Personal Secrets ‘My Favorite Card Trick? Deck-Sterity Best of Bill-Fooled The Hundred Dollar Book Dingle’s Deceptions Reputation-Makers The Great Divide ‘Tarbell #7 Rim Shots Afterthoughts ‘The Epitome Location The Magic Book Finger Fantasies Card Animations ‘The Card Classics of Ken Krenzel Quantum Leaps Best of Friends Volume I Best of Friends Volume IT Star Quality ‘Trend Setters Doug Edwards Packs A Wallop ‘The Himber Wallet Book How To Develop A Super Power Secrets Of Mind Power Instant Mind Power Miracle Math Memory Isometrics Course Mental Magnetism Course Good Memory - Good Student! Good Memory - Successful Student! The Memory Book Remembering People ‘The Page-A-Minute Memory Book Super Memory ~ Super Student! Memory Makes Money Memory ‘The Memory Power Package (as sold on television) Videos— Stars of Magie ‘Magic Video #2 L&L Publishing Video Series HARRY LORAYNE’S BEST OF FRIENDS Written, edited, ete. Illustrated by Joseph Wierzbicki published by L & L PUBLISHING Post Office Box 100 Tahoma, California 96142 U.S.A. WWW.LLPUB.COM.Foreword. 15 SECTION I Tilt Sandwich Location (Harry Lorayne) 21 ‘Ace Sandwich Four (Harry Lorayne) 26 ‘Ace Sandwich Four #2 (Harry Lorayne) 33, Ultra Pop-Up Cover Pass (Harry Lorayne) 37 Sandwich Ramblings (Harry Lorayne) 43 Biography—Tom Mullica 55 ‘The Future Change (Tom Mullica) 56 ‘The Future Spread (Tom Mullica) 59 Mexican “Change” Over (Tom Mullica) 62 Biography—Ken Krenzel 66 Flip (Change) Over (Ken Krenzel) 67 SECTION Biography—Martin Nash 73 Fast Stack (Martin Nash) 74 Biography—A. Berkeley Davis 78 Square Up . . . And Away (A. Berkeley Davis) 79 Quadruple Jeopardy (Harry Lorayne) 83Biography—Larry Jennings 87 + Count Me In (Larry Jennings) sg Open Control (Larry Jennings) 92 Biography—David Grenewetzki 96 (TSHocker” (David Grenewetzki—Bro. John Hamman) Concert Aces (Harry Lorayne) 100 Biography—Charles Hudson 104 Sum Hummer (Charles Hudson) 105 ‘The Royal Computer (Charles Hudson) 109 SECTION I a ‘A Card To Remember (Harry Lorayne) 115 Biography—JeanvJacques Sanvert 120 Instant Spread Reverse (JeanJacques Sanvert) 121 Ribbon-Spread Techniques (Jean-Jacques Sanvert) Glimpses 125 Paychological Force 128 Almost Automatic Force 128 Contrel 130 Biography—Sid R. Spocane I 131 Fascinating Pair (Sid R. Spocane I!) 132 Double Duck (Harry Lorayne) 138 Biography—Terry Lagerould 140 Fanta-Spread (Terry Lagerould) 141 Calling Card (Terry Lagerould) 144 Pseud-O-Mem (Terry Lagerould) 147 ‘A Sweet FourCard Change (Harry Lorayne) 150 Biography—Tom Craven "158 ‘Three By Two (Tom Craven) 159 SECTION IV - Biography—Edward Marlo 165 Zig-Zag (Ed Marlo) 166 First Method 166 Second Method 168 A Little More Nerve (Ed Marlo) 171 Alittle More Zip (Ed Marlo) 173 “Snap” Sandwich (Harry Lorayne) 175 Biography—Allan Ackerman 179 125 97 Ultra Sucke™tnsertion (Allan Ackerman) 180 Ultra Four'y,-ot (Allan Ackerman) 183 Biography—Phil Goldstein 186. Double-Bluff (Phil Goldstein) 187 Half-Faro Glimpse (Jean-Jacques Sanvert) 190 Incomplete Faro Jog Control (Tom Craven) 193 Biography—Harry Levine 195 HaLo Five (Harry Levine) 196 Con-Fusion (Harry Levine) 198 Biography—Herb Zarrow 200 Faro Throw-Off (Herb Zarrow) 201 Easy Slider (Harry Lorayne) 205 Biography—J.K Hartman 213 “Image-ician” (.K Hartman) 214 SECTION V Sa Spring Thought (Ken Krenzel) 221 The Top Change (Ken Krenzel) 224 Biography—Richard Kaufman 230 General-ly (Richard Kaufman—Harry Lorayne) 231 Even Odder (Richard Kaufman) 236 Biography—Meir Yedid 242 Mixed-Up Poker (Meir Yedid) 243 Thirteen Less One (Meir Yedid) 247 Biography—Michael. Gerhardt 250 Super Triumph (Michael J Gerhardt) 251 Voice Print (Harry Lorayne) 256 Biography—Bob King 262 Programmed Lie Detector (Bob King) 263 All-Rair Poker (Bob King) 267 —— SECTION VI Biography—Tim Wenk 273 AGood Case (Tim Wenk) 274 Biography—Nick Pudar Fold-erol (Nick Pudar) 280 Biography—Eddy Taytelbaum 284 InterDimension (Eddy Taytelbaum) 285 Produce Four (Eddy Taytelbaum) 291 279 c10 HARRY LORAYNE, @ Bea) best oF FRIENDS Biogeaphy—Jim Swain 294 Invisible Inserts (Charles Hudson) 395. Roundup (Jim Swain) 295 -__ Blography—Dennis Marks 398 ‘The Vanishing Aces (Jim Swain) 298 | That's Incredible (Dennis Marks) 399 inne ea, wales rn ie Boney era "a ae Open Par on Egan as Biography—Reinhard Miller 313 ‘Twisted Hofzinser (Don England) 420 “Mish Mosh" (Reinhard Miller) 314 & [ickStrip” Control (Harry Lorayne) 424 Biography—André Robert 320 Strip-"Kicker” (Harry Lorayne) 427 Strategy (André Robert) 321 ‘The Lorayne Control (Harry Lorayne) 431 ‘Treasure Hunt (André Robert) 324 Ss Biography—Robert Walker 435. —— (Re r) 434 SECTION V—T Surface Sandwich (Robert Walker) 6 Rising Sandwich (Tom Craven) 441 Gone With The Wind (Terry Lagerould) 931 j a ‘The Nickel Knows (Terry Lagerould) 334 enon Out Of Hand (Harry Lorayne) 337 : Biography—Bernard Bilis 447 “Unahtor Poasritl Gertner ue? =. AVisible Transposition (Bernard Bilis) 448 Blogean eT ar Biography—Jeff Altman 451 lography—Jon Racherbaumer : ‘Mutual Aid Sandwich (Jon Racherbaumer) 348 Top-Cover Sandwich (Jeff Altman) 452 The Aces Turn To Collect (Jon Racherbaumer) 352 Miracle Time (Jeff Altman) 455 Reflex Spell (Jon Racherbaumer) 356 CenTranspo (Jeff Altman) 459 Biography —Looy Simoneff 359 Triumphant CutA‘Way (Harry Lorayne) 461 ‘Two Spread Bottom Palms (Looy Simonoff) Biography—Peter Marshall 464 Spread-Pass Bottom Palm 360 Troika (Peter Marshall) 465 CounterCockwise Bottom Palm 369 Conglomer-ace-tion (Peter Marshall) 468 The Lorayne "Spread Out” (Harry Lorayne) Ascension (Phil Goldstein) 473 Weird Spread Palm (Harry Lorayne) 371 Pee ncerrig arene meee Snap Lap (Harry Lorayne) 376 False Identity Uack Birnman) 478 HaLo For Four (Harry Lorayne) 378 Moving Up WeansJacques Sanvert) 485 SECTION VIL Moving pra 489 Biography—Bob Farmer 385 SECTION X é nee Reversatility (Bob Farmer) 386 | evervable Harry Lorayne) aoe nowt —_ ee aces eee = Spectator-Peck Glimpse (Larry Jennings) 501 Toroverve cards toughest he deck Try To Remember (Larry Jennings) 504 Toreverseacard ina packet 399 All Systems Go (Larry Jennings) S0712 HARRY LONAYNE, Biography—Ron Ferris 512 Firestorm Two (fon Ferris) 513 Sandfire (Ron Ferris) 519 Biography—Steve Minch 521 Aces Over Teakettle (Steve Minch) 522 Force Feed (Steve Minch) 528 Force Feed Between 530 Spectator Foree Feed Between 530 Spectator Force Feed Between ‘2 581 Between Four 531 Force Feed Bight (Harry Lorayne) 534 Ultraces (Harry Lorayne) 539 Ultroon (Harry Lorayne) - 545 ‘Two-Handed Ultra Move (Harry Lorayne—Richard Kaufman) 548 ‘The Lazy Man's Ultra Move (Harry Lorayne) Ultra Location (Farry Lorayne) 556 Last Word 558 53 VenForeword to this 2001 edition nee J've reprinted this book, | think, five times. Then, I stopped. It hasn't been available for quite a few years. I must get two or thee calls a week from people begging for a copy. (Of course, it may be ‘the same two or three people calling every week!) 1 did think about reprinting every once in a while, but other Pooks waited to be writen frst—Best of Friends Volume Il Sear Quality, Trend Setters, Doug Edwards Packs A Wallop’ The ayinber Wallet Book, The Page-a-Minute Memory Book, Super Meniory-Super Student, The Memory Power Package (as cold Chaat wision), and seventeen (of the twenty) years of Apocalypse (that’s 204 issues!), then, I simply got too lazy to do it, to reprint Best of Friends Nolume 1. Enter Louis Falanga, L & L Publishing. He asked me. | if'd let him reprint it. 1 did and he did. You're holding that new reprinted version in your hands right now. Since the original version appeared in 1982, we've lost five of the contributors, that I know of—A. Berkeley Davis, Lary Jennings, Charles Hudson, Ed Marlo, Jack Birnman, Only a cou- ple of the remaining contributors are no longer Particularly my “triends”—I've made more than enough new friends te ‘compen- sate! of fact. One reviewer (lan Baxter) wrote, in part, “This book is the Plum card book of the decade.” And, “..a varied assortment uf pangmPorary gems of card magic, the likes of which WILL NOT DATE (lan's capital letters)..will be around for the next milloc nium.” Well, it'd be nice if he was right! if you have the original and purchased this version, you'll Prob- ably be going through the book again. I know thet you'll find “gems” you didn’t recognize the first time around. Ifyou never had the original and purchased this version, you've got a lot to look forward to! Harry Lorayne Wir set anoter bok on card mag Wasi one ~ has been flitting around in my mind for eight or ten years. To bring it to culmination required a lot of time, research, and ‘begging (for material)—which I don't particularly like to do. You see, through the years I've been fortunate enough to see Jriends perform some card magic that they would not release; ‘ot put Into print. These were (are) their special favorites. I kept records of these effects and routines, some on paper, some in my head. When I decided to do the book (I'll put up with the jokes about my “last” book as long as you keep putting up with, and buying, the books!) I contacted these people. After explaining what ante’ to do- the format of the book—90% of them released their “special” effects to me. Aside from my own material, that’s what this book consists of. These are routines and effects from “stars” whom I consider to be my friends; routines and effects that might, otherwise, never have been released. Of all the magic books I've read, and all the magic books I've writen. there's never boon one with the variety and wealth of card magic contained in this one! That's a pretty strong statement and 1 wouldn't take the chance of putting my foot in my mouth if I didn't believe it to be a factual statement. 1516 HARRY LORAWNE A ors There are effects, routines, moves, ideas, in just about every area of card magic within these pages. What a fund of knowledge has been encompassed! I’ can make that immodest statement (modesty is a drag) because more than half the book consists of other peoples’ effects and routines. 111 tell you honestly, this is the kind of book I, personally, would have killed for years ago after I'd become fairly knowledgeable in card magic. There was, however, none such—not that I ever found; not in those years. believe this to be the kind of book you'll go back to, refer to, over and over again, for the rest of your life! And, you'll discover new, fascinating routines and effects to perform each time you do. That's not unusual, nor mystical. As time goes by, and as your knowledge increases, effects you've overlooked or passed over, because you felt you couldn't do them, become practical for you. This book should open new vistas of card magic for you. ‘That— opening new vistas—has been my goal with every book on magic I've written, I believe that this one nudges closer to that goal than ever before. In most cases, I've listed credits as they were given to me by the individual contributors. Within my own routines, I give the credits I'm aware of. If anyone has not been credited properly, it is inadvertent—through lack of knowledge—and I apologize for the omissions now. I've always been a bit perturbed over the fact that, through the years, people read magic books containing effects by some “familiar” names, and knew nothing about these “familiar” names, but their names! With the hope of overcoming that situation at least a little bit, Ive included a short biography of each contributor the first time an effect or routine by that contributor appears. Now you won't have to wonder—Where is he from? Approxi- mately how old is he? Is he married? Children? What other inter- ests or hobbies does he have? And so on. 1am familiar, of course, with all the ideas in this book. I sure do envy you—you are about to explore some new roads, some new vistas, of card magic—by present and future “stars of card magic! co O bestor menos 17 When routines are contributed to me I always make it that they must be exclusive with me. Nonetheless, after this .was “put to bed” three items (that I know of —"The Vanish- ‘Aces,” “Twisted Hofzinser,” and “A Good Case’—appeared in lets. ; se tthe remain for three reasons: They’ good routines = 2) Even if you have read them before, there's certainly enough © -‘material in this book so that it doesn’t make the difference of a Harry LorayneHARRY LORAYNE Tilt Sandwich Location MM geatneroistoweabito show that sls cari E hot on top or bottom, and that two face-up mates appear to really ‘be separated in the deck. Then, the mates magically come > together, sandwiching the selected card. ‘Two main sleights are involved; one is Tilt, which I assume _you're familiar with, and the other is my own HaLo Cut, out of Rim Shots also taught in Quantum Leaps). The assumption is that _ you're familiar with that, too—but I'll describe each one briefly When I come tot. Remove any two mates, or let a spectator name and/or remove them. Assume he names the two black threes. These are removed ‘and placed aside, face up. Now, have any card selected, remem: = bered, and replaced. Control it to second from top. Turn up the top card to show that the selection isn't there; eplace the top card. Show that the selected card is not on bottom. Place the two black threes face up onto the face-down deck. Spread to display and, as you square, obtain a left little finger break beneath the top four cards; that is, the two face-up threes dnd the two face-down cards beneath them. Patter to the effect that you want to separate the two black = thirees. As you talk, slide off the top face-up 3-spot with your right ind—and do Tilt. Briefly: The 3-spot goes into the break at the {fear of the deck. The illusion is that it's going into center deck. a22 HARRY LORAYNE, (See Fig, 1.) Push the face-up 3-spot flush and square the deck by moving the deck proper up to coalesce with the broken cards. Immediately spread off the two top cards (only), saying, “That black three is lost somewhere in the deck.” Since you're spreading, a face-up black three and a face-down card—two backs show—all Jooks normal. Secure a momentary break beneath the two cards as you square them. Say, “I want to lose this one, too.” Double (or triple) cut the two top cards to the bottom, Flash the bottom card. This is the same card that you flashed (on top) earlier, but that's never noticed. And, at this point, i's a convincer Do my HaLo Cut. It fits in perfectly with the double or triple cutting—and really appears as if you're simply “losing” the face up mates, Brief description of the HaLo Cut: (if you know and do my HaLo Cut, you can skip the description.) The object is to cut the bottom half, except for the bottom card, away from the top half. Hold the deck from above with your right hand; your first and second fingers are at the right side of the outer end, your thumb is at the right side of the inner end. As you start to place the deck onto your left palm, your right forefingertip breaks about half the deck and swivels it about a half inch to the left. Your left hand comes up to take, or meet, the deck. The upper G008 BEST OF FRIENDS 23, ft corner area of the lower half deck hits at about a little lower in center of your left forefinger. Your left thumb grasps the er half at its upper left corner. (See Fig. 2.) There's no pause » in action—I'm breaking it into steps for you. ‘s From here, it's a combined action df both hands, Your right ind starts to move the lower half to the right. A slight upward pressure of your left forefinger will cause the bottom card to cling toiit. At the same time, your left thumb presses down lightly on. ‘the upper half. (See Fig. 3 for a “mirror” view; you're seeing the outer end of the deck.)24 HARRY LORAYNE aves 008 BESTOF FRIENDS 25 Pull the right-hand half completely away from the upper half, In action, your right forefinger doesn’t swivel off the top half and/or pull the lef-hand upper half away from the lowes half_its just at the moment that the deck contacts your left hand. actually a combination of both; and the move is done, (See Fig. 4 ‘Also, in action, the deck can be held in dealing position in your for a rear view just a moment before the right half clears the left left hand, before the cut. The deck is held parallel to the tabletop. half) Drop the right-hand half onto the left-hand half to complete Fas the cut is executed. Your right hand approaches, takes the the eur. E deck, lis it only a fraction off your left hand, and then the cutis, done. There's no big movement of the hands, Your right hand Comes over and cuts the deck—that's all. Remember; there must be no getready, and no reaching ‘beneath the deck with your left fingers. The move must look no different than when you simply cut the deck. Your work is done. All that remains is the buildup. Then, ribbon, © spread to show that not only have the mates magically found each other, but that they've “caught” one card. Ask for the name | of the selected card—show that that’s the “caught” card. © Afterthoughts: The handling of the mates forms a pretty = sequence. Get it working smoothly, and you'll see. ‘The same sequence is used in the routine that follows. Some important points: There is no get-ready whatsoever; if you use any get-ready at all, you're not doing the HaLo Cut. The Part of your left forefinger that the outer left corner area of the lower half contacts is optional. It might work more smoothly for ‘you if it hits lower down on the finger, or even at the juncture of finger and palm. It works best for me as I've explained it. Also, you ‘may want to contact that lower half farther in from the corner than I do; I find it best to hit near that outer left corner. if you go in too deep, you won't get that clinging effect of bottom card to upper half. Experiment. Atfirst, you may encounter a bit of difficulty making that bottom card come along with, cling to, your left forefinger (particularly if your hands are completely dry. You may also find yourself dropping cards. But stick with it; after a while your hands and fingers will “learn” to do it practically by themselves. And then, its an instantaneous, and completely deceptive, move.9008 BesTor FRIENDS 27 the ace, leaving it protruding for about a third of its length. Continue tolef-thumb rifle another seven or eight cards and insert (protruding) the third ace. Riffle off another seven or eight cards and insert the last ace the same way. As you insert this last ace, spot the index of the card directly above it—this serves as a key. Now; do the Simplified shift. That is: as you hold the deck pretty firmly, your left forefinger moves to the outer ends of the three protruding aces. Push them down, flush with the deck This -Gauses all cards between the aces to protrude from the deck’s Ace Sandwich Four “Tha intrestng fourace toca was worked ut srt devised the Tilt-Sandwich concept for a selected card. I worked ‘out different variations, some quite difficult—using my Ultra Move, for example. The following is the simplest. It uses The Lorayne Force. ve described The Lorayne Force in a number of ‘books, soit might be considered “padding” by some it described it again, 1 must assume, therefore, that if you're a reader of my books, you are familiar with it. just touch on it at the appro- priate time. 4s you locate and remove the four aces from a shuffled deck {et any 4-spot to fourth from the face of the deck. Then, remove Any two mates, or let the spectator name them and remove them, oF use two jokers. Let's assume you're using the red sevens. The Aces are now lost(? in the deck and, in so doing, are set for the remainder of the routine. ! use my own variation of Marlo’ simpli. fied shift ‘The deck is face up in left-hand dealing position. As you say, “I want you to actually see the aces being los,” place one ace flush onto the face of the deck. Pick up another ace as your left thumb rifles down at the deck’ outer left comer. The object here is to insert the second ace immediately behind the set-up 4-spot $0, riffle to the four (you can see the index comers if you hold the deck properly) and then let that riffle off your thumbilp. Insert ‘The object here is to get to your key card. If you've followed my handling, that key is a bit below center, so you don't have to ‘search’ for it. As you do the above, say, "And, of course, the other aces are also lost.” When you spot your key card, replace the righthand cards and get a momentary left little finger break 2628° HARRY LORAVNE, aves: beneath the key. Double cut to the break, and you're in position Incidentally, if you should happen to lose the key, you'd simply Getto the first ace, and say, “Here's one—Ier's lose it.” Replace; get break above the ace, and double cut. You should now have three aces on top, followed by the 4-spot, then three indifferent cards, and then the fourth ace. Place the 4 two red 7's face up onto the face-down deck. Spread to display. Square, obtaining a left little finger break beneath the four top cards. Now, do Tilt Sandwich exactly as explained in the preced. ing. As you do, talk about separating the red 7's, also as in the preceding, Do your magical gesture, and spread the deck doing the Lorayne Force. Very brief description: Your right hand holds the deck from underneath at its inner end. Your left fingers spread-fan the cards at the outer left corner of the deck: the cards are spread to the right. (See Fig, 6, 6 Light upward pressure with your right fingers causes the bottom card (an ace| to remain at the right side of the fan. (Fig. 7 is awonm’s eye view.) Point out that the red 7's have not only come together, but that they've captured a face-down card between them. As you do, your right hand separates all the cards up to the sandwiched card, (Fig. 8) Replace the right-hand cards. This automatically BEST OF FRIENDS 29 bottom hidden’ ae to between the 7. our ef hand che ace dawn Wl! sandwiched card and turns to dapay an ace: The faceup 70 appear tobe clewny ig) 4 corn of te hidden aco bewoon them of ‘ace ihe se ace ace up tothe le Lap anita soon cos hese ota ke the deck. Do your magical gesture and spread to show a face- down card between the face-up 7's. With your right hand, remove all the spread face-down cards above the upper face-up red seven, and place them to the table for the moment. There’should be oneYY 30 MARRY LORAYNE, aves extra card spread off with the seven sandwich so that when you square you can get a left little finger break beneath it—beneath four cards. ‘The four-card packet is taken from above with your right hand. Your left thumb peels the top 7-spot onto the left-hand cards, Then it peels the next, face-down, card onto the seven, but out. jogged. The second face-up seven, really two cards, is placed onto the half deck slightly injogged and tilted. This is so that your left second fingertip can rest at the double card's outer right comer, making sure that those two cards remain perfectly aligned. (See Fig. 10) The patter, as you do the 3-card peel, is—"There should be no doubt as to what that face-down card is,” Remove the outjogged card with your right hand, turn it up to show the ace, and toss it to the table with the first ace. Square the 7's, and place the tabled half deck onto them—the two 7's are together! at center, Do the magical gesture, and spread to show that the 7's have caught another face-down card. Again, spread so that you can get @ break beneath the card that’s beneath the lower seven. The handling this time is different. Your right hand moves away with Q008 BESTOF FRIENDS 31 its spread, taking the upper seven and the “caught” card. (Fig, mW) Your right hand moves to the table, turning palm down, and drops the “caught” card—an ace—to the table. As you do this, your left hand squares its cards, getting the left little finger break beneath the seven and the card beneath it. Your right hand is returning with its still-spread cards—and, as you say, "I'll keep32 HARRY LoRAYNE, aves the sevens together” casually side the inner le comer ofthe Sighthand seven into the break--and square. Pig 12 showe this in progress! “Lets se if they can eateh the last ace." Do your gesture Spread to show the “eaught" card Tum ito showthe depot ae You say, "Wel they dlnteatch an ace™-butthatwafour ates” MMe i Place the top half spread including the 75 andthe tapos the Ace Sandwich Four #2 table. lowiy count fo the fourth card down inthe lehand et, Me ‘Turn that upto show the last ae. “Those sevens never mia Afterthoughts: Practice this a while, Get it working smoothly, and I think you'll like it I worked out a switch of the sandwiched card that I couldn't use with the above set-up. The effect [ use, which follows, is the same—but the method is just a bit more difficult. (See "Square Up . . . And Away,” in the next section, fora similar use o The Lorayme Force) “Trstsreaty prt ofmy Atethought othe preceding The effect, to the viewer, is the same. The set-up has to be slightly different, and that necessitates a quick move during the shift that's a bit strange. The routine also includes a strange from-the- spread switch I came up with, All I can tell you is that it all lows,” and is workable—for me. The routine is exactly the same up to the “losing” of the four ‘aces. For this, the second ace goes in front of the set 4-spot. Insert .ces as in the preceding. When you do the left fore: finger push-down—the start of the shift—the block that comes out of the inner end will have the set 4-spot at its face. As your right fingers reach that block, to strip it out, they push the 4-spot back up and flush with the deck. (See Fig. 13) Then, strip out the block as described. Continue, as in the preceding—bringing the aces, ete, to the top. Continue—the first two aces are located exactly the same way. But, after placing the second ace to the table, it’s the 4-spot that's between the mates. . ‘After doing your magical gesture, hand to hand spread to show 4 face-down card between the mates. That's the 4-spot; an ace is directly beneath the lowermost face-up mate. That ace is switched in for the 4-spot. I's done (or at least, I do it) as I say, "I guess you know what that face-down card is—the third ace, of course.” 33,34° HARRYLORAINE aves 9008 est ov FRIENDS — 35 The switch: Your right hand breaks the spread so that the three-card sandwich is at the bottom of its portion. The face-down card should be exposed less than the face-up mates. Your left hand holds the lower half squared and in dealing position. (See Fig. 14) : continues moving toward the two tabled aces—and your thumb deals off the ace. (Fig. 17) Done correctly—naturally, and with no hesitations—it does ook exactly as if you're removing the “caught” face-down card. It's best if both face-up mates are still visible after the switch. Occasionally, the uppermost mate goes under the spread and out of sight, That’ all right, but with a bit of practice, you'll be able to Your left hand turns over, palm down, its thumb reaching toward the "caught" face-down card. The “appearance” is that your left thumb reaches under the face-dewn card, removes it, and tosses it face up to the table with the other two aces. ‘What actually happens is that your left thumb contacts the exposed long side of the face-down card and pushes it into the ‘Again, there's no pause throughout. Your palm-down left hand |36 HARRY LORAVNE. aves keep it in view. It just looks better that way. You'll have to put in After the switch, place the right-hand cards onto the left-hand cards, and end the routine as in the preceding. HARRY LORAYNE. Citra Pop-Up Cover Pass Oat tne pases 1inow there are two that use most often—when T want to be sure that nothing will be seen by the viewers. One is the Spread Pass which I described in Reputation Makers) and my own variation of that—the Spread:Pass Delay. Recently, I heard that # couple of wellknown eardmen were ding the Spread-Pass Delay and claiming tas their own—but it, 100, is directly out of eputation-Makers} The second one is the top-card cover pass Tve used both the above for more years than I cae to remember. 1 never described the top-card cover pass in any of my books {although I touched on it in The Card Classics of Ken Krenzel: that’s Ken's handling. I also touched on the idea in an effect called Carnal Knowledge, in Quantum Leaps! because, obviously, itisn't mine. Lately, however, many have asked me to teach it to them after they've seen me demonstrate it. And, in checking with some knowledgeable cardmen, Tm told that, although it’s the standard top-cover-pass action, my technique and handling are diferent and unusual Thonestly feel that it’s the kind of thing that has to be seen to be appreciated, but ifyou feel like working on it Tl describe it as best can. 1 also want to teach it because there area few ideas in this book that are based on a top-card cover pass. 80, this is the 379008 BESTOF FRIENDS 39 38 HARRY LORAYNE aves fingers at outer end, Your right litle finger is, of course, also at the outer end, but off the deck, making no contact. Your thumb and second and third fingers are deeper down than normally. (See Fig. 19.) right place to teach it—if at all. My assumption, of course, has to be that you can do (competently) the standard Classic Pass. You've done a hand-to-hand spread for the selection of a card, ‘The card is replaced onto the left-hand, squared, portion. Your right hand still holds a spread of cards. Replace the right-hand. spread onto the lefi-hand cards, as you'd ordinarily do, except that you get a left little finger break above the selected card. The Pass happens almost immediately after, or as, the deck is squared, Now, I use two handlings—one for a normal deck, in good condition, and one for a sticky deck. First, the "normal deck" handling. The position of your left hand will change hardly at all during the entire pass action. Your right hand does all the work. 1 guess that’s where my handling differs from most. I understand that most cardmen pull the top half to the bottom with their left fingers when doing the pass. I do not; my right fingers do all the work, pulling the lower half to the top. All right; when you square the right-hand spread, your left forefinger is at the outer right end of the deck, your thumb is loosely curled on top, your second and third fingers are at the right long side, and your little fingertip is inserted between the halves, at least up to its first joint. The top half is not yet com- pletely squared. (Fig. 18 shows the situation at this moment— performer's view) 19 In performance, it’s as your right hand moves to this natural position that your left thumb is doing the more important action, ~ As your right hand moves to position, your left thumb, using its ‘entire side surface—the surface that’s contacting the top card— lightly pulls that top card to the left (It really is the rear inner part ‘of your thumb that does the pulling) It is pulled until your left thumb is pressing the card's left long side against the left long side of the lower half. This is instant, of course, and, ast happens, if you keep your left fingers loose, two things happen auto- matically. The right sides of the halves tilt downward so that the ‘upper half, under that top—moving—card moves to the right, ‘and your right thumb and second and third fingers move more to =the left than shown in the preceding illustration and grasp the fends of the lower half. (Fig. 20 is as exposed a view as I can ‘manage! The halves tend to square themselves some more as you move E - to this position and—the sliding action of left thumb and top in concept to my Ultra Move (Afterthoughts), which. Eis the reason for the word “ultra” in the title. Your right hand moves to rest lightly on the deck; your fore- fingertip curled on top, thumb at inner end and second and third40 HARRY LORAYNE aves Q008 BESTOF FRIENDS 41 Remember that, in performance, you're at this position in- completion.) Remove your left little finger as you finish squaring stantly; almost as the right-hand spread is squared onto the left- tthe deck. hand portion, Now, the pass itself. You're already part way there if you've followed me up to here—that’s because the upper half (except for the top card) is already part way to the right. 3 22, 23. When you get this working right, if your left fingers are "loose" enough (they're got motionless, but they make no effort ‘to move under their own power), you'll see that the top half deck, AAs L told you, I do it all with my right fingers; my left fingers, under the top cover card, "pops up” and back instantaneously. aside from being relaxed and holding the upper half loosely, never F That’ the reason for the “pop up” in the title. The right long side consciously move. All you have to do is to pull the lower half of the lower half lightly brushes the face of the upper half in upward with your right second and third fingers. Those fingers = action, and the halves clear each other in a "snap." Concentrate and your right thumb remain at position at the ends of the lower ‘on your right fingers as you do the pass—that will make it happen half through the instant pass action. And, it's actually the third fast. a | finger that does most of the pulling upward. At least, it is when I When I'm handling an old or sticky deck, the pass itself is doit. Your second finger and thumb help, of course. E exactly the same, but the top card is moved to the left a bit ‘That lower half's actually being pulled up to coalesce with, to differently. As the right-hand spread is squared onto the left-hand move under and to join, the top cover card. As that lower half © portion, and your right hand shifts to position, your right thumb moves—and it’s really only its right long side that moves—it = and second finger slightly bend up the ends of the top card. (See automatically pushes land raises] the upper half’ left long side to p Fig. 23) the right Pig. 2118 a stopaction view) ns ee they do, yourright hand moves that card tothe lft with the ‘The instant the halves clear, which is about the same instant help of your left thumb. (See Fig. 24.) Your left thumb still “ultras” that the lower half lushes against the top cover card—the original the card to the left, but the slightly bent up ends assure that only top half, the portion held by your left fingers, will snap back to ‘one card moves. And—as part of that movement, the end of it— the left and onto your left palm. (Fig. 2 is a rear view just prior to your right thumbtip and second and third fingertips grasp the42 HARRY LORANE aves ends of the lower half. You're in “pass” position—do it as explained. (You may want to try this handling with a nonsticky deck, too.) Sandwich Ramblings © [nnieaaren 90 au, column Jon Rachesbaumer ran fn effect called Jack-Flash Transpo, based on a sandwich trans- position performed for him by Daryl Martinez. The effect is that a hand-held card visibly (and instantly) changes to a previously = sandwiched (and center-decked) card, The deck is immediately Spread to show that the changed” card is now the sandwiched one. In other words, it's an instant and visible transfer ‘Jon's method is fine. The problem, for me, is that it involves a F awitch of the sandwiched card while it is still at center deck Knowing Jon, I'm certain that he does it cleanly and well. 1, per- aonally found it difficult to get away with. = "Being somewhat familiar with “jack sandwiches"—I've been = eredited, or blamed, for starting the craze with One-Eyed Jack Sandwich, in My Pavorite Card Tricks—I played with the idea. 1 ‘came up with many methods. No, I don't think they're perfect, = But I do feel that a few of them are startling and direct. For all © methods, I wanted to really place the sandwich to center, and = fave it appear as fit never leaves center. = The basic sleight is the top-card cover pass. I'll explain (in the ‘Aferthoughts) two ways to “substitute” for the top-card cover 25 just in case you can't, or won't, doit. I don't usually include ‘Tany methods for one effect, but I wanted to record these. Don't let it confuse you, Familiarize yourself with them, then Afterthoughts: It’s not a particularly easy move to learn, but once you get it “going.” it's easy enough to do. Bear in mind that the entire sequence should appear to be a short squaring-the-deck action. You almost-completely square the right-hand spread onto the lower half, your right hand moves to above the deck as if to square it, do the pass, and complete the squaring action. That's all. In other routines in this book, when I tell you to do the top-card. cover pass, this is the pass I'm referring to, and i's what I use at those points. 4344° HARRY LORAYNE aver make your choice, Continue reading this only when you have time, patience, and a clear head! Method 1: Openly remove the two red jacks. Place them face up onto the table. Let your spectator place any card, face down, between them. This card is remembered by all, and a black card is best—for contrast. Assume it’s the 3C. Place (or let the spectator place! the jack sandwich into the center of the deck. (The jacks are face up; the 3C is face down between them. Spread the deck from left to right hand until you come to the sandwich. Leave the lowermost, face-up, jack on top of the left- hand cards as your right hand turns over (inward) its spread portion to show the 3C between the jacks. This is done as you say, ‘Remember; it’s the three of clubs between the red jacks.” Replace the right-hand portion and, as you square the cards, obtain a left little finger break above the 3C. The moment the deck is squared, do the top-card cover pass. Do the pass as part of, the end of, the squaring action. ‘Turn over the top card (assume it’s the 7H, as you say, “Now, let’s remember any other card.” Be careful not to spread the top cards of the deck as you do this; a face-up red jack is third from top, and you don't want to flash it. Handle the 7H so that your spectators know that it's a single card—and mention its name once or twice. At this point there are choices for the ending. Il describe my own preference first. I prefer it because it’s a visual change of the 7H to the 8C. (The other change is Method 2.) Place the 7H face up onto the deck. Then, grasp the two top cards (they're back to back) at their sides near the inner end. Your right thumbtip lifts only two cards at the loft side. Or, lift the two cards at the center of the inner end with your right thumbtip, get a momentary left little finger break beneath them, then change right-hand position to grasp as described. (See Fig, 25.) Again, watch your angles. The face-up red jack is directly beneath these two cards. Don't let it flash, The timing of the following is crucial—but fairly easy. The face- up red jack must be shaded’ at all times, Left-hand natural wrist turns afford the “shade.” Also, the bottom card is back outward {it’s the other red jack) and that, too, must be covered—although it’s not as crucial BESTOF FRIENDS 45 ~ ., Allright; your right hand moves the double card to the left—to = your left wrist—as your left hand turns palm down. (See Fig. 26.) ‘Note that your left hand covers the bottom, back-outward card. ‘And, even if some of that back shows, the action is too fast forit to the double card back to the right, performing the standard “Snap” “Change. (Simply release with your second finger—the double card flips over, side for side.) But—your left hand turns palm up as you the double card. With proper timing, the face-up jack remains shaded.” (See Fig. 27) In appearance, it’s a rapid leftright ‘movement of your right hand—visibly changing the 7H to the 3C, 26 Immediately push off the 3C (again, careful not to flash the * face-up jack third from top!—a back shows beneath it, s0 all looks ‘normal. You new have to show that the 7H is sandwiched between, the red jacks—at center. Again there are,choices. Choice 1: Drop the face-up 3C to the table. Then do the Turnover or Herrmann pass as you move the deck to the table to do a face-up ribbon spread. The 7H is seen face up between two “face-down cards. Turn over the three cards to show that its ‘between the red jacks.46° MARRY LORWNE, aves 9008 BEST OF FRIENDS 47 Choice 2: Simply cut the deck openly, and ribbon spread face other” card—the 7H. This will be a “delayed” change; the 7H is down. A cut is really illogical here, because if the jack sandwich is foe down. at center deck, as its supposed to be, a cut would bring it to near ‘As you gesture with it in your right hand, get a left little finger top or bottom. But, in my experience, laymen (and most magi- break under the top card of the deck. Careful not to flash the cians} never think of that. You may prefer to do a double or triple face-up jack beneath it. Now, turn the 7H face down in your right cut. That lends a bit more logic. = hand and do a top change. Ken Krenzel’s Top Change, in this book, is fine. So is the Hofzinser Change. (You might want to check Larry Jennings’ “The General Card,” in Apocalypse, June, 1980 = for a description of that change.) Any change will do, so long as the face-up jack doesn't flash. The Turnover Change also works. ‘Turn it up—it's changed to the 3C. End, using one of the three choices explained in Method 1. ‘Method 3: Start as for the above methods, but get your break - beneath the sandwiched 3C. Do the top-card cover pass. Now, the bottom card (SC! has to be brought to the top. I simply double cut _ Itfrom bottom to top. If you prefer, you can side steal it and place ito top. Choice 3: This is the most direct. Don't place the 3C to the table. Push it off, talk about the change of 7H to 3C as you replace itface up to the top of the deck. And, as you talk, get a momentary left little finger break anywhere near center and do another top- card cover pass! This fits perfectly; the face-up 3C remains visible on top of the deck. Now, remove the 3C and ribbon spread, etc. Or, let your spectator spread to see that the 7H is between the face-up red jacks. Whichever you use, the effect is that the 7H instantly changed You're now going to double lift the two top cards. Again, you to the 3C, and magically traveled to between the jacks. Call ita 4 have to keep the face-up jack third from top) from flashing. Get a “visible” transference. left little finger break beneath the two top cards. To do the lift, your The basic handling described here is the same for all the palm-down right hand approaches. Your right thumbtip goes into ‘methods. Ill also continue to use the 3C and 7H as the vital cards. the break and slides up to the center of the double card's right ‘Method 2: This is exactly the same as the first method except “Jong side. Your first and second fingers are on top. (See Fig. 28.) for the visible change. Get to the point where you turn over “any Both hands now move simultaneously. Your right hand turns48 HARRY LORAINE aves 9908 BEST OF FRIENDS 49 palm up, turning the double face up~as your left hand turns palm down, its forefinger pointing to the double. (See Fig. 29) Again, your left hand covers most of the back-outward bottom card. q ‘Now, do a variation of the “brush” change. Move over the double ~ card with the deck. (See Fig. 30.) There's no pause—as the deck covers the double, your right thumbtip pushes the face card of = the double (7H) slightly to the left. Your left fingers grasp it and 4 hold it beneath the deck, as the deck moves to the left. Your left thumb is "brushing" the “changed’ card (3C). may want to doa “feint" action brushing move once, then do the shange. I like to do it right away. There's less of a break in fluid "Turn over your left hand (a back shows). Now end with one of three choices explained in Method 1 ‘Method 4: Exactly the same as Method 3 except for the change (of the 7H. For this, do the double turnover exactly as explained, ‘bit then replace the double to the top of the deck. Thisis simply reversal of hand movements. With proper timing, the top face-up ted jack remains shaded throughout "Now: remove the single top card, supposedly the 7H, and ask a spectator to blaw on it. Turn it over to show the change to the SC. ‘End with one of the three choices. Or—in this case, as the specta- {or is blowing, do a Charlier Cut (or any one-hand cut) with your #t hand. Don't try to hide it, just do it. Ribbon spread to end. °° Methods 5 and 6: These are exactly the same as Methods 1 and 2 except that the “any other” card is displayed on top of the deck "before the pass. These are my own preferences because they're ‘more direct. Openly place the jack sandwich to center deck Then flip over face up) the top card. ‘Leaving the (say) 7H face up on top, hand to hand spread to show the face-down (say) 3C between the face-up red jacks—just as I described in Method 1. Stress which card is where. Square, ‘This is pretty when done correctly: In appearance, the 7H J changes to the 3C as your left thumb brushes it. (See Fig. 304) You50 HARRY LORAYNE, aves obtaining your break above the 3C, and do the top-card cover ass. This is cleaner; the top face-up card remains in view. You're in position to change the 7H to the SC using the change described in either Method 1 or 2. End with one of the choices described in Method 1. Method 7: This uses the straight Classe Pass (or double cut) rather than the top-card cover pass. You may thinkit’s more direct. 1, personally, prefer to do the top-card cover pass, Place the jack sandwich to center. Show the top card and place it face up to the table. Or, let your spectator remove any card and place it face up to the table. Name this card, then spread to show and stress that the (say! 3C is the card between the jacks. Square, getting a break above the 3C. Do the Classic Pass. Pick up the tabled card and either place it face up on top and do the visible "Snap" Change as in Method 1, or turn it face down and do a top change or the Hofzinser Change as in Method 2. End as already explained. Of course, you can double or triple cut to the break instead of doing the pass. Obviously, the pass is more logical—it's also cleaner, more direct. ‘Method 8: The “raison d'etre” for this method is that it enables you to do the “Snap” Change and then show the card beneath the changed card. Place the jack sandwich to center. Now do a double lift displaying the top?) card. (Again, assume it’s the 7H) Replace the lift and deal the top indifferent card face down to the table. Hand to hand spread, etc, get your break above the sandwiched card (3C), and do the top-card cover pass. Pick up the tabled card and place it, face down, on top of the deck. Ask a spectator, “Do you remember this card? Right; the seven of hearts.” Do a double tumover onto the top of the deck, displaying the 7H. Now, do the “Snap” Change exactly as explained in Method 1, except that you break three cards. When the 7H has visibly changed to the 3C, drop the 3C face up to the table. As you talk about the change, casually remove the top (indifferent) card, turn it face up and use it to gesture with, or point to the 3C with it Choice of endings: As you gesture with the indifferent card, do Charlier (or any one-hand) Cut with your left hand. Ribbon spread to end. r, place the indifferent card to center, and nmediately do a Q008 BESTOFFRIENDS 51 Classic Pass. Or, use one of the ending choices described in Method 1 ‘Method 9: Exactly the same as Method 8, except that I'd use my Ultra Move (out of Afterthoughts) instead of the double lift. ‘Method 10: Place the jack sandwich to center. Flip over the top card, name it (7H), flip it down again. Spread to show and stress the card (3C) between the jacks. Square, getting your break beneath the 3C. Do the top-card cover pass. Say that you'll place the top card (the 7H) to the bottom. Do a triple lift, keeping the three cards face down. Holding them firmly there's a face-up jack at center; this may tend to "flare" the three cards! as one, place it (them! to bottom, but really do either a bottom-card pull-down or buckle, placing the triple above that bottom card. (See Fig. 31.) ‘Ask, “Do you remember the card between the jacks?” The answer is that it’s the 3C. "Right, And the card I just placed to the bottom?" The answer is, “The Seven of hearts.” Say, “Right. But watch. ...” Deliberately remove the bottom card, keeping it face down. Ask your spectator to blow on it. That's it. You might want to flash the indifferent (now) bottom card. End as suggested in Method 4. ‘Method 11: This does not use the top-card cover pass, and i similar to Method 10. Place the jack sandwich to center. Spread to show the sandwiched card. Get the break above the sandwiched ard. Classic Pass at the break. (Or, double or triple cut to the break) Doa triple lif, grasping the three cards, as one, at the right side52 HARRY LORAVNE, aves = d008 BEST OF FRIENDS 53 ‘This is just the opposite of the lift in Method 3. For this, your right Sirst and second fingertips enter the break—your thumbtip is on top. Turn your right hand inward to flash the card; refer to it as the top card, of course. Turn down the triple and appear to place it, jogged to the right about half its width, to the bottom. Actually, the triple goes above the bottom card {a face-up red jack’ via a bottom-card pull-down or buckle. This is almost the same as in Method 10 (look at the last illustration again) except that the right-hand grip is different. = For the change: Your right fingertips push the lower two card: of the triple slightly to the left (a block push-of?. Your left fingers reach over and pull these two cards flush with the deck. Done neatly, there's nothing to be seen; the: back of the cardis) nevei leaves sight. (See Fig. 82 for an exposed view.) © tubstitutes for it. These do not fit for all methods. They apply faainly to the first few. Both appear as if you're simply cutting or ible cutting the deck. The simplest one is just a slip cut—T i's a Marlo concept. Get your left little finger break. Then, =Hight hand moves the top half to the right as your left thumb he top card in place. (See Fig. 33.) Your right hand places, alfbeneath the left-hand half. Or, your right hand places its 6 the fable, then returns to take the left-hand halfand places 6 tabled half. a Remove the still: protruding card and ask what card it is. Your spectator names it. Say, “Right,” and ask him to blow (or what- have-you) on it. End as suggested at the end of Method 4. break, either above or below the sandwiched card. Your Afterthoughts: As 1 said at the start, I don't usually include quite so many methods for the same effect. I simply think they're all good, and I wanted you to make your own choice rather than. selecting the one I prefer and explaining only that. If you're inter- ested, I've listed them just about in the order of my own Preference—except for Methods 5 and 6; I like those best. Ifyou like, both vital cards can be signed by a spectator in most it hand holds the deck from above, right thumbtip taking over oreak Yourlen fingers cut half the bottom half to the top. This portion doesn't flush; it's (almost automatically] canted—top end he Continue—your left fingers cut the bottom cards up to t break. As this portion moves to the left, your left thumb slides the jop card (of the canted portion) onto the moving portion. (Fig. 34oO 54 HARRY LORAVWE aves is as exposed a view as I could manage) This top card coalesces ‘onto the moving portion—it also covers the face-up jack (if your break was below the sandwiched card), There's no pause; your left hand continues moving, placing its portion on top. Square, and you're in the position you'd be if you did the top-card cover pass. In action, there's no pause throughout. Your left thumb is (or should be) automatically at the top of the canted portion as that portion is moved to the top, and as you cut the second portion up to the break, Compare my version to the cut described in Larry Jennings’ Count Me In, and to Ed Marlo's Cover-Up Cut in Mutual Aid Sandwich (this boo. They'te similar, of course, but you'll see the differences, Please remember that these substitutes apply only to certain of the methods; you'll know it when you try them. It should be obvious where they do or don’t fit ‘TOM MULLICA = Ata very early age, TOM MULLICA loved clowns—his ambition was sn years old, his to become a circus clown. Then, when he was seven years old, ‘mother gave hima Sneaky Pete Magic Kit for Christmas—that did it. Hepracticed magi for ten years while ving ona farm in Wisconsin = before meeting another magician. He continues to eat, sleep, an live—magic. He says that magic is and always will be his life. ian iners around. Tom in my opinion, is one of the best magician-entertainers ve seen him in action in his own environment, his magic bar, in = Atlanta, Georgia. He'll fool you badly, and have you laughing hysteri- cally at the same time. He's still enamored’ of clowns, because he is one—he'll do anything for a laugh i "7 nt tomasterit, Pieces of his philosophy—"“Art is aparadox—ifyou want to = you must become is sav. By performing st nights a week at the ‘Tor-Foolery, Ihave learned that a professional entertainer is one who has mastered the art of ‘second wind. And-—ideas are like children, there are none so wonderful as your own!“Thisieaesutta sitaran move sich ofa card as itis casually pushed aside, or pushed toward your spectator. It. will take a bit of practice to get used to, and to get it looking casual, A selected card is lying, face down, on your working surface; it's outer end is angled to the right. The deck is face up in your left hand. Secure a left little finger break beneath the top (face) card, and turn your hand palm down—deck face down. Tve explained it this way for teaching purposes; when you're familiar with it, you'll get your break while the deck is face down—the break is above the bottom card, Now, the move—the result of which is to switch the “broken’ card for the tabled, selected card. The overall appearance is that you place the deck onto the tabled card, momentarily, and casually push that tabled card aside; that’s all. Place the deck onto the tabled card so that the outer side of your left thumb goes onto the inner right corner area of the card. Your thumb is away from the deck. (Fig. 35 shows the situation, but everything is exaggerated so that you can see it all clearly.) The bottom card of the deck is still “broken,” and your thumbtip cannot be touching the side of that broken card, or the card may “hang up" on it during the move. With a fairly smart motion, your left hand moves away from 56 108 RESTOF FRIENDS 57 ou—either diagonally left, or forward—toward your spectator. switch occurs during this forward—and back—movement. maintains contact with the tabled 35 36 It’s during the forward move that your left fingers open, releas- ing or freeing the broken card at its outer side, allowing it to slide ‘out! Your hand immediately moves back toward you (or to the ‘ight, if your original movement is to the leftl. The deck is simply ‘dropped (by removing your hand completely! onto the originally ‘tabled card during the return movement. (Fig. 36 is an attempt to “depict the position of cards and fingers just after the “release’ n't as easy to do as it may seem. At first, the ‘broken card tends to “hang up,” and doesn't slide out. Tom juggests that you practice only the slide- (or toss-) out of the ‘broken card for a while—forget the tabled card. Just get the slide- = out working smoothly. Then, do it with your thumbtip on the tabled card. Put the actions together, blend them, and you've got, ier way to do it Afterthoughts: 1 suggested to Tom that an easier way to ¢ might be to place the deck and your thamblp. av explained © Release the broken card before your hand moves forward—then © move hand, deck, and tabled card, forward—them smartly back58 HARRY LORAYNE aves leaving the broken card. Tom agrees that it works, and is a bit easier, that way but feels that your spectator may see the release, the drop, of the broken card. He's right; using his original method, the release-drop is done during the forward movement, Actually the release-drop and toss-out are done almost simultaneously. In any case, it happens so quickly that it's doubtful that it ‘matters. And, it isn't a bad idea to be looking at and/or talking about something else—for misdirection—as you do the move. Told you that your thumb is away from the deck as you place the deck onto the tabled card, In performance, your thumb ean be contacting the deck’s inner long side, so long as it’s above the broken card, and doesn't contact that card’s side at all Once you get the “knack” of the move, it works like a charm. And, as I've said, its utilitarian. I'm sure you can already see in how many different routines, under how many different circum- stances, it can be utilized. Like my own Ultra Move, it can be used in lieu of a double lift. I can also see it being used in a gambli demonstration—to switch aholo card and son The Future Spread Tats atoctyideaan instant vse change ofa car ‘Thre nan act sev baa on hese eoncopt eal thlapping sts card. The panploheresnay tna apng snedbed can and shoul be done while sanding Wore eacloseup mat Controla nected caro th top. Now youhave to ds doube and place te double card fave op onto he taba ah end ened tonardyout I aassno you have your own aad fo thc fom spy doc the double itt te fa tm benet ata ace gngeripas op Than heres ls had ple to stl genly pcos ropa the double eard onto the ae iB props the ard shuld rman pero aliged pr semi wom oom Double Pat Down’ oa of Deer tay ant eee at ot rnyourle han lon speed the fee deck stating ano tt aed card) Spend ome ng tay on the outecard thatin plc aout ee oso inches tote iat ine ublecardond spread voyeur (oer 3 sper sats ath the dene beeen the spond and he doo tae are familar th he move Tourapadcion ofcourse has died at healed crisis wo aydgather ie aren athe ent eed inet Change le slete con our ogre set te60 HARRY LORAYNE, aves end of the spread—that's your “stop.” Now, your right hand moves, smartly; to gather the spread from right to left. As your right hand moves, your right fingertips gently brush the face of the double card (at about center!—bringing it to beneath the spread, in a faster-than-the-eye-can-see movement, Done properly, and all it should take is a few tries, the lower card of the double does not budge. In appearance, it’s an instant, visible, change. (Fig. 38 is an attempt at a stop-action view, since there’s really no way to “stop” that instant motion) Afterthoughts: ‘Try it a couple of times; you'll love it. Now, as usual, a couple of my own thoughts. First; iry it with a coin lying at center of the double card! The rationale is that you're “guard- ing’ that card. Use a half-dollar size coin, for weight. Do the move exactly as described, except that your right fingertips have to “hit” the face card of the double below the coin, That card slides out while the coin and selected card remain perfectly stationary! And, try it face down for a delayed change. The selected c: controlled to second from top. Display the top card: 9008 BESTOFFRIENDS 61 “wrong one, Momentarily replace this card to the top, and imme- jately double lift, keeping the double card face down. Place it into the table, (This is interesting; a double lift is done on the ‘f-beat, so to speak) Continue with or without the coin idea. Do “the move, placing the deck aside. ~ Build up the fact that the tabled card is the wrong one. Ask for E the name of the selection. Do your magical gesture, and let the spectator turn over the tabled card—it's changed to his card! ~~ Hyou want to be certain that the “slid-over” card goes to the = bottom of the spread, crimp the sides of the entire deck upward— the proper direction, according to whether you're doing it face 1p or face down. And, when I use the coin idea, the patter can be—as I place it on the cardis—"I'll put my money on that!’ You're “betting” that it is the correct card, or what-have-you, ‘Tom uses the move for quite a few routines; here's one quick effect he performs. Ask your spectator to name any card. Openly run through the deck, locate that card, and place it face down on. top of the face-dawn deck. Lift off the top two cards, as one, and > table it (them! face down to your right. Spread the face-down deck in preparation for the move and have another card removed. ‘Tum this card face up, place it on the table above (north of the spread with your left hand, and gather the spread with your right hand—stealing the top card of the double. The named card is now on bottom; your spectators think it’s still on the table. Pick up the deck, square it, and start cutting small packets from the top, to the table. Ask your spectator to place the face-up. ‘card onto the tabled cards any time he likes. When he does, drop the remaining in-hand portion onto it. This places the named ‘ard directly onto the inserted face-up card. © Pick up the single, tabled, face-down card—the supposed named card—and toss it into the face-down deck (riffle up at the rean, but don't look) as if you're trying to get it next to the face-up Ecard, Ribbon spread to show that you've done just that.900% BEST OF FRIENDS 63 double card is slid under the tabled card (in order to scoop it up), ‘and that's when the move begins. | like to use the double card to © flip the tabled card face up, then face down again, flash the face “af the double card once more—before [actually do the move. You E-should be working on a surface with some give—a close-up mat—to make this easy. Have the spectator name his card. The move is done as you say something like, “Let's see what we can © dowith the six of clubs. Your left hand, still holding the deck, turns palm down as it _ moves to the tabled card. Extend your left forefinger pressing its {ip onto the tabled card's inner left corner to hold it steady. At the © game time, your right hand slides the double card under it, starting at its right side. = The actions are about the same as for the Mexican Turnover, ‘except that you'll “flush” the double card with the tabled card. (Fig. 39 shows the situation just before the cards flush.) = TOM MULLIC/ Mexican “Change” Over “Tre reason fr tne ti is that sho main eetion fr the change ie almost excl the same as forthe Menean Tumover ‘he two min dflrences are thatthe shown and tabled gard oes nat change onthe ble~the changes shawn on the deck andthe card thats wed Wo pickup the abled card sed to Bp over tht card n te standard Median Turnover lesen oe the same card This nay sound confusing us yt and cea “ "te elected card lssume its the is controled to second trom te top: Display the top ear aigou thinkyouve found the ccection When ints dried, pace his indent carassune ise el face don onto the ble. n end fe ears toward yen Say “Peshap I’ this nest car” As you talk do a double it. "me double card has fo beheld at about center ofits ht log did: right thumbup ontop, fist, second and perhepe tre Angers underneath onthe acer Tom deta hit” double tt the right side andl automata in penton. Or you ean hod theusual lef ite ngerbreak inert your gh fis and second fingertips into thebrekat he nner ight comer an slide thom Show this cara fy omg your righthand inward toward you and palms down, Namo th cards dented of courses Both hands turn (swing! simultaneously now—in a natural action. Your left hand turns palm up as your right hand turns > (toward you) to place its cards onto the top of the deck. Just as you're about to do so, your right thumb does a block push-off of its two top (rear) cards. Your left thumlyis right there to take the (now) double card onto the deck and your right hand moves away with its single card. (Fig. 40 is the situation just as you do the push-off, and Fig. 41 shows the right hand starting to move away.) ‘What your audience sees is—the original tabled card (6C) change to the 4H. The “scooping” card remains the same. 62i 64 HARRY LoRAYNE aves Afterthoughts: This is pretty. Tl have to leave most of the patter and presentation to you. I, personally, use it as a quickie, 4 by itself—but you might want to fit it into a routine. The way I end, and clean up, is—I make a remark about the tabled card having changed to the selection. As I do, my left thumb, which is perfect position, presses down gently on the double cards outer left comer. This raises its inner right corner. My right hand slides its single card under the double card, Turn all three cards face down, outward, end for end. Do one cut or shuffle, and you're clean. ‘You can, of course, drop the single right-hand card onto the double card and then turn over all three. | do it as explained. It ‘seems to “flow” better that way. E9008 BESTOF FRIENDS 65 Just a thought: If you have two matching blank-faced cards, control the situation so that one blank is on top, followed by the ‘selected card, then the second blank-faced card. (The “bluff pass” ts perfectly) Now, do the entire sequence as you use a “mental Photography” patter theme. The effect is that one of the blanks “photographs” the selected, thought-of, card. r, control the situation this way: The selected card is second from top; its mate is third from top. For example, the KD and KH ‘An indifierent card (contrasting preferably; like a black spot card, ‘this example) is on top. Do the sequence. The patter theme is, “You just can't keep the two red kings (or whatever! apart!”KEN KRENZEL KEN KRENZEL KEN KRENZEL and Lare contemporaries; and we were born about = ssix blocks apart on the lower east side of Manhattan. The magic: bug bit at about age seven when he saw a marionette performance: at school. One of the marionettes was a “magician"—it turned. into a real magician, who did the multiplying billiard balls. That's myself, Ken couldn't afford to buy magic books. He covered some expenses during high school and college, doing ‘a mentalism act; he also dabbled in hypnosis. It was his interest in. the deception, perception, and the mechanics of the mind, so far ;en-show Ken new items because he often comes up tha piece of finesse in handling. or a completely new handling. jawed him Tom Mullica's Mexican “Change” Over, and that ed him to devise a completely diferent move, It wll take a it of practice. Place any card face down on the table. Flip the top card of the ck face up. As you display it on top of the deck, slightly spread ff a few cards so that you can obtain a left litle finger break ath the two top cards. Take these two cards, as one, with ur right hand. The double card is grasped at its right ong side; fight thumbtip on top, first and second fingertips underneath Your first finger presses upward slightly, curving the double card. 8 assures alignment, Your left hand places the deck onto the ble. Then, pick up the face-down tabled card with your left hand, held naturally near, or on, your fingers. The double card is held to its right. (See Fig. 42.) “The move looks simply as ifyou're using the right-hand card to “Rip over (ace up) the left-hand card. In the process, the left-hand ‘ard is changed, and the visible face-up, right-hand card doesn't change. It's one fluid action in performance, but I'l break it into steps fn order to teach it. I's quite similar, in action, to the Mexican apropos, he uses magic as therapy for depressed patients—helping them to build their egos. Ken is an innovator. I'm pleased to believe that I was instrumental in making him, and his innovations and techniques, known by writing The Card Classics of Ken Krenzel. To Ken, whose hobbies are cartooning and drawing, “magic represents an amalgamation of some of the finest efforts of the = human mind. For example, the drama, the mental and physical dexterity, the joy of playing with permutations and combinations, of already established and yet to be established, items and princi- ples in order to come up with new things.” In ather words, he loves the “creative joy” of magic. He leans more toward card magic because it has such a vast “combinatorial aspect.” 6768 HARRY LORAYNE, aves ‘Turnover, Move the double card inward (to the left) under the face-down left-hand card. When only about a half inch or so of, the face-up card is still exposed (Fig. 43) start flipping over the face-down card, side for side, to the left. As you do, your right first and second fingertips start pushing the lower card of the double to the left, as your right thumbtip pulls the top, face, card slightly to the right. (See Fig. 44 for an exposed view) As you continue, the left (or lower) side of the lower card of the double contacts the surfaces of your left fingers, helping to align it with the left-hand card. (See. Fig. 45.) Complete the flipover as the remaining single face-up right. hand card moves slightly upward (natural movement after flipping 9008 BESTOF FRIENDS 69 over another cardi, and the (now) double card flips completely over in your left hand, You'll find that your left fingers ai F turing the two left-hand cards during the move, and also help in keeping them aligned. Note how that double card falls in your left hand—the left fingers can immediately assure perfect alignment. (See Fig. 46) The entire move flows from start to finish, and takes second. Move the double to your left fingertips as you display both cards. You can tun over your hands to show the backs of the ards. Place the cards together and drop them on the deck to end.70 MARRY LORAVNE aves Ken uses the move for the following effect. Fan the cards faces toward you. Place any card face down onto the table. Ask your spectator to name any card. If he happens to name the card on the table, it's miracle time! noe? ? 0 \ } Otherwise—hand to hand spread the cards facing you, looking for the named card. As soon as you locate it, cut it to the top. Immediately spread again, looking for the AS, This is covered With the following patter: "That's interesting; most people name the ace of spades, as I'l show you. But you didn't. You named the By this time, you should have found the AS and placed it to the top. Place it face up or face down. If face down, flip it face up now. Go directly into Ken's move, as you say, "You did name the didn't you?" The “fiipover" should be completed just as you finish this patter line—showing the named card, of course. 46 Afterthoughts: The move itself, requires some practice. Once you've got that working well, the effect is easy to do—and i's good. Incidentally, if your spectator should name the AS, simply use any other card. You might say, "That's interesting: most people name the king of hearts. . ..” And, you can slow down or speed up your talk according to how quickly you can cut the named card to the top and locate the AS, SECTION II Fast Stack (Martin Nash) Square Up... . And Away (A. Berkeley Davis) ‘Quadruple Jeopardy (Harry Lorayne) Count Me In (Larry Jennings) Open Control (Larry Jennings) “$Hocker” (David Grenewetzki—Bro. John Hamman) Concert Aces (Harry Lorayne) ‘Sum Hummer (Charles Hudson) ‘The Royal Computer (Charles Hudson)MARTIN NASH ‘MARTIN NASH and his wife, Myrna, have been married for about twenty-one years. They have a twenty-year-old daughter, Naomi. ‘Martin is Canadian, and has been into magic since he was six years old. He performed professionally when he was thirteen, and toured with a carnival tent showat the tender age of sixteen. His introduc- tion to the gambling area was when he worked a game “joint” in carnivals. Martin has told me that his “move" from general magic into strietly cards is my fault! According to him, he attended one of my close-up appearances many years ago, ran to his wife, and said, “Ljust saw that you can really entertain with just a deck of cards.” He stresses the gambling aspect, although he does general card magic, too. He’s a busy full-time performer, making his living with Justa deck of cards. He does, among other things, just about the best ‘second deal I've ever seen. He's known to magicians because of the fine books he's put out. His hobby is building and flying (then crashing!) radio (remote) ‘controlled miniature aircraft. (‘A much more expensive hobby than magic."9908 (BEST OF FRIENDS 78 _requested. You have four cards beneath the crimped card, andyour ‘break would be under the top four cards. (For four or six hands, your break would be under three or five cards, respectively.) Take the aces from the spectator, fan them slightly, and place them face up onto the deck. As you askifhe remembers their order, square the aces from above with your right hand. These are id stealing the four “broken face-down cards beneath een the face-up packet and the face-down indifferent-card at the rear. (See Fig. 47) 8 Martin's handling of an unpublished Dai Vernon effect. Get it working smoothly, and it’s a heck of a gambling 2 demonstration—done with any deck and at any time. 4 ‘Lead in” by pattering that you'd like to demonstrate the world! fastest “run up,” or stack, ofa poker hand. start torun through the deck to locate, and remove, the four aces, As you do, cornercrimp the bottom card. If you're doing this after a four-ace routine, and the aces are already on the table, simply corner crimp the bottom ‘card as you talk. Ask a spectator to arrange the aces into any suit sequence he lkes—one he can remember. As you talk, and as he does this, casually run four cards from top to bottom—that is, to beneath the crimped card. ~ When he's arranged the aces, ask him how many hands he'd like in the game—"Four, five, or six?" Five is the number most often named and, in that case, you're all set. 3 ‘The key is this: You have to have one card less than the number named beneath the crimped card. Iffive isnamed, you'd need four (call this the “key number”) cards, and you already have that. Iffour isnamed, casually double cut one card from bottom to top; ifsix is named, transfer one card from top to bottom. (The key number is, always one less than the number of hands requested.) This, ofcourse, takes hardly any time at all, As soon as you're set, obtain a left little finger break beneath the same key number ofcards from the top of the deck. Let’s assume that five hands have been You're now going to display the aces, as you turn them face down to the top of the deck, one by one. As you do, you'll load the ‘indifferent card packet, or block, between the first and second aces. done via a variation of the Braue Secret Add-On. Bring theright-hand cards over the deck as yourleft thumb slides offthe top ace. The right-hand cards fip, orlever, this ace face down onto the top of the deck. (See Fig. 48.) As you start to do the same ™76 HARRY LORAYNE, aves thing with the second ace, release the “broken” cards onto the first ace. This is done as your left thumb slides off the second ace— which is also flipped face down with the right-hand cards. Now repeat the actions with the third and fourth aces. The load is imperceptible. ‘The patter, and reasoning, as you do this, is: As you're about to start the display, ask, "Do you remember the order? Good. Do you mindifTtakea look?” Then, do the display and load, saying the ace suits out loud as the aces appear and are flipped face down. Then, say the suits in reverse order to the way they were just displayed. That's the top-down order, and that's how they'll appearat the end. ‘The aces are now—three on top, then the key number of indifferent, cards (four, in this example, then the fourth ace. At this point, the top ace must be transferred to the bottom. You can simply double cut it from top to bottom. But, Martin uses an "up-and-down" shuflle. This is basically a partial tabled double cut, which leads directly into the one riffle shuffle that must follow. Basically: As you table the deckin riffle-shufile position, break or separate the top card with your right thumbtip. (Left and right are interchangeable, of course.) Your left fingers undercut about half the deck to the left, bringing it to the top. (See Fig. 49 to see the cut, starting) When this lower halfis placed on top, the broken ace goes onto its face. Then move that half to the left—ready forriffle shuf- fling The “copped” ace is now at the bottom of the left half. ‘That's the basic “up-and-down” shuffle. It appears simply as if youut, then cut again for the rifle shuffle, All right; whicheverway ‘you've secrotly transferred the top ace to the bottom, you're nowin riffle-shuffle position—that top ace is at the bottom of the left (original bottom) half. Now, the oneriffle shutfle, which may seem a bit complicated, but Q008 BESTOFFRIENDS 7 which can be made to appear as a completely normal rifle shuffle, after a few tries: As you ask again how many hands you're to deal, yourright thumbtip secretly releases the key number of cards four, this example) from the bottom ofits half. Most of yourworkis done at this point. When you're answered, do the riffle shuffle. Your left thumbtip releases (onto the four cards your right thumbtip has already released) ablock ofa least five cards. This will vary according to the number of hands you're dealing. Release up to and including the crimped card, and you're okay.'Then, shufile normally, but your left thumbtip holds back the key numberof cards four this example) as ‘yourright thumbtip holds backa block ofat least seven cards. (This Tight block must include the three top aces, and will vary according to the key number) Then—all the remaining right-hand cards except the top card, followed by all the remaining left-hand card: and finally the last right-hand card. (Fig. 50 will clear this up—i needs clearing up.) Square the cards and (complete) cut the deck, or let a spectator ‘cut it. Pick up the deck and cut once more; this time cut at the crimp, bringing that card to the bottom. ‘That's it, Deal out the five (this example) poker hands, turning ‘your cards (fifth hand) face up as they're dealt, These will be the {aces—in the order in which the spectator originally set them! Afterthoughts: Thisis really a fast stack—stackingtheacesinany ‘number ofhands andin a pre-set order with onerifleshufle Itsquite fiective when done well. Get itworking smoothly, then tryitand see. don't know which is a faster stack—and one is an overhand stackas compared to arifle-shulfle stack—but you might compare this to my own “An Ovethand Shuffle Stack,” the first routine in Quantum Leaps.A. BERKELEY DAVIS ‘A. BERKELEY DAVIS is fifty years old, born in New Orleans, La. and lives and works in Mississippi now: He was about ten years old when he first saw magic performed in Tennessee. (Berkendeared himself to mea few years ago when he wrote about one of my books-—"My response is one of delight, enthusiasm, and shocked surprise. tis rare indeed when [purchase a card bookand find more than one (or ‘at most, two) items really practical and worthwhile. My casual interest changed to something bordering on ecstasy or sublimity. ‘My thanks is monumental; my joy irrepressible;and my lost love for ‘magical literature revived.” He liked my book! How can I help but feel that he has great taste!) Berk has two major hobbies, magic is number one, followed by ham radio. He's interested in close-up magic only—"I couldn't care less where the elephants or tigers go!” His credo—Do only magie worth doing! He uses magic to entertain small groups informally: He runs.a Gift and Fun Store in Mississippi. BERKELEY DAVIS _ Square Up... And Away Boeritas na simlaretets in pint, but not his one Hes ued own Lory Force er slar aves nn pion, ths lt bleluster afc, porulry wh the use of The Uarye ore eto sume that you kno and we. Tove See th ref deseipan of tin Ace sandich Foun” thinbosk Panyu cat sccomplish ema miele wh the moe ink ta been veloked Ano a dupa candi teed fr his outing ul ie wont fats ssa tha he dap car ine 7, What you have toacrompshs oc the deck net ale haves seh a Fe oot ef each hal he best wey Kaw to use my ev fate Cut tee theto7Cson botom during she, hen do the lato Cling onc a deck hs and the tro the - fight. That's all. If you don't do the HaLo (with which, again, miracles can be accomplished) you'll have to get to this position your own way. Have a spectator indicate either half. ick up the indicated half deck (you can do one shufile here if © youlike keeping the 7 on bottom and start fanning out, doing ‘The Lorayne Force. For this, you're simply spreading the cards as, = you're about to ask your spectator to indicate a card. The move is not used as a force—it’s used as a "placement," as you'll see. All right; as you start fanning the cards, ask your spectator to. stop you at any time (or, to indicate any card). When he does, your 7980 HARRY LORAYNE, aves right hand removes the spread above the indicated card. Of course, the 7C is beneath that spread. Now; the following simple and natural sequence is right out of one of my books. Use the right-hand spread to flip the indicated card face up onto the left-hand cards. (See Fig, 51.) Immediately take this face- up card to beneath the right-hand spread, Actually, the face-up card goes above the secretly moved 7C; it becomes the second card from bottom of the right-hand spread. This is just about automatic. All you have to be sure of s that the inner right corner of the face-up card goes above the hidden 7C. (See Fig. 52.) st Immediately use the right-hand spread to flip the now top card of the left-hand portion face up. To your audience, all you're doing is turning face up the two cards at which you were stopped. ‘Then, place the right-hand fan onto the left-hand spread so that you're holding the entire deck in your left hand. Near center are the two face-up cards—selected by the spectator. They're in plain view, and look exactly like only two face-up cards together— because that’s what they are! But—a corner of the hidden 7C is between them! (See Fig. 53.) O08 BESTOF FRIENDS 81 ‘Now, part of the strength of the effect—place the fan, as is, onto your working surface. Do not close the fan—place it down as is. jen—move away from it! Pick up the other half deck (do one shuffle, if you like) and force the 7C on another spectator. Do this as far away from the tabled fan as is feasible, and use the best force you know. If you want to keep it consistent, use The Lorayne Force as a force. Have the duplicate 7C replaced (or, if you used The Lorayne Force and simply let him look at the stopped-at or indicated card, replace the spread portion). Shuffle, controlling the duplicate 7C to top or bottom, ready to be palmed offE 82 MARRY LORAYNE aves From here, it’s all buildup and showmanship. The idea is that ‘you are going to magically cause the selected card to fly from the hhalfyou're holding (or which is on the table! into the first half. As, you talk, etc., palm off the duplicate 7C. Ask your first spectator to ‘square and gather the tabled fan—and to hold the half tightly. As attention is on him, pocket the palmed card. The spectator squares the tabled fan and automatically does the dirty work for you! The 7C is now fully between the two face-up cards! ‘Ask for the name of the selected card. Do your magical gesture. ‘Then—face up spread the half you're holding (or let the spectator spread it) to show thal the 7C has vanished. And—without going near the first spectator, ask him to spread through his half, face down. The face-down card is seen between the two face-up (orig inally indicated) cards—it’s the 7C! And—you're clean. Afterthoughts: ‘The strong part of the effect is the fact that a spectator gathers the tabled spread in which the two face-up cards are seen to be together: The impression left is that you have nothing to do with it, the magic just happens—which is the impression good magic should leave! Obviously, you have to do The Lorayne Force cleanly, and also the steal of the duplicate 7C. here's plenty of time and misdirection to do that steal proper! Once that steal is accomplished, you can give all your attention and imagination to the buildup. It's a beauty; don't pass it by. Berk mentions that the effect can be embellished—signed cards (it can be worked out), ete. But, in his words, “Done as is-—it's a gas! © an effect I'd seen someone (Jules Lenier) perform HARRY LORAYNE. [ soiseanisintrenting routine while ing oworkout ora sen we et A can onsite o na eseblance 0a ae ey mam completed st ret reading I a ieee aha mars se o sea Fa a te ecko in sata sor Se a ee ore but eer ach sis ay Set galfur apes Macon he QC sana ee oi dnck operas don, Pace Fee err sth ow op Comins counting Monae Back ura eth poston St ne bt start wah one again. Pac the co ee ed fourth poston Face Ted a ee eee eho two fed queens oF 0 Eee ear ae oe are cade om te pal to wel aa ae ost remainng cade to en Dest eae goes wo th ton ofthe deck. The OC Postion ecm ced ye To mao sare jouve gti sn a ry bath ca "2h card. CD: ee ees aca 46 bottom er GH. NOW mat de ant an on wp ofthe dena ode tn sg aul pace the btm carohe ee ere Te sulle the dock ase og shes 8384 HARRY LonAVNE aves | undercutting less than twenty-three cards. Then, I double cut the top card back to the bottom.) You can do the routine for one ot two people. In either case, you have to force the top two cards— QC and 4H. I personally use my own HaLo Cut Force, out of Quantum Leaps; it fits perfectly. Ifyou don't know that, the easiest way is to use a riffle force. Casually slip cut the top card to center. Hold a left little finger break over it. Riffle down at the outer left comer with your left thumbtip, asking a spectator to stop you. ‘Time it so that you're stopped near center, near your break. Cut at the break, as if you're cutting at the “stop” point, and place the two halves onto the table. Patter for a moment; then remove the top card of each half, placing them face down onto the table. If you're working for one spectator, give him a choice of either of these two cards, and turn, it faco up. If you're working for two spectators, turn them both face up. Place the right-hand half deck (original top) onto the left half. Your set-up is back on top. Pick up the deck and, if working for one spectator, say that you'll spell his card twice. If working for two, you'll spell each card. The point is that both the QC and 4H spell with twelve letters—so, it doesn't matter whether you spell both, or one twice; you'll end up with two twelve-card packets. Do the spelling dealing a card per letter into a tabled packet, reversing the dealt cards (face down, of course). Hand the remaining cards of the deck proper (twenty-six cards! to a spectator, and tell him to deal cards onto the table, into a packet, and to stop at any time he likes. The remaining cards are placed alongside the dealt cards. (Because there's a queen at top or bottom, and a 4-spot at top or bottom, no matter where he stops, he'll end up with a queen and 4 4-spot at the bottom of the two packets.) ‘Turn to the spectator (or spectators)—if only one, hand him one of your spelled packets and you take the other. If two, hand fone packet to each. Instruct the spectators} to deal down (onto the table) the top card. The next card is “ducked” (placed to the bottom of the packet). The next card dealt onto the tabled card, the next card ducked, until he (they) is holding only one card, and so are you. Place these two cards face down beneath the QC and 4H, in square formation, Do your magical gesture, then turn the two face-down cards face up, showing that the QC and 4H 9008 BEST OF FRIENDS 85 have been "matched." This will be either a vertical or diagonal ‘match—it doesn’t matter (See Fig, 54.) Turn over the two packets that were just “down and undered” or “dealt and ducked,” to show another queen and 4-spot. Place these (the entire packets) to left and right of the square. Finally, tum over the two packets formed with the deck proper (by @ spectator), to show the last queen and 4-spot, placing these face- "up packets to north and south of the square—to end! (See Fig. 55.) ia a Bs CaS a 35. Afterthoughts: 'm pleased with this; it's a strong layman thing—it seems impossible. As I've said, it may read complicated at first, but really isn’t; all it needs is familiarity—go over it a few times. When this routine was still in embryonic form, I was setting a queen and 4-spot to the bottom. Then I'd double cut one of them to the top to "set" for the spectator’s deal-down-and-stop at any time. Phil Goldstein suggested placing one of the vital cards to twenty-fifth position during the setting up. This eliminates that double cut (or, as T occasionally use, my HaLo Cut). I still use er/or.86 HARRY LORAYNE aves Phil also suggested the following to get into the necessary posi- tions. You should be aware now that the queens and fours are interchangeable basically (except for the QC and 4H). For example, set the following cards upward from the face of the deck: QH,48, Q8, QD, 4D, QC, 4H, 4C. Shuflle, retaining the bottom stock Geta left lite finger break above the bottom two cards of the face-down deck ‘Then, maintaining that break as you turn the deck to ovechand- shuffle position, overhand shufile as follows: Milk off the lower. ‘most two cards (reason for the break) plus the top single card. Run five cards from top onto these. Milk the top and bottom cards, then run three. Milk top and bottom cards, then run five. Milk top and bottom cards, then run three. Drop the remaining right-hand. cards onto the left-hand cards, keeping a break between the halves. Re-position the deck face down in your left hand. Your right hand rests on top and your right thumbtip drops the two lowermost cards of the upper half onto the lower half; re-take the break (below the 4C). Riffle force to the break, drop the two forced cards onto the table, and cut at that point. The deck is set. However, after doing the routine for a few friends, some said, ‘Knowing you, Harry, I expected to see the aces on top of the four packets!” Well, ! worked it out so that that’s possible. The aces are set at the beginning, and you do have to double cut a card from bottom to top—twice. The set-up is exactly as described except that the aces have to be at first (top), thirteenth (after a queen or 4-spot), twenty-fifth (between a queen and 4-spot), and at bottom (a queen or 4-spot is second from bottom! Present the routine as described except for one change in handling. After you've spelled the, say, 4H twice, or the 411 and QC, hand the deck proper to spectator. He deals and stops, etc., as described. But, for this, as you say, "You could have stopped dealing at any time; I couldn't possibly have known when you'd stop"—casually pick up and double cut the bottom card io the top, with each packet (the two he formed). It should appear as if you're giving each packet a casual mixing. Continue the routine as described. After showing all the queens and 4-spots, I usually end by turning the four packets (left and ight and above and below the four-single-card square) face down, “T-could have produced the aces also (turn up the top card of each packet as you talki, but that would've been too much! LARRY JENNINGS LARRY JENNINGS was born in Detroit, Michigan almost fifty years Hiofrstexposure to magic wasn Georgia elghtornine years Sit in school But he cnt get personaly involved then He sara Jouraceassemblyatagesifeen-siteen coud find out how was = done, and still didn't get involved. ving in Windsor, Canada, he saw “Out Of ‘Then, at age twenty-three, living in Windsor, c ‘This World performed. The fiend who performed it wouldn't "tip and forced Larry to figure it out. He did. The magic bug bit;he foun« local magic ciub, etc. many fine sleights, is name is certainly known in magic for the many fi concepts, and routines hes devised. He's a plumbing and heating contractor in Lake Tahoe, California, where he’s lived for the last eleven years. (its beautiful country.) He uses magic in his business, for making contacts. 7 Larry feels that its inbred curiosity that keeps him interested in 1 Fm abays searching forthe perfect tick Thaven' found ae te le ith large a a eae ecgBESTOF FRIENDS 89 mb raises the top card at the inner end. Your left fingers, at nost the same time, undercut all the cards beneath the break the top. (See Fig. 56 which shows this cut starting.) Square the still maintaining the break beneath the original top card— ‘at center ‘The double cut: Your left fingers undercut half the cards below break, as for a standard double cut. But, as this portion is, ght to the top, “squeegee” it between your thumb and the ‘of your forefinger so that all the cards move to the right gxcept the bottom one. Actually, all you're doing is a slight block h-off. This leaves the outer left corner of the bottom card lear: (See Fig. 57.) LARRY JENNINGS, Count Me In “Tree a neat, ui tite fer when done soot Lamy ofr toe and then tld me that he er ey have arena) gon tts somone ele He wea sare hace been abet itn print Teel ita the operat and/or sled deck used ava countdown a logaes petea {cand That cad atthe “count down unborn {oth assy impromplueoc alhough tires gnor Ui of proprio ole tench pou noe Cpe couple ofeconda lar Night am fortecing purport | flows: Cot ang tapoton top Pace any hres cans ace sponta the tapot and pace any eer card fae deen top alt Tats the preparation, ou can ase a Sapovar ry pasate bevace up om tp of always ane es Wan he cad yo ving ose Keping the op sock ntact and be cae otto expo thee cds the shufing I options Have gue Spectator pat a card in the sndara qractor poke Reop a teh ie tngertp break bent sco aad Standardway. at flows tak oyu simply cat he dee thee tmen whieh is ely what youd ne oe lowed ie Aout cut with ome wor hw ‘Av your night hand rape the deck rom above, your ight ‘There's no pause in performance, of course. This portion is © placed on top of the deck. The corner of that one card still pro- 88O 90 HARRY LORAYNE trues. Now, your lft fingers undercut up to the break Portion moves tothe left so that its outer lot cover lige the single card's protruding corner. This “shades’ the a card on op of the cut-off ae for clays sake) That comer need protease eae ee your left thumb to align it onto the saith te pase ae posse le thumb, which sight at position, pressce dears cards protruding comes, holding i agsnst anon top of ut olf portion. ste pron moved tothe top of the deo ingle card moves out of the deck staying on top of theca Portion. (Fig. 59 is a rear, exposed, view Portion. Fig. 594 ‘posed, view just before the single c "ut-off portion, as explai You're ready to end. If you like. overhand (jog) shuffle, keeping the top stock intact. __ Now: do a five-card turnover: This works here, immediately deal off the top card. Also, , reversed cards. Simply go to the natural break and pic Portion. (See Fig. 58 for a stop-actio protrude only enough fl as your left hand moves, yo In appearance, you'v y win aPpearance, you've simply given the deck three quick cuts he yt ve accomplished is to keep your original set: ‘Up ON Loy 4 pt that now the top face-down card Is the sclected eect —it's optional—you can do one because you'll i's easy because of the up one BEST OF FRIENDS 91 Do the turnover—neatly. (If you had “set” a 5-spot, ing six cards.) -spot comes into view (face up! on top. Deal it offand toss fable. "That's afour—would you count to the fourth card, ‘Hand the deck to your spectator. He counts to the fourth o-find his card face up—staring him in the face! Its @ jeAnd—you're clean. ‘the method described in “A Sweet Four-Card Change’ to get set as I'm “toying” with the cards. Simply cut pot to the top during a preceding effect. Then, cut the gand hold a break above the 4-spot. Your right thumb picks entary break beneath the top three cards as your right Mholds the deck from above. Your left fingers undercut tothe ‘break. flipping that half face up on top. Undercut to the center break, flip the cards face up and push the bottom ard to the right. The right-hand half goes between this edoff card and tho rest ofthe left-hand halt That's all. Check 1 Four-Card Change." Turn the deck face down, and you' terthoughts: As I said, it's a quick fooler: Try it—I know you'll I devised a "kicker" for this. You have to be able to "peck ”" a card, and the set-up will take a few more seconds. Three (say) are the three face-up cards on top of the 4-spot. The th king is at center, ready to be peek-forced. -force the center king, then do the routine exactly as de- ed. When the spectator counts to the fourth card, the three ds he counts face down will be the three kings! To end, after ‘sees his card (the forced king) face up, say, “I thought your ard might be lonely"——and dramatically turn over the three face- “eounted” cards! I like10m BESTOF FRIENDS 93 d again, moving along the indicated card. (See Fig. 61.) Note it the lowermost card of the right-hand cards is directly on— gned with the sides of—the indicated card. As the righthand portion aligns with the left-hand portion, d as your hands start tilting the cards upward, faces toward ar spectator—this is a deliberate and meticulous action to play the card he indicated—your left thumb is at position to p the card to its right. (See Fig. 62,) Your right hand moves away — LARRY JENNINGS, Creo tis out with my own Lazy Mans Uta Move (ater on inthis book: there's an interesting shale ann different method, Hand to hand spread the shufled dock ey ie uiiaUal aaa jomapsemen See eee card tion he doen be nurethat eek eer ee aa immediate ight of the indented corde sige se car fhe indicated card on top ofthe aft hand porto agrony naa eng move all ead t hole doves Ber nae aright hand with its portion as your loft hand squares its portion—the clipped = card still aligned with (on) the upjogged card. Your left little finger Your right first fingertip, beneath the spread, contacts the indi- = feourled under the inner end of the le? portion. (Se@ Fig. 63.) cated card's inner right corner. Move the right-hand portion 92YU 94 HARRY LORAYNE, aves You're displaying the indicated card; and you've done so, to repeat, deliberately and meticulously. As you ask your spectator 4 to remember it, relax your left thumb, allowing the upjogged card 4 to slide down. It appears, to your audience, simply as ifit's sliding down onto the portion; it slides to second from tap, of course. (See Fig. 64.) Your left little finger acts as a “stop,” assuring that the card doesn't slide past the portion, and/or fall to the floor. BESTOF FRIENDS 95 Your spectator believes his card is on the table; its really on .go from there! Afterthoughts: Don't pass this by: i's good. Learn it you don't, someone who has will fool you with it As the card slides into place, your left hand is tilting its portion back down to normal position. Thumb off its top card—onto the table. Place the right-hand cards onto the left-hand cards, holding a momentary left litle finger break between the two porti Kither pass, cut, or double cut, to the break to bring the sel card to the top.BRO. JOHN HAMMAN, DAVID GRENEWETZKI DAVID GRENEWETZKIis twenty-nine years old, and is an elect engineer for an aircraft company i 0 es aoe fe a ae alrorafte omen a California, He was “hooked! jand that's appeared somewhere else. Bro. John Hamman’s reece sia Geel Mehnan. Hes one of he many nar pene sche lt, ro tn amin 800d presentation. jen just “tricks” and magi 1.1, No. 8; August, 1978), is a great routine. This is basically a ee tine, but David has changed it a bit. In the original, a | icuiseioe ee “ff ni ‘professional in magic, performing tion is among all the red cards, and a red selection is, tradeshows and partes ona parttime basi. He “moonlights" ai Fall the black cards. David's ending is slightly different. nagical illustrator and has marketed a number ‘of his own items. 4 gh it necessitates more of a set-up {it would have to be ‘advance, or with a new deck), you may like this ending ‘any case, quite frankly, I welcome the opportunity to ‘a routine based on one as good as “Two Shuffles don't usually like to repeat a routine that I've already easter nr h suit into correct numerical sequence, ace to king, ace | Both red suits are on top, blacks on bottom. And, comer index corner of each king—this is to facilitate some ‘Sequences. ‘The patter theme is as I described in Apacalypse—you ‘a gambler called "Two Shufiles Harry.” because he always ‘the deck twice. For my exact patter suggestions, I can you to check the above-mentioned issue of Apocalypse. 0 Zarrow (or Zarrow-type) shuflles, keeping the entire ‘order. (You might want to check my “Super Riffle Diffle, Shots) Then, cut the top half, the reds, to the right. The 97_ ae CO 98 HARRY LORAVNE aves 108 BESTOF FRIENDS 99 c xiping te Kgs. simply cat a eimped card to the pom oct hal Complete ie cats Hore fnsesiax—taiaour the mined te up-ace dawn) Ondition of the cards. Ask for the names of the selections. Do magia geste then on spread both halves sultan gusly, downward toward you. All cards face one way, except the Uupeclestions one in each half andeach narerthe comet foe crimped king at center makes this easy. Pick up the left (black) hall, turn to a spectator on your right, hand to hand spreading for @ selection. Cut the spread at the point of removal. Place the half deck back to position [your left; the spectator retains his card. Pick up the right red half and let a spectator on your left take a card. The handling is the same—cut at the point of removal; the: spectator retains his card. But instead of tabling the half deck, tum to the right spectator. “Kick” cut the top half of the half dec into your left hand and have him place his card onto the left-hand Portion. Drop the right-hand portion onto his card, retain momentary break, and double cut to the break. The selection i on top, Table the half deck to your right. 3 Pick up the left half and do exactly the same thing with the le} spectator’s card—table the half deck. At this moment, the situ, tion is this: The left half consists of the black cards with the reds selection on top; the right half consists of the red cards with t black selection on top. 65. went even further fn, say that Two Shufiles Harry always went ever ‘that. Domino turn beth spreads—to show that each half ins all of one color in correct numerical sequence! And, the cted cards are reversed at their proper numerical positions! face up and riffle shufle the two halves into each other-—face. down into face up. But, what you really do is to Zarrow shuffle the right (face-up) half under the top card of the left face-down! jl half Or, as 1 suggested in Apocalypse, use Marlo’s method. Simply fierthoughts: Yes, the set-up must be Seistpeeceus a i raise the top card of the left half with your left thumb as your Js good “oh, Tl show you one more” routine—as you Fight thumb lifts all the right-hand cards. (See Fig. 65.) Rifle all the 4 ey aa ee eee ee eedoee right-hand cards under the left-hand top card. (See Alton Sharpe's in. Any regular, good, oe eas ea to ert Card Conjuring for a complete deseripticn niliar with the routine, you'll know which comers (kin "hat wan one hufe-Turs one eee you say tat Bip so that those crimps are toward you when you havo soo ‘Two Shutffles Harry always shuflled twice. Cut the top half at the am for the cutting. in center back-to-back break to the right—turn it over and Zarvow jo this routine smoothly—and if your spectators don : think (or Marlo) shufe it under the top lefchand card. It appears as if hat you're the best card manipulator they've ever seen, yo you've really mixed the cards into a face up-face down mess, EAoing something wrong! Cut the top half—again, at the back-to-back break-—turn over this top half and table it to the right—another back shows. The 1 handling changes slightly from the original now. Cut each half away from you, using both hands simultaneously. But-you must cut a king to the bottom of each half. That's the main reason forBEST OF FRIENDS 101 aoe f you go right into the revelation; there's only a one-eat pause, if any, between taking tht break and moving fo the table fr the Tovelation © Okay; your right hand takes the top third, up to the break, from | stove, and moves tothe table, Your left hand, sll maintaining Fite fingertip break, moves tothe table a the same time, turning [palm down as it moves to the le of your ight hand, Actually Both hands, and the deck, move toward the table together, then teparate, each with its pordon, a the last moment HARRY LORAYNE, Concert Aces Trey took on ard magi writen Venue ot leat one ast furaee relation Tiss tiene een ofictvenesn ita sem ayouasitce eer ree befor you actualy weet cen et Seng as cant ying aston Ty. Lowo the four aces into the deck, realy conoling them tothe top Shute once rice Keone nearest double cut the top ace ote atom: nae ioe neta You hold he deck lfchand dealing pose dene eek rts on the deck Agere a outer en tama eens 4s you patter i abut twotnds ofthe de ae th Your nt thamBip, snd casual sp et neal rh ae thumb the top ead othe Top ot the a at Ie te ingetp mos unr at ear ge eas ee ithe, about hal the cards above te ae aa tnd lp the now top card onto te teat moet brekisheldbeneatthat cand wit youren heciece tine 1 his moment, ye holding two breaks your ight hand renting ontop othe deck oversee fg 86 tee on op ofthe deck an ac at btm an foe eae Sich break its a8 aba ht le ard eee bee 66 As your hands ouch the tabletop with hiner, 0 ngs happen simutanousy. our fe hand spy Ives owe tcerupporton up tothe brea on te table Your ight Binge Iain contac th the outer end fie packet a yur rig thu elon al erds bu one a he nner ad Ayo do thi stat maving your ph hand bak toward your ring ts pcke outer end the Inno ond maintain able contact. The pints youre turning that packet over, end for end Pg ibe stopaction performer’ view of just what's happening instant) ‘There's no pause at alin performance, Both hands are moving toward you, our ft hand simply lever etaiing packet face up south ofits fist packet as your right hand ips its pac 100102 HARRY Lone BEST OF FRIENDS 103 faco up end for end. The single card is still face down in Sree eet aon rite nerd pee i cine right hand. Flip it face up and leave it on the table south or Beet flourishy to the onlookers 'upper right packet. Time it so that this Is done as your lat eposits its second packet. (See Fig. 68) fhoughts: So, although this may not read as ifits particu- effective, it is in performance; it’s quite a dramatic and revelation, in fact. The only point that roquires a bit of a s the right thumbtip release of all the right-hand cards Pept the top one. I's a sort of riffle off action of your right btip. Its important, of course, to release all but one card— af takes just a bit of practice. \ That's it.I. personally, usually do a complete turn of the last left-hand packet as 1 move it toward me and place it onto the table. That is, flipit face down then face up again one-hand, motion as I place it onto just feels better for me that way ani continuing, the table. I don’t know why—it id, perhaps, it makes the timingCHARLES HUDSON CHARLES HUDSON and his wife, Clara, have no children; they're in thera sities ad liven hsourd Charles ea reed Paes of English (Univers ofMssour He became incrested renee tong after the vst boyhood interest tna whos ha sae eee radio show with local magician who ted hint oattnta neg Cian meeting Charles got hooked at themecing sndfecbeeree it ever since, concentrating mostly on card mage, Hes ero other magicians because of his monthly column("The Card Corner’) in The Linking Ring (since 1966). He continues to be a magic buff “because i isa chal Jascnating hobby and because Ihave made many fiendehoshare ry interest. Hes not performer tefl ene ofthe word since he does card magie only occasionally (at partes, if ho coaxed) and at monthly magic meetings. ae Charles spends much time playing bridge—his (perhaps number One) hobby. He also plays computer chess and hes rec cope tially mystery and adventure novels! tes also into hift stone Uistening, recording), traveling buying electronte gadgets a -of course fiddling around witha deck of cards” CHARLES HUDSON. Sum Hummer This iso beauty. 1 uizes prety wellknown Bob = Hummer principle, which Charles calls CATO (Cut And Turn Over. Openly remove, from any deck, any ace, any deuce, any three, up to any 10-spot. Ten cards of mixed suits. Show them, then hand them to a spectator, asking him to thoroughly shuffle the ten cards. ‘Take the packet and say that you'll really mix the cards by turning some face up and some face down. You're going to do the standard Slop (or Topsy-Turvy) Shufile, which I must assume you're familiar with. You'll take two cards on each turnover, except for the last two cards, which you take one at a time. Before I get specific about that—as you do the Slop Shufile, you mentally add the values that appear on top of each pair. You do this with the first four pairs, not with the single card that shows at the fifth ‘turnover, To lock this in: Your “taking” hand takes the two top cards and tums them face up (you see an 8-spot, think 8); the next two face-down cards are taken beneath the first two face-up cards, and all four are turned over (you see a 4-spot, 8 and 4 are 12); the next two are taken beneath the first four cards and all six are turned (you see an ace, 1 and 12 are 13); the next two cards are ‘taken under these and all eight cards are turned over you see a5, 5 and 13 are 18i—remember 18. One card is taken under these 105106 HARRY LORAYNE aves eight cards and all nine cards are turned over, Do not add the face-up card (its value] that shows here. The last card goes face down onto the top face-up card. Don't get confused here; the entire packet (9 cards) is turned just before the last card is placed face down on top. (See Fig. 63.) Just as a check—spread the cards, and ifyou've done this correctly, you'll see a face-down card, then Jive face-up cards, followed by four face-down cards. All right; you've done the Slop Shufile, apparently mixing the ten cards face up and face down haphazardly. Since you'll be adding only values from 1 to 10 this can, and should, be done without hesitation. And—it’s the secret adding of these four values as you do the Slop Shuffle that, in my opinion, makes this effect so strong. Say, “Til let you mix these even more. But, what I want to show you is based on computer principles. This packet of cards is a kind of mini-computer, and computers, as everyone knows are based on the binary, or power-of-two, system. The binary numbers are 2, 4, 8, 16, 32, etc.” As you continue from here, demonstrate with the cards. “So, you can turn over two cards, like this.’ Mlustrate—turn over the two top cards, together. “You can turn over four cards.” Illustrate. “You can't turn over six cards, because sixis nota binary number." (Actually, six can be turned over, but it doesn't fit the patter line) “Or, you can turn over eight cards, Mlustrate. “You can cut the packet whenever you like.” Illustrate complete cut anywhere. “And, you can turn over the entire packet; the computer works just as well upside down!” Turn over the 008 BEST OF FRIENDS 107 entire packet. "You can do these operations in any order, any way, or any time, you wish.” You can demonstrate some more here, if you like, turning 2, 4, or 8 cards, cutting, turning over the et packet, etc. It doesn’t matter Hand the packet to your spectator. “But before you do the mixing, Twant to make a double prediction.” On a piece of paper, write, “There will be four reversed cards—and they will total 18.” The total you predict is the total of the four values you added during the Slop Shufile. Place your prediction aside, or give it to another spectator for safekeeping. Let the spectator mix the cards, as you instructed, any way he likes. Just keep an eye on him to make sure he does it correctly. He may do the mixing for as long as he likes—it won't matter. When he stops, instruct him to deal the cards alternately, one at a time, into two packets. “Now, to make sure the cards are really mixed, turn over either packet and riffle shufile it into the other one.” (Riffing five cards into five cards may be difficult for him; if 80, tell him to simply push the packets into each other ‘Take the shuffled packet and spread it across the table. There will be either four face-up cards in a face-down group, or four face-down cards in a face-up group. Let someone read your pre- diction. Since you predicted that there will be "four reversed” cards—the four face-up or face-down cards are the obviously predicted ones. Let your spectator add their values and, of course, they add to your predicted total! Ifyou prefer, you can instruct the spectator to turn over only two cards each time, then cut, and so on—which is the standard CATO procedure. Then chances of his goofing are sharply re- duced, and you can turn your back as he mixes. { prefer to doit as ‘explained—it really appears as if the cards are being hopelessly ‘and randomly mixed. You can make it a “sensitive-fingers'” effect rather than a pre- liction effect. Turn your back as your spectator mixes the cards. he hands the packet to you, right-side up or upside |—either behind your back or under the table. As you patter it “sensitive fingers” and pretend to be feeling the cards,108 HARRY LORAYNE aves secretly reverse every other card. The easiest way to do this is to Slop Shuffle, turning only one card each time. Or, as I usually do, keep turning over your dealing hand as your dealing thumb pushes one card at a time to beneath the cards in your other hand. A card is dealt each time your hand turns, reversing every other card. ‘This reversal of every other card takes the place of the spectator's alternate deal into two packets.) Then, announce that there are four reversed cards, and that they total 18 (or whatever. Bring out the packet, spread it, and end. Afterthoughts: Try the basic routine once—you'll love it. As T said, the adding of the four values as you Slop Shuffle is one of the strong, subtle, things here—do it without hesitations. The following item is a different way to use the same idea, creating an entirely different effect. (I taught this to Mel Stover, who loved it. He made an interesting change. Use any ten cards; take them from the top of a shuffled deck. Slop shuflle the ten cards from the top of the deck exactly as explained. Court cards count as ten. It works just as well.) CHARLES HUDSON Res tirough the shutted deck and remove the four queens and the four kings; keep the kings together and the queens together. Don't show them yet; place the &-card packet face down onto the table. It doesn't matter ifthe kings or queens are on top. Patter to the effect that this ithe 8-card packet) is your mi computer, as you'll demoristrate in a moment. Have two cards selected from the deck proper, and control them to the top. As you reach to pick up the 8-card packet with your right hand, get a left little finger break beneath the two top cards of the deck. Flip the -card packet face up onto the deck. Square and remove the top ten cards (up to the break with your right hand, from above. ‘Show the kings and queens, using a version of the Braue Add: On move, as follows: Your left thumb peels off the face four kings (or queens) one at a time—then flip all four cards face down ina block using the right-hand cards as the lever. ‘See Fig. 70. Imme- diately drop the remaining face-up queens (or kings!—really six ‘cards—on top. Spread them to show the four picture cards, then flip the four face-up picture cards face down on top. From top down you now have four queens (or kings), the two selected cards, and then the four kings (or queens) Spread off the top eight cards, apparently the two sets of picture ‘cards. What you have to do now is to get the two selected cards 109110 HARRY LORANE aves (which are at fifth and sixth positions in the packet) to fifth and seventh positions. Charles suggests one way to do this: The eight cards are removed without reversing their order. Overhand shuffle the packet by running five cards and throw; then two and throw and, finally, run three and throw. This is fine, because you're shuffling as you set. Frankly, I do it the easiest way possible. I simply spread off the eight cards and hold them in spread condition in my right hand. As I say, “Remember, these are queens and kings,” I match actions to words, and casually take the lowermost card, flash it, and just as. casually replace it to third from bottom. Then I flash the top card and place it to third from top. This last changes nothing, but Ido it to match the patter, and to balance things. Another way I've devised, which looks like a casual shuffle, is—keeping the cards face down, simply upjog every other card, the second, fourth, sixth, and eighth cards. (See "Voice Print” in this book for a detailed description.) Strip out the upjogged (four) cards and place them onto the other four cards. Repeat exactly, Then, double cut the top card to the bottom, You're in position, ‘Talk about mixing the kings and queens as you do this. Allxight; whichever method you've used, the selected cards are, at fifth and seventh positions. As in the preceding routine, you’ now illustrate what your spectator can and cannot do with the ‘binary-based Royal Computer” Demonstrate—turn over two cards, then four, then eight; eight, of course, being the entire ov08 BEST OF FRIENDS 111 Packet. Point this out to your spectator, Do the full} ‘turnover twice, bringing the top back to the top. Say that he cannot turn over odd numbers of cards. Demon- strate with one card, then with three cards. The pretty part here, is that during all this demonstrating, the selected cards never show—only queens and kings are seen. “And, you can't turn over six cards, because that’s not a binary number.” Illustrate with six cards, but be sure to square them before flipping them over because one of the selections is second from top after the turnover. And, he can cut anywhere, any time. Illustrate with one ‘cut; just be sure to cut beneath the second-from-top card (a face- up selection). Hand the packet to your spectator for mixing under the table, When he’s finished, he hands you the packet under the table. Pretend to be “feeling” the cards as you secretly reverse every other card. As explained in the preceding, I use the alternate turning of my dealing hand—dealing a card at a time into my ‘taking” hand. This separates the two selections. Ifyou play with this, you'll see what I mean. Say, “There are—yes—two cards reversed in this packet. But—there’s something strange here.” ‘Ask for the names of the two selected cards, then bring the packet acket into view. Ribbon spread it on the table. There'll be two face-up cards in the otherwise face-down packet, or two face-down cards in the " face-up packet. In either case, the two reversed cards will be the ~ two selections! Afterthoughts: This (and the preceding) really seems impos. sible. When the spectator is mixing, I usually talk about the fact(?) _ that there will be no way for anyone to know how many eards will end up face up or face down. As a matter of fact, he may eventually turn them all face up or face down, and so on. In this routine, after you've demonstrated the six-card turnover (which he can’t do), you can turn over the entire packet, if you like. The other face-up selection is second from top on that side. ‘The beauty of the principle is that the spectator can really mix the cards any way he likes and for as long as he likes—as long as he stays within the rules you've given him,SECTION Ill A Card To Remember (Harry Lorayne) Instant Spread Reverse (Jean-Jacques Sanvert] Ribbon-Spread Techniques (JearrJacques Sanvert) Fascinating Pair (Sid A. Spocane 11) Double Duck (Harry Lorayne! Fanta-Spread (Terry Lagerould) Calling Card (Terry Lagerould) Pseudo-Mem (Terry Lagerould? ‘A Sweet Four-Card Change (Harry Lorayne) "Three By Two (Tom Craven)A Card To Remember [ sessed a veal nove tof rutine 1 had in ming After writing up the routine, giving myself ull credit for the move, I checked with Derek Dingle. It seems he had already devised the vital move, and it’s been in print! So, the move is his, and I use it here with his permission. The routine, however, is mine. T use a “memory” patter line with it. 1's simply a magical transposition of two cards, but is extremely magical looking, and startling, if presented properly, and if the moves are done smoothly. t is completely impromptu although, as I'l explain in the “Afterthoughts," a duplicate card can make a “real” miracle out of it. But—the impromptu method: ‘Take the shuffled deck, turn to a spectator at your left, and say that you'd like to test his memory. Double lift to display, say, the 2H. As you turn down the double and deal the single top card face down onto the table, slightly to your left, ask him to remember the 2H. As you talk, casually double cut the top two cards to the bottom. (This brings the 2H to second from bottom) Do one fast center Hindu Shuffle, keeping the two bottom cards in place. Then hold the deck from above with your right hand; your right thumbtip holds a break above the bottom card. ‘The way I get that thumbtip break is the fastest and simplest (for me). The deck is in your left hand; as your right hand approaches to grasp it, buckle the bottom card with your left fingers (I use my us116 HARRY LORAYWE aves forefinger). This automaticall 3 ; natcally Separates that card rom the rest of the deck. atthe rear Your ight thumbup picks up snd meine that separation. (See Fig. 71.) a ple down atthe outer Te comer ith yourle thumly aking econd spectator (at your night to stop you, When heat’ ‘your right forefinger “kick” cuts the top half deck, at the “stop” Point Into your let hand, Your night hand moves its ore lower) half to the top of the left-hanc f—but inj oh hand half, (See Fig. 72) akbar nog the igh oa! BESTOF FRIENDS 117 smbtip releases the broken card and your second fingertip ops pushing the moving card as your right hand continues to ove that half forward untilit aligns with the moved card. (Fig. 73. sis an exposed, stop-action, view as the move is in progress.) The E fight-hand portion is released onto, and flush with, the pushed- forward card. All this takes a second or so, as you talk about {ving the second spectator a card to remember. ‘Turn over your left hand and the (stepped) deck. Point to the tom card of the upper half—the pushed-forward card (assume 's the 7C), and say, “You remember this card, the seven of clubs.” (See Fig. 74,) Turn your hand and the deck back to position. Your Fright hand grasps the upper, stepped-forward, half from above, at [the ends, Deliberately lift that half, tilting it slightly downward at outer end as you start to move it to the table. This will leave ‘one card of the left-hand half—the second-from-top card—still protruding, but “shaded” by your right hand and its half deck. © (See Fig. 75) Your left forefinger, which is at the protruding card's ‘outer end, pushes that card back flush into the left-hand half as, = your right hand starts to move its half to the table. It's not a quick ‘move; that's not necessary. Just do it. From above, it's impercep- ible, and all looks perfectly natural. Place the right-hand half to the right of the already tabled card (the supposed 2H) n Your sight second anger Gngortip contacts the top card ofthe lt hand half and pushes it forward. Keep ‘purhing uot! no, Stopped by your right thumbuip contacting the ine lefthand half At that moment, without a pauso, soar nine without a pause, your right118 HARRY LORAWE aves Actually, the 2H is now the bottom card of the half deck you've just tabled. The 7C is second from top of the half deck still in your left hand. The single tabled card is an indifferent card. There are @ number of ways to end, but the following is the easiest and ‘most direct. Point to the tabled half—"Remember; the seven of clubs fs at the bottom of that half." As you talk, your left thumb spread-pushes off and pulls back the two top cards of the left- hand half in order to enable you to get a left ite finger break under them. Q008 BESTOF FRIENDS 119 “And this (point to the tabled single card) is the two of hearts." As you mention it, pick it up with your right hand and place it on top ofthe left-hand half. “I'l place it to the bottom of this half.” Grasp the three cards above the break with your right hand, from above, as one card, and move it (them) to the bottom. (See Fig. 76,) Don't make a move out of this—just do it casually; there's no reason for suspicion. Drop the half deck to the left of the tabled half. All that remains is the buildup. Stress the location(?) of the two cards, do your magical gesture—and turn over both halves to show that their memories are not too good! (The two cards have magically changed places.) Afterthoughts: The change is startling ifthe double lift is clean and, of course, ifyou do the change for the second card correctly and deliberately. As for any two-card transposition effect (or for a copper/silver coin effect), you have to make sure that your audience knows exactly which card is supposed to be where. Using a duplicate eliminates the moving to the bottom of three cards as one, at the end—and makes the effect much more direct and magical. One duplicate is on top and the other is fourth from top. Do the routine exactly as described, and it will work out automatically. You can't, of course, do the center Hindu shuffle; a rifle shufile is fine, keeping the bottom two cards and the top card in place—at that point. The difference is that at the end, after you've placed the top halfto the table, openly and deliberately drop the remaining half onto the single tabled card. Do your gesture—and end. Try this before you discard it because of the duplicate card.JEAN-JACQUES SANVERT Parisian JEAN-JACQUES SANVERT was eight years of age when his grandfather did some standard card tricks for him. The bug. didn't really bite until his grandparents took him to “Le Musée Grévin" where he saw a magician doing a card act—productions and disappearances while wearing white gloves. That did it! He traveled the usual path, working with gimmicks, trick decks, and 80 on, until he became fascinated with the pure sleight-of hand, regular deck, aspect of card magic. His first big thrill was returning {0 the museum at fourteen and seeing the same magician perform. By then he'd practiced quite a bit, and was able to meet the ‘magician and exchange ideas. He goes on to say that some years later he discovered—"My favorite magic writer—yout" (I love you, too, Jean-Jacques!) Jean. Jacques is a professor of law and psychology in Paris; his hobbies, besides magic, are the martial arts, “esoterism (girls!)" he's not married. He occasionally performs professionally with his close Jriend, Bernard Bilis—but generally speaking, its his hobby. Some of his effects and routines (and they're good) have appeared in Apocalypse, and will continue to do so. ‘Magic has opened many doors for him and, in his words, “Wh lin his words, “What is marvelous is that there is an immediate communication whatever the language.” Jean-Jacques is a fine close-up performer. JEAN-JACQUES SANVERT. Instant Spread Reverse War preny instant overs af card this ist ean snoques took me in completly when heat frie There are ether things that con be accompli wih th dee—gimmpeos, _ feces controle but I epithe rovers a torus carta, pothape touch Ste her Ideas Wu pee be wrorng wha ood opeadng deck anon god spreading ties _ "lve a card sslectod and ss your spctator is looking and remoting ribbon spread the ace-down deck onthe ala | Nake ta sight sos lt tonight sprad-—dont ef Bike tho sclecion don logkatiteface and appear to place love inthe tabled spreads inserted fom atid toward you, ee Tr ict, you inert the card o right of conten ander tho spread then move t abt rier to the ight eo fi 77 our Sponsor see hw card bing inserted face dove, Inetely {Dmino ur he pred ce up sway Your ght hand each tnttont othe spread tittle end ove going to domino arn the prea wi yours tan ‘our et hand help nly by sing tho lf ondotom) ead sight ‘Thiet flit geting joor ght thumb so poation Gr 7 Sow, your Ht hard moves to to ght domina Tuning the spread ac up our ght hand eens te spend an aaa122 HARRY LORAYNE, avon it tums, so there's no chance of the selected card's back flashing. (See Fig. 79) ‘That's the basic idea. The spread is now face up, and the selected card is face down beneath it! It's instant. Now, without a Pause, square or gather, the spread with both hands. Ifyou gather normally, the reversed card ends up face down at bottom of the face-up deck. Jean-Jacques prefers (and so do I) to gather so that the reversed card goes directly to center deck. Then, no cut is 9908 BESTOF FRIENDS 123, F necessary to center it; just in the interest of “economy of moves.” ‘This is easily accomplished by pressing the left long sides of F the right-hand cards downward, onto the tabletop, as you gather. Remember; the left cards are moving to the right, the right cards are moving to the left. Pressing downward, as just explained, forces the reversed card into the deck—it's scooped in auto- matically. (See Fig. 80—I've downjogged the reversed, selected, = card so that you can see what's happening.) ‘That's it; ask for the name of the card as you turn the deck face down—and immediately so a face-down ribbon spread. The chosen card is reversed (face up) at center spread.YY 124 HARRY LonAVNE, aves ‘Afterthoughts: This beauty. strong because your spectator seeshis card lost face down into the facedown spo Hees reversed cards when the spreadistumedtaccup Mhominsterte his earl is reversed. Jean-Jacques suggests hat seu eae a triumph" effct ater the roereal-with only one oe ha Simple. Turn the squared eck face down ont the able fee shulle poston. Cut ofthe top halfwith our right hed inchs the cep cad simply eu atthe na rea cethistophafintoyourlefthand~dealing position Turn the bottom, tabled halfface up with your righ hare ve meeleh ag moves tothe table forthe rifle shut Sour let hase tne ear down as it moves, turing overt half deck. Bath hace oo na face up, except that the left half looks face down, becaute ae revorsod selected cardis ontop. Dooneriicshu and—riurmpht In the tom that follows, discuss some more of ean Jacques’ Ribbon-Spread Techniques. an thenonecut, Ghimpss:vsing igh vration of he bon spread cne-cardinsrion mained denabed In ne preceaing, ia {RSs eugget wo gimpee nethods pretreat dete flr ‘ard io aelected, you form the srighacrass, facedown ston spend Take the oectodcard—hanael occurs shat there can be no suspicion that you can see its face—and place it into the spreadas described in the preceding. But—It goes halfway into the spread ‘That is—slide it under the spread and move it slightly to the right, but then move it back to the left about halfits width. That half,the card's left side, entersthe spread. Or, you may prefer to do itin one shot. Slide the card under the spread about a quarter of the way from the spread’s right end—then immediately move the card to the left halfway into the spread. This “halfway” insertion can't be pictured, but one or two attempts will clear it up for you. Just remember that the left side of the card is actually in the spread; its right side is clear, under the spread. (See Fig. 81) I've explained it as I have to make sure you understand just how the card ends up. Actually, the simplest and most natural way to do it is to insert the card into the spread the way you normally would really insert it. Insert so that it aligns with the card directly beneath it, in the spread—then, as you push it home (down) 125I 126 HARRY LORANE aves move it to the right for half that width, Now square (gather) the spread with both hands. Gently with your left hand, as your right hand (fingers) pushes the top portion Picards to the left. These top ‘right-end) few cards spread to the Jef past the bottom portion. It seems to avoid any possibility of card is lost. (See Fig. 82,) card's (the one in the spread) a1 There is no pause in action. Your left hand grasps the un- Sauared (fairly messy-looking) deck at its inner end, thumb scooping underneath, fingers on top, and tus it face toward 72k: 288 side on table—in a natural squaring action, Your right hand pats down on its upper long side. But, ifyou've done ac tec described, you'll have a perfectly clear glimpse of the selected card—as you square the deck. (See Fig. 83,) This second glimpse idea is quite subtle, You have a choice in reparing for it. You can have a card selected, then ribbon spread the face-down deck, but—for this, ribbon spread vertically em You toward your spectator. You have to tum your body and twist ‘your hand a bit to do this, but it looks natural to the audiene ‘rake the card and insert it as explained, nearer the spectator’s end of the vertical spread, halfway into the spread, as in the first slimpse method, (Se Fig. 84 The other choice is to have a car] Pecked at, then angle jog it to the right, Then do the vertical REST OF FRIENDS 127 As you sa "Your card can be anywhere—it ost in the dock” dots: Your eft hand domino tur the spread away rom you thats om nor endoward our spectator But are cn up only about balay your night hand near he ower eo tmediaely pushes the domino'ng” cards back mead yu ting al as face dow agin. a fart onetwo Roush You tak And. youll have» lear line of he slot card Garing the flourish it wil be exposed more than any toe Fg 5) oth these glimpse ideas are subtle and good.128 MARRY Lonawwe aves | Psychological Force: Glimpse the top card of the deck, keep there during a shuffle, then turn the deck face up. Give it one cut and angle jog—or simply push out, in a side-steal action—the glimpsed card. This is easily done as you complete the cut. Ribbon spread the face-up deck on the table; the sidejogged card can't be seen, of course. Domino turn the spread face down, and the glimpsed card is slightly more exposed than any other card-—near center spread, Casually say, “Just pull out any card.” As you know, this type of Psychological force is successful quite often with laymen. An interesting way to try itis with one blue-backed card at bottom of ared-backed deck. Cut the face-down deck, sidejogging the odd-colored card. Do the face-down ribbon spread—the blue card is invisible. Domino turn the spread face up and the blue-backed card's face is more exposed than the other cards. Ask your spectator to pulll out any card. ‘The psychology is stronger because all the cards are face up—it would seem that it doesn't matter which card is taken; and laymen do usually follow the path of least resistance. If he goes for that card, you can build up to the fact that he selected the only blue card in a red deck, etc. (If he doesn't, you can always insert his selection directly on—under when deck is face down — the blue card. Then, with deck face down, spread to the blue card, double lift to show that he chose the only blue card.j Almost Automatic Force: The top eard of the deck is the force card. Ribbon spread the face-down deck. Tell your spectator that he’s to take any card and insert it into the fan, “like this.” To demonstrate, take the top card and insert it under the spread, as explained in “Instant Spread Reverse.” Usually, when you do this, the inner end of that card will be slightly visible from your side of the spread. It is then quite easy, as your hands adjust or move some cards, to slide that card to the extreme right of the spread—your right fingertips contacting © 0008 BEST OF FRIENDS 129 that exposed end. I, personally, prefer to simply insert the card as originally explained; I don't bother sliding it to the extreme right. Til clear this up for you as we continue. At the moment, there's a known card—the force card—under the spread, to the right. Let your spectator pull out any card; he doesn't look at it. He inserts it, normally, into the spread. If the hidden force card is to the extreme right, he can insert it anywhere. If, as I explained, the force card is inserted so that its to the right of center (about halfway between center and the right end) but not at extreme right—casually say, "Place it anywhere near center’; that's all Your left fingers openly go to beneath the left long side of his, card. (See Fig, 86) And, push all cards—the selection and all cards above it—to the right. Your right hand is at the right end, serving as a “stop.” 86 jarently; you're openly cutting, or separating, the cards so that his card becomes the bottom card of the top half deck. looks exactly that way. But, look at Figure 87. As you can see, the force cards on the table, to the right of your let gers 1s an easy matter to simply pick up or scoop up) that card with your Tet fingertips as your leh hand moves to the ight. The fore card ‘automatically becomes the bottom card of the top half. Either fip the half face up or hold it up face toward him—and you've forced ‘your card.130 HARRY LORAWNE, aves Control: This is pretty. A card is selected and you ribbon spread the deck face down. Insert the card into the spread so that it's halfway in the spread, as explained in the first “glimpse” method. Flip the spread face up (domino) halfway and then, immediately face down again. This is similar to the one-two turn explained in the second “glimpse” method—except it's done with a horizontal, _ not a vertical, spread. ‘The face-down spread will be “broken” near center. That is, the back of one card will be almost fully exposed, Your left hand grasps the left half of the spread, up to that card, (See Fig. 88) Riffle shuffle the two halves together, making sure that the top left-hand card falls last. The selected card is on top—go from there. Note: Jean-Jacques gets the selected card to the bottom. His spread breaks that way. It has to do with how quickly you do the Q008 BESTOFFRIENDS 131, ‘one-two flourish. I find that the spread breaks for me so that the = vital card is on top of the left portion. If it falls to bottom of the “right portion, riffle shufile accordingly. Afterthoughts: For the last item, the control, I find it’s just as E g00d if you domino turn the spread face up all the way. Then, immediately, domino turn it face down again. “Immediately” ause the face of the selected card is more exposed during the ce-up turn—but it won't register if the spread is tumed down 3t away. It should look like a simple flourish. All these ideas are workable, practical—and good. PracticeSID R. SPOCANE It {We used SID R SPOCANE Its material before. Hei an extremely owledgeable and clever cardi ‘He Iso the ont ; Iman. He sao, however th contributor to this book who de: fF poeiaae conto 0 desires to remain completely Hes a close friend Hide Of mine and 1 am, of course, honoring that SID R. SPOCANE I Fascinating Pair “Tre stay stack stp tized in a rostne ater on in this book ifr Pol'y te dowerundr ol and dk dea tts touched on in Qarupe Seopa” ide combination of the two concpiin ho routing bawove igure Tends tft the vey of dew ine bok the layman land ogitane notin the know) this is an impoostily apace! fears ismaned shorougy te spectator tel eoices ec, bathe manages o mate toca an thespleble manor nly tee curds are used forthe routne—sk pair—and thoooar aa ine Say Sack Remove any ct pi ack Sy fwosed Gatch Ifyou don knw Sy Stack bei Mas ot feevap pronto te ble Place oe ofancther parce pont the Bc yuin and tho othr face up beneath the Bat pi Pace one of anthor pa onto the for toed card, andthe ober ‘neat the tabled card Continge that way oure tn Say Suh the to canter cards are pal thon ho cand too Shavit aves pacar to thee and ight are pal and soon te top do botom sds of he packet ona pat ‘penton ake te welveard setap om he dak Yeean shutter hoping te tcl ot top tr bottom, then spy stove the wee tard n'a block "up tou, Pace te Sack Feopes ane” Wu ean the mele ede one pret fo Beh nou thot si be ny Sack set up hough te pai ai positon! 133134 HARRY LORAYNE aves 's patter theme is that cards can sometimes be “infus with someone's character. The spectator’s choices can do that. Holding the packet face down, ask, “One, two, or three?" When ‘your spectator answers, do an up-down mixing (strip out) using that number. If he says, "two," push off two cards, then step up the next two cards, push off two, step up two, ete. Strip the sections apart. Indicate one section (there's a section in each hand), and ask “Do you want this on top, or underneath?’ Follow his instructions. Again ask, “One, two, or three.” He says, “One.” Do the up-down mixing with single cards. Push off one, step up the next, push off one, step up the next, and so on. (Check “Voice Print” in Section V for a detailed description.) Again, give your spectator the “on top or underneath” choice. Do the entire thing again—using his 1, 2, or 8 choice. (Fig. 89 shows a “3” choice.) 39, ‘The point is this: 1 doesn’t matterwhether you do the up-down mixing with 1, 2, or 3 groups, nor does it matter which section goes on top or bottom. You can even let your spectator tell you whether the first (top! 1, 2, or 3 cards should be stepped up or down—the twelve-card packet will remain in Stay-Stack set-up!! ‘You can go on indefinitely—but, of course, don't make it a bore; three or four times at most. Then, ask, "Two, three, or four?’ Whichever his answer, deal that number of packets, singly and face down, left to right alternately, onto the table—as if dealing 008 BESTOFFRIENDS 135 poker hands. Then, ask him whether you should pick up the packets from left to right or right to left. Follow his choice, picking, them up in order. Again, it doesn’t matter—the twelve-card packet is still in Stay Stack! After this horizontal-row deal and pick-up, you can continue with another up-down mixing, or two—up to you, it's optional. Then, and this is a key maneuver, you break the Stay Stack this way: Push off one card, into your other hand. Deal the next card onto it, the next card under the first two, the next card on the first three (See Fig. 90, then under, on, under, etc. This takes a second or two (do it rapidly) and appears as if you're mixing the cards some more. The packet is now in parallel set-up! That is, from top down, it might be—BCDAFEBCDAFE. Don't check during per- formance, of course; it's automatic. At this point, say something to the effect that he has certainly infused the cards with part of his own character Now, the packet can be cut (complete) as often as desired. (It cannot be cut while it's in Stay Stack, I suggest you cut once, then hand the packet to your spectator, and tell him to cut. Then, turn your head aside, and tell him to “duck” the top card—place the top card to the bottom. He's to keep ducking single cards as long as he likes. Whenever he feels like it, he’s to place the top card aside, face down, onto the table. ‘When he does, face him, point to an area away from the single card he's dealt, and instruct him to deal the (now) top card onto the table. He ducks the next card, then deals the next onto the one he just dealt to the table, ducks the next, deals the next, etc— until he holds only one card. Tell him to drop that onto the very136 HARRY LORAYNE aves first card he placed aside. Buildup—then turn over those two cards; they're a matching pair! Afterthoughts: It's automatic! Just follow the instructions. Remember; after he deals the top card aside—the next top) card is, also dealt to the table, the next card is ducked, and so on. I've added one strong (I believe) touch. After you've done the “key maneuver, putting the cards into parallel set-up, cut a couple of times. Then—flip the top six cards face up in a block (Casually spread, eye count six, and flip face up onto the lower. ‘most six cards.) The cards are back in Stay Stack! Do a couple of up-down, strip-out, mixes following your spectator's choices, just a8 explained. This really looks as if the cards are being thoroughly and messily) mixed. Then, do the “key” maneuver again (second card onto first, third beneath, fourth on top . . the face up-face down cards are back in parallel stack. ‘The packet can now be cut as often as desired, Let your spect: tor do 50, And, he can turn over the packet if he likes, when he's, ready to start ducking a card at a time to bottom (before placing a card aside}. The card he places aside will, of course, be either face up or face down. Continue the deal-and-duck sequence, as explained. ithe placed aside a face-up card, he'll eliminate down toa face-down card, and vice versa. Turn up the face-down card, to end—they'll be a matching pair! The face up-face down idea stresses the fact(?) that the cards are really, and randomly, mixed. ‘Now, Sid told me that there is a way to do a follow-up, arriving at the other two (of four of a kind) matching cards. You'd have to set up three sets of four of a kind originally. He never sent me the method. I've played with it, and came up with the following, Set three sets of four of a kind in Stay Stack. Consider the reds of each. set as one pair, and the blacks as the other. You can work with each set at a time so that, assuming you're stacking the 5's, kings, and 8°, it might look like this: 8D, 8C, KC, KH, 5S, 5D, SH, SC, KD, KS, 88, 8H. Or, just consider them separate pairs; then, it might this: 8D, SC, KH, 8C, KC, 5D, 5H, KS, 8, KD, 5S, 8H. Either way willl work. E9008 BESTOFFRIENDS 137 Proceed exactly as described in the text to turn up the first matching pair. (I don’t use the face-up idea for this;it complicates = matters.) Then, as you talk fan the remaining ten cards faces, toward you. What you have to do is to spot the remaining ‘matching pair. (if, say, the two red 5's "matched," then you'd spot, the two black 5's) One of two things will face you. The odds are that the, say; two black 5's will be separated by two cards. f so, cut the uppermost 5-spot to the top—that is, cut one to the top automatically placing the other to fourth from top. You're in position, The other thing that you may see is the two mates together: In that case, you have to get two cards between them, then cut to top. (See Below.) And—there’s a good chance that the vital pair will already be in top and fourth positions. Okay; ll leave this to you—casually get the two remaining 5's (or whatever) to top and fourth positions. False shuffle and/or cut, as you say, “That's interesting. Do you remember what you did? You placed any card down, like this. Deal the top card, face down, near the first pair"... Then you ducked a card, dealt a card, ducked a card,” ete. Do it as you talk. Its a lie, of course. Before) after the first card was dealt, the next card was also dealt. Now after the first card is dealt, the next card ducked. This discrepancy hasn't been noticed in all the times Tve performed it. i's difficult enough for you to remember whether you dealt first or ducked first—no way a layman will remember it! ‘That's it; the last of the four of a kind will automatically be the last card. All you need to remember is that the remaining two of the four of a kind have to be at first and fourth positions. And, here's another way to handle it ifyou see the two mates together. It’ simpler, for me, and it's what I use. It eliminates the necessity of getting two cards between them. Cut the pair to the top. (shuffle, keeping them there.) Deal down the top card, as ex- plained. Duck the next card (mate) as explained. Deal; duck the next but really place it to second from bottom via a bottom-card buckle. Then continue normally—-it will work out right! Present this properly—either way; the matching pair only, or with the follow-up—and, it's strong!HARRY LORAYNE | cccasonaty come up wih an ideas seaming obiou that my st thought io tha lus hve bee though oben ‘This afta tat eategon. On checking howeres ean tetine references tot happened by aseden way working om the preceding dckeand dat down andunder rote sng toe deck Two ead stuck ogeier ast "ducked and thethoueta stuck "Why not ducks dealin pare So, withthe hope tht {have Overocked asa de, and for whats wort, heres the simple routine | exe up ut Fist the be eoncepr Hol ace down pacel of tel conde the four acer areat ortom of the past Myou hada pectter thick place fhm top to bottom fe cards ogi he ae Siminating that way whe had on par emo cand ek te pairwould cont of wo ave: Place there two srs eo thalhave him lek up the abled packet and do racy the se thingie nat dk Bratt laspa wil eonat orn gto ace The st deal auomaealy sts hemor te one mare couple of presentation ideas-The simplest wai to appa ently iow the See nt the deck but realy conta them tet top Endvwithatog suf aoping tem on op. Than cova not asf youre counting tov ire groupe a four cards ech 138, 9008 BESTOFFRIENDS 139 from the top of the deck onto the table; one group onto the other. Make it appear as if you need “a few" cards. Push the twelve cards toward a spectator, and have him go through Double Duck to find the four lost aces. If you know the eighth card from top and if you also know Mario's Simple Shift, you can insert the aces for that shif—the last one being inserted in front of the key (eighth! card. Do the shift; he aces are apparently lost but really ninth to twelfth from top. Casually take off the top twelve cards—again, don't make it look as if you're counting—without reversing their orden, and you're ready for Double Duck. There are other ways to get to position, of course. Now it also works—exactly the same way—with sixteen cards, ifthe four aces are on top. Do exactly as explained with a sixteen- ‘card packet, aces on top, and you'll get the four aces. The only reason I'd use this is that I can now include faro shuflles. With the aces controlled to the top of the deck, do two “in faros (top ‘card goes to second from top|. The cuts need not be perfect, and only the few top cards of each portion must interlace properly. Now, let your spectator deal out, alternately, four packets (hands! of four cards each. The aces fall into the last packet. Gather the packets so that the ace-packet is on top, and you're set for Double Duck. Or, after the faros, spread off—eye counting—sixteen cards. Place the deck aside, Pattering about mixing these (already mixed) cards, do two down-up separations (upjogging every other card— see the preceding routine, or "Voice Print” in Section VI. Place the ‘outer portion to top each time. The four aces are on top, ready for Double Duck. You're shuffling the aces to every fourth card, then doing the down-up separations (or mixing) to bring them back to the top. Seems silly, but it impresses the fact?) that the cards are really mixed. ‘And, finally, it will also work with fourteen cards. The aces are at bottom. Duck first for the first run-through, but deal first for the second run-through. You'll get the aces. Afterthoughts: Well, there you have it; something to play with. It's twice as fast as duck-dealing one card at a time! See ifyou can come up with different ways to use the idea, or different presentations.‘TERRY LAGEROULD TERRY LAGEROULD bills himself as “The Kidd.” He comes from Michigan, but was living and working in Reno, Nevada when we first, ‘made contact. He may be back in Michigan now—Ive lost contact! He's a dyed-in-the-wool fan of mine. (Ican use all I can get!) He has sent me many unique, intriguing, and wonderfully creative ‘Ideas in the close-up area. Some have appeared, and will continue to appear, in Apocalypse. He's a young man, and if the ideas that have come from him up to now are any sort of indication, I envision a quite successful career ahead for him. TERRY LAGEROULD Fanta-Spread “Thisis the mst subtetcation ofa ead ve seen Jong time. Actually it's the most subtle “setting” ofa key card that Tye seen in a long time. All you need is a deck that you can table ribbon spread cleanly, and a surface on which you can do the spreading, 'd also better tell you that, a first, when you try this—and I strongly suggest you do try it—it won't be definite. You'll miss occasionally. The ‘more you use it, however, the more your eye will become accus- tomed to it, and the more definite it will become. In any case, it's certainly worth knowing ‘The principle is this: Do a smooth, straight-across, face-up, left-to-right ribbon spread with the shufiled deck Most every time ‘you do, there will be at least one card the face of which will be ‘more exposed than the others, And, if the spread is s0 perfect that all cards are evenly spread or exposed, you'd simply put ‘your hands on the spread—or poke t with a finger—in an indica- tory gesture as you talk, and move the right part of the spread a bit to the right to expose more of the face of one card In most instances, however, one or more cards will already be more exposed. Use one that's closer to center spread. Remember that card; that's your key. Then, do a smooth “domino” turn, tuming the spread face down. There will be, or should be, one aa142 HARRY LoRAYNE, aves card's back exposed more than the others—at the same approxi mate area of the spread! ‘That's it; thats all there is to it. The card directly above (to the left of the more-exposedt-back card is the one you spotted and remembered. (Occasionally, the card you spot in the face-up spread is the card whose back is more exposed but, most often, its the card above it) Casually move the cards around on the table, exposing the card you know, as you ask your spectator to take any card. As you know, you've got a good chance of that card being taken. Ifit is, and if you're sure that's the card you spotted—just lot him place itback anywhere and shuffle. Go from there. Ihe goes fora card near‘, just have him peek at it as you count its position left or right) from your key. Ifhe takes one that's too far for eye-counting, have him replace it into the spread as you indicate the area of the back-exposed card. If he places it right next to it fine: if not, count its position from that card. So, you have a number of chances to enable your key to help locate the selected card. If you're not sure whether your key is the back-exposed card or the card above it, one “fishing” question or statement locates the card for you—when you're ready to end One of the effects Terry suggests is a fourace location idea. Tve tried this and been pretty successful with it It's based on the fact that if more than one card is more exposed than the others in the face-bp spread, there'll be a “step” at each of those areas when ‘you domino turn the spread face down T present this with kings and queens, Remove the four queens before you start; place them aside. Have your spectator shuffle the deck, Do a smooth face-up ribbon spread. Spot the kings. If fone of them is too near an end, gather and cut to try to get them all nearer center. (I don’t bother—if one king is near an end. I simply note its position; this makes it easier later, as you'll see If two kings are together, shulfle to separate thom. Assuming they're well-separated through the spread, say, “Let's see ifall the kings are here,” as you quickly point them out. But, when you do, separate the spread (moving to your right at each king. (lf one is near an end, 1 don't separate that one—t simply note its position) This is done as an indicatory action at each king. 008 BESTOFFRIENDS 143 Domino turn the spread face down. Pick up the queens, insert them singly and face up, as quickly as you can—above each back- exposed card. (See Fig. 91.) In this case, it doesn't matter if the kking is the back-exposed card or ifit’s above that card, because all, you're interested in is getting the face-up queen next to the king—either direction. (If one was near an end, and I noted its position, I simply insert that queen accordingly.) a1 Gather the spread, cut a few times if you like, do your magical gesture, and do a wide face-up ribbon spread. Point out that each queen has found a mate! Afterthoughts: ‘The concept is subtle enough so that the fact, that you move the spread slightly at each king doesn't register The end should still be a startler. It must appear, of course, as if you're casually inserting the queens just anywhere. It's an idea ‘worth experimenting with. You might try it with only the, say, two black kings. ‘The basic idea for setting one key card can be a “killer.”| Ther isnt ch toe ta and it at all and it may seem ob to you. But done atthe right tm almost asa teow etetve You have tobe able to doa double ct thate a You tum ashufled deck face up. glimpas the second som the face the simples way todo ths oro rae thet atits inner end with your ight thumbtips jet higher the index of the second card as you glance down. Glimpse it an bottom team, Like thier Pt" Cu” the top face) card to 144 BESTOF FRIENDS 145 is to spread a few face cards and secretly fe the second, third, and fourth cards. Now, you can do ing” three times in a row, doing the same thing eac suits—just the values. Because—assume the values you dare 6, king, 4 first time you'd say, “six... of’ as explained. As the last ‘cut to the top, simply say the suit you see! That's all. The id time, you'd say, “king . . . of,” then say its suit as you see third time—"four ... of,” then the suit as the card is ht to the top. efi I showed this to Jerry Deutsch, he came up with a nice jon—of method. Glimpse the second card from the fac you can keep doing it as long as you want to without doing re secret glimpses, and without memorizing, (Twouldn’t do than three times.) ell” the glimpsed card as explained, simply note the it appears when you say “of.” Then, as you bring the last top, get your left little fingertip beneath that batch—on ‘of’! card, Now; triple cut to the break (that is; cut three itches, the third cut at the break’ saying the name of the noted. But—again note the card at “of” As the third brought to the top, manage to get the left little finger eath it, and repeat, You can go on this way ad infinitum. srthoughts: Ifa spectator should say, “Let me name a card,” handle that pretty easily. Immediately hand to hand146 HARRY LORAYNE aves spread the deck face up, and say, “Sure, name any card you see: When he does, simply aquare, catching a break above the vane card. Then, tiple ut tothe break, as You spell" that card No earth-shattering concept here, but an interesting one never theless. Besides using it as explained, Ive used i lor the lot seo of fourace-location routine. The lat aces controlled to second from face, | ask the spectator to see which ace stil hs te bo found, Then 1 ask him fo ay the name of that aca, slonty ara clearly, As he does, Ido the cuts to the rhythim of his vlog the ace appearing ashe says the sult. Interesting TERRY LAGEROULD. Pseud-O-Mem Mery sf o mine ant pores eva mes tip with som good variations. Having also been inspired by ie of my pseudo-memory effocts with cards, he's come up with 1979) This one gave me a vague fecling of familiarity, but I haven't F been able to find itn print. He did devise it on his own, and the = Presentation and handling are good. 1 think that if you present ~ this properly your audience must believe that you've really mem- rized the entire deck of cards, ‘There's also an interesting Mow-up. The basic concept is this: Let your spectator thoroughly shuifle ihe deck ny to glimpse the boitom card as he does. Ifyou can't take the deck and give it a few more shuffles yourself, glimpsing ihe bottom card, or shuffling a known (glimpsed) card to the Bottom. Don't make this obvious, of course. Place the. deck onto the table. Ask your spectator to call any ‘number Although any number from one toify-two can be named, Talways say “from one to twenty-six" to save ime, Let's assume he says, fifteen.” Tell him to count down tothe fifteenth card and to remember what itis. He's to leave it at position. Turn your back as he does this ‘When he's done, cut or et him cut) the deck complete cuts) as a7Y 148 HARRY LoRAWNE even often as desired. His card is lost. Now; do the buildup about mem- oriting cards; say that you'll try to memorize the entire deck with only “one quick look-through, You “look through’ by dealing cards, face-up pile on the table. All you have to your count with the number after thi Qzample. you'd mentally count, 16, 17, 18, etc, starting with the top card, AS you count, look for your original bottom card. Whatever ‘umber that card falls at will be the position of the spectator's card From the top of the deck! That's all there is to it. Although you already know the position of his card, don't stop there, Centivon ‘memorizing" the entire deck Sauare the deck and turn it face down, Say that you think you've Bot" them all. Ask for the name of his card. As soon as he nares eJou name its position in the deck. Let him check by counting to that position. you want to do the neat (and automatic) follow-up, make sure he counts the cards singly and face down onto the table Tavorsing their order. He turns up the card at the position you named and, of course, it’s his card. You can end here-—but, for the follow-up: Leaving his card on the table, place the dealt (counted) cards back on top of the deck Fees and—your original key bottom) card is now automatically at the position your spectator called at the start fifteenth in shi, ‘example! See Afterthoughts.) Kun your thumbtip upward at the rear of the deck, from bottom ta ee queeving the cards to rifle off rapidly. Pretend you're tying (See the faces as the cards rifle by. Ask, ‘What number did vox originally call?’ He answers, “fifteen.” Say, "Wes, the iname your Srigina bottom key) is now at fifteenth position from the top!” ‘Act 3s i you're concentrating a litle bit) He counts to verify; you are correct, Here's a little touch for the basic effect that ‘Terry tells me he took from one of my own pseudo-memory effects, Assume, when you're “memorizing” the deck, t Trantal Count of twenty-two, Remember that number but you also know that his card isthe fiteenth if that's the number he eallech card further on. So, start coun e008 BESTOFFRIENDS 149 memorize the the card immediately after your key card) and really: et fourteenth card and the sixteenth card—the two cards on either side of his card, (No hesitation, of course) : Now, when your spectator names his card, you can say, "Yes, that’s the twenty-second card from the top; and, if I remember correctly, the card just above it is the ——, and the card right after it is the ——r" It's strong, Soe cera toa etree permanent a Se ee a reece irecsdh ination ean eee repent cor opener ae Senin ciple aa crm cee Sr oc =o ae original bottom key willbe that number from the bottom. a eg ee ar rier eta parimie aoe ee anna se crurniary momiertenre meets a re Se es wmUY GO E O008 BESTOF FRIENDS 151 tums this half face up in your left hand (your thumb just fips it over). As it does, your left fingers push outward on the rear card, which tends to spread some of the rear cards to the right. The HARRY LORAYNE_ _ ‘object is to separate the rear card from the others just a bit. The right-hand cards go between this separated rear card and the rest ofthe left-hand half. (See Fig. 93 to see this in progress, just before the deck is squared.) Do a center Hindu Shuffle, then turn the deck face down and do one jog shuffle. You're in position. That's how I always do it. Of course, ifyou prefer, you can do the reverse double cut, which leaves the aces face down at the bottom of the face-up deck, then double cut one card from face to rear. That eliminates the one-card separation. A Sweet Four-Card Change Tris prety change was around for white a coupe of oars agar eve soon t used for some tie. Hts ab prety 0 pee a urcards sve seen The original eoncopts noting Sa oa bat the handling heen The problem was Foe haa torgo oul with ie deck anda set aeaseeererT arent that ie only way Fve eer sear What eee ean sin whch enables you vo art sean al es tang on my par an some dlng on Sout Part ‘abc tread change but beauty Maan cr acon an onthe table, youve just Baise (once the eas inte the deck supposed Toning eet ee em tote top san eter Matos imple See reece one Good Tur out of Quantum leap) The Senay Sa ge thom reversed ontop with an sndren Soe don of hem The handing use sy varation A ceneneselexacty aT dossribed in deta for 12-3 ae eit Gains break andor he fur aes your ae Raa deck rom above ght thumbup marang Ferrer eat ennand underet hl the desk tthe op Out err Rel aoe up ait is depoted to the tp, under the aoe er rsa etn Sqare he dc ann thereat Sere lot hand undercuts all cards upto the break and ‘The patter for the handling is to simply say “no ace here" each time you turn a half face up. I say the same thing as I push out some rear cards with my left fingers, and as I Hindu Shuffle. Start spreading the face-down deck from hand to hand, asking ‘your spectator to touch any card. You have to start spreading with ‘a block push-off in order to hide the face-up aces. Have the specta- tor indicate four cards this way; you step up (outjog) each card as he touches it. The patter theme is that he's to try to find the aces. ‘Square the deck, leaving the four cards protruding, Tilt the four protruding cards to the left by tapping their sides with the side of ‘your right forefinger. This allows you to square the deck neatly ‘because it clears the upper right corner area of the deck. ‘See Fig. 94) 150UO 152, HARRY LonAWNE Aven Straighten the protruding cards, then spread them slightly. The following is done as you say, “Let's see if you've found any aces: ‘The deck is held in dealing position; yourleft thumb lies along the Jef side; your thumbtip rests on the upper left corner. With your right hand, pull out the upper protruding card, turn it face up as ‘You place it to the table, and as you say, “That's not an ace." As you do this, your left thumbtip presses down gently on the upper left corner of the deck, as your left fingertips open ever so slightly. Because of the reverse bend of the reversed aces tin a decent deck this will cause the entire right long side of the block of five cards to lift about an eighth of an inch. Close your leh fingertips, and your litle fingertip will just about automatically secure a break. The tip of this finger does not go into the separa. tion; it simply rests outside the break—maintaining it. See Fig, 95) You're now going to turn over your left hand {and the deck) as. your right hand takes another protruding card (face up, this time), Do just that; but as you turn your hand, your left fingertips close smartly onto the deck as your left thumb straightens, This causes the "broken" cards to move (in a block) to the left. They move about an eighth of an inch. (This is the exact handling of my Kick Double-Lift, and Double Put-Down, out of Deck-Sterity) What this accomplishes is to clear the upper left corner of the e008 BEST OF FRIENDS — 153 five-card block so that your left thumbtip can easily contact it. (See Fig. 96. Your left thumb pushes the block downward (to the left) anywhere from a half to a full inch. (After some practice, a half inch or less will suffice.) All this is done almost in one move. Your hand tums over, the block is “kicked” and your thumb pushes it downward. At the same time, your right hand takes the upper = (now! protruding card, and places it to the table, joining the first one. "This isn’t an ace. 96 As this card is placed to the table [or before), your left thumb ‘moves away from the corner and rests naturally on the top card (actually the bottom, or rear, card now). All this may sound com: plicated, but it isn't. Ifs almost instantaneous. By the time your right hand is taking the protruding card, its all done. Your right hand retumns to remove the third protruding card. As itpplaces it to the table with an appropriate remark, your left thumb ‘must move the rear card (only) up, and flush with the deck. This will take a few tries. Push off that card as if to deal it. (Remember; your hand is palm down, and the deck face up, Your let fingertips {act as the gauge assuring that only the one card moves. As soon as it clears your fingertips, your thumb moves it upward so that it flushes with the deck proper: Move that card upward lightly and gently; too much pressure will move one, or more, of the reversed and injogged aces. Practice this with the deck held normally, and you'll sec how simple it realy is. Yous left fingers may have to shift slightly to got the card straight and flush. Incidentally, the one thing that must be watched is the inner end of the block protrud- ing from the left side of your left hand. You may have to turn the outer end of the deck more toward your spectator: That will cover i154 HARRY LORAYNE avon Your right hand returns to take the last protruding card. “And this certainly isn't an ace. At this point, your right fingers can make any necessary adjustments, For example; if you've moved that bottom card too far up, your right fingertips simply push it back and flush, under cover of the last protruding card. What you've accomplished is to get the four reversed aces injogged in a block under the top card. And if those aces are not perfectly squared, you'll be able to adjust easily, as you'll see. Allright; this last protruding card is not placed to the table. It is grasped and held at its upper right corner: (The upper right comer at the moment, that is. 1t becomes the lower right comer almost immediately) Turn your left hand palm up (turning the deck face down), As the deck tums toward you, the righthand card is placed, face up and injogged. onto the deck covering the injogged ends of the block of face-up aces. See Fig, 97 for performer's view as this is about to happen.) As soon as the right-hand card is placed there's no pause in action; it one fluid move) covering the “work.” your left hand finishes the turn. The deckis now face down and parallel to the floor. The spectator should be looking down at it—he sees one face-up card injogged on top. ‘But—place the indifferent card lower injogged farther) than the block of aces. This accomplishes two things: It assures that the aces are covered, and it enables you to push it up, gently, with the Q008 BESTOF FRIENDS 155 = back of your right forefinger until the finger is stopped by the {injogged block. Your left forefinger is resting at the outer end of the ‘deck, making sure that the top (face-down) card doesn't move. If you push up the tiniest bit [See Fig. 98), moving the card just Placed and the ace block, that will square the aces for you. Don’t push up too much or you'll “flush” the aces and louse up the move. Your right forefinger can move left and right in a squaring action, if necessary. 99 Your left thumb rests on the face-up indifferent card, holding everything in place. Your right hand now picks up the tabled cards, one at a time, and places them beneath your left thumb. ‘They are placed in spread, or fan, condition, and you name each ‘card as you place it. (See Fig. 99.) ‘The next, and final (and most important) action should look, and does look, only as if you're turning the four (visible) cards face down onto the deck. Grasp the fan with your right fingers: thumb on top, first and second fingers underneath. Your fingers, naturally and automatically, rest on the back of the ace block. Move your left thumbtip up to rest on the exposed part of the top face-down card. This is the key. Your left thumbtip assures that this (original) top card doesn't move an jota. If it moved, it would “tip” the method.156 HARRY LORAYNE, aves Your right hand moves the fan out to the right. The ace block is perfectly squared and hidden behind the lowermost card of the fan, even with that extra card between. (See Fig. 100 which is a stop-action view) It's a perfect illusion. Move the fan out until it clears that top face-down card. Pause for a split second, as you ‘say, “You didn't find even one ace.’ Then turn over the fan (to the left, like the page of a book! onto the deck—and square. Deal the top four cards, slowly and deliberately, onto the table. “You couldn't find any aces, so T'll have to use some magic.” Do ‘your magical incantations; then show that the cards have changed to aces! Afterthoughts: Yes, a little practice is required in order to get it working smoothly, but its worth it. I've knocked a few knowledge- able cardmen right on their pulls with it! Ive worked out the removal of the four protruding cards to fit my way of working and talking. It covers all for me. You can change the timing of course, but try it my way. You'll see the reasoning behind Ive taught just the handling of the move itself. It's preferable to use it within a routine. That, I have to leave to you. I sometimes use the move itself with a “memory” patter theme. In that case, 1 secretly set the aces on top beforehand. I cut, etc., reversing the aces under the top card as I talk. Then four cards are indicated. 1 talk about the fact that it isn't easy to remember four mixed cards as [place them to the table, preparing for the change. As they're(?) 008 BEST OF FRIENDS 157 dealt face down to the table (after the change}, I say, "ll make it sy for you. It’s child's play to remember four aces!” This is said Obviously, the idea is utilitarian. You can use it to change the E aces (or whatever) to four indifferent cards, or to another four of a Kind, or as an add-on. To my mind, it would be a waste to use it as an add-on; it's too clean and beautiful as a change. Of course, you also use it to change one, two, or three cards. I use it just as cribed.‘TOM CRAVEN TOM CRAVEN lives in Florida. He's married (wifes name is Sheryll) and has three children, Linda (24), Jim (22), and Kathy (20). He and Sheryll must have been quite young when they married. He’ also a funny man—anyone who makes a thumbtip vanish into a cigarette is funny’? He first became interested in magic in 1962 (he even remembers the month—July) when an older gentleman, a friend's father, did some tricks for him He's still a magic buff because magic has been his business for the past few years—he has his own magic shop, lectures for magic ‘groups, and does trade shows. Besides—he feels he couldn't have as much fun doing anything else! TOM CRAVEN Three By Tiwo Horwsaronine based onanLeech ida sinuee came up with the promise forthe ending which noire Tea pr theming together nay soem aa you rad that hereae Iteot brats ce-but really io agood-Rowing roll. he iain gh ined isa hal strersng the bao half thea ‘he si eft that pair ofmats ind thee sete card rhe tet election mately ppen bowen tha he te tecond secon doe the sume tid section dos ot ‘pprar between the mates but maga appears been te isup fret and second sleet ne Torleraing purpose remove the AM, 24, andH—theae wall vethotire telat care Ao remove say the two black sens Ta porornae:sopetr son voggon te mate endow cot fomove thom tthe tr Take th rd selected card ta this example and pus it sig avemar tg tho MSY spectator and ask him to hand you Piccard doa half peat your real turing the bum hal ae Up Hold s brat betwen the halves Cy break i relly neces you el you can eal ei othe natura ek sours! ‘hel pas basally As youright hand ress ontop ofthe 159160 HARRY LORAVNE, avon deck holding the top half in place, your left forefinger curls to beneath the deck and pushes the bottom half to the right—turning it over Its left long side “rides” across the face of the top half. See 101 for an exposed view about halfway through the pass.) You might also check Christ's Twist, described in All Systems Go in this book. It's a good way to do a half pass—to 101 02 ‘Take the first spectator’s card (AH, this example) and insert it into the center of the deck; actually, it goes into the break. (use a partial Charlier Cut—see “Faro Throw-Off —to separate the deck slightly at the natural break; just watch your angles.) Keep a break above this card. The last selection (second spectator’s card—2Hl is, placed on top of the deck. Immediately slip cut it to center, cutting at your break. Hold a break below this card as you do this. To all intents and purposes, you've lost the three selections into the center of the deck. Reaily, from top down—face-down half deck; the lowermost face-down cards are the 2H and AH, with a break between them. Then, the remaining half face up; the lowermost face-up card is the 3H. Cut off the top half of the deck—at your break—and place it onto the table. Place the two mates (black sevens, this example) face up onto the bottom (still in your hand) half. With your right thumbtip, lift the three top cards at the rear (the two mates and the first selection! as if to start a triple lif. Do the standard sand- wiching sequence: Your left thumb holds the top face-up 7-spot in place as your right hand moves the two lower cards (as one) to the Tight, and clear of the deck. (See Fig. 102.) This is to ostensibly display the two mates. Name them as you display them. Place the Q008 BESTOF FRIENDS 161 right-hand card(s) back onto the half deck and onto the face-up seven. Your left thumb must keep that top 7-spot perfectly station- ary as you do the move. Ifit shifts out of position you'll expose a © face-up card where no face-up card should be. Place the tabled half deck back onto the halfin your hand. Riffle the deck for effect, and start spreading the cards from hand to hand—to the face-up sevens. Careful when you get near them- you can’t spread past them or, again, you'll expose face-up cards. ‘As you come to, and expose, the first face-up black seven your right fingers pull the card above this 7-spot (the card to its right) a bit to the right beneath the right-hand spread. This will take a few tries to get used to, and to do casually and neatly. Its simply part of the spreading action. The card (which is the second selection) need be pulled (or pushed) under the spread only a quarter to a half inch. ‘Simply place your left thumbtip on the card above it, then your right fingers—beneath the spread—can easily puill the vital card to the right.) Your right hand moves its spread to the right, away from the left-hand half. Your left thumb spreads to show a face-down card between the face-up sevens. Your hands come together and the uppermost black seven is taken under the right-hand spread. ‘Actually, it goes above the pulled-back (under the spread) card— between it and the rest of the spread. Use the right-hand spread to flip over the face-down card that was between the sevens—the first selection. (See Fig. 103.) Thumb this card, face up, to the table. Replace the right-hand cards onto the left-hand half. To the spec- tators, you've simply removed the card from between the face-up mates, and then left the mates together at center. The second selection is actually already between them, Do your "for effect" riffle again, and spread to show that another face-down card is between the face-up mates. Flip it face up as ‘you did the first selection and thumb it off onto the table near that first card. Re-assemble the deck, again leaving the face-up mates at center—really. ‘As you ask the third spectator to hand you either one of the tabled cards, your left fingertips push the face-up bottom card of the deck (3H) to the right about half an inch—in other words, sidejog it. Your right hand “shades” this quick maneuver. Take the162 HARRY LORAWNE, aves card he hands you with your left hand and place it face down to the bottom—but secretly align it with the jogged-to-the-right card. 103 104 Ask for the remaining tabled card. Take it as you did the first one, face down, and place it, apparently, to the bottom. Actually, it is slid above the jogged cards—and allowed to remain jogged to the left. Raise your right hand and the deck so that your spectators can see the first two selections at bottom, (See Fig. 104 for specta- tors’ view) Square the cards. Do your magical gesture, and spread to the face-up mates. There's no card between them. Act disappointed as you square the deck, obtaining a break above the face-up mates. Do a half pass at the break. This can be done in any of four ways: 1) Do it from squared and stationary position; 2) Do it as you start to re-spread; and, my preferences—3) Don't bother squaring and holding a break, but do the half pass as you replace the right-hand spread; it's a “spread half pass; 4) Do the half pass as your hands move to the table to do a face-down ribbon spread. In any case, spread to show that the first and second selections have magically turned face up and “caught” the face-down third Afterthoughts: Go over this routine once or twice—until you're familiar with it. Then it flows. Of course, the mates have “disap: peared’ at the end. You can simply forget about them or—sine they're at bottom—you can palm them off or lap them, to produce them as a “kicker SECTION Iv Zig-Zag (Ed Marlo) A Little More Nerve (Ed Marto) A Little More Zip (Ed Marto) “Snap” Sandwich (Harry Lorayne) Ultra Sucker Insertion (Allan Ackerman) Ultra Four Spot (Allan Ackerman) Double Bluff (Phil Goldstein) Half-Faro Glimpse Jean-Jacques Sanvert) Incomplete Faro Jog Control (Tom Craven) HaLo Five (Harry Levine) Con-Fusion (Harry Levine) Faro Throw-Off (Herb Zarrow) + Rasy Slider (Harry Lorayne! “Image-ielan’ (J. K. Hartman)EDWARD MARLO ve met EDWARD MARLO a number of times through the years, in Chicago, Illinois, where he has lived and worked for all the years Fve known him, and known of him. Ed is probably the most prolific creator and writer of magic of our lifetimes. It would probably be presumptuous to try to fill in background material on one of the few men who can be considered. to be a living legend. It is inconceivable that anyone in the world who is into card magic at all does not know the name, Edward Marlo.166 Q908 BESTOF FRIENDS 167 = holding the packet from above with your right hand. Your thumb- tip lifts one more eard from the top of the deck proper (eleventh card) and maintains a separation between it and the ten-card packet. Now—the Switchless Switch, which is a bold piece of business, but works beautifully when properly and smoothly done. Say that he's to remember the card at his number as you count and show him the ten cards, one by one. You're facing your spec- tator and the cards are raised and shown to him faces squarely toward him. This, and the fact that your fingertips cover the end, hides the thickness as you raise all eleven cards, counting “one. ‘As you flash this card (bottom card of packet) your left thumb pushes over the next card of the deck in readiness for the pick- Lower your right hand, placing the packet flush onto this pushed-over card, and raise the packet and that card—count two.” Continue exactly that way up to and including the count of nine. Your right-thumbtip break is maintained throughout. At this moment, your right hand is holding nineteen cards; the break is above the lower nine cards. Push off the next card, as you've been doing, but for “ten,” pull that card back as your right hand appar- ently takes it under its packet—but realiy leave all nine cards ‘below the break on the deck! Your right hand raises, count “ten"— you're really showing the bottom card of the original ten-card packet—a card that hasn't yet been flashed. Without going near the deck, place this ten-card packet face down in front-of your ‘spectator. That's the Switchless Switch, and in Jon Racherbaumer’s words, "When done at the right tempo and with attention to angles, i's a beautiful swindle. Shufile the deck proper, keeping the ten top cards intact. Say, 1'lluse ten cards, too.” Spread-count ten cards without reversing, their order, Place the deck proper aside. Fan the ten cards, faces toward you and, as you say, "I'll also remember a card at a number,” pretend to do so. Square the cards and place the packet face down in front of yourself. ‘Snap your fingers, and say that you've just made his card vanish from his packet. Tell him to deal down to his number (let's assume his number is six) one card at a time (he reverses these cards). As he deals, mentally count so that you'll know his number. Tell him to turn over the top card of the cards he's just dealt. It's,168 HARRY LORAYNE, avon ot his. Have him replace the card, then place the dealt cards onto the top of his packet. This automatically sets the card you origi- nally glimpsed (AH, this example) to proper position (6th, this example’, “Incidentally, my card is the ace of hearts, and my number is Pick up your packet, deal down to the sixth card and hold it face down. Ask your spectator to name his thought-of card. Say, “That's strange—your card is here (turn over the card you're holding), and my card, the ace of hearts, is gone! Ask him to count to the sixth card in his packet and look at it. It" is, of course the AH, End. a ‘Second Method: The main difference in effect is that the two = ‘numbers, yours and the spectator’, are different. And, the specta: tor doesn't have to count, then replace, in order to set your card to Position in his packet. The differences in the method will be obvious, For this, glimpse the bottom card of the shufiled deck. Again, assume it’s the AHL Shufile a bit more, setting that card to twenty- seventh position. This is part of Marlo’s “Curtailed Placement Run seven cards and throw the deck onto them. Run five more cards, and throw. Do one perfect “in” faro, and the AH is twenty- seventh from top. Place the deck onto the table and ask your spectator to think of number between one and ten, Turn your back and have him take that number of cards from the top and put them in a pocket. (You might say that this is for verification, or in case he forgets his number) This is Jon's approach from Zippy Zig-Zag. Turn around, pick up the deck and do the second part of Curtailed Placement (second method). Briefly: As you cut for a faro, riffle up on the side ofthe deck with your right thumbuip until you see your glimpsed. card~AH. (See Fig. 105, Let that card riffle off your thumbtip so that its the top card of the larger, lower, portion, Cut there for the faro. Faro the righthand smaller portion into the left-hand larger portion, doing an “in" from the top. The top card becomes second from top. Cascade, or waterfall, the cards together getting a left BEST OF FRIENDS 169 it But—hold a left little finger break between the portions. §n you spread-count ten cards, in order for the spectator to ‘break Ifthe spectator's number is six, you will have five cards ‘above the break (always one less); so count the next card and Temember that number (his number). Continue spread-counting to'ten. The difference here, of course, is that you now already ‘know his number (6), and your original glimpsed card is already at © that position! (This is the "Chicago Miracle" idea) = © Go into the Switchless Switch, just as in the first method. Place the ten-card packet in front of the spectator. Continue as in the _first method except that you reverse the order of the ten cards take from the top for yourself. Phentally aubtract the specato's number (which you know six in this example) from eleven (always). This gives you the key number, five. When you reverse the order of your ten cards, his card automaticaly falls to that position (fifth ‘At this moment, your glimpsed card (AH) is at sixth (his number) position in his packet, and his thought-of card is at your key ‘number (five) in your packet. And—the two numbers are different,170 HARRY LoRAYNE, oven and do not total ten which could bea able magician. Pretend to remember a packet. * ‘All that remains isthe build isthe buildup tothe ending, Make it strong — make your statement now belore your specato gees you Say information. Say, "Before you tll me snything tel ou number it ve ay your ey number Openly deal down othe ard in your packet, look at It and miscall tthe Att are Your enna ginpsed card supposedly naming the card you Femembered at that position a monsont ge Teme a that poston a moment ag ths monet J dsklorbit car and number Have him count oan latin is hand don’t let him look at tye. Bud up tothe ending da Your magical gesture—and have him tur his card face vesting ‘your card face up at the same time, The cards have transposed! Biveaway toa knowledge card aa number nr Aflerhoughts: Go over both metbods—t prefer the second one—and you'll see how good they are. There are quit ‘te ideas incided that can be used in other routines * ED MARLO. A Little More Nerve Treetoe wherins cards torsedinto a deckandends vp fing inant) 2 previa selected card han seen many sthatonsend method ly ow staed nthe Pack out of Seat try may have had something tod with tat came crash hone ater rang Mel Bevn'esThe Mage Car tn “ocalpse ly Tet Elo method doce uso dupes wpe tam magaton anda ile nave ote urcardactp athe ac oe deck: Hog the dott cup set long: facedown a3 aco nl tent cardiac up aD The sete ace cad opted tates can be ued instead ofthe fed fours ss prfrm: Shula you ke, Hoping the four val cards a bottoms Then ha We deck ae up and obtain a res beneath Moot ce trecardh Callen fo the Asin pokes he saan cered to asbulatshe ace of ops i te gen watt Dot tiple taroves tothe break ont the fe of he eck apparent trnng ony the A tace down, Puser abeat en seer eeleto make aur I dont sy eo ase tis let Bear tn tactown A329 face dw onto the table A ed pot Seated rng ape turmovn and a ed pote at he ae ofthe dockwhonSouemeve ne wupporea face down) AS 90a wm172 HARRY Lomwne Oven looks absolutely normal, There should be no doubt that it's the AS on the table. ium the deck face down, then double or triple cut the bottom Card to the top. This leaves the AS reversed, face up, on the bottors of the faco-down deck. Hand to hand spread the deck for ane Selection of a card, (Be careful not to flash the lace-up 45, of Shame Sduare the cards and position the deck for an overhand Sat {0 overhand shulle as you ask your spectator to drop in his card whenever he likes. When he does, simply drop all ihe {emaining, non-shufiled, cards onto his card. This places the face up AS directly onto the selection. Square the deck and give it another overhand shufle or two, shufling around the two vital cards, (This is the Laurie inelnng} shuflle—shufile until near center, assuming the two cards ao than pantes then drop a batch which includes the two vital card, then finish shuffling normally. Cut the deck so that the face-up AS and, of course, the selected card are about twenti ‘Table the deck face up, with an end toward you. With your right hand, pick up the face-down AS) as your let thumb riffles up at the inner (toward you) end of the face-up deck te gah teversed AS is now nearer bottom, you can rife up hell {he deck or more—no reversed card wil flash. Finally, tore the audience thinks is the AS) into the dleck at the inner end, anywhere above the reversed AS. Push the tossed-in card flush. rion eine deck, turning it face down to left-hand dealing left, ifyou spread from left to right hand), Ask for the name of the selected card—then show that the AS has found it! Gferthoushis: The simple four-card set-up is easy to arrange, fitd the effect is a good one; it’s clean and direct. You're left with g face-up card in the deck, Either straighten it out at Arst oppor- [unity oF-use it to create an impromptu double-back or decole. (ace cand Or lize i fora following effect ike "Surface Sandwich in Section VIL. EDMARLO A Little More Zip errs [ists simitarto the preceding except ° I the deck and wand sled cad. The eae i idea goes back to Ed's booklet, Tilt (1962). This metho general dea goes Pf dk it it an on tnt ep set the "PD and i Shulfle the deck, if you like, keeping t he OP snaborometlcarin pce Thumbafthe wtp card rh han hem ac panda," we cade Jer thie ans sovon and eght will da Tose these two cards fc a the tele : efand to hand spread the deck to have a card select coe ie the two face-up cards at bottom of course. Squan the cards, give the deck a straight cut, elaine ie get break ten he halves. th your ight thumb, sie jovemos ear athe ma uproot acy cad teen your break sbove hat sand. The break i wo acuypoande, Ths is cally land casually’ done as yourspectat Sioalogatendsemmbemghivan ths salsa card fresh and oer i a break via the rear end of the deck. Insert it es ” Wy: Feease your break sso ait enters Turn he deck 0 tat te ht Tong sid can be pany sen. slowly posh he prot {ard Buch with your night thumb that, too is plainly seen, as174 HARRY LORAYNE oven ‘As in the preceding, you can overhand shuffle around the three vital cards, Then cut, so that they're at about twentieth from top. Table the deck face up. With your right hand, pick up the two tabled cards, look at them and miscall them, saying, "Now that your card is lost, Il use these {wo cards—the seven of diamonds and eight of hearts.” Square the two cards, holding them face down at their inner right corners; thumb on top, first and second fingers below. ‘Your left thumb riffles up on the inner end of the tabled deck \above the sandwiched selection) as in the preceding. Toss the two face-down cards into the deck, above the face-up cards. Push them flush, and square. Pick up the deck, tum it face down, and imme. diately hand to hand spread until you reach the face-up 7D and ‘8H—with a face-down card between them. Remove the sandwich, have the selection named, and show that that’s the sandwiched card! Afterthoughts: You're left with two face-up cards in the deck. Cut so that they're near top; do a faro shuffle—and you have two impromptu double-backers for an “all back" routine. Conversely, these can be used as impromptu double-facers for an “all face routine. (Check Ed's fine book, The Cardician) 1, personally, don’t usually insert the selected card as explained. ‘What I prefer to do is this: Tleave the two face-up cards at bottom ofthe deck. Ido my HaLo Cut without completing the cut, That is, @ half is being held in each hand, and a face-up card is at bottom of each. The selected card is placed onto the left-hand half. I place the right-hand half onto the left half. But, as Ido, Iget a momentary left little finger break beneath the selection. Then, after a pause, 1 complete cut at the break, but the top half goes above the bottom card—use a pull down or bottom-card buckle. Timmediately follow. with another (legitimate) cut. The two face-up cards are at centen with the selection between them. Continue from there. Or instead of straight cutting to the break, do another HaLo Cut to the break. This automatically sandwiches the selection, Whichever insertion method you use—this is a strong effect. HARRY LORAYNE : fur aap included an elect aed "Fourcard “catch: on Taothedof-catching: wo or threo cards inthe [Shoe alon longing baste Setar Mle Otro Course, have worked on, and contributed to, the idea. I was also “feing to include my method of accomplishing the. standard serch’ wherein two mates cath aeoeted card bat aout of ‘method differs in the basic grip of the deck—and, for me, it's cleaner turer and more magical ooking. Try and se for ‘yourself. sepotn ave your spectator name any two mates (say, the red 3-spots Remove thm tom the deck and place them aide, Now have a ‘ard selected, remembered, and replaced. Control itt the bottom, or Show that the eslocted cards not ontop then pace one ofthe red Sspois face up, othe bottom of the deck andthe ather one face up on iop. Push off the top one about a quarter of an in and hold the deck from above with your right hand. Turn over hhand and deck to show the situation. A reversed 3-spot is on bottom, covering the selected car, of course (Se Fg, 107) Tum your hand back 1 position and "Bush’ the top face-up Spot. Immediately pull out the bottom card with your le fingers—no more than a quarter of an inch. No more than the 175176 MARRY LORAYNE aves indice of the bottom, face-up, card should be exposed. This, again, displays the reversed red threes, and it’s why I show their backs first, as explained—it’s a natural flow, and the spectator will believe that he saw the bottom card also, He hasn't, of course—that's his selection, 107 108 Now, grasp the very corner—inner right—of the deck with your right thumb and forefinger tips. The front, fleshy, part of your forefingertip (not its sidel should contact the underside of that corner. (See Fig, 108 for the exact grip.) You'll see that the fleshy pad of your forefingertip automatically contacts the corner of the bottom, face-up, 3-spot and the corner of the selected card. It's automatic—you really don't have to think about it ‘Now for the “catch,” the “feel” or “knack” of which is difficult to explain. You're going to snap-toss the deck down into your left hand. Ask for the name of the selected card—then: Snap the deck downward into that hand and the two face-up cards plus the selected card will automatically remain between your right thumb- tip and forefingertip—in slightly fanned condition! ‘AU first, you may be a bit nervous about it and your left hand will be too close to the deck. That’s no good. You've got to give the three cards clearance. Don't keep your left hand too close. Only ‘some experimenting will clear this up for you. Done correctly, the corner of the deck “squirts” out from between your two fingertips as if you were squirting out a lemon pit or watermelon seed. (Fig. 109 is a posed, stop-action, view of 9008 BESTOF FRIENDS 177 just what's happening.) This situation is never seen, of course. The entire thing happens instantly, and there's no way to see where the face-down card is coming from. I's simply assumed to come from somewhere in the deck. 109 ‘Turn over the small fan to show that the correct card has been “caught.” Afterthoughis: I'm quite pleased with this—its “feel” and the way it looks to the spectator Don't pass it by until you've worked on it a bit. like it much better and, as I've said, for me, it's much ‘more magical than the standard “sideways” throw. ‘What will take just a few tries is getting the "feel" of the distance that your left hand has to be from and under the deck. The hand ‘must be there to catch the deck—which travels perhaps an inch ‘or so; remember, the outer end of the deck usually contacts your left hand first—but not too close. Ifyou don't mind the mess, and the picking-up of cards, you can snap out the deck to table or floor, Then you don't have to worry about your left hand being too close—it’s not there at all! Finally, you might want to do it as a “visible” catch. Control the178 HARRY LORAYNE aves selection to the top. You can double lift to show that it isn’t there. ‘Then tum the deck face up and place the mates face down to Position. Grasp the deck in readiness for the snap. You ean turn it once, maintaining the “snap” grip, to show the lower face-up mate. ‘Then, turn back to position, and do the move. The selected card appears face up between the face-down mates. This is also quite ‘magical looking, although I prefer to do it as explained, ALLAN ACKERMAN ALLAN ACKERMAN became interested in magic at about age nine when he saw a fall-evening magic show in his hometown. He did mainly stage magic up until age sixteen or seventeen, and “I became a clase-up fan largely due to your books.” Allan is thirty-four years old, married, and has two children. He lives and works in Las Vegas, Nevada. He is a teacher of mathematics at the University of Nevada. He intends to leave that position, however and try his hand at being 2 full-time magic professional. This may be a fait accompli by the time this is read. His hobbies, besides magic, are mathematics and computers.Ultra Sucker Insertion Ta rae Setin ae soe of bow some of my though on Pea Sie the basic description of the ae that ergy described in fterthongts aa sy tere i pe tha carmen al vert word aw wring we an a Inve Alanson ofthousardnen Hoobult qos owes {und thet ve ea conned tw ters oree he Srtityou dnt know tee Mowe youTbeterend Urey Thr the AS face upand eae ear center tt oar contr deck Any card a be use Alan uses the AS And, canbe pled lac pf contr openly, or secretly—just patter accordingly. Hand to hand spread, exposing the face-up AS, and say "My card Is the ace of spades; ee here. Would you take any other card, please; ine Lat your spetao ako any cant herons i and continses to Wa As you cose the spas ae he soon ae ite ge beak ety bath ice Moth your ght hand tart ting smal bates ofcards Fm the op ofthe deck-ropping then onto tne on te other el your spectro doy hscand ote toate ae anytime he kee Mime ts that he doe 30 bose von eee Drake tough hone plas card otal cards youre cat ite yourbreak Drop thebeats 180 Oo o008 BESTOF FRIENDS 181 Ithe face-up AS goes directly onto his card) and continue eutting batches until all cards are tabled. Pick up the deck and cut it once, bringing the two vital cards to about tenth/eleventh, or so, from top. This is easy; just estimate approximately where they are as he replaces his card. (At this point, after my one cut, Fike to do at least one jog shu, keeping the top stock intact. This entire sequence is a convineing way to “lose” his card, Hand to hand spread until you reach the face-up AS. “Oh; here's my card...” As you talk, use the right-hand (spread) cards to ip the AS face down onto the left-hand cards. Continue your remark, “... Remember, it's the ace of spades," and do my Ultra Move. Try this; it lows beautifully. The card is flipped face down onto the lefthand cards, then your left hand is raised to show it again— doing the move. {As your left hand moves down to position thumb off the AS (i's already been changed to his card). Ask your spectator to hold it face down and not to look at it ("Or it might lose its me powers’). As you replace the right-hand cards onto the left-hand cards, get a left litle finger break beneath the top card (AS! of the leftchand portion. Square, and turn the deck face up by turning it ‘over to the right, like the page of a book, with your right hand. This isa fairly standard maneuver. If you maintain your left little finger break as you tum over the deck a step is formed at the break. Re-obtain your left little finger break above the face-up AS—easy because of the step. You're holding the deck face up; say, "Push that face-down ace of spades anywhere into the deck: let's see ifit can find your card, Don't let go ofit.” Maintain your left litte finger break as he inserts the face-down card into the outer end ofthe deck. Allan's handling here is clean. Manage itso that the face-down card protrudes from the outer left corer area of the face-up deck. Your left thumb siraightens and lies partially on the inserted card and on the deck’s outer left side. . “and here's your card’ Insert your right first and second fingers into your break at the inner right comer and pull the upper portion inward as your left thumb holds the inserted face-down tard in place. (Fig, 110 clears it all up.) It's the insertion force really, ‘but Allan's handling covers all. Try it that way.182 HARRY LoRAYNE, aves IWsthe as thats exposed, ofcourse Act ofcourse. Act surprise." thought you wore holdigthe se ofspades WhatisyourcardHemnames iit im turn up the inserted face-down card, the one he's nev released—it's his! as hes never 0 Afterthougs: Long description fora quik effec, The Ura Move fs perfec into the routine. You should have ne ocble simingthe cutting ofsall batches tothe able so tha the selord cardi replaced before you each your break Once as! croned batches saw thatmy spectatorwashalngback tonly Node ree cardstet above theres So without heating Lewtiotretaaee, but dropped that batch stepped to therght asl dropped temeetee tabled card, and hop ctng batches, When he foal eos his card onto the tabled card simply stripped out the mere Batch and drppeditontohiscard~ then continsedeuning feud appeared as his card was hopelessly lost and the sot oea ae srt det on “PrsisinesecondofAtans routines ultaroundy Ura Nove During presen eet he four acsto Neto, hen farang apaton op ftom When rato pro cute deck Sia obaina let ite tngerbedk between them above the 9p dil up oto utr end at you sk your spar oso Sa Mthon dots its half cbove te break ith your Re hard tile rove) Thumb psh ofthe top card of he st halfand ras your et nana shh aC, Do thisexacl a iyo wee ng the Gira tte but dont aoe gt your adeno accustomed thr poner tral dpe acton Lawes your i hand a plas te ght hand onthe hal eng rest between them Boule rtp et othe break Yoursetptrbackon top scurpateiato theca yultytefad nearahat saloufuhorte slated urd Hold he cack hme Sow ponion im he hand with which you do no do he Ota stow Although ott eherhand incu yah eR MaDpoumet old the deck in my thang reso to spay oursny eu tthe patter stop pant eo I qe sep but et ty texan uregolno somes fe top BPA tha deck Rom righ to eh bende dose ove compete widow atthe outer ight omer wth your ight tomb 183185, 184 HARRY LoRWNE, aves BEST OF FRIENI ‘Remember; that's a four (point to the single tabled, supposed, 40), © and that tells me that your card is fourth." Spread the four cards you're holding; count 1, 2,3, 4 to the lowermost card. Hold that in © one hand as your other hand drops the other three cards onto the ingle tabled card. "What is your card?” Says the spectator, with a ‘smirk, “The four of clubs. Slowly turn over the card you're \ding—it's the 4C, of course! The kicker (and the ending line is mine—don't blame Allan forit the face-up 4C to flip the four tabled cards face up, to display he four aces—"You see, your card is afour-spot; these, too, are four asking your spectator to stop you. When he does time it so that you're near center or a bit beiow center), push your right thumb into the separation at the “stop” point. Without pausing, your thumb moves to the left, causing the top half to revolve face up. Again, no pause—it's all one fluid action—your right hand moves = slightly upward, allowing your right fingertips to flip that top (momentarily) face-up half face down. (Fig, 111 isa stop-action view just as that halfis being flipped face down! What you've done is to cause the top half deck to somersault into your left hand. To the = spectator, it's confusing—particularly since you immediately do. the Ultra Move with your left hand. (The top half lands in perfect. Position for the move.) 3 joughts:.. What a pretty routine this, is—it.all, flows. Of » you do have to be able to do my Ultra Move..Go:thow.and tice). , Sess SARC m Turn your left hand inward so that you, too, can see the card ‘you're displaying lit’s the selected card; the 4C). This is the second method of display for the Ultra Move, as I described in After thoughts. Say, “This is a four...” As you talk, drop the right-hand half deck aside onto the table... And it tells me that your card is the fourth card down.” a Your left hand has moved back to normal position. Thumb offthe 4 supposed 4C—face down onto the table. Reverse count the top four cards from the left-hand half into your right hand. Drop the half deck aside onto the table—you're holding only the four cards. Keep talking so that your spectator doesn't have the chance to tell you that the 4C is his card, Also, talking a bit serves as “time misdirection.” Your spectator won't remember that you reverse counted the four cards. $o—PHIL GOLDSTEIN PHIL GOLDSTEIN has been involved with magic for twenty-three or twenty-four years. He's young man now, so he must have started as 4 young boy. He's inventive and creative enough to have over five wundred items in print. Professionally, as Max Maven, he performs ‘mentalism, and he'll fool you—but he'll also fool you badly when doing close-up card magic. Magic continues to fascinate him because there seems to be no limit to the range of possibilities. Phil is quite able and willing to putin the effort to dig deep, work hard, in order to find his own approach to magic and mentalism. !know that Jor a fact, because his approach, his presentation, his touches, have enabled him to fool me often—and often enable hint aften—and often enough with some of my When Ifirst met Phil, he lived in Boston, Massachuset BN b ton, Massachusetts. Now he lives and works out of Hollywood, California. When not out of town on a “gig,” the odds are you'll find him at the Magic Castle most nights. His only other hobby, besides magic, is reading. He reads. on average, over one hundred and fifty books and magazines every ‘month. think you could say that he’s well-read! __PHIL GOLDSTEIN Double-Bluff “Tre etc is that ofa repeat transposition of two fely selected cards. Two decks are used—one red-backed, one blue- backed. Both decks must be of the same size Begin by shuflling both decks. Then, hand the blue deck to a spectator tellinghim to shufileit thoroughly. As thisis being done, hold the red deck face up from above with your right hand, and obtain a right thumbtip break above the bottom (rear) card of the deck. ‘Take back the shuflled blue deck, holding it face up in your let hand. As you turn to give the red deck to another spectator for shuffling, your hands "kiss"—and the broken card of the right- hand deck is loaded onto the face of the left-hand deck. (See Fig. 1112) Phil usually pauses with both decks in “kiss position as he asks the first spectator ifhe's sure the deck is thoroughly shuflled. Inother words, he takes his time and doesn’t makea "move" out of i While the second spectator shuffles the red deck, position the blue deck in your right hand, again taking a thumbtip break above therear card. The shuflledred deckis taken with yourleft hand and positioned face up. Again, use a "kiss" action to load the broken blue card onto the face of thered deck. (For this, luse a faster-action “load.” I point to the left-hand deck with my right forefinger as I remark that it's been thoroughly shuffled. It's as both hands tum 187188 HANRY LORAYNE. aves clockwise, so that my left forefinger can point to the right-hand deck, that I load the odd card-—"And, you shufiled this deck”) Each deck now has an odd-backed card on its face. Table the decks face down, a2 A spectator isinvited to choose either deck. Pick up the indicated deck and spread it so that the spectator can select a card. (The odd-colored card at bottom is kept hidden, of course.) Hindu Shuffle the deck, allowing the spectator to drop his selection back at any time. When the card is replaced onto the left-hand portion, your right hand drops the balance of the deck onto it in standard Hindu-Shufle-replacement manner. This loads the odd-backed card directly and secretly above the selected card, near the center of the deck. Table the deck, Repeat the above actions with the other deck and with the second spectator. Table the decks side by side. Announce your intention to make the selections transpose. Following the appro- priate mystical gestures, pick up the, say, blue deck, Spread through the cards until you arrive at the lonered-backed card. Cut this card to the top. Do a double turnover, displaying one of the selections. This double card, as one,is placed onto the red deck. Tablethe blue deck. Pick up the red deck. Spread through the cards (keeping the second-from-top blue card hidden) until you come to the lone 9008 BEST OF FRIENDS 189 blue-backed card near center, Cut this card to the top. Do as before—double turnover, displaying the second selection. This double card, held as one, is retained in your right hand as your left hand tables the red deck, and picks up the blue. Place the right hand's cardls) onto the blue deck. As this deck is tabled, perform a ‘pass or, if you prefer; simply give the deck a casual cut. ‘Again, position the decks side by side. Offer to repeat the trans- position. When the decks are spread, a stranger card will be found at the center ofeach. These will be the two selections, and—you're clean! Afterthoughts: I's the repeat that makes this stronger than the ‘usual transposition of this sort. There's plenty ofroom for presenta- tion and buildup. It's the kind of thing that looks like a small miracle in Phil's hands; perhaps it can look that way in yours.| | i | i | | i | I I Haciss site peceotousinesihticnsannequs hasbeen anginal he "beye" un nan hendng ee impee may seam ait wivard ogous ober esos Stern doa ow tment fea So Incomplete rosshfled eck Tha nerlce th ends abou aninchoratt tne Ihelaredossthne tobe pace socoeeg does the ot Avamatoraftact ts duanoriooe cay caller orion into. ig lger por oases Cuts cana tholer larger potion andven don hae (Omove cade afr hee Anaya card pected at nthe upper prion, the standard wa ort ite ngartp thes ec ne os Porton a peck pot ein thoandand ne ovr -yotv gino water th eles ogether face up. dour painap night hand approaches the does posta gee frp the lone end a the lner a our gh ae Sey enters the bene fg 11) Thores no pace of eee Hah hand continues moving to thee yor sgh le gee aking song the brane aa Gran at one end wh you ght ges a youre ana bends tncouter date upper nine sosenen tas Opens told te iy Ti) aria hago pee oe centr “eed ponte nencad Nebo Ie ie 190 = 9008 BESTOF FRIENDS 191 ‘And, let the halves “waterfall.” Your right little fingertip is in the break throughout. 113 a4 15 116 ‘The deckis held up nearyoureye level as you do the waterfall. 1's an open action—the peeked card is being lost. As the halves water- fall and interlace all the way, your right litle fingertip is on the peeked-at card—and you can seit clearly!No one else can. (See Fig, a7)192 HARRY LORAYNE, aves You can glimpse it during the waterfall, or as your left hand-_ squares the sides just as the waterfall is completed. Immediately remove your right little finger, square completely, and hand the deck out for shuffling. the peeked card can sidejog outward during the waterfall, and/0 the cand beneath it sidejogs forward, toward you. I mention thi only so that you're aware ofit, and that you don't glimpse the wrong, card. Ifyourleft fingers square the sides of the deck as the waterfall is completed, that problem ceases to exist. Also, square the ends of the deck to be sure. After squaring, you'll definitely be glimpsing the correct card. But—you can take advan- tage of the fact that it's easy and fast to glimpse the card that beneath (above, when deck is face down) the peeked-at card. Use that card as a key cardtl’s glimpsed immediately, the dec often as desired (an overhand shuffle usually won't separate them, and you know that the card directly beneath your key is the vital © one. These points will clear up for you after you've tried the move a few times. Incomplete Faro Jog Control ee id it) its quite similar in concept to the’ precedi ibuted it as a jog control only; that’s fine, but it also enables ato instantly and naturally glimpse a key card. Tl explain Tom's ‘control first. Doan incomplete faro, as explained in the preceding. Again, you ‘thave to do a perfect cut and only the center cards have to ¢ perfectly. Let your spectator peek at, and remember, a is done as you spring, or "waterfall," the interlaced halves together. For this it's the usual, the normal, face-down, ‘springing together. Doit as you talk about losing the pecked-at card. ‘As your right hand grasps the elongated deck from above—ready to ‘spring" the cards —your left little finger pushes out the card above the break, in side-steal action, or manner: It will angle out at the inner right corner. (See Fig. 118 for an exposed view.) ‘Your right hand does the springing together. The jogged-to-the- = right card will remain jogged to the right; as a matter of fact, it will probably jog itself more to the right during the “springing together” process. That's all there is to it. It's easy enough for your left little fingertip to slip in beneath the jogged card as your right handUO 104 HARRY LoRAWNE, Aven squares the deck. And, without pausing, cut or double cut to the ‘break. The selected card is on top—take it from there. 118 119 Afterthoughts: The handling is easy. Try ita couple of times. 've ‘onfused’ a few knowledgeable cardmenwithit, and also with my “ glimpse’ idea using Tom's concept. Do exactly as described up to, and including, the springing together of the interlaced halves. ‘The moment that's done, turn yourright hand palm up—turning the unsquared deck partially face up—face toward you. simply glimpse the jogged card. (See Fig. 119) This is done as you talk about the selected card being lost. Immediately square and turn the deck face down and go into an overhand shuifle. Just be sure to shuffle around your key card and the selected card. Let the spectator cut as often as he likes. You can, of course, find his card anytime you like—it's directly under the card you jogged and glimpsed. Incidentally, you can jog to the right) the card above your break immediately aiter the peek, before your right hand grasps the elongated deck for the waterfall. That's up to you. Texplaineditas1 did because 1, personally, find it easier for my left litle finger to push out that card when I have the leverage of my right hand holding the elongated deck steady: HARRY LEVINE HARRY LEVINE is the youngest contributor to this book He’ eighteen years old, single, and just entering college. His first exposure to magic was the magic-set route, when he was about six years old. Although that started it, he didn’t really get hooked and involved until about age eleven. It was sleight of hand with coins that kept that interest up at that time. He doesn’t feel that his interest would have been maintained had he not become involved in close-up and sleight-of hand—cards. tts the practice he enjoys and, of course, the accomplishment that goes along with it that he doesn’t feel is intrinsic in any other kind of magic. Harry was born in, still lives in, and works in, Boston, Massachusetts, Heis currently working, demonstrating, ina large magic shop in that iy, He does occasional professional appearances at private parties and some banquets—only close-up, He also uses his magic ability to attract and impress the ladies; girls and poker playing are a couple of his hobbies; he’s also interested in outdoor sports!BESTOFFRIENDS 197 _ 9008 Match actions to words, doing the HaLo Cut four times. | Remember; the deck is face up—and cut small packets for the " HaLo; you want to cut five approximately equal packets. Since the lowermost card of each face-up packet will be face down, square each one with your left hand—as you take the packet—so as not to flash. Your left hand places each face-up packet onto the table. = Place them as ifthey were poker hands;fourin a horizontal row, the {ith packet—the one remaining in your right hand—is placed in HARRY LEVINE, HaLo Five 1urse. Say, “And, ifwe put those cards together ina poker hand, ‘wouldn't mean much either. What is your card?’ she anewers tum. over the packet neabet you cobsing his I. states me to se young cardmen bung routine around my moves. Harry does my HaLo Cut well, and usesit often, Since I've taught (briefly) my HaLo Cut in “Tilt Sandwich Location’ and since the only other move involved in this routineis the "Braue Secret Reversal,” which is also taught in this book—the routine ‘won't take much space to describe. Duringa preceding effect cull the five high spades royal tush) to the top of the deck, in any order. When ready to perform HaLo Five, ‘cut the deck and hold a break. Force any one of the high spade cards, Have it replaced onto the other fourholding a break above it, and cut or double cut to the break. The reyal flush is on top; the selected cards uppermost. Getto this position any way you like, of, Get a break beneath the top five cards and, as if continuing the losing of the selected card, do the Braue Secret Reversal. Undercut halfthe deck face up to the top, then undereut tothe break flipping that halfface up to the top. The deck is now face up—the five high spades are face down at bottom (rear) of the deck; the selection is Sith from bottom. Do a center Hindu Shufile. Then—“Sometimes | set lucky; 1 can cut to your card—t'm also lucky at poker. For example, this might be yours, or this, or this card, or this one, orthis 196HARRY LEVINE, Con-Fusion is a fast-paced routine guaranteed to confuse, fool, and entertain your audience. Have two spectators each select a card; control both to the top. These two spectators should be slightly separated from each other: Turn to the first spectator, and say, “I think this may be your card.” Do a triple turnover showingan indifferent eard—assume it's the 4C. “It isn't?" Turn down the triple and place the 4C(? face down in front of him. Don't let the second spectator see the 4C. Turn to the second spectator, and without letting the first spectator see the card, make the same remark as you do a double turnover. The 4C shows. Turn down the double, and place the face-down 4C(2|in front of him. Get a momentary left little finger break beneath the top card of the deck, and Braue Reverse it to second from bottom of the face-up deck. I use my variation of the Braue Reversal exactly as explained. in ‘A Sweet Four-Card Change" in Section Ill—your left fingers push-spread the rear card as the second halfis flipped face up. Just, checkit out, Leave the deck face up. Harry uses his own variation of my variation; as he flips the second half face up, its placed beneath the right-hand half, stepped to the left. Then, his left fingers push the lowermost card to the right. Then the stepped-to-theleft portion is cut to top. In any case, you're holding a face-up deck The 4C (this example! is face down second from rear. ‘Turn to a third spectator as you obtain a right thumbtip break 198 Q008 BESTOF FRIENDS 199 above the two bottom cards ithe break is above the 4C). “Kick” (or swing) cut about half the deck into yourleft hand, then continue to peel (with your left thumb) single cards from the right-hand half onto the left-hand half. Ask the spectator to stop you whenever he likes. When he does, name the card on top of the left-hand face-up portion. (Assumeit's the QH.) Push it off slightly and flip it face down, with the right-hand portion, doing the fairly standard drop-switch. ‘That is, as your right hand, and its cards, flip the QH face down release the two broken cards onto it. Thumb off the QH(?, placingit face down in front of the third spectator. All looks as it should; an. indifferent face-up card is on top of the left-hand portion. Drop the right-hand cards onto the left-hand cards—no break is held. ‘Turn to spectators one and two, and say, “I know I didn’t find ‘your cards (point to the cards in front of each), but what cards do ‘you have there?’ They both say, "Four of clubs.” Say, "That's impos- Sible, of course; that card is here!" Turn over the third spectator's card to show the 4C. Ask spectators one and two to name their selections. When they do, turn over the cards in front of them— they're the correct cards, of course. ‘Turn to the third spectator and point to the 4C. "But you didn't select this card, did you? What's your card again?” He answers, “The queen of hearts.” Ribbon spread the face-down deck to reveal his card face up at center—to end. Afterthoughis: Is a fast fooler; it appears as if you can really make cards magically jump all over the place—at will. It's not difficult at all, but should be done smoothly,HERB ZARROW HERB ZARROW’s name is known to most cardmen because of the Zarrow Shuffle. He and his wife, Phyllis, have two children, Marla and Harry, both married. Herb lives and works, asa certified public accountant, in New Jersey. His interest in magic was aroused by and with the traditional magic set at about age twelve. That interest has traveled many directions, but finaly settled (circa 1946) on close-up, primarily cards. He considers his magic to be relaxing and challenging and “hope- fully, entertaining to some others.” He says that “magic has produced some excellent rewards to Phyllis and myself; some fine ‘friends, and an outlet for that creative urge that many of us have. It hhas made traveling to various countries somewhat more enjoyable.” Besides magic, one of Herbs hobbies is music—all kinds, but mostly jazz. (“including traditional’ HERB ZARROW, Faro Throw-Off Hr aesiseahistothrowof oer magicians pati tty caramenshareintofary ses Ines tof cue th deh inorder tobingaboua sures ef should ern ite mathemati! permtaion ofthe des ogous in salty that as nth alo doh ough he eral Gavoedttratnernagians neues for lyon ton good bese ee ‘hot howd can bo used n many ways teres the routine dire Haves pasate suet deckand ten Stine appronnatlyequthaves kee topcrdreny cardefinclet half uracoup name tau tathe aan czy tha this s your ett’ eard Openly place Jace op at inunuvend ethan specter dol er nag reget the ace up SC appronmate centr ofall Reale rat ack icp the other gh half ane your spectator rave ay cat tc romenierettand replaces tht al What yon te dof to sory rovers arn face up) at ard ol et Samora ner cotret ts a dock. i a thao your—you irhaveitpeekedandreverselrom hereyou canon he ‘opanduss the rave Reveatorevrse then cut conte Or wethoaldsuetremethod onal thetap dove turnover ‘Satowtsnotontap hentai deh acs upioshowitenaron 201202 MARRY LoRANE, aves bottom. While the deck is still face up, slide out the bottom (rear) card, turn it face up and replace it to position. Cut the cards, end ‘you're set Allright; in appearance, your detective card has been lost (face uplinone half, anda selected card lost face down in the other half Pickup the halves, onein each hand, and hold them, face down, in readiness fora faro shufle (See Fig. 120. Note the position ofthe lef little fingertip beneath the outer right corner of the left hand halt) What follows will take some practice—a bit of getting used to 120 Keep the backs oftthe cards facing directly toward your audience. Asyou're about to faro, your left hand startsa “junior” Charlier Cut, ‘The ideais to allow that half deck to separate slightly at the natural break at the reversed 3C. The lower portion of that half would ordinarily fall too far; but your left little fingertip acts as a “stop.” You can either relax your left thumbtip to let the lower portion move downward, as in the standard Charlier, or push slightly upward with that thumbtip, raising the upper portion, For this effect, it's best ifthe half breaks so that the face-up 3C is the bottom. card of the upper portion. (See Afterthoughts.| ‘The outer left corner of the right-hand half deck also uses the tip of your left litle finger as a “rest” and, by relaxing your right thumbtip, allow that halfto separate slightly at the natural break of the reversed selected card. It may help ifyou momentarily rest the inner left corner of that half at the left half’s separation. It doesn't ‘matter too much whether the right-hand break is above or below Q008 BEST OF FRIENDS 203 the reversed selected card. (See Fig. 121, which is your view; the breaks are exaggerated, and I've tried to depict the entre situation.) All this shouldn't take more than a couple of seconds. Re-grasp the halves firmly, if you have to, and faro shufile. All you really have to accomplish is to get the right-hand selected card directly under the left-hand, reversed, 3C. Try this; you'll see that it isnt at all ifficult to get those two cards right next to each other: It doesn't matter at all how the other cards interlace. (See Fig. 122.) Try to make it look like a “normal faro shuffle. Sine the spectators see the backs of the cards, that's what it should look like to them. (Note that in the last illustration, the right thumb has been raised—to an Impossible position—just so that you can see the situation more clearly) Square the deck. Snap your right fingers as your let hand does a complete Charlier Cut—-cutting at the natural break of the two reversed cards, and bringing them to the top. The face-up 3C will show. (That's why you havetto get the selected card underthe 3C) “Thore’s my detective card, the three of clubs; he'll help me find ‘your card.” As you talk, double turnover (face down) the two top ‘face-up! cards—the natural break facilitates this, Deal the top single card (supposedly the 30) face down onto the table. “AIT have to do is spell his name. . Deal-spell “three of clubs' from the top ofthe deck, one cardat a time, into your right hand, reversing the order of the cards. Square that “spelied” packet—your left fingertips help—start to say, “And here's your card,” as you turn over the entire packet. The 3C shows ‘Act surprised—" thought just put the three of clubs here,” indicat-204 HARRY LoAWNE, ing the tabled card, Whatisyourcardr" up the tabled card; election a i it's the selection, of. a fae ‘The “breaking” and the fro will take some You see why I suggested thet me the upper portion of to each that way. Once Practice. I think it detective card shou the left half before the far you're familiar with it, Som tna it doesn't matter If directly under it, duri reverse the detective card i Hike the faro throw-offi other cardmen wit avon HARRY LORAYNE. Easy Slider Tete tne cra, o part at for this concept ising foes to Ray Walton alter Cummings, Bae Fehror tnd Derk Binge rhavent rend an ofthe mattods in prin om the oe or fwottmes ve seen ann he perme thea ont iow that my faut method, ete le date a "departure Therelsasetupimvlredhvecands—orseen cards yu want fo voe he ngs orafallrup, nyo so, Wu also have odo one pret “outa and a incomplete partial i ao eto card tat have tobe stare the 2 aon ea tlkabout the uring low-up afer enc the tate oan) Since for some enor sual oe cub TH tench that way. Oraiary Tet these thc ead fo postion ee fook fo ad femove thease donot usually oct it heroine sr Tomoving the ace T do one or av efete with only theses Poriape then gino this as analog” Sette three cards however and whenever you ike. You ean propurebeforehand Thoucesarenotcousted Sl p with theses Soro deckat has ht you know huts ging on Se he ze stevens rom the face the deck and se you do, hte ad rember te card ety infront ote twenty card face Tha wil be your ky forthe para ar’ The 46 se wont fout fn ce. sling the 2th 4 ao tid Shr fer or bayond In ether word there ae Soo arent 205206 HARRY LorAYNE, aves 9008 BEST OF FRIENDS 207 cards between the 2C and 4C,) Set the 3C to tenth from top. Ifyou = isn't there (Fig. 124) and eye-count six. Square, obtaining your break need a key for the perfect cut—for the full faro—note the third card A a from face. It's simple enough to note and remember these cards, exactly as bofore. You can, of course, false shuffle and/or cut before actually Spread some top cards (leeway of five)—na aces. Spread same starting, (See Afterthoughts.) The method I use for losing” theaces = Ea ee ee ea as sce has been explained in a few of my books, The double cutis the main ee eee eer ingredient. What you'lhaveto remember is 3625, and then 4. Here's why: Hold the deck face up in left-hand dealing position, Spread to show thatthe cards are mixed. As you equate obtain teh ta fingerbreak above the bottom (rear or lowermost) three cards, Pla any ace but the AC (the ace matching the suit of the three "a cards is “lost” last) to the face of the face-up deck. Double cut to the break. Briefly: Grasp the deck with your right hand, from above; ‘yourright thumbtip takes over the break With your right forefinger “Kick” cut about half the deck into your left hand. (See Fig. 128.) 4 ad only the top card to show no aces there. Spread some toltom cords and obtain ourbeek above fvecards Place the AC = totop; double cut to the break Spread a few top cards—no aces Tum the deck face down, spread off the top four cards, flash them pointing out that there aren't any aces, Replace, holding a momen: ‘ary break under them, and double cut (or straight cut) them to the bottom. Let me explain this, Actually you have to cut three, six two, nine cards onto the aces, in that order. I don't like to eye-count as many as nine cards, so I doit five four as explained. I fits in naturally. 13 4 Spread and flash some bottom cards (leeway of nine cards), and 4 some top cards—no aces. Say that you'll make sure they're really Your left hand places its halfto beneath theright-hand cards,and 4 lost, etc, and do one perfect “out” faro(top card remains on top). If Immediately undercuts half the cards up to the break back to the E you originally noted the third card from bottom-—that cards now top. Then undercut tothe break—tothetop. All thatshappenedis, 4 at twenty-sixth position and is your key for the perfect cut that you ve brought three cards from rearto top ta caver the ave Tdon't bother with “cutting’ keys.1 don't need one for cuttingat, Spread a few top cards—no more than two—toshow that theace twenty-six. And, for the partial faro that comes up now, you have to {isn't there. Square, Spread some bottom cards to show that the ace cut exactly seventeen cards from the top. Ifyou noted the card in208 HARRY LORANE aves front of the 2C as you were setting it, that card is now seventeenth. As I said, I don’t bother, because—immediately after the perfect “out” faro, I ribbon spread the deck face up on the table to show that the aces are really mixed in. I point out a couple, quickly, But, the real reason for the spread is this: There are two aces, separated, nearer the top (left of spread) and two nearer bottom. I spot the lowermost (the one to the right) of the two nearer top, and—the third card to its right is the seventeenth card. It takes an instant to note and remember that card. Then gather and square. Okay; cut at that card, or your key, and "in" faro them perfectly into the larger portion of the deck. That is, the top card of the seventeen-card packet becomes the second card from top. But, this, isan incomplete faro; interlace the cards only about an inch or so. (See Fig, 125) 15 ‘Turn the partially-interlaced, stepped, deck face up and hold it in your left hand so that the larger portion is toward you and the smaller (seventeen-card) portion is outjogged. Your left forefinger rests naturally at the outer end of the small portion. (Fig. 126is your view.) ‘The “sliding” move: Tilt your left hand downward louter end of outjogged portion downward) as you slightly relax your left fingers. done a bit sharply. All the cards of the inner (larger) portion, that are above the face card of the outer portion will “slide downward, covering that card (your original key for the seventeen- Q008 BEST OF FRIENDS 209, card cut Yourleft forefingeris the "stop The ACIs exposed at face ofthe inner portion. Say something like, “That's interesting; theace ofclubs." Remove the AC with your right thumb and forefinger (Fig, 27 and toss it face up onto thee ter ‘At this point, the deck must be turned so that the outer (now larger) portion becomes the inner portion, and vice versa. The one ‘or two times I've seen anyone use this "slide' idea, this was always an awkward maneuver, I do it this way each time: Grasp the “elon- gated” deck at right side center with your right hand, fingers on top, thumb underneath. (See Fig. 128, 27 129 .ck, outward—as your Start turning your right hand, with the deck, outws left hand turns slightly inward to grasp the deck. (Fig, 129 is your view just as the deckis about to be re-deposited intoyour left hand.)210 HARRY LORAYNE, avon ‘Turn your left hand palm upward, and it's done. Try this once or twice—it's instant and smooth ‘The larger portion is inward, and you're set to continue. Do the “slide” move exactly as before. The 2€ appears—almost magically — at face of the inner portion. "You didn’t know that the low club cards are magic cards, did you? Well, they are, This is the vo; Took—one, two—another ace!" Match actions towords; as you say, “one, two," your right fingers remove the 2C, placing it to the face of the outer portion. (See Fig. 130) The next card (under it) is an ace. Remove this on the count of “two,” and toss it to the table with the AC. ‘Turn the deck as Iexplained, so that the larger portion is inward. “Slide,” and the 3C appears! Same patter line—"There's the three; one-two-three—another acet’ “One” and “two” are removed and placed, one at atime, onto the outer portion; theace is removed (on the count of “three") and placed with the other two aces, Turn the deck, and “slide.” The 4C appears. Count to four, as described. The fourth card is the last ace! Remove it, and toss it to join the others—and to end! Now; I believe that this is a strong routine as is. I personally, however, like to use a follow-up. I square the deck, give it one 9008 BEST OF FRIENDS 211 thorough shufile, all without looking at the deck, and go into my ‘own HaLo Again (second method), out of Rim Shots, which is an instant, and stunning, revelation of the fourkings!If you don't know HaLo Again, shame on you!\(I performit at every lecture I doand the general reaction always is—"Why don'tyou put thatin a book” It’s there—in Rim Shots.) Do any four-ofa-kind revelation. (There may bea hundred or so in my books alone) Ofcourse, the kings are on top after the last ace is located via the “slide.” If you want to try this, here's the new set-up. Remove the ings and aces, The 2C goes to nineteenth from face; the 4C goes to twenty-second from face. Same as before; two indifferent cards are between the 2C and 4C. The 3C goes to eighth from top. Now, place two kings, together, below the 2C with one indifferent card between the 2C and the pair of kings, (The kings actually go to eighteenth and nineteenth from face, but no counting is necessary. Place them ‘as explained; it's automatic, It moves the 2C and 4C to twenty-first, and twenty-fourth, which is where they have to be) Place the 16 pair of kings to fifth-sixth from top. (This automatically moves the 3C to tenth, which Is where it has to be.) If you want a twenty-six-card key for the “out” faro, get it as before—third card from face. No key is necessary for the cut at seventeenth—for the partial faro. “Lose” the aces into the deck exactly as explained. Do the perfect “out” faro. Do not face-up ribbon spread; the kings are together and that would be too obvious. But—they’re together at eighteenth to twenty-first posi- tions from top, So, forthe seventeen-card cut, simply cut at the card directly above the uppermost king! Easy enough to spot it as you riffle up for the cut with your thumbtip. ‘That's all. Finish the “slide” location of the aces as explained. When the fourth ace is tossed to the table, strip out the inner (smaller) portion of the deck and slap it onto the larger portion. Turn the deck face down—the four kings are on top! Afterthoughts: What more can I say?! Oh yes. I told you that I don't need to spot the third card from face to give me the twenty- six-card key. That gives me a leeway of seventeen cards at bottom (twenty cards for the no-king method) to jog shufile. Simply undercut less than seventeen cards. This is a good, silent, con-212 HARRY LORAYNE, aves vincer that the deckis thoroughly shuffled, Ifyou'dlike to do the jog but still want the key—that, too, is easily solved. Don't note the third card from face yet. Jog shutfile. Then, simply turn the deck face up and spread a few cards to show how well-mixed they are, Spot the third card—and got J. K, HARTMAN LK JERARD KENT) HARTMANis known to most magicians through some of his rather marvelous books. He's with an investment coun- seling firm which manages portfolios for individuals and institu- tions. (He says, “Unfortunately, all the magic in the world won't make the securities markets go up all the time!”) At the age of eight, his {father introduced him to the double lif top change, classic force, ‘and a single-card pass (enough to do miracles with)—his father had learned them from a man who had been an assistant to Howard ‘Thurston. Card magic was important to him in law school—"specifically, the wonderful distracting therapy it provided during the long, lonely study hours with the discovery that it was one of the few hobbies which, through the challenges to skill and creativity it provided, could be pursued without the involvement of others.” Now, “card fiddling” (along with tennis and sailing) provides respite from business pressures and other responsibilities. He's quite accustomed to hostess’ ‘please won't you do something” look when things slow down at local dinner parties! And, he enjoys it. Jerry lives in New York's Westchester County with his wife, Dorothy, and their three children, Emily (9), Jed (11), and Jennifer (13)—who are all agreeable, if somewhat jaded, audiences to Jerry's card miracles! |er ejved tay seeing “the Gone Catena excellent book, Means and Ends, appears an effect called “fae ‘rtrd ahi stage va ae tion of tne ce left-hand lower half deck, in 3, 1, 4, 2 order. Then drop the right- aig HOE BESTOF FRIENDS 215 ‘break and revolve them face up to the top. (Fig. 181 is an exposed ‘View of the cut in progress.) The deck is now face up except for the four selected cards, which are face down at bottom (rear) of the “deck, Hand to hand spread the cards, looking for your “magic card,” joker. (Ifyou have no joker, use the AS, or any card.) When you ate the joker, upjog it and close the spread. Remove the id joker, turn it face down, and slide it beneath (to the of the deck. Immediately turn over the deck; the joker is ice up on top—covering the face-up selected cards, of course. ‘atural break Your thumbtip allows two cards toriflle off, back onto the deck, and your right hand turns over (face down! three cards. You have to use an end-for-end turnover, tilting the deck upward in “the process, to “shade” the face-up card on top ofthe deck. (See Fig. 2. Lower the deck as the triple card is placed face down onto it. {Nou can, obviously; simply lift three cards at the inner end instead _ of lifting five and dropping two—up to you.) To your audience, = you've simply turned the joker face down, [=~ Now, lift off the top card at its inner right corner, making it snap ‘out from under your let thumb by doing a sharp downward wrist E turnwith yourleft hand. (See Fig, 133) Turn your left hand back to position as your right hand flips its card face up onto the deck. The joker has changed to the first selection (AC)O 216 HARRY LonayNE aves Turn the AC face down—really doing a five-card turnover: Simply turn at the natural break or separation, and use the described end-for-end technique—which both conforms, and helps to hide the extra thickness of the AC(2, Snap off the now! top card, as before, The AC has changed to the second sel 2C, really doing a four-card turnover. separation, end for end, flip it face up onto the deck. lection (2). Turn down the as before, at the natural 133 Snap off the top card and flip it face up to show that the 2C has changed to the third selection (SC). Turn down the 3C, really doing a three-card turnover, as described. Snap off the top card but, this time, keep your left hand palm down after the wrist turn—otherwise you'd expose the face-up joker: Simply stide the face-down righthand card to beneath the ov08 BEST OF FRIENDS 217 = deck and then turn your left hand back to position—displaying the fac? that the 3 has changed tothe fourth selection (40) Tum over the 4C, really doing a double tumaver. Snap offthe top card and show it to be the joker. "You see, it was all an illusion! You're clean, Afterthought: Diet, lean and mags And—not tal i ittoperform, Ita good anywhere anytime, imprompt You might, just for comparison sake, want to check out my effect, “he Changeling” in Quantum LeapsSECTION V Spring Thought (Ken Krenzel) ‘The Top Change (Ken Krenzel) Generally (Richard Kaufman—Harry Lorayne) Bven Odder (Richard Kaufman) Mixed-Up Poker (Meir Yedid ‘Thirteen Less One (Meir Yedid) Super Triumph (Michael Gerhardt) Voice Print (Harry Lorayne) Programmed Lie Detector (Bob King! All-Fair Poker (Bob King)Treiaeaofpynorogalfcinga spettrt think card al enna arongriban oberearis at sear eee a cance has bona aon ue han hand sping Nowe ena ees ro ashjourspxstortourkofacerde Lc olsen sop aurngtesprng Senn cea oo onequck nara ae a estriol doa The ther ee an ae eadatotoneotace cr The wa can realy so th scone ome om vt ghcadmen have ved these two method fr ers anne anes opin eter eel ce et eto beat olan Hees arent we ee stake obs ole wel the a etledne antsy heed rte Ken used for ave ens ha Te sane eee anapofeanang dan athe deca he Fe rere lock aown atte deck He eat ee your downer gane re eats tring sf sth ba of eae re annua you enn do the sandard 224222 MARRY LORAYNE, aves spring-shufle flourish. Using a shuffled deck, ask your spectator to think of any card he sees as you " spring’ the (face-up) cards. Any card but the face card, of course—that “would make it too easy” Spring the cards from hand to hand. This is a downward spring andyourhands are only inches apart. The ideais to doit sorapidly that no card can really be seen. (A long spring would expose cards} You've got to get your spectator to say, "I didn't see a card." When he does, say, “Oh, sorry; ll doit again.” Your hands should be right under his nose—you're working directly past one of his shoulders (as you stand alongside him; the best way is to stand alongside him when he’s seated). Make it obvious—you can say ‘s0—that you're turning your head aside. Do the spring-shuffle flourish the same way. And—here's the ‘modus operandi. Hold your "catching" hand (shuffle from right to left hand, so my left is my “catching” hand) more open than normally. This allows the “sprung” cards to sort of scatter a bit more than usual. (Yourleft forefingermakes sure that cards don't fly out of your hand) The instant they've all been sprung, start to square them —your left hand does most of he squaring: your right hand helps. As you do, glance down. Invariably, you'll see the outer Jef index corner of one or two or three! cards! (See Fig, 134, You'll see this card (or cards) as you square the deck If your timings right. ifyou glance down and away) at the proper instant, ‘you'll see the card that your spectator will think of That's all there is to it. Ilyou see two or three cards, remember them. Then, later BEST OF FRIENDS 223 9008 after the deck has been shuffled —a bit of “fishing” (usually only one question or statement) will pinpoint the thought-of card. \ When you see more than one card's index comer, the usual peychology applies, The card that you noticeis most kel the ca your spectator notices—and thinks of. (Path of least resistance. : srt of simple thing that can Afterthoughts: I's quite fen. this sort o ve built up to impress stony te spring yeu Youre comfortable with untiyaue sure hat test oe ae Wl bo exposed during the squaring, Ths, Incidentally, can be tssured if you, move your ight hand springing band ever 90 Sty ode ight you sping th card Tres “dei ere: oul have to play witht Do it canal "hn ifmore than ane earseposed yo do have ah at ‘one to bottom, ail ifyou don't want to. You can set one To top, another reversed at conten ete Then just aak forthe name ofthe thought of card End accordingly[recasting somesnare ttt drarysoena that rarely soon magician 4o atop change withovt looking bit likes ballateg ston one aes dinar an ane ge obi anni sop toa ibsaley Son shod be esa ie cane ad min ri ers we a, “immense casa ea snot a ong ana eet eveshel kad cence a man uae earn tse shagodi ind beeen soar oon end nd te hatter nama shanty inst anger hand is in front of you at about waist level. oa nant arene ta a 224 9008 BEST OF FRIENDS 225 left hand away from waist-level position is usually toward the table to lift or shift something, or upward toward your forehead in an indicatory gesture. Your body does not move except forthe natural movement of bending toward the table. The movement of your left hand is all that should be necessary for cover and misdirection. Fl explain these gestures more thoroughly as I get into the sleight. 135 ‘The top change is ordinarily done under either of two circum- stances—you've just shown a “wrong” card and you want to changeit to the right selected) card, or you've just flashed the card that’s been selected and you want to change it to an indifferent card. The sleight, and the covering actions, are the same in both instances, ‘Assume you've just raised your right hand to flash the (just) selected card. During one sentence—"Please picture the card in your mind”—you execute the top change. The end, the punctua- tion, of the sentenceis the raising of your left hand to indicate your, forehead with your left forefinger: This makes sense because you're talking about the mind. All right; the basis of the change is a light pressure at two places at the same time. As you start the sentence move your right hand down (and slightly to yourleft) toward the deck (A slight movement of your left hand to meet the approaching card is all right. At the same time, yourleft thumb pushes off the top card of the deck. Iti held in place by light pressure (the natural weight) of your left thumbtip.226 HARRY LORAYNE The righthand card approaches the deck ona slight di Thats itcomes overland ontolthe pushedofteardat the pus. off earls outer right comer frst, then moves fash See Fig oe which shows the ight hand card just as ite about to be-Aluehed ‘ith the pushed off ead Now, I'l break this into steps for you but, of course, in perform: ance there is no pause in the split-second action. As the card flushes, it slides under your left thumbtip. At the same time, the pushed-off card slides onto the tips of your right first and second fingertips. (See Fig. 137, This will happen almost automatically if the deck the pushed-off card, and the right-hand card are held loosely, or lightly. At the exact moment that you arrive at the position shown in the last illustration, your left hand (and deck moves away from your aves 9008 BESTOF FRIENDS 227 right hand. Your right hand (and its card) remains stationary for a = “couple of beats. The right thumbtip has nothing to do with the ‘movement. It simply rides loosely from the back of one card to the ‘back of the other card. It’s during the above that the “light pressure at two places at the ‘ame time” comes in. Your left hand starts to move to your left and jntly away from you (diagonal left). Asit does, it tilts theright long de of the deck ever so slightly downward. This causes your left jumbtip to apply a light as afeather" downward pressure on the pper card. At the same time, the tip of your right second finger ies.an even lighter upward pressure on the fave of the second thumbtip.auto- lly second finger ‘really shouldn't have to consciously. press. upward with fingertip. Ifat all, it should be so light that itwouldn’tmake the eedle move on a pressuremeasuring machine.(See Fig. 138, ich shows the left hand starting to move away. 've also tried to depict the "pressures—but they are exaggerated) From here, your left hand (and deck! clears the right-hand card ‘and moves straight up to indicate your forehead as you end your sentence about "picturing the card in your mind,” During your left hand's movement, the slightest pull-back of your thumb brings the ‘switched card flush with the deck.228 HARRY LORAYNE aves For the left-hand movement to the table, to get an object under which to place the selected card perhaps, the action is basically the same. The main difference is that the righthand card would approach the pushed-off card at more of a straight right-to-left direction rather than the slight diagonal. Otherwise, its exactly the same. Your left hand moves directly to the tabled object, shifts or lifts ita bit, then your right hand places the selected? card underit. Kenalso does the change as his left hand, holding the deck, moves to the single card in his right hand. The single card is held at waist level. He gestures toward the spectator with his left hand. It'son the return of the left hand that the change is executed. For that, your right hand would remain completely stationary during the change; itmoves—to the table or wherever—immediately after the change. He uses the same basic handling to do an almost visible change of the right-hand card. (This kind of handling or change is usually credited to Hofzinser} You'll have to practice this one just bit more than the basic change. The right-hand card is held face down, parallel to the floor. Your left hand holds the deck in “change” position. As your right hand moves toward the deck—only an inch or two—turn over your left hand (palm down) striking the back ofthe righthand card with your left forefinger. This causes a snapping sound. Raise your right hand to show its card, As you do, your left hand turns back to normal position. This is the feint. Now, do the same actions—obviously, they should look the same—but top change the card. As your right hand approaches|it's really a matter of moving both hands slightly toward each other, yourleft pushes off the top card. For this, the movement of yourleft handis itsinstant turnover: That takes the place of ts movement to your forehead or to the table. It turns over, just as during the feint, land your left forefinger strikes the back (of the already-changed card)alsoas during the feint, The sound of striking the cand covers any sound caused by the change. End just as for the feint; raise your right hand to show that the card has changed. Afterthoughts: Lied the basic change eight or nine times, after Ken taught it to me, before it started to flow. I'm still working on it. After a while, your hands and the cards “learn” to “hit” just right. ‘That’s important because, obviously, you never look at your hands 008 BEST OP FRIENDS 229 during the basic change. I'm working on it because after seeing Ken. do it I know what a deceptive move it can be. Forgive my redundancy about light, slight, and loose pressures and grips. I'll forego great(?) writing in order to teach properly. ‘The routine that follows makes use of Ken's method—done as the Hofzinsertype change.RICHARD KAUFMAN ‘RICHARD KAUFMAN came to me with some of his illustrations when he was about sixteen or so. [guess his name started to acquire a bit of recognition when I used his drawings in a few of my books. Then, ua was part of Apocalypse for its first year. As I once wrote, when he first came to me, he couldn't write his way out of a change bag! I edited his first manuscript for him, and taught him a bit about writing, Since then, he’s come out witha few of his own books, which 4 are known to magicians. Richards twentythree years old and got hooked on magic when he was about five when an uncle gave him an envelope ful of standard tricks like the magnetic blockpenny to dime, Color Vston, anda couple of magnetic dogs. When he vas eleven, he started to do Shows for children younger than he! imagine. He started doing Card magiewithastripperdeckand moved on toslelgh of hand. is hobbies are photography and painting Hei studying acting ‘ew York University in New York Cty and intends to make ating is career (He avemed to have had a change of hear abou ecting a career the as tiie spake wth him! RICHARD KAUFMAN—HARRY LORAYNE. General-ly is another “general” card routine; it fits in this book because the control used inot the one Richard uses) is the top-card cover pass, and it also uses Ken Krenzel’s Top Change, just de- scribed. It's very direct routine, but will takea little bit of practice. (Compare it to J. K, Hartman's "Image-Ician.”) Remove the joker, or AS, or any card you want to call the “magic card, from the shuffled deck. Place it face up on top and talk about its magic properties. Leave it face up on top as you hand to hand spread and ask three spectators to each take one card. Square the © deck Collect the three cards, face down—third card first, second onto that, and the first card onto these. Insert them, face down and together, into the center of the deck, getting a momentary left little finger break above them as you flush them into the deck. Do the top-card cover pass to the break. The top face-up card (assume ‘you're using the AS as the magic card) remains in view throughout, of course. ‘Asyou talk some more about the “magic” AS, do the K-M move to. reverse the three selected cards beneath the AS, like this: Get a ‘break under the top four cards. Your right hand grasps this four- ‘card block at its right long side; thumb on top, fingers underneath. Asyou move the block to the right, your left hand tilts the right long side ofthe deck downward. Your right fingers push the three lower 231