Jammin’ With the Fellas Summer 2009 Lecture NotesAcknowledgements I'd like to thank the following guys for their help with these notes. Derek del Gaudio, Nathan Becker, John Lovick, Michael Weber, Eric Mead, Steve Forte, Paul Wilson, Darwin Ortiz and Gary Plants. They've all contributed to these tricks whether they realize it or not -- Thanks guys I'd also like to tip my hat to the legendary Tex Hooper, the original outlaw, for providing me with the perfect title for a set of lecture notes. © Copyright 2009 by Jason England Alll rights reservedAces to Order Effect: The four Aces are cut from a deck of cards using what appears to be only standard riffle shuffles and straight cuts. Furthermore, the Aces are cut from the pack in the order the spectators ask for them. As a bonus, a spectator culs to the final Ace. Method: The Aces begin on top of the deck in hearts, clubs. diamonds and spades order. This is the same order that the suits come from the factory. Use this order to understand the basic idea, and then you can switch to any alternative order you choose. In addition to the Aces on top, you need a crimped card of some sort on the bottom of the deck. This card must me designed so that it cuts to the bottom. A simple comer crimp Works fine. but | usually use a reverse-breather crimp, Other crimps that will work are the “Will de Sieve crimp and the Jontay crimp. Both of these can be found in Greater Magic. The Jontay work should be put in so that it cuts to the bottom of course. With the Aces on top and the crimped card on the bottom, Perform any series of false shuffles and cuts you wish as you talk about cutting to the four Aces with your specators. Ifyou want to throw in some real cuts, you can, just be sure to cut the crimped card back to the bottom at some point. Ask a spectator to name one of the four Aces. There is no reason to restrict their choice in any way. Whatever Ace is numed, you're going to give the deck a shuffle and position the crimp to just above that Ace. Let's look at an example. Let's say the specator names the AH. This is the easiest example, because that Ace is on top of the deck. Do any sort of top-stock shuffle you wish. as long as the prodecure cuts the deck in the process. What I usually do is to perform a lopsided riffle shufile to. maintain the crimp on the bottom and the four Aces on top. [ then undercut half of the deck and apparently perform a running cut onto the other half. What really happens is that the first packer taken during the running cut comes irom the bottom. This places the crimp directly on top of the AH. Of course, the other Aces are also directly below the AH, I now square up the cards and dramatically “dead cut” to the crimp. A dead cutis one in which you come away with both hands and lift up approximately half of the cards with just a single hand. | place the cut-off half on the table and lift off the AH from the top of the lower half. Show that you've successfully cut to the AH and place it aside face up. You now have to reassemble the deck so that the remaining Aces are still in their original relative order. You're going to do this with riffle shuffles. Sometimes normal shuffles and sometimes controlled shuffles In this particular case, the remaining Aces are still in the proper order, so you have to do nothing other than reassemble the curds with a lopsided riffle shuffle. This riffle shuffleshould retain the three remaining Aces on top and the crimp on the bottom, You're now ready for the second Ace to be named. Let's say the second Ace named by your spectator is the diamond. The diamond is now the 2” card from the top. Cut the top half to the left in preparation for a Zarrow shuffle Zarrow the lower half of the deck under the top card of the upper half and square up. This places the crimp directly on top of the AD. Perform a dead cut and reveal the AD. Be careful that you don’t complete the cut! At this point two Aces have been cut out and two remain, The AC is on top of one half of the deck (with a crimped card on the bottom of that same half) and the AS is on top of the other half. You've got to riffle shuffle the halves together so that the club winds up on top of the spade, and the crimped card remains on bottom. You repeat the procedure to cut to the third Ace. If the club is named, false shuffle, strip the cards (with the first strip coming from bottom), and dead cut. If the spade was to be named third, then Zarrow under a single card (the AC), square and dead cut. By now you've revealed three of the four Aces, The last Ace is on top of the deck and the crimp is on the bottom. Give the deck one last shuffle sequence with the fake stripping action to center the final Ace in the deck with the crimp directly above it, ‘Turn to a spectator and tell them that you have positioned the last Ace in the deck in a spot where they'll have a pretty good chance of hitting it. Guide them to the center of the deck and mime the actions of a dead cut towards you (away from them), Let them cut. If you use a reverse breather like I do. and the work is in moderately strong. I've found I have about a 90% success rate. The first week I worked the Magic Castle was in December of 2007. | did 30 shows the entire week and 28 people nailed the crimp the first time. When it happens, you'll usually know it just by watching how easily the deck seems to cut. So. they've cut. Have them turn over the top card of the lower half and let everyone see it, If they hit the last Ace. you don’t need to say a word: the audience reaction will say it all. [fhowever, they happen to miss the final Ace. you have a choice of how to handle it, Of course, you could always just put the top half back and let them try again. Depending on the circumstances, | sometimes do this if I really want to see them succeed. Another option, and the one that | usually use. is to pick up the card that they cut to, reassemble the deck without that card, and with a quick lift at the side of the deck, | toss their card ito the deck face up. Of course, lift up at the crimp and toss their card directly on top of the last Ace. | then ribbonspread the deck and dramatically remove the Ace from below the face-up card,‘The only time you are forced to use the “reassemble and try again” option is if the spectator somehow cuts the crimp to the top, This rarely happens, but it as happened and you should be ready for it Let's look at one more possible sequence just to make sure you understand the process. Beginning with the Aces in H-C-D-S order: Spectator names diamonds — you Zarrow under two cards and dead cut to the diamond. Reassemble by leading with the half that has the crimp on the bottom, and then drop the last two cards of that half onto the top card of the other half, This puts the heart and club back on top of the spade. Spectator now names clubs ~ Zarrow under one card and dead cut. Reassemble by leading with the crimp and putting the heart directly back onto the spade, Spectator now names hearts ~ False shuffe and fake the strip to center the last two aces, ‘Dead cut to the heart. Reassemble the deck so that the crimp is on top of the AS and let the spectator try and cut the last ace. Play around with this idea and you'll quickly see how to use the Zarrow, the false strip, and other types of false cuts and shuffles that you already may know to always position the crimp directly on top of whatever ace is named. Ie might help when you're learning this to turn all four aces face up and work your way through the various sequences. Just don’t forget to always lead with the packet that has the crimp at the bottom when you're reassembling the deck afier each ace. Notes: I first developed this routine after reading The Vernon Chronicles Vol. 1: The Lost Inner Secrets, bought this book in the summer of 1990 and was fascinated by the section on the breather crimp. However, as a young magician I mis-read the text and wound up putting in my breather work “upside down.” Since there is no mention of the idea of putting in the work so that the card cuts to the bottom of the deck, I thought I'd serewed up the concept. Of course, all I had really done was stumble onto the notion of a reverse breather.” Naturally, | wasn't the first to do this, but it has stuck with me ever since, | never use the regular version of the breather crimp these days, but [ always use the reverse breather. It's served me well for almost 20 years. At first I was just cutting to the aces in whatever order they happened to be in on top of the deck. I soon realized, after playing with the Zarrow shuffle. that you could place the crimp under or above any ace you wanted. That lead to the current version of the trick, For many years after Bill Malone performed “The Scarne Aces” on the Hidden Secrets of Magic special. | stopped doing this routine. Outwardly. there are too many similarities, and I didn’t want people to think I was just doing this because I'd seen the show. Of course, I'd been doing my version (with no mention of Scarne or anyone else for that matter), for 6 years before the Hidden Secrets special.‘The Third Shuffle Effect; A spectator riffle shuffles a deck, selectes a card in a fair manner, returns it, and then riffle shuffles twice more with cuts between the shuffles, The performer keeps his back turned during most. (or in some cases all) of the selection procedure. Upon receiving the deck back from the spectator, the performer reveals it almost instantly, by pushing it out of a face-up ribbon spread without asking a single question Method: There is a moderate set-up. Run through the deck and cull all the 8s, 9s, and 10s to the top of the deck. You are going to set the 2 black 10s as potential key cards, with a mix of the other 8s, 95, and the red 10s beneath them. From the top down: 10C. 5 of the 8s, 95, and red 10s in any order, 20 indifferent cards. and then the LOS, and the remait 5 of the 8s, 9s, and red 10s in any order. Finally, place the remaining 20 in below this. As 1 was writing this. | set my deck up the proper way, and it came up like 0C. 9D, 8C, 10H. 10D, 9H, 20X cards. 10S. 8D. 8S. 9C. 8H. 9S, 20X cards. ‘To begin, bring out the deck and false shuffle if you wish. Since this effect is purely for magicians, you may wish to skip this step, because unless your false shuffle is flawless, it tends to tip them off that there is a set-up. Place the deck in front of your spectator and cut off exactly half the deck. If you're capable of doing this by sight, great. | personally don’t risk it... use a crimped card placed right above the LOS (which is the 27" card from the top.) Place the cut-off half right next to the other in position to be riffle shufiled together. At this point, the top card of one half is the 10C. and the top card of the other half is the 10S. (Be sure you know which is which!) In addition, the top six cards of each half are 8s, 9s, and 10s. The spectator now riffle shuffles the halves together once. You should watch to see which of the 10s falls last. Let us assume that the 10S falls on top. The 10 of spades is now your key card. At this point you should turn your back. Have the spectator pick up the deck. The spectator is now instructed to riffle up the back end of the deck and stop near the middle on any number card. They are to remember this number only. suit doesn't matter. Now the spectator deals from the top of the deck, one after another. into a pile equal to the number they just remembered. (Since all the 8s, 9s, and 10s are near the top. it will be a small number.) ‘The spectator is told to leave the pile on the table, and peek at the new top card of the deck, This is their selection, so they should remember it. Because of the set-up. and shuffling procedure, this card will be one of the 8s. 9s, oF 105. Leaving the selection where it is, the spectator is instructed to pick up the pile on the table, and drop it back on top of the deck and square. At this point, many magicians expect around...you don’t, Tell them to riffle shuffle the deck. This will get the attention of most of your magician friends. Have them cut the deck (straight cuts only) afier they shu‘. Point out that this is the second time they've shutTled the deck since you gave it to them.Almost as an afterthought, ask the spectator to shuffle the deck a third time. Again, ask the spectator to eut the deck as many times as he likes, using straight cuts only Finally, ask the spectator to square up the deck so that you may turn around. You now have all the information you need to spread the deck, and almost immediately push the ‘Spectator’s selection towards him! The reason is thi ‘ou already know that the selection is an 8, 9. or 10, You also know that your key (the 10S in this ease), was right above it ‘when the spectator began his second shuifle. Well, the trick depends on the fact that over 95% of the time, a spectator won't separate the key card and the selection. You sce, the shufiles will put indifferent cards in between your key and the selection, but as long as they don't put any 8s, 9. or 10s in between. you're safe! The selected card will always be the 8. 9, or 10 to the immediate right of your key, regardless of how many queens, threes, aces, or whatever else you've mixed in, (I'm assuming you spread the face-up deck left to r Safety tip: Itis possible for the black 10 that is nor the key card to wind up as the selection, so be on the lookout for this potential outcome. It doesn’t happen too often, and nothing changes if it does happen, but it threw me off a bit the first time it occurred, Also, there are many Ways of having the spectator think of a small number in order to begin the dealing process. | like the method presented here, but it really doesn't matter. ‘You have at least 6 cards that they can choose from even if they dida bad shuffle. If they do a reasonably smooth shuffle (and most magicians do), then you typically have a 10 or more card leeway. Every now and then though. the trick just wont work due to an extremely lopsided shuffle, When this happens. just let it fail gracefully. There is no reat way out anyway. Notes: This is a minor variation of a classic effect. The originator is Jack MacMillan and the trick can be found in both Roral Road to Card Magic and Expert Card Technique. In Royal Road the effect is called “Mirror of the Mind” and in Expert Card Technique it's called “Mind Mirror.” All I've done is to provide a method of having the spectator shuffle before beginning the normal routine. Of course. | make it a point to remind the spectator that he’s shuffled three times before | spread the deck and reveal the selection. I's a tremendously strong effect that will foo! anyone not familiar with the original, and even a few that are!Fever Nails Effect: A spectator selects a card in a very fair manner and itis lost in the deck. The shuffle used to lose the card leaves no doubt that the performer is not attempting to control the card. The performer then proceeds to eliminate cards from the deck by color, suit and value, eventually narrowing his way down to a single card which is placed on the table. The spectator realizes the performer eliminated his card very early by getting the color wrong. Nevertheless, the correct card is revealed at the end, Secret: The proper card is unknown to the performer the entire time the trick is being performed, yet itis in play at all times. The secret is simple: it’s stuck to the back of another card! Method: You need to place a small piece of double-stick tape on the back of the 9H. Separate the deck into reds and blacks. Place the 9H and 12 of the red cards on top of the 26 black curds. The remaining 13 red cards go on the bottom of the deck. Have a spectator select a card from the deck. The only stipulation is that he must receive a black card. Obviously. with all 26 black cards together in the center. many different options are available. | usually just spread the cards in a wide ribbon spread and have the spectator choose one. I'll verbally guide them into the center and I've never encountered a problem so far. Other options are to just do a dribble force and time the dribble so that you're somewhere in the middle when the spectator says, “Stop.” Again, this is fairly easy to accomplish, Once the card has been shown to the audience. place it on top of the deck and allow it to adhere to the 9H. Perform a thorough overhand shuffle to not only lose their selection, but also to destroy the large color runs. Once the cards have been shuffled, turn the conversation towards “tell” reading. A tell is an unconscious action that reveals the strength of someone’s hand at poker. Explain that you can read the faces of your audience members and you'd like to demonstrate. Openly remove the red cards from the black cards. As they are removed, the 9H with its secret passenger is simply taken out along with all the other red cards, Quickly ribbonspread both halves of the deck in an apparent effort to ensure that you didn’t make any mistakes. What you're really doing is giving the spectator a quick flash of the color of both halves. Don’t let the black half remain spread for too long though. as we don't Want a sharp-eyed spectator noticing that his card is missing. The red half can of course linger a bit longer on the table. as it is apparently clean, Hold both halves up so that the spectator can see the bottom card of each packet. Ask them to shift their gaze back and forth between the wo halves. Pretend to be reading their facial expressions as they do this. Caution then not to “reveal” anything about their card's color. suit or value.Act as though you “saw” something and place the black half aside. The spectators should believe you've made a mistake at this point, but won't tell you this if you've properly cautioned them not to reveal anything. Openly separate the hearts from the diamonds in the red half. Do this quickly and continue to allow the selected card to just adhere to the 9H and go along for the ride. Hold both packets up so that the spectator can see them. You may even spread them in small fans at this point if you like, but don’t make it seem like you're even aware that you're doing it. Again, go through the motions of “reading” the spectator and eventually decide to set the diamonds aside. Make a comment to the effect that this second phase was a bit harder than you thought it should have been. This will reinforce in the spectator’s mind that you've already screwed up! Quickly separate the odd hearts from the even hearts, The Ace, Jack and King are considered odd and the Queen should be considered even. Show the spectator both packets and ask him to concentrate. Place the even cards aside. Finally. separate the remaining seven cards into face cards and non-face cards. There are only two face cards to remove, the Jack and the King. Have the spectator look at both packets and then discard the Jack and King Show the remaining 5 cards to the spectator in a small fan and ask them to simply look over the “poker hand” You can comment that it's a pretty good poker hand i as it will always be an Ace-high flush Tur the faces of the cards toward yourself, Act as though you're having a bit of trouble deciding, but eventually separate the selection from the 9H and place it face down on the table. You should be careful that it doesn’t look as though you separated a double. One way of doing this is to cut the double card to the top and then separate it while the cards are face down in left-hand dealing position. That leaves the 9H on top. You can then quickly count them, Biddle-style trom right hand to left and place the last two cards as ‘one onto the packet. A quick squeeze will cause the 9 to adhere to one of the other red cards and you can casually toss the “four” cards aside. If anyone pays any attention to those cards as they're thrown away, it will appear that there are only four. Ask for the spectator to name his card. Typically they look sorry for you as they reveal the name of one of the black cards, Turn up the correct card with whatever sort of comment you wish to make, | usually just say something like, “The Jack of Clubs? Oh. good.” The card is revealed and Iundersell the line and let the impossibility (and the fact that I've obviously been toying with the audience the entire time) speak for itself, Notes: This was inspired by my reading Gary Plants’ Dallas Lecture Notes. In those notes, Gary’ had a very interesting presentational “hook” for eliminating cards by spelling hames of famous magicians. At one point, the “wrong” packet is eliminated but the performer keeps charging right along. At the end. the correct card is revealed.1 loved the basie idea but wanted two things: one, a different presentation. Allan Ackerman and Darren Hart, two terrific Las Vegas-based magicians. helped me to arrive at the conclusion that the tell reading presentation was a better fit for me. Secondly, | \wanted to have a super-clean handling (Gary's method doesn’t use double-stick tape). 1 encourage you to look up Gary’s original handling. Everything he does is really incredible, The notes are available from his website: www.thecardplant.comother Shuffle Stack Effect: The performer spreads the deck to show the four Aces are widely separated and are in locations that don’t easily lend themselves to stacking. However, by giving the deck only a single riffle shufile, the performer stacks the Aces to fall to himself in a 7- handed game. The deals are legitimate. and in fact the spectator could do the dealing if he wished. Secret: The Aces are actually positioned to fall to the dealer's hand from the very beginning. However. this is cleverly concealed by a few minor adjustments before the trick begins. The method is designed to undo these adjustments and put the deck back in the proper order Method: I'll describe the set-up as if | were actually doing it. Once you understand the idea, you can arrive at the starting position in many different ways. Start by placing the Aces at 7, 14! and 35" from the top of the deck. Now move the top two indifferent cards to any position between the 3" and 4" aces, It doesn’t matter exactly where they go, as long as they're between positions 21 and 35, Crimp the bottom card of the deck. Finally, cut the top seven cards to the bottom, under the crimp. You're all set. Remove the deck from the box and ribbon-spread it on the table so that the spectators can see all the faces, Explain to them that occasionally when a deck is shuffled, a good poker hand can often be arranged simply by moving one or two cards. As you say this. look at the top few cards and try and find a quick pair that look like they might fall naturally in a poker game. For instance. you may see that there are two Jacks that are four or five cards apart, Explain to the spectator that you could use rifMe-stacking techniques to add or remove the proper number of cards so that the Jacks fall to whomever you want. Make sure they understand the concept, then turn your attention to the Aces. Count your way to the first Ace (which is 5“ from the top) and say, “See, here we have four cards and then an Ace.” Count your way to the next Ace and say, “And here we have six cards to the next Ace.” Continue to count to the Aces, pointing out the “gaps” between them along the way. The proper gap numbers are: 4, 6, 15 and 21 (or 23 if you have Jokers in the deck). These numbers don’t seem to have any relationship to one another with regards to stacking the Aces. However, as we already know, the Aces are stacked, it’s just that they're shghtly out of sequence. Now we'll put them back into sequence. Gather the eards and turn them face down, Cut the deck a few times, eventually cutting the crimp back to the bottom. Non-magicians consider cutting a deck to be mixing it, so you don't need to make any comments at all if you don’t want to, When working for otlier magicians, | will remind them that cutting the deck doesn’t disturb the order of the deck, or change the number of cards between the Aces. This statement is somewhatambiguous. Technically, the number of cards between the Aces doesn’t change by cutting. However, for the purposes of locating the beginning point of a stack, the number of cards to the first Ace has changed. Confused? Don’t worry about it...you don't need to think about any of this for the trick to work. Just cut until the crimp is on the bottom. You're almost there. Remember in the set-up phase when we had you move two cards from the top of the deck to somewhere between the 3"! and 4" Aces? Well now we have to move them back. The cool thing is, we do this with a riffle shuffle. It's a Zarrow shuffle to be precise. You're going to cut the deck as close to the center as possible. You have a large leeway here, but try and make it near center. Also. make sure you keep track of which half is the top half | always Zarrow from right to left, so I cut the deck so that the top half goes to the right. You're going to Zarrow shuffle the original top half of the deck under two cards from the other half. This action will replace the two missing cards that we removed at the beginning. Of course, it’s unlikely that we're replacing the exact same two cards, but for our purposes it doesn't matter. What matters is that the Aces are now set again to fall to seven hands. Square up the deck and place it in dealing position, Deal out a 7-handed game of poker and turn up the first Ace on seven. Continue to deal until you've successfully turned up the first three Aces. On the fourth dealing round, an indifferent card will fall, Act momentarily surprised but then remind the audience that in poker you always get five cards. Continue the deal and turn up the final Ace on card number seven. Notes: This trick was the brainchild of Steve Forte. It was originally written up by Pau! ‘Wilson in the March, 2006 issue of Genii magazine. | liked the basic premise but didn’t like a few methodological choices that Steve had made. So, | reworked the handling and ended up with this version. which is much easier. It replaces a second deal from the original that was entirely unecessary and changes a difficult push-through shuttle sequence into the much easier Zarrow sequence. 1 showed this version to Steve in the Spring of 2009 and he loved the changes. | know this because he just said, “Neat” and went back to watching the Celiies. That's Steve-talk for, “I love what you've done with my trick.” Trust me.‘A Earo Trap Effe = The four Aces are located in a straightforward but unusual manner. Requirements: A deck of cards that faros easily and two one-inch long pieces of double-stick tape. Set-up: First you must make the simple gimmicks that allow this effect to work, Jason uses 4 Jokers, but any 4.cards may be used. Place one of the pieces of tape midway along the long axis of one of the Jokers. Press another of the Jokers against this card to make a double-Joker. Repeat this with the other two Jokers. You now have two gaffed cards that can be safely spread from hand to hand and even lightly handled without fear of exposure. At the end of the production it is very logical to remove the “two” Jokers and place them in your pocket before continuing with further effects. Photo | below shows the placement of the tape on the card(s). The tape has been darkened so you can see where to position it on the center axis. If you don’t wish to use double-stick tape. there are many other adhesives that will work just fine. Experiment aMROC Photo | To set up the deck for the production, remove the Aces and the ovo gimmicks you've just created. Split the remaining cards for a faro and perform a faro-check. It doesn't matter exactly how many curds remain, but there should be an even number. Remember the ccatd that lies in the center of this deck when you do the faro-check. This will be the card you cut to when performing your faros in just a moment,Let's assume you perform a faro-check and you see the Jack of Spades lies on the bottom of the top half, Place one of the gimmicked Jokers 6" fiom the botiom of the top half. Place the other gimmicked Joker 6" from the top of the top half. Remember, so far we've been dealing with the top half of the deck only! Now place one of the Aces (I use the Club) 6" from the bottom of the lower half. Place the remaining three Aces 6" from the top of the lower half as a group. The Ace of Spades should be the lowermost card in this group. ‘The setup should look like this: X-X-X-X-X-Joker-14 indifferent cards-Joker- X-X-X-X- JS-X-X-X-X-X-AH-AD-AS-I4 indifferent cards-AC-X-X-X-X-X, The Jack of Spades lies in the exact center of the deck and will be the card you cut to when beginning the effect. Note: If you've used two of the normal cards of the deck to make your duplicates, then there should only be 13 indifferent cards between the Jokers in the upper half and the Aces in the lower half. If you've used four Jokers like I do, then the above set-up will work fine. To begin, cut the deck at your key (the JS) and perform a perfect out faro, The shuffle ‘must be perfect trom top to bottom, Push the halves in about an inch until you feel the double-stick tape begin to bind. See Photo 2. Photo 2 Now, the two Joker gimmicks have cards stuck between them, The uppermost Joker hi trapped one of the red Aces, and the lowermost gimmick has trapped an indifferent card ‘You're going to allow the half in your left hand to fall away. and this will expose the two trapped cards. As the lefi-hand half falls away. use your left thumb to keep the lowermost trapped card (the indifferent card) from coming out. [t isn’t too difficult tojust shake the packets a bit until it falls loose and coalesces back with its half. See Photo 3. Photo 3 is an exposed view of the Ace emerging from the left-hand packet us the left thumb holds back the indifferent card that is trapped between the other gimmicked Jokers. The view you should give your spectator should look like Photo 4 belowAS soon as the two packets clear each other, and you only have a single card (a red Ace) protruding from the right hand’s half, you can readjust your hands to strip out the Ace and snap it face up. Place the Ace on the table or into the spectator's hands. See Photo 5 for the grip right before the strip-out is complete. Photo 5 After you've dropped the first Ace to the table, reposition the halves for another taro shuffle. (The JS should still be on the bottom of the right hand half) Avain, this faro should be perfect, although the right hand half contains one more card than the left hand half, This time. the oo gimmicks will trap two Aces, the remaining red one. and the Ace of Clubs. See Photo 6. Photo 6Again, the view in Photo 6 is an exposed view, The spectators should sve the view in Photo 7 below As soon as the halves clear each other and you have just the two Aces protruding from the right hand half, you can reposition and strip out these Aces. Drop them to the table with the first Ace, Photo 8 shows the right hand about to strip out the two Aces Photo 8Reposition the two halves for the final faro. There will be a small block of cards on the bottom of the left hand half that do net get faroed. This is normal, Just make sure you have a perfect faro from top to bottom of the right hand's half This time, the upper gimmicked Joker will trap the last Ace (the AS) and the lower gimmick will trap an indifferent card. Once again you will allow your left thumb to contact this indifferent card as it tries to emerge and hold it in place. This allows only the final Ace to emerge protruding from the right-hand half. Strip this final Ace out and tury it over to display it, Drop it on the table with the other three Aces. See Photo 9. Other applications: Obviously if you wanted to engineer things so that four selections are in the places that the four Aces occupy now then you will have a nice litile production of selections. The reader can work out ways of using one of the gimmicks to locate a single selection on his own.