.hile brainstorming various possible appJications of the "think of the highest card in r-our hand" gambit.v shuffle the cards so even you don't knorv rvhich one is t'our thought-of card. palm it. there will be two cards of the highest value. The Mado routine." I r. do a quick fish. go through the deck and cull the card. and shuffle to the correct card as set forth above. holvever.vorked our this trick'n'..favorite methods for that p^rtio)I^t effect. when you glimpse the top five catds. 1974. "simplex Blindfold Dea1s.eit' in a variation of the "Blindfold Poker Deal. be- cause the card is alreadv on the table." page L61). apologze. \'ou could iust fish and reveal (that is. That card is in nry pocket. Tltat cail is ttot itt the deck. Do the ^ff^nge perenniai cross-cut force to give vourself two outs. Nfado. Reveal the card in a dramatic fashion. be a true pfofessional and let her shuffle the cards. ask for the name of the card. The old favorite. I'll use the "Fallout N{ove" (described in "BoxJumper. Posr Monren Conrruoencres Ever). now and then. A pair is not unhkell'.. won't be perceived as such. It won't happen very often. but for the paL to be of the highest value is more remote.) Nlado used it verv effectir." It's still one of mr. What card are)tla thinkingof?' It's just better drama if everyone (even if it's only you and her) knows the identiq. Or.have a tabie. "Raque/. at page 23. In either case. \rou can remember both po- sitions. secretly the cards so one of the pair is on the bottom and one is on the top.. "\'ou couldn'tpossib/1 haue thought of the l{ine of Diamonds. I like to ask one question which isn't necessaf\r and. Most I'll of the time. Buuer Pnnw * 185 .) ^g BncrcnouND AND CREOITS I first sarv the "think of the highest card in i'our hand" gambit in Nfado's The Unexpect- ed Card Book (E." Gwould probabl. t'ou are not having a good day This is hightl'unlikel1'.v start a shuffle and "accidentlr" scatter the cards all over the table.

requires that the four Aces be insetted in various places in the uppet portion of the deck." (Photo 2.e made a minor change in handling to allow the cards to be more evenly distributed thtoughout the deck. "The outer right cotners are protruding from the upper end of the deck. "Elias. The rvar' the move is usuallr. described. two things happen at once. This leaves the outer left corners of the cards protruding from the Ieft side of the deck. Be- cause it brings face-down cards-which ma1'be knor'vn ot unknorvn bi'the perform- er-to the top of the deck. I'r. You do this b1'angling the cards to the left as vou push them into the deck with your right hand.) "Now. however. I could tell he was beginning to lose patience." Bannon inserted each of the top fil.e cards into the outer end of the deck. With vour left thumb. 185 * Joxru Banruoru . it's also one of the most versatile shifts around. slender blonde ignored him. "The Neil Elias N{ultiple Shift is one of the best-if not the fs51-in-1h.Tn r EunS M U LTI PLE SN rr I Bannon signaled the waitress.-hands Alultiple Shift. his tone suggesting I should har. Here's what it looks iike. Each was outjogged about one-half its length. (Photo L. into the deck. The oblivious." he said.) "Oka11 first you need to sidejog the cards as thev are apparentlv pushed flush into the deck.e kno'nt'n this move. push the angled corners of the target catds to the right.

the lorvermost cald of tl-re 'srvung' pack et must be belos.ermost target card r-en. tilt all of the cards beneath the los. "Okar'.) He s. right?" "Eractlr'. nou.fingers hold back t1-re sidejogged cards. \\'hat separated the trlias shift ftom most of the others s'as this moment betbre the shift is done rvhen the cards seemed lost and unconttolled. Burrer Pnnw * 187 . the target cards end up on toP. "\\hit.) "The result is that rhe target cards end up sidejogged on the right side of the deck for about one-half inch. a short delar-benveen the moment the cards are pushed flush and the actual move made all the ^pparentlv difference.r. The packet that is 'ss.rand. s-ith r-our lett hand. cut a packet of catds into vour left l. Then it das'ned on me.ermost tareet card. the cards defrnitelv looked lost.ung' as.e11-cor-ered bv t'our right hand. I see. "Once the cards are sidejogged. But I ner-er liked the constfaint of having the target cards in the upper por- tion oi tl-re Cut is completed. s'l-rich get stripped out of the 'srvung' section of thc deck. The illusion that the cards are actuallr' squared into the deck is verv right.av from the deck must be large enough so that all of the taliret cards rvill be propeth. \\'hat lou to do is take the deck with vour risht are going hand from abor-e and." I replied. As the Su. The sidejogged cards. so the Swing Cut packet rvill be guatanteed to be greater than the los. afe r.\s mud. The ker." he sard.\s you do this s'ith vout right torefinger.ith a Srving Cut. tbr the shitl. (Photo 3. As Bannon rvould point out to me later. That's rvhy vou are usualh-told to put the target cards in tl-re upper portion of the deck. push the uPPer cofflets of the target cards dorvn and to the right. so I came up rvith this technical r-atiation.'At the same time. There is a catch.the los-ermost target card. \-ouf left ring and pinkr. . Is that clear?" ".and deliberatelr'. It's a faidv easv technique to get. The moves can be done quite slorvlr.stripped out. s. moreover." (Photo 4.'ith vour right httle finger. rr.slighdv to the the shitl \\ras the fifst s\l/ing cut and that cut must be made belorv the los'etmost cafd. In other s-ords.

it doesn't really matter where you insert the target cards. S7ow. And since you know that you are always going to nail the cut. See? Now. (Photo 6. "The step takes the guesswork out of the Swing Cut.) "I get it. Do the Swing Cut from this position and you are all set.) "This slight tilt cteates a litde step at the outer end of the deck." 188 * Joru Bnrruou ." I said." He very slowly and deJiberately did the move."The sideiog makes it very easy to tilt exacdy these cards. you can reach down with your right forefinger and lift the perfect number of cards. because of the step." (Photo 5.

(Photo 2..CnocoDItE Fnsr Cur Here is a quick.) In the course of this levering action. Buuer Pnnw * 189 . eas\.ou ma)' consider doing the cut twice in a row. not-too-flourish1. in-the-hands f2156 s111-2nd you can't kno'uv too many of them.) Nor. ). the right-hand packet comes directlv or-er the left-hand packet. lift up about a thitd of the deck and swing the packet to the left. In the course of the cut. With your right forefinger. the deck goes from being face-dor'vn to being face-up. and aice-uersa. (Photo L. Take the deck face-down from above with 1'our right hand. So..ri use the lorver nvo-thirds of the deck to lever the upper third over so it falls into your left hand face-up.

) With your dght hand. flip the remaining third face-up onto the left-hand cards. Give itatry. you can use your right middle finger to spin the center packet out and around your left fingers to the right. Repeat as necessafy. the cut is visually deceptive and only a litde odd. out. with your right hand. 190 * Jonr Bnruuon .As this happens. Deposit the lower a packet of the horizontal "V" face-down onto the face-up left-hand packet. (Photo 3. with l. simply flip it over face-up onto the deck. move )rour right hand forward an inch or two. (Photo 4.) This horizontal "V" configuration looks [ke a crocodile opening its mouth (sort of.). Alternately. (Photo 6.) Once the packet is parallel to the left- hand cards.ogged an inch or so.) Despite the minimum number of moves. lift up another third of the deck. in an imaginative war.our tight forefinger.) Done. In continuing action. (Photo 8.) AII that remains is to pull the outjogged face-down packet straight out from the mid- dle and to revolve it face-up on top of the left-hand cards. (Photo 5. aligned with the lower face-up packet. (Photo 7.

Burler Pnnw * 191 .

So..FrwnAP Fnse Cur Here is another a deck of cards. if idly handl. with your left fingers and thumb. fBannon. Take the deck from above with 1. I will often be doing this cut over and over. It first appeared on my Bullets After DarkDVD @ig Blind Media. "Flytrap" rvas the onlv bit on the DVD that hadn't been in print. easy. I happen to like this a lot. Impossible. (Photo 3. either previousll. 2009). lift up the next third of the deck. (Photo 2. turn your right hand palm upward and your left hand palm downward over your right hand.our right hand. Things.) \\'ith vour right forefinger. 2009)). (Photo 1. With your tight forefinger. From this position. not-too-flourishli in-the-hands false cut. swing cut the top third into your left hand. And. in a circular motion. pick off the previousl). or concurrently (with the publi- cation of Six. we're fixing that here. lower third of the deck.) Return your right and left hands to their normal posi- 192 * Joxru Bnnruoru . Hold the packet in straddle grip between vout left first and fourth fingers.) Now.

(Photo position tor a C1-rarlier-t\-pe cut. turn vour rigl-rt hand tonvard and allorv r-our right thumb to slide the face of the packet as the Packet tufns face-up.) Buuer PnRw * 193 . \'et. pusl-r the low- er packet ups'ard until it clear:s the upper packet.tions. (Photo 5. tl-re tbllorving actions happen once.) Don't close the cut. (Photo 4. rvith vout Iett iorefinger.) Nos.) So. ^cfoss (Photo 7. the packets are beins held at roughlv a 45-degree angle. As r-our lett l-rand does tl-re Chadier-n-pe cut. toughh. ^t In vour leti hand.

but may take a litde work to get the parts working smoothly. move your hands together and flip the right- hand packet face-down.Once the right-hand packet is face-up.r Bnnruoru . 194 * Jorr.) This cut is not at all hard to do. book-wise. betrveen the two left-hand packets as the Chadier cut is closed. (Photos 8 and 9.


I actuallv do the thing: I have therefore onlv pretended to pretend. Jacques Derrida .To pretend.

B'RRrN rAc (BnunorlMounrn) The performer places a packet of playing cards wtapped with a dollar bill onto the table. The performer then states that he was so sure that the Ace of Diamonds would be chosen. "What would have happened if the spectator had named a different Ace?" 'I arzt sare we could haae worked something oat. I sent him an early draft of a work in progress which used the set of cards from "Spin Doctot" and the Bullet Parq'Display. it would haue been dffirentfrom tbe rest!" The Aces are tutned face-down and each has a different-colored back. Finally. is shown to have one face-up reversed 621d-1hs named Ace of Diamonds. whicheuer one of the Aces 1oa thoaght oJ . This handling began with a show of a face-up Ace in a packet v'ith three. A spectator chooses one of the Aces-for example. everything is clean and examinable. Liam sent back a slighdl. . face-down blank-face cards. the rest of the packet i. . revised handling. lruceprroru Liam was an eaiy adopter of the Bullet Party Display with a numbet of clever appli- cations. Of course. The bill is removed from the packet and the packet. "Orue thing we know for sure. he didn't bring the other Aces along. sensing the spectator's skepticism in advance. turning the Ace over reveals a different-colored back! The performer openly ponders." The three previously blank-faced cards now suddenly become the remaining thtee Aces.s shown to be blank. but with a fantasic presentational spin: TnrneoLrcAL * 197 . he made sure to get the Ace of Diamonds from a different deck. the Ace of Diamonds.

Hauelou done that?" The implication is that the acket consists of the Aces. The bill invests the packet with a little interest. but it is easily covered. I loved the concept immediately. Happily. Do not explicidy refer to the packet as you continue. I use a procedure modele after the one in "B'wave. the handling we artived at has a farrly braz n "fiddle" when the Ace of Diamonds is selected. four Aces with different backs and one blank-face card whose back matches the Ace of Spades). Liam's routine began with an equivoque to force one of the . It seemed to me that we ought to be able to devise a handling th t allowed either of bsTe Aqs3-1he Ace of Hearts or the Ace of Diamonds-to be selected. I would wrap dollar bill ^ around the middle of the packet. Egurvogue 3. "After seeing a face-up Ace in a packet of (apparendy) face-down blank cards. Begin with a set of Spin Doctor cards (that is. significandy stteamlining the initial equivoque a /a"B'wave. other than the "fiddle. the idea of the 'B'wave' as a presentational point occurred almost immediately. But we weren't done yet. I have always thought thatpart of the appeal of "B'wave" was the seamless equivoque down to two cards.{s6s-1hs Ace of Hearts. Reurx 1. 198 * Joxr Bnruuor . Arrange the cards in the following order (from the top down): Face-Down Ace of Spades Face-Up Ace of Heatts Face-Down Ace of Clubs Face-Up Ace of Diamonds Face-Down Blank-Faced C rd Taking a tip from Eugene Burget. If you like. Spadu. and tacidy says that no manipulation of the cards is possible. place it onto your spectator's open palm as y. take out the packet. Clever bastard. who uses a rubber band. To perform. you rvill limit that choice to Hearts or Diamonds. I wantlou to pictare the four Aces: Clubs.ou have her "choose" one of the Aces. Through equivoque. 2." the handJing is pretty much the same for each of the Aces." As you'll see. however." Not to me it didn't.Max Maven's "B'wave" gone wild. Liam says. Hearts." 'With lour imagination. and Dia- monds. Beware the B'rainiac.

4." resolves the ambiguity nicely in an unforced (so to speak) way. or to discard them? The ambiguity is not resolved until you know which color was selected. Necessarily. . Now imagine turning either the Heart or the Diamondface-ap.A face-up Ace of Hearts will show among thfee face-down red-backed cards. Place the last card on the bottom of the packet (the so- called "underground" Elmsley count). If the spectator says "red": "Good. So. Using the Bullet Party Display Count. but with a few practice funs. Now iruagine turning either the Heart or the Diamondface-ap. The Heart and Diaruond. Pick up the packet and slide off the bill wrapper." 6. Give the packet an Elmsley Count. I'll describe each alterrrate in detail." So.'Again withyar imagination. That leaues the Heart and tbe Diarnond. The ptocedure is slighdy different de- pending upon whether Hearts or Diamonds was named. she will answer either "Hearts" or "Dia- monds." If the spectator says "black": "Good. after you spectatot has "freely chosen" one of the Aces. lr Txe Ace 0r Hennrs ls Nnueo 5. Haueloa done that? IYhich Ace didyu tarn oDer?" Necessarily. Hauelou done that? lYhich Ace: didyu remoue?" The word "remove" is the central ambiguity. At the risk of redundancy. earlierl tarned itface-up in thepacket. . you'll see how close the two procedures are. "I had afeetingthatloa would narue theAce of Hearh. Hauelou done that? IVhich Ace didyu tarn ouer?" A slight emphasis on the words "that leaves . Remark that you had a feeling eaiier that she would name that particulat Ace. and probably one of the best' Ate you "femoving" the cards to use them. the trick can start. TnrnsolrcAt * 199 . show the packet as consisting of three blank cards and a face-up Ace of Hearts. she will answer either "Hearts" or "Diamonds. remoue either the red Aces or the blackAces.

As one mirror trial u.) This is a "Flushtration" maneuver. shorv the last right-hand card-a biank- faced card-and place it on top of all. 200 * Joxr. (The face-up Ace of Hearts s'ill show as the next card in the packet.Count exchange that occurs. Finallv. (Photo 4.i1l convince 1'ou.lou'er the cards and take the top right-hand card onto the face-up Ace in vout left hand. especiallv if your left and right hands are kept somes.v at the face of the rieht-hand packet. the blank- faced card is nor. Nos. \'ou can retract vour fingers for a clear displar: (Photo 1.r Bnnruoru . this is a r-erv deceptive sequence. (Photo 2.hat fa.) Turn r our leti hand palm dos'n to shos' the blank-faced card. If vou pincll the blank-thced card betrteen vour thumb and iorefin ger. (Photo 3.) Turn vour left hand palm-up and continue the second "count" of the Elmslev Count. Raise the right-hand cards to shorv the blank-faced card at the face.) Because of the Elmsler. apparentlv taking the face-up Ace of Hearts onto the iust-slros-n blank thced card. third from the top of the packet.) The Ace of Hearts is face-up. hou-er-er.Buuer Pnnrv DrsplnY Courur Pull the top card oi the packet into r-our ieft hand.r apart.

turn the Ace of Hearts face-up. remove the face-up Ace of Heafts from the packet. This next step is optional. batloa thought of a dffirent Ace?" TRrneoucAr * 201 . with your right thumb. N7ithout over- doing it. Now. push the downiogged catds flush with the packet. Outjog the odd-backed card as )'ou come to it.our right middle fin- gertip onto the Ace and."I know what you're thinking. \X/ith your right hand. That would not have worked because the Ace of Hearts is the only Ace I have. 8. slide the face-down Ace of Hearts under the packet at the packet's inner end. but I always include it. That's wfui I also made szre the Ace of Hearts had a dffirent-colored back!" 7. The rest of these cards are blank.) With your right hand. be unclear whether the card is going under ot into the packet. pull the top t$/o cards downward about one-third of their Iength. get a break under the top card of the packet. You'te thinking that I used sleight-of-hand to secredy turn over the Ace of Hearts. Nfith your right hand. 'Yoa're sti/l skeptical and I knewlou would be. Nfith your right fingers. As you do this. The odd-backed card will show among three face- down red-backed cards. \7ith your left hand. Turn the Ace of Hearts face-down to shov/ its back. (Photo 5." 6. your tight middle fingertip pushes the Ace outward. do the Christ-Annemann AJignment move: Place 1. (Photo 6. Now give the packet anothef Elmsley count. IVhat would haue happened if yu didnl think of the Au of Hearts.) "I know wbatlou're thinking.

Give the packet a "trvist" or "spin. (I iike to do a fake Alignment Nlove here. I would harc done this [qin]. And the Ace of Diamonds isface-up." 10.Now. slide the top two cards back as a unit. Without pausing. Turn all four face-down.) 2O2* Jorru BnruruoH . exposing the Ace of Diamonds. The Ace of Diamonds is face-up at the back of the packet. \\'ith r-our right hand. leave the back card-the blank-and bring the Ace halfwav out. "If ya thoaght of one of the black Aces.) 'What if ya d thlilght 0f the Ace of Diaruonds? In that case. we could haue worked something out. sho'nving that each has a diffetent color and back-design. Sptead the cards widelr. place the face-up Ace of Hearts on top of the packet.) (Photo 8.) 9. Chbs or Spades. (Photo 9. (Photo 7." 11. Place the double-card into vour shitt pocket rvith the Ace side facing outward. pushing the Ace of Diamonds fonvard a little with my right second finger. Take the face-up Ace of Diamonds and use it to flip the remaining two cards face- up-the Aces of Spades and Clubs." Noui buckle the bottom card-the Ace-and with your right hand.. Take the face-up Ace and place it on top of the packet.Turn attention back to the packet. lift both cards above the break as one. Take the Ace of Hearts from your pocket and place it with the others.

1orr n'arr/d nane lbe Ace oJ' Diattond. give the packet an Out-Ot-Position-Elms- ler-Count (the "OPEC count"). slide the trvo cards above the break dos-ns-ard about an inch or so.fbr srrre. it tt.vith the packet. The OPEC count is exactlt'like an Illmslev Count. \\'ith vour rigl-rt hand." 13. (Photo 11. A face-up Ace of Diamonds rvill s1'rorv among three thce-dorvn red-backed catds."One lhing u. This is done openlr'and not 5s61s1h'-1-eu are not tr\-ing to hide anv- thing.n) card and. Nos. .. ear/ier I ttrrned it.the Aces1. As vou complete rhe count.face-tp in tlte patket. 5'0.) Tl-re rest of the count continues as in an Elmslev (-ount. do the Christ-Annemann r\lignment mor-e: Place r-our right middle finueltip onto the back of the third (face-dou.611 iltorgltt ol . Time to do the fiddh-part.lticltet'er one oJ. excepr that for the count of "one" r-ou take the bctttoru card of the packet instead of the top card.l-ricl-r rvrll be second ftom the top atler the count.r. (Photo 10. r. u. push the dos'njogged cards flush r.) TRrneolrcAL * 203 .e knot.. get a break beneath the thce-up Ace of Diamonds.'orr/d lnrc been dilferent J)'ort the resl! " lr Tne Ace 0r Drnvouos ls NnMeo 12. ''I ltad a feeling thil. \\ith the cards in the original order. s'ith r-our right thumb. ..

) 'I know whatlou're tbinking.As you do this. slide the face-down Ace of Diamonds under the packet at the packet's inner end. This next step is optional. but iustified in this way. \X/ith your right fingers. show the packet as consisting of three blank cards and a face-up Ace of Diamonds. (Photo 12. pull the top two cards downv/ard about one-third of theit length. 'YouTe still skeptical and I knewloa woald be. Using the Bullet Parry Display Count. The Ace of Diamonds is face-up. it goes by." Interestingly.) As you do this.1 I also made sure the Ace of Diamond: had a dffirerut-colored back!" Turn the Ace of Diamonds face-down to show its back. The odd-backed card will show among three face- 204 * Joxtt Bnruuor . your tight middle fingertip pushes the Ace outward. do the Christ-Annemann Alignment move: Place your right middle fingertip onto the Ace and. remove the face-up Ace of Diamonds from the packet. 14. That's wh. to turn it ouer. With your right hand. N7ithout overdoing it. them. Now. but appear to explain and justi$. third from the top. 16. with your right thumb. With your right hand. push the downjogged cards flush with the packet. and place it back into the packet. Yot're thinking that I ared sleight-of-band to secretll remoue the Ace of Diamondsfrom the packet. be unclear whether the card is going under or into the packet. It is a necessary fiddle." 15. your right middle fingertip pushes the upper card outwatd.) "Sleigbt-ofband would not haue worked because the Ace of Diamonds is the on! Ace I haue. but I always include it. Be sure to place the last card on top. The rest of tbue cards are blank. (See Step 6. Now give the packet another Elmsley count. your words do not match your actions. (See Photo 5. Remove the outjogged card and place it on the bottom of the packet.

turn the outjogged Ace of Diamonds face-up. your dght hand. Outiog the odd-backed card as you come to it. butloa thought of a dffirent Ace?" Now. with your right thumb. Slide the top card back and place your dght middle fingertip onto the Ace and. The Ace of Hearts is face-up second from the top of "twist" the packet. it would haue been dffirentfrom the re$!" TRrneoLrcAr * 205 .down red-backed cards. . Turn attention back to the packet. lfith your right hand. rJ7ith your lfith left hand.Take the Ace of Diamonds from your pocket and place it with the other Aces. . lift both cards above the break as one. place the face-up Ace of Diamonds on toP of the packet. As you do this. (Photo 13. leave the back card-the blank-and bring the Ace halfway out. Take the face-up Ace of Hearts and use it to flip the remaining trvo cards face- up-the Aces of Spades and Clubs. I woald haue done this [t?in/. 17.) "One thing we know for sare. " 20. Remove the Ace from the packet. Give the packet a or "spin. Turn all four cards face-down. push the downjogged card flush with the packet. Spread the cards widely. l7ithout pausing. your right middle fingertip pushes the Ace outward. 'And f ya thought of one of the blackAns-Clubs or Spades-we coald haue worked something or/t.) 18. Place the double-card into your shirt pocket. showing that each has a different color and back de- sign. "I know whatlou're thinking. And the Ace of Hearts woald haue beenface-up." Now. whicbeuer one of the Aces 1ou thought of ." 19. get a break under the top card of the packet. lVhat would haue happened if yu didn! think of the Ace of Dia- moruds. do one more Alignment Move. the Ace side facing out. 'What { 1ou'd thlilght 0J the Ace of Hearts? In that case. (See Photo 7.

1. While I liked the sudden ending." I was very famitar with packets using rainbow back designs. The Ace vanish- es ftom the spectator's hand and mysteriously returns to the packet. I began from scratch. the "Spin Doctor" set of cards. the backs change and each card has a different-colored back. the unsophis- ticated handling. however. One of the cards. adding the Bullet Party Display to Instead. all change. I was not crazy about the illogical plot. The "Observation Test" presentation strategy is by no meafls new. the faces. Mr. as well as the backs." A demo might still be on YouTube. Everything is examinable. the blank- faced cards change into the other three Aces. Finally. sophisticated handling that ended clean. I was able almost immediately to make the uick more logical. but ultimately unsatisfiiing. This. This expression of the trick now has very little in common with Paul Gordon's original-in either method or effect. lucepnou In early 201.Pad Gordon put out a packet trick called "I(iller Observation Test. and then each of the five cards has a different-colored back. 205 * Joxru Bnruuor . I ended up with a satisSring. Hete. The perfotmer asks a series of questions to see if his audience was paying attention. As I had guessed when I first saw it. As a result. the cards could not be examined. ending: Fout identical blue-backed Eights of Diamonds are shown. and end clean and examinable. Gordon's trick moves very quickly to an initially-stunning. Then.Snonr ArrENTroN Sprtt (gnn noru) Four cards are shown: three blank-faced cards and an Ace of Hearts. Due to my work on "Spin Doctor. continuing to tinker. and accordingly.. is a double-backed card. then a fifth odd-card appears in the packet. and the fact that the cards were not examinable. howeve:--is notthatvalation.

Iwil/ asklou fue que$ions. pull the top card downward about one-third its length.-as well as a redisplay of the blank face and the red back. Using the Bullet Party Display. (See "B'rainiac. each with a different-colored back.) 'Ibe gotfour cards here: a blank. page 207. and a blank-faced card whose back matches the Ace of Spades. flip the pack- et face-up. I'll know how much I can get awalt with. 'You saw the blank cards. but dolou remember what suit the Ace was? Right. fuad1?" (f{ote that I say." 4. your right middle fingertip pushes the Ace outward. Howevef. Now. show it and move it to the bottom. push the downjogged card flush with the packet. With your right fingers. these are the exact same cards that^re provided with the fractal packet trick. The Ace of Heafts." afterthe Bullet Party Display. TRrneolrcAL * 207 . a blank. This is a gratuitous transfer of a card which can be avoided by placing the last "blank" in the display count on the bottom. As you do this. (See Photo 5. "I hope you were paying attention. !7ith your left hand. an Acq a blank and a blank.Reurx 1. You'll need the four Aces. "Spin Doctof. I hopelou were pqting attention. Place the Ace on the face of the packet." Step 6. this transfer provides both a small time delay-so the spectator's undetstanding of the make-up of the packet can solidi$." Arrange them in the following order (from the top down): Face-down blank-faced card Face-up Ace of Hearts Face-down Ace Face-down Ace Face-down Ace of Spades 2. Take the top card.) 3. with your dght thumb. Sfith your right hand. show the packet as consisting of thtee blank catds and a face-up Ace of Heatts. the Christ-Annemann A1ignmeflt move: Place your right middle fingertip onto the Ace and. The display is done casually and without too much attention on it.) 5. Happily. and depending on how we//1ou do. remove the outiogged Ace.

Place the packet face-up in your left hand-the Ace of hearts shows. especially as the audience is considedng the possibility. With your left fingers. Now make all of the Aces appear: 'Fourtb puestion: I knowlou saw these blank cards. (Photo 2. if not now. (Photo 1. has "vanished." Ask )'our spectator to hold out her hand. puestion is: Didya see it happen? To the untrained e1e. Now I wi// make the Ace uanish.6. With 1. hold outlour hand. indeed. Here. But we are aheady clean and examinable. the venerable and traditional Glide. of course. take the packet and wave the packet over the pocket in which you placed the Blank." (I really enjoy bringing up the notion of "trick cards" here. This is. Turn your left hand palm-down.) 9." the better. gJide back the lower card of the packet.) 7 . . but the Ace did . With your tight hand. \)7e will now take atip from "Spin Doctor. "Second question." Snap the blank card a few times to highlight its singuiarity and put it in your pocket. 8. it looks like notbing happened. take the second card from the bottom. This is a nice moment because apparendl. ." Pause a beat. so the more they think about so-called "ttick catds. and then show the blank f2ss s21fl-1he Ace. Place the card onto your spectator's palm. 'Third puestion: Does arryone think these are tick cards? The Ace of Hearts is back. uanish. Ill giueloa the Ace of Hearts. remove what is apparendy the lowermost card of the packet-the just-shown Ace-but actualll.) 208 * Joxu Bnuuol.r . but arelou sare thel aren'tAcet?" Spread the packet and immediately take two Aces into each hand and "squiggle" them back and forth. nothing can happen in full view.our right hand. then after the two major cJimaxes. Claim that you will make the Ace vanish.

The third change further minimizes and deflects the tactic. (I continue to be surprised at the number of performers who to believe that ^Ppear audiences do not wantto examine the cards.The appearance of the Aces comes as a complete sufPfise. "l-zst question." Yeah. The pocket and the change into Aces do not have a similady Jinear connection.rcAr * 209 . it's easl to tpot. the Aces f. if anything. That's thinking like a maglcian. 10. How cool is that? The best part is that the real climax has yet to occur. they should be unable to figure out what.) TRrnao!. is definitely \r/orth it. a litde un- usual. This places the Ace of Spades inside the packet. The trade-off. How manl noticed that the cards were marked? Didya notice that tbe back of each card was a slight! ffirent shade of color? Please bold outlour hand. derailing their ^pPe chain of thought. Just as the spectators are putting the supposed vanish and the reappe rarlce togethef. AII because of the open brilliance of their performance of "magjc" and spectators'inherent desire to experience "wonder" and "dofl't tell me how it's done. but admittedly. Reveal the back color change in a dramatic fashion. TVo maiot. The cards are screaming to be examined. The vanish and reappearance of the Ace was surprising. however." The cards are examinable and that should be encouraged. I don't want to know. Place the right-hand cards onto the left-hand cards and square the packet in your left hand. This is a nice moment. Do not be deluded by thinking that spectators don't want to see the cards. unexpected changes have just occurred: Aces and then rainbow backs. which causes a disconnect and a deflection. who's thinking Jike a maglcian. right. that action had to do with subsequent everits. For those spectators who get back that far. Oncelou know what to lookfor.

changes into a blue-backed 'Joker. and places it into his pocket. In fact. 'You see howlou can't lose. Three blue-backed cards have the word 'Joker" boldly marked on their backs. the Queen of Spades. " Everything comes crashing down at once. The packet is counted to show two 'Joker" cards and one "Queen" card. BIue- backed "Jokers" change into red-backed "Queens. The money card. Each of the Jokers h marked and so is the paeen. . "So alllou haue to do is choose tbe pueen of Spadu.' Tempted? I7A! As sooru asloa choose the card marked 'pueen. This time the faces of the 'Joker" cards are shown and." Evetything can be examined. One red-backed card is just as boldly marked "Queen. IA ask which pueen. except. . 210 * Joru Bnrunon ." The performer takes one of the "Joker" catds. All four cards apparendy change.' tbe game that is impossible to LOSE becomes the game that is impossibleforyou to WI\i!" He spreads the packet. sure enough." The cards are mixed and then counted again. Guess which zneJla haue to keep track of? The pueen? Absolutefi right." These catds prove to be the Queens of Clubs.0 (Morun en) The performer offers to demonstr^te a g^me of chance that is "impossible to lose.MONTI NATOR 5. and Diamonds." The "Queen" card is shown to be the Queen of Spades. 'As soon aslou the 'paeen' card. The top 'Joker" card is placed onto the table. the Queen of Spades. ItI impossible to lose." The red-backed "money" card. revealing the "Queen" card. pueen. areJokers. cleanly shows it." He displays a packet of cards remarking that the backs are marked. which coruuenient! is marked witb the word 'pueen. 'The cards are marked: Joker. and the paeen of Spadu is ouer bere. Hearts. there's no wa1 to make it an1 easier. is found to be the blue-backed "Joker" card. and Joker. thatl tbe pueen of Diamonds- ttlne are the paeen of Spadn That's becaase Jokers are wild . Joker. which now consists of three red-backed cards marked "Queefl. The paeen of Spadu is the cardloa haue to keeplour e1e on. ma1bq tf I got rid of one of the Jokers. And it doev't natter whichlou pick chose becaase thatl thepueen of Heartq thatl the pueen of Clabs.

that they've all changed into something else-a functional kick in the head. evefything happens at once. You will need the following cards in the following order (from the top down): Blue-backed Queen of Spades with 'Joker" on its back Blue-backed Joker with 'Joket" on its back Red-backed Queen of Hearts with "Queen" on its back Red-backed Queen of Clubs with "Queen" on its back Red-backed Queen of Diamonds with "Queen" on its back The bottom. According to Liam. The "Hard Core" handling is slightly more technically demanding. co rn. "SMootx lAzz" Hnrouttc a. TnrneoLrcAL * 211 . but has an extta displacement. but is tazor sharp. In playlng around with the trick. tri c ktas ti c. you immediately shov. Liam's deviousness is showing-I can't imagine coming up with this routine. With a little engineering. w w w. red-backed "Queen" cards can be in any order. The coordi- nation of the names on the backs of the cards with the faces shown in the Bullet ParW Display makes the whole thing 150). Take your pick. This trick is all climax. See Liam's site. but kept the full packet change of back desrgns and com- bined it with the full packet change of faces from the "Bullet Parqr" ttick.lrucepttott Once again. That is. we're offering two "establishment phase" handlings. The "Smooth Jazz" handling is simplet and mote deliberate.) ReMrx Alpxn 1. (I-iam has a number of variations of this trick. After the initial set-up and display phase. he eliminated the gaffed cards and double-stick tape from the Parker routine. as soon as you've established what the cards are. thtee. Recognizing that there can be different approaches to performing. he saw an application for the Bullet Party Dis- play. Liam says he was inspired byJack Parker's "Visual Acuity" (52 Memoies. "H^ppy times!" I have slightly customized Liamt basic routine to bring about a slighdy different series of changes which simplifies the routine just a bit. but this is my favorite and the one I do all of the time.

" to the bottom of the packet-make it look like a random cut of the packet. c.) c. Outjog the "Queen" card as you come to it. As you do this get a break below the first'Joker" card. get a litde finger break under the last two cards (the blue-backed ones). (Photo 1. "HARD CoRE" Hntoultc a. b. and also the back of the already-shown "Queen" card. d. brioging the uppermost "Queen" card to the top. give the packet an Elmsley count. "Queen" and'Joker. You will need the following cards in the following order (from the top down): Blue-backed Queen of Spades with "Joker" on its back Red-backed Queen of Hearts with "Queen" on its back Red-backed Queen of Clubs with "Queen" on its back Red-backed Queen of Diamonds with "Queen" on its back Blue-backedJoker with 'Joker" on its back The three. 'Joker" and one b. Now. as if losing the Queen. give the packet an Elmsley count. Three blue-backed red-backed "Queen" catds will show. do the Bullet Party Display. Cut the packet at the break. Cut the top two cards. "Queen" cards can be in any order. the red-backed "Queen" card is the Queen of Spades. To perform. Remove the outjogged "Queen" and place it on top of the packet. (Photo 2. really good. Double lift (or turnover) the top two cards as one. apparendy showing the faces and backs of the three "Joker" cards.) Apparently. Replace the double card face-down onto the packet. red-backed. To perform. e. Do 212 * JoNn Bnruruor . One try will demonstrate that the combination of flames on the backs and the faces looks really. Three blue-backed'Joker" afld ofle red-backed "Queen" cards will show: As you complete the count.

e. Repeat the block tulnovef to apparendy turn the Queen of Spades face-down again. TRrneoucAL * 213 . This is like an "OPEC" variation of the Bullet Patty Disp1ay. and then continuing as in the basic display. (Photo 3. show it front and back. with your left thumb. d. Take the packet in a dght-hand pinch grip (rt for an Elmsley count). 0uecn 6. On the count of "one" (verbal or silent). 7. really good. It works especially well here because the Bullet Party Display has a natural pause after each "beat" of the Elmsley count when the face of the card is shown. but I "EYE" count to show one red- always give the packet an backed "Queefl" between t'wo blue-backed'Jokers. and also the back of the already-shown "Queen" card. you will do the Bullet Party Display. do the OPEC-BulIet Party Display. The top card of the packet is the legitimate Joket card. but begin the count by tak- ing the bottorz card of the packet. of the red-backed "Queen" card is the Queen of Spades. This is optional. Remark that there is no way to make it easier for the sPectator-except.) Apparendy. One try will demonstrate that the combination of names on the backs and the faces looks teally. Take the legit Joker.a block turnover all but the bottom card of the packet. showing the Joker on its face. apparendy showing the faces and backs of the three 'Joker" cards. So. and put it in your pocket." The "EYE" count (from Ed- ward Victor) is a three-as-three count. From this position. perhaps to use fewer cards. take the top card of the packet into your left hand.

(Photo 5. A big enough surprise that the factthat now four cards are in play. actually the first card. instead of three. Spread the packet. she will lose. is placed on top of the left-hand cards.) 9. leading up to the unexpected climax.) 8. is not really noticed. none of the "Queen" cards is the "mone)r" card. (Photo 7.) The "third" card.) 214 * JoNr Bnruroru . all of the right-hand cards are taken and exchanged for the first card. if the spectator goes for the "Queen" card. finally show that the Queen of Spades is now the blue-backed 'Joker" c rd-^ fTn l surprise that also logically completes the four of a kind.As you apparendy take the second "Queen" card. Then. showing three red-backed "Queen" cards. Show that in afly eveflt. (Photo 4. (Photo 6. A big surprise. Everything up to now has been explanatory and reasonably quick. Set the top 'Joker" aside and remark how.


we're gonna do what they said can't be done.Eastbound and down. loaded up and truckin. Jerry Reed. from Smokry ArudThe Bandit .

the performer shuffles off four packets." Unlike the original. Shuf- fle off only about one-fourth of the deck and table the shuffled-off packet. Because of the milk. we substitute a Mado production idea and a couple of regrrlar dou- ble-undetcuts for a sophisticated. You have apparendy divided the deck into four random "shuffled" packets. Instead. Do a bot- Ore 0rr * 217 . there will be an Ace on the face of this packet. PnEcrs In the course of an overhand shuffle.and left-hand pack- ets. The deck is spread and the Aces are together. How- ever.0). Repeat the process once again. reversed face-up in the center.It is a simplified han- dling of Larry Jennings' "LJ Double-Undercut Aces. Ser Up A DrscnepnncY Pick up one of the packets (one that's not too thick) and hold it face-down. Mrse En ScErue A Mnnlo Ace PnooucnoN Begin with the Aces on the face of the deck. Ace routine. Jennings' eccentric double-undercut (where the top and bottom cards are exchanged) is not used.Acrs 0vrn EnsY This trick appeared in Peter Duffie's Card Magic USA (201. yet really easy. He then shows an Ace on the face of each packet. Repeat this process for a second packet. there is an Ace on the face of each packet. but this time. Start an overhand shuffle by taking both the top and bottom cards of the deck on the first "chop" (a/k/a "milk build'). table both the right. One by one the Aces are cut back into the deck.

This leaves the double protruding outiogged from the front of the pack. Pause briefly. Turn the deck face-down. So. I get a break above the bottom two cards b1. Then. Because of the small size of the packet and the quickness of the action. several cards more than the reversed block). you cut to an Ace. Using a double-undercut. and revolve it face-up on top of the packet. I slide the deck (that is. preceded by a small (10 . Because of the double turnover. An Ace will show. simply pinch the outiogged double. . spreading. I usually talk about "magician's logic. "LosE" Txe Aces By now.13) quantity of reversed cards. Pick up a second packet and place it onto the combined packet in 1. a face-up indifferent card will show on the face of the packet." and having found the Aces. the cards above the break) back about a half inch. pick up one of the tabled packets and place it face-up onto the left-hand packet. First. turning the double card ovet onto the top of the packet. I use a very simple technique. these actions reverse and cen:ualtze the Aces. make a gesture. 218 * Joxu Bnnuor . . it makes perfect sense to lose them back into the deck. your spectators will not recall the condition of the left hand packet and will accept that the Ace is at the face of a face-tp packet (like the ones on the table). Sptead off the face-up cards @e- cause of the pre-reversed block. there wi-ll only about eight to ten cards) and temark that there are flo Aces near the top of the deck. Actualll. Now. Now.. and spread the deck to show Aces unexpectedly face-up in the middle. Apparendy. your spectators. with my right hand from above. Be careful not to cut into the block of reversed cards.our left hand. or all of the above. dtamatically turn over each of the tabled packets to show you've located all four Aces. Cut off and flip over a little more than a third of the deck (that is. Spread over a few cards atthe face of the deck and remark that thete are no Aces near the face of the deck. The sequence has a satisfying flow to it and is easy enough to be done while drink- ing-you. in an undercut-like actiofl. Similady. Thanks to the pre-reversed block. then squaring the packet. cut the face Ace to the back of the packet. double-undercut the face Ace to the back of the packet. FIip the face-up cards face-down. You onlv need to watch your angles a litde. Retairung this packet in t our ieft hand. the single-catd cut looks good. quickly cut the Ace to the bottom of the packet. pull it out. You will apparently cut the Ace into the packet.tom double Jift. Trte JenruINGs REVERSAI A1l four Aces are at the back of the deck. Repeat this process with the last packet.

Having found the Aces. al. then lost them. the only logical conclusion is to find them agarn. at once. in the center of the deck. reversed. 0rr 0rr * 219 .

and another cut. 22O * Joxn Bnunon . one shuffle and one more cut" is better. As a demonstration of Texas Hold 'Em. it is fun to deal out ten hands. and deals himself an Ace. The apparent efficiency. a pair of Aces. and one additional cut. but somewhat trickier because of the Flop. moreover. gives the deck one shuffle. but we offer some finesse to make it easier to do). is also part of the plot. and then one more cut. ofle shuffle. he places the Aces ofl top and says with a cut. \X/ith only one cut and one shuffle. the petfotmer deals ten hands. one "irt" faro shuffle. He deals out one round of ten hands. PnEcrs From a shuffled deck. Turn. It is completely impromptu (the small stack can be artarged in real time) and requires no difficult sleights (well. Pocket rockets! The best hand you can have. He deals a second round and gets a second Ace. that's a good thing. As he promised. I have always approached poker deals as card tricks. he cuts the Aces into the deck. You get a lot out of one shuffle. rather than "demonstrations" that may pass muster at a real card table. This is an evolved approach that works quite nicely. In other words. Simply stacking ten hands in Texas Hold 'Em is okay. Sometimes." and taking up a lot of table real estate. that is. giving himself a pair of Aces-but the best is yet to come. Further. The appJicatron was somewhat easier because only two cards need to be stacked for ten hands. stacking the Aces only to have them beat by arr unexpected Royal Flush is as good as it gets-----especially if you are dealJng with ten hands. making the trick "large. the performer removes the Aces. Besides. there must be some kind of trick or plot twist. he'll stack the deck to give himself "pocket rockets". River aspects. but doing it with "one cut.Oue oF THE Berren LosERs The idea here was to combine "Ten Hand Poker Deal" and "Fast-Stack" concepts to work out a Hold'Em poker deal.

you can now shuffle the deck. cull the King. from the top. Four Aces are almost a sufe thing. like ttris: Spade. X. Spade (the order of the Spade flush cards is unimportant)' This set-up is easily achieved using the "CulI De Stack" technique fuom Dear Mr. Alternately. " Mrse Eu ScEue Txe Ensv Ser-Up From a shuffled deck. you can simply start from this posrtron. The easy way is to use the Braue Ad- difi6n-s1 a face-down Bfaue-rlpe addition (which is my prefetred approach). Then. ' . ". Spade. Fantay. On the turn. plaler number eight goes All in!"' The performer courits through the hands and isolates the eighth hand. maintaining the toP stock. Spade. Queen." Player B's hand fills in a Royal Flush. !7ith your right hand. Spade. pick up the Aces and flip them face-up onto the deck. The Ace of Spades must be on the face of the Ace packet. x. from the top: X. x. 'FourAces is agreat hand. get a break under the top four cards in preparation for a Braue Addition. anlesslotl run into . with thfee "x" cards between the top two cards. . however. a hand with four Aces is just one oJ the better losers. Before proceeding. Ideallll the Aces you just removed are face-down on the table. Spade. The set-up is now.On the flop. With the deck in left-hand dealing position. beating the performer's quad Aces. x. the othef two Aces show up. Immedi- atelli grasp all eight cards above the break. Spade. a Rolal Flush. Ore 0rr *221 . (See below) From this position. double undercut the top Spade card to the bottom. X. he has to call.In other words. 'Just then. . At the same time. Aoornc Oru Ok. Jack and Ten of Spades to the top of the deck. Spade. remove the Aces. On the river. [rest of deck]. now we need to fe fl^nge the cards a litde. the petformer says. it is noticed that both the "tufn" card and the "fiver" cards are high cards of the same suit as the flopped Ace of Spades. The perfotmer says that with four Aces.

Place the last Ace (apparendl) on top of the deck and. ). The shuffle need not be complete or perfect. you would have the equivalent of an "out" Farc of the top tbufteen cafds. This must be a perfect intedace.hat was the top card of the right-hand section (the original top card of the deck). I make a remark about the game being Texas Hold 'Em. Now if you v'ere to cut off the catds above the break. Like the first cut. Repeat this with the second and third Aces. (Instead of flip the Aces face-down onto the deck a face-up Braue addition.. Ace. you can do a SIip Cut at the break. In your right hand. Square the intedaced cards together and. and Spade. Explain that you will stack the Aces with only "one cut. You will find this very easy to do-almost automatic. 0rue SrurFLE. off the packet. [rest of deck]. Since the Aces are staying put on top of the deck. If done quickly and smoothly on an offbeat. Ace. from top: Ace. With your right hand. Only the top fourteen cards must be perfecdy intedaced. give the deck afl"ifl" Faro shuffle.Do the Braue Addition: With vour left thumb. X. apparendy losing the Aces. )rou can and pick up above the break. Spade. it will appear to be a "real" cut." Position check. cut off at least fourteen cards and interweave them into the remainder of the deck.. retaining the top card with your left thumb. get a right thumb break above u. frest of deck]. X. X. drop the last five cards as one on top. this is a fine handling. I usually spread the deck and then square it to do so." Cut four cards from bottom to top."ir. Now. as you do. with 1. Spade. allowing the use of a litde finesse instead of a perfect "in" Faro. the cut will only be of a few cards. Ace. At the same time. pull the top card of the right-hand Ace packet about two-thirds of the wa1. Position Check At this point the cards are in the following order.our right hand. Ace. X. Spade.) 222 * Joxru Bnuruoru . but you will likely find this easier than a perfect Faro shuffle. Spade. flip it face-down. one shuffle. onto the deck. Then. Spade. and one cut.ou are left with a face-up Ace with four face-down cards beneath it. X. Ace of Spades. (In the alternative.) 0rur Cut. Ace of Spades. To get the effect of ar." Faro. Like a Braue addition without the flippy stuff. Ace. I simply undercut the four cards to the top in a quick cut as I reiterate. effectively adding a card to the lower portion of the deck. X. AND 0rr Cur Get a break above the lower four cards. Pull off the top three cards singll. "one cut. X. from top: X. allow one card above the break to riffle off and then give the deck a quick cut at the break. Spade. Spade. use the packet itself to lever the card face-down onto the deck.

The wotk ^ is done and all thatt left is the dealing. Aruo Denrr Despite the minimal handJing. then turn over your card to show 1. Dave Solomon helped figure out that you could set the 0re 0rr *223 . Now there are two Spade flush cards on the board. pracical purposes should win every trme. Deal a second round. shuffle. Let the more savr. Now deal the "turn. Now explain that a hand with four Aces is gre^t hand unless "it runs into a Royal ^ Flush. deal three cards in a face-up row in the centet of the semicircle. You have four Aces! Explain that four Aces is a very difficult hand to beat. State that four Aces is a fabulous hand and for ail. Deal one round of ten hands-nine cards in a semi-circle and the tenth card to your- self. Then deal one card face up flext to the "flop" cards.So. and then itt just one of the better losers. Now show hand number dealt yourself an Ace. Flip your hand face-up to shovu' "quad" Aces. as promised. "Pocket Rockets" (2005)." as follows: "Burn" the toP card by dealing it face-down to one side. pause briefly before turning uP your card to show second Ace. and anothet cut. TVo cards will be Aces (one of which is the Ace of Spades). Explain that a pair of Aces-also known as "Pocket ftssks15"-is the best hand you can get in Hold 'Em Now deal the "flop. but it's not too obvious that four Aces are not "the nuts" and that a Royal Flush is possible. Srurrleo Un." Posr MonreM Cneorrs Ano BncrcRouND Tlls trick is based upon my eadier routine. Pause briefly. the deck is fully stacked for a ten-handed game of Texas Hold'Em. which fills in a Royal Flush.ry observers speculate about the flush draw Now deal the "river" by burning the top card and dealing a face-up catd with the e1hs15-i1is the third Spade flush card. and lrou feel good about your prospects. Explain that you have four Aces and you must cali and that you'd be crazy not to. Again. Then." Burn the top card by dealing it with the first "burn" card. you have given the cards a clt. which was a "fast stack" of four Aces. Explain that you were still feeling pretty good unt-il the guy at hand number eight suddenly goes 'All in!" Count over to hand number eight and discard all other hands.

X. Drscurse The Royal Flush is disguised best if hand number eight has the ICng of Spades and theJack of for a double. 224* Jorn Bnrruor . X. [King orJack of Spades]. As I mentioned eadier. but a double "duke" Royal Flush is a trick. So. Spade. Spade. while a multiple duke was possible.2011). the set-up would be from ^rrmrge top: [(ng orJack of Spades]. If you care to this set of events. stacking four Aces is really neat.. triple. set several hands during the stacking procedure. X. I set about exploring the multiple duke aspects and decided that. or even quadruple "duke"-in other words. Even better. revisiting the "Pocket Rockets" trick. we could arr^flge this trick from a shuffled deck. This trick also appeared in an abbreviated version in Tom Frame's comptlaion. Hold En Magic (\/anishing Inc. the double duke was the most efficient.

The "Cull De Stack" method allows this set-up to be obtained in real-time and on the fly.9461) at page 41. Buckleli "The Strip. Txe Svsren I'11 explain the concept in the context of this overall routine. "Beyond Fabulous. Let's call the four Spade flush cards the "Target Catds. Jack and Ten of Spades must be set at positions ofle. begin spreading the catds. four and eight from the face of the deck." Card Control (Gamblers Book Club. and the card direcdv after it. It is quick." requires what appears to be a fatdy elabotate set-up: The l{ing. two. See A. and accomplishes an awful lot in a shott period. When vou do.Cull DE Srncr (Fnor'r Denn Mn. published in 1. spread three cards past it and downiog the right-hand cards at this point. 1973 foiginalll. Queen. (Photo 2. The trick that closes the longer routine. (Photo 1." Pick up a shuffled deck and hold it face-up. downjog two cards: the Target card. The notion of "Cull De Stack" is based on Buckley's cull. When you see the 6rst Target Card.vou.ou reach the next Target Card. !7ith the faces toward .) With the cards in ttus downjogged condition. Fnrurnsv) And now a short detour.. continue spreading the cards until r.). 9r? ?-I 0ue 0rr *225 . efficient.

The Mar]o routine used a similar ptocedure to cull the Aces and two addinonal cards next to each Ace to the top so the Aces ended up third. Nice application. leave the set-up on toP. from the top of the deck. Howevet. two. (For now. A simple overhand shuffle. downiogging each of the last nvo Target Cards as t'ou come to them. Strip out the downiogged portion of the deck and place it onto the table. (Photo 3. will move the set-uP to the bottom. reassembling the deck on the table.Continue spreading the cards.vour right hand grasp the deck in Hindu Shuffle position. running the first eight cards. sixth. the Aces were stacked to fall to the dealer in a six-handed game. I later discovered that Nfado used a similar concept. Apparently you have run through the cards and then given the deck a cut. ninth and twelfth. (Photo 4.) You can see how this technique can flexibly set-up specific cards at specific locations in the deck. the Target Cards are now at positions one. four and eight.) Close the spread into 1'our left hand. complete the apparent cut bv cutting a couple packets of cards ftom the left-hand packet and placing them on top. Txe Cneorrs I have been using the "Cull De Stack" for a number of tricks and a numbet of years. Now with one Faro Shuf- fle. However. 226 * Joxu Bnnnou . and with .\ In a continuing action.

* ALL IN .

'And the night got deathly quiet. you got to learn to play it right'. and his face lost all expression." Rodgers and Hart "The Gambler" . 'If you're gonna play the game. said. boy.

or your least favorite.. ot just a random hour from one to twelve.."'Bannon said with a bit of a twinkle in his eye. and I want you to remember the card at your selected hour.. . She had noticed Bannon from actoss the caf6 and had hurried over to say." No one but me understood the Bill Haley and the Comets are thiflking of an hour and now a card at that hour.. any way I could know what your card is?" He dropped the twelve-card packet on top of the deck and gave the cards a straight cut to the table. Now I am going to show you some cards one at a i. . Bannon gave afl imperceptible shrug and moved on. She nodded expectandy. The only reason I bring it up is because this trick is about time. extended his hand and rettieved it from the striking young woman on my left. "Liz. Liz.I am thinking of my favorite hour of the day. and about oblects in space.. then nodded again. I'll admit that's as far as I ever got. ten. eleven o'clock.Cn nou rc "In the magical hietatchy. and twelve o'clock. four o'clock . her eyes looking upward and to the right. " o'clock. "Rock. "Now.. three o'clock . cleady glad to be part of this show. . Bannon absent-mindedly cut the cards a few times as he set the stage for the experi- ment. two ." He paused and said. Have you done that?" Liz paused briefl1. thatt nine.. .. "If I give the cards a cut. . "Iiz..." Bannon looked around for the deck of cards. "Five.iLlr:e. Playing cards. eight o'clock. I d like you to think of an [es1-i1 can be your most favorite. don't tell me what it is.six. is there w^y I could know what ^rry hour you are thinking of?" "No..." . . . right? Be honest. right below'Grand Wizard'is the rank of 'Master of Time and Space. then Au ln * 229 . "That's right. be honest." "Shuffled?" he asked. of course. "That's one . okay?" Bannon began taking cards off the deck and showing us the faces of each successive card. "Excellent.." she said tentatively.

not even cIose. He asked Liz to polnt to one and discarded it. thatt way too earir'. Got it?" Bannon looked away from her as she dealt the cards.hat hour lou are thinking of. but how the heck did you control the card to the correct position?" He shook his head. r'ou don't knolv even approximatelv rvhete \-our card is. be honest. I'11 get rid of half the cards. right?" Liz nodded with each statement and soon began shaking het head from side to side as an\r discovery of her card became more and more impossible.. right?" He quicklv gave the deck another cut.. and then without waiting for the answer. No\r. he outjogged every e1hs1 card. "\X/atch T\l" He was down to two cards. "I think I followed the reverse faro at the end." Again. "Let's sal.m.rve spend some time at the shoppingmall. stripped the cards out and discarded them.611 knos' mv card?" she asked.even)tzlt don't know rvhere vour card a little perplexed. I could know-in advance-how many cards you rvould deal onto the table?" She said." the usual mathematical displacement could not be at work. whater. she just looked at him. I said to Bannon." il Later. what card are vou thinking of?" First. 'And if I cut the cards again. "The TVo of Hearts. Seven p. as she was leaving. "Trust me." 230 * Joxru Bnruror . Bannon picked up the dealt cards gave them a brief shuffle and weighed them in his hand." Because Liz iniualll'had not removed "a number of cards corresponding to her selected hour.'er the total is." He continued.turned the last card face-up-the Two of Hearts." appreciating Bannont hard sell. Bannon handed Liz the deck. Bannon asked. I'11 admit I u. deal that manv cards into a pile right here on the table. He held it up for the applause cue: "Master of Time and Space. "No.e got some time to kill. Ltz gave Bannon a smiling but qttizzical look." Once more he outjogged and discarded some cards. stripped them out and discarded them back onto the deck. "Looks like we'r. Liz. "Let's see if time is on our side. thatt cocktail hour.m." Bannon slowll. and said."Liz. Before turning back to her. and then whispered. "Surf the internet." He quick-lv outiogged everv other card. "Liz. srniled. I don't waflt vou to tell me s.I rvant t'ou add vour hour and ml hour together. is there anv wa\. turned and ieft. This was no ordinarr' "clock trick. Not seyen a. Itt se\-en o'clock. "Liz. "How did 1. But I rvill teli vou m)' favorite hour.

to the legion of "Really." He gave the deck a cut and then raised it so I could see the bottom card. I call it the 'one plus one equals two' Iocation. it's very different from the tra- ditional 'clock' displacement methodology. "I know a revefse faro when I see one. Au lu * 231 . It's some kind of mathe- matical placement. It's not a 'clock' ttick?" location tricks based on a "mathemattcal" or procedural displacement in which the "thought of" cardwas either forced or moved to a known position. I was referring. but it's not. "But other than the 'clock' premise. It's much better than using abstract numbers. Procedure has nothing to do with it.' Nothing taken away. It's mainly a bluff-a layeted bluff. Febtuary. Bannon nodded. the spectator does not have to 'remove the same number of cards as the hour she is thinking of. 'A Joker with a downward corner crimp so it can be cut to the bottom. you appear to be reciting a serial list of hours. Let me show t'ou . malrbe about an eighth of an inch a'way from the corner. except that I need to retain the number feature. This way." Bannon smiled.' and so on. Larry Becker has gone further and has had the spectator think of her favorite month. Remember." "Mathematics has litde to do with it. the thought-of card will be one of the top twelve cards of the deck. I asked. "WelI. as he reached for the cards." "Because of the addition?" A complete guess on my part. but let's be subde about it. I am sure the undedying principle is ancient. of course. he tecited the calendar serially.." I said. For one thing. I use a crimped key card. the crimp could be easily seen ftom behind. and as he showed the cards. I would have used months. nothing to put back. Instead of counting. January. "Yes. I knew that these kinds of tricks were among his favorites. "The basic location is very simple and ought to be transparent.'The 'clock'premise helps disguise the mere counting of catds and grounds the trick in a more famitar envitonment." I recailed that the basic crimp was a slight downward bend in one of the index cor- ners. doesn't it?" 'Yes.. A1l I have to do is put the same number of cards as my favorite hour on toP of those twelve cards. "Speeds thungs up a bit. I kept the'clock'premise of having the spectator think of a card located at her favorite 'hour." "That's it? That's all?" I asked."Come on. And it removes that last bit of procedure from the trick. It's an effective diversion." he said." I had noticed that eadier. and easily cut to even without looking.

He cascaded the catds to- gether with a soft " can shuffle as much as you want. Then.. "Your participant thinks of an hour between one and twelve. if vou like. Now 1. but above the bottom eight cards. But I suppose vou could alwal. cut the crimped card to the bottom." Bannon lifted off the top third of the deck and weaved it into the back of the deck.I also recalled that Bannon routinelv cdmped one of the Jokers (Photo 1) so it could either be used. "Then. (Photo 3. Finally. "Okari now we are readv to do the trick. or taken out of pla1. right? So. cut or shuffle seven cards under it." ilt Bannon quickly recapped the selection process.) "So the deck can be shuffled.) 232 * Joxr." From rvhere I was sitting. I take the top card with my right hand and shorv it to her.r Bnruuon . it sure looked like a real shuffle. (Photo 2. one at a time.s iust crimp the bottom card on the flr'. I piace the next card in front of the first with m-v Ieft hand. so the crimped card is eighth from the bottom. keeping my right hand still. 1'ou show her twelve cards off the top of the deck. depending on the situation. as long as you don't disturb the bottom eight cards.

and deals a pile of fifteen cafds. not on either individual number.' Of course. 'Okay. the cards afe put back and the deck is cut twice. "Second. 'After twelve cards are shown. and placed the balance of the deck on top. the 'free' cuts afe very disarming. you afe misdirecting your audience from the only thing that mat- ters: There is a relationship between the total number of dealt cards and her selected hour. "Okay. He said. the selected card ended uP o11 top of the dealt pile. First. "I never ask for the spectatof's selected hour. It was vefy simple. Now deal your selected hour. and then the number of cards equal to her "selected hour" were dealt as the total was reached. 'There's no way I could have known in advance how many cards you Au ln * 2)3 . and not emphasizing those elements that do. howevef. Only my left hand moves. and neither you flof youf sPectator knows the location of the card. Even knowing there was a crimp in there somewhere. those cards were dealt off first. that is exacdy what happens. I think." Bannon replaced the cards on top of the deck. and that way there is no motion blur associated with the card she is looking 21-!ss2u5s I keep my right hand still. but focusing on the total obscures that a little. Say she adds her eight o'clock to my seven o'clock to get fifteen. I particulady like the final statement. you afe not only selling the 'impossi- bility' of the trick. the focus is only on the total of two numbers. These cuts Put a psychological dis- tance between the starting place of the deal and the initial group of cards that were shown. Her thought-of card is now the top card of the dealt pile. Then the third. This is all true. This is much better than continuously moving your right hand to get the flext card."Notice the order of the cards is not fevefsed. flashing the Joker on the bottom. you don't know the hour. "By having the spectator confirm these aspects. Instead.I could. "Finally. Because we put seven cards on top. I should call it the 'two minus one equals one' location. this straight cut to the table seemed fair and disarming. The deal seems random and unrelated. I see that one plus one equals trvo.'This is the classic best practice of emphasizing those aspects that don't have anything to do with the meth- od. Here. cut off the top half of the deck to the table. Of course. You can let the spectatof cut as many times as she likes as long as you make the last cut." Bannon handed me the deck. deal my hour first. you don't know the card. Bannon was ready for the question. "Three feasons. \7hy does this fool anybody?" I asked. I don't have to. and so on. there is what I call 'the hard sell of the immaterial. you cut at the crimped card. Cutting the crimp to the bottom naturally leaves seven cards on top of the twelve possible thought-of cards. The second time. It uzould appear much more transparent if you said. Too simple. Can you see that?" Actually. I ask het to add hs1 h6u1- whatever it is-to my hour and to deal the total number of cards onto the table.

) "A1l you have to do is see where the bottom card goes. I realtzed that Bannon was right. AJI you really do is cut to the crimp. He simply controlled the card to the bottom and then faked a series of reverse faros. right?'Again. focuses on the total. Smoke and mirrors. And yes. "'Well." Later. simply discarded the packet that did not contain the bottom card. "There is one final layer of deception and bluff: Simon Aronson's really clever 'Bluff Oracle. Re- peat this until you are left with just the bottom card. I found it in the Pallbearerl Reuieat-Yolume 6." As the trick became clearer to me.would deal. no. The rest is just layer upon layer of bluff. striP out the outiogged cards. sometimes you may discard the other group of cards. How cool is that? 2)4 * Joxu Bnrruoru . it's absolutely true. AIl I did was shuffle the top card to the bottom and keep it there. and obscures the undedying method. right?" I seemed to recall aKarl Fulves re\rerse fato location called "Oracle. you don't necessarily have to rely on mathematics to deliver the card to you. tv "So what's with the reverse faro?" I I remembered Bannon had shuffled asked. November 1970." Bannon quickly spread the small packet and outjogged every other card. Sometimes you may dis- card the outiogged cards. you shuffled the selected card into the correct posi- tion for the reverse faro. "I see. Bannon smiled enigmatically. the small packet of cards." He must have seen a ptzzled look on my face and chuckled a little. (Photo 4. the trick was al- most a total bluff. Then. Number 1.' Si- mon realized that in a reverse faro procedure. and discard the pile that does not contain the bottom card.

I don't think tricks necessarily need to be meaningful."'When you get down to two cards. "Moracle" (also in the Pallbearerl Reuiew. it looks iike you are using the re- verse faro to narrow down the cards to a specific card in the center of the packet. minimal presentation. Devious and efficient. it uses a Presenta- Au lr * 235 . I asked Bannon. but they should be interesting. discard the card that is not the selected card. and whichever one she points to. either directing. both camps afe wrong. I(eep it close. In other words." I said. despite its bad rep in certain circles. the script is purell.had worked with the principle culminating in his popular "Beyond Fabulous" from his 2005 book." I was familiar with the "Oracle" location and Lin Seades' multiple-Oracle location. If she points to the other card. don't tell anyone. He was always trying to make tticks shorter and more elegant. "To the uninformed. Most obviously. non-fantas- Uc. Bannon. describing. you act as if she was choosing the card to be kept.'But. it provides a context for the whole 'think of your favorite hour'device." V Recalling the very. Ask the spectator to point to one.' Here.July 1971). Dear MisterFantasl." warmed up. You know me. or commenting on what is happen- ing-itt all 'adventures of the props. The 'Master of Time and Space' approach ac- complishes a lot of presentational goals. you can add an equivoque. if she points to the selected card. in particular. you act like she was choosing the card to be discarded. non-condescending. it looks like you are narrowing down the cards to some random card in the center of the packet. haven't you?" "Pretty much in every clock trick I do. Aronson's Bluff Oracle was new to me and very devious. "Where did Aronson pubJish it?" "He hasn't. "You've used that 'Master of Time and Space' bit before. Of coufse. I knew that Bannon spent a lot of time I could tell he was iust getting thinking about how to present tricks in a non-jokey. "Solves a lot of problems. To the informed. it's okay because it all happens in context. After the first sentence or tv/o. "Look what else 'N{aster of Time and Space' does for 1'ou. First. Bannon was a fiend for efficiency. Interest follows cofltext." "Context?" "Context. naraive. there's nothing inherendy wrong with 'adventures of the props.way.But.

offer to give them a peek behind the curtain. another presentatiofl strategy is persona-based.'Then. "!7ell. what we do when we get together. maybe later. 'Anything else?" I asked." I remembered Bannon had used a similar approach to address the Ace Assembly pre- sentation problem. With the right kind of persofla. Think of David Blaine saytng. audiences will watch the trick just because you are doing it-no additional Presen- tation is required. you boost the persona elements by holding yourself out as having achieved the rank of 'Master of Time and Space. 236* Joxr Bnnnon .tional strategy I call A peek behind the curtain. it creates interest. So. that kind of thing. Okay. when you add the candid." A peek behind the curtain.' Here. then. self-deprecating confession that 'that's as far as I ever got. what our exPe- riences are. W'atch this. "Let me show you a trick that magicians show each otherwhen they get together." "How many different'presentation strategies' do you have?" Bannon looked at his watch. if we offet to explain a litde of that.' Civilians are not familiar with how we magicians end up with our abilities-what we had to go through. He said somethiflg like.'the persona elements are boosted even further.

There was the Queen of Hearts.." "Do you know what the enigma is? The enigma is that the Queen is on top. crummy room. "Can you remember nvo cards? The Ace of Spades and the Queen of Hearts."' he said with a smile. face-up.. Yeah. The riddle is: If I Put the Ace on the bottom. I knew Bannon before he hooked up with stylish video mogul." Ar.. He apparendy had seen the trick before and was fami\ar with my reaction. I shook my head and looked at my fellow spectator. By the "Bannonator?" Or whatever they were calling him. wrapped in a mystery . which doesn't happen vety often. "Sure. Bannon was not Par- ticulady known for difficult sleight-of-hand. the Queen's ofl top. Because the Ace is on top. right. "Good. \Tithout a move. the balance of the deck was now face- down beneath the face-up Queen! He slowly removed the bottommost face-down card and snapped it face-up-the Ace of Spades! 'And the Ace is on the bottom. grown men doing card tricks-you guessed it. Then." He flipped the card in his right hand face-up onto the deck-it was the Ace of Spades." I nodded my head. "The answer is a m1r5ts1y.Bu F'D Crummy hotel." Bannon flipped the two cards over onto the deck. a maglc convention. "You've been 'Bannon-ated. Give me a break. packed with bleary-eyed. right?" He turned the Ace face-down and placed it under the deck." He spread the cards between his hands.. Before he started wearing those black T-shirts with skulls on them and started using those funky playing cards. I did a complete double take.r lru * 237 . Big BJind Media. 'And the Queen is on the bottom. on the bottom. He took the top card in his right hand and waved it gendy. I'1I show you a riddle . inside an enigma. so I didn't exPect the simple two-card transposition to end like this. Bannon had spread off the top several cards of the deck and lifted the top two to show me their faces. he slowly turned the deck face-up.

" he said brusqueli'. calling the top face-up card and the one undet it. 'A lot of work? There are onll'one and a half double turnovers. "The Ace of Spades and the Queen of Hearts. if we look for clues. "Wheret the Ace?" Another rhetorical question.. Ididn't knou'rvhat to call it. "\flhat?" he said. He turned over the top two cards of the deck. "Look." "Really?" I said skepticallr'." While I was scrambling. on page 288.. "\We'll place the Ace aside for nos. "Ever hear of Mado's 'Buffalo'd' principle?" Sounded famliiar. .\Vow. Less than two moves.ster]'." Bannon stopped tryiflg to hail the on1r.." Bannon loved the deck de joar. here are the Ace of Spades and the Queen of Hearts. 'Another m). inserted it into the middle of the deck. Ibidem 15. and s. ((ft6msrnfs1-1lls Bannon then placed the face-up Ace on top of the face-up Queen. Not a coilector." He took the next card in his right hand and stopped. he just Iiked different-looking decks." In the center of the deck r'"'ere three face-up Aces with a face-down card among them. 238 * Joxn Bnnruor . Ace of Spades and the Queen of Hearts. I did not see that coming at a1l. He flipped the pair face-down and dealt the top card onto the table.n onto the card box." He turned over the top card." He took the top card of the deck. Turns out it was almost older than I am. December 1958. but I couldn't place it. ." il "Haven't seen that one before. "Nlust be in the deck." He turned the cards face-dorvn onto the deck. I nodded. Bannon took out his deck-Bicvcle Vintage #5 " should be easy to spot. but the Queen. A re-transposition? A kickback transposition? Backfire? \)Thatever. and gave the deck a coupie of cuts. right?" he said. and repeated. it rvas the Ace of Spades. the Ace. because he simplv turned o1.e'll put the Queen into the deck. 'Arrange them so the Queen is the top card of the face-down packet and the Ace of Spades is second from the top. That's it. and placed it face-dos. Of course. Lotta' the catd on the card box. solved. "How long do )rou think it r. "The Ace of Spades and the Queen of Hearts. rvaitress in the donut shop and just stared at me across the table. Not the Ace. "Take out the four Aces and the Queen of Hearts.r'ill take to find the Queen?" Purelv a rhetorical question.

Not.. Because you turned the pair over. "Do you have the Aces and Queen packet? Is the Queen on top and the Ace of Spades second? Good.vou when lreg apparendy name the cards. not sptead over four cards." he said impatiently "The face?" Okay.-as holding an ordinarv face-down deck.?" I was p." I said. "You can push over as many as four cards before the true con- dition shows." (Photo 1.) Ar. turn them face-down. I had the five-card face-down packet followed by the rest of the deck face-up. square. so .tzzled until he showed me the catd in his hand was not the Queen of Hearts but the Ace of Spades. now take the toP two with your right hand. sra5. so wh1.l ln * 239 . and call the face-down cards in the same otder as you did when they were face-up. Even Mado's unadorned version can be very effective. the Queen was on the table." "You mean there's more to it?" I asked.." "Exactly. It looked like I .. People )ust go with .r. the order revetsed. "'Buffalo'd. Bannon continued. Bannon smiled.'And . lr! "This trick is an exploration of 'Buffalo'd' concepts."' "Hilarious.'You call the face-up cards face to back." "I get it.. Show the pair by rurning 1'our right hand palm upward. I began to get a sense of how far ahead he realll. The first phase uses what I call 'BIuffalo'd. place the face-down packet on the face of the deck.

but she's not." I looked at him. Then. will take for granted that circumstances are as vou sav thev are-not as ther- acruall1. I quote Winston Churchill's line about a riddle." Bannon flipped the two cards face-up onto the deck. Now. were a few seconds ago and still remarn." W'hen Bannon said "time misdirection. the quote generallv sets a compelling scene and context for a trick. r. "Okay. first. inside an enigma. thet.calJing the face card. lear-ing the Ace face-up-211other soon to be discrepancy'-slovily turn the deck end- for-end to show that the Queen appears to be on the bottom of the deck. but onlv the Ace can be seen. But thanks to the set-up deck. deceptive. so when vou turfl the Ace face-down. the Queen should still be face-up. the final kicker remained. Norv s." By itself. the Ace of Spades." For example. Actualli.m moving ^fld -before 240 * Joxru Bnruruoru ." it meant one thing: Discrepancr-. So after a short amount of elapsed time. Sl-ros. "So?" "So. squared. people just don't pav attention to things that aren't important. use your audience's perceptual and analvtical short cuts against them. "You only need a short pause here-for misdirection dra. Take the top card and place it on the bottom of the deck-calling it the Ace of Spades.e need iust a little time misdirection. He was actuallr' speaking about the Soviet government. Cal1 out the pair br.. He called it a form of "judo. So after havrng placed the Ace' on the bottom. that the Ace is on top. It puts a little more focus on the 'top' of the deck.'And everyone goes along for the ride. rvrapped in a mr-sterr-. but it rvill do for a card trick. and then place it face-up on top." In other words." He looked directly at me. the Queen of Hearts. "Pav attention. And works particularll'well for this trick. f16p the deck. Now do a double turno\zer and turn both catds face-dou'n as one. The discrepancy with the 'Buffalo'd' miscall was ver). call the back card. "Here. Ready?" I nodded. One of Bannon's kev rules of trick construction \\/as to "take advantage of human natute." I had no doubt that he was right. or don't seem important. I explain this to magicians and most do not get it the first time. but with a left litde-finger break beneath them. "This one move-essentially half of a complete double flr1n6\rs1-cloes evervthing. "Put the cards face-up onto the deck. Remember you are holding a break beneath the Ace and the Queen.ou take the top face-down card and call it the 'Queen. I like to snap the Ace face-up awa1.'Ask your participant if she can remember tvu'o cards. this would have been an effective transposition. there's a huge discrepancli Both cards were face up.

I slide the face-up Ace on top of the face-up Queen and square every- thing back into left dealing position. Now slowiy spread the deck and it will r that the Queen is on top of a face-down deck. with a verbal subdety. you have the face-up Queen. but I stop well before then. I collapse the spread into a loose group and take it with my right hand. I know he particulady liked these kinds of tricks where most of the work was done in advance through careful construction. Au lru * 2t+1 . and very minimal sleight-of-hand. Then.) ^ppe "Obviously. and a face-down Ace of Spades. Now with my left hand. but somewhat complex in design. I slide out the lowermost card-the face-down Ace of Spades-and turn it face-up." I said. you can't spread into the face-up Aces." (Photo 3. most of a face-down deck. three face-up Aces.ofl. with a discrepancy or two. Right now. considering the trickwas actually simple to do.) "Great trick. Bannon had layered a parially set-uP deck. Perfect. (Photo 2.

Because the set-up." Not. So first we call out the trl/o cards: Ace Spades and Queen of Hearts.\r/. "so instead of trl. we have a face-up Ace. IV "You could end the trick there. the rest of the deck and three face-up Aces on the bottom. In particular. insert it above the pulled-down card. "Right. an Ace production would have some relevance without even attempting to upstage the first phase. or even mainly a transpo- sition." "Okay. build on the first phase.'rsible. I tried to com- plement the 'Bluffalo'd' phase. but should be at least a transposition. in "Pure Vice-Versa.' but with a quick double turnover in the middle of it. "This time. while apparently inserting it into the back of the deck. Does that make sense?" "I guess." Bannon to top it.ou could top that first phase?" "\flell. for the most part. you can't really. Turn the double face- cards. as if merely repeating the names of the two of Spades as you do a double turflover. and it needed to change gears-it couldn't be just a transposition." "Makes sense to me. pull down the lowetmost card of the deck- one of the face-up Aces. and then downward as it is pushed square. I figured the second phase needed to be quick.) 242* Joxru Bnruuor . I thought an Ace production would be an effective close to the routine. realtzing how much analt." Later. Take the supposed 'Queen' and. that you could get with it twice. It's the basic 'Buffalo'd. Bannon told me that this was the formidable David Solomon's handling for the 'Buffalo'd' subdety which appeared. but to clean up the deck in an organic kind of way" "FIow did you figure 1. Now." Bannon pushed over the of Ace so the Queen was also r. I suppose. among other places. Now take the top card and mrscall it as the Queen of Hearts." I satd. \il/e want to try not to telegraph the upcoming transposition. makes this an ^'w^y opening trick. Now with your left litde finger. call out the Ace down and place the top card onto the card box. Ithink the basic 'Buffalo'd' strategy is a strong enough subdeq." Bannon spread thtough the cards and then squared them. But I wanted a second phase to not onl). a face-up Queen." rn The Visdom of Solornon (2007) on page 8. (Photo 4. but keep a litde-finger break under them. "So right no.I see. This is a kind of re- verse 'Tilt' or 'Depth lllusion' and looks best if the front of the deck is tilted upward slightly as the card is inserted.sis must have been behind Bannon's short conclusion. "This time we turn both cards face-down. "Fortunately.

Where did this come from?" "The first phase was inspited by Dan and Dave Buck's 'Hedberg's Peak' from their e-book. he tried to stay somewhat informed about "Cardistry. but at one point had to do a half pass of virtually the vzhole deck. The rest is just work. of course." "The interesting part. the Aces are in play" V "Love the trick. 51211s6 from a regular deck. Sletght\ Magical. but Bannon seemed to resPect it and even drd an occasional "Sybil" cut. The actual handling. At about the same time. the trick is over and. or running cut."Finally.'which ties in to the mystery context. and of course you fin6l 56ms-the three reversed Aces. bringing the Ace and the reversed Aces to the center. not the Ace. and it's also on their DVD cdledThe Trilogy. More than the rest of us. is on the card box. I tried to simpJify the handling bv essentially doing the half-pass in advance. however. Dave and I were plalrng with impromptu handlings of the Scarne transposition with the beer glass. Run through the cards 'looking for clues. was the instant re-transposition. Simon. was quite demanding. The1." Au ltt * 243 . if you Jike. "love the backfire transposition." I never got the whole flourisher branch of card magic. Show that the Queen. The deck is clean." I said. 'Buffalo'd' naturally came up and seemed like a good fit with the Bucks' effect. give the cards a casual cut.

The evening we ran into Bannon's former studio audience. a student of the various forces that influence our actions and our behavior. the best self-work- ing tdck on the planet. closed the box. and it looked like the casino cards you can buy at any Las Vegas hotel shop and was an odd pinkish color.he said he wanted to try something special. I could tell that Lrz was fascinated by the litde packet. he preferred to let the merit (or the lack thereof) speak for itself. "Liz. He reached into his pocket.t Icould only see the top card. shall we?" 244* Joxu Bnnron ." Not bad. But I am a student of influence.) ta %- . but it was immediately obvious that this trick was different. Liz.I have no psychic ability whatsoever. and set it aside.0nrGAMr PoKER RevtsrrED Bannon had referred to the trick as "all things considered. and tossed the packet onto the table. He put the deck back in its box. probably. (Photo 1. brought out a small packet of catds wrapped around the middle with a two-dollar bill. She was not a stranger to card tricks. especially considering that Bannon was not one to sing the praises of his own tricks. Let's try an experi- meflt in influence. off the beaten path.

" As he explained the process. V/e can shuffle like this. Atl ltt * 245 . turned the packet face- up. Liz. "That's good. Bannon handed her the cards." And so she did.Bannon picked up the packet. Give the cards another shuffle. it rru'as all on the up and up." Bannon spread off about half the cafds. After ail. And 1'ou get to decide rvhich ro\\r or column of cards gets 'folded' over. both Liz and he had repeatedl). He spread the packet to show the mix of cards. "Shuffling alters the cards' locations. We can also turn some of them face-up and shuffle those together. As far as I could see. face-down mix an overhand shuffle. Looked to me like a random collection of ten or so high cards. "I have some high cards from a casino deck.) Of course. slid off the nvo-dollar wrapper. Bannon mimed turning each of the cards in the left column of cards over and onto the cards in the center column. but let's make sure thev are as random as possible. I wondered r.n." Bannon dealt the cards into three ro'nvs. "There's also a way to mix the cards to r^ndomize both their location and their ori- entation. "Shuffling like this alters the cards' face-up and face-do\rin orientations. and she shuffled them. They look mixed to me. Liz nodded.imagne that these cards are a piece of paper. each with four cards." Bannon tutned the packet face-down and gave it a quick overhand shuffle. turned them face-up and shuffled the face-up and face-down cards togethef. V/e are going to fold the cards back into a packet bv folding over either a row or a column of cards at a time. (Photo 2. shuffled ths 621d5-f2ce-up into face-dos. Bannon said. some of the cards rvere face-up and some u'ere face-down.vhere Bannon rvas going with this. "Liz. and quickly showed the faces. can )rou shuffle like this?" Bannon gave the face-up.

we did the crazy folding thing and you got to call all of the shots. ali of the cards u. the neu'rightmost column. spread the packet.) II "Nice trick. each remaining spot might have one." I admitted after the impromptu "show". and when that spot $/as folded. two. If it was face-up. Bannon turned over each of the four cards in that rorv and onto its respective neighbor in the middle ro-'. or more cards occupying it. As the cards were folded.\r/as over andLu and her hus- band left the caf6." Bannon slowil. Bannon gave it one more "fold" b1. Five cards were face-up.. face-up and face-down. how random is that? We each shuffled the cards.. If the catd u."Okay. Liz chose the right column to be folded over. "Do you really think it's 'the best self-working trick on the planet?"' "It's right up there. As a matter of fact. No moves whatsoever. turning over the entire packet. Next. it would get turned face-dou'n. it would get turned face-up in the process. "Unless we broke a law of nature." Bannon said some- what crlptically. there was no way to influence the outcome of the mixing. right? Then. S7otks every 246 * Joxru Bnrruon . so did I. A royal flush in Spades! (Photo 3. right? So. \ilas there?" No longer tentative.. "No way to influence the outcome.unless we broke the law.. are you with me? Which row or column do vou want to fold over first?" Liz chose the lower row. "So. It all seemed haphazard and uncontrolled. Liz agreed with each statement. No real procedure eithet. After a few more folds-at Liz's direction-1hs cards had been reassembled into a single face-down.ete turned over as a unit. and then."'.

Dear Mr." "Let me get this straight. do with a regolar deck. So it's like a prediction without a prediction. For example. the kind that think it's weird to introduce cards that are clearly different from the deck that you are using." I noted. unless you really are holding a handful of gaffs.time." "So. Different is better. but I like to dress this trick up a bit and make it a packet trick. "First. enJighten me. They iust don't get it." Much of it was in his 2005 book." "So?" "'$0'hat do you mean. Bannon looked up from his e-mail on his smart phone. if you do a color-chang- ing deck ttick. I7hen the Royal Flush shows up at the end. Again. Will fool anyone who does not already know how i1 117e1[s-6v6n the person performing the trick. then 1. meanest. "You took a perfecdy good impromptu card trick and made apacket tick otx of it?" Bannon shook his head. do you? Many performers don't. "Don't people susPect the cards must be trick cards of some sort?" "Suspicious isn't necessarily bad. Finally." I said incredulously. only twelve cards are used. if you do a color-changing packet trick. Tricks that you ordinarily don't. Au In * 247 . and most strearnlined Origami card trick yet. you're basically done. I picked up the cards and gave them the once over. The Royal Flush ending is dramatic and can be seen as a 'delayed and self-referential' prediction structure. 'So'? Isn't that better?" "Not necessarily worse. You need to pay attefltion to your construction and your management. everyone knows that this was the intended result. making this the leanest. "Hey. these are iust regular cards. Fantay.fractal. maybe four. suspicion can be a very good thing. A random packet trick allows you to use interesting and different cards to perform different colorful effects." "Three main reasons. or can't. On the other hand. that's a11. "You clearly don't understand the theory of packet tricks. "So?" "So you can do this using cards from your regular deck in play." "lknow." he said.ou're iust getting started. If you are ready for it. change of scenery." which was Bannon's term for a packet trick that ends examinable. Bannon was ready for the question." "But isn't 'different' more suspicious?" I asked. N7hat's not to like?" I recalled that Bannon had done a lot of work combining the Hummer parity princi- ple with the folding procedure he called "origami. You know.

more individually memorable. but the cards ate grouped like this.ou knorv the adage that. Haven't thought about it that much. Packet tricks provide differentiation among tticks. and this can be a verl'good thing. Simple. I have found that to be true. Jack and Ten of Spades.. The change in gears-so to speak-also helps break up the run of card tricks." He pointed at the fan of cards. ha\. Queen. The emphasis on just a few cards necessaril\'increases the degree of focus and attention bv the spectators-it's a 'closer' form of close-up trick. ICng. But let's talk about this trick before I forget what happened.xactlr'. the judicious applicationof a packet trick heips to interrupt the flos. The packet trick calls attention to itself among other card tricks.en't vou?" "I guess so." "Thitd. "E. helps make each trick a packet trick helps differentiate ser. five red court cards and two Club court cards. realh'. packet tricks-espectalTy fuactal ones-are good things. They can be in any order. It really is lkdJ to take the packet out of a smali wallet in order to do the trick. of undiffer- entiated card tricks. Packet tricks gen- eralll. You could easilt. "Oka11" he sighed. the next dai'all thev u. "). but I'd distribute the two black cards among the red ones. "Next are the other seven court cards." Bannon nodded. take them out of a regolar 248 * Joutt Bnruuon . "You need twelve cards: Ace. 'AIl in all." "I have no idea what you're talkrng about. Thete is no individual order. You saw thatLiz was immediate\'intrigued rvhen I brought out the packet. Impromptu.ill remember is that vou \\. you can substitute one of these last seven Court cards with a Ten." "If you say so. change of gears. While not strictll' necessar)." I agreed. "So simpie. Theri too.ere good-hopefullv-and that you did a bunch of card tricks? Card tricks tend to blend together in recollection. if r-ou do a series of card tricks for an audience. at the back of the face-up spread. "First. you have the Spade Royal Flush cards. q1fls1. even. packet tricks invoh'e smail but important changes-a single catd magicalh'turns over in a packet." "So.Bannon smiled. The second reason is: change of focus. "Let's see. Where regular deck tricks tend toward finding or producing certain cards." I thought about this somewhat unusual concept." I realh'didn't. lsncl to be verl different kinds of effects from full-deck effects. can be in an1.eral tricks and." ilt Bannon began arcangSng the cards. so changing gears with with luck.

) As he spoke. It looked like a random face-up and face-down mix. "The spectator gets a quick look and sees paint-all Aces and court cards. yeah. "The face-up and face-down shuffle is the key to the whole trick-well. "Yeah.s. Then. I had to smile at the way these demonstration shuffles were actually concealing the Royal Flush cards in what appeared to be a random mixing." Bannon shrugged off my poke at him. "First. without pausing. he did the shuffle.) I recalled that the quick look seemed fair enough to me." I was not buying Bannon's packet trick concept. So to perform. you remove the bill from the casino card packet. At least. Looked good to mq but all that really happened was that the Royal Flush cards got moved from the toP to the bottom of the packet. I(eep the last three or four cards bunched up. pull off the first five is. I don't talk about the cards ot the bill. All Iu * 249 . turn them face-up and shuffle them into the remaining five face-down 621d5-1hsse are the Royal Flush cards. I try to make these last seven look messy and like a real shuffle. But all I do with my left thumb. "I use casino cards and wrap a two dollar bill around the packet to increase the visual interest and the curiosity- really has nothing to do with the trick." (Photo 4. but not all the way.deck and set them up in front of your audience." Bannon spread the packet. and maybe a Ten. we shuffle the packet. not with this trick. turned the packet face-down and took it in position for an overhand shuffle. But now I knew that the face-down cards were actually the Royal Flush cards. I shuffle off the remaining seven cards. 5o* you spread off the top seven cards. But I still did not understand how the trick worked. I did not get the sense Ban- non was hiding anything. one of the ke1. He closed the spread. turn the packet face-up and spread it. These are the Royal Flush cards." (Photo 5. catds one at a time.

She can overhand shuffle as much as she likes. the spectator gets to direct the folding process." Bannon exclaimed. "Once the cards are dealt. reversing every other card is rvhat made the v." That was a selJing point. Second. and I put a litde asterisk next to each of the even-numbered cards to remind me which cards should be turned over. From left to right. then from right to left." I grabbed a napkin and drew a quick dtagram so forget.ou must tilrn zuer euet)/ other card as . Let's see how this goes. and Card 4. To "fold" diagrar:r. the grid is 'fold- ed' back into a single packet. Sometimes )rou will be rurning a face-up card face-down.) 250 * Jonru Bnrruon . Your spectator can shuffle. seemingly further mixing up the cards. "When shet done shuffling. you can overhand shuffle the cards as much as lou like. too. Card 2. The spectator shuffles. Have your sPec- tator nominate an outside rov/ or outside column on the grid. Here's the cool patt. vou must deal the rows in a back-and-forth 'snake' pattern.ou rvill be turning a face-down card face-up. is turned over and onto Card 8. Sometimes ]. and Card 4 over and onto Card 5. Card1..hole trick work' 12*34* g*76'k5 9 10* 11 12* *(ruRru THEsE ovER As You DEAI) "This is the best part. I numbered the I wouldn't cards in the order they were to be dealt. Card2is turned ovet and onto Card 7. the the row. \. But the rcallrv puzzbng Part. Let's use the top row. as far as I was concerned.'At this point. and finally agatn fuomleft to right. First. Even better." On my top row would be Catd 1 . Card 3 over and onto Card 6. Card 3. was the "folding. take the cards back and deal the cards into a three-by-four grid. as long as none of the individual cards gets turned over. (Photo 6. There are two important details here.tou deal. As I under- stood it." Bannon continued.

"One Iast detail. It's all Bob Hummer's 'Cut and Turn Two Over' principle-worked and re-rvorked. there ma1. If it is not one of the Spades flush cards. because it just doesn't matter. The trick. I left mani' of the collateral possibilities out of this r-ersion. sl. if the Spade cards are already face-up.ide the Spade catds out of the spread ia order. Onlv the Spade flush cards were face-up. Of course." Bannon said. t'ou don't need to make the final turnover. at least. I had to admit that the folding Process did seem free. And. maybe your audience rvill misremember that the cards were in order when the packet was spread." (Photo 7.As the folding progresses. how did vou e\rer come up with this? It's so complicated. To this da1'." Bannon continued. the "folded" cards will reconstitute themselves into a single packet. Who knows. even more complicated than it looks. this result stiil surprises me.our spectator direct each step of the 'folding' of the grid." "It's actuallr. "tr1' 1o sPot a card that will end up face-up in the final packet. but it also seemed relevant because the cards were changing position and orientation in a seeming\' unpredictable war'. give the packet a final'fold' b1' turning it over. undet-the-table 'CATTO' Au lu * 251 . 'As you complete the fold. There is a feeling of complete freedom here which is gratifving to me. Eventuall). so to speak. "Have ). Now al1 the Spade cards u'ill be face-up. is getting the cards in the correct mathematical alignment u-ithout the cumbersome.) IV "Nfan." Bannon spread the packet on the table. be several cards at one place in the row or col- umn which would be turned over as a unit onto the neighboring cards.

" 252 * Jortt Bnruolt .procedure and. As Edison would say. but this one's completely self-working." "Dofl't v/orry about it. then. face-down shuffle fol- lowed by turning over every other card sets the packet in the correct Hummer condi- tion. In a nutshell. which actually goes back to paper folding experiments by Dudenell is the functional equivalent of dealing the packet into two piles and turning one of the piles over. This was in the original 'Origami Poker'routine n DMF. The folding process." "I have no idea what you are talking about. performing the necessary sorting process in a non-transparent way. the rest is just perspira- tion. Fantaslt. I have a number of applicationsinDearMr. the controlled face-up. That reahzation was the cornerstone for the whole "Degrees of Freedom" chapter. which is the final Hummer mechanic.

What was wrong with this picture? He turned to the shapely young woman seated next to him and placed the clipped card onto the bar." She smiled and cupped her hands. Her mouth opened involuntarily. Bannon continued: "Pretend that you are shaking three coins: a dime.lott Mnru Her reaction was essentially silent. I'd like to play a g me of imagination. and a quarter. you can keep the dime. What coin do you see?" Au lru * 253 ." No playing cards in sight. eager to participate in Bannon's game. Which coin do you see?" "The nickel. too. a nickel." "Ha. Eventually she shook her head. "That leaves the nickel and the quarter. First. he had written "The Future. open either hand. I want you to take one coin in each hand and to close your fists. Okay? \Ve're going to leave this up to fate." Amused? Not." "Very funny." she said. laughed a little. Bannon began by bringing out an object from his pocket. Which one fell?" "The dime. "Open your other hand. Ha. Blinked. Along one edge. and asked the usual "how did you do that" questions. He had folded one of his business cards in half and secured it with a bulldog clip. cup your hands together like this. a mental coin trick.Ha. fught now. "We'11 get to that in a moment. Now." NTas she amused? Hard to teli. She just stared at her palm. Sammie. Let's say one coin accidentally falls out of your hand and onto the table." "You can keep that one. The most intrigurng thing to me was that Bannon had done a coin trick-worse. but no sound came out. "Good.

'The Future?' Let's see rvhat the future brings. on the other hand. actually." He moved the folded card over to Sammiet open paim." Suddenly. It was a quarter. Bannon later told me it was also in Lee Eade's S1rygy magazine. "Sammie liked it.. "You see the card says." I said. right?" I sensed that Bannon was begin- ning the recap. "It might have been a dime or a nickel." "Look at the quarter and tell me if itt heads-side up . "For some feason. have no excuse. 'A heads-up quarter .' but you imagined 'heads'?" Bannon picked up the folded business card and removed the clip. il 'A coin trick?" I teased him after Sammie had finished her Cosmopolitan and left the bar. Max Maven's 'Positive Negative' effect has struck a chord among magicians and mentalists. Bannon tossed the card onto the bar with the cJip. 'You might have imagined 'tails. Volume 2. 'And you also imagined that it was 'heads' up. but itt a qvatter. I think. right?" She nodded. too. "It's heads. A prediction is written and a par- ticipant 'chooses' an imagSnary 66i11-115s2lly one of three imaginary coins offered. It tutns out the performer has successfully predicted which imaginary coin the partrcipant would select and whether the coin flip would result in 'heads' or 'tails." 25t+ * Joxn Bnruuor . The chosen coin is then imaginarily 'flipped' and lands either 'heads' or 'tails' side upward.." I had a vagrre recollection that Max's trick was on hts VideoninlDVD set. 'A game of imagination." She nodded again. or tails-side up.. It was heads-side up." he said quietly. Bannon shrugged.. Issue 2. I did not see that coming and was as initially stunned as Sammie. looking down at her open right palm." She thought for a second. a coin slid out from inside the card onto her palm.' )Ientalists love this sort of thing-predicting a one out of six chance-which is the same as one roll of one die. So did I."The quarter. You." "You are imagining a qvarter on )rour hand. "That was not her first Cosmo.

"the coin will be either the target coin-the quarter-or ofle of the other two. You can keep the other two coins. "The methods generally take the same approach: An equivoque to force the imaginary coin and a two-way out to deal with the heads/tails decision. have her take one imaginary coin into each of her hands. Instead of having the participant 'choose two and hand me one. I opted for a different approach to the three-object selection. If she says that the quarter fell out. tell me whether the quarter is heads-side up or tails-side up?" Simple. Second. Pick up the quarter and place it on your open palm." "First. wordy. "Finally. I ask her to pick up the imagSnary quarter. The other half it ends psycholog- ically clean." Au ln * 255 . "In an ongoing effort to strearnLine equivoque generally. "If she says that one coins fell out-like Sammie of the other did-tell her she can keep that coin. Hold out your hand." He continued." I could almost hear Bannon's direct minimal script. Bannon continued." ilt "Most equivoque is too elaborate. this method is low tech." I recalled Bannon's opening statements: "Ptetend that you are shaking three coins: a dime. and often dumb." He picked up the business card and the clip and took them underneath the bar. and a quarter. the participant does not look for alternatives because none are suggested by the presentation."So humor me and I'll buy the next round. Let's say one coin accidentally falls out of your hand and onto the table. No double-envelopes or switching dsvi6s5-1hs effect is simply flot strong enough to warr^nt heavy weaponry. To me. Okay? N7e're going to leave this up to fate. which I have tried to streamline. "This version ends absolutely squeaky clean half the time. no swooping birds or burning buildings. let's look at the equivoque. a nickel." He had re-clipped the card. Now. without the usual contrived equivoque frameworks. too." It would not be Bannon's first Martini. it seems to go a litde smoother and maybe a little quicker. Which one fell out?" "Okay." "Exacdy." I said. Ask her to open either hand and to tell you which coin she sees. Then. you tell her she can keep the other two coins and focus on the quarter. "Great. The trick is how to end clean. place it on her open palm and tell me whethet it's heads-side uP or tails-side up.' I have the participant start with all three imaglnary coins and 'accidentally' drop one on the table. and placed it onto the bar." Bannon was not a fan of those mentalists he believed "talked too much. we'll look at the system of 'outs'in the performance context.

"I arrived at this aftet watching Dave Forrest's handJing for 'Positive Negative.'Dave fooled me with the 'tails' ending. and then saw the nickel. Here." Bannon continued. I liked a lot of his stuff." 256 * Joxr Bnuuolr . to cover 'heads' and 'tails. Like Bannon. IV "So vze've got the quarter. and knew Bannon considered him "one of the clever guys. but it was not at all like I had imagined. I find. I could hear the tighdy collstruct- ed script. too. 'An1way. when I did this for Sammie. I found that hard to believe." I could see how Bannon's variation would play better." Bannon began digging in his pockets. In every case. The key to a good equivoque is ambiguity. I never saw the iustificatron for the irutial condition: "pick up trvo. the proprietor of the Fall 52 internet magic shop. I imagined the scdpt would be something straightforward like. The ending if 'heads' is selected is completely context-based and." Again. " On the other hand. It's a two-way system. should be minimized. "Good. How do you handle the 'heads' or 'tails' part?" 'As I think about it. Every other possible outcome would have been a litde bit better. and after a bit of thought. you can keep that ofle." Remembering Sammie's reaction. tell her she can keep the other coin.'you need one ending and a contingency ending. Procedure." I played through the vatious scenarios in my hs2fl. "Good. You can keep the dime. Look at the quarter and tell me vrhether the quartet is heads- side up or tails-side up. but the ambiguity needed to be acceptably resolved in either direction." I remembered Dave Forrest. if she 'sees'the quarter. Tutns out. the ending when 'tails' is selected is incredibly direct and clean. too. she did go through the equivoque the long way.This scenado was familiar because it was what had happened with Sammie. too. She dropped the dime. and focus on the quarter. On the other hand. whatever it is. in the "pick up two and hand me one" approach. That leaves the quartet held in 1'our tighdy closed hand. I got all of the least-favotable out- comes. Dave had avery good out for the 'heads' selection. Ban- non and I had met him at MAGiC Live 2009 in Las Vegas. vety satisfiring. I concluded that his out for the 'heads' sce- nario must have been the attitude-and-context-based solution presented here. you want to end with one open palm with an imagpnary quarter sitting on it. Again. Open your hand and tell me whether the quatter is heads-side up or tails-side up.' called 'Positive Thinking.

I think I get it. not stitred." (Photos 1 and 2. You can write something like 'Prediction.t. you write an indication of a prediction. Bannon kept talking." t^l:. 'Let's play a Jitde game of imagination.' but I try to v/rite something more comPelling like. 'heads' side up. ^ppear clipped card. Fold it in half width-wise with the blank back on the inside. this additional writing is important because it subtly establish- es that the folded card has a 'right-side-up. "Okay. "Shaken." Bannon sighed. but it is reasonably quick and easy to put together.' ot 'The Truth. And. he continued."' He looked up at me.'As you will see. I keep it brief. Ignoring me altogether. On the upper half of the inside. you only have to do it once. keeping the card folded and preventing the quarter from falling out. Open the card and turn it so the crease is running side to side. "Okay.' take out the folded business card and place it onto the table rvith 'The Future' side upward. to perfotm this 'litde mitacle. on the narrow edge opposite the crease.Bannon had placed a few items ofl the bar. "Finally. And cJip a bulldog clip along the creased side."' Au lr * 257 . yet."' He placed a quarter onto the business card. the trick is not impromptu. You can comment as much or a little as you viant." Observing my confusion. "Okay. Put a quarter on the lower half of the card. No one should think or realize that the business card contains anything. First. It should as just a folded. 'The Future.) I started to see how this was going to wotk. Now fold the upper half down to close the catd and cover the quarter. but two struc- turally different "outs. "I'11 take that drink now:" "Youte not done. Two "outs" were at wofk. You remember. but let's play it out. you need a business card with a blank back. write 'Tails Side Up.

teads side rQ. allow the quarter to siide out onto her hand. right? It might har-e been a dime or a nickel. \ou are imegining a quxr- ter on vour hand. You might har-e imagined 'tails. (Photo 3." "Ho1d out vour hand. "Bring the card over \-our particiPantt hand and gentl). sa\'anything. self-te- \reiatory moment-\-ou need not.t . she should be holding out one of her hands. take the card at the crease. rvith an imaginarv quarter on her palm.difttrent va1's." Bannon reached for the clipped business card.) 258 * Joxn Bnuuol. If she said 'heads. "The secret is that \\re are going to approach the contingencr.'but vou imagined 'heads'? You see the card savs 'The Future'? Let's see s'hat the future brings. \\'ith r-our right fingers and thumb. right? And vou also imagined that it was 'heads'up. V 'After the equivoque. NIv favorite is 'heads. )Iou get a rvondetful contextual moment. and should not. Instead. "Sammie. As instructed. Still no one should suspect the card is actualh'concealing an object. l.This is a great. "Pick up tl-re tblded card and remove the clip. open palm up.' right? And she s'ill be sitting tl-rere s-ith one hand open and palm up as if it had a coin on it. preventing the quarter from being ter-ealed. \'our spectator s-ill l-rar-e selected the quarter and har-e pro- nounced it either 'heads' of 'tails." I remembered rvhen the coin slid silentlv onto Sammi6'5 [2nd-[6ads." I recalled the script he used s-itl-r Sammie eatlier. but it's a l\\-o \-er\.' then in \-our summar\- vou must emphasize both the coin and its 'heads-up'otientation." I nodded." he gestured. too.' even though it's the 'out' that does not end clean. right?" "Yes.

"Here's the cool part: Thete is no heat on the business card. None. Its purpose in
this little dramais also self-evldsnl-1e hide the quarter. You are psychologicail). clean;
there are no alternatives that would allow a different result."

Bannon picked up the quarter and re-configured the business card, quartet and cJip.
'And thatt not even the best ending. If she savs 'tails,'\'ou have a squeaki'clean little
miracle. In this case, \'ou emphasize the coin selection first, and afterward proceed to
its orientation."

l\[v hand rvas sdli open.

Bannon pattered, "Sammie, \,ou are imagining a quarter on \-our hand, right? It might
have been a dime or a nickel, but it's a quarter, right? You see the card sa1's 'The Fu-
ture'? Let's see r.vhat the future brings."

"You see, this time I onlv talk about the quarter as the selected coin and not about the
heads/tails orientation. As before, I unclip the card and blng it or.'er the participant's
hand. TLus time, however, I hold the card several inches above her hand, sa1,, 'Catch,'
and drop the quarter into her hand. The emphasis is solelv on the correct coin, not on
the heads-or-tails orientation."

I could see that, in this case, the of a coin-the right coin-would be
unexpected and surprising.

Bannon smiled, "Now fot the finishing move. A1l vou do is remind 1-our participant
about her choice of orientation."

As if
performing, Bannon said, "Sammie, \'ou not onh'imagined the quarter, but you
also imagined that it r.vas 'tails' up, too. You might har.e imagined 'heads,' but instead
you imagined 'tails'. Let's see what else the future holds in store fot you.

"Perfect. All lou have to do is unfold the card, and sho'nv the written prediction. If
vou like, read it aloud: Tails side up."

Bannon's Nlartrni had arrir.ed. He took a sip and said, "Either wa); there is a happv
ending. Not bad for a mental coin trick, eh?" He reached for the deck on the table.

I had alreadv slipped the coinf card/clip concoction into mv pocket and rvas scanning
the place for a suitable vicdm ... .

"'Ion NIan'? Are r-ou sure vou \vant to call this trick 'Ion NIan'?"

Bannon smiled, "Positir-eh'."

Au lru * 259

How many lawyers does it take to conceive, wtite, and publish a book of gteat card
magic? One, if his name is John Bannon. No joke. Even if you just do casual card
magic, you're probabl1, f2-11i^, with his work and Iikell, fl6 one or more of his tricks.

John is known for his popular books: Irnpossibilia (1990), Smoke and Mirrors (1992),
and Dear Mr Farutasl (2005). Aftet being out of the spodight fot a number of years,
he recently teamed up with the U.I('s avant-garde Big Blind Media to produce two
intetnationall), bestse[ing D\lDs, Balkts A"fter Dark and Ballet Par!. He has a r^nge
of "fractal" packet tricks and self-published a number of smaller, but nevertheless
acclaimed paperback books. Rumor has it that a book of mentalism is waiting in the
wings as well. He has developed arecogntzable "Bannon" trademark of creative, easy-
to-do, but deceptive card magic.

I have known John since the late eighties, and I think we've discussed most of his
tricks. @,ven the ones that were not very good-but I'm under oath not to talk about
those.) His friends know him as a thinking man's card magician who prefers subdety
over sleight, and discrepancy over dexterity. John thinks about the "whole trick." He
and I have discussed at length not only effects and methods, but construction, con-
text, Presentation, and impact.

In Dear Mr. Fantasl,John departed from the standard magic book format and elab-
orated on the "bizate magjc" style of describing a trick in a narati:e fs1m21-ljks
a short story. The format found favor with quite a few. \X4ry? John thinks that the
medium allows him to not only explain the trick, but to put it in context, and to try to
get into the spectatorb head, in order to convey the overall experience. The traditional
form usually leaves much of this kind of detail up to the readet, who is left wondering
how much thought the writer gave to these elements. Already consideted a master of
the traditional form and one of magic's finest authors, John builds on that talent with
this format. Whether you think he succeeds or not, it's still a colorful, entertaining

So how does a high-powered, full-time Chicago attorney have time for all this? I asked
John about the balance of work, family, and hobby. Apart from the weekly Chicago

250 * Joxru Bnnruoru

Session with his pals Simon Aronson and David Solomon, when does he find time to
create and think about magic?

'Actuall1,, having c^reer and family makes it easier in a way, because it takes away
the urgency I vzork at my ov/n speed and onl1, pubJish when I te dy, when I think
I have somethingworthy. The alternative of having to'create' for frnancial reasons,
or under pressure, would not work for me at ail' I keep a notebook of proiects of
interest, but sometimes I am more productive than others. It goes without sayng, I
like thinking about and working on card tricks."

John's pragmatic outlook is one of the reasons that he seldom gives lectures or ap-
pears at conventions. He sa1's that, given his other obligations, itt often difficult to
commit very far in advance. I've booked him nvice for magic convention appearances
where he was the onlv performer who didn't sign a contract. What else would you
expect from a lauyer?

Intrigued by his recent output, I askedJohn about his creative Process.

"I don't really have a'creaive process.' I come at different tricks in different ways.
Sometimes a plot will catch my interest and I will start from scratch, or a good idea
buried in a weak execution will grve me a head start. Nlost of the time, the effort
involves cross-polJinating from one set of magical concepts to a different set and
developing the 'intersection.' In a nutshell, the skill is having as many nodes in your
magic neural network as vou can, encouraging interacdon between them on conscious
and unconscious levels, and developing the judgment to dismiss or exploit the various
connections. I\Ian1. times, I'11 come up with a trick that works well, but is simply a lin-
ear series of moves. That's just not interesting enough for me; there needs to be some
kind of twist for me to be truly happy"

John would be the first to affirm his status as an"amateur," in its original sense, from
the Latin amatlr, "lover." He doesn't believe that onl1, professional magicians have
something meaningful to sa1'. To the contrar)r, he bel,ieves the amateur has an import-
ant and challenging role in the continued evolution of magic, especially in the wake
of the current explosion of internet-driven information.
"There is alwavs room for a few mote good card tricks; like any discipline, magic
needs innovation and experimentation to evolve and improve. I'm just a tinkerer who
has been luckv enough to strike some chords that resonate."

Fortunateli', the narrative sq'le captures some of what it's like to session with John.
He mav not be arvare of it, but his depth, enthusiasm, and talent are a1l there, as well
as some of his idiosvncrasies. It tends to dng true. And the voice even sounds a little

For those rvho haven't had the opportuniq'to spend some time with him, the accom-
panving article rvill let i'ou get inside Lrrs head until you get that chance in person. But,

Au lru * 261

as you'll see, John doesn't take himself too seriously. He says, "Let's play. If you're not
having fun, what's the point?"

I can't disagree. Now back to the session.


252* Joxr Bnuuor


Tell all the truth but tell it slant,
Success in circuit Jies,
Too bright for our infirm delight
The truth's superb surprise;
As lightning to the children eased
With explanation kind,
The truth must dazzle gradualll,
Or every man be blind.

Emily Dickinson

At least that's the way it seems." a different Ace is seen face-up in the packet. that's the way it seems. divination of selected cards) could exist without needing the entire deck." each of three Aces has turned face-up-Hearts.Spru Docron In mathemaics. Everl. But when ).thilg is clean and examinable. when you turn over the 'Ace of Spades. And. At least." it's now blank-itt vanished. Sxurruu' * 265 . color-changes." In a non-mathematical sense. PnEcrs You display a small packet consisting of four blue-backed Aces. on all scales. you deliberately turn the Ace of Spades' of structures must aPpe r on all scales. Now you offer to make the Aces change in full view. Nothing happens. when yout audience looks back at the spread of Aces. The object need not exhibit exacdy the same structure at all scales. The other Aces are held in your left hand in a face-up spread. However. tricks with fewer cards than the entire deck would exhib- it many of the same characteristics. Now. After three "spifls. Each time the face- dou'n packet is given a "twist" or "spin. No palming ot difficult moves. Now you place the Ace of Spades face-down onto your spectator's open palm and sar' you will make it vanish and appear between the other three Aces. each Ace has a different back design 2n6l 6ele1-four differ- ent-colored backs. and suddenly all four Aces are face-up. Nothing happens. a fractal is "an object or quantity that displays self-similariry in a somewhat technical sense. but on a smaller scale. Clubs and Dia- monds. but the same 't1. There would be self-sim- ilarity in the sense that the same "structures" (such as transpositions.ou deal each of the four Aces face-down into your spectator's open palm. they see that the Ace of Spades has reappeared in the midst of the other Aces.

of course. Hete. Place the last two cards (the back-to-back Ace/blank) on top of the others as one. Arrange the cards in the follorving order.) 266 * Joxn Bnunoru .ss-6n|1. each from a different deck of cards.Mrse Eu ScEue Soue AsseMeLY Regurneo You will need to assemble four Aces. r'ou'll love this.) This. from the face of the packet: * Face-up Ace of Clubs lk Face-up Ace of Diamonds :k Face-up Ace of Hearts . Preferablr'. fingers in front. pull each of the first three Aces into your left hand.* Face-up Ace of Spades * Face-down blank-faced card The order is important if vou want the Aces to r in alternating red-black order. we'll display the Aces and set-up for the nvisting sequence with no n1e1. especialll. a bit of time misdirection and some chutzpah. those that work all the time. You u. each Ace will have a different back design and a diffetent back color. I use red-backed Bicvcles for these cards). ^ppe Supen Suarle Sruple Ser-Up Svsrepl Ifvou like discrepancies. Hold the face-up packet with vout right hand from above. (Photo 1. V/ith your left thumb. (Photo 2. is the weil-known Biddle (or End) Grip.ill also need a biank-faced card that matches the Ace of Spades (because of this requirement. thumb in back.

) Now iower your right hand. turning the r\ce of Spades tace-down in the process. {ingers on the face and thumb on the back. Placing the Ace face-dorvn on the bottom is the natural thing to do.) The packet is in tl-re follorving condition. A face-dorvn card is on top of the left-hand packet. so it appears that the packet is face- down. then and take the upper face-up Ace of Spades with I'our right hand. siorvlv pushing it flush as vou do so. Accordingli. tl-ris sequence has gone Past eYeflone I'r. thev accept vour implied statement that the packet is face- dorvn rvhen \-ou remor-e the Ace of Spades. Raise vour right hand to show the full face of the Ace of Spades to the audience.n Ace of Spades Believe it or not. The beat or t!\-o of time misdirection causes \-our spectators to tbrget the actual state of the packet. pinch Snurrun' * 257 .err-one. from the toP do\\'n: * blank-faced card *r Face-up Ace of Hearts a* Face-up Ace of Diamonds #r Face-up Ace of Clubs * Face-do-. \-ou are norv readl' to give the packet the classic "Ttisting tl-re Aces" spin: With r-our palm-up left hand. Frnsr SprH \\'ith the packet in face-dorvn left-hand dealing position. (Photo 4.e shorvn it to. Er. (Photo 3. Slide the face-down Ace of Spades under the packet.Pattef for abeat or two.r.

vav the first time-a small price to pa). outjog it about half of its length.) Re-grip the packet for an Elmslel.) Do this by pulling the top card to the right with vour right thumb and pushing the bottom card to the left with vour right fingers. In any event. (Photo 5. take the bottom one. The face-up Ace of Clubs wi]l show: As )rou come to the Ace of C1ubs. Now. "spin" the packet 180 degrees. Count this time. give the packet another spin and another Elmsley [sgn1-2n ordinary Elmslel. with your dght hand. (Photo 6.the middle of the packet betrveen vour thumb on top and middle finger underneath. Count. Secoruo Sptw On the heels of the first count.) 268 * Joxru Bnruuou . This small modification now avoids a gratuitous displacement later in the routine. horvever. The tradeoff is simply to remember to do the Elmslev Count this r.. (Photo 7. instead of taking the top card of the remaining nvo righrhand cards. You will do a slightll'modified vetsion of the Elmsley Count: Do the first two counts (the top card and the exchange) and the Ace of Hearts will show face-up. the first spin has caused the Ace of Hearts to turn face-up. On the thitd card of the count.

A face-up Ace of Diamonds u. (Photo 11.ith the Ace of Diamonds dos. Tnrno Sptru Continuing on. End the motion s.Hold the packet rvith the outiogged Ace in vour left hand. \I'ith r-our right hand.) Now slide the Ace above the buckled card. that is. You now reinsert the face-up Ace into the back of the packet. To do this. take the top face-dorvn card and the Ace of Diamonds beneath it and "squiggle" the two cards bv movins them back and forth a ferv times.our left fingers. sLide the left-hand cards benveen the right-hand ones. Snurrttn' * 269 . (Photo 8. (Photo 9. With t'our right hand. (Photo 10.) Square the packet into left-hand dealing position. re- move the Ace of Clubs and displav it to vour audience. release the buckle. above the face- up .njogged and slightll'to the right of the upper card.) Finallv. buckle the lower- most card of the packet.'nvith t. Once the Ace has been inserted for about one-third of its length.ill shosi Outjog the Ace of Diamonds as it appears dudng the count. spin the packet a third time and Elmslev Count.) Siorvlv push the Ace flush.\ce of Diamonds.

and rvith vour left fingers.Txr DnucERous Ace 0r Spnoes of three spins. (Photo 15. \\'itl-r the side of vour lett forefinger. Norv take the packet irom above s-ith vout right hand. backsptead the los-er three cards oi the packet as follorvs: Rest the packet on vour palm-up Ieft 6ngers. (Photo 14. Norv remark that r-ou'll do something difterent ri-ith the Ace of Spades. contact the second card from the bottom and pull it. The upper trvo cards are held as one. pull the third card from the bottom to the Ieft as rvell.) 27O * Joxu Bnruruoru . (Photo 13. give the packet another spin. to the left.) Finallri with the tip of i'our left second finger. pull the lowest card to the letl. Flip the top card face-up onto the packet-it is the Ace of Spades. You are iust getting So far rvith each warmed up. (Photo 12.) It should appear that the Ace of Spades s'as turned thce-up and instanth' the other three Aces turned face-up. too.) With the tip of r-our left forefinger. three Aces have turned face-up. \\ith the face-up Ace on top.

move tl-re packet to the rigl-rt. At this point.) Pull the double card into vour right hand and. (Photo 16.n blank face card. (Photo 18. Txe Vnrursneo You will now cause the Ace of Spades 1s "1. As vou give that instruction and as vour spectator complies. tvithout pausing. spin.ermost card is the face-dos. sptead. Ask a spectator to hold out her hand. do the following Larrr.) \{'ith r-our right thumb. \\'itl-t vour right thumb on top and fingers beneath.xni5["-turfl blank-in a spectator'-s hand.Clip the backspread packet betrveen vour left fingers and thumb so \rou can clip the uppermost double card between vour right thumb and the base of vour right forefin- ger. fevefse count the remaining Aces into 1'our right hand. square. pinch the right side of the packet. palm-up. (Photo 17. the Aces are face- up and the lou. count. along vour Ieft fingers to about the first joint.) Transfer the packet into left-hand dealing position. \&'hile there is a lot of movement in this phase. push all but the bottom card to the left.\West clean-up mor-e. it is not "mo\-e r'" and has a natural florv-flip. Sxurrrrru' * 271 . In a continuing action.

This sequence should be done casualh'. (Photo 19. Vru must allorv anv urge \-our spectator has to look at the card to subside. pull the first and second Aces into a small spread in your left hand.Now use the bottommost card of the packet-the blank-to ler-et the other cards over.n.ou will cause the card to vanish from vour spectator's hand. 272 * Jorru Bnuruoru . into \-our Ieft hand. Place the face-dor. Secure the small spread rvith 1'our Ieft thumb. \With i-our left thumb. Furthermore. rvorried about r-our spectator. face-do\\.anished. turn the left-hand packet face-up and take it with vout dght hand from above. Place the Iast rrvo cards as one at the right edge of the spread. on the ottbeat. have her co\.ith r-our right fingers.) Retain the bottom card s. (Photo 20. As \rou sav the card with her other hand. r. and out of right-hand card (the blank) onto vour spectator's extended palm. having r. Your audi- ence should be exceedinglv skeptical of this claim. explain that the Ace.vill appear among the other Aces. If t'ou are at all. Explain that 1.) The Ace of Spades is hid- den beneath the riehtmost card. Do not let go of it right a'uvav.

and then claim to have made the Ace of Spades disappear. now cail attention to the return of the Ace of Spades in the left-hand packet. however. with your left thumb slide the uppermost card of the spread to the right. (Photo 22. The claim should puzzle your audience because the card is still visible and no one will anticipate that the card will be blank. (Photo 21. revealing the Ace of Spades. After the "vanish" has registered. Reach over and turn the card on your spectator's palm face-up to show that the Ace has indeed "vanished. because all attention should be affixed on the blank card-a surprising turn of events and a real curiosity.Give whatever build up you believe is necessary.) None of your audience should notice this appearance." At the same time as you reveal the blank. Emphasize the reappearance by outiogging the Ace a bit.) Srurrun' * 273 .

A tick with the most eminent cards in the deck-thefourAces. remember we saued the Au of Spadesfor last. The Ace of Diamonds. . Diamonds .'e succeeded. a/so known as the "death card. The Ace of Hearts. Jast like tick cards. planting the seed yourself is not at all dangerous. After a suitable build up. shimmeing in the desert sun. (Photo 23. This a perfect time to make another highly suspect claim: that vou will cause the Aces to change right before t'our spectatots' eyes.-disorients vour audience." For mt'own amusement. For tricks like this. lJow. . . . Just kidding. . . claim to har. Clabs . The goofy line about the "most eminent" cards in the deck is from an Ellusionist ad. I use a pdmarill. . and the dangerows Ace of Spades. The Ace of Clubs. IN/e'l/ saue itfor last. referring to the Ace of Spades as the "Death Card. Turn the Ace packet face-down and deal them face-down onto the blank card in vour spectator's hand. for example. Hearts . Again.Txe Fneulous The vanish and reappearance sequen6e-sssulling in a counterintuitive and unex- pected war.) All of the cards ma1' be left with vour audience and are fully examinable. narat)ve ap- proach. 274 * Joxu Bnunoru . disclaim the use of them. Since the cards are examinable. Jwst like magc. )'our spectators should be puzzled because apparendv nothing has happened. Just like a ruirage. lVatch the others. Thru interesting things with the Ace of Spades. this is a uerJ rcdrJ card." In sotue cultares. Pnesentetrott Presentation is a personal thing. I neuer wse tick cards. spiced up a little bv context. Each Ace has a different-colored back and cleady has come from a different deck. . I like to mention trick cards only to im- mediately. .

then onlr. "Backflip. Nt1' goal was simple enough: I wanted to make it end clean and. I borrowed from mv color-changing deck routine. the Ace has uanished. thel a// turnface-up. November 1973)." Epilogae. cannot be made to end clean. But the Aces haue changed into dffirent cards. like the Dingle toutine. was Sam Schwartz's contemporary vav1a116n of the Dingle trick. the trick could end clean. This wa1'. get rid of the awkward Christ-Annemann alignment mo\res and gratuitous displacements upon which both the Dingle and Schwartz routines depended. Because of its construction. If You Insist. Second.Issue 15 (Fulves. First. The Ace will uanish fronrloar band. it looks like nothing happened.1. seminal "twisting" trick that has been ripped off numerous times over the last thirty-five years (a true testament to greatness). which also ap- peared in The Coruplete Works Of Derek Dingle (Kaufman.. To the antrained e1e. And the Ace has appeared ouer here. Ilot thefaces. "Back- flip. based upon Detek Dingle's color-changing back "twisting" routine. In its ou. . "Strangers' Gallery" is in Sxurruu' * 275 ." That routine employs five catds. tf I turn itface-ap. which I believe 1121r push the envelope too far in this context. Dingle's trick does not and cannot end clean. however. Bat." however. the trick has seen a numbet of incarnations. along the wal-. Also in mind. passes six cards as four. J:uiry 1. it also does not end clean and. I have worked on this trick longer than perhaps an) other. Issue 19 (Fulr. "Strangers' Galleqr" If the climax was a "rainbow" finish where each of the four cards had different color backs. ho/d outlolr hand.n right. one card of the original color could remain." io Epilogue. and over the )'ears. Further. Dinglet trick is a fabulous. "Twisting the Aces. and has a surpdsing back color change for its climax.and appear back with the other Aces.Firsr. three of the four backs needed to be "changed". That's one of the mlstenu of thefourAces.982) under the name "!7e'1I Twist. Posr Monrrn Bncre RoUND AND CREOITS "Spin Doctor" is primatil).es.972). Nowi to the antrained ey it looks like nothing happened. the backs! The Aces changed into foar cards from fotlr clmPleteb dffirent duks of cards. which has a double back-color change that comes as two complete surprises. Nevertheless. these proved tough nuts to crack. The third interesting thing III change the Aces into dffirent cards-in plain sight.

eu qqn- sider the prior approaches to positioning the cards for the twisting phases. "The Limited Edition. HrsroRrcnl NorE This descdption is essentially the same as in the e-book that was included on the SPin 276 * Jonru Bnuuol. W'hen she looks at you. get rid of the extra card-a viable and interesting approach.ou'll smile to vourself every time you do it. "Squaw Valley Twist. If 1. but instead of placing the apparent Ace of Spades ofl your spectator's hand (for the vanish and reappearance). have the spectator lift her hand to reveal that a card is under it. Because of this sequence.) The next structural challenge was how to deal with the extta card (without simply palming it off). After suitable by-ptay. Set the deck aside. moreover. 1 9851. the rest was engineering-a lot of it.t . (I-ouis Falanga also used a rainbow ending to a twisting trick leaving one of the cards unchanged. slide the upper Ace over to expose the Ace of Spades. I used Walton's "Cascade" subdefi.ou're like me. The set-up sequence at the start is efficient and satisf)." With these two structural elements in place the apparent Ace onto the table and have her cover it with her hand. especialll' so. adding the selected card to the back of the packet. have a card selected. horvever. Insist that the Ace has vanished and now call attention to the reapp e r^flce among the other Aces." Nfaxwell. Flip the Ace packet face-up onto the deck and immediately lift off all five cards above the break. Initially. I have developed an even gre ter appreciation for how inattentive the human mind can be and. Claim to have made a completely different card appear. it occurred to me that I could get rid of the extra card in plain sight by using a blank-faced card and otchestrating a "vanish. for example.Smoke dy Mirrors (1. but do not call attefltion to it yet. Sprn Cvcle The twisting routine set forth in "Spin Doctor" is very efficient and suitable for use u. Here is a vairadron: After the Aces have been removed or produced from the deck. Ask for the name of the selected card and have her turn over the card. accordingly for the power of discrepancies. Your spectator will say she still feels the card under her hand. if 1." This approach is similar to Eugene Burger's handling of the Gordon Bean/LaryJennings trick. Now proceed with "Spin Doctor" as written. Several years ago. L-ake Tahoe Card Magic p&L Publ-ishing. Presto. used a Buckle Count follorved by a Mechanical Reverse followed bv a TVo-As-Four Count. Claim to have made the Ace vanish.992).ith ordinary cards. I've had magicians not see this discrepancy even when I was explainingit to them-it's that effective. control it to the top and get a pinky break beneath it. 1.

Since its telease in 2008. The basic set of cards. moreove! has proved to be versatile.Doctor DYD. "Spin Doctor" has been widely acclaimed. Some have called it "the best packet trick of all time. Sxurruru' * 277 .7 joint effot. Spin Doctot was actually the fitst of the "fiact^\" catd tricks and originally was to be the final chapter of Dear Mr. Liam Mootier and I put some different tdcks that used the same set of cards n the 201." for which I am gratefirl. Fantay. but it iust didn't seem finished yet. Triabol- ical.

"Are you sure? Would you like to change your mind?" he queried. we'll need hole cards. or "magjc:nn's choice. this was something different." 'Yeah. since you get to make all of the choices. The reason I'm only offering a dollar a dollar isn't a is because. the trick won't work and I lose that dollar. but . An auspicious start... If I get the winning hand. I shook my head. I pointed to the other card." he said. however.Tne Powen oF Poren (D. I7e'11 play a game of Stud Poker." High praise indeed. mostof the time I lose. You see. I'lI tell you this: It wasn't some variation of the Ten Card Poker Deal. Which one do you want to be your hole card? I get the other one. If I haven't antici- pated every one of those choices perfectly. 'A litde game of five- card stud. you get ten chances to completely screw up the trick. Bannon removed and arrarged ten playing cards. He pushed it toward me and pulled the one on the right toward himself. If you get a winning hand. right. "Now I want you to choose one of these cards for your hand. Which one do you want?" I pointed to the one on the left again. 278 * JoNr Bnurott . it was the Ace of Spades. He dealt two cards from the packet face-down onto the table. He placed a one-doilar bill onto the table. "No. 'You can change your mind if you want. In this game. solouor." "You can look at it. First. Just to see what would happen. No. you get the dollar. Bannon dealt two more cards onto the table. I peeked under the card.r) ! Bannon had called it "a neady-perfect self-working trick. He said." I pointed to the card on the left. you get to make all the choices of who gets which cards. if you'd like. I know lot of money. "I'm going to give you a chance to win this dollar bill. to be honest." he offered." I thought. I get to keep it. It did use ten cards and involve nvo hands of Poker." I noted to myself that this was no equivoque.

They were very fair and I didn't try to influence your decisions in any way. I nodded affirmaively. "Even though you chose a FulI House for yourself. . It vias the Nine of Diamonds. He picked up the packet and dealt two more cards. I'lI even show them to you. The Ace of Diamonds and the Ten of Spades. oh." I did. It was an Ace of Heafts. Bannon continued. Now I had a Full House. Bannon dropped the packet onto the card I did not choose. I had to admit that the ttick seemed very fair so far. "Looks like only a Four of A I(nd or a Straight Flush will beat you. I took the Ace. Is that right?" He picked up his cards Srurruru' * 279 ." Again. Now I had two pairs. There really were ten different choices I could have made. I'd get to keep my dollar. He turned over my se- lected card and tossed it onto my hole card. Following the ex- act same procedure as befote. "Choose another one for yout hand. Don't tell me this actually worked . But I couldn't believe it. "You gave l. \Wow. In fact. . Let's see ." Uh." Bannon took from his pocket one of those "Rank of Hands At Poker" cards that comes with some Bicycle decks and pointed at it. Aces over?! That's a good hand. "So what'd you get?" he asked. In fact. V/e each had three cards. The choice was a real "no-brainer". "Now there are two cards left. Aces and Nines." Bannon said. Aces over Nines. You get to choose.ourself a FulI Flouse. "So far you've made all of the choices. He placed it onto his hole card without showing it. it looks Jike a Straight Flush will beat just about anything. \X/hich one do you want?" He raised the two catds' faces toward me. I turned over my hole card. Not many poker hands canbeat that. One wi-ll be mine and one will be yours. . if you chose a Straight Flush for me. Then agatn. I suddenly saw whete this trick was going. Not too bad. "Nov/ you need to choose some cards for my hand. a real powerhouse."Sure?" he asked." I did and Bannon said. "Let's choose a fourth catd for your hand. .I selected another card for his hand. Isn't that right?" I had to admit that u/as so. "Now choose another for me. I selected a card for Bannon's hand. 'A FulI House!" he exclaimed. It was the Nine of Clubs. he dealt two cards and I chose one-no equivoque or magician's choice. I now had a pait of Aces. Again he dropped the packet onto the card I did not select and showed me my chosen card. I had made all of the choices.

lose the extra card. and ICng of Spades. Ten.' Note that this is no relation to the Ten-Card Poker Deal. "You get that result half the time. The spectator will alwal. 280 * Joxr Bnnuou . you get this fabulous. He pubJished it in MACIC. and the exact makeup of both hands can be determined in advance-more or less. Yet. "The Four Queens" is at page 178. Amazingly. Tbe Magic Of Alex Elmslel." "It's very cool. "Revised Mexican Poker" was in the August 1999 issue of MAGIC magazine 76. trl. the 'Four Queens'procedure required another equivoque.t ^ ttick if you had the skill set. was in his excellent Mathematical Magic. Here. but I only had the 1993 Dover edition.ater I went back to look it all up. and didn't stop therc. a Royal Flush. I am really fascinated b." I said. but you still had the Bottoms to contend with. The spectator makes all of the choices. and the performer will always get a Straight Flush and half the time a Royal Straight Flush. inctedible. I found "Power Poker" on ^tpage Alex Elmsleyb first videotape. The routine dates to the first printing in1964. In working on the trick. "Okay. Dave Solomon is the chief architect. practical or good solution. It's reall1.and began dealing them face-up onto the table: the Ni. So. Dave got rid of both equivoques through two additional layers of subtlety. the magician always gets a Straight Flush. It used extra card and several Bottom Deals. not to look as perplexed as I was. eh?" Bannon said." Q. The other half of the time you get a better result. it's completely self-working. The Bill Simon routine. but itt his trick. I recalled.s get a Full House of Aces and Nines. Queen. and I all became aware of the trick through an undetground routine making the rounds some years ago as "Mexican Poker. A Straight Flush il "Not bad. Dave also credits me and Tomas Blomberg for having a hand in the one player always gets a good poker hand. Volume One Q-&L Publish- ing1997). This was an obvious trade-off. start with the Elmsley routine. there is no equiv- oque or Magician's Choice to speak of. You ^n could get rid of the extra card by using an equivoque. Two equivoques was not an elegant. The Elmsley trick was gtea. "Is this )'our trick?" "No. Sure enough. "But. Dave employed a devious selection concept from BiIl Simon's The Four Queens' to get dd of the bottom deals.') Bannon continued. he couldn't. Dave.v the depth of sub- dety in this trick. Fitst of all. he put it all together and sruck with it. predictable result. "The basic plot derives from an AIex Elmsley trick called 'Power Poker. Bannon. and add an equivoque.

"That's all very nice. None any sense to me since I still was of this made completely fooled by the trick. You tell your spectator that first you must choose a hole-card. I took the napkin and wrote down the order of the ten-card packet. the 'hole' card dodge hides a very subde principle. but sometimes it's Aces over Nines and sometimes it's Nines over Aces. whichever one the spectator selects." Bannon quickly rearanged the cards ^rrange and spread them out on the table." I was getting a litde impatient. but the outcome changes depending on the choice. The spectator always gets a Full House. "but how does it work?" "Okay. The choice is a free one. In other words." ilt "You'll need to a packet of ten cards. That's why half the time you get a Straight Flush."First." he said. only one represents a logical choice. on the face Bannon held the packet in dealing position and dealt two cards face-down onto the table. "But the layers of subdety and the total absence of equivoque are rcal)y fas cinating. okay. and the other half you get a Royal Flush. "First is the hole-card dodge. no equivoque is required." "So tell me already and I promise I'11 be propedy fascinated. of the last two cards. From the top. So." I said. by giving the spectator an opefl choice for the last card. "Second. the cards were: * Ace of Spades *F Nine of Spades iX AnyAce *r Any Ace i* Any Nine )* Any Nine * King of Spades * Queen of Spades *Jack of Spades l* Ten of Spades.' Here. He removed the cocktail napkin ftom under tr-is drink and passed it over to me. Even persons who do not plal'have at least heard of the concepts 'five- card stud' and 'hole-card. the performer Sxurrun'* 281 . the spectator logi- cally picks the card that best improves his hand.

. The first lar-er of subtletr. dropped the packet on top of the unrvanted card. \. Here the spectator u. \We each had four cards. I rvant to emphasize that the unwanted card is being discarded onto the bottom of the packet without calling too much attention to it. shet choosing from tw'o of the Full House cards. Bannon dealt two more cards face-down onto the table. 'At this point. "is that vou choose tu'o cards for 1'out- that b1. You have no reai control over which card from each set you lvill end up rvith. and asked me to choose one. It doesn't matter's ask the spectator to peek at her hole card. Here's how it rvorks. This is so she can monitor the progress of her hand.. Whichever one you choose. I alu. either the Ace or the Nine rvill rvork. Again he asked me to choose one.. his face-down). one from each 'set' of cards. because the spectator will get a full house. Similadl'.i1l choose among pairs of catds for herself and for the performer. He dropped the packet onto the unwanted card. filling in the hands. derious lavers of subtle6-. I was beginning to understand the diaboLical construction of this trick. It's reallv flilliant.-ill receir-e. and thanks to Bdl Simon. two cards for me. 282* Jorru Bnnnoru . and as NIr. "The way this procedure goes. and turn the selected card face-up. she's choosing from among two Straight Flush cards. Does that make sense?" I nodded mv head. 'An1.wa1'. the trick works itself. I drop the packet on top of the other one. That's the second Iayer of subtle6." he explained. and vou get the remaining one. but all the choices are illuson'! \fi/hen she chooses for herself. "there are two cards left. He did the procedure again.hich one she takes. Sort of. turned the selected card face- up and tossed it onto m)." I could see where this rvas going." Bannon explained. but slid the chosen card over to his hand without showing its identiq. and one more for me. she can choose either card. .ou'11 fool 1'ourself rvith it. \\'hen she chooses for vou. but this time asked me to pick a card for him.ourself.gets the other. The spectator gets the Full House cards and the performer gets the Straight Fiush cards. hand. You do it the same wa)/ every rime. one more for l. using both ends of the straight-flush that the performer s. This procedure is exceedingh'clever. Simon himself points out. a hole-card and three others (mine were face-up." He dealt two cards face-down onto the table." Bannon quickly ran through the procedure three mote times. "Now comes the Bill Simon part and some additional. the performer can get either the Ace or the Nine and still get a straight flush. "These two catds are both Aces from the 'Full House Set' of cards.

al p1w1. Not too shabby. If she follows your instruction. but as Dave figured out." Bannon smiled. she will pick the correct card." he said suddenly. Straight Flushes and Full Houses ate ^very. "Before I forget.but you will each have one. by simply forcing the Nine of Spades hole card through an equivoque. So. simply pretend to study the cards yourself and point out that the other card seems like a better fit. You know.l not spoil any- thing. You will get a full house of Aces and Nines. maybe later . Something like." he drifted off. the spectator would have to deliberately ignore your instruction to take the best card for her hand. if you are at alf concerned about the Poker knowledge of your audience. "Okay." I said hesitandy. only one of the tu'o remaining cards will improve your sPectatel'5 [21d-f1om either three-of-a-kind or two pairs to a full house. If you picked a spectator that would do that. Questions?" IV "Not really. Only now. possibly a Royal Straight Flush. The no-equivoque version is simply more interesting.Whjle it may be obvious. Sxurruu' * 283 . not as firmly ingrained in the Ametican cuitural psyche. One equivoque wil. well. You see. "Cool trick. )rou can always end with an iconic Ro1. At that point. But remember. Did I ever tell you my theory about jumbo cards?" "I'm not sure. Magicians. all you really have to do is show the cards to your spectator and ask her to choose the card that best improves her hand. The cards are dealt. Very subde at this point. Did I really want to hear another theory? "Well. you could do an equivoque. you are showing the cards. it's your fault. Can't the spectator take the other card and screw up the trick?" "Good point. I bet it would look good with jumbo cafds. . more vague concepts." I said. . no. So you will know if she picks the wrong one." I was following the explanation. No moves. no equivoque. I use the 'Rank Of Hands At Poker' card to sell the climax." "Exacdy right! This trick is petfect for jumbo cards. but I've never had a civilian try to trip me uP on this. A Royal Flush is iconic. She's got a Full Flouse. Now. but something dawned on me: "Wait a minute. You will have to talk your way out. and the sPectator has made every decision. you've got a Straight Flush. Yet another layer of subdety is added. "In that case. everyone has heard of it and knows that it is very good hand of cards. you don't have to. . It's a handy prop when not every membet of your audience knows vrhat beats what at poker. yes. a substantial improvement. "you could aiso prepare a prediction predicting the outcome of the trick. wete done. laymen.

however. the highest hand in the game. You will give me a sttaight flush. This way. I know that at least one of m1. with the prediction. but I get to keep the dollar. the audience is positive there is no "funny business" going on. In fact." 'As a matter offact. When you dress this tdck up. Lately. but I have the participant do all of the dealing.'l7hatever. HISToRIcAL NoTE Originally published in MAGIC Maga{ne n 1. I still perform it in Jumbo form and with the prediction. I have re- verted to regular catds." $7e went on to other topics. 284 * Jonn Bnnnoru . As the evening drew to a close. I made a mental note to myself to dig out that deck of jumbos I had somewhere and to try this baby out.999.1. "Po'il/er of Poker" was perhaps one of the most acclaimed tricks from 2005's Dear Mr.-handed. notable co-performers at the con- vention is now doing this trick in his formal shows-in fumbo.I did it with jumbo cards and a prediction kicker.but you will lose the game. "when I lectured on this ttick in Minne- apolis in 2001. You iust saw the impromptu card trick version. It went on to inspire a number of variations and alternate paths of development." Bannon continued. Sorry. Fantasl. and deservedly so. I still think it's the best. but actually quite effective. it plays big and gets a lot of attention. This may be a l-itde hear.

taking the top half into your Ieft hand. preserving the stack. Ieaving the CIub stack on top.Tnr BNruNON TNIUMPH nlrln Pmv It SrRntcnr TntuMPH PnEcrs After a card is selected. The perfotmer then causes all of the cards to turn face-down. but the cards did not "pop" as they should have') From thete. I now exclusively use Clubs. you can false shuffle as much as you like. Reassemble the deck. Mrse Eru ScEue There is a set-up involved. Sxurrur'* 285 . This spreadof thirteen of twenty-six or so looks a lot better than spread- ing the top thirteen cards of a full deck. Even a sizable stock can be preserved this way. except for the cards of the same suit of the selected card. Retain the original top half of the deck and place the bottom half onto the table. In this manner. Give the deck a swing cut at the indicated spot. It's not like the Heart suit couldn't be seen.nffle down the side of the deck and have your spectator stop you near the center. Jog or Lift Shuffles work well. If I have a surface. I like to do this using only half of the deck. To perform you must first force one of the stacked Clubs. Impossibilia. but not teplaced. She will necessarily select one of the Clubs. and it is child's play to simply not shuffle into the stacked block. on top of I origina\ used Flearts. the deck. I often use a Mike Skinner ploy for retaining a top stock-riffle shuffle the cards face-up. which face-up in orden The ^ppe^r identity of the selected card is determined by simply counting through the face-up cards and determrning which card is missing. the cards are thoroughly mixed face-up and face-down. (W4rile Under bright lights-like in a formal |sstuls-*rs red suits tend to get washed out' I Iearned this the hard way in making my first video. With your right thumb. Spread only the top thi-rteen cards of the retained packet and have your sPectator se- lect a card. Arange to have the Ace thtough I(ng of Clubs. the audience can see the face card of the deck change with each shuffle. in ot- der.

making the cards seem even more mixed. spread packet D. only the Clubs are reversed. Note the following diagram: The Club packet is at position A. Turn the packets at B and D face-up. As you do this. For better appearance. shuffle packet C largely into the upper part of the combined packet and allow the top face- down card of packet C to cover the face-up ICng of Clubs at the top of combined packet AB.our left. ensure that the bottom card of packet A (the I(ng of Clubs) becomes the bottom card of the combined packet. Count through the Clubs to determine which one is missing.. the Clubs stay in order. Using both hands. because we shuffled face-up cards into the packet when the Clubs were face-down and shuffled face-down cards into the packet when the Clubs were face- up.ffle slowl. )rou can :I. Tilt the deck forward and riffle up the back end of the deck until )rou see the I(ng of Clubs. Of course. Place the packet onto the table to J. Presto. As you do this. also turn over the combined packet AB. Though not stricdy necessary. Snap your fingers over the deck and spread it u. Because we were careful with our shuffles. but turn it over as you do so. Squate pack- et C and shuffle it into the combined packet. Now.You will now cut the deck into four approximately equal packets. Replace the deck onto the table. cut the deck at this point.v at this point. Square packet D and shuffle it into the combined packet. ensure that the top face-down card of packet A (the Ace of Club$ becomes the top card of the combined packet. Be- cause you are supposedl).. seeking some precision. square the packets and shuffle packet B into packet A. Now. 286 * Joxru Bnrruoru . Even better. Pick up the deck and spread the top ten to fifteen cards to show the cards are mixed. turn packets A and B longwise and spread them in vertical rows.idely across the table. AIIof the Clubs are face-up and in order. Cut the rest of the deck into three approximately equal packets and piace each into a row next to the Club packet. Spread packet C. face-up and face-down. The first packet must contain on! the twelve remaining Clubs. again turn over the combined packet ABC. Announce the missing card as the selected card. Similady. the upper part of the deck will have a higher percentage of face-down cards. Ask fot the suit of the selected card.

Fiue. First. Then.] Bat. Great. Sxurrun' * 287 . Didya choose the Seuen? Show it to eueryone. I point out that finding the selected card is "impossible. IH haue to be crary if I thourtt I could fndyur card in this mixed-up jambhd mett. the "Bannon Triumph" makes a perfect follow-up to Ver- nont original "Ttiumph." apparendy oblivious to the fact that the second card was not returned to the deck.PReseurRrlou My approach has been to proceed as if I "forgot" to have the spectatof fetufn hef selected card to the deck. please rdJ stnP. After all of the shuffles. It's impossible. lA face-up. [Shuffle A and B. turn two of them face up." Have two cards selected at the outset. I'low these two together. And these hto together. Then. You thoughtl woaldn't notice. Shufie thue two together creatingaface-ap andface down mess. it's cra4t! Posr MoRreu (Tnruupx)' As I have stated before. wehe misstng tbe Seuen. Onfi thru kinds of people sbffie cards like this-magicians.) Half the people shffi like this. "notice" that the card has not been returned.) It just keeps getting worse and worse. Then in a reversal that is often not entirely unanticipated by the audience. IlJ ORDER There are the Acq Two. tell me the suit of yar card-jast the suit-and III I can.f Magicians [disapprovingly]. I knowlou'ue seen people shtffie like this. do the best that Clabs? IVatch.-)0a neuerpwtltour card back into the deck. fShuffle AB and C. ./h1? Because . go right into "Bannon Triumph. Dranks [disapprovingly]. If. drunk5 and crary people. . . didn't1toz? Tellya what. then have one of them returned and do "Triumph'" Nfost of 1'ou should know that the "Triumph" shuffle is a false shuffle.] It't like a nightmare. at the end. Ask for the suit and conclude. llJow. Threq Foar. Raquel. Like I said. take a card. we'll cut the deck into four approximatelt eqaal packets. lfun overhand iog or lift false shuffle." pfesumably because of the mixed-up condition of the cards. Cra4t! You know. . Now. There are AI 't the Clubs. I acknowledge that it is "impossible" because the card had not been retutned. top-stock-presetving riffle shuf- fle. [Shuffle ABC and D. Six . Andloa'ue seen people shffie like this. I betloube neuer ieen an)tlne shtffie cards like the wa1 I am about to.

" first appeared in my first-ever set of lecture ootes. Impossible. Secondly. originally titled. CotmicDebis. and appearedagaintnlmpostibilia. HrsroRrcnr NorE The tdck. There is no doubt that this is one of my most popular and enduring creations. First. if you are going with the "because you never put your card back in the deck" apptoach." your audience will be watching close- ly-and with the "Baflnofl Triumph" they can. l. this is Jikely it. 288 * Joxu BANNoN . aftet "Triumph.The synergies are good. it has been so widely adopted (without attribution) that in some circles it is simply regarded as a "classic" way of doing the trick." This re-branding effort (which began in 2009's Six. "Play It Straight (friumph). In the last25 years. by the end of the rou- tine there is a heightened chance that the second spectator will not remember that she has not retwned her card.in1987. Tbingl and the Bullets After DarkDYD) is n- tended to correct that oversight. If I am to be remembered for any card trick. I originally should have named it "The Bannon Tdumph.a1991.

" In other words. sells well (which surprises me because. you may think I showed you Aces. "Call Of The N7i1d" was my at- tempt to bring some logic and cohesion to the classic "S7ild Card" plot." Sxurrun' * 289 ." The performer now turns up. and the remaining four are set aside as Eddie's. leaving only eight cards in play. Eddie takes back the Ace of Spades and visually turns his four cards into four different Aces-Clubs. A set-up is required. every day of the week.. one card at atime.. the deck ProPer goes away. Like its predecessot. a lot of magic happens here in a surpdsing.. The performer goes first. Eddie. but after alogScal opening sequence. The performer removes eight face-up cards from a shuffled desk-a random assort- ment. to this day. The packet is turned face-down and four of the cards are set to the side as the performer's hand.. PnEcrs The performer recounts his first meeting with a renowned Chicago gambler. Hearts. one of which happens to be the Ace of Spades. And Eddie. the trick has a lot of moves). Spades and Diamonds.a Royal Straight Flush beats four Aces. a Royal Flush in Spades! ". proposed a cofltest in which the performer and Eddie would each get four random cards and would take turns "seeing how well they could do. Flete's a way to accomplish the same effect from a regriar unprepared deck. Unimpressed. The performer takes back the Ace of Spades.993. but coherent way. "Eddie. where I play cards. Borrowing Eddie's Ace of Spades. it seems. the packet trick has been consistendy well-received and. it was a cheating contest. State Street Eddie. Over the years. but I know for a fact I showed you Spades.Fnncrnl R E-Cnu (nerrl tx) A perennial favorite since its introduction in1. the performer turns all four of his cards into Aces of Spades. while not exceptionally difficult.

The idea is to begin with more cards than you need-5 ay. you need a "slug" of cards-basically an apparendy imprecise packet of cards randomly removed from the deck. From there. allowing the deck to split under the reversed card. Now get a left Jitde-finger break below the reversed cafd. set-up the following seventeen cards from the face of the deck: seven indifferent cards. First. you will need abreak above the bottom sixteen cards. As you'll see. or both of theJokers).t . The reversed card acts like a crimped catd so you can lift up the upper portion of the atound with "Fractal" Wild Card routines.. false shuffle as much as you care to taking care to preserve the bottom seventeen cards. and then place the remainder aside. the other three Aces in any ordet. From the top of the deck downward: rroP oF DECKI [face-down DECK] [face-UP Joker(s)] [Spade flush card] [Spade flush card] [Spade flush catd] [Spade flush card] lA. a reversed card (ideally aJoker. the ICng. the reversed Joker will act like ^ppe a crimped catd because of the natural break. indifferent card. Ace of Spades. That's where the teversed card comes in. To do so. 290 * Joru Bnuuol. face-up of course. Cur Txe Sluc The "Slug" concept is a switch strategy I came up with plal. a packet of blank 621d5-1e count off the number you need.l [Ace] [Ace] [indifferent card] [Ace of Spades] [seven indifferent cards] |FACE OF DECKI This set-up is simpler than it rn y t. Queen. Jack and Ten of Spades in any order.Mrse Eu ScErue Ser-Up From any regular deck.

I'ou are going to apparendv pull eight cards off the face-up packet into 1'our Ieft hand. (Photo 1. as follows.. Eight cards as one can be scar1. After two or so packets. There is realh'no good wav to do this secfetl)'. getting the necessary break beneath it. Spot the indifferent card. locking the cards below the break in place in your left hand. t'ou actuall\'have taken eight cards and have a break under the top card. move the cards above the break to the right. You will need to get a break under the indifferent card that is under the Ace of Spades. Take over the break with your left little finger. Ieaving 1. With 1'qrrr right hand. tilt the packet toward 1'ou (that is.. begin cutting packets off the top of the deck and dtopping then onto the table. Tne VeeseR SwtrcH Here.e apParentlt. Now comes the srvitch. with vour right hand. This is the Veeser Concept. Flip the packet face-up. aPpafenthr a "fan- dom" packet of cards. rvith t'out left thumb. It looks best if you tilt the forward edge of the packet down- ward slightlr. hold the top card in place and. bothhands remain in motion until the count/switch is o'. the sixteen-card set-up is face-up in your left hand. With 1. "necktie" the packet).ou holding the sixteen-card set-up in t'our left hand.Now. cut at the break.ou har. Bdng 1'our right hand over the packet and take over the break with your right thumb. and then close the spread and lorver the packet. [1'5 important that once the count begins.'er. we are going to use a Veeser-tvpe switch to switch a packet of indifferent cards for the Spade Flush catds and the Aces. and quicklv spread the cards. Sxurrun' * 291 .) Hold a break under this first card. we want it to appear that the sixteen-card block was randomlv cut from the cen- ter of the deck.our left hand. $/hile 1. At this point. cradle the packet so it is slight\'deeper in 1'elrt hand than usual. taken one card. At this point. Now. Instead.

In your right hand... (Photo 2.e them and seven indifferent cards. 292* Jonu Bnruron . with your right hand. steal all of the indifferent cards above the left pinky break under the right-hand indifferent card in the classic Biddle-steal fashion. the Ace of Spades have been counted from the right-hand packet into vour left hand. the left-hand packet now consists of the Spade Flush cards and the Aces. seven. To finish. in your left hand I'ou have seven face-up cards rvith a break abor. Place the top four catds in front of you-these are the Spade flush cards and will be ").\ffithout pausing. as with the others. At ttus point. Call attention to the Ace of Spades and. Turn the left-hand packet face-down and divide it into two four-card hands. drop it onto the deck. pull it onto the packet. singlv pull the next six cards off the right-hand packet onto the deck. flip its packet face-down and casualll. you have iust two cards: the Ace of Spades and an indifferent card beneath it. There is a logical rh1. count off eight of them and put the unused catds back onto the deck. Actualll. It appears that the top. The downward tilt and the steady movement of the hands during the counting helps cover the actual size of this packet.. fortuitousll.orrt" hand-and place the lower four cards to your left and forwatd 2 [ftls-lhsse are the Aces and will be Eddie's catds. I like to call out the values of the cards as I do this. however. indifferent cards have been counted from the right-hand packet onto the deck.1rr. This procedure is not as compJicated as it may seem. carries you through it: You take some cards from the It appears that seven indifferent cards and. As you take the Ace of Spades.

FrvE IDENTTcAL AcEs Rcmark tl-rat.n'is. Thc simplcst u-'.) SxurrlrN' * 293 . trrrning the .\cc oi Spaclcs ancl cleel it on tt.rc semc til-nc.fthis is c[rl-lc. (Photo 4. Holcl thc pacl<ct in rrrnr lctt hancl.rp oi thc teblcci clrcl. To shos.f thr-rr-rtb t1.r. \\'itl-r lour: lcft tt thc c\trclllc lct1 cclqc" to xpplrcnth' tr-rrtt thc . It appcars as ii xru turncd thc top cercl of paclict tacc-r-rp to shos'an r\ce of Spacics." Nos' r oll ctn lct t1-rc "cl-rcating c<lutcst" bcgtl-l. \\ ith r-our risht htr-rcl. Slrutflc thc r\cc trl thc positiot-l scc<lucl tl11rn tl-rc b9tt6r-r.. pinch tl-rc right siclc 6i this bftrcl< ancl flip all tirr-rr carcls or cr ()nt() tl'rc Ictt-hancl packct.rr-ltIlc. Dcal thc top carcl of thc tccl-rnic1-rc packct ()nt() thc tablc.\cc" t'irh en in-thc-hlncis \Icxican Tntnrx'cr.oLr n()riccd that ['.\cc gnclcr thc rcntainir1s lctt-hancl carcl. ntouctttarih pinch both cards encl tlrtg rhc plir tos'arcl thc lctl finucrtips. Picli up "rour" tirur-cercl 1-rancl' Sar.\cc. Sliclc thc thcc clos't-t. in rn or-crhlncl sl. in this chcetinu colrtcst.clclic hacl bccn clcelt the r\cc oi Spaclcs. Rcpcrt tl-rc bltlcl' tlrrn()\'c1's to shos' a scconcl . sLllrcczc to thc right a1l of thc carcls cxccpt titr thc bottoln cattl.rc paclie t. (Photo 3.\cc rlf Spaclcs. fol thc tirr-rrth r\cc. cxplain that a "chcatiug contcst" \\-xs Pl'()Posccl' Ilight ratltkrtr carcls s<rr-rlcl bc takcn trrr-n thc clcck. Scconcl tiorn thc bott()m.\cc thcc clou'n. S]iclc as'av thc ios-crmosr carrl oi "lrdclic's" for-rr cercls-it u'ill bc thc .\cc ancl placc it thcc ckrs-n on t()p of vour paclict. tl-rc r\cc is in position tirr a climinishing lift scqlrcncc.that \. litfi ronr right fingcrs unclcrncath rncl thr-tr-ttb on t()P. Rcpcrt tot thc "tl-rircl" . That's ()r1c 1\cc oi Spaclcs.\t tl. Shrliv tl-rc .\s all .\cc ticc tlrls-n. Rcpcat this "bkrcl< tnrnor.\cc s-ith vour riqht thr-rntb ttnclcrttcath.ti-rc last ".) Tnrri yonr right hlr-rtl pelrl up. to talic thc top ancl b11tt<tm carcls 6n thc hrst "c[rop" ancl shutflc oit. sirlph' flip thc top catil thcc up. tlrr11 \()Lu'r'iqlrt l-rencl ptlt-n-clrln ancl talic tlrc . . \'()Lr \\-cnt first.. anc'l cach t-ttln u-or-rlcl qct tirttr carcls to "clo tl'rc bcst tl-rat hc cln.

Take the top two catds in your right hand and the lower two in your left and rub each pair back-and- forth a few times. In a con- tinuing action. (Photo 7. (Photos 5-6. and then returned it. used it to change all four of 1re111 cards into Aces of Spades. This is the classic Mexican turnover technique.As you do this. And drop the remaining Ace of Spades face-up on top of Eddie's catds.) Drop the face-down card in your right hand onto the tabled cards. You have apparend). Nor Au 0ccupnrtoNAr HAZARD Continue your story: "Eddie said a hand vrith four identical Aces is an occupational hazard. 294* Joxu Bnrtoru ." Pick up Eddie's cards and flip the face-up Ace face-down. your right fingers push the lower card (the Ace) to the left. The Ace of Spades is now third from the top.) This is the traditional "squiggle" flourish. Then put the right-hand cards under the left-hand cards and square the packet in your left hand. bor- rowed the Ace of Spades. raise your right hand sharply upward and allow the lower card to turn face-up.

There is a lot of cover here from mant. The original move uses a side- to-side spreading action to hide the haif-pass reversal of the bottom card (this move is the essence of the trick). to show the Ace of Spades. Now without pausing (time misdrrection is not $zanted here). Now move 1'our right thumb forward and fingers backr. as one. with vour right hand-thumb on top and fingers beneath-pinch the right side of the packet. like thrs: After you've turned the Ace face-up (a triple card). different handling for the Asher Twist. pull down on the lowermost cafd of the packet with vour teft little finger.Now we'll use one phase of the 'Asher Turist" but call it a "change. I use an up and down. it will turn all the wa. do the Asher Twist move to show that all of the cafds have turned face-up and that now they are all Aces. do the haif-pass move. (Photo 8. (Photo 9. as the pull down occurs. turn the top three cafds face-uP.) To cover the move.vard. eventualll." Using a block tufnovef. angles. Snurrun' * 295 . If you continue to pull down this side of the cafd.) At the same time. simuitaneouslv spreading the top three cards in a for- ward-to-backward spread. I have a slight\.v over in a half-pass action. almost "squiggle" action to covef the move.

. 296 * Jonru Bnnruou . r. Continue r. that is svnergisticallr- effective. a Roval Flush beats four Aces evety day of the lveek. as srell as rer. to sit doun witlt the. As be- fore. This is a veri'effective use of the Asher Tkist mechanics. . )'ou can leave the Ace of Spades face-up on top and do the sequence three times to turn each of the other Aces face-up. but instantlv and visuallv changed. Take the top and bottom card in \-our 1et1 hand and the middle nvo in vour right. fbur card spread. because thel rvere pre- sumed to be indifferent cards the appearance of the Aces is a surprise.In a continuing action." Pnrseurnrroru I use a storv here to set up a "Gambler Versus Nlagician In Trouble" scenario. Eddie made fun of t'ou and shorved all four Aces." Spread vour cards before vou like a poker hand and then.vith the Asher T$ist. State Street Eddie. The r. there is an extra dimension of change.ved 1-ou Spades.) Even though the other thtee cards "magicalhP turned face-up. r'ou mav think I showed vou Aces. . reveal the Roval Flush. I bad tbe opporttrnifi. Nor Aces So. \'ou showed four Aces of Spades. llThen I frct ruoued to Chicago.ou are adept r. (Photo 10. Then pick up the Ace of Spades from Eddie's hand and add it to vour cards.ersal. Pick up vour cards.vhere I plav cards . but I knorv for a fact I shor.vith the "squiggle" flourish. And Eddie. ". card-bv-card.fatnots garult/er. and now it's )'our turn again. . Time for the tag line: "Eddie.vhole se- quence feels like the cards not onh'turned face-up. reverse the right-finger movements collapsing the nos. (If 1.) Senoes.

ahao. that's how to get the mone1. Speed it up with Flip Hallema's "Flip's wild card Routine. but where I plal cards. 'Wait a minute. moreover. lYahh carefall1. and since I was the guest.When E. and then slow it down a [ttle.. Posr Monren BncrcnouND AND Cneolrs Start with Frank Garcia's "\)7ild Card" routine. I tlirt this zztlt)e t0 get not on/1 one Ace of Spadu. kt1993." Its use of Iogical gfoups of cards as change "tafgets." and the unexpected double-take climax.. but two. instead of getting hospitatiTed.t think I showedloz Aces. I an a worldfamoas magician. Then. Then. c. Come ltack and see me whenlou know whatlouhe doing. "Son. 'Yoar turn." 1oa Spades.) Add some J. but I know I showed a Royl Flush beatsfourAces euerl da1 of the week.athree.andtheAce of Spades. Shake vigorousll. I gaue him back his Ace of Spades and said. where I plal cards. he said. Racherbatmer. S tate . After a//. And Eddie. Smurrrrru' * 297 . State Street Eddie. I took back the Ace of Spadu.andanEight.apueen. First. he propored d "contert'" He took oat a deck of cardg shffied it.aten'aJack. "Son. he jast looked at me. and said we4 need eight random cards. IN/e eacb gotfour cards. S7agner thinking (his "Wild Thing").I ended up with "Calf of the !flild. give the plot ahard twist. You mq. a hand with fue identical Aces is an occupatiortal halard. but sudden! Eddie had all four Aces." I was a linle insulted. I don't know wherelou p/a1 cards. gaue it a few cats. me) believe was nevef satisfactorill' oYercome by any presentation of this classic plot. makes COT$fl's "Nflild Card" roots barelv recognizable. We'ue beenfriends euer since." fl. opened new avenues fot logical and cohetent presentation5 25 1ilsll- something that some (namel1. He said. l-ttisee.ddiefoand out I knew afew things aboat cards.. The group-based restructur- ing. I was to gofrst- I noticed that Eddie had the Ace of Spades and asked to borrow it. I did the "huist" to get a third antt a foarth Ace." I rtidn't see a thing.f treet E ddie.. Kabbala [December 1972]. " For a long while. I said.herewehaaeafour.

Happily.I synthesized the CATTO and "folding" aspects into what I now call an "Origami" card trick and had a varieq of handlings in my book.." this is not just a card trick. Everl. the perfotmer has predicted the numbet of face-up cards and the red/ black division of the face-up cards. PReotcrton First. it's a to1. A third prediction about the suits of the red cards is off by one. the prediction. PnEcls From a shuffled deck. Mrse Eru ScErue A1l you need is a deck of cards and some cardboard and an envelope to make the prediction-which can be used over and over ag tn. Murtt ple Su ot l. self-working handling here is new and is the easiest and most accessible method yet. Get a piece of white two-sided cardboard and a top-opening 298 * Joxru Bnruruoru . And everyone else. As I said in "Degrees of Freedom. Nevertheless. You will fool yourself. The streamlined. Fantay. theret no sleight-of-hand required. a small packet of cards is shuffled and mixed face-up and face- down blltour PREDIcnoN A mathematical drive-by Introducing a new self-working "engine" for setting up the "folding" card trick that was first explored in Dear Mr. an unexpected fourth prediction corrects the mistake and surprisingly demonstrates that the performer was right all along. Dear Mn Fantasl (2005).

the rest of the deck. Strip out these cards. 1. write the foutth prediction near the bottom. These will be yout "target" cards' Sxurrun' * 299 .envelope that the card can fit into and easily slide up and down. FOUR OF THE CARDS WItL BE BTACK 3. you could "to1r" -i11. write the following three predictions. AIso upjog the Queen of Diamonds when vou come to it. any Heart. and anv Club. I think you see what's com- mg. THE RED CARDS ARE 4. On one side of the card. mixed up in anl. then anothef Spade. Finally there is one more ver)r small steP of preparation with the deck of cards' POTENT PRIOR PREARRNUGEMENT The top seven cards of the deck should consist of the following cards. any two Hearts. SEVEN CARDS WILL BE TURNED OVER 2.and put them on toP. A quick wav to do this is to simply upiog any Spade. right? If you afe handy with cards.. No sweat. EXCEPT FOR THE ALI HEARTS QUEEN 0F DIAMoNDS On the reverse side of the cardboard.our audience. Space them out so the 6rst prediction is near the top of the card and the third prediction is near the bottom. Place the card into the envelope with the first three predictions facing away from the flap-side of the envelope. The size is your own personal preference. any four Black cards. the deck and set this up right in front of ).ap and pull the cardpatt walr 6s1 of the enveloPe to wa1. This you can open the fr. show the first prediction while the others remain hidden. Simpie. order (you wi-ll be dealing them face-up in a moment): The Queen Of Diamonds. another Heart and another Club.

with 1. I like the Ja). cut off a third of the deck and place it onto the table at position '. doesn't it?) You can do other false shuffles and cuts. Continue removing top-and-bottom pairs until there are no more. indifferent cards). if you like. count off sixteen cards without reversing their order. shuffling them. 300 * Joxr." Now assemble the three card packets by piacing the packet at A on top of the packet at B. You may.ou can shuffle the remaining nine cards for real. place the combined A/B packet on top of packet C." Cut off another third of the deck and place it at position "B. secretly counting nine cards (these are the non-target. or Riffle shuffle the packets together on the table. So now. Now. Take the cards out of the box and give the deck a false cut. the deck is in the same order as when you started. Here. and then "fun" thfee mofe. deal themface-up onto the table. Fnce-Up Fncr-DowN Mtx Up Spread the packet. Set the deck aside. see the following diagram. then pause. Then. Pick up the packet in position for a face-down overhand shuffle. Ose False Cut. There are a number of ways to do this: Jam the two packets together (this is knovrn as a "weave" shuffle). want to pull off (or "run') four. Take the packet with your right hand and. First the cards will be "mixed" b1.ou were actually. Al1 you've really done is move the top seven target cards to the bottom of the packet. or Flip the nine catds face-up on top of the face-down cards. 1. if you'd like. After you've run seven cards. Turn the nine cards face-up and shuffle them into the remaining face-down cards. (BeJieve it or not. shuffling the packet. You can spread them off the top of the deck or. To make things simpler." Piace the last third at position "C.A. As if 1. pull off the first seven cards one at a time into your left hand. lu Concenr Place the prediction envelope in plain view. Looks good. pull off the top and bottom cards of the packet at the same time and drop them onto the table.r Bnruuou .our left thumb on top and fingers beneath.

she can shuffle (overhand. 'When she's done.the cards at the "even" positions would be turned ovef as they are dealt onto the table. you must deal the cards in a back-and-forth "snake" pattern. Sometimes you will be turning a face-down card face-up. too' As long as none of the individual cards get turned over. then tufn over the packet and shuffle some mofe. Turn over the entire packet and continue shuffling. Turrung ovef the packet makes it seemhke she has some control over the face-up and face-down orientation of the card. I have her overhand shuffle. The cool part is that you can do this as much as you like. begin overhand shuffling the pack- et. 2s lreg deal. you must tufn ovef every other card. . in the diagram. riffle. but she does not. so make a big deal about Mnrnlx You are now going to deal the packet into a four-by-four grid or matfix. So. this is the order in which you deal. Here's the really cool part.Once the face-up and face-down cards are mixed. It's time for the ' . take the cards back. 12*34* g*76*5 9 10* 11 12* 16* 15 14* 13 *(runn rHEsE ovER As You DEAL) Snurrrrru'* 301 . 1 234 8 765 9 10 11 12 16 15 14 13 Second. weave. Let your sPectator shuffle the cards. Sometimes you will be turning a face-up card face-down. But you need to do it in the following \niay: First. Look at this dia- gram. Folou. or rvhatever) and cut as much as she likes.

Card 3 is ulted or-er and onto card 6. of rvordplali offer vour spectator one last Because. the grid wiII be "folded" back into a single packet. and finallli Card 4 is ulted over and onto Card 5.) Continue "folding" the grid in this manner until all of the cards are in one pile again. (Photo 3. Even better. \'our spectator lvill direct the process. Both catds at position 8 sa)r the (originally Card 1 and Card 8) are turned orrer onto Card 7 .er and onto Card 10. 302 * Jotru Barutoru . Cald 9 is turned or. seemingly further mixing up the cards. To "fold" the row over the next row: Card 1 is tilted over and onto card 8. Card2 is tilted over and onto Card 7. (Photo 2.) Next iet's left column is chosen bv r-our spectator. The best way to do this is to alternate bets'een a regular deal (thumb on the back of the card) and a stud deal (thumb on the face of the card). (Photo 1.) once the cards are dealt. as you'lI see. Have 1'es1 spectator nominate an outside ro$/ or outside column on the grid. and Card 16 is turned over and onto Card 15. Let's use the top rou/. we've engaged in a bit opportunity to turn over the entire packet.

After all of that shuffling to make some amazing revelations. Be careful not to flash the surprise prediction on the back of the card. But first." Point out that exactlv seven card are "turned over" (either face-up or face-down). . if thel' afe not alreadr'. Shori'and read "EXCEPT fot the Queen of Diamonds" to thunderous applause. but mar'l.Norv. after reiterating horv manv different \\rai's the cards have been "randomized. I sarv it first in a trick bv Lennatt Green." Turn the seven cards face-up. the seven cards '"vill be "turned ol." u'e can move to the big finale. onh. Your audience s. "except for the Queen of Diamonds." 1'ou are about Spread the packet on the table. Open it up and slide the card part wa)' out of the envelope to show onlv the first ptediction as vou (or vour spectator) read it aloud." out loud.ill no doubt point this out.vill be turned over.Henrv Dudener-.rar-e been Nfartin Gardner. and discard the other nine catds. Sxurrun' * 303 . the spread packet will have exactl)' nine cards facing one wav and seven cards facing the other wa)'. then 1.9rr1 se\ren tafget cards are face-up. Puli the card further out of the envelope to shorv the second prediction." Be sufe to sa\." This prediction is deliberatelv ambiguous as to which wa). Note that r-ou were almost right. The "folding" srems from paper-tblding experiments br." Uh-oh.the exact wotds. "Except fot the Queen of Diamonds. Slide the seven target cards from the spread as if your prediction rvas 100%n xccurate. Posr Monrru BncrcRouND AND CReolrs The underlr'ing mathematical trick is Bob Hummer's CATTO ("Cut Ancl Tutn T$o Over") principie.'u'and read: '411 of the other cards are Hearts. Shor.v the last prediction. "Seven cards r.av out and place it on top of the envelope. Read: "Four cards rvill be black. Pull the card all the u. The first to "fold" a grid of cards is not knos. The third card is a dia- msnd-1hs Queen of Diamonds. You Aneu't Gotruc To BeuevE THls and "folding. Four of them willbe black-remove them from the packet. thev arc all Hea11s. After a pause.n. Note which wav the seven cards are facing.turo are Hearts. If 1'ou see it. "remembef" that vou have one more prediction . The easr'\\ray is to look for the Queen of Diamonds. Now retrieve the prediction envelope. Of the three cards ' Turn over the cardboard to shor.

lTorking with the Origami techniques from Dear Mn Fantay. write the following: "EXCEPT for the Queen Of Diamonds. the paper. 'lFolding Space. The fabted Gilbreath principle works fabulously in this application. I'll assume an 8. ttis trick will fool everyone who is not already fanitar with the "Origami" synthesis. That said. but only regular cards ate used." Fold the paper in half agarn and write: "Four cards are black." Now fold the papet in half. discussed below. In the middle of this area. Ore Exrnn lnyen 0r Deceprtot As is. In the middle of the paper.2006) at page 1 18. You may want to papercJip the folded paper closed." Automata (I-eaping Lizards." Fold the paper in half once more and write: "Seven cards will be turned ovet. width-wise.write: "AIl of the other cards are Hearts. Shane. FneuLous Foloeo FuruRe I originally used Ali Bongot folded paper approach fot the gradual. Shane came uP with the really good idea of controlJing for and utilizing the "unfolding" prediction. It works quite well in the multi-stage prediction application. First. Everybody.5161ieus R. self-correcting prediction." Fold it once more and we're done with the preparation." you can let the spectatoriffle shuffle the deck before the sixteen cards are removed.5 x 11" piece. The self-working method ptesented here is especially suited for situations in which half or almost half the cards are "target" cards. to really fool the "v/ise guys. The "unfolding" multi-stage prediction. R. The triple cut at the start is the fabulous Jay Ose false cut. You can use this future prediction over and over. the m1. is Ali Bongo's. Atrange the cards as follows: Queen Of Diamonds Any Heart Card Any Heart Card Black Card Black Card Black Card Black Card 304 * Jour Bnutol'r . A somewhat more extensive stack is needed.The multi-stage prediction with error correction is vatiously credited to Aldo Colom- bini and the late Ali Bongo.

Impossib/e. The DVD incorporates this notion. The {rnal difference was the optional use of the Gilbreath principle to allow a fair riffle shuffle. the unfolding. If the lower half (the one without the Queen) is over-shuffled more than seven cards into the other packet-in other wofds. Then. Things. it looked and felt like the three predictions wefe "all she wfote. ver1. be sure to make a production out of it. using the sliding prediction. howevef. but it's nice to know itt there if I need it. I don't use it all the time. I used Ali Bongo'. Hrsrontcnl NorE When I originallr. I especiaill'[ked that when the card was removed from the envelope. Casually spread the cards and "notice" the face-up Joker..s "unfolding" paper prediction. Now offer a spectatof the opportuniq. It is virtually impossible for this ltot to occur. as I was crossing the Atlantic Ocean to taPe the Billets After Dark DVD. do the shuffle i. (2009). to riffle-shuffle the two halves together. seven or more cards ue aboue the first card of the oth- er packet-it won't work. take out the deck and give it a faise cut or two. I had the idea literalll. You can. of course.ftalf of the deckl face-up Joker Biack Card Black Card Biack Card Black Card Ani. Place the rest of the cards onto the table next to the fifst packet. small chance that it won't work. Put awav the Joker. You can see it would take a tealll'lousy riffle shuffle to mess this up.Heart Card Any Heart Card [Rest of the deck] In concert. had the notion The estimable R. Usually applied to Simon Aronson's "Shufflebored" toutine.wrote up this trick as "Four Fold Foretold" in Six. Luckrl1. the packet containing the Queen can be over-shuffled anv number of cards.ourself. Paul \Wilson had used a similar set-up for a vef)'I different PufPose in his L&L DVD series.ou choose to do it. the top seven cafds will consist of the Queen of Diamonds. self-correcting multiple prediction was the tage for quite a lvhile." so to sPeak. Srurrun' * 305 .. neveftheless be careful whom ). $Tithout a dupi-icate Queen of Dia- monds. Believe it or not. there is a ver)r. Cut the cards above the Joker to the table. On the other hand. If vou do. two Hearts and four black cards. I of doing a gradual ptediction b1.







111. ! / .il... ll. . ll[]il ..