Edited and Compiled by

JON RACHERBAUMER

TANNEN MAGIC INC.

1540 Broadway. N.Y. 10036 N.\':

Covet Design By: George Peorc.

Illustrotions and Photogrophy By: Jon Rocherbawmllf
 ACKNOmOOEiHENTS
....,.,. 1911> BY TANSEN MAGIC INC.
COPYR1 "," The editor expresBeB hi. sratitude to IdMaEd
Marlo for hiB encouragement and adv1.. ~
this project--
r1 of this text, book, or illustrations may be
To Alton Sharpe, for hiB coun••l aDd ~ . .
No pi .. _ _ nv form without written permIssion
reprod In I sion to include lI'lbe Zodiac Card K1rael.-••
of the COPVri~t owner. reprinted from The Last Word On Gard. by V.
F. (Rufus) Steele--to Which be ova. the
copyrights.
To Jay Marshall, for the book's title: ~
Artful Dodges of Eddie Field.__
To Eddie Fields himself, who Buffered aDd
enjoyed the entire scheme, provid1n&. of
course, its inspiration and theme.
 SPIC6IED TO If I had my way. I would keep all tile .ffeoU

Edward Harlo
'or all tbe reasons
••riou s students of
aaslc eventually discover.
"1be conjuror collects his poor belongings.. _
1he colored handkerchief, the magic rope,
1be double-bottomed rhymes, the cage, the
You~.
tell him of the passes you d etected.
1be lIY.tery remains intact ••• "
_ 'lladumir Nabokov
in this book for myself. But ainc. be baa al-
ready decided to publish thi. book, let me
tell you about Eddie Fields and hi. maaie. 1
met Eddie Fields for the first time in 1950,
while he was working in Q1.icago. To meet h1JD
is to like hum. He is a very di.arm1n& fellov--
from the way he smiles, to the twinkle in hi.
eyes. When he does a trick for you, you know
you're being put-on by a master--but you love
every minute of it. I Can honestly lay that
I've never seen Eddie do a bad trick. By that,
1 mean a trick which wasn't only baffllDa but
entertaining. He possesses a great UDderataD4-
ing of human nature, &8 you'll ••• by the
material in this book. Eddie Field. tb'p"
good magic and entertainment. Now off you 10•••
to a veritable fairyland of ~ "~ .tuff •
 wAY AHEAD CARD TO CARD CAIE
_ ...... doo't deceive
IIQIIr U8:
J---"c
-.. doe•• " ... Goethe
IPPIcr" !be apect.cor freely ahuffles a deck ot
Rria( °referablY hi. own), then apportions the
deCk ~to seven pack.ca--placing them 1n a rove
!be rformer bands the spectator a sheet ot
pe requestl!l8 him to number the aheet frOlll
:::-~hru aeven. It', further explained that the
card' of each packet must be subsequently
fetid' .110 the spectator must choose One of
me ~r. and delign.te it by encircling it.
flow the performer a •• lscs by turning over the
top .even cards. calling them out in any pre-
vioully agreed order. After all cards are
named and listed, the spectator reassembles
che packets and shuffles the deck. The perform-
er take. the deck, cuts it, reverses one half
(10 that it'. face up)and shuffles it into the
face down haLf. Once again the deck is cut and
the card c.se is placed between both halves.
1ft tuna. thb amalgamation of "cards-snd-case"
11 •• thed in a pocket handkerchief. After a
cara-Uc paus•• the performer snaps his fingers.
arab•• corner of the hank. snaps it open.
hurl1n& tbe cards and case helter-skelter over
the tabl•• From tbb debris the performer picks
up the card c•••• shakes it. opens it. and
~ • • •ip.l. card: it's the spectator's
Ml.eet10D1
IDIlIIO: thi•• ffect 1. a test in presente-
e.... 1hi. belng the ca.e, to achieve maxi.mUlD
"fectl~•• ,,,,pd.attention to special
detail •• Such minutia, when properI7 puC
together, cr.ate. the orch••trated .traaie.
Before anything ia detailed let'. recOD.l~
John North Hilliard'. atatement: -the az-ac-
eat tricka ever performed are not doae &C
all. The audience aimply think tbey ... ~••
~ Way Al!W ~ 12 liu:4 lOAn 1. ouch AD
effect. The spectator', selection DeVer flew
from the shuffled deck. 21:. was it maneuvered
there by the magician's cunning: IT ~s 1"
THE CARD CASE BEFORE THE EFFECT WAS EVER
COMMENCED. In short. it'a a .windle' It' • •
swindle. however. that mu.t be indulged. Do
D2£ be mislead by its apparently .~le
operation. Because the usual "tricky· part
is accompLished prior to the performance doe.
not lighten the incubus of the performer. He
must convince his audience of something that
will never occur, resulting in something that
has already taken place. Needless to .ay, thia
is a formidable task. requiring all the .how-
manship and ingenuity a performer can muster.
lhe minor detail that actuate. thi. miracle i.
s willful slip-of-the-tongue: mifFalliA' a card.
which dates back to Ponsin. However, there are
no cobwebs on this subtlety, and it rank. vl~
Francis Carlyle's application in bi. effect
cslled--CARD TRANSPOSITION(See VerDon l • YIS1-
mate Secrets of Card Maaic, pase 233).
Keeping the outline of the effect in ~(a.
it's described in the beginnlD&), the follow-
ing details will benefit your practice ....loaa
and more fully clarify the mean1n&' of Cbl.
effect's compelling approach.
1) Never use this !.U!Sl. u. U mIIIII£. 'DI8 . .
looker(s)"""iiiU.th4ve-.n lIIIpre••10ilof coca:L
provisetlon. Everythina must be oftba-I••"
casual.
 abeu 1d ~ borrowed. When FieLd,
2) JbI ~.Ck--•• he opens the card case to
borrows h do he glimpseS the bottom Card
~ t . car
it 1n , the case. Everyt hi ng 1s done
IDd l~re' Once the cards have been removed,
Datura Yi. closed and casually tossed aside.
<he e •••, faw effects and wait for the proper
Per f orm
moment co l'-~x a short dynamic routine
C ~UD ,
vim the card case miracle.
3 e ~ handle the cards y seldom .!.!.
p~'~l'. Since the effect actually requires
little handling, one should capitalize on
thi_ fortunate condition.
4) The aheet with the numbered list is an
example of good misdirection, for it neces-
••rily occupies the spectator A! the swindle
eake, place. Likewise, this explains t~e
r •••on for using seven packecs--for it s a
psychological fact that repetition induces
inattention. The rhythm of monotony lells.
Therefore, the MISCALLING action must occur
three, tour, or five cards LATER during the
NAMING PROCESS. Fields handles the "card
calling" In the following manner: (A) De-
pending on which number the spectator pre-
viously circles, he decides whether to begin
calling the top cards(of the packets)from a
numerically descending or ascending order.
For example, it the apectator circled 92,
it would be wrongful to begin calling cards
in the numerically descending order--trom 1
thru 7--because one would have to MISCALL
too soon, long before monotony sets in. In-
stead, one would work in the ascending order
(or backwards), calling the top card from
pacut 11 and working backwards to packet 91.
Monotony s.ts In. Pollowing our .xampl., flve
card.s would. b. caUed BEFORE the sl.xth card
would be HlSCALLED. (8) 'lb. fitit'
overlwhether it be '7 or #.)1. ahOMa
so everyone can aee 1t. the actlan .uac . .
deliberate; everyone must understand ...ec~
what's happening. The second card 1••lao
shown openly. The third card 18 1Ih0Wlt0 nCb
less d*liberation. Everyone 1s aettlna ~
idea. By the time the performer reach•• ~
card to be miscalled, few persons are pa1lal
close attention. Beaid.s-~the Whole proce••
seems quite innocent, inconsequential, abowe
suspicion. However, Fields warns that the
HISCALLING must be done nonchalantly and
convincingly. Any falae feelings will b.
transmitted. Thus, 8 steady, uniform calltQI
should be accomplished eerfUDcsorily. lC)
The top card that's HISCALLED, of cour.e, 1s
barely peeked: the performer merely names the
card PREVIOUSLY LEFT IN THE CARD CASE and the
"dirty work" is done.
5) ~ ~ unimportant ~ 1mP0rsant. As
the actual "secret" of this effect occurs
during a phase that seems uoiJnport'ph' the
actual unimportant phases must 8eem IMPORtANT.
The performer handles the card. during the
"eal ling sequence " (actually he handl•• only
seven cards)j however, most spectator. vill
only concentrate on extensive hapdligt--1UCb
as shuffling, cutting, etc. During th s effect
the spectator will remember the top.y-eurv,r
shuffle and handkerchief-wrapping actioa••
He'll drill the performer's every move. After
all, this is the phase he SUSPECTS; thi. 1.
the phase that seems lMPORtANT. Wbile tbe. .
phases are technique of a pointle•••ort.
they're psychologically sound.
6) The climax should. be a CCIiPLETI SIIll~lU
The card case must be opened .1ov17 . . .
a model of fairnesa. 1he card 8bou14 ...
FACE OOWN and held at the f:LDaerClpa.
caBe must be IHMEDIATELY a!l.owa . . .
 -~th • little enap and a crimp sOW rd ygur"~C. (8M 'bOlo I
the card .... deplcS8 this action Natural17 . .~
h handled in the ..-.~• • latat.a...::-:-'
uniformisy. Of coura. the cr~ 1
.... are never deceived: we deceive ouraelves." only the 8e1eesion. • S puC la

- Goethe

A MARLO VARIATION

Ed Harlo, long familiar with this -:f feet: I s

basic principle and variations of ~ts presen·
tation devised an alternate method for per-
formift8, the FltLDS' PRESENTATION. The student
ahould compare methodS, and all performers will.
VlUlt to vary the presentatiOn in the event of
• requested "repeat. It The main difference be-
tween fieldS' presentation and Narlo' s vari-
.Uon is that the spectator actually sees all
the top cards they write down. The rest: of the
presentation seems identical; however. the
~ ia different.
1) Follow Fields' outline. However, at the
onset put a daub of wax on the side of the Photo 1
cale We ha, the flap. lhe spectator writes
....n numbers and encircles one. In showing 3) Now due to the criJDp. the lpectator caD
the top cards--which you actually dO, the one shuffle the pack. On gettina the pack. cut
that goea with the encircled number is crimped. Il. the crimp. bringing the •• lectloa to tU
bottom. Now have the apectator cut Cbe carda
1) the card 1.8 crimped in the following into two portions. Pick up the bottaa porcloD
manner: Since ~ top card. once it's shown and place it face down onto th. ca•• 1Ibo_
and recorded. is put into the center of its side hAa the wAX. Pick up ca••-aad-caEd. . . .
lID packet. 11: 18 during th1.8 action that the place onto the remalniDa half.
..t-ctlon il crtmped: Chosen packet is picked
up freID the table and held in the .Lett hand 4) Display the aan4v1ch 011 both Ill. . . .
.4ult.Da po.ltlon.'1 The right hand takes hold aqueeze. makl.na aur- the . .1_~1aD
~tb8 top card by lts upper right corner. to the ca••• Now sr••p the deoJll._"
. . . .A the lJ.al of the thumb and forefinger the A1lII.l with the dabt baD4. -
~ on SRR,). The card i IS turned f ace up and ca.. 80 th.y rlbboa apcead.
eDll. a1\4 displayed agalnst the top of you a•• that!" Of caur" t:bq
packet--placlng it in wlth the
 ick up the case and remoVe
thlfl8- Casually P er "Narlo' 8 Card From
the waKe d card as t Pa8 found 1.0
. De c k De cepti9Jl
Co r d Case" concep
Fields. outline.
• where in this book).
Finish a 8 per
by edward HarLe On
(From a letter written
July 19, 1967>
i effects are standard fare. Amongst the
Spell ~ere are only a few unabused by variatton
:n~provement(?). Of the "spellers" originated.
the mOlt effective are the short, snappy, ~
spella. Both experts ~~rlo and Vernon have ex-
cellent. versions of this genre.
The following quickie finds most laymen
clamoring for .. "repeat," What better trumpet-
ing can an effect be given? Call it:
COOL SPELL
21
ErrECT: A card 1s freely peeked and the spec-
tator ahuttles the deck. The performer shoWS
that the cards are well mixed. Without further
ado, the deck is placed on the table. The per·
former .aka the spectator to think of a woman
he knows; to concentrate on her name. Without
any f.lse moves or added fanfare, the performer
fairly deal' from the top of the tabled deck,
on. card for each letter of the woman's name.
Aftar tha spell, the top card of the deck 18
~ad over: it's the original selectionl
I/OlIJ: 1t«l :
the .ecret 1a .1mple. 'nle chosen card is con-
trolled to the ~ position from the top of
the dealt. Any method for accomplishing; this 11
acceptable--as long as it'. d'S'Rt",,' A f. .
of peek control i8 desirable. Or a. 1.14.
prefers, use the GALL GLlMPSE(de.cribed .1...
In any event, once the selection 1. m a ~
ed into the fifth position, the r.st 1. . .If-
workins. The residuum i8 pure pr••entation.
Interestingly enough, most names chol.n will
have four or five letters. The editor tried
this effect four times recently. The namel
chosen were: M-A-R-Y, I-n-M-A, J-A-N-E, and
A-L-~A. Amazing1(Check one of those first
name birth books) OCcasionally, of cours.,
you'll run into a R-o-S-E-H-A-R-Y or some-
thing equally long or longer. The imaginative
performer can surmount this problem; however,
resorting to technique !!!!£ the deck hal
been tabled(prior to the final spell)veaken.
the effect considerably.
ltls the fact that the cards are D2l tamper-
ed with after the name is given that givel
this eff~ts remarkable power.
lmportant point: The dealing during the spell
must be done deliberately and openly--with
the deck remaining tabled. Each card dealt
is nipped by its upper right corner and to••-
ed off the deck dramatically.
"The world of the living containl enouab
marvels and mysteries al it iIi marvel.
and mysteries acting upon our emotion. aDd
intelligence in way. 10 inexplicable tbat
it would almost jUltily the conceptloa 01
life as an enchanted atate."
"We dance around 1n a riaa a!f
But the Secret lit. in t:h.. 1M>
 - Robert Frost
Lmmediately the right hand begin. to tilt lea
packet upwards. However, this tiltlna mov nt
is sLmultaneously accompanied by • ~
GALL GLiMPIE pivoting movement--~he bottom end h ~
right thumb is swung upwards to the right, and
the top end held by the right fingertlp. i.
swung downwards and to the right. Addltloaally
he oddest, most forthright (and this is VERY lMPORTANT), the right hand
Ibis i8 one afdt cribed. In fact, it must be packet--during this "tilting-pivoting" move-
, -pses ever es d
g 1 ~, b fully appreciate • ment--18 turned slightly obliquely, so that
tried to e
a portion of the bottom face card 18 fl. shed
TECHNIQUE: during the movement. PHOTO 3 will clarify
the spatial relationships of cards and hand.
h Id(face down)in the left hand-_ during this movement. Ibis phase ls partic-
the deck i8 ~dealing position." The left ularly tricky and requires experimentation
1n °bre~~~:8 the upper left corner of the to accomplish smoothly and correctly.
thum r ectator "stop." Once
deck downwards, ;O~r:~k is held openly by
thiSl~~P~~~bt~s the right hand comes over
~~~
the
fairly, delibder:~~f~'t~~db~::~1~0~1;~~ut
block of car 8 2)
a quarter of an inch. Study Photo

PHOTO 3

While 011 th1s 18 g01ng on ~tht:~~/~:l~

paCket, the left hand coinC
Lng and moving lts packet up. -
-:4.
Ho. .~ • • •

PHOTO 2
14 15
 PHOTO 3, itts held sliShtly
,au'11 no~~o;nthe "tiltlng-pivotlng-rlght~
arc and be "Once they converge, the
hand-paC~t. ket overlaps the lefC-hand
rll ht - ban P~~hind or on top). Once this
pactet(tr~conditiOn 1s accomplished, the
out-jog:e can be removed from lts slight_
right d
"d osltion--while the lefe hand
11 .~hr t~O packet6 together.(See PHOTO
holds t e .. i f th
4) Ostensibly this posicion 5 to ur er
display the spectator's selection.
PHOTO 4
A• • non••nlieal bit of mlsdirection(while
the .peet.tor 18 looking at his selection),
Itar. at the ~ of the lower packet(or
or1&inal left-hand packet. '!his Btaring
would leem to indicate a glimpse of a key.
- IGlDlthina' Continue acaring at this
point •• you lower the carda f.c.-~.
80 the spectator can ... the back. of boCb
jogged packets. Ot coura., h.'ll ... DOCblaI.
while wondering ~ you were atarina at •••
'!he packets are telescoped to&.~r V1tb «be
right thumb and fingertips, and the deck 1.
given to be fairly mixed.
Of course, &s you'll see When experlmentinl
with this move, the glLmps8 is ta~n dur1n&
the crucial, cock-eyed, clock-wi .. , pivot1n&
movement. As you' 11 note in PHOTO 3, the
entire face of the selection is flasb.d--and
we mean floBhedl There is no hesitation durlaa
this movement. The whole sequence takes a fev
seconds. Don't worry about the spectator ...'9'
YOU seeing the selection: your glimpsins occur.
at the split second ~ noting the AlII card.
The diversion is perfeCt.
For some peculiar, visual quirk--the obliqlM
turning movement is not obvious to the apec-
tator. Ihe entire sequence appears natural.
from your side, however, the whole thing wiU
look atrocious. It's bold. It ta~s gall.
ltls deceptive. ltls good.
***
Why do we forget the simple saw: the old
seems new to those who've never .een it
before?
"Out of intense complexities lnten. .
simplicities emerge. II _ Sir W. ChunbUl

1 wt.ng stunt was first shown Fields
1be fol 0 der in San Francisco. The effect
by •• :-~~::resting history and is based On
be' lent mathematical trick. ~Iost recent ...
an anc i tion of this effect was described
~~ E,;;~;aCard Con1ur~ng(pP. 72-73. called
~rely It. Coincidence' by Al Sharpe). and
u••• dice a8 an additional subtlety. As a
•••ing thought-- bartenders may be mediocre
:'Sieians. but they usually know what pleases
their cultomera.
PREPARATION:
Thia effect requires a lO-card set-uPt which
il from. the top, down(cards face down): 9S-
lUS_JS_QS_KS_AS_2C_lH_2D-2S. Be sure the last
card of the set-up is the Two of Spades. This
lU-card let-up is placed on top of the talon.
ROUTINE:
!be performer asks the spectator to think of
an7 number between lU and 2U. As the spectator
decides. the deck is given a false shuffle
and cut. It. number of carda ~ to the number
decided are dealt face down in a neat pile.
Par example. if the number chosen is 16. these
"n)' eard. are dealt onto the table. The per-
former then .ay.: tIThe number sixteen consists
of the number. on• •nd 8ix ••• " As this line i8
delivered. the packet of 16 cards is picked up.
1 eard i. eleelt to the left and 6 cards are
dealt to the richt; Th. remaining 9 carda are
p~ced ••1d•••• tempor.rily. The performer askS
if "'~hlna ba. be.n .ccomplished fairly.
The performers now ahow. the top card of Cbe
lISix-card Pile, II saying: "Pl•••• rem bar
this card. II (This 18 the old lO-:lO rorc.)
The selection is placed back on top of ~
"Six-card Pile" and the three packet. are
assembled in the following manner" the
"Nine-card Pile II originally pl.ced ••14.
is put on SS?J2. of the I'Six_card Pile It
covering the selection. Thi. a.Sembied
packet is placed on top of the remainina
card and !l! is placed on I22 of the talOD
(At this point itls optional to falee •
shuffle again) If the aforesaid is still
unclear, after all action the ~ of the
cards from top to the 16th card(in thi. c••e)
is: 2D-2H-2C-AS-KS-QS-JS-IUS-9S-2S.
1he performer asks the spectator to name hi.
selection. Upon hearing "Two of Spades ll the
performer deals 3 cards, spelling T.. W-O.
Once again he deals, spelling S-P-A.. D-E-S
dealing 6 cards to the right of the "TWO'"
pile. The top card of the deck is now ShOWD
to be the Two of Spades. The effect is
apparently over. Kicker: The "TWO" pile i.
turned face up, revealing all duecea, and
the IISPADE" pile i8 turned face up, reveal-
ing a ROYAL nUSH in SPADES.
ItA11 originality is relative. n
- Emerson
 order from the 1A£lt: lUll - JH - 101 _ QH _ All
CALLING YOUR HAND, AGAIN - Any Ace - Any K(exeept the KC) - Th. ~
remaining Aces - Ke.
1 es. "
Yet mirac_Goethe to perform this effect I the following .1.1&b~.
"l:yster i e s are not are necessary: (A) Bottom Deal--preferably
I~rlols Illusionary Bottom Deal(Notea of
doing thiS poker deal for
fields has been December 15 , 1965); (8) Double-cut; te)
v iCY is an attestation, Any convincing False Shuftle. Those having
LU years. Its longe ublished the idea in llarlo's RIFFLE SnUFFLE SYSTEHS will have no
for Annemann tirst p 0 The set-up has been
The Jinx many year~ ~;n~ and as you'll see trouble.
credited to i.icha e in f~ature. Subsequent
ROUTlNE:
the set-UP is th~t~ of both taste and
handling is a ~ f e llowing is the Fields' 1) Explain the conditions of the effect to
i..m8ginaCion ....e 0
the spectator. asking the appropriate ques-
version-- tions.
:fFECT: Unlike many p~~:rf~~~~~~~t~f~e~~W 'L) ::ow--dependi~ on the kind of hand request-
notable exceptions), 1 conditions. After the ed--double-cut the specific number of cards
succeeds under unUSU8 the 5 ectator
cards are shuffled and cut, b d P alt which indicated by the following chart:
oanes any nUr.lber of hands to e. e '---;;-
h d he wishes to contain the w~nning c~rd~, STi;AIGlIT i:one
an~ the kind of hand tv-inning the de~l. lhe
perfo~r also adds ::hat \1hatev~r lund of _ FLUSli r:one
hand is chosen, it wl.ll be the IlI~HEST pass
ible hand of its kind. This selt-lIllposed . 110YAL FLUSH r:one
challenge. then. con~ists of ~ features.
ALL CilOSE\; BY TilE SP.CTATOR. OUE PAIR Card to the TOP

This kind of demonstration. regardless of '1'\,0 PAIn 2 Cards to the TOP

method or handling. gives the spectator
something to remember. Their satisfaction is 3 OF A KInD J Cards to the TOP
1::'£t: you've proved your 8kill(a8 their
gination conceives it)while entertaining 4 OF A KIND 4 Cards to the TOP
them.
FULL HOUSE 5 Cards to the TOP
IlORXlIlG :
Like mo8t dealing effects of this type. this.
too. require. a set-up. This set-up, however.
La &tTanaecs. on the »OTTOI..1 of the deck. The
followtn& 1U carda are placed in the following
 of hands specified by the
3) Whatever numb:~ dealt onto the table. Of
lpectaCor are th the performer comes to the
eour'•• ~enever tain the winning cards, he
hand cholen to eon
80T_ [)£ALS.
dealt FACE UP with the ex-
4) All cards .r~ d chosen to contain the
eeption of then, ~e are dealt FACE DOWN.
vinning hand. e
d is turned over and
5) The winning han
,hOIolll.
will balk at the mention of
Some performers Admittedly, under the chal-
bottom dealins· s of the effect, it's likely
lens e condlti~n tor will "burn n the performer's
~~iyt~~v:~e~~s fact ws s mentioned by Ed
.~ minded us that Annemann used a
.:arlo, WIIO re 11
acket switch instead of bottom dee ng.
f:a.rlO then offered an improved handling of
the same idea.
1) Follow original outline thru Step 2.
After double-cutting specific number of
cards, the deck can once again be shuffled.
'nih time, however, 2lll:£ the bottom five
cards must be retained.
2) Performer deals out the requested number
of hands. The spectator announces which hand
he wishes to contain the winning hand. exam-
ple: 3rd Hand.
J) Th.e performer picks up the Jrd hand and
place. it directly in front of him. He then
ribbon .preads the deck on the table. Upon
re-8cooping the deck,
his left thumb on the
from the bottom.
4) This break is then tranaferr.4 to tbe
left little finger, the deck it.. lf V1a4laa
up in the left-hand d.aling poaltloa. A
break is now held A22xa the flve bottaa
cards(or, the Winning hand).
5) The selected hand is held in the per-
former's right hand--in a fanned out COD-
dition. lhe performer then aska the apec-
tator to turn over the other handa. Un4er
cover of this diverSion, the perform.r
squares up the fanned cards in his rl&ht
hand by tapping their left s1des on top of
the deck. These cards are dropped on top.
6) Simultaneously the right hand movea the
deck to the right, tabling it. In the pro-
cess the five cards ~ the left little
finger break are retained in the left hand.
These cards are transferred to the right
hand and once again fanned out.
7) The performer looks at this hand, tben
turns it toward the spectator, ahowina the
winning hand.
In conclusion, performers will note that
most of the time a spectator will requeat
a Royal Flush--which is ready without &Q7
double-cutting. As far a. the otber. are
concerned, they're easily r ~ d foe
the number of cards to b. moved ~
with the kind of hand, 1.e. Pour-olli1Elil
equals 4 cards.
 .ARLO'S FARO VARIATION
b 1967, While considering
In notes of OctO e~d Harla suggested the Use
other varl&ti~~~he In this case, one can
of the faro ~h t ; aspect of the "challenge
readily se~ ~o~e met •• Viz: lhe spectator
eondi~i~n:ci~~ the number of hands to be dealt.
~ Ph onventional 4_handed deal is
Instead t e e
used.
Another important detail is tha~ the Fields'
_ is inverted. That is, it 5 placed on
set up k instead of the bottom--the
l22 of the dec d f
top card being the 1uC and the 10th car
the top being the KC.
Also--instead of double-cutting the specific
cards from the bottom to the top, the cards
are double-cut from the top to the bottom.
After the double-cutting action, the deck is
given TWO perfect IN-faro shuffles.
'!he cards are dealt: into FOUR hands with the
fourth hand. of course, containing the winning
"challenge'! hand.
this is a very convincing variation. par-
ticularly since the final deal is ALL FAIn
and just prior the deck is shuffled twice.
Students may wish to experiment with this
eet-up. However, in conclusion, note that
a etripper deck can be used quite effectively.
Advanced card workers will have no trouble
with thie. For those less qualified at this
su,•• we 8U&S8st looking up J::d l1.arlo's
"Stripper Combine" Iouna 1n 4AP \4mtMrr"
Perhaps the two effects can be nicely ~
corpora ted. Harlo I s Leseinout StaCk i a ' n
possibility.
****
"Superstition is rooted in a much de.~r
and more sensitive layer of the peych.
than skepticism."
- Goethe
If this be so, a person should be more
easily persuaded to belief, while happily
ignoring his skepticism. Remember thie the
rom next time you're trying to sell an effectl
Listen to your audience. Learn from them.
~atch them. lhey are not only willio! to
believelif you don't offend their intell-
igence), they will unconsciousLy tell you
how to excite the drama of their own
imaginations, making them believera.
The fOllowing feat is really an ~
for practicing "audience awarene~
some cases, especiallY for a certain k1Dd
of rnagi, the effect is "out of proportloa-
to its purpose. Treat it as an exercl.. ,
like the lip reading susseated by Pon.la,
and your sensitivity to ~pllclt la,..a
behavior will be heightened. Call It--
 QUINTILE
~Ff:CT:
we d deck is shuffled and cut. The
A borro thinks of any card in the pack.
spectaCor
k is--apportioned
- into 5 pa cke ts ,
The pac f llowing instructions are given:
and the 0 f the five packets.
(1) "Pick up anyone 0 hands II (2) "If
S ead the cards in your • ultimate choice(of one card)on7 He doe.nlt
pr ental selection is amongst them.
your m i d place it face down on the
renove t an t th
table." (3) Illf it is not 8 mOrlgf s d em'lI
!.n:t. card and place i t ace own.
(:>o~~athiS with each of the five packets.
Afterwards you'll have five face down cards,
one of wicht of course, is your selectionl
Do you understand7 u
The spectator performs the ac~ions as per
instructions. The performer p1cks up the
5 cards, places them. behind his back, and
inmediately throws 2IU! card face down onto
the table. The spectator names his selec~
tion. The tabled card is turned over, re-
vealing the selection.
WORl(ING:
Ae you can 8ee, this effect embodies an odd
handling. Remember, however, this is an
Exercie. to develop sensitivities to
".pectator behavior, II implicit or other-
wi.e. (You'll di.cover that other card
m.n--fettered with Method-madness--will
laraely ignore the illogicality of the
eff.ct'. handling end concentrate on its
apparent ~ of technique, directness of
revealment, and eo on.)
This effect is based on the concept thee
human beings cannot Control th~r uncon-
scious mannerisms and thoughts· that the
efficacy of their behavior exp~eel subtl.
clues to their thinking. It remain. the
responsibility of the performer to detect
these clues.
Let's examine the effect and its pre.entation.
~~at does the performer aC~lly ba.e hie
touch the cards until he picks them up and
places them behind his back I (This ia what
disturbs the Method-rr~dness boys)
~ mE PEkFORNEk HAS TO "GO ON" IS nu:
SPECTA TOR'S BEHAVIOR AS HE ACTS UPON THE
INSTRUCTIONS GIVEN. THIS IS THE NETHOO AND
SJ::CP..ET.
How?
Basically the answer is: Since the epactator
mu~t perform a sLmiliar, succe.sive action
five ttmes and there is only 2Ql sel.ctioD,
the performer must look for the iDI ~ ­
sistent clue unconsciously dilplayed by the
spectator. It's this discrepant action that
will invariably coincide with h1l handl1ng
of the packet containing hie mental selec-
tion, or his handling of the .election
itself.
Example: This example 11 molt coamon. Af~U'
Line (1) of the patter spiel is deli¥lZed
and the spectator has begun to Ipread Cbe
cards, Line (2) i8 delivered. they will
stop spreading the carda momeDtarl1Y. J.laa
(3) is delivered •••• fterwhich the apoo
Will behave in one of thr.. wayl:
 hru the enttre packet.
(A) He l 11 run t de from hand to hand. Then.
.pre-dins the c~ ALL TIlE CARDS. he III reOo
.fter l.oo1d.ng t
move one card.
h cards all in (A). however,
(8) HsIU .pr•• d t e in the spread and pUll
he '11 ~ somewhere
out • card.
cards~; then he'll
(e) He'll fan all t h e
go back and remove 8 card.
leks up a packet and behaves
If the IIpect1Co(B) in the above description,
as per examp e ding the cards BECAUSE he saw
-- 1 leccion· there f ore. it we on't
he Btopced spree
his menta 88 II read ;nymore cards. Whenever
necessary to P cket chat doesnlt contain
he picks up • pa MUST g 0 thru ALL the cards
his selection, HE i tha t it's NOT there!
in order to 8scerCa n
If the spectator behaves as per example (C),
the performer must look for other inconsistent
actions or elues. Example: Some spectators show
a marked idiosyncratic behavior in t:he way
they remove ~ card from t:he five respective
packets.
A) Some always remove the 4 X cards from
the SAME PLACE in each packet t:hat's spread
or fanned. They cannot control the select:ion's
actual position in the packet(aince the cuts
are randcm). therefore they must: remove it
from WHEREVER TREY FIND IT. This will be par-
ticularly obvious if their select:ion happens
to lie near .isher end of the spread or fan.
B) It'. important to not:e HOW and WHERE the
.pectator place. each card onto the t:able.
Often t1.me. he'll place his .election down
more quickly than the 4 X cards. Other timeS
he'll W\Con.ciously place his sel.ction away
fr4a the odler card.....gr.gatins it slightlY
freD the Otbarl.
Watch facial expre9l1on8. lip and eye .......
shifting feet, and so on. Th••• action. DO
matter how slight. often "tips oU- the',...
former.
Usually whenever a spectator find. hi.
select:ion in the first packet: h. plck. up,
he'll reflect a marked impatient handl1nB
of the remaining packets. Thls, t:oo, http,-
the performer.
There are. of course, many other signal. and
cues--which are learned thru experience.
But t:he general approach should be under-
at:ood by st:udying the aforementioned
examoles.
Like "estimation Techniques,lI this EXERCISE
(Please remember t:hat it's an EX£::tCISE mort
than an effect)may seem impractical and
useless. However, we feel that the
Di::V£LOPt ..d iT OF SUCH INSTINCTS AH..E INVALUABLE
TO l-':::l~FOI:.lIEJ~S.
01:1:. il~COi (ES AWAI:E OF HIS AUDIENCE. HE PLAYS
dID! TIi£N. 110! A'!' ntEHI
Fields has failed with this st:unt(mostly vi~
expert magicians). He seldom fails with
layman. One notable afternoon in Chicago
(in the company of Duke Stern and Jay
:arshall) Fields successfully repeated the
exercise T~iltEE TI.:lESI Everyone was I'taken
in. 1I
~periment yourself. You'll be aurprieed,
and your other approaches and praaencaCloaa
of m.-gic will IliPKOVZ.
 MILD MIRACLE
1he wilole effect foHm,s the ator•••lel Old
The ?reliminary patter, however Ihoulel ac.l. .
d health so much 1n the news, for a ~ro?er psycholo3ical foundatlon. ]he
With smoking aO tunt is quite topical, and mB3 i must develop inklings ot doubt ••••terbap.
thiS off-beat 5 1 residua lends a note of ci5aretteo ~ nilder than actually bel1...d.
the pSych010gi~a tongue-in-cheek approach. particuLarly the J':'lentholated brands1 'emapa
creduli ty to t e smo:,in:; is a refl~x action1 11 ~~ee;> in mind
that th<=! patter !'"lUst maintain an interrosatlve
t:FFECT: nood. It s:touldn't be desisned to cOQYins,.
asks a spectator if he's really able
It should be desisned to aGitate the nagl!ins
1',~ !)ossibility. It S!lould seek levels in~the
TIle meg i i t cigarette from an ~ one-- hu~n's willin~ness to believe.
to te~l ~ lif he's puffing on it. Takine this
espe~lal Y bsurd question as a prenise, the Once tllis :?5ychological mise en scene is
seemutgly a a test--a test proving ths t most established, all that re~ins is t~e slmole
ma~i proposes ware of such a difference; that ?crformance--which as oreviously mentioned,
oeopie are una i i h
. leasures are purely mag nary. l e follot-ls t:le outline of the effect. 1be bit
sl"'loki~ P . (1) 111e spectator is blind- of business that makes it "work" is simply
folloWl.ne occurs. d f
folded; (l) Four cigarettes are remove rom a doubl~ ci~arette, i.e. two cigarettes held
k Three of t:.hen are placed in a rowan as one. (See Fi3ure 5) As you can see, the
a pac • d the fourth is lit by the spectator; "double ci~aL~ette" consists of one lit, one
a ta b1 e an b . d t er 1
(J) The soectator is then su Jucste 0 sev a unlit, joined end to end and held tightly in
trialS with each of the test cigarettes. tach place by the th~~b and forefinner.
time he takes a puff and inhales, he's asked
the same question: liDo you think that thellcig -
arette you just inhaled was lit or unlit?
Although the magi receives an answer each
time he replies repetitously: ":1JmITm--that's
inte~estinglll On the final trial the spectator
answers that the cigarette he's inhaling is a
lit one. The magi asks the spectator to inhale
again, asking: "Are you positive?1I The spec-
tator affirms it. Then--while the Gw~e ciB-
arette rena ins in the spectator'5 mouth, the
blindfold is removed. To the spectator's A
surpr1se, the cigarette in his mouth is ~I
.I01:lUt:G:

'lb1s is a crazy, impromptu item. For reasons Figure 5

soon Golf-evident, this effect resembles
Corlnda's IIPouars of Darl'.nessu or Slydini'S
uFLiGht of the Paper Dalls": everyone but
the subject knows what's hap~ening.

26
 als wieh both lit and unlit You'll also lind that the fleffect" workl Hie
After. feW ~~~s "dOuble~arettell is if the lit cigarette i. allowed to "burn
cigarettes, The spectator, naturally, is down" nearly half-way. Often, it the e10naated
introduced_thiS elongated cigarette. When cigarette is too long, the smoke become.
unavare of the spectator will suck cooled before it reaches the spectator'a
held properl~, tar lit end, receiving the lips--and itls the temperature of the smoke
8U\Oke from s~t~ons accompanying such 10- that produces the senSation accompanyins
proper sen Ihe conclusion should be obvious: inhalation and not the smoke it'elf.
halation s • te the double cigarette,
Secretly separ~it one in the spectator's
leaVing~~~e~laCing the lit one back into
mouW, Since the spectator will not
an as~~r~~:i.nglHe still feels the unlit Blake redone: ~~gic is the revolving door of
~:~~ ofYthe elongated cigarett~ between Perception.
his 11 ps,) ·~en the blindfold ~s removed
11
~e'll be quite surprised to find an un t
Wl'

cigarette in his mouth. "One of the great dift·erences between the

amateur and the professional is that the
r;QTES: latter has the capacity to progress."

i&ny handlings of this effect has proven - W. Somerset

that unfiltered, regular-size cigaret~es
work best(Lucky Strikes or Camels). 5l.nce
the perfonner might not find such brands
AhA""""""""
handy--it's best to carry one of the
suegested brands. "The man who is too old to learn was probably
always too old to learn."
One will occasionally find subjects who
cannot actually tell the difference. In - Henry S. Haskin.
this case, the audience will be quite
amused, and the stunt can be concluded
without using the elongated cigarette:
""""sicA..""""
The performer merely waits until the "As soon as the technical side of a erick 1.
apectator has an unlit cigarette between mastered to perfection, the atudent muat
his Ups while proclaiming that it l s turn to the dramatic, which ia the molt
Ut, then f1.nish as per normal routine. important as far as the effect is cODCeraed.·

Always introduce the elon3ated cigarette _H. J. Burlingame, UW7

I1aE. a teat sampling with an unlit
Cigarette. ------
 "IMIIIION TELEPHONE MYITERY
SILENT TRA "
ErrECT:
tbat. car
th:thodox telephone experiment--in
~r ,elected under 8 given, if not
I f circumstances. Then, the
pecullar, :et~b8equentlY named without any
..leetlon Sns or clues. The following des-
.pparent ~a ver differs radically in
crlP~onNO ~:; ca~ds are used(in the con-
..th • 1 sense). No stooges. No elaborate
..ntl~iO 5 or devices. No memory work. No
pr~h:~tic~l principles. In short, itts one
~ the dlrectest. least involved, and baffling
telephone stunts devised.
WORKING:
Once the spectator is contacted by telephone
and given the standard spiel--with his deck
at hand he's given the following instruc-
tiona:
1) Shuffle the deck and divide it into]
packets.
Z) Cboose any of the 3 packets, reshutfle it
and note the BOTTOM card. Turn this packet
f,S! up and place it on ~ remaining face
.dmrJ:l packet. Finally place the last face down
jieiet on top of the combined packets. In
other words, you've sandwiched your chosen
paCut--the one you turned face up--
betweeD the two race down packets.
J) Gi". the aa.embled deck one or two
.~.lIbt CUt. and finish by riffle
IbDrrl1D& the cerde.
• ) _-bold1na the deck 1n your d.eUng hend •
...1 tlw 0&1'41 to the table. Each tlme you
~_'- a lICE UP card. name 1t and d.al 1t
.I~.
5) Remove your selectioD from the 'AGe ..
cards and hold it next to the ~l~.
~~giclan names the selectionl
How? According to Eddie Field., Step. 1 ~
J, exclusive, repre.ent a technique called
the HONOLULU SHUFFLE or LOCATION(whlcb 1a
described elsewhere 1n this book). the 8Ub-
tlety here, however. i8 that the ~eY1D&•
device is not a card but an entire run pC
~--composing an uninterrupted spread of
face down cards. Because of the predi.po.la&
sequence of the foregoing actions(a. per
verDal instruction). the selected card will
be the !1£!! FACE UP card to the immtdia!'
left of the longest run of face down car •
in the spread. More specifically, if the
spread deck were examined. one notes that
most of the face up cards are disunited by
1. 2. or 3 face down cards(depending on the
evenness of the shuffle). However, u.ually
central to the entire spread is a protracted
run of face down cards(which .verage. 20
cards). This run of cards composes the euDD-
ing key. As you'll note later, this .... kay
is utilized in a VISUAL way in the .ffect,
DROPSY DIDDLE. In SILENT TRANSHISSl~. tbe
key is obtained in an AUDITORY way. 1be pee-
former HEARS it--which i8 a ~riumpbant ~
ance for this kind of an effect. He bear.
it in that the LONGEST PAUSE beev.en tbe
naming of face up card. repreHnta Cbe . .
6llQli it takes the spectator to deal tbe
face down cards compo8ing the procrac~
run. ~diftely fOllowing Chia ~s."I=t
pause1Whtch i. quite obvlou8 to tbe ~
tener)the ~ card name4 by tbe •
i8 hi8 selection •
CONSIDERATIONS:
The key1ng dev1ca la qui'-
followiaa rea.aDII
 ink that the protracted run
1) One might ~~rds__ followed immediately by
of face dovt'l would appear obvious. After
~ .electiOn-~ausal relationship. The
aU, there 11 a r 1s too involved. He is
,pecutor, ho,,:ve ~er' he is a PARTICIPAHT.
more tban an ° ~e with t carrying out instruc-
~e's preoccupiekins for his selection. He's
tionlj with 10~ the exac~utcome of the ex-
also unaware 0
peri.me nt •
telephone stunts, there
2) Unlike °iJnrhe1~ed mathematical foundations--
exists no"double
p to spread the cards and name ~ the face
the value 0 f your car d , or
such as of cards equal to your va 1u e •••"
deal a nurnb e r b 11
The only information directly or ver a y
i 16 the order of the face up cards.
~;~SiS is placed on this knowledgetwhich
wiLL give those who'lL attempt reconstruc-
tion a real problem).
3) the actual keying device is SlLE~CE.
,./hat could be less ostentatious?
Always remember the first face up card named
by the spectator tor write it down). Often
t~s(due to the cutting), the protracted
run will fallon the last twenty(or so)
cardl. In that event, you'll not be
caUl,ht ",i th "egg on your face, It or
haVing to ask them to re-name all the
cards.
For tho •• who enjoy knowing the backgroundS
of certain effects, SILEt\T TP..ANSHISSION was
Jay 11arlboro,
,~ .
a "group think" invention. Eddie Fields,
Joe Ireland and yours truly,
\fere ..iCk1nr. around" telephone effects one
evening. Jay Marlboro IUSle.ted the polli-
bility of uling the HONOLULU SHUPfLI a • •
telephone technique, lett ina the apactator
Iccompli~ III the Ictionl b~.elf. Jay
tried out his notion, but it required ~
spectator to name all 52 card., explaLDlDa
whe~her they were face up or face dowa. tbil
took too long, Bounded too complicated, aDd
diminished the directne •• de aired in .ueh
effecta. Still his idea of using the HONO-
LULU SHUFFLE was good.
Finally Fields bit upon an idea: Tell th. .
up cards1 This was an improvement. However,
instructions were still too complicated, and
the information given was somehow vague.
Yours truly suggested the "deal1t\8" handl1n&
Which was sure-fire and less complicated.
Joe Ireland supplied the deck and a forth-
party-serenely-objective opinion I
***"*
it is almost incredible vhat 'naivete'
1I • • •
the best educated often display."
-H. J. Burl1t\8aJDe
******
FIELD'S ZODIAC CARD MIRACLE
EFFECT: A large chart of the zodiac 11 r~
on the table. The performer offer. to . . . •
spectator a combined card and ••troloalo&L
Il rea ding."
 • I ectator shuffles a deck of cards and
~.lsPone card face down onto each 8ign of
the zodtac. Now, whtle the performer turns
hts back, the spectator removes as many
cards as he pleases from the zodiac
chart and places them tn his pocket. He
then collectS the few cards remaining on
the zodtac signs and shuffles them. After
he has done so, he looks at and. remembers
the bottom card of the packet. He then
places the packet on top of the pack.
NoW once agatn a card is dealt face down
onto each sign of the zodiac. The per-
former returns to the chart and asks the
spectator the date of his btrthday. When
informed, he turns up the card lying on
the sign under which the spectator was
born. Studying the sign and the card,
the performer describes the character of
his spectator. He concludes his analysis
by saying, "This also tells me that you
are the type of person Who would put(let
us say)six cards in his pocket. And if
you were to memorize a certain card, the
chances are that card would be the King
of Spadesl" The spectator must admit that
this is correct.
WORK1NG:
This mystery is based on a little-knOwn
and puzzling impromptu trick worked out
by Audley Walsh over 25 years ago. It
was a favorite with the late Nate Leip-
zig. However, the astrological presen-
tation I'lifts it completely out of the
card
tlet trick
i class. 1I In additi on, a au b-
ibl y s employed which makes it poss-
Wit"h for the performer to do the trick
outtoatthanyII time t ouc hi ng the cards
rior
P
should not eb reading" • Th e e f f ect
e presented as a trick.
Instead, the performer should . .plain ~
the shuffling and dealing of the Card. 1.
for the purpose of revealing lomethl ~
teresting about the character of th na
who does it. • per.em
Deyond a large chart of the Zodlac(which
you rr~y wish especially drawn up), the onlY
preparation required is to place some daUb
on the tip of the rubber eraser of a pencll
Place the pencil in your vest pocket with •
the eraser up, so the daub will not be
rubbed off. In an emergency, you can flx
any pencil by rubbing the eraser in some
rouge.
Have the spectator shuffle any deck and deal
a card onto each sign of the zodiac on the
chart which you unfold before him. Take out
your pencil and point to the signs in demon-
stration of what you want done.
Tell the spectator that you are goins to rum
your back and that while you do ao, you vt_h
him to remove any number of carda from the
signs and pocket them. lel1 hLm to collect
the remainder of cards and--after he is
through shuffling--remember the bottom card
of the group. Then he is to place the group
back on top of the pack.
As you conClude your instruction_, touch tbe
tip of the eraser end of the pencil to the Cop
of the pack and leave a little .mear of daub
on the back of the top card of the deck. !be
daub will not be seen by anyone _0 1a DOt:
looking for it. When you return, .feer Cbe
spectator has carried out your 1D.truaC~
you deal II cards from the top of the . . . .
onto the zodiac, Btartins with the fleac
sign(the one that would occupy the ~
of twelve o'clock on a clock fac.
ing the cards around clockWl". ell'
have the speceator do thla.
 when he was born and
Ask the .~~c~~~~~ the card which lies
tell him Look at the cards and note
on hie 8ig~ked with daub. The card before
thO( one ~ counter_clockwlse)is the card
it count: ng
the 8 eetator looked at.
Th
e n
umber of
eards~inCIUding the daubed card)from
the daubed card to the end of the deal
(that is clockwise around the circle
u to th~ first sign of the zodiac)is
the same as the number of cards that was
pocketed by the spectator.
After the spectator gives his birthdate,
collect from the chart all the cards ex-
cept the one which 11es on the spectator's
sign. In doing so, place the card the
spectator meroorized(the card before the
daubed card)on the bottom of the pack.
Ask the spectator to turn over the card
on his sign, and as the sp~ctator does
so. tilt the packet and glumpse the
bottom card. Then drop the cards back on
the pack.
You now know how many cards the spectator
pocketed and What card he looked at. How-
ever. you withhold this information and
go ahead with telling the spectator his
astral color. lucky gem, and character
type. You may elaborate on this data in
any way you see fit. tying it in. how-
ever fancifully, with his sign and the
card lying on the sign. The spectator
will be so fascinated with these general-
izations about himself that your final
worda will come as a stunning, humorous,
and amaZing climax.
Once in a While, the selected card may
fallon the very slgn of the zodiac under
Which the spectator was born. In this case
you have an extra miracle whlch i. unf eft
able. Instead of telling the .P.ct.tora~a..
name of his card. have this card left face
down until the very end. Then a.k the ~
of the card. When the apectator tell. you
say. "1 didn't really have to a.k you
stars would tell me. And naturally an; card
1h:
you thought of would turn up on your own
sign(turn over the card)1"
You should memorize some astrological data
so that you can give a good reading. When-
ever you perform this effect, regardle •• of
your opinions concerning astrology, you'll
be surprised how well generalized character
readings(found in any astrological publica-
tion)fit your subjects.
Daub Notes: 1 have found that a handy medlU1111
of daub is the new lipstick matches, Which
come in little paper folders at the dime
stores and cosmetic counters.
(Reprinted from The Lest Word on eerd.(W.,.
Rufus Steele)w1th permission from Alton
Sharpe. who owns the copyrights)
"''''''''''''''''''''''''''''
Additional Daub Note: It pencil lead i.
rubbed into the striking surtace of a match-
book, this matchbook can be easily carried
in the pocket until daub is needed. then the
finger is rubbed across the .trlkina surtac.
and later transferred to the .urtace of tb8
card(s).
"'''''''''''''''''
For the more intellectually di.po••d. ~
book, The 58f,e,. by Otto Lownlc.1D\.
biOlogist', s an indilp.n..bl. woe
 nterested in understanding
tho.e truly i
"why" magic works. Quote:
"The .aying I.eeing is believing' may
fittingly be reversed in t~;'8 context
into 'believing is seeing.
"Seeing seems to be a rather calculating
1 •
~SM8f and .11 this makes onei wonder
f on its backside, please eecretly note tbe
whether one can ever ~ someth ng 0"
which one ha. no previous knowledge.
_ Otto Lowenstein
" UA ...."""
INViSiBLE PEN MYSTERY
In recent years such "work" 8S the crimp
ha. been popularized into effeteness(at
least among magicians}. It often seems as
though only gamblers and certain card ex-
perts recognize the remarkable usefulness
of both the naU nick and nail scratch.
Otherwise, these techniques have fallen
into d1.su.e. liThe Invisible Pen Mystery"
hopes to remind us of its pos8ibilities.
Also, like most "pick-a-card-and-l'll-
find-it" effects, the following de scrip"
tion fUlfills a ceraain directness. How-
ever, .uch Lmmediacy happens under very
diffivult conditions. The odd Whimsey about
the pen mere:y gives the spectator some-
thing to remember--long after hels for-
lotten the Card he selected.
EFrECT:
tha .pactator, Uling b1l deck, mixes them
to hl• •atl.factlon. Tha performer then
introduc•• bie -1nvillbl. pen." This pen,
of course, is ueed to "m.rk" cardl--1Iblob I.e
does invisibly. Taking back the card. th
performer demonstrates how he ~nt. the •
spectator to sign the back of the top card
(with the "invisible pen ll ). The 'pectator
takes back the deck and feigne writing hi.
name on back of the top card Nov the
f ormer says.. "5i nee we can identify
• theper-
card
face of the card--ao you'll be able to
identify it from either aide." The performer
adds that the deck may be cut several tt..
and shuffled. •
The performer finds the eelection.
WORKING:
Again, the old technique we mentioned: the
nail scratch. In this case the work i. put
into the selectionls longitUdinal edge with
the thumb nail.(This principle, by the way,
has been successfully applied before--mo.t
notably by Carmen D'amico in an item found
in Buckley's Card Con£rol. The innovating
aspect of the D'amicO effect was that the
work was put in the selection a. it yep
returned to the deck. In inferior exampl•• ,
work is put into the carda awkwardly at
illogical moments, and so on.) 10 thIs effect
the work is put into the aelectloa 1D a
logical, natural, and psychologically
opportune way.
Needles. to say(as itla ..id), the bit .boaC
the IIpen" is nonaense. Yet lf le·. baadled
correctly, it ~ be emualas. It. puEp08e ia
manifold:
1) It provides an excu.e to baDcl1.
2) In handling the carda,
into the 1aR card.
3) PaYChologlcallY, .iDee
 .. is bosh, he t 11 place
hI! whole "pen bit to what'S actually taking
ittrle importance him the important aspects
with it- To His attention relaxes.
Placestill
are to come.
t to the card in the follcw.
The work is put kniS tabled(or held)long-
ing WAY: The dec d wn This is a logical
itudinally I face n 0 writing, particularly a
position since a h~uld be done on the widest
person's name, She fingertip comes over the
surface. The rig to write acroSS the white
deck, pretend~~TO 6) As this 1s accomplish-
border. (See b IlIJ.l is dragged across
ed, the ri(Sht th~d:point)of the longitudinal
a segment ab~~t should be applied with suffie-
~. The na to infinitesimally flatten the
ient pressure d This card will now appear
edge of the car •
PHOTO 6
in • klnd of "baa relief"when mixed amongat
the ~.t of the pack. the pack being squared.
40
and the longitudinal side of the entire pack
is turned toward the operator(a. when .pIlt-
ting the pack in order to faro shuffle the
halves).
The selection can now be maneuvered to the
top or bottom of the deck by cutting at the
edge-marked selection. Aa just mentioned,
faro ehufflers will have no difficulty here,
as the technique appears natural and the
selection is brought to the top during the
course of the shUffle.
TRIPARTITE
This effect is one of Fields' pets and altho
it's really a magician's trick, it appeals
to an analytical layman's imagination. It'.
taken in 80me of the most informed cardmen in
the country. Considering these aspects it's
worth including in this notebook.
EFFECT:
Using a borrowed deck, the magi requests a
spectator to mix the cards thoroughly. After-
which he's to divide the deck into 3 packet I
(approximately the same size). The magi
stresses that it's very unlikely for anyone,
including himself, to know the ~ carda at
the 3 packets. In the event there 8 a hard-
core skeptic in the crowd, the spectator i.
allowed to exchange any top card for AaI
other unknown card in the packets. Once
~one is satistied a8 to the impolaiblilty
of knowing the identity of any of the 3ht:l
·1:=-
cards the magi asks the spectator to c 00 •
a num~er from 1 thru 3. Atterwhlch th:.
tator is allowed to e~ume~:;~ ;~etg;~ pil.'.
any way he choosesi~ ~l:n.el.ction.
top card--making
 then reassembled in any shown in PHOTO 7, uling the foreflnae~
!he packetS ar:ntire deck is freeLy mixed. pointer. The thumb nail lightly hue cl
order and the h llenglng conditions, the
DI!.plte these c a !11£.lt! the top card of Wateyer ptpbtEt4a:t1t
mas 1 finds the selection. is selected. Study both PHOTO 7,
which •
the action from above, and PHOto 8 whiCh
shows a side-view close_up of the ~ ~.
WORKING:
fore said seems to depict an tm-
AlthO the a t rest assured that the effece
f ea ,
,",o.sible
r b d as such an unfeas ibl e per f arm-
is remem ere h h
Witnesses will even swear t at t e magi
~~~:; touched the cardsl This, however, is
-.gi does touch the cards, but
The ..-
huntrue.
1y barely - briefly toue h es tern.
and h In
~o~~ the selection is nail nicked. As in
5 , ., IIh w" the
the previous feat, however, 1t 5 0
work 15 lI pu t in ll that: makes the effect a
small. wonder.
Once again the main thing to remember in
selling this effect is to make a big fuss
over those things that mean absolutely
nothing to the essential secret of the effect.
The fuss, however, must concern aspects that
would .!.S.!!!l consequential. (note: As you know,
magicians are more aware of such items; far
more conscious than the average layman. Thus
he' 8 more suseptible to being duped.) The
work, also, must be put into the card during PHOTO 7
• moment when the spectator is busy making
• decia1on--namely the choosing of a number Hore specifically you'll note that the fore-
and the enumeration of the 3 packets. finger actually touches the top card(the
selection) and slides it • sixt.enth of aD
.Lhe dirty work occurs !!.ill. the number is inch toward the thwnb. lhi. make. the card
cho.en and a. the magi asks the spectator cantilever ~uat e~~ to allow the thgeb
~ ~
Mit to Dis its l I I I t ' . (PHOTO 8 1.
how he wanta to number the packets "One
two, three, from right to left ••• o~ one,' actually an exasger:f?on araphlc
two, three, from left to right'l" As this
que.tion 1•••ked , the magi gestures as

PHOTO 8
The whole nail-nicking process should take only
a moment, and it's accomplished as you look the
spectator intently and questioningly into his
eyes, delivering the appropriate patter. If itls
done properly. no one will realize you've
touched the card(s). They seldom recall that
certain gestures were made; that you were even
nil[ the cards.
=t:
i.turally. with a nail nick on the end edge of
the lelection, it's an easy matter to sight the
card. For many years, Fields would take the pack
leave the room. Upon returning he would have
lt l I.lection. if your eyes are good of course,
b po.sible to maneuver the selection to the
o om or toP. during cuts and shuffles,
ther.'. an tmpo t
room: it Siv•• r ant advantage to leaving the
mo¥e ~ •• l.ct~h. magi an opportunity to re-
1n the carel. on awl dispose of the "work II
This disposing of the evidenc.
ed by taking the selection and
nicked edge between your thumb and f
D!1l. This resembles a pinchlns actiOft.
entire length of the edge i. then .11d
the "nail pinchers,t1 flattenina out ttw
and removing the nick from the card.
In subsequent analyzation of the effect. Id-
ward Marlo devised a method whereby the
selection could be removed from the deck,
the work taken out, etc., without l'.y~
the room. With Edls kind permission, hra-
method is included:
MARLO'S HANDLING
Since Harlo dates all his material, the
following material is derived from a letter
dated September 17, 1967. The following ia
quoted from that letter:
1) Proceed as per Fields' method for puttina
in the work or nick.
2) You can be seated at a table or .candiDa
for the following presentation. If seated.
the pack is placed under the table. If
standing, the pack is put behind your back.
3) When adopting either procedure, great
stress is laid upon the fact that you Will
not look at the cards.
4) To locate the selectlon, take the
one at a time--and hold it at th~
corner with your right hand. "£he 1.
finger and thumb now ~ move
bottom edge of the ca~th.r.'.
the card youlll be able to feel it,
 that you'll follow the end of
5) Itt, ··'U:::Ch the nicked card 18--.0 that
the pack 1n his end when feeling the card.
you ,tart at t
climaX: When you are feetina
6) "OW, for th~o 80 on the first three carda,
che card. you t one of these. Bring these
A.aume it 1_ n~ face down and tapped. Then,
three cardS! ou down onto the table.
to" them ace
i the above manner, each tLme
1) Continue t ~hree cards fanned and tossing
brinsing ou bi Now when you finally teel
them to th~ ta t~n it face uo and add three
thed·ellect o!:~ onto it, cover!ng it. Bring
car 8 n a d
out and toss onto other car s.
8) Continue for about six more ca:d~.;.
Now bring the deck out as you say. 1 1 ~
not lure I'm going to sueceed in th s.
At the same time slowly run or spread the
cards(remainlng 1n the deck)between both
hands as you look at the backs of the cards.
(Note: The idea here is to make sure every-
one sees that !ll the cards are face down)
9) Toss the rest of the deck onto tabled
cards and assemble the deck. Cut to cen-
trslize the reversed selection. During this
"y: "Looks like 1 missed." UWhat was your
card?" Once the card is named, the deck is
spread, revealing the face up selection.
Marlo 81so advises taking the precaution of
removing the work from the card before re-
v••lina it. In the ca.e of Marlo'. presen-
tatton, the Work i. removed before the
••l.ction i. placed underneath the fan of
three cards--all of Which, of course,
transpires underneath the tabl. _ "'~lilIl
the back.
Fields has over a dozen methoda of . ~
performing the same effect. Harlo alao be.
additional ideas and application•• H~.
such material would compo•• another maauaecipc
In conclusion, practice the presentac10a of
both versions and strive for amoothne•• and
finesse in " pu ttil\& in the work." Onc. YOU' ...
mastered that, you'll have .n inter•• tlna
effect and when performed .t the right t~.
for the right people, a re.l mir.cl••
"A good spectator also cre.t.....
- A SW1.8 proverb
"He who does not know the mech.nical .1de of
his craft cannot judge it."
- Goethe
"!mitation is criticism. II
-Blake
Cultivate the ability of beina able to calk
and listen at the same time.
Take into consideration All the ..n....
Speaking of senses, ~~rahall Hc~.fo,p
Prophet and Hedia Expert--ha. ~C~
written:
 head of percepts. The those readers with more immediate intereata
"Needs keep ~ tate exists first: and
motivatl0n~nf~uence upon the way in the following technique will serve both. '
exertS an will perceive the practical and useful purpose.
~ich the person
world." ""OFU<W~:

spectator's motivation, which 1) dold a deck in your left hand as depicted

Work on a d by his uncontrollable will- in PHOTO 7, as though commencing the well-
is tempere
ingness to believe. known Hin~u Shuffle. The right hand come.
over and grabs 8 block of cards from the
center of the deck.

p.O·p PEEK

This peek reminds one of the Ginsburg

Poke(from Vernon's Inner Secrets Series)
in that it IS not a technique for sighting
a selected card. Instead ie's a method
for obtaining a key card. This key. of
course, will aid the discovery of the
selection in the conventional manner.
However, both the approach leading up to
the peek and the events following it are
equally misleading.
The ~ handling of this peek is strict-
ly Fields' origination. Peeks in general
share common characteristics. Your editor,
havtng sleuthed quite a few, noted that
Buckley's Card Control includes a peek
embodying simi liar characteristics of the PHOTO 7
P-O-P Peek. LikeWise, in George G. Kaplan'S
The Fioe Art Of l-1agic, is found a simillar 2) This block(or packet)is gra.ped beeveea
idea in an effect called__ "Out_of_the_Room the right thumb and 8e~ooe finger at the ~
Selection." Lu Brent has also conceived end and sides of the b oc • The forefinaer
an excellent peek, USing the left hand and rests on the back of the top card of tbe deOk.
a buckle, which i8 conceptual the same as This block is drawn out and eurned face up-
the P-O-P Peek. KnOWledgeable studentS, wards, revealing the face of It. bottaa
however, will recognize the nuances. For
 turned clock-wise, on its
3)tRl' blOC: ~~e performer, the right hand
IJAJ, Sqw·r_ wards as per PHOTO 8.
endirt8 palm up
action is ostensibly to
4) 'nlU entire all-fair method for a spec-
demonstrate an a card '1be accompanying
ca t 0 r to c hbo•olISimply
s e · pull a group 0 f
patter woU1~hee ~enter, note the bottom card
carda froro h packet on top. Do you under_
and place t e
stand?"
PHOTO 8
S)Actually the technique 1s quite fair--
eze.pc for One minor detail: As the magi
demon.trat•• the above action, he peekS
tbe top card of chI withdrawn packet, con-
••quently picking up hi. secret key.
6) This 18 accompliah.d U the vl.~~"
packet 1s turned fac. up to r ....1 Cbe
bottom card. Remembering that th. packaC
is withdrawn with the right thumb aDd
second finger, the right for.finser pu~.
the packet's to card to it. oyp rJ'b;. 1bt.
angles the ~ corner ju.t 'liahtly '0
that it jogs over the packet', edge. Note
this condition in PHOTO 8 aero•• the paae.
(Actually the jog is e.aggerated 1n the
photo to emphasize the condition. In ac~l
practice, the card is jogged very .li&htly
as well as pulled inward so that no corner
extends outward, exposing the jogged con-
dition)
7) Now this packet is placed on top of the
deck .. The top card is known. After the
spectator duplicates your actions, hi.
selection will go on tOD of your known key.
(Or as the cards are spread face up, from
left to right, his selection will be ~d­
iately to the !.!llS of your known key)
cm~SlDEllATIO~S:
1) Think about this: from a spectator"
point-of-view, a deck has been thorougbly
shuffled. A technique for sighting a card
is shoW"". This takes only a moment. In.t&Dt-
ly the pack is given to a spectator--wo
carries out the c~~~ actions and ••lect. a
card. The deck iD finally cut and all .....
IIfair." Due to the kind of action., • top OC'
bottom key card is ruled out by very ohM&'-
vant viewers.
 d The whole action is
:::r.
Cba ~e~·~n·three beatS: (1) Wi~h_
(2) Display, (3) Replacemen~•••
I, 2, 31
p.O.P EFFECT
utilizing the p-Q-P Peek, was
This e ff ec t Fields
t
one night i n ""ew Crl eans.
created b since the performer doesn't handle the carda
had been requested by ~ h e 1 oce 1 mag i c
Y
He rform a trick. Not having really
c;~ba~~dP:nything, ~he following effect was
P P i se d • Since it fooled a number of ~he
1.mprov
.. decided ~o included 1 there •••
b oys, .'.
Again, there's nothing new or radically
original in this effect. The particuLar
order and combination, however, recreates
~he known principles into a different and
more deceiving cast.
1) A pack is borrowed and two spectators are
reques~ed to help the performer. Spectator A
ahuffle. the cards and hands them to ~he per-
former. The performer does no~ look a~ the
s,rds UDtil he explains the technique for
,[(ivins ,t a random selection.
2) After s~ preliminary patter on ESP or
Whatever, ~he performer turns to Spectator A
'nd a,k, h1m ~o do the following, selecting a
CArd 1n ~he process.
3) Ac Chi' juncture the performer execu~e.
the . , . . . of the p..o-p Peek, noting the top
k8r card. then h. handa the card. ~o the
lpeceacor.
4) '!be lpeCCaCor perform. the nece8.ary riC.,
Mb. bl. card, sut. the pack, and 80 on.
Specta~or A's selection 1. nov ~
to the !2Lt of ~he performer'a key ~.
5) :';ow ~he performe~ requeue that Speacac.
A pass the pack ~o Spectator B--who is ~
quested to perform the SA!~ actlans ~o ..teee
his ~ card. At this point, maglcian.
intrigued by the 'Iselecting techniqu." will
be "thrown off the traCk" by the WAL s.lec_
tion. Being aware of IIkey card principl••-
their train of thought is derailed the ma.enC
Spectator B handles the cards--especi,lly
in the in~eri.m.
6) After Spectator n cuts the cards. the per-
former takes the cards and says: "U.ing only
the power of thought, I'll attempt to find
your selected cards. 1I
7) Looking at Spectator ~, the performer
spreads the cards until he finds Spectator
A's selection(to the left of his key). Thi.
card is removed and placed face down on the
table a8 the performer says: "I think I've
got itl" The performer asks Spectator B: • ....t
is your selection7 1t Remembering the name of the
card given, the performer adds: "Well, thaC's
one of theml 11
8) Turning to Spectator A. the performer loQk1
into his eyes. spreads the card. and ~ .
Spectator B"s selection, saying: "ibls 1• •
bit more difficult ••• but 1 think 1 ba. . ltl-
9) Spectator B's selection i8 placed OD CQP
of Spectator A'S selection. Both ~ ~
picked up and i..nInediately 59'nd faee up
in front of the spectator••

6 as soon as the spectator CUts
After StePth~ performer may wish the spee_
th_ pack, ive the pack ~ RIFFLE SHUFF1..E and
tator to g cuts This 1s not sure-fire, but
additional fa~or.ble that the shuffle WILL
the odds arxe card or two between the key card
ftfOT put an
and Spectator A's selection.
r thOle favoring the additional shuffle,
Fo technique would be for the perfonner
• ~er the pack a FARO SHUFFLE(either an IN
~~ :nv~UT ) __which would place 1 X card between
the selection and the key.
...........
"Everyone haa talent at twenty-five. The
difficulty 1s to have it at fifty."
- Degas
YOGI YOU·DO·AS·I·DO
thi, effect, once again, demonstrates the way
Fields utilizes a known or old principle in a
different and more deceptive manner.
The principle of daubing a card for identiti-
caUon purposes is as old as card magic. nost-
ly daub 11 used in "location" effects. 'J.his-"
Whil. often accounting for many baffling
f •• ta--does not constitute an entertaining
rout1.ne •
Kaplan's The Fine Art Of llagle, an
excellent example of a mlrael. l.oo"~
be found in an effect called, If1b. YOil •
Secret. 1I Two features make this part1eu. . .
effect unusual: (1) The daub us.d 1. fl.~
colored; t2) The manner 18 which l~ ta
applied is quite ingenious. Uslna the.. e-D
items, Fields developed the follawLna .ffeee,
which extends and slightly aleers the .ppc reb
used in the Kaplan feat. Instead of • mare
location, the classic "you-do-a8-1-do" plot
is presented, elevating the entire effect to
a memorable phenomenon of mentalism•
t::FFECT AND iolOIU<ING:
As mentioned earlier, the only accessory
needed to perform this effect is a small
container of flesh-colored salve to Berve
as daub. This can be a form of make-up;
however, it must remain moist and not dry
out once exposed to the air.
Before this effect commences the performer
must secretly put some of this daub on his
right-hand middle finger. The rest of theM
effect folLows the usual lI you_do_as_l_do
outline: t 1) ".1.'\10 decks are introduced--.
red and a blue(preferrably borrowed). the
spectator freely selects one. The perf~ M
says: "Please do everything that 1 do.
t2) The performer claims that such lmit.tloa
helps two unlike minds to become attuned to
each other. This line of patter eontlauaa ~
develop with particular empbaB1s ~~
ference'of thought, from mind ~ m ~
at this juncture that the perfo~NTI
idle but pertinent ges~.: HE
nu:
0\"1-: FOiilincAD, TIl";1 pOU,TS TO sr
"CTUALLY PLACIHG HIS IlIGHT-1lAN1l KI
AGAlr;ST TI-IE SKUl. This anolnCs «be
with the daub. Since it'. fl.
 unaware that it's there.
l.nc. 1 I
h performer shuffles his deck. The
3) No" t • followS lult. The performer places
.pect.tor~ion(baCk outwarda)against his fore
h il lelec..
t 1 ning concener..."i on. Th e apectator -
h.ad, : ~o follow 8uit. When he does, he
;:1~'::wUtin81Y daub his own selection.
4) the performer places hiB selection lnto
hi. deck and shuftles it. The spectator 1s
I.ked to folloW 8ult. The decks, once again,
Ire exchange' and shuffled.
5) The performer asks the apectator to re-
flIQve hil •• leetlon AFTER the performer takes
hi. lelection from the deck in his possession.
(t'aturaUy the performer merely looks thru
hi. deck and remove. the card with the daub
on It.)
CILrnax: Carda are shown to match.
AI you can lee, this variation nicely elimin-
ate. the ule of conventioMl key carda and
other chanay handling. AlSO, as previously
1.lDpl1ed, it cr'ate. an effect that camouflage.
the 1I1oca tion nature" underlying the effect.
In other word., a spectator's selection was
not ~ by the performer. Instead an apparent
teat of SYMPATHETIC REACTION was performed.
'" AAI..U
"nothins 1, really so poor and melancholy as
art that 1. intere.ted 1n 1taelf and not in
it. aubject."
~ George Santayana
Wh.n 1 r.ad thi
t.rm. of'" • quotation and tranalated it n
about the daa1c~a'~an art, II 1 began thinking
na'r. of magiciants •• aslona. HoW
6
many of u', ov.r the Mny yeaw• •f •
meeting., joinina bull ••••1on. vltb
and foes of our .peeialty, haVtl bMa lUi
at misguided inter••tT Why do we AIEf8aa
magic? (Note that I didn't ••y, . ~. ._ .
which i. a ditt.ranr rhinal Hopetully ~
answer ie, Il • • • to ent'rta1n an audience.-
ThiS, then, is your r.al IUbi.ss and. OM tbaC
.hould engage ~ high"t reapect and lD~
Interest in principles and technique. of ...tc •
are requisite and important, but they ahauld. be
ancillary to your real intere't and loal--
to entertain and bring pl.aaure to your
audience.
When performing for women do not invoke their
intellects. They prefer to approach ~.t.ry
intuitively. Appeal to their .ense ot fo~,
design, and color. Surprise them. Pertor-
effects that are happenings ~ them, tnac..d
of tricks that happen !2 them. And by all - . -••
create an ally, not an .nemy or a victim.
"'AAA.","
"The modern wizard must po••••• in a blab ....
the 8ame quality a8 a phyl1c1an. He mu.t ta-
sp1re confidence. II
- Robert Houdtn
IIWhat makes prestidigitation the art of
deception, 18 not the techn1cal ou~
appearance, but the p.ycholoalca1 kacDal.
- Ibid. .
)ome magic1ans are
i bad magicians.
 ANOTHER PROBLEM POSEO
are accustomed co doing, the
ca r _neffect is the resu 1 t
Aa
following 0 f inductive
'on That ls--8 particular effect 1s
•inven...
t •
elted(tO be reached under a given set
o~~onditions)f then the method is devised.
Eddie Fields worked up the conditions for
the following eftect. Edward Marlo, after ...
wards, came up with the meChod.§..
EFFECT:
A deck is divided into three packet.s by the
apectato r • The center packet is turned face
up. The packets are reassembled so that the
deck has a center section face up. The per-
former writes a prediction. The deck is
immediately spread face down. It's pointed
out that the spectator could have made his
cuta anywhere. The two cards(the one immed-
iately to the amt and the one iJrmedlately
to the W! of the face up spread)are re-
moved and tossed face up. The prediction is
read and ~: it names both cards.
In devising this problem. it's understoOd
that i8 lacks certain dramatic aspects; that
the elements of its condition8 and pres enca -
tion form a kind of complex. Its entertain-
~ val.ue, therefore. 1s limited to those
analytical layman usually predisposed to
mathemetical diversions and other lptel lee -
Sill pa..tt.mea. The effect then 1s really
;.:t:~~(The effect ch~lleng~s. not the
'!he f 0 1l0Vl.
letter dat ':' method. are culled from a
E4... r4 Ma ~ May 10, 1967. written by
r o--Chicaso. 11l1n01s.
METHOD
1) The deck 1s thoroughly shuffled
spectator. As the performer t ke baby the
deck he secretly note. the bo~t a c~ tbe
Example: 7H om c.r....
2) As the deck 1s tabled the spectator 1.
instructed what he's to do with the deck.
Here the performer cuts the deck f ~
to right. into 3 packets. The ce~te~a:acket
is turned. face up. The packets are reassembl.d
sgaln, from left to right. Asking the spec-
tator if he understands the procedure, the
performer rights the deck in the fall ~
manner: ow...ng
3) He thumbs through until reaching the ~
~ cards; transfer all the face down carda to
the bottom of the deck. This will bring your
originally noted card--the 7H--back to the
bottom. Now he thumbs thru the face yR cards
and turns these face down onto 122 a d.ck.
As the performer does this. however. he not••
the .l!.!I. face up card. Thus. when this por-
tion is turned face down on toP. the perfo~
er also knows the £22 card. Assume i. i. tbe
10 c.
4) The deck can noW be given additional
shuffles. keeping the top and bottom card8.
The performer write. his prediction. wr1~lD&
the names of his two key card.: 7H and lOC
5) The spectator followa the ou~ltned pea-
cedure. cuts the 3 packet.--from lefC ~o
right--turns the center one face up,
assembles the deck from l.f~ to rllbC.
squares and tabl•• ~h. deck.
6) The performer introduC" bl.
The tabled deck 1. apre.d. IC·.
tha t the (ae. dow card. aC tile
 fa~. up .pr.... d h... ve b.en arrived at by
Sib&D&I cut tina •
A. the appropriate cards are removed, the
rediction i. read. As one can see, the
:bOW 18 really the "Cut Force" camOUflaged
by the face up p...cket.
HETHOD 2
Thia method will dupe magicians as well.
1) In this instance the spectator ia
allowed to cut the pack several time.
before cottin! the cards into three packets.
this tlme the ~ packet is placed face
up onto the packet on the performer', right
(.pectator'a left); then the remaining
packet from the left is placed on top of
all.
2) As you can aee, the really resulta
a~ove
in arrlving ~ at two central carda.
J) the prediction hare can take several
couraea: (A) It can be made ~ the cut-
tins and aasembling; (B) It can be made
'PP'£lptly blfore the cutting and assemb-
lina.
4) At thil atase the secret 18 given to
keep thins a clear. It conaiats of a deck
..t-up, preferrably memorized •• per Nikola,
1relaftd, Harlo, etc.
S) If tlw eutt1na and a ..embUna proeedur.
i. done •• outlined, the facI up .pr.ad will
Ci, off the tau dgw card. at the end. of
Che 'PrMd. tiie tiret face up card on the
aMI Will ti, Off the ftc. do. card at
the ~
lIA'-rac.
end of the fae. up .,.... Wbl&e
up card on thl lit' Vill',",
thl "5' dpWll card at thl ~ aDd of tile
oI'
fece up epr_d.
6) The prediction can be written beface all
thU, 'pp,rently. th.n you _hly 8IISIIIIIl to
read off what you wrote or you. can fln;Ta
with a thumb writer(or fill in ae you. ....
to initial the prediction .llp or .lip .
See The Cardiclan for .uch a proc.dure).
WindoW envelopes are al.o • pO.llbili~.
HEnJOD 3
1) Ueing the "apparent writlft& of predlcti.-
ruse and filling in the lnformation lae.r.
atter you know the carda, can be u••d very
subtly if a marked deck i. utilized.
2) In this case you can follow tbe ou.tU"
procedure or any other c:ombinatlorr. pOll1ble.
J) Naturally the performer can qulckly J:Md
the face down cards .t the end. of the Jill
1m spread ~ the two end card. of the ..faU.
~ spread in the center, or what...r~
pending on the procedure opt.d by the .,...
tator.
•••••••
Of all the element. of ~.tery. it LI ~
uo,xpest,dne •• of DlY.tery that _1111I1:1.
Qeher element., .uch ae che caua:1 ~
Ihlpa, the probable or po••lbi.
and ao on, r.pr••ent. my.cary-a. bJ.
Ent.rtainment ahould never be Crout
Un.xp.ct.cln••••SUrprl...1AuabC I'll
ENTERTAl~NT
 be tabled with the left
~ doCk, ~! d return' to the fan to
. . . De 1. t I_n
. . ddt .,quadns proc....
u-red in the following way:
6) The f.n~. :1hOldlns the X card)movea to
!b_ r1&h t um corner of the X card'. lower
the lovert~:(~.n 1. closed from right to
ud. Nov,
left, lHY n8
the X card on top of squared
pe;cket.
1
The Magus by John Fowles,
From the nove, 1 matie character, Conch!.:
.poken by the en 8
" This ta because mystery ha. energy. It
.,. 'nto whoever seeks the answer
P 1 energy
our' , t
If you disclose the 80lur on 0
th
e lent) •
to c;· OU are slmply depriving the othe~
:~:k.~ ~f an important source of energy.
"Unable to percelve
That the sky 18 an illusion
The child thinks that he cannot reach it
When he hold. it 1n his hand, II
_ Manuel Bandeira
A routine of IUCpr!••, 11 always atronger
than a lingle effect. The entertainer
playing the part of a magician should be
concerned with the oyer.all effect of
hi. performance of effecta.
64
DROPSY DIDDLE
'lb- cerm .sU.!llli i . an anachrOftl_. It:'. _
old colloquialiam m.anina "to ~1. OC
dUpe." Admittedly it tw• • •...u.na --.1
cannata cion. The nexe efface. h~r. i.
not very sexy. It 11 in.te.d a .weae ...,la
of swindling.
EFFECT:
The performer aaks a apectator if ha twa " ' r
played DROP SEE. The raply, be1ng uaually
negative. ia met with two propa•• introduea4
by the performer: (1) A deck of cards(wnich
may be borrowed)and(2)A half dollar(wnich
slao may be borrowed although reluctantly
The deck ie shuffled and ribbon apread face
down across a table. the apread ia flippad
face up. showing the carda to be well.mixed.
ordinary. all different •••
A spectator selecta a card in the followina
manner: He divide a the deck into thraa pack-
eta. peeka at the top card of any packAt.
turns this PIcket face up and aandwiche. it
between the remaining two packet••
The performer riffle ahuffle. the ••..-bled
deck .nd once again ribbon .pread. it aero••
the table. Now some c.rda .re face up, otber.
are face down; all .re mixed. top.y-~.
The performer picks up the half dollar aDd
holda it flat and parallal to tha apread.
expl.ining that on. must lDOYe the colD ....
and forth, even~lly droppins it on aar
 Ilel DOWN card he chooees. The performer
..-oa.erates this action. dropping the coin
GIl a faee down card. following rhis he pushes
both the coin and the card out of the apread.
l . .vtns the coin on top of rhe card. The
perf~r says: "the difficult Ching is to
drop Cbe coin on the card previously selected
Sl.nee the chances are 52 to 1. the feat ls. •
ind..d, a difficult one 1" Concinuing he .aye,
.Would you believe that the card under the
coin is your aelection?"
Hasardle•• of the reply, the performer lift.
the coin and turns over the card underneath:
it'a the .pectator's selection.
Now the spectator i. invited to try the .ame
atunt. Once again he .elects a card. The deck
i • •huffled with the carda topay-turvy, and
apread acro•• che table. The spectator drops
the coin on a FACE DOWN card.
Th. performer now bet. that tile spectator ha.
baan succe.sful; that he haa dropped the coin
on hia mm. .election. The .pectator, howevar
DlSAGREES--BECAUSE HE SEES HIS SELECTION AS •
OIIE or THE rACE UP CARDS IN THE MIXED SPREAD
1ha spec~tor-·becau.e of the bettins Situation
--vlll not .. y anythil18. Still the performer
bees, aayil18: "I'll bet you that the card
1IIlder... the coin 11 your s.lactionl Would you
t or nott"
~ ·pecr taeor , nov amused, good-naturedly bets
&AWl per O~r a.k. for th
••_ It'. the QH It. e name of the ••l.ction.
....d tba • s soon a. this card i.
parfon.ar pick. up the ~ snd
Clam. 'it
d.r.idaov::.•u:::..
,
r neath , pa.ted to it.
tun replica of the QH.
Th. performer saye: "1 told you ebat 7auc
.election was ~ tha coinl" A. thl. ~
prise is regietered, ettention 1. diracead
to the card SCSUfll! under the coln, a.
che performer continue. "You didn't expect
it to be here, did you? t Yet a. ~l. card 1.
turned face up, it proves to be the spactatozo'.
.election.
WORJ<ING :
This is a "presentation piece, .. and 1f par-
formed properly, very strona. Since no arduoul
.leights are involved, the performer can con-
centrate on the essentiel features: his own
acting ability and Simina.
Two artifices are requisite: (1) " top chana.;
(2) Any deceptive force.
Naturally the halt doUar is previously pre-
pared by gluing a minature card to one alde.
(Rubber cemet or Elmer's glue work nicely)
The prevloua EFFECT DESCRIPTION glv•• you the
main PRESENTATION STRUCllJRE. The firat pba. .
of the effect involves, one. . . .In, the HOft-
OLULU SHUFFLE-LOCATION. This technique find.
a very apt and log leal place ln this effact.
THE HONOLULU SHUFFLE-LOCATION 1. c1eoc:r1_
elsewhere in this book, but brlefly It'.
accompll.hed in the follovina -.nner:
•
1) The deck ls .huffl.d and dlvided into ~
face down packets. A .pactator chao". ear
packet, peeks the top card, turn. the pac'"
face up and .andwlch.' lt b.t~aa th. ~
two fac. down packets.
 2) th. d.ck il Iplit into halve. and given 2Ql
l'altlmat. riftl. Ihuffle. Then the deck i.
tum.d over and ribbon spread(lt'. turned over
10 that the lelection will be face down).
3) The card. will appear well mixed. with
.ome card. face up. others face down. One
viII not•• however, a long. uninterrupted
.pread of f,ee up cards--much longer than
any other face up groupings. THE SPECTATOR'S
SELECTION IS TIlE mu
IMMEDIATELY TO TIlE
FACE DOWN CARD
ilfI OF TIllS LARGER
FACE UP SPREAD.
Following the effect description. then,
the performer simply locates the selection
a' per HONOLULU SHUFnE-LOCATION and drope
the prepared coin on top of it.
The 'econd phase of the effect i8 initiated
by controllins the FORCE CARD to the top of
the deck--., the first phase is registering.
The clrd i, FORCED and re-controlled to the
top. Once again the deck i8 divided into
three packeta. The packet will the FORCE
CARD on top ia eurned face up and sandwiched
between the remaining face down packets.
}bIbl',d'Ck i, ,pi it and given a riffle 'huffl••
~
...
~th~.:J,a~ t~: d de~l.
--8&i C__ NOT turned over and
r!ffi!!ns face u~.
From this point onwards t h
Itructur. of the eff 'd e presentatlon
followed-_vith the ect escription is
ev.r bita of buaine~:r~~~er adding what_
ehooael. umor that he
one' the spectator drop a tb. COin on
down card and the card(with the Coin ec
tOP of it)is pushed fr•• of the 'P~d
performer "right'" the r.at of the dec'
he delivers appropriate patt.r 1..d1 ••
the cl1rnaX. na up . .
It is during this Ilrighting of the card.- tbII
the FORCE card i, brOU$ht ,ecr.tly to the top~
In conelu8ion--the method of revealina the
minacure card i8 important. The performer
lifts the card beneath the coin and u ••, it
to flip the coin over. revealing the mlna_
ture card. The deck, of cour.e. i, held ln
the left hand(with the FORCE CARD on top).
The misdirection at thi8 lnstant 1, very
good. A8 the line. "l told you that your
6electlon WaS UNDER the eoln. II la delivered
the performer move8 back slightly(a, if t
surprised). looking intently W2 W 1aK-
tator's ~ !ll w.~. and t..ediately
executes the TOP CHANGE.
Now, holding the spectator', original a.lec-
tion. the performer cues all attentlon and
.ays: "You didn't expect lt to be here t d1d
you?" Selection i8 turned face up and fUpped
to the table. Double Climax.
",,"'' ' ... ''''''''''''
II If something can go wrons t
and at the worst poslible t~.-
_ Murphy" Law, • ~
of apace ac1enelaCe
 FIELD'S VERSION OF AN OLOIE
v there are umpteen eelephone
AI you ~o idee the SILENT TRANSMISSION
trickl. •• in rlnciples borrowed from
:~~~:~ ~~~ter~, At Baker, Audley Walsh
Geor • Kaplan de.erve to be rehashed,
and 8.... d .nd presented once again--
reineeSn.. • f 11
.U In I presentation that hope u y
avoid the u8ual complicated procedures
characteristic of this kind of effect.
EFFECT AND WORKING:
The performer telephones anyone(who 1&
willing to lilcen)and delivers the follow-
------?
ing patter: IIMello,-- ... This Is
____________ cailing. Would you mind assist-
ing me in an experiment? Fine. Do you have
• deck of playing cards handy?(Pause. as
.pectator obtains deck)Plea.e mix the
card•• Now 1 want you to take the deck
Into your LEFT hand and guietly deal--
I don't want to hear the cards as they're
dealt~·each card face down. one on top of
the other, onto the table. You may deal as
many cards as you wish, stopping the deal
whenever you like. Have you done. this?
Now~-pe.k the TOP card of the packet on
the ~LE. Please remember this card. both
lta VALUE and SUIT. Now, it you will,
pl•••• d.al a number of cards from the
pack IN YOUR LEFT HAND ~ to che VALUE
of your chosen card. For example, say you
P·.ked at the TEN OF HEARTS, you would
deal ten cards from your lett-hand packet
OIfTO mE PACI(ET ON mE TABLE(coverlng che
.electlon ln the procee.). (Pauae) Have
you done thl.t Now place all the carda
raat 1\11 TABLE on top of the carda 1n
~~ ~ HAND. Now piece the ENTIRE deck
_n on the table.
.....t this point do you thlnk lt l • PO'
anyone.·other than your••lf__to know tbe
of your selectlon1
"NoW here is where our expert.ment come. into
lay. 1 want you to do two tht.nS.: (1) eon.
Pentrate heavily upon the color of YOUC caRd.
(2) Deal the cards from the deck PACE UP ,
naming each card SLOWLY and CLEAkLY •• y:U
come to it. Do this until 1 tell you to stop.-
After all this foreplay(if youlll .XCus. the
expression), the performer is ready for the
dirty work. As the spectator begins to
successively name the carda he d.als fac.
upwardS, the performer must do the follovins:
1) Ignoring the first card called, he mu.t
stmultaneously count to him.elf(or make a
list on a handy piece of paper)a. each
successive card 1s called-~l, 2 , 3, 4, S,
6 7 ••• As soon as the spectator name. a card
whose value COINCIDES with his mantal(or
written)number ANY~ERE IN Ttl, SERIES, the
performer rememberS{or check.5thie card. 'or
example, if the spectator named the follow1~
cards: QS. 10H, 60, AR, AS, 9S, 3D, 8D••••8H•••
the performer would ignore the QS, bealnntna
his count(or llst)with the 10H •• 1, th.6D
a. 2, and so on. The first card to b. r t.r-
ed is the 8H--which i8 the first named card
to coincide with his mental count of .isht.
2) This process is carried out for at l ...t
fifteen cards(His card will n.c••••rl1y be
amongst these cards).
NOTE: If more than one card coincld•••~nep
in the mental-count seri••• the perfOl'Ml'
to "fi.hiI18" in whatever way h••••• flC.
3) Once the performer know. the ..leee
ConclUdes with the followlna pace...
 vou lilY .top de.Ung nOW. Have you been the selection(maglelan l • failure)
O~'
concener.tins on your card? Well, please lY the card changea(tran8formati ,)but ~
your card from the tace up carda spectacorla selection(ld.ntiflca:~ol)toCbe
~ t of you. Hold it next to the are four ba.ie effects combined lnt: • Here
multiple effect. If One were to ext a
:,ero:r
1n1Ir ne receiver and at the same time
card over and over TO YOURSELF. mathematically, the pO.~lbl. combi rarOlace
are remarkable. The 19 combinatin&t on.
-Are you ••y1ng Eight of Hearts, Eight of give one 361 possibilities. The 19o~ ~d
HearU, £isht of Hearta111" bin&tion would give one 6, 859 PO•• ibilitie••
AFTERTHOUGHT: If. performer decides to All of this with a fleXible prop that fit. ift
perform chi• •tfect before. group rather your hand.
than over the eelephone. it's a convenient
device to place your hand in your pOCKet ***......*..
and do your mental count with your fingere.
SPONGE BALL CLIMAX

."A,"""'":''' The following bit of business i. used in a

IIExperience 1. only half of experience." routine instead of coming out of nowhere a.
a standard opening or disjointed .urpr1...
- Nietzsche
PREPARATION: A ball of flash paper 1n the
lInts Sirl who can't dance aay. the band outside coat pocket.
can't play. II
IIORKING AND PRESENTATION:
- Yiddiah proverb
the petformer doe8 his favorite sponge ball
routine. Then as he works toward a conClUslOft~
In 1944 1n the TriS~ Brain by Dariel Fltzkee. doing the "two in the hand, one in the poc:ket
ha ..id their were 9 b••ic effects in magic. bit a couple of times. on the ~ time he
1hh va. an inter.sting attempt «t becoming places one sponge in the left hand. then
~~~i~~i H~wever. it'a very mial.ading-- apparently places the s.cond .ponge al.o--
Y n the field of card magic. however, he actually 8tea18 ~ apongea .nd
leaves the left hand empty.
;;~:e;:ll~U.~llY con.l.ta of multiple
i.. both·. I:'R':~~:lDELUSION, tor example, The IItealing technique i. accomplished by
tbe~ 1•• rl.lna 9R and identification. nipping the third sponge with the aecond
card rl.lna from ca~d ef(fect in which a and third fingertipe(around the firle joiDC)
• 8 a •• anlmation)i. not The right hand goes back into the outll_
Coat pOCket, secrete the ball of flalb
and leaves the spongee in hie poc~C.
NOTE: perf ormer should be smoking a
c1 11'Ie or
erette a cigar prior to t h e per-
S • leaving it momentarily in an
foh"""nc ,'n order co perform 'the above
•• tray
demonstration with the sponges.
At this point the performer says, IIWatchl II
and pick. up his cigarette, ~akes a mouth ..
ful ot poke, and drops his cigarette hand"
to hi. dde. Ae the performer lifts hie left
tht to hi. lips and begins blowing • stream
of amok_ at it, the right hand maneuvers the
cigarette into the thumb palm •
.... the performer delivers the 11ne: "How
many .pons••••• was it two or threeil! the
right hand make. a gesture toward the left
filt. Aa it comes near, the lit end of the
eisarett. makes contact with the ball of
fluh paper. IMMEDIATELY the flash paper t.
PHOTO 12
relu ••d.
Left hand is shown empty.

Th.. palming and igniting technique may not be

clear enough. Therefore. the following photos
and d••cription of e variant technique should
overcom. this problem.

~~~~i~2 ~.Pic:ta the starting poeition--with

c sarette held in a conventional
manner and the flash paper finger-palmed.
PHOTO 13 showl the i h
to Ch. undersid r S t thumb having moved
paration for Pi:O~~ the unlit end--in pre-
brt.nat.na the 11.t ~ the ct.Aarette and
nash paper. en t.n contact with the

PHOTO 13

74
75

PHOTO 14
PHOTO 14 shows that the right second, third,
and fourth finger. have tucked themselves in
and over to the topaide of the cigarette. Now
the thumb and second finger can manipulate the
cigarette 1n any direction neces8ary to ignite
the nash paper.
Aa 800n a. the ignited cigarette touches the
n ••h paper, the right hand moves upwards
and the second, third, and fourth fingers
extend thems.lves, once again IMMEDIATELY
ral••• ing the paper.
A"••••
·41 lOOn •• the technical 81de of a trick
1. ".tered to perfection, the etudent must
~ to the dramatlc, Which 1. the most
important •• tar •• the effect 1. concerned. II
- H. J. 5urllns&me
Ql1caso. 1547
FIELD'S RELAXATION DOUBLE TURNOVER
w sleights in card magic have recelVt1c1
fe h treatment as the dOUble lift -- 11.'
er$t:ure on t hi 5 move i 8 volwninous.
moe • "ne
Ev_ryb04 t-
use • it. Yet no sleight:
i d
is more abu ••-
.... , OV8r_
Y
sed, lesS pract ce , and less underltOOd b
~t:s many practitioners. Y
While t:here are many techniques for perform-
. g a double lift, the most DECEPTIYe. and
~~ruRAL are the most diffiCUlt to develop.
roday's sophisticated aUdiences are more
wary than chose 30 years ago. ~ot only doel
s performer need a very convincing, natural
"double, II he must also use SUBSTITUTE moves
that accomplish che same thing. For example__
the Top O1ange. Additionally, he must under-
stand his lI s ituations: 1l when to use the move,
hoW often, in which routines, and 80 on.
We believe that one should never stop prac-
ticing the sleight--?erhaps practicing a
dozen variations. The most essential feature
of ~ "double" is that it's done NATURALLY,
EASILY, DIRECTLY. There should be a "1ilt"
to the move. The card(s) should flip over
lightly. After all, !. card is a buoyant
thing. The whole movement should expreu
assuredness like a fine but idle habit.
Yet the onl~oker should sense quick fragiUty,
a kind of flight including solidarity,
SingUlarity and swiftness. Without thil
SENSE the ~ove is l!2! effective. NOlt
spect~tors can detect a false or unlur~
cadence. This lilting sense, then'ltlthl:'.
most important feature, and like: t l~
81miliar in nature is aal1mulate no 00lt-
Cd. Such assimulatlon cornel only fro:..
STANT practice, until it becomel .ee
nature.
 I RELAXATION DOUBLE TURNOVER Clln go lfte-eJ" a "one-hand ~
!be rte1tl .ffeetivenel. trom an appll_ lsft thumb to pu.h over the ce~dl.)
C:
derive. f he "lilting .ense of aecion. 11
cation 0 jUICifiab1Y be described. It mule
left fingertips to flip the Ca~d( )'
~p onto the talon. • f ...
It call1lot'lb.. following, however, relat••
be lIJ.1.. • roach. '!he reader may wi ah to
the ba~~~ .i:lght lI.a i.t atands, II or he may
adopt
vi.h to.
1UDl ca.t.
dju1t hi. practicing to the und....
~
..."""" ..
1) n.e deck i. held in the LEFT hand in the "ASK YOURSELF ALWAYS: HOW CAN THIS BE _
Mechanic. or Marlo Malter grip or position. BETTER?" _I
A break 1. aecured under the top two carda - G. C. Lichtenberg
and held by the lett fourth finger. This
break 11 maintained by • flesh tip and 1.
III invent nothing; 1 rediscover.1I
no Sreatar than • t ".
2) n.e left thumb move. alongside the left - Rodin
lonsitudinal .ide of the deck. Simultaneously

finser., .1
the entire band openly alightly(mostly the
though 1t were Buddenly relaxlns
itl srip on the deck.
liThe man who is too old to learn WI. probably
alwaya too old to learn. II

3) Becaul. ot the break previously held, the - Henry S. lIaek1De

top two cerda will slide slightly to the
rl&ht. maintaining alignment. Most carda
beneath the•• two carda will a180 move
toward the right in & kind of irregular
bevel.
4) DOe deck i. held quite lightly(Perhaps
lI er.dled" would be a better word). Now.
.1 aoon .1 the top two cards move to the
r1&ht. the left thumb canes over and down
onto the eardl. trappins them against the
top of the deck.
"In all perplexity there is a portion of fear,
which predisposes the mind to anger."
_ Samuel Tsylor Coleri",e
"On e of
the greatest difference. between ~
amateur and the profe••ional ia that tba
latter has the capacity to prosre••• •
_ W. Somer.et 111.......

:~ : : - th~. pOlition it's quite s1Jnple to

' .....fba:r ~over. action. with the right
fece lip one ppins the centilevered cardl
o the talon. Or the performer
 TRIPLE SPECTATOR EN RAPPORT
EFFECT:
11111 1. an audience-participation effect that
ald. ha' bean performing for t:he last 15
n Bee8U'. of the .pecta tor iovalvemene
re:r;hree_pha. e , culminacive effect, the
•• ..i.-nC tenor far exceeda the methods
antar..
loyed and the audience react i on i 8 one
::t
proud.
would have made the La te Ted Annemann
PundamentaUy, the routine 18 one concerning
"telepathy." It" divided into three parts
to demonstrate the apparent authenticity of
.ach te.C. The fir.t part(which 1s a180 the
mOlt luapicloua one)consista of the ESP ex-
pert receiving; a spectatorls thought. The
a.cond part involves a spectator sending
hll thoughts to another spectat:0r. The final
part condata of the ~ spectator reeelv_
J.D& thoughts from another spectator.
At the startUng tinale. the original
"victim-apectator" is completely unarmed.
The reaction 18 one of acquiescent belief
rather than baftlement. The audience at
larse reacts to the pr1mary spectatorls
reaction as well aa the event itself.
RelUlt. controveray + excitement + wonder.
WCRIlI"G:
1he p.rfOl'milr can uae whatever preliminary
addre.. he de.a necesaary. depending on his
0Wft peraonality and performing purposes.
lII6K 1 or the selection i ' known--the ESP
Ultaa. dick of
fumer forcea Carda a8 the prop. the per"
Dlallftel' 01' al a Card in hi. moat convinclna
• lowa a free aeleetion and obtain'
owledge at the card at a lat~ tt..
u.·
. . . che follo~ng dodS_:
1) The pack is freely .huffled and "-lei
standard spectacor Peek poaition... a-
right corner 1s riffled. a card 1. p.
and a little finger break i. mainta1Md
i::-'
iUi
the aelection.
2) NoW che right hand approachea the deck
from above. The right
~ LEFT corner and
gra.ps the ~ LEFT
thumb gra.p. the deck'a
che aecond finaer
corner. The foreflnaer
1& curled on top.
3) Now the deck 1s pivoted and given a HAL'
TURN.·which places the deck into 8 posltion
for an overhand shuffle. The left forefinaer
underneath the deck aids 1n the pivoting
process.
4) AS THE OECK IS GIVEN THIS CLOCK-WISE HALF
TURN, THE OECK WILL SEPARATE SL~GHTLi AT THE
BREAK, BRINGING THE INDEX OF TH SEL CTED
CARD INTO VIEW(It will show at the lower
right corner). The deck is given an overhaDd
shuftle. The cards wilY"'be FACE: UP.
5) The whole action is(or ahould be)a facll.
one. with every phase blending into the otbec
phases.
NOT,: The little finger break 1a a PLESK
BREAK. turing the half turn. the 1ittl.
finger actually pushe, the lower ba~f(belOV
the break)slightly to the 1.ft. The flDl-e
1s NOT placed 1n!2 the break.
Naturally. once the Force baa baeD a
muster all his acting ability and ....
Card.
So much for Pha ae 1.

h ows the primary spectator off
1bU ph. se t" e~former says: "You may not: be
sua rd • ~ebP our first test. You may have
conv lnce .Y To reassure you, we'll let you
.ome dou bC eo in the audience. Then--you will
choos. InyoD_
chought8 to he or 8 h e, wh a t ever
.end ~ II
ca'. may be.
Here using the same spectaCor Peek position,
the ~erformer SIDE STEALS the selection and
palms it in his right hand, which he drops to
his side.
The performer simply flashes the palmed card
to the unsuspecting spectator, making he or
she an accomplice.
row there are several approaches to this
technique. The performer can let everyone
see the palmed card, which makes for more
humor and less mystery. Or he can position
the second assistant so that the rest of the
audience doesn't see the palmed card.
One of the best ways to do this is to position
the second spectator to Stage Left, directly
in front of the primary spectator, who should
b. standing at Stage Right. The performer 1s
next to the primary spectator, between the
Ipectator and the audience.
ln thil pOlition, using the following technique,
the aUdiance cannot Bee the paLmed card.
the performer, with his back mostly to the
aUdience, brings hiB right hand under the
prtmary apectatorls chin--with the back of
the right hand toward the Ipectac
me edge of the forefinger actuall
the spectator's chin. "!hiB g•• tur.'
ed by the following addre•• : "LoOk~'
directly in the eyes and concentr.t.~
nte second spectator, of cour.. .. tile
palmed card. ~o~nally they do n~t n::d
t
he
further coach1.ng and will delight in
ing out: the magician. Of cours., if
.f"
one"
desires to be on the safe lid., he can
previously coach the second .pectator on
what co expect{under the ruse of explaini
the techniques of Il rece iving" thoughU). III
This is the clincher, and it's so limpl. a.
to be totally unsuspected. It consiat. of
the old dodge of "coaching tl the second
spectator, making him a stooge. S1.rIc. he
haS already been initiated in this deceit
(Phase 2), one extra assist won't matter.
Once again, using the ruse of explalninl
the nature of telepathy, of ".ending" and
" rece iving" thoughts, the magician meraly
asks the secondary spectator to AGREE WITH
W'rlATEVER CARD THE PRlMARY SPECTATOR lWlES.
WHETHER HE IS CORRECT OR NOT.
Then t:he rest: of the performance .e• • to
coincide wit:h the foregoing, only thi. pba. .
consists of the primary .pectator SENDING
AND RECEIVING- OF ACTUALLY NAMING tIlE CARD
SELECTED BY His ~ ASSIStlNT.

....
1 nother one of chose disproportionate
• ••one in which the audience reaction
.frec~d. the method employed to evoke sUch
=== :;
fer 1 It" an effect chat may have inter...
bee Harlan Tarhelt .. -who had. gOod
.,. tor commercial magic.
rrn:CTo A cho.en card materializes in a liquor
~; Very direct. Dramatic. Memorable.
'l!Ut!i :
Other chan the preparation for this effect and
a fev notIons, the reat of the presentation and
. .thod can be lefe up to each performer. With
• little imagination, each reader can devise
hiS own variations, touches, methods of
handling, and so on.
The important feature 18 the EFFECT CONCEPT,
*1ch is outlined beloW', and that experience
M' shown that the effect is quite startling
for the average layman and bar habitue.
P8£PARAIION:
Obtain any clear liquor bottle(Gin or vodka),
le.vi"!: the labels intact(so they can be
identified as genuine). After emptying its
contentt(in whatever why you see fit)and
allowing the inside to dry, place a card
inlide.
'!here ere runy ..... ys to do this. However, !iret
.. IUIle.t uling plaltic cards. Each card ie
.... flexible .nd ....ill open again(after being
Led up~fter its dropped into the bottle.
~11 the card too tightly.
tic would be to Raff the bottle
Cb8 card without bending it.
~ gaffed bottle With & hort_oneal
ligned ....ith the top of the
:Oul d easily facllltate • ca~
~RKED CARD from. BORROWED d.:'n
~"troduced to the bottle ArtER it~' ....
'Ill e action of dropping the Card i I . .
bottle would be 8imiU.r to drop ~co tbe
intO a child-s piggy b.nk. Only ~h:a~~
~uld be slipped into it, •• per 111
belOW: U1tratloa
thiS, of course, annuls
the impromptu nature of CARD
the effect, and would
disallo.... the prop from
being handed out for ex-
amination •
The ungafled method, of
course. requires a bottle
switch. In any event, itls
largely a matter of personal
preference. xx
We prefer the ungaffed method.
as it's simpler and the bottle
can be prepared in a few minutes.
A duplicate, empty bottle 1s required for ~
ungafted version.
Before we discuss any of the approache., tb8
following description depicts the action of
the climactic revealment of the lpectator"
chosen card.
"An empty liquor bottle. fUled w1tb 0&
(or cigarette)smoke, is uncorked, A II
match is dropped into the bottl••
The smoke instantaneoully dll.PP"~'
the selected ••rd appear. 1a the --
 there are twO approaches to reaching the
aforem-ntloned cltmax.
1) A clear, empty bottle can be shown,
THEN tilled with smoke in FRONT of
• pectators, corked, and placed aside,
or
2) A smoke-filled bottle is introduced AFTER
all preparatory actions have taken place.
111.e SECOND approach does not require a duplicate
bottle. lbe performer simply drops a duplicate
of a FORCE card into the bottle, pours a few
droplets of liquor into the bottle, fills it
with cigarette smoke, and corks it.
Since this effect is best suited for bar Work
or bartender-magicians, the prepared bottle i&
put under the bar and out of sight. An
appropriate card is FORCED, the deck is
tabled, the smoke-filled bottle is introduced
and placed on top of the deck. Now the climax
18 performed.
Everything work. automatically. The droplets
ot liquor are ignited by the match and the
sub.equent combustion dissipates the smoke.
the 'IRST approach is more elaborate and it8
ca.plexity i. deligned to "sell ll the mystery.
::aua. a bottle to PREVIOUSLY shown empty
performer mult SWITCH it for a bottle '
L.~r~d a\P." spP..oach 112. Thla la largely
fOll",:_~ch reader I I own imagination. The
..
a _-;~'Ot" """v~ ..,wHI provide you with
"'ns po... ntl:
•'DMo 'n'
effect can
• ba be
performed (1) StandiM,
~ or table; (2) S.'t,d , t a table;
(3) StAnding UP, without the beneft.
bar or table.
The SWITCH must occur,
bottle out of sight •
Ii notion for the third condition VOU14
to have the prepared bottle 1n a toft! ...
dec:
inside the performer'. coat. A card 1. •
selected. As itls returned to the
the performer turns his back. Since bel
been holding the bottle he prepared in •
front of everyone, a8 aoon •• he turn. hi.
back he switches it for the gaffed bottle.
In instances 2 and 3, the bottle p ~
in front of the spectators can be put
aside temporarily(out of alght)··either OD
the floor, beneath the table, or behind
the bar.
The "turning one's back II ruae could al.o be
used when one works BEHIND A BAR.
Fields used a good ruse when he perfOCBed
this effect recently, in a bar in ~ .
Working behind the bar, Fielda bad the
gaffed bottle behind the ber, on • lbelve.
The unprepared bottle, once fllled vltb
smoke, was left on l22 of the bar.
Fields had someone select a card. 1bl1 can.
was brought second from the top, ~ ­
the Joker. Fields showed the bott_ can.
Baying: liThe bottom card isn't ~ . .
is it?" He picked up the top "enl(-
snd looked at it, without lettlal -
ience see it saying: lilt CaDit M
card, which is the Joker ••• II He mea:
the top card onto the floor-· ....
need thet card, therefore we'll
it. Now your selected canl vl.U

~I. Pleld. allowed thi. to .ink in.
=:e
..
.!.
I.'
ian. _ " aroused. He continued:
you think the card on the floor
eIle Joker. Qleck it and .eel II
. . eIle audience check' the card. attention
1.1 ri. . ted to the floor. At this opportune
~t, Plelds .witched the bottle••
Later the top card of the deck(the choa.n
card)':" palmed off and pocketed. Then the
u.ual climaX va' pre.ented.
•• you can se•• there are many po••ibilities.
•• we mentioned earlier. the main feature is
the E'FECT CONCEPT. We hope you are sufficient..
ly .tlmulated to devise your ~ ways and
...nl to achieve a proven end.
....."".
"'lbere is a vast difference between telling
how a trick is done and teaching how to do it~
- Professor Hoffmann
"A elever man conmitl no minor blunders. If
- Goethe
"tlarlns: idea. are like che.smen moved forward;
the)" . y be beaten, but they may start a
VlDDtna S.... •
- Goethe
B t - , ....dioerity il excellence to those
1••• than Mdloc:re.
II
5-CARO AD INFINITUM ROUTINE
ting the Itandard reference IaDert
~~hnigue(Hugard-Braue). it'l :.r~ SiII:iI.
_ --nY good trickl in Which the .1Iiin
are
find'..- the one car d 0 f which a perlon
card -
be--.....
thought from amonglt five. but the.. ,':t
u. ed singly, have the drawback that the ~
looker may decide that, With one chanc. in
(ive being successful, the odds were not too
greatlY against the magician to prevent h1a
from having found the Card by sheer luck
When. however. the magician finds the me~_
tally selected card time after time, without
a failure, the feats take on an en~lrely
different aspect: The onlooker is foreed to
believe that the operator i. a man of extra_
ordinary perceptions. The cwnulatlve effeet
of three or four successfuL card locations
is simply enormous. It Elsewhere, ln the lame
text, it's written: "One of the fundamental
axioms of advertising is that repetitlon
makes reputation. II The following Fielda'
routine can be exercised alone, or it can
follow on the heels of 8uch recommended
5..Card routines or effects such &. O1a Vernon'.
IIMental Fon:e," liThe Princes8 Card Trick."
or llPhantaso. II In actual practice(mainly for
other magicians), Field. can perform thi.
routine in six or seven DIFFERENT phase••
EFFECT:
Magician names a mentally selected card fro-
tmonst five freely selected cards.
WORKING:
In eech phase the deck is prevl.oualY _ I f l
by the spectator.
II

PHASE 1
1) Thumb off 5 cards. one a time. from
8. t:
the top of the deck into the right hand
this action 1s accomplished very slowly
and openly. The right hand holds the 5
carda 1n a fan and displays the faces to
the spectator. saying: IIPlease
1I
think of
anyone of these five cards.
2) WhUe the spectator looks at the cards,
deciding on a selection, the performer
execute. the FIELDS I AOD ON, saying:" •••
and remember its position in the fan--
whether it'a I, 2, 3, 4, or 5 from the
top." This patter gives one the logical
excuse to gesture toward the fan. making
the add on during the process. There 18
now an X card on the rear 0 f the fan.
3) The fan 11 closed and squared. The X
card, naturally, ends up on top. The 6
card. are placed squarely on the talon,
•• the performer asks for the position
number of the spectator's selection.
4) After the number i. named, the per-
former OPENLY deals a number of cards
~111n& the ros1t1on number. Example:
the apectator name. the 4th position
(~a~r 4, the performer deals 4 card.
e own, one on top of the other)
on t 0 the table Th.
juat dealt i • e top card of the packet
..LeetH I apparently the mentally
card.
S) the packet-of_f
tbe center of the:urk i8 placed into
took. directly i ec. Now aa the magi
1:18 "Y.: "CoDee nto the apectator'a eyea
• nd aU......:""t
'lbe performm: ntrat. on your card I II
•• • Top Card P.ek
••1ection.
PHASE 11
1) Same as Step 1 1n Pha8e 1.
.c.r.de_
2) Wh 1 le the specta tor look• • t th
ciding upon a 8e 1 ection, no ADO ON ia
d
d'
Instead--as the patter 11ne, ..... 8nd re:m.::r
its position in the fan ••• " ia delivered the
performer holds the fan o~arde 1n front of
him and to the LEFT SIDE of hie cheet t 1
his head AWAY from the fan(towards th~ R~~~T)'
Patter: "Th1nk of any card, any card at .U ...•
After a moment, the performer turns b.ck to
the spectator, points to the fan, .eking:
IlDid you think of oneill A8 this Une i. de-
livered, the FAN IS TILTED bACKWARDS AND
SLIGHTL Y TO THE .!llillU. This action should be
very slight--only enough to allow the per-
former a view of the five cards.
3) At that instanC, with the five cards 1n
view, the performer memorizes theBe card.
and their order. As outrageou8 a8 thiB Bound.,
itls easier than you might think •
4) First, concern yourself with the VALUES of
the cards only. Don't worry about the SUITS.
Actually one can utilize any aystem to IMIDOri"
the values. Remembering them like. sequential
telephone number ia very good. Afterward.,
believe it or not t the SUIT will come back
to you--for the suit is UNCONSCIOUSLY noted
while the VALUE is CONSCIOUSL:t r~red.
PHASE III
Ususlly if you've performed the fir.t CWO
phases successfully, youlll have the .,.a-
tator "going.1I Now you can rep•• t .1tbV
Phase, depending on your .pectacor aad
skill •
 MARLO VISION
COLOR VISION, the claaaic pocket trick
invented by Martin Sunshine, has been
around quite awhile. Ed Marlo, who usU&u
add' something to anything he touches andY
lJDprove. thing- with remarkable details
hal added the following features to COLOR
VISION: The UNDERCOVER COVER ARIGHT and
the OPTICAL REVOLVE.
ltla alway. been one of the weaknesses of
COLOR VISION to bring the box behind the
back. The performer shows the box, moves
it behind the back(after a color is chosen)
for a moment. then brings it back 1n front.
~. the color, moves it back behind the
back, and finally brings it forward for
subsequent examination. The "behind-the-
back-business" occurs TWICE. This 1s not
magic. This 1s playing ~ trickl Most
11mpletons can suspect that the performer
doe. " lome thing" behind his back; that
he does lI somethingll I2. or with the box.
¥.rlo approaches the effect from a natural
an&le. The performer eurns his back a8 the
.pect.tor selects a color and places the
~~oCk back in the box. This is natural:
~t~er~ormer turns around so he can't see
'l'URNE~ going on. 1I Then. WITH HIS BACK ~
aayina ~ ~. takes the box into his handS,
to kno~ t~ you think it's possible for me
c.iv1na • Color you selected?" Upon re-
perforJlle: predictable " no " answer, the
Vlth box turne, facing the spectator,
point th.~ bahind the back. (At thie
tbe pel"fOl'lMr·r i. transferred) Once agaln,
POlllble for humoroully aekl: "NOW 18 it
abo..,- . . to know the color you
'nle boX is brought forward and to the t."
of the performer. IQl performer ~ ....
~ as !h2 boxl Inatead the p.rfOiiirn.Slf. . .
intently into the eyea of the 'p.ct_toe
brinltng the box into the rans. of hll I
PERIPHERAL VISION. Now--wlthout looklna
askance--the performer can ae. the choaen
color.
performer patters: "Look into my .yel{Whlcb
is a direct conmand, bringing, ~ att.ntlon
to the fact that you are looking at 1bIBi
that you are not lookln& anywhere .1 .. ,
particularlY at the box)and concentrate Oft
your coloI'I II
Performer, wlthout diverting, hi ••y•• fro-
the spectator--names the color a. h. ex.eut••
the UNDERCOVER COVER ARIGliT and tabl.1 the
boX, block, and cover.
THE UNDERCOVER COVER MIGHT
This affected title actually d,.crlbel a
clever maneuver. ltls so atmple tbaa It''
surprising that it's been overlooked. lc'.
purpose ls to eliminate the laat cumber.OM
IIbehind-che-back II handlil\8.
1) The box, when brougbt forward, 1. held 1D
the left hand--between the thumb and .-eGad
flnger(wriet bent backwardI Ilishtly)TIPS
at the points marked X in the lllulcraCloa
on Page 96.
2) The box 10 lowered to jUlt IbOWl -.uc
level, II Btill on the left and lft the hi
hand position.
 pivoting the box downward. a
i ht hand comes over and grasps "arighted" position. Se. lllnd inco
3) Now the r g ht thumb at point Y, the ultrauOll S
the lid-- the rig at point Z. The right hand
rll5bt fO~:~~n~~~ether, cover the box from 1~
flnsers illustration 2.
"
Z ... ...

*--~A~ ~
front as per

" /1
"I
1
12'
----- l '

"
~:
',(1) /
t
l"JI
ILLUSTRATION 3

The entire action ia beautifully eovered by

the right hand. Nothing ia left to chanee.
The whole technique can be executed Without
"looking. II

ILLUSTRATION 1 Once the color has been named, the effect

is psychologically over. The removal of the
lid( showing the box to be in a natural
LID position), the dumping out of Che bloc:k,

~
and the ~abling of both the Ud and box
is an afterthought, following, the 8Urpri...

Like certain false cuts and .econd d. .l.,

it's the naturalness of the move., viewed
half-consciously by the Ipeetator, that'.
AUDIENCE so deceptive.

ILLUSTRATION 2 The effect is repeated, u.ins the - -

procedures outlined in Step. on 94 Paa.
4) Nov the lid is lifted just enough ~o and the top of Page 95.
elear the top edges of the box. The right In the REPEAT, just prior to whaft ~
haftd,(ho14ina onto the cover )moves FORWARD chosen color is named, the box 1.
and SLlGHTLY DOWNWARDS. to a position at the SP£CTATOkIS
between the spectator and the pee
5) AI this .etlon ia accomplished the and the OPTICAL I<EVOLVE 1a pad.
laaatb of tha rL&ht thumb(behLnd ~he cover)
_1:41,
.",LU. the bac:k -4&-
of the box(See the
U ... _ d A Ln llluatratLon 1>.

i. held by ~e right hand__
I) Here the box t point J and the right
ttl. risht thum~ • t point K. See ILLUSTRATION
pcond fin8 ert P a
4.
b or forefinger comes over to
2) Die left t~urn, the box ope c~olet~--tur¥
POINT Land g ve f the arrows 7 ILL STRA T ON
"0f course it 1s generally known tbat
deception is practiced at card., but ..
one thing to have that knowleds. end . . .
another to obtain perfect underleand1D&
the method s emp loyed, and the exact na~
and manner in which they are execut.d."
lI:..xcessiv~
vanity proves the undoing of m&IlJ'
experts. I

11'1 the direction a

WO\e finished card expert considers notbina
4. tOO trivial that in any way contribute. to
of showing all sides of the his success, whether in avoiding or allay-
3) The illusion If you turn the box slowly,
ing suspicion. or in the particular manner
box il perfect. the exposed side of the box
you'l.l. lee that • i of carrying out each detail; or in leadina
il never in the spectator s v eWe up to, or executing, each artifice. 1I

Please reread the last statement--which

applies to all phases of magic and is
K overlooked most of the tirne.

"Obscurity and a competence--that 18 the

life that is best worth living.1I
_ t.ark Twain

Fatience, and shuffle the cards.

_ Cervant••

The magician must not only realis. . . .

ILLUSTRATION 4 spectator sees. but What he und8~.
4) Naturally, during the action, the performer Allow the spectator to inf.~ tba
.... the cholen color. And after executing thl is ordinary.
OfT10lL REVOLVE, the box ie transferred to thl
left ba"".
"."tlem. 1n tho UNDERCOVER COVER ARIGHT
1'be color 11 named and the U.C.A.
''''AI4'·'.
m 2"'''' ...4••
 r el,enti.1ty a control, 18 very

it occur
:ry
",1' .. nueve describe. Like the Curry atange
dlfflCU1: quicklY and achieves a simple t
r the detailed coordination It
calk' hOW ve •
enul1' il another matter.
co ecrusg1e through the description, and
TrY t A ... 4ftll' the move. Ie can be done and 1,
att_P ~
quite effective.
I) the pack 10 held in the LEFT llANO in the
_chanle.' grip, only the left forefinger 11
curled under the deck, near the upper left
corner.
2) the left thumb riffle. upper left corner of
the pack for the ulual spectaear "atop. II After
Itopping and holding. separation. the RIGHT
HAND approach•• the pack from above and take.
all the cerda ABOVE the break. See PHOTO 15
for exact poll.tion of hand and fingers at thh
point.
3) Next phAl. conlilta of two simultaneous
llOVea: (A) the LEn llANO tilts its packet
usn-rds .1 the left thumb pushes the 'top
card to the ~. SIDE-JOGGING it .0 the
.pectator can ae. the index· (B) The RIGHT
HAIlD tilta ita packet olightLy inward and
umerd'(atmolt •• if the performer were
.tt_ting to glimp.e the bottom card of
~t pacut). Thia RIGHT-llANO PACKET is noW
llblt.b~the 2nd. 3rd. 4th tinger. and thumb.
or !III 'lIi_~flMU reat. FLUSH ON THE EDGE
lp .0-._
' - ' PHO'l'O lOGGED SELECTION. carefullY
6 acroll the page. which exact-
-.MI~. the action.

4)
... la,bu4
f.
PllZ'po••• of lucidity. the RIGII
T
OJeEatlon. vlll be deoeribed
Ia - t:b'"'C!' both action. haPpen
 5) After the RIGHT HAN~D-~;::::-::-----"··
move~
A) The LEFT HAND begins to tilt: its packet b ~ the LEFT-HAND PAC~~ooPs itl paeue
42KQ to its original position. As i t ' . finger, third and fourth ft the right fore_
j~g6ed. card so that it' 8 flush ~t~)
downward. the left thumb pulls back(to the 1 f stretched and pulled A::A:£ t ngera are out-
the out.. top packets. THE RIGHT SECOND F~: the -na8 s1na
ite packet.(The Wh! forefinger will aid in Chi REl'1AINS "TRAPPED" BETWEEN THE ER. HOWEVER
action by pushing a. the thumb 1U!ill.) • PHOTO 18. PACKETS. S';'dy
B) The RIGHT HAND moves its packet from its
lIinw.rd.upward~ tilting position to ~ the
LEn-HAND packet. 'Ibis action 18 a SWEEPING
SCOOPING ACTION. l)Je to the relatlor. of the'
ll
packet I , the Itaeoap action 18 easily executed
(It'S alia at this "SCOOp" point that the rlgh~
fore tinier pushes on the side-jogged card)
Optically, this action sLmula.ces placing the
RIGHT-HAND packet on TOP of the LEFT-HAND
packet. PHOTO 17 depicts the action mid-way
lnto the u.coop," .fter the select:ton has
alFeedy been pUlled-pushed flush.

PHOTO 18

The UPPER packet actually Mm on 1Q2 of the

~iGHT SECOND FINGER, where.s the RIGHT SECOND
NGER bears down on the ~ card of itl ilID
packet.
6) Now, as the RIGHT HAND moveS to the EiIbl,
;~~y from the eng,gins packetl, the RIGHT
bOND FINGER ~ out the top e.rd it . . .
o~~ring down upon__ out_jogging it(lika the
ginaI top card of the iJiIIK paeut),

PHOTO 17

100 101

t the term "dragS" is used. This
Note tha
closely desert b es the action t f or the
molt
d is neither pushed nor pulled. It's
car 11 dragged out. This manuever must
actua cYtiCed until a "knack" is developed
be
A. pra
n It there'll be a tend ency to anglp. •
t~e "~ragged card. lI But if you study
PHOTO 19 below, you'l l notice that the
RIGHT THUMB aids the dragging movement:
at the lower end of the Ildragg e d card."
ThiS, of course, prevents the card from
angling out.
PHOTO 19
"topld lllCrodullty act• • 1 an emetic on
••cntl.'1
-Balth•• r Gracian
When performing Copper and Silver
the moves until the switch 18 4-
performer and spectator have h~d· and. ~
~t this point, say: "Would it be • clo••d.
crick if the silver coin in H'i HA:Ll&~r'
over and joined the copper coin i YOUe¥
l-tAf\07 lt Nat:urally hthe I<
' l l spectator ...,ln1 1 agr••
and, 0 f course, e have. tendenc t
tighten his grip on his coin. Thh t y ~h
waY, is .the performer's paychologi~al In-·
sura nee • he does not want the apectato r t
open his hand prematurely. Then--aa an af~er­
thOught .. ~the performer says: 111'11 tell you
whatl Let' s tr~ even some~hing !!12£l dUUcult.
I III make my s~lver coin Jump over to your
hand, and your copper coin ....ill jump over
to my hand. Wouldn't that be more difficult!·
The interesting part of this by-~l.y 11 tbat
it reinforces the apparent situation, i.e.
!!tl2 has what coin; it builds suspenae; lt
strengthens the over-all effect without
making the performer do anything extr••••
except talk1 The spectator will anticipate
a DOUBLE transposition, instead of • SINGLE
transpositionl
Oddly enough, a magician would be ~re
r
astounded if one coin 10i ed another in
a closed fist. Perhaps th s, more than
anything else. demonstrateS the difference
between a magician' 8 thinking and & lay8D'·
thinklng •
The other odd thing about Copper and SllftW'
is that itls an effect that the perr~ l
explains before he doea. The Ipectator •
surprise, then, ia that
e to do e a t
• e t m os

ctemptS to create an environ_
1b18 notebOok • 1 interacting forms--prin_
. .nC of perpet~ 'effects, axioms, impressions.
clple 8 , con~e~onilgur.tl0n seems fitting to
This kind 0 cene•• 11 times: an era of electric
our 1l.1.l•• t~~~\.\ltOU8 TV, zip-poP entertainment,
circuity, U love-ins, alt-lns, laugh-lna •••
happenings'l _gig world and somewhere within
ltls • whir itog dazzle survives our odd and
this coruse. I
compelling art--mag ic
then 18. select hodgepodge,
This note b00 k , • h
• free_aslociation journal, whose approac
ther than synthetic, random
18 mosa 1ca 1 ra . 1 h h
rather than systematica .... This 8 t e e arm
of any notebook, scrapbook, journal, or
diary. OUr consciousness becomfes a ~andere~
in the haphazard atmosphere 0 anot: er man 8
thought. And one is free to go anytime and
in any direction, at any speed, for any
reason, and may gather whatever plenty he
finds. Perhaps, too, the most alluring pros-
pect of such adventure are the unexpected
.urpri.es found along the way.
Thi. notebook i. merely another version of
magic's survival. Its subject matter is
diverse(like all notebooks). The mood is
fanciful. Within these pages youlll find
exhumed principles, recast and tempered by
years of performing experience. Such effects
l1ke the WAY AHEAD CARD TO CARD CASE NYSTERY,
INVIS1BLE PEN BAFFLER, COOL SPELL, and THE
CARD IN THE BOTTLE, are designed to impress
the laity. Al.o, there are inside items to
puccle other magiCians: TRIPARTITE and ANOTHER
PR08LEM POSED. There are descriptions of
direct, deceptive aleights: THE HALF-FAST
PASS, GALL GLlMPSE, and the P-O-P PEEK.
'Jl'l.e re i8 an effect for both .... lc:taq
men, that will fool both: THE SlLlftT
MISSiON TELEPHONE MYSTERY. There are
cions, chosen because they reflect a ~
style of mind; because they be.t exe.p~
and explain Fields' philOSOphy of maale. ~
implication of these quotation., vrlteea
largely by non-magicians, lmply more tb&D
most of the dogmas found in conjurlns Ilt.
erature. There are also margiMl note., fOOt_
notes, and other impulsive schoUa.
As we all know, most books on magic are .taple
didactics. They are anthologies of "how It',
done." Paradoxically, aside from fundamentals
we learn from such primers, the best book. on
magic are written by non-magicians. on aubjecta
that never explain how to do a trick. lbey do
explain, however, all the diverse and complex
elements composing deception. This notebook
is not ambitious or foolhardy enough to
bridge the gap between the "how ll and "why"
of deception. It does attempt, however. to
intimate a few of these aspects and, in the
process, incite and direct the energies of
the serious devotee.
In conclusion t your editor accepts respon-
sibility for any failures in this book.
Sharing publicly this notebook i. my 1d...
We entrust it to you. It can only be e'
good as you are--for you are the explorer,
interpreter and promoter. We hope you -x-
perience a sense of discovery. nO . .tter heN'
small; that you find stimUlus and atart1Jll
points.
'0>1& 1& your book for you will fUlfill
eVer destiny it d;.ervea. Good luck.
 WHO IS EDDIE FIELDS?
• Fields i l & carny-bred deceptlon18t;
Eddi he hard... knock psychologist; a bit:
lelf-t:'~k.;treet, honest-bUck swindler. His
citi; 11 both conning and unaffecced. His
.,,1 r 1. both matter-of-fact and impish.
deme_no
Hia voice 18 deeply resonant an d h e h .e the
gleeful laughter of an uninhibited philOSOpher
who understands the philosophy of hwnan
foible. and man'S capacity to be dupes of GOd.
Fields ha. Mocked around for half a century.
beginning somewhere in the Bronx of our biggest
BOll City. There he grew up normally ••• WlW.
an unsuspecting unc le showed him a trick with
• paddle. Fields was 11 years old. From •
beginning that'. a Cliche, he wen~ and worked
a gig •• a copy boy on the New York Evening
Journal, thlnkiM continually about magic,
l.arning what he could. Later, a. an errand
boy for a leather hat band firm, he stopped
on a lunch break and watched a Medicine Show.
H. huns around, .sked questions, bugged the
Han. Zing! he found himaelf fronting aa a
lIhiU. Still later, he learned the art of
Mpitchina" from Old Han Hartin and spent a
. . .r ....on doing tlhia thing" with dollar
bottle. of medicine oil. Fields va. 17 yearl
old.
A , . .1' later he anlwred a Billboard ad for
a CoDey liland, alde .how magician. It val
: __ that Fieldl met a character named walter
Lena--the ar.. te.t pitchman of magic that
;::r li. .d(according to Fielde). 1hue beaan
v1l:b
rUf
"=
_ 1IIldeqround. underaracluate eclueadon of
plyche for Eddie Fieldl. Worklng
.... Fielda _de it the hard way.
&ad ~a~~ rapping for the rabble. hittlns
_. avt.aalDs and bombins. out front .. ,
'T~ne afollowed
Side Show, learned fire .:tla.....
thie by becOllllng a
prince Oiavalo. and worked thr..1na f~
the Harry Copplng Sho..e. tOla"lng ;-"011&
a and New York St. te. "111:
nel d8 spent year8 work ins carnival.
bar rnagic(He once preceded Clarke "h ~ tor
Crendell et Lou RHkin'e old NOrth.el"'
bi.tro, the Moderne Lounge, 11'1 Qllca . .
learning to shoot top-notch pool ~o).
ins up every bit of magical prln~l;i:e :lCk-
trick he could discover alons the .y. nd
It .... in Florida finally that Fl.eldl Mt
hit preaent partner, George Hartz. Kavlna
previously worked a mental act and horolC
pitch with another partner, it • • neld.ope
who tutored Martz. Martz, it turned out
va' • brillant student--for after. fw'
months practice. they broke in their act.
It vas an instant aucce... Even today tbey
do promotional work for both dime an4
department aeores acros. the nation. Year.
of performing experience ha. . .chi the1J:t • •
particular act that hal no rival •• Ibey
are the beat in their field.
Mentali.m, then, ia Field.' forte. Yet
thrOUShout the last twenty yaara of tour1lll
the country. neld. hae had the aoo<l f _
:ny
end prlvUege to be frtand and CClllUdaDC CO
card expert. and clo.e-up .rti.t.<. . . .
"l~-'llon Alan. Ed Harlo, Del Ray. a.arlle
Ll er, Tony lCardyro. JCM SCott. H1U . . .-.
an:Yd Jonea ••• ) NaturallY, aueh° a.lOClaC~
of experience creat•• a .precul .c.a......
IInlpractlcal knowleclge. and eWOtuaUy •
que klnd of creaUvlty and vial• •
Car4 "alc ie a diver.ion vicll Piel. .
10
'l.~: a techDic1an. althouP ba
t. quite ...11. He .Pp• •••
. ' h. approach.' all magic--from the .Lmple,
.yeholOglcal avenue, with an empha.ia on
~ubtletY. InstinctivelY he know' what the
apaetator wantl. He understands what .elll
and deUghts.
While there exi.ts a certain charisma to
performing, without the proper kind of effect
dramatic entertainment cannot aria•• Thie '
Notebook containa luch effecta. They have
been exploited for the pleasure of thou.andl
of layman. In • very real .en'., they exem-
plify the Fields' Ityle, and 8uch illu8tratioll
i. both a valid definition of the performer
and a model for other. to study. Whether they
decide to emulate such a model ia strictly
their buline" and fate.

FOOTNOTE: Edd1e Field. i. the originator of

the 1I1nv181ble Deck"--which was marketed on
the advise of Don Alan, who us.s the i tam
today. Some •• y it'. the greatest card
affect 1n the last 50 years ranking with
"CUt Of Thil World." Many will dispute it.
However, if you do it, ask a layman.
EDDIE FIELDS --
IIOne final word--It's hoped that each
reader finds something to hil l~.
This notebook is only a smatter1n8 of
~temB collected over the last 30 yurl.
erhaps if the respon•• 1. great enou&b,
thiere will be further volwne. alO118 the..
I neB."

SINC£.R£L.Y,

&Jj.iL tiJ.1rW