Card Trick Klondike Shuffle

As you are speaking, carry out a Klondike Shuffle. Briefly, take the packet in right-hand Biddle Grip (figure 2). Your left fingers and thumb pull off the top and bottom cards together (figure 3) and drop them on the table. Pull off the top and bottom cards again and drop them on top of the first pair. Continue doing this until all the cards are in one pile on the table. Try to keep the pairs of cards as neatly together as you can while pulling them off the packet because at one point...

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Wait a few moments, then say, I could have saved a lot of time and dispensed with all that lie detector business. At this, turn over each packet and place it fanned in front of the selection to show that the cards are all a different color than the selection (figure 2). Finally, add, I really couldn't have missed You spread the deck and have a spectator take a card. He then returns the card to the deck. You ask the spectator three questions about his card. He can...

A

Once he has satisfied himself that the cards are in a random order, tell him to deal the top five cards into a face-down row. Now tell him to turn over his remaining cards and to deal them face up on top of the first five cards. He must deal in the same direction as he did the first time. A sweeping gesture with your hand in that direction, as you are talking, will clarify this without having to say it. Position Check There are five pairs of cards in a row on the table. The bottom card in each...

K2

After the spectator has dealt about a quarter of the deck, tell him that he can stop the deal any time he wishes. This ensures a reasonable working quantity without excess. You don't really want any more than half the deck. Once he has finished dealing, ask him to place the rest of the deck to one side. Pick up the cards the spectator just dealt, and place them face down in dealing position in your left hand. Execute a Double Lift and turn the top two cards face up as one...

H4

Push off eight groups of three and drop each group onto the table to form a pile. This seems a little less calculated. At this point, place the rest of the deck to one side. 3. Pick up the packet and hold it face up from above .with the right hand in Biddle Grip, as you say, I'll pull off cards and drop them onto the table in a pile. However, before I drop them you must tell me if they should be face up or face down. In other words, you can direct me to mix the cards into a face-up, face-down...

Introduction to Electronic Edition

Welcome to Effortless Card Magic - Electronic Edition. This is an electronic facsimile of the first edition of this book that was published by Richard Kaufman in 1997. Now out of print, I am delighted to be able to offer this publication as a PDF, and I thank Richard Kaufman for suggesting and supporting this venture. Here is a brief guide to the navigation system in this PDF. Hyper-links The Table of Contents is fully hyper-linked. Every entry in the Table of Contents links to the starting...

Info

Pause when you arrive at the final letter, and look at the spectator, saying, Okay, this must be your card. Will you please tell us all what your card is Once he names his card, turn over the final card to show that it is, indeed, his selection. A spectator looks at a card in the deck. He subsequently fails to find it again. You, then, turn to another spectator for help. A random suggestion from this spectator finally resolves the matter. This routine uses an...

P H

From two packets, two spectators each select a card and each is returned. Using the cards as a Lie Detector, you ask each of them the same two questions to which they can either lie or tell the truth. No matter how they respond, you produce both cards using their answers. There is a final kicker that proves you could never have failed under any circumstances. This, along with the other effects in this chapter, is based on the classic Martin Gardner Lie Speller plot. I based this routine partly...

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You have two spectators each select a card and you then cut both selections back into the deck. You now give the deck a Riffle Shuffle, vyhich you immediately regret, saying that the shuffle was a mistake and you are now in difficulty. You ask the first spectator to help you by telling you the suit of his card (e.g. Clubs). You spread through the deck and remove all the cards of that suit and place them into your pocket. Using your sensitive fingertips, you reach into your pocket, extract one...

S

Pick up the last couple, but do not show their faces to the audience. This will not appear suspicious because by now the audience will be getting accustomed to the actions. Buckle the bottom card and insert the pair between the two cards as you have been doing. This time there is no triple turnover. Push off the top two cards and take them with the right hand. Keep them face down for the moment. Turn the left hand over to show the two Jokers. Tap the Jokers against the three couples on the...

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You openly separate the deck into red cards and black cards, then give each half to a spectator for shuffling. One of the red cards is noted by spectator A and one of the black cards is noted by spectator B. Both cards are inserted into the opposite halves. A snap of the fingers and both halves are spread face up revealing that there is now one face-down card in each. A second snap of the fingers and then you turn over both reversed cards. Not only are they the two selections, but they have...

Ti

You remove twenty-five cards from the deck, spread the cards, and invite a spectator to reverse any one card. The card remains in its position. You now give the gathered cards to the spectator and ask him to spell Out Of Order using the cards. He then gives the packet a few cuts and deals the cards into five hands of five cards. Each hand contains a random assortment of values, except the one with his reversed card. That hand contains Four of a Kind. It seems that his reversed card protected...

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This is a series of casual cuts that leave a rotational stack intact. By rotational stack, I mean any stack that runs in a continuous loop, such as Si Stebbins, or an alternating red black stack. You can use it in place of a false shuffle in any of the effects using such set-ups. With one simple adjustment, full deck retention is achieved, and I have appended that at the end. This is particularly effective when done with a face-up deck. Do not attempt to make this look neat. It should appear...