ANTHOLOGY THE DANIEL MADISON COLLECTION 2000 - 2010 bd Le oe | IK by Daniel Madison for n 2000 - 2010 | All RighePage 05 Page 07 Page 10 Page 15 Page I7 Page 20 Page 22 Page 24 Page 25 Page 29 Page 31 Page 33 Page 35 Page 37 Page 39 Page 42 Page 43 Page 45 Page 46 Page 48 Page 49 Page 50 Page S| Page 52 Page 53 Page 54 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 65 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 80 Page 81 Page 82 Page 83 Page 84 Page 85 Page 86 Page 87 Page 88 Page 89 Page 90 Page 91 Page 92 Page 93 Page 94 Page 95 ANTHOLOGY CONTENTS Introduction ONE Cameo Lapse Monte Sonata Selective Heritage Complete One Eighty Father Figure Facal Scripture Under the Influence On the Cuff Two Eccentric Tourist Blaze 01 Blaze I.1 Blaze 1.2 Blaze 13 Blaze 2 Blaze 3 Some Bad Hat Ping Aces One Through Prophecy Stigmata Two Breakout Re-Pocket Execution Angle Zero Rematch THREE The D Double The M Double MTS IMTS MTC Snap Dey Pressure Shot Time Transpo Roll Load 408 Crawl Control Table Twist cUF PK Peek Dec 50/50 40/60 Boxing M Capture Back2Base Ghost Sandwich Rip Free Spade Control Base Jump Half Switch Back Space Page 96 Page 97 Page 98 Page 103, Page 107 Page 110 Page 113, Page 115 Page 116 Page 17 Page 118 Page 119 Page 120 Page 123 Page 126 Page 127 Page 128 Page 129 Page 130 Page 131 Page 132 Page 133 Page 135 Page 137 Page 138 Page 139 Page 143, Page 146 Page 157 Page 159 Page 174 Page 176 Page 184 Page 192 Page 193 Page 204 Page 212 Page 223, Page 233 Page 245 Page 246 Page 248 Page 249 Page 250 Page 251 Page 253 Page 255, Page 257 Page 258 Page 259 Page 260 Page 261 Page 263 Page 265 Page 266 Page 267 Page 268, Page 270 Page 271 Page 273 Kelly Psych Revolver Cameo 02 FOUR Counteract Blinded Cheaters Heritage 46 ‘Three Things Overkill ACAAN, Ante Up Stranger Blind Snap THOUGHTS Counting Crows Cole 45, Tokyo Smile Through Pass Back Drop Spinal Cut Final Cut Four Faces Basic Seraphan Box for 51 Re-Sandwich IDENTITY Irreversible Irreversible Tu Memento 212215 Cur RIF Tender EIsHT2WO_ Fine Scripture The Devils Touch Breach BURN. In the Smoke 01 In the Smoke 02 Snap and Burn Burning Link Burning Hand Remains Spread vanish Corner Shadow Box Shadow Index Transfer Index Ash No Smoke Wrath Two BurnThru | Burn Thru 2 Burn Thru 3 Burn Thru 4 Burn Thru S| Vanishing Burns Burn Burn 2 Page 273 Page 275 Page 27 Page 282 Page 286, Page 288 Page 291 Page 293, Page 295 Page 297 Page 299 Page 301 Page 303, Page 305 Page 307 Page 315 Page 326 Page 332 Page 335, Page 337 Page 339 Page 340, Page 341 Page 342 Page 343, Page 344 Page 349 Page 355, Page 360, Page 362 Page 363, Page 364 Page 365 Page 367 Page 368 Page 369 Page 370 Page 371 Page 372 Page 373, Page 379 Page 386 Page 387 Page 388 Page 389 Page 390 Page 391 Page 392 Page 393 Page 394 Page 395 Page 396 Page 397 Page 399 Page 403 Page 405 Page 406 Page 407 Page 408 Page 409 Burn 2 Burn 3 COLLATERAL Trip Transtorn Vantage Rebound Delusion Overkill Infliction Boxer Fan Change Enemy Thirceen Half Triumph WRATH DECEPTIONS 01 Res Cure Square One Fragment Push Anchor Stile Bounce Fix Cinders 2 DECEPTIONS 02 Slice One. Slice Two Slice Three Slice Four Maker Nil Base Gauntlete Grab Uprising Kick 2Sec San PRIMER, Reader Stolen Impossible Transpo Reset Out Under Breach Prediction MrWriter Double Flush Vanish PARIAH Inside Outside Envelope Tele Sealed ‘AmendmentsPage 410 L Frame Page 4i1 DPS Page 413. M Page 416 Coffee and Smokes Page 419 C+ Prequel Page 420. Crush Page 422 Rush Page 424 Drop Page 426 ——_Intranspo Page 428 7 Crows Page 434 Outcast Page 437 Wreck Page 445. PSYCHO Page 447 Forces Page 454 Psycho Page 455 Fifty Second Page 456 Pairs Page 458 Blind Spot Page 459 Rainman Page 460 Crossover Page 461 The Psycho Deck Page 465. EXITANTHOLOGY INTRODUCTION Welcome to Anthology, and thank you much for your interest and investment in my discoveries, creations, developments and thoughts on trickery and deception with playing cards. This book is a collection of lecture notes, effects and PDF books that started in the year 2000 with the publication of my first ever lecture, sarcastically titled ONE. Since then | haven't really stopped writing and have never been coo far away from a pen and pad of paper. Of the countless effects I've played with, and despite the amount of effects I've published, | do have a very strict quality control on the tricks that make ic to print. When publishing your awn work, without guidance or opinion from friends or colleges, you take quite a risk in hoping that your audience follows, and as 'm a man of few friends; brash enough to know best and too proud to listen, ‘guess Ive either been quite lucky or simply found myself on the right path. Through those ten years I published many books, and Anthology collects them all (apart from those published after my cut-off point in magic as 2009 came to an end and the free PDF book BLOOD.) Mid 2010 | published my first ever print-only book INSIDE, which although was essentially the same concept of Anthology (all of my Books together in one) I took the aggressive editing approach and re-wrote every book from scratch, in the most basic step-by-step format all without patter | also made some severe cuts from the original books. Anthology holds every effect, from every book, tunedited and in the original format. In some cases | carried an effect from one book to another, in these duplicating cases I have removed the effect from the latter occurrence. Credits and acknowledgements are posted where appropriate at the end of each chapter. Unwilling to tamper with the past,as | did with the book INSIDE, | have refrained from any further edits or changes and at this point would like the books to speak for themselves and hope that the reader finds something of value between the covers. Magic is dead iANTHOLOGY ONE ONE: DECEPTION, SUBTERFUGE AND A DECK OF CARDS - 2005FORWARD Twice the moon over the fall of the world We sit here in peace, in the middle of hell Smiling down te all the innocent victims who amait their inescapable fate Feaven, exist only within us Welcome, & thank you with my uppermost appreciation for yaur discavery of my work. The majority of effects | used to complete these notes were at the turnover of a ‘rediscovery’ of my art, & through my progression | hope to share this part of my journey with you. ‘There are key methods that unlock a performers’ repertoire, methods that carry a performer from the beginning to the end of a performance, or even to the end of a career. I've been lucky to have spent irreplaceable moments with artists wha have succeeded their careers at the hand of a double lift, epenly stating that withaut this sleight, they would have very few ‘tricks’ up their sleeves. It's 60 easy to get trapped into a comer with these miracle serving simplicities, & very few of us explore & exercise our skills to the best of our potential, To this end, | have spent a few very rewarding years exercising some wonderful techniques that: have helped my succession as a performing artist, & before | embark upon a journey into darker aress of magic, | would love to share moments of my present work with you through these pages. On a personal level, this work pays great tribute to The Gamblers Cop, which has over the years become a powerful vehicle for my work. The Gamblers Cop plays a great role through the following work you are about to read. My gratitude goes out to the marvellous Larry Jennings for introducing me to this sleight: & to all the other showmen who ave mastered it So well inc. Bob Kohler, Dery, Allan Ackerman, Paul LePaul & Mr Blaine - to name only a few.) | hope that you too will ind a way to exercise this sleight if you already haven't, Throughout this work | have attached testimonials fram both fellow shawmen & card-carrying members af the general public for whom | most enjoy performing for. | nave placed these testimonials, not on the beck cover as tools to Condition you into buying my work, but with the effects that inspired these reactions. Although they do not bar the identity of the persons who spoke them, | ensure you thet they are all true & printed word-for-word. The spoken dialogue throughout this work is not to be taken too seriously & only to be used as a guideline as to how the performance of the effect: plays out, | have written this way in hope that you approach the effects in your own Unique & criginal way. | would love to hear your own performance ideas for the effects & hape that you can find a way to make them suit your performances as best they can, ‘There are a few sections of this work that call for the assistance of ‘gaffed cards,’ which are... two double-faced cards [which have a different pair on either side] & a small envelope, As this PDF version of ‘ONE’ has been created to send electronically thus avoiding the complicities of the postal service, these gaffs are not included with your purchase yet should be easily attainable for all magicians. This flaw was taken into consideration upen conversion, therefore the price of this purchase has been lowered. Although most of you may find this work easy to follow, I do have ta warn that One has been written at an advanced level of magic & sleight of hand that some amateur magicians may find a little difficult. | trust that: you, the reader, are of the allied arts, for if you are not, most of this work may appear slightly jitberish. As this work is aimed for magicians, | have used sleight of hand & magic terms to describe some of the techniques & general effects used & intentionally chasen not to describe how the more basic sleights work; if | have accurately targeted my desired readers then you will already know ell of the techniques in question. if you are what we call in the industry 2 Layperson, | assure you that there is nothing of interest. to you that: you will understand beyond this page: this is not intended as work for beginners. If you are a Layperson, please do not take this as an offensive term, it just means ‘hat we 8s magicians are above you & you are just a general statistic. ‘Due to my ignorance & love/hate relationship with magic & its gorgeous affiliates, although researched to death, as far as | am aware, these notes & their contents are original unless otherwise stated, however, | do not claim to have invented or be the first to discover the methods, routines, final effects, or performances. | would be more than happy to amend & apologise for any suspicious Iikenesses to any other performers work. Shit - as they so truthfully preach ~ happens, Use this work how you wil, i you fee! the need to share your thoughts, I'll ook forward to hearing from you. Best 1D Madison PS. The use of foul language is used four times in this document for which | have no intentions of apologising for. ‘Thank you.FUNDAMENTALS Each & every effect between the covers of this work requines the use of a deck of playing cards. In a somewhat novel fashion, ‘One’ begins with the fundamentals of my ideas, building up to greater & more difficult feats of magic climaxing in coherence at the end. As fundamental as card-tricks may be | wanted to begin by using a few impromptu pieces that represent sleight-of-hand explanations. Each effect beyond ‘Fundamentals’ will focus on effects that stand for much more believable & plausible explanations other than ‘magic tricks. CAMEO asndnich Routine made up of three fresh sandwich effects Named after those charming actors wha spend their free time creatively popping up unacknowledged in more movies ‘han they care to remember. This routine pays homage to those classic ‘Sandwich’ effects that do the same; we're all guilty of abusing from time to time. “Just when | wes about to applaud you, you reeled me back in & suckered me again. CAMEO - Effect description ONE Cameo kicks off with the spectators selection of card which is signed, & then another two cards are selected. which are revealed to be the red Queens, The Queens are placed at: separate parts of the deck slightly protruding, one toward the bottom, & the other toward the top of the deck The selected card is then taken & placed in the middle of the deck face up. The Queens are then flushed into the deck leaving the selected card protruding: the spectator is invited to pinch hold of their card. The performer then explains that sleight of hand always happens when you least expect it, & in this case it has already happened - the desk is spread & the two cards sandwiching the selected card are revealed to be the red Gueens Two ‘As the performer holds the selected card betwaen the Queans, the spectatar cuts the dack. The spactatar then takes the selected card & places it into the cut. The spectator keeps a hold of the cards. The performer then proceeds to wave the Queens slightly above the deck where @ card appears between them... The signed card, THRE! The selected card is shuffied back into the deck. The Queens are then taken & mixed face-up into the deck, The deck is then spread face up to show that. the facedown Queens have sandwiched the signed card. The Queens are removed & the selected card is once again mixed into the deck. The performer states that theic card will appear between the Queens... The spectator is then asked to check between the Gueens on the surface for their card - which is nat there. The Gueens are then revealed to be olack 2's & the selected card is found between the Queens, in the parfarmer's pocket.CAMEO - The Setup The only setup required for this routine is that the two red Queens are retained at the too of the deck, two other mates are also retained at the bottam of the deck, for this explanation the black Duce's are used. CAMEO - Explanations ONE EXPLAINED For this effect (need two matching cards, 8 pair of Queens or something. eee Oribbling the deck from ane hand to the other, ask the spectator to call stop, place the stopped at card on top of the deck covering the pre-arranged red Queens - do not reveal the card - do this ‘again so that the Queens are covered with two rag cards. Here you need to lift the top three cards without turning them over - they need to pose as only two cards. Use the thumb of the deck hand to slip the top card of the three cards back to the top af the deck leaving a double in hand. This will appear ta be the first: stopped at card — be careful not to expose the hidden rag card. Okay, lets see what we have... (reveal the 1 Queen.) Perfect, so we have @ Queen... This double is placed on the deck held in Charlier cut position in preparation for the turnover-pass as in Figure Ota, Vim going to put this card in the bottom half of the deck, & I'm going to leave it protruding slightly. ‘The Turnaver-Pass ‘The double is pinched on the corner closest to you with your forefinger & middle finger on top, & your thumb underneath a little like @ snap change position on the wrong corner-] Turning your hand clockwise, both cards are turned face down to the side of the deck as if they are about to be folded under the deck ~ which is almast what is abaut to happen. As you fald the cards face down ‘the middle finger from the deck hand right hand in Figure O16] pulls the Queen under the deck as the rag card is left in hand face down. Figure 01 shows a freeze frame of the actual move. The rag card shades the Queen as itis hidden by the deck. Once the Gueen has been stolen, place the pag cand in the bottom half of the dack as in Figure O2. Done correctly & with fluidity this move passes unsuspected. [Alternative suggestions for positioning the Queen at the bottom of the deck {are noted at the end of the explanation in the afterthoughts section.1 Let's see if you managed to land another Queen. Double-life to shaw the second Gueen, turn the double back over & place the rag card in the top half of the deck: also left protruding as in Figure 03. 1m going to place this Queen in the top half of the deck, & again leave it protruding. Spread the deck & break it half way [Figure 04,1 take the bottom half to the top so that the hidden Queens are next to each other (Figure 05.1 The selected card is now placed protruding face up between the Queens. Figure 6a shows the current situation - Figure &b shows an exposed view from the bottom of how the deck should look. Push the rag cards into the deck leaving the selected card protruding. The selected card should now be sandwiched between the Gueens. The most astounding thing about sleight-of-hand is that ft happens right in front of everybody, yet only the performer knows that it's taken place. In this case, it already happened. Spread the deck sliding the selected card & the cards either side of it away from the deck When you putt the deck back together. make sure to place the bottom half back to the top; this retains tthe black Quce's at the bottom of the deck. The three cards are then taken & the sandwich cards are revealed to be the red Queens, tedWO EXPLAINED Take che Queens - with the selected card still between - & drop them to the top of the deck - Queens face-up. Spread the cards a little maintaining a break under the top four cards, square these cards up & lift them from the deck leaving the deck on the surface. Figure 07 shows an exposed view of the present situation with che Ace of Spades as the rag card. Keeping the bottom rag card hidden behind the bottom Gueen, spread the cards taking the top Queen & the signed card in your open hand, gesturing toward the deck 8s you indirectly flash their card to confirm that it is their card & no switches have taken place. So this time we'll make it a little harder for me, as a sleight of hand expert I'm always looking for new & more convincing was to make you think that what /’m dong is actual magic. This time, the Queens won't even touch the deck... Oo this for me, fife the deck up, about half way... © As the spectator does so, bring back the Queen & the signed card above the ather Queen & rag card, as you do this, apparently squaring up the cards, pass the bottom two cards ta the top so ‘hat the upper Queen & the selected card are now the lower two cards. Figure OB shows the pass in action. Figure 09 is an exposed view of how the cards should now look. The selected card is now hidden at the bottom of the four-card packet. Spread the cards again keping the signed ‘card hidden below the lower Gueen. Nobody will notice that the Queens have changed place. This is a very minor & easily dismissed discrepancy. We're going to lose the signed card in the middle of the deck, & make sure | don't touch the deck again. amave the rag card posing as the selected card - careful nat to expose it - & drop it into the ‘open gap in the deck (Figure 10.1 As the deck is closed, position the upper Queen beneath the lower Queen & signed card. The selected card is now held & hidden behind the upper Queen in preparation for the sandwich revelation, The twa Queens are sharply waved above the deck slightly spreading the fingers on the grip will force the cards apart revealing the selected card between chem [Figure 11.1 This @ sandwich load credited to Ed Merlo, Instead of revealing the signed card, place the three cards on the surface, inviting the spectator to tumn over the sandwiched card, as they do, take the deck & prepare for the third part of the effect by turning the bottam two cards (Black 2s] face up. Figure 12 shows this situation exposed. This can be done with sheer blatancy as all attention is on the revelation of the sandwiched card, fem} fem 3 Comes)THREE EXPLAINED With the 2's positioned correctly, kick-cut the top half of the deck: holding the deck from above, Use your forefinger to lift up about half of the deck taking it away in the thumb-cratch of your awaiting hand ~ once done, throw the bottom half onto the top half from the back angle, done correctly this shauld cause the bottom few cards to protrude from the deck; Figure 13 shows an exposed view. The protruding cards should not be seen by the spectator & can easily be hidden, Once again I" going to make it a little bie harder for myself, & at the same time still convince you that this has noching to do with sleight of hand, & everyching to do with magic. Place the selected card between the face up ~ hidden - protruding Duce's, make sure that it ‘appesrs that the card is being inserted randomly. As the card is pushed in, a break is held under the lower Duce, cut the deck at the break passing the top half to the bottom so that the 2s & the selected card are now at the bottom of the deck. Figure 14 shows an exposed view of how tthe dack should now be. So we lose the cards, shuffle, & follow so very closely to the tradition of a card-trick ~ A card is, Jost, a card is found - but the niche of it, 1s how it’s done. This flourish is slightly difficult & you may want to read the following section a few times... The deck is cut open about half way ~ half of the deck in each hand. The Gueens are placed on top of the packet that does not hold the Duce's. The Gueens are placed an top next to each other & face up. @ Charlie cut is applied to this packet apparantly cutting the Queens inside... as the bottom half falls over the Queens, the packet from the other hand ~ which holds the Duce's - is ‘moved into the cut above the Queens as shown in Figure 15. As the deck closes, a break is held above the Queens, the bottom half is then immediately passed to the top of the deck as shown in Figure 16... This move brings the Queens to the top of the deck, however, as the pass is made, the deck is turned face down so that. the Queens are never exposed... This complete maneuver should look like a magicians ass or mave & should roll smoothly, if dane correctly, that is. So as we mix the Queens in separately from your card, almost instantly, your card is caught. (The idea with this is to make it look like easy sleight of hand — lowering the audience expectations for the finale.) ‘Spread the deck face up, as you do so, it’s important not to expose the hidden Queens, this can be done easily by starting the spread about 7/3 own into the deck. The selected card is now shown between the facedown cards, [2's posing as the Gueens.1 All three cards are pushed away fram the deck (Figure 17.] Do not. turn aver these cards, Gather the deck so that the Gueens still hidden beneath. The deck is kick-cut once more to the other hand & the bottom half thrown down onto the top half causing the bottom few cards to protrude from the deck as before [Figure 18. The protruding cards should not be seen by the Spectator & can easily be hidden by the deck angle. The selected card is placed face up in between the hidden face down protrucing Queens. As the card is pushed in, a break is held under the lower Gueen. The deck is then cut at the break passing the Queens & selected card to the bottom of the deck. As long as the three cards are keat beneath the deck, any false shutfie will wark well Okay, 0, | admit, thet was a little easy, just another sleight of hand move, how about / do that ‘again, but don't put the Queens in the deck? 1'l leave them right there in front of you, | won't touch chem, but stil, che selected card's going co leave the deck & appear between the Queens. Would chat seem lke magic to you? Move the cards a little to show that the card isn’t already there, Grice Pr Figure 19 Now you need to prepare for a Gamblers Cop with the bottom 3 cards. Holding the deck in dealing position, using a little pressure with your thumb on top, use our forefinger to squeeze the outer lower corner of the deck, this will cause the cards to cascade slightly at the back enough so that you can count down three cards with your pinky. If ‘his is too difficult it is safe enough ta simply hold the deck in dealing position & use the thumb of your ather hand to riffle count three cards maintaining a pinky break. Buckle/grab the bottom three cards & keep them in place under the deck ready co be palmed away. Figure 19 shows an exposed view of haw the gamblers cop is held, if you are new to this move you will need some practice with the grip, although it will seem to be sticking out too much, held correctiy, it will never be seen.Pretend to make an obvious palm from the deck followed by adjustments to the tabled cards, make this look lke you may have planted the selected card. Did you see it leave the deck? No? There's a reason you didn't see it, turn over the Queens. [As the 2's are revealed; take the deck with your free hand leaving the palmed cards. As you take the deck, lower the palmed cards to your packet far the revelation. This doesn’t need ta be done discretely as no attention will be on the deck or your hands, however, done correctly; it wouldn't matter if everyone in the room were looking at your hands. Have confidence in the Gamblers Cop. CAMEO - afterthoughts Although | have expisined Cameo as 2 routine, each single effect is powerful enough to be adapted into other routines or single effects as they are, this effect: works well finished with a deck vanish in place of section Three. | mentioned that: | would talk a isle more about getting the first Gueen to the bottom of the deck by means other than the turnover change. I'm sure you will be able to find other ways of achieving this, but for now I'l suggest @ suitable alternative. Double lift: to show the Queen, turn it back dawn taking the rag card to the surface, Get a break under the Queen & cut the bottom half of the deck to the top ~ still retaining the break, after a little patter, cut the deck once again after the break so that the top Queen is now on the bottom of the deck I'm sure there's a name for this move that | do nat know of.LAPSE acransposition of two signed cards Meaning to fall or stumble. As most of us are, | am very fond of those effects where the performer plays on Machiavellian-tactics to lower the expectations of his prey. Line them up & knock them down. This misplacement is 50 very underestimated & equally so very powerful, | bet if you had @ quid for every time somebody asked, How'd you do thet? You'd be a millionaire [speccaeer reaches ine he hacker & hands cover pound cos) So g0 0n then, how'd you do it? LAPSE - Effect Description The performer calls on two volunteers & asks that they each teke a card, The selected cards are freely shown & signed by each spectator. The performer then takes the first card {for explanation purposes we shail use the Ace of Clubs as the first card) & places it in his back pocket stating that he will come back to it later. He then takes the second card (for explanation purposes we shall use the 2 of Hearts as the second card} & mixes it into the deck. The Performer then rifles down the side of the deck asking spactetor 2 to call stop ‘hopefully we should be able to stop at your card.’ The stopped at card is revealed to be the first card — Ace of Clubs; slightly confused, the performer removes the Ace of clubs from the deck & places it on the surface if the Ace is here, then the card in my pocket must be...’ The performer then reaches into his pocket & takes out the card, which is revesled to be... The Ace of Clubs! The tabled card, as thought to be the Aca, is then turned aver to reveal the 2 of Hearts. LAPSE - Explained | don't feel it necessary to include the dialogue that | use with this effect, as it is fairly straight-forward | never have @ set performance for this aside from telling the spectator thet I'm going to find a shuffled card, the mystery of not knowing why one of the cards is held in the pocket keeps this one alive. Any two cards can be selected for this effect, & as both cards are signed it's not imperative that they are kept secret. The fist stage is to fake one of the cards to your pocket. there are twa ways which | do this depending on my surroundings & how vigilant my spectators are. The first is to take the first card [Ace of Clubs) & place it face down in your hand in an open position to meke a gamblers cop / palm. As you take the card round to your back pocket, grip it neo the palm & act. as if i: has been placed in your pocket, then bring it back round slowly & carefully as if your hand is now empty simply bringing it back to the bottom of the deck. Now shuffle the card back to the top. The other way is less risky & fer easier by simply placing it an top of the deck & using your favourite way to get another card above it so that you can perform a double lift. | usually pass a single card above it whilst talking, Now perform a double turnover & take the rag card to your pocket leaving the Ace on top where it needs to stay. Take the second card [2 of Clubs] & place it on top of the Ace, blind shuffle keeping the cards in place... Now you're ready to perform The Emotion Force, The Emotion Force ‘The force card is retained at the top of the deck, the battom two thirds of the deck is cut above the force card & a break is made with the use of an out-jogged bottom card [Figure 20.1 The out-jogged card - in place above the force card - causes a break or a stop when the deck is thumb-rifled (Figure 21.1 Figure 22 shows this with the 4 of Clubs face up, doing this will help you practice the riffle stop timing, With the card in position twa thirds down belaw an aut-jogged card, the force is ready to go. Be sure to keep the out-jogged card shadowed from the view of the spectator. Piffle the deck a few times & explain to the spectator how a card will be chosen. As | do this down the side of the deck, | want you to cal! stop. ‘As you then riffie, the spectator will call stop, because of the out-jogged card, a natural & instant stop will be made at the force card. This is all about timing, no matter when the spectator calls sstop you need to aim at stopping at the break. In most cases & with enough practice you will hit the ‘mark every time. nee the stop is made, reach aver with your open hand pushing the out-jogged card in & lifting at the same time the top two thirds of the deck (Figure 23. Be sure to keep your thumb in place at the stopped at card so that the spectator can clearly see that no switches or slights are taking place. If you happen to make the stop too soon or too late, the force can still be achieved. Simply push in ‘the out-jogged card & lift the top two thirds above the force card letting go of the thumb break at the same time. Doing this whilst rotating the body & arms slightly to the right will shade the break- change, once the deck is cut no questions will be askedBack to the routine, It’s now time to perform the Turnover Pass as explained in Cameo, double lift & pass the Ace beneath the deck placing the 2 of hearts face down on the surface, now gamblers cop the Ace fram the bottom of the deck taking it to your pocket for the revelation of the same Ace. The spectator can be invited to reveal the second card as thought to be the Ace. LAPSE - Afterthoughts. Any force that works well can be used to reveal a pre-selected card, for me, the Emotion force works the best for tis effect when performed for magicians. Most magicians see the preparation for the force thinking it's going to be a simple blind riffle force (force card from the top of the deck] however when the deck is cut from above the nffle-stop. tthe magicians are left only with the thought that this wasn't what they assumed it was ~ 0 force.ened fence eS MONTE SONATA tw cera monte without ne deck | was troubled for some time trying to find @ way to overcome the available opportunities of switching cards 8s one does when performing the classic 2-card-monte effect. Monte Sonata removes those card-switching opportunities by dismissing the deck & only using the ‘two cards in play. “Don't give me that old sleight of hand crap, where the hell did the other cards go? MONTE SONATA - Effect: Description ‘Two cards are removed from the deck & the deck is placed aside. The cards are held face down, one in each hand. A few fast (and obvious) switches are made, The spectator is then asked ta bet or guess which card is which. The cards are shown & the spectator is correct, a few more switches are made & one of the cards is passed for the spectator to hold, The spectator is then asked to guess which they hold, The cards are then turned over to show two different cards. MONTE SONATA - The Setup For this effect you will need to use 8 double-faced card, For those who do not like to use such gaffs, | have described how to perform the effect without the gaffs ~ this version can be used with any deck, any time. But far now. For the explanation of this effect | have used the ced 4s & the black 7s & a gaff card which has a 7 of Clubs on one side & the 4 of Diamonds on the other. You will need to use two ‘eards From your deck that pair up with both sides of the inaluded gaff card af your choice. ‘Take the two cards removed fram your deck (that pair up with either side of the gaff card) & place them on the surface face up [Figure 24.1 Now take the double-faced card & place it on top of either of the cards so that either of the two mates is showing [Figure 25.1 Place the 2-card packet on top of the single card. Take this 3-card stack & place it face down on top of the deck. The deck is now set up for the effect & can be safely maintained through false/contralied shuffles. MONTE SONATA - Explained Do you ever gamble? Here's something | lave, because it's 80 simple but so many people fall for it & 1 think | might be able to get away with this with you... What I need is a pair, jets say the black sevens... After a few false shuffles | reveal that the two black sevens are in fact on top of the deck ‘The first seven (cop card is safe to just remove & reveal. A break is then made below the next two cards. A double is then taken to show the mate. The deck is pleced aside & the ‘mates are held one in each hand as Figure 26. e's pretty simple, 'm going ta swap the cards a few times to see how well you can follow each ane. A few simple-to-follow switches are made so that the spectator will correctly guess the card in each hand. To give the impression that switches are being made | hold one above the other & pull them separate ways as Figure 27. This only implies that a switch has been ‘made so that the spectator can fallow the cards easily enough ta guess correctly. Okay, 80 which do you think is whioh? The spectator should guess correctly providing that the correct: handling was used. So that wes pretty easy, right? Okay, now we'll make ic a little more interesting.The cards are then placed together face-to-face, the single on top of the double as Figure 28, The stack is turned over a few times... It’s vital at this point that you keep track of the order so that the double can be transferred across so that the initial mates are hidden & the new previously hidden mates are showing [in the explanation, these fare the red fours.) To ensure that the packet is in the correct position for the turns, turn it over two times. Now peel away the bottom card whilst turning it face down as Figure 29, this should be done in a smooth but fast action ensuring that the face of this card remains unseen by the spectator. If done correctly you should now be holding the new previously hidden pair {face down.] At this point you can either pass the single card to the spectator to hold or keep hold of them both yourself. Okay, how about now? Which is the club & which is the spade? Would you be impressed if it was the other wey round? How about this... {ete.] Turn over the cards as in Figure 30. As the reactions set in, keep the cards stable for a while. To got rid of the gaffs you will need ta have the other mate that duplicates the present double-face card on top of the deck or in position for a switch. Hold the gaff card & the hidden card together face down with the narmal mate on top. Fick up the deck & hold a break under the top card, as your right hand brings the stack down to the deck the same hand takes the top card of the deck & slides it out as the stack is dropped on top of the deck. The taken card is ‘then droaped on top of the stack Then the twa cards can be removed whilst turning the deck face up, this shades & discrepancies with the top gaff card. With the deck in position, the gaff can be copped away if need be. MONTE SONATA NO-GAFFS The following method of Monte Sonata allaws you to perform the same effect with any deck & no gaffs. This method is quite difficult to master & will require fluency, accuracy, precise handling & confidence to achieve the effect efficientiy. It is advised that this version of the effect only be performed with fluency & full confidence with bath the handling & the performance as a whole, THE SETUP For this example we will again use the red fours & the black sevens. Teke the red fours & the black sevens from the deck. Place the black sevens face down on top of the deck, then place one red four face up & the ‘other face down an top of that. The deck is ready for the performance, THE PERFORMANCE Lift the top three cards as one & show the first black seven, then take the other seven & place the deck aside. You will find that it is most comfortable holding the cards as shown in Figures 26 & 30. The same switches & moves sre required to dupe your spectator into thinking that the cards are being switched as Figure 27. The packet of two cards is then placed face-to-face with the single card as Figure 2B. Again the stack is ‘turned over 3 times leaving the packet in position to peel away the bottom card as Figure 29, The cards are revealed as Figure 30, With this version of the effect, the stack of three cards can simply be dropped to the top of the deck face-up, ‘then the single card can be removed leaving behind the excess cards clean & unseen. Bath cards can then be handed out for inspection, a simple shuffle of the deck loses the other two cards. ‘As an alternative ending, the excess cards can be copped to your pocket for a second revelation.MONTE SONATA - Afterthoughts: I'm sure you'll discover many alternative variations for how the final impact of Monte Sonata unfolds. As the gaffs imply the use of 4 cards, this leaves 2 duplicates in the deck that can be used for alternative endings. There are many ways of handling this effect, | have used the mast direct & simplest performance, hawever you may find the use of roughing fluid or a piece of sticky tape helps to keep the gaff concesled toward the end of the performance, I'm sure that after practice you will discover your own way of performing Monte Sonata to the best of its potential Although some may argue thet the use of this method may be pointless when the same effect can be achieved through the normal performance methad, | have found that it works exceptionally wall on magicians who usually perform the classic version I'd like to take this opportunity to acknowledge Jon Allen for his inspiration of this effect. He is 9 genius.