RE TO

PREPA E!
IC
PRACT

w w w . d a n a n d d a v e . c o m

a journal on card magic by Dan and Dave

PUBLISHED BY WWW.DANANDDAVE.COM

Design and layout by Dan Buck and Dave Buck

Photography by Dan Buck and Dave Buck

Sleightly Magical / Dan and Dave Buck. - online PDF ed.

Copyright © 2006 by Dan Buck and Dave Buck

All Rights Reserved

April 2006
Online PDF Edition

------------------------------------------------------------------------------------------------------------

SPECIAL THANKS an inadequate list of individuls who either inspired, contributed or helped out in the making of this journal
Lee Asher
Cindy Buck
Cathy Daly
Derek DelGaudio
Jason England
Benjamin Franklin
Aethan Friday
George
Mitch Hedberg
Chris Kenner
Homer Liwag
Mitch
Myles Nakouzi
Henok Negash
Peetee
Theron Schaub
Syd Segal
Ricky Smith
Brad Webber
R. Paul Wilson
The dananddave.com/forum members

CONTACT: We kindly ask you first go to the dananddave.com/forum for all inquiries relating to the material herein and other matters.
This includes further explanation, credit history and (or) suggestions and comments. Sincerely, Dan and Dave
TiVo 2.0
Hedbergs Peak
Summer of 69
Osh Negash B’Gosh
The Greek Time Machine
A Game with a Ghost

V Switch
Dracula, Count
Ginastaire Double
D.D.C
db Spin Change
The Spin Doctor Double

Erdnase Go Round
Carnahan Fan

by Dan and Dave Buck

written and photographed by

DAN AND DAVE

Online PDF Version

Contents

Foreword 05

TiVo 2.0 06

Spin Doctor Double 06

Hedbergs Peak 13

The V Switch 13

Carnahan Fan 15

Ginastaire Double 17

Discrepancy Dribble Control 19

Osh Negash B’Gosh 21

db Spin Change 22

Erdnase Go Round 26

The Greek Time Machine 27

A Game with a Ghost 27

Summer of 69 28

Dracula, Count 28

Afterword 33
Foreword
It’s been nearly two years
since Dave and I released our
last set of lecture notes. Why so
long? I asked myself the same question every time I
sat down to write this new set. It’s not the lack of
motivation that has prolonged our annual release but
perhaps the start of a new experience in our lives.
Two years ago we moved to Los Angeles to attend
college. Neither Los Angeles nor college is cheap so
jobs were necessary. Hopefully the picture is clear.
I always wondered why my parents told me I grew up
so quick. Now I know. As of last September I have
been practicing card tricks for nine years. The
thought of that seems awkward to me for some
reason, maybe even impossible and perhaps a little
strange. What dedication. I look back and remember
the days Dave and I would lock ourselves in our
room for hours, days, and weeks on end trying to
Now, just
master the next best thing.
finding an hour to practice is
nearly impossible. But when
that hour becomes available I
cherish every minute of it.
The material in this manual
comes from those perfect
hours over the last two
years.
It’s quarter-to-noon and I feel as though the day just
started. “Where is time going,” I often ask myself, but
not too often as that alone takes up time. The other
day I had my 21st birthday, I feel old - not really, but I
guess I’m now officially an adult. I enjoyed being the
kid, the young guy in magic, and the guy to watch at
the conventions. Don’t get me wrong though; I will
always be the guy to watch at conventions. And I
guess Dave too.
The sole reason to attend conventions should be to
show off your material. Try to remember that. It
seems like these days conventions have become a
boiling pot for wasted talent. Take the material in this
manual and use it as a tool or guidebook to create
your own act, your own piece of magic.
Writing these notes has been a challenge. Our mate-
rial is getting more and more complex for words to
describe. During the process I decided to exclude
two of the routines from these notes entirely due to
the overwhelming maneuvers needed to accomplish
the trick. Perhaps a new DVD will handle that
predicament.
As a final note, I must say that the routines described
here may or may not represent the exact mechanics
we use to perform them. Our style far oversees the
descriptive category of explanation so instead we
have re-worked some of the effects for the purpose
that everyone with basic knowledge and skill can
learn. Create your own style and it will be magical in
itself.
With all that said, the material
in this journal is twice as
good because of the wait.
Dan Buck
January 15, 2006
page 5
TiVo 2.0
The Spin Doctor Double:
Start with the deck held in dealers grip. Riffle down the outer left corner until a spectator calls stop (about half
way). Continue pulling down on the bottom half of the deck with your left thumb thus keeping the deck separated.
Pinch the upper half of the deck between your right thumb and index finger of the right hand and position the
outer phalanx of your right middle finger above the left corner of the deck (above your left thumb).

1 2

Silently riffle off two more cards

with the thumb and you will
notice they stop directly in-line
with your extended right middle
finger. Place the tip of the
middle finger on the exposed
corner of the “double” and
rotate the double ninety-
degrees clockwise using the left
ring finger as a pivot point.

3 4
As you begin to rotate the double you will need to extend the left index and middle finger out of the way.

You’ve now completed Steve Freeman’s handling of Larry Jennings Center Double first published in The Gen,
1964. Freeman’s version was published in Genii magazine, July 1981.

page 6
Place your left thumb on top of the deck and apply delicate pressure. With your right middle finger still in contact
with the corner of the double slide it parallel through the deck so that the left short edge of the double protrudes
half its length on the left side of the deck (opposite to where it currently lies).

Your right third finger can be used to aid the double as it’s pushed through, preventing it from wanting to turn
direction. Place your right third finger at the center of the right short edge of the double and push to the left. Once
the double clears the base of your thumb continue sliding the double through as your left hand rotates, turning
the deck over.

7
Re-grip the double by placing your thumb on the
upper-center edge and fingers below on the 8
lower-center edge.

page 7
Pinch the double together with your thumb on top
and finger below. 10

Another double lift needs to be executed. Any will

9 do as long as the double ends face up on top of the
deck.

A little finger break now needs to be obtained

Hold the double in your right hand static as your left
hand turns the deck back over by rotating the wrist. The
outer left corner of the double should “snap” as is clears
the corner of the deck. This now leaves you in the natu-
ral state/position of an ordinary double turnover.
beneath the top card. However, you need not be
concerned, as your right hand will obscure its
blatancy. The left middle and ring fingers rest high
up on the top card.

11

Ask your spectator to remember the card and turn it face-down

back on top of the deck.

Take the top card from the deck (indifferent due to the unex-
plainable phenomenon that happens when magicians can
execute flawless double-lifts) and place it face down out- 12
jogged in the center of the deck.

page 8
The Change: Your left fourth finger and the base of your thumb should have a firm grip on the deck as they will
act as the primary support for the deck during the change of the top card.
With your right hand resting
13 above the deck reposition it like
you’re going to “flick” the top of
the deck with your middle
finger.

As you flick the top of the deck,

your left thumb extends out of
the way of the top card as the
left second and third finger pull
the top card underneath the
deck, causing it to turn face-
down in the process.

14 Continue moving the top card

underneath the deck until the
15 outer right corner of the card is
directly under the left edge of
the outjogged card.
17

16
You will notice the outer edge of the card will slide beneath your left
index finger causing the card to bend slightly, this is what you want to
happen and it will help in ‘The Replacement’ coming up.

It’s important the only fingers moving during the change are your 18
second and third (the only fingers causing the change to happen). This
eliminates unnecessary movement and flashing from other fingers.

Your right hand remains above the deck as the change is completed.

19

page 9
The Replacement: Just as your left hand did all the work for ‘The Change’ your right hand is going to do all the
work in ‘The Replacement’, which is essentially aligning the changed card with the outjogged card in the act of
turning it face up, end-over-end.

20 Reposition your right

hand so that your first
finger is at the top end of
the out-jogged card
(toward the center).

Rest your thumb on top of

the card (center).

Your middle finger should

be directly under your left
index finger, but under
and along the top edge of
the changed card.
21

The back of your right third finger (near the top joint) pushes against the changed card and will aid in aligning the
two cards in a moment.

22 Your middle finger slides the changed card up until it butts

against the index finger.

Your ring finger moves along

with the card to facilitate the
cards proper alignment.

23

Now pinch the two cards between your thumb and second
finger and continue to pull them forward until the out-jogged
card clears the deck (at this point your left index finger should
still be between the two cards).

24

page 10
 The out-jogged card should remain in contact with your left first
finger as the card(s) are turned over by lowering them back
towards the deck. This will help in keeping the cards aligned.
Your left thumb and second finger can now also come in and
25 square the cards in the act of griping them so the right hand
can reposition its grip to a more natural one with the thumb on
top and fingers below.

So that’s it, the transposition is complete. In addition to the

many pictures used to explain this effect, we’ve also included
a film negative type look at what the sequence should look like
in action on the following page. Hope it helps.

page 11
Hedbergs Peak
Phase one: selection
Obtain a Pinky Break below the top two cards. At the inner right corner of the deck pinch the two cards together
by placing your right first and second finger below the double and thumb on top. Lift the double away from the
deck.

In the left hand, thumb over (side-jog) the top card. Use the double in the right hand to flip the card face up. The
card is to be remembered by a spectator. In a repeat action to turn the card back over execute the V Switch,
as described below:

1 The V Switch:
At midpoint of turning the selection face down, slide the top
card of the double to the right. This is accomplished by
moving the bottom two fingers and thumb in opposite direc-
tions from one another. This action is very similar to the Dai
Vernon Double Lift Replacement (Dai Vernon’s Further
Inner Secrets of Card Magic, page 70).

Follow the bottom card of the double down to the deck as

the selection is being turned over. The end result shades the
selection from view by placing an indifferent card above it.

In the left hand, openly execute the First Method of the Erdn-
ase One Hand Transformation (The Expert, page 156) with
4
the indifferent card. In effect, the selection is placed on
bottom. In brief, to execute the One Hand Transformation rest
the left thumb across the top of the deck in the middle.The
index and middle finger straddle the deck. Use the thumb to
pull the top card to the left. As you continue to pull the top
card to the left you will notice it begins to travel to the bottom,
let it. Continue to use your thumb until it’s all the way under
and then remove the thumb allowing the card to align flush
with the bottom of the deck.

page 13
Phase two: effect
Turn the right hand card face up onto the deck. This is to be remembered as selection number two.

Lingo: “The 3 is on bottom and the King is on top. Watch close.”

Execute Hiro Sakai’s Duck Change with the top two cards to change the King into the 3. Mark DeSuza’s
Shapeshifter Change is also visually effective.

Lingo (cont’d): “If the 3 is now on top, what’s on bottom?”

Phase four: the twist (climax)

During the above lingo, briefly spread the cards to show the 3 is now on top. While your spectator says the King
is on bottom execute a Half Pass with all but the top selection. The misdirection is perfect here as they think the
effect is over; really you’re a step ahead.

Turn the deck over and say: “Actually, you’re wrong, the King is on top and the 3 is on bottom.” Show the neces-
sary positions of the cards by spreading through the deck to finish off the effect.

Afterthoughts:
This effect requires the right crowd. It won’t work on everyone. The know-it-all type is your best audience, as
the kicker really has them second-guessing their intelligent judgments throughout your performance. Whether
they say, “It’s on bottom” or, “I saw that” or whatever smartass remark they conjure up, they’ll be jealous. This
trick hits them where their mothers should have.

I often like to perform Lee Asher’s trick, Game of Goodwin as a follow up to this effect, as it is another very visual
transposition effect using only two face up cards.

Hallucinations:
Mitch Hedberg was on to becoming a living comic legend, but all the greats die from drugs, it’s what they’re for.
If only his timing in life was as good as in his jokes. Anyway, this trick is a tribute to Mitch! Besides that, we
needed a name for it.

page 14
Carnahan Fan
Start with the cards in dealers grip. (You might
want to begin learning this with only half the
cards, as it might be easier.)

Curl your index finger underneath the deck as

far as you can – the tip of the index finger 1 2
should contact the base of your thumb.

Your thumb is along the top edge of the cards.

Your first finger and thumb apply pressure
towards each other clipping the cards firm
enough so the other fingers can be extended,
or released from their grip.

Now what essentially happens is your first

finger extends and curls inward again but
above the thumb all the while the deck flips
over and fans out. The second, third and
fourth finger need to be extended as far out
as possible as to not get in the way of the fan.

3 4 5 6

Reverse the above actions to close the fan.

The whole process of the fan takes a fraction of a second to open and another
fraction to close.

page 15
Ginastaire Double
Set up: Left hand Mechanics Grip. Obtain a fourth finger break under the
top two cards.

Hand Position: Place your right hand second finger on the upper-right-
corner of the double and thumb on the lower-left-corner. The first finger
rests curled on top for the time being.

Shift your left thumb to the upper-left-side of the deck, atop the double.

The Reveal: Raise the double an inch

2 3
from the deck. Because of the left
thumbs position on the double you will
see a slight rotation of the double. Con-
tinue the rotation to turn the double
face-up by shifting the left thumb down
and to the right.

page 17
 The Spin: Clamp the double between the knuckle of your
left thumb and the tip (NOT FINGERNAIL) of your right
first finger. Slightly tilt your right wrist downward.

Remove your right thumb from the double at the same

time “Flick” or forcefully curl-in the right second finger. The
double will spin clockwise, staying perfectly aligned as you
are overcoming friction with two equal forces at each side
of the double.

I allow the double to spin one full rotation before grasping

it in Biddle Grip upon turning it back over to proceed with
the magic.
5

AFTERTHOUGHTS: It’s important to understand that this double does not provide surefire results every time.
Lots of practice, however, has me nearly there. The cards will split, fall, and act in unusual ways when in perfor-
mance. If your style does not pertain to this daringness than I would suggest not using it for layman.

Before you start to practice here is one major suggestion: Learn with plastic coated cards. It’s much easier as
the double sticks together like glue.

page 18
D.D.C. Discrepancy Dribble Control

Objective: to control a card from the center to the top with little or no movement.

Method:
Dribble the cards from right hand Biddle Grip into
left hand Dealers Grip as you have a spectator say
stop.

Side-jog the top card of the left hand packet by

using your thumb to push the card to the right.
Raise your left hand to chest height to allow them to
peek the card. Before we go on make sure your left
thumb is contacting both the side-jogged card and
the card beneath it.

In actual practice the following three maneuvers are

executed simultaneously but for the clarity of expla-
1 nation we have categorized them into three sepa-
rate actions.
2 On lowering your left hand after showing the
selection, rest the side-jogged card on the left 2
side of the right hand packet.

3 Continue the action with your right hand by

moving it slightly to the left. This causes the
selection to align square on top of the packet.

Carry on the leftward movement of the right hand

4 packet to align with the left hand packet. On
doing so pullback your left thumb to cause the
top card to side-jog to the left.

3 4

page 19
At this point I either continue the action of the initial dribble or cleanly square the side-jogged card into the deck.
Both are equally deceptive.

The action of placing the selected card on top should be carried out as the hand is lowered rather than after, as
the figures suggest. This adds further cover to this very open control.

AFTERTHOUGHTS:
Like many card controls, the timing is crucial. Without proper mechanics the control will appear to be what it is,
lousy sleight of hand. In correct execution, however, the sleight will show a card stopped at and placed cleanly
in the center of the deck.

The knowledgeable cardman in the crowd will recognize the similarity to Terry LaGerould’s method of controlling
a card to the top from a dribble. The problem with his control is the mandatory need to cut the deck after the
selection has been peeked. This destroys the illusion. Minus the discrepancy, the D.D.C is ideal as it accom-
plishes the sleight in the necessary action of showing a selection.

page 20
Osh Negash B’Gosh
Start: place two like cards on top of the deck. For the
purpose of explanation I will use the Queen of hearts
and the Queen of diamonds.
Execute Lee Asher’s Diving Board Double with the
Queens. Catch the double face-up in your right hand,
spread to show the two Queens.
Riffle down the side of the deck with your thumb and
have a spectator call out stop. At the desired position
execute Daryl’s Hot Shot Cut catching the propelled
card between the Queens in the right hand. Show the
selection to the spectator by raising your hand up to
chest height.
CHECKPOINT: tabled face-up deck with selection face down on bottom. The two Queens reside in the right
hand, the top one face up and the other face down.
Place the two Queens in your left hand and count
two-for-three by loading the first queen to the bottom
of the two-card packet --- Identical to an Elmsley
Count. In effect you’re showing their selection sand-
wiched between the two Queens.
On setting the packet on the table, Half pass the
bottom Queen. The two Queens now reside face-up
on the table.
CHECKPOINT 2: Two queens face-up on the table. The deck in left hand Mechanics Grip with the first selection
face-down on bottom and the newest selection face-up on top.
Tell them to keep close watch on the Queens as
you’re going to switch the sandwiched selection for
the one residing on the deck. It’s in that moment the
switch is made.
In delivering the necessary lingo wait until they look
up at you to execute the T.G Murphy Deck Flip. Only
flip the deck 180 degrees to change one selection to
the other.
The Deck Flip will fly by unnoticed so don’t call too
much attention towards it.
Devised by: Henok Negash & The Bucks
Bring the small packet down to the deck and execute
Roy Walton’s The Paint Brush Change (The Com-
plete Walton, volume 1, page 155) to switch out the
selection. In brief, the bottom two cards of the three-
card sandwich are turned over in the action of placing
the packet square onto the deck.
Obtain a break under the top two cards. Grasp them
in right hand Biddle Grip and remove them from the
deck. To avoid showing the face-up selection imme-
diately turn your hand over and table the deck.
Pick up the tabled deck and place it face-up in your
left hand. Spread through the deck and have a card
touched. Break the deck above the touched card thus
leaving the selection on top of the left hand packet.
Jam the right hand spread of cards into the center of
the left hand packet. Really, stick them anywhere
above the bottom selection and below the top selec-
tion. The simplest way to do this would be to just pull
down a small packet with the little finger.
The change of the selections should be an offbeat to
the line after your initial remark of keeping close
watch on the Queens. Say something like, “I thought
I told you to keep close watch?” their reply will be
skewed of confusion until you slowly show them the
changed card. This is very subtle, but it works.
Let the change sink in. Side Steal the bottom card
into Top Palm and execute Alan Ackerman’s Palm
Switch, found on page 41 in the Esoterist, to show
the second selection sandwiched between the two
Queens.
page 21
db Spin Change

Execute a Double Lift leaving it out-jogged half

its length. Straddle Grip the Double like so.
In the action of lifting the Double from the deck
to place it out-jogged in the center, buckle the
inner-left corner of the card(s) with your right
thumb.

Because your thumb is only contacting the top

card of the double the cards will split.

page 22
Insert the Double into the center of the deck starting with the inner-right-corner (the split edge). The goal is to get
at least 4 cards between the double. The more cards between the double the easier the change becomes but
don’t over do it so that it becomes noticeable. End with the double out-jogged halfway in the center.

3 4

Place your left index finger on the center of the card, like so.

Apply a small upward pressure to cause the double to align

flush on the outer edge.
6

page 23
To make the change execute Dr. Jacob Daleys Spin Flourish found in Stars of Magic as well as many other
books and periodicals.

The necessary cover for the move is the important aspect of this change. Pretend you are palming a card in your
right hand. Place the tip of your right third finger on the outer-left-side of the out-jogged double.

In the following sequence we have omitted the right hand from view so you can see exactly what’s happening
under the guise of the right hand. These are key positions you should study.

7 8 9

10

Photo showing the right hand in the correct

position after the card has been changed.

page 24
 11 The fingers are spread in this first photo to point out the position of the
right hand third finger.

12

We continue on with the sequence by deliberately opening the fingers for

you to see what’s going on underneath. IN ACTUAL PRACTICE KEEP
THE FINGERS CLOSED, like palming a card.

13

CLEAN UP:
There is currently no straightforward method to get rid of the mess (perpendicular-jogged card) so here is a not-
so-straightforward method:

Spread a small group of cards over the side-jogged card to hide it from view. Once hidden re-position the right
hand in a manner to spread the cards. In the action of spreading the cards, simply cull the card to the bottom.

AFTERTHOUGHTS:
In regards to the clean-up problem posed above, our friend Syd Segal suggested simply executing the change
while the entire deck is face up.

page 25
Erdnase Go Round
The following flourish first appeared in a small video
known as Spring Jam made for the web during the
spring of 2004. Soon later, the move flourished, pun
intended, and now it seems as though everyone has
added it to their repertoire. This is a good thing. On the
other hand, two years later I have yet to see someone
realize the applications this small little flourish can
yield. Amongst one is the original by Chris Kenner,
whose method is more of a fancy “open shift” than a
flourish, as you will see. So, on with the applications
but first here’s how to do Chris Kenner’s method.

As originally shown to us by Chris Kenner:

Separate the block by pulling down with your second finger. Slightly angle the lower packet to the left similar to
the mechanics on Revolution Erdnase described in Five, the notes. The maneuver places the outer end of the
lower packet under the left thumb.

While keeping your arm stationary bend your left wrist down as far as it will go. In a jolting action move the wrist
back to a relaxed position, at the same time, release the grip on the lower packet. Done properly the lower
packet will revolve around the upper packet and land flush on top. The action of the spin is identical to the T.G
Murphy Deck Flip described in his book, IMAGICATION as well as our lecture notes, Nursery Rhymes vol. 3.

Unlike the following method this one should be kept as tight as possible. By tight I’m referring to the distance
the lower packet spins in the air to the top packet. The goal is to get it to look like the both packets never leave
one another.

Our version: A Few ideas to play with:

This flourish came about while practicing Revolution
Erdnase. On accident the lower packet spun high in
the air and landed back on top of the deck. You will be
pleased to know that it’s far easier than its predisesor
and very appealing too.
The grip and “pull-down” is identical to Revolution
Erdnase taught in Five, as well as the October 2003
issue of Genii Magazine. A brief description is also
described above.
In the action of obtaining the grip subtly turn your wrist
inwards (towards your body) and then swing it outwards
(away from your body) while letting go with your first and
second finger by extending them. This causes the
lower packet, because of the grip, to spiral out from
the deck and into your right hand. To catch the spin-
ning packet on top of the deck, simply shift your left
hand upwards upon releasing the lower packet.
Myles Nakouzi figured out that by reversing the
bottom card beforehand, gravity will naturally sepa-
rate the two causing it to land out-jogged, face-up.
--------------------------------------
By catching the spinning packet in the opposite hand
you are given the opportunity to execute the flourish
with both hands --- the result is similar to Paul
Harris’s Simple Switch, Close-up Kinda Guy (1983).
--------------------------------------
Using Kenner’s method, control a selection to the
top. Concave the selection and Charlier it to the
center. Pull down on the exposed gap so the selec-
tion rests on top of the bottom block. Execute the flip.
With a few minutes of practice the selection with land
face up out-jogged in the center of the deck.
Basically the same thing happens here as does in the
Molecule 2, 1 card production taught in Nursery
Rhymes vol. 1.

page 26
The Greek Time Machine
First there was Roy Walton’s Back into Time (The Complete
Walton Vol. 2) then came Steve Freeman’s direct handling, The
Time Machine, published in the July 1981 issue of Genii Maga-
zine. Now comes our rendition of this classic plot, The Greek
Time Machine. We don’t claim ours to be superior unless of
course you enjoy brutally difficult maneuvers finessed by timing
and misdirection?
What intrigues me most about this plot is its direct simplicity ---
it delivers impact and it’s quick.
For years I’ve been trying to fabricate my own version of the
effect but failed on every attempt. Last year while sitting at a
Greek restaurant with Dave, I came up with the perfect solution,
for me anyways.
----------------------------------------------
By utilizing two sleights already taught in this manual the follow-
ing explanation renders brief.
A selection is peeked via a dribble of the cards.
A Game with a Ghost
Essentially this is the same effect as above with an
added ending. I felt compelled to give it a name of its
own as it really makes all the difference.
Start by openly placing one card in your left pants
pocket. When doing so make sure to conceal the
face value from view.
Proceed on with the mechanics described above in
The Greek Time Machine. Instead of culling the odd
card to the bottom of the deck insert it square into the
center, preferably below the out-jogged selection.
Execute Juan Tamariz’s Perpendicular Side-jog
Control with the out-jogged selection. Among Juan’s
book Sonata this can more easily be found in our
Nursery Rhymes vol. 2 lecture notes.
“If we wait for time to catch up with itself you can see
that…”
Perform the D.D.C to control the selection to the top.
Continue on with the Ginastaire Double (obviously
any double will do) to show an odd card. Place the
double in position for the db Spin Change. Say, “I
know this is not your card but if we turn it back in time
(execute the db Spin Change) the card becomes
yours once again.”
Spread a small block of cards to the right with your
left thumb to cover the side-jogged odd card. Once
the card is concealed from view your left hand can
continue spreading the cards while the right hand
culls the odd card to the bottom of the pack.
Although it’s not necessary to tell them but the
reason for the spread should be to show their card is
the only face-up card in the deck. Really, it’s to clean
up the mess. They’re also welcome to remove the
card themself if they like.
Devised by: Theron Schaub & The Bucks
Cull the selection to the bottom as described in The
Greek Time Machine. In the action of doing so the
odd card reveals itself face-up in the center of the
deck. Time has caught up with itself.
Remove the odd card from the center and place it on
top. The selection remains face-up on bottom.
“This might sound bizarre but if I rotate the entire
deck… we go back in time…the card in my pocket is
now yours.”
Palm the bottom card and reveal in pocket.
Basically this is the idea of employing both Steve
Freeman’s The Time Machine effect and John
Carney’s Side-pocket Transpo effect found in Car-
neycopia into one solid routine. I must also credit
Theron Schaub , a good friend of mine from Arizona,
for describing this trick to me over the phone.
page 27
Summer of 69
Start: Remove the four nines, one red six and one black six from the deck. For this explanation the Six of Hearts
and the Six of Clubs will be used. Place the two sixes below the nines and hold the packet face down in left hand
Full Grip.

The Dracula Count: to show two sixes as four (Gemini Count)

Begin with the six cards held face down in left hand Full
Grip with your thumb resting along the top. Buckle the
bottom card with your middle finger. With your right hand
thumb and index finger grip the top stock at the lower-right
corner. Your left thumb slides the top card off the packet
keeping it aligned with the buckled card underneath.

Continue peeling off the top card until it clears the packet.
A single card will appear in your left hand when in fact it’s
two.

With your left hand, grip the card(s) by placing the tip of
1 your thumb on the upper left corner and the tip of your
little finger on the lower right corner. The tip of the index
finger rests at the upper right corner. Raise the card(s) off
the palm of your hand by extending the fingers and lifting
the thumb. Curl the index finger inwards while maintaining
contact with the outer right corner of the card(s).

The card(s) will begin to turn face-up by using the thumb

and little finger as an axis to rotate the card(s). Continue
until it’s face up.

page 28
Bring the right hands packet over towards the left hands card(s) and places the outer left corner below your left
hands card(s) outer right corner. Turn your right hand packet face up by rotating the wrist and in doing so, the
right hand packet will turn face down.

4 5 6

Continue turning the right hand packet over until it rests in alignment with the left hand card(s) but injogged half
its length and flip it back over, face down.

7 Your right hand should now be free of cards. Reposition it

so that the middle finger and thumb grip the injogged top
packet with the index finger resting on top.

NOTE:
The cards do not necessarily need to be raised to the
fingertips as the figures show.

8 Your right middle finger should also be in contact with the

bottom card(s). Your right hand now slides the top four
cards and the fifth card forward until the thumb comes into
contact with the bottom card. This should leave you in a
position with only the fifth card from the top outjogged, a
9.

page 29
 Revolve the out-jogged 9 out from the packet by clipping it between the
second and third finger of your right hand.

Thumb-over the top card of the left hand packet and place it on top of the card pinched between your right
second and third fingers. Turn your left hand palm-down to reveal another 6.

10 11

12 13 14
Take the 6 from the left hand packet into the right hand by using your
first and second fingers of the right hand to peel the card off.

Turn the left hand packet palm-up and set the two cards that are
pinched between your right hand second and third fingers on top.
Revolve the remaining 6 in your right hand face-down and place it on
bottom of the right hand packet. 15

Turn the packet face-up, a six will show.

page 30
THE CHANGE:
Held in your left hand are the 2 sixes and the 4 nines beneath. Obtain a break below the top two sixes.

At the same time as executing an all-around-square-up perform a Half Pass. The end result reverses the nines
from face-up below the sixe to face-down below the sixes. The joke that should be played here is the idea that if
you turn the sixes around they change to nines --- point to the pip and say, “look it changed to a nine”. The
moment the laugh occurs carry out the following as an afterthought.

While apparently turning the sixes around for a second time execute the following maneuver:

Grip the outer-left corner of the packet with your right second finger and the inner-right corner with your right
thumb. Your index finger is curled on top.

Your left hand second finger rests on the right side of the stock. The remaining fingers are relaxed in their
appropriate position throughout the remainder of this sleight.

Using the left hand second finger as a lever, revolve the packet to the right. The right hand second finger and
thumb will act as pivot points causing the packet to spin around.

Continuing the action by rotating your right wrist 180 degrees around thus bringing your thumb from a 6 o’clock
position to a 12 o’clock position. Set the packet in your left hand. When done properly this maneuver should
simulate an all-around-square-up.

Hopefully, at this point, your spectators’ laugh turns upside down. Finish by counting off the four nines.

To Ditch the two face-down nines simply pick up the deck from the table with your left hand and place the packet
on top.

AFTERTHOUGHT:
Before we leave you to practice we should mention that the last two maneuvers (both the half pass and the
secret turn) can be done simultaneously. Try it out.

NOTE: It adds to the effect of the change if the two cards match is suite. To accomplish this, try arranging the
cards in the following order before you begin the trick: (top) 9♠ 9♦ 9♣ 9♥ 6♣ 6♥ (bottom)

page 31
Afterword A brief conclusion and bonus effect for those who made it to the end.
It was winter intersession at college. Excited to see the parents,
but also for the opportunity to write. During our stay we accom-
plished little to what we had planned. In truth, we scraped every-
thing we wrote. When you’re not in the mood to write, details
don’t come out well. A month went by, a new dananddave.com
website went up, and no book was in site. Ridiculous was our
thought on the subject. We had great material and no one to
share it with but friends --- we don’t perform.
Realizing it had been nearly two years since we last published
we decided it was time. Over the next two months we worked on
the book, or journal as we’re calling it. Last week when finishing
up the final touches and re-reading for errors, we came up with
a non-gaffed handling to an old idea of ours. Using sleights
taught in this journal and past lecture notes of ours, we now
briefly explain a currently untitled trick.
The playing card brand, Carta Mundi, is necessary
for the achievement of this trick. Really, you only
need the Jokers (illustrated below). Where one Joker is
plain the other represents a Joker holding the King of
Hearts.
Joker Joker-holding-King
SETUP: Face-down deck. From top down:
King of Hearts | Joker-holding-King | Joker
When you’re ready to perform the trick ‘slip cut’ the
King of Hearts into the center and obtain a break
above.
Spread through the deck until the King is reached
and up-jog it. Perform the DMB Spread Control
(Nursery Rhymes vol. 3).
The Classic Force may be used but we tend to stray away
from spectators touching our cards when possible. Plus the
card appears to be from random so it doesn’t really matter.
Execute a Double Lift to show the Joker.
The Joker-holding-King may also be placed in the card box
prior to the selection - this way you have an excuse for the Joker
being on top. Making sure to conceal its face when removed
from the box is important in preventing the Joker from prema-
turely changing when the Double Lift is made.
Carry on by performing the db Spin Change. Patter
has yet to be realized but the idea is the Joker goes
into the deck and finds the King. Cull the Joker to the
bottom (as described earlier in this journal) but while
doing so, execute Jim Patton’s Versatile Bottom
Reverse (Versatile Card Magic). Remove the out-
jogged Joker-holding-King from the deck and show
more clearly. After the effect has sunk-in, place the
card on bottom of the deck and turn everything over,
face-up.
CHECKPOINT: Face-up deck. From top down:
Joker-holding-King | Joker | King of Hearts
Essentially you’re going to perform the Twin Split
thus literally plucking the King right off the Joker. You
end clean with the Joker and the King.
The Twin Split can be found in the April 2003 issue
of Genii Magazine as well as Nursery Rhymes vol. 2
in the trick Transplit.
Our original method for this trick, a few years back,
used a gaffed card -- the reason we never published
it.
The handling of the gaffed version may have been
easier but we would not offer you this new adaptation
if we did not believe the same effect were being
achieved. With that said, after toying with the con-
cept, we have come to realize that there are many
applications the effect can yield. We leave it up to you
to experiment and find the best handling/routine to
suite your repertoire.
dananddave.com