How To Practice The Classic Pass By Yourself

In magic, there is a book or article teaching you how to do just about any sleight imaginable. Unfortunately, one of the most important sleights available for use is one that one apparently can't practice by one's self. I am referring to the Classic Force.

This must have the room after another the right one.

This creates a big problem. First, this "friend" will soon learn that the way to save himself this grief is to start taking the card you are shewing in his face. He will give you a false sense of security just to weasel out of picking a few thousand cards. This feeling of perfection might encourage you to develop a whole act based entirely on the successful completion of this one sleight. Picture an act consisting of twelve tricks based on the classic force, and then picture twelve missed forces. They just don't go well together.

sleight seems to be one you a friend or relative sit in with you and take one card until he learns to take

In this method of learning, he learns which card to take instead of you learning which card to offer. It's a fine line. But, until they start making different insurance policies and selling the package of 52 at one low price, it's an important distinction.

Having become somewhat of an expert in the execution of the sleight myself, I have decided that some of the readers might benefit from my experience with The Classic Force.

It is important to simulate actual performing conditions when practicing the force. If you perform for women, you should practice in front of a fan. This simulates the breeze blowing on your face which is normally created by a group of women whenever they get together to talk.

If you perform for drunks, try mixing a little food in with the playing cards to give them the right texture. Failure to account for the extra breaks created by nauseated spectators who think they can drink oceans will play havoc with your timing.

If you perform for kids, rehearse your patter at the top of your lungs. This will prepare you for the battleground affectionately known as the ($35.00) birthday party show. If you specialize in birthday parties for kids between the ages of 6 and 12, you may wish to practice with the usual armor on. A target painted on your back at shoulder blade ls/el may help you get into the spirit of it.

If this does not provide you with enough realism, you may be forced to actually throw a birthday party for one of the little snots in your neighborhood. Save valuable practice time by giving them a magic prop as they enter your house. This will save them the effort of coming up during the middle of the show to finger the props on your table.

Now that you are ready to practice, let's get down to technique. At one time, I would simulate the presence of another person in the room by the clever use of a music stand and a bulldog clip. I would stand in front of the stand. Then, as the magician, I would make a pressure fan and say, "Take a card." Then, I would use the bulldog clip to clip the spread cards to the music stand and run around to the other side. I would then play the part of the spectator by taking a card from the spread.

This worked fine until it started confusing me during actual performances. I would forget who was taking cards and who was supposed to find them. People found it difficult to believe that I expected them to find the cards I had chosen. I might also add that this was not a period of my life which was sprinkled liberally with repeat engagements.

Then I happened upon the perfect solution one day while visiting a local novelty store. I purchased a rubber hand, the kind that very much resembles a real hand. I glued this hand to the wall of my bedroom at about waist level.

I now had my permanent, resident spectator. I could now force cards on my wall at any time of the day or night. Many times I would awaken in the wee hours of the morning to charge the hand on the wall. "Take a card, tall flat spectator," I would shout with glee at the hand. And, in a mere three short months I could force that wall to take any card I desired with almost 40 percent accuracy. After eleven months, I was at 80 percent. Only one year and six months later, I was at 98 percent. Note that this was a very picky hand too.

I have since shared this secret with only a few close magician friends and one doctor. This is how I perfected my talent with the force. However, I have improved upon the technique of the practice session in one more way.

Although I discovered this last tip accidentally, it is the one which lifts this practice technique out of the ordinary. The abcwe discussion explains how to simulate normal people and walls when they take cards.

However, what happens when you happen upon a choosy spectator, one who likes to pick and choose his card? Do what I do. Take advantage of earthquakes to imitate these choosy spectators. The earthquake causes the wall to move which in turn makes the rubber hand vibrate from side to side. This is a perfect imitation of the movement of a choosy spectator's hand as he makes what appears to be the decision of a lifetime. One devotee of the art even quit his job and moved to California to take advantage of the one thing Californians have perfected — the earthquake.

The one final advantage of this handy wall technique is that you have your own electric outlet there. You can plug yourself into the wall so that when you miss the force you are sufficiently notified with an electric shock. These couple of hundred volts will do wonders to encourage you to take these practice sessions seriously.

You now have the entire history of the secret to my success with the force. This is for the serious card worker who can tolerate at least 110 volts. This technique has served roe well and I trust it will do the same for those readers who survive it.

However, there is always going to be the one spectator in a million who insists on taking the wrong card from the spread. For this occasion, I have created an out as novel as the training you just received.

Upon encountering this slime, proceed to the next spectator with the offer of a card. Have several people take a card until one does take the force card. Ask the guy who finally took the force card, "Do you want us to use your card, or do you want to switch with somebody else?" If he says he wants to use his card, use his card in the trick and you have your out. Build up the fact that he could have switched with anybody in the room if he so desired. Then proceed with the routine.

M irror Change Steve Beam

This change, while totally different, has its roots in "Twister" from Card Tricks From Mount Olympus (1980). Like everyone else in the late 1970's, I too was going through the packet trick phase. I was into impromptu packet tricks which used ordinary cards. Some of the results of this period are Back To Aces (#1), Card Compression (#9), and Chameleon Kings (#17).

This color change fits well in almost any packet trick which involved a v isual change of the card on the face of the packet. It can also be used with a full deck.

For ease of explanation, we will assume that you have a packet of four kings and an ace. The ace is on the face, followed by the four kings. We will also assume that the audience thinks you are holding four aces. See the trick which follows for how to arrive at this position.

Hold the packet from abcve in the right hand. The right fingers curl around the far end of the packet while the thumb rests at the rear short edge.

You are going to transfer the packet from the right hand to the left. The left hand will take the packet with the thumb on the center pip of the ace and the second finger underneath the packet, directly opposing the thumb.

As the right hand transfers the packet, it is going to palm off the back card of the five. This is done with a move reminiscent of the Kelly Bottom Placement or the (X;ette Master Move. In other words, under ccver of the right hand, the right fingers pull the bottom card to the right. This is continued until the bottom card clears the grip of the right thumb.

As soon as it clears, you will notice that tie card is he Id very securely in the fold of skin which constitutes the third joint (the one nearest the nails) of the right second and third fingers. This card is angled downward until there is a break between the card and the packet of about one inc b.

This gap is enough to allow the second finger in to grab the back of the packet in the exact middle of the back of the packet. The left hand takes the packet to the left while the right hand Tenkai Palms the bottom card.

At this point, the right first and second fingers can contact the far left corner of the packet and spin it around clockwise exactly 180 degrees. You will notice that the card palmed in your right hand comes within a third of an inch of the face of the packet. If the left thumb were not in the way, you could place the card directly on top of the ace on the face. You can repeat this spin again if you desire. (See Regurgi ta tions,)

At the conclusion, of the spin and in preparation for the change, the left first and third fingers come up to support the back of the packet. In addition, the left little finger curls up along the near short end. Since you are now going to lift your left thumb to about a half inch above the packet, this helps keep the packet square and prevents it from falling to the floor.

The support of the fingers allows the left thumb to lift slightly off the face of the packet. This is enough to allow the palmed card to pass between the thumb and the packet when the right hand comes up to spin the packet for the third and final time. As this happens, the palmed card is placed squarely on the face of the packet.

For this fraction of a second it takes to drop off the palmed card, the whole packet is held between the base of the left fingers on the left side, the left little finger at the rear, left second finger directly underneath, the right fingers at the outer end, and the right palm along the right side. It is at this moment that the packet with its new addition is squared.

As soon as the packet is square, the left fingers open except for the left second finger which now supports the packet along with the left thumb. Simultaneously, the right first and second fingers on the back and the right thumb on the face, pivot the packet at the left outer corner around 180 degrees again. This time, as the packet


is rotated, the card on the face has changed into a king.

The assumption is that the whole packet has now changed to kings. A pressure spread will prove this to be true. (See the trick which follows.)

Regurgitations. The important thing with this change is the rhythm. Smoothness will come with practice if the rhythm is correct. Each spin should look identical to the preceding one. As far as the spectator is concerned, you hands never came into direct contact with the face card of the packet.

Once you understand the mechanics, the most diff icul t par t is the first spin where nothing actually happens other than the cards turning around. Normally, when I execute this change, I leave the spin preliminary spin(s) out. I only put them in when performing Turnabout because of the patter.

At first there will appear to be a traffic problem. A lot of fingers are physically (and emotionally) involved with this and it will take several hours of practice to get each doing the right thing consistently. However, this is one of the prettiest and most natural color changes and I feel it is worth the effor t.

The Trapdoor is Copyright 1988 by Steven L. Beam

Check your mailing label for your expiration.


Steve Beam

The fact that I think a lot of this trick is illustrated by the frequency of use I get from it. Whenever I am handed a deck with a white border, you can bet that this is one of the first five tricks I will do.

This trick has a shady past. At one time I would use it as one of the selling points of my book, The Changing Of The Cards (1982). Many magicians bought the book after seeing this one routine. There was only one problem. This routine wasn't in the book. It seems I had forgotten to include it. |

Don't get me wrong. A version of j the color change which is the focal j point of the trick was in the book, just | not the routine itself. And, since j there were 21 other color changes in the j book, it might have been difficult to j figure out which one I used, j

There was nothing intentional here. j As David Goodsell occasionally reminds I ire, I go to all the trouble to create a j subscription section of this magazine and then don't tell the price or the I

a number issues that constitute a i subscription. (By the way,, the number : is 3, and all of you owe me money,}

The effect is standard but the method is very strong and clean and has fooled many f many magicians» In addition? there is a patter theme which helps to provide a little humor.

In effect, the magician take four nines from the deck. After some by-play, they change to four sixes,, If you don't care for the patter theme,, you will probably use the aces and kings in the routine instead of the sixes and nines. j The Work. Assemble the sixes and ] nines. From the lace, they should be arranged, as follows: the nine of clubs.

hearts, spades, diamonds order followed by the sixes in spades, hearts, clubs, and diamonds order. Some of you may not care to arrange the suits but I think it's one less discrepancy. Notice that the nines are in "CHaSeD" order. The sixes are the exact mirror of this order except that the six of diamonds has been cut to the back of the packet.

Turn this packet of eight cards face down on top of the deck with a break held between the packet and the rest of the deck. Hold the deck face down in the left hand dealing position and you are now set to perform.

Start by pushing the top three cards over into the right hand between the right thumb on top and fingers below. Each card is taken underneath its predecessor. Take the last group of cards above the break as one under the cards in the right hand. These moves give the appearance of counting four cards without saying so.

Flip these cards squarely over face up onto the deck, However,let them fall just slightly injogged so that you can immediately pick up a fresh break with your right thumb. Pick up this break as your right hand squares the cards from above. The right hand also picks up the top face down card of the deck beneath the packet, holding a thumb break between the packet and the ex tra indifferent card.

Lift the packet up away from the deck. You are now ready for Mario's ATFUS (Any Time Face Up Switch) Move. The right hand's cards are brought ewer the deck and the left thumb drags the top nine off the packet onto the top of the deck. This is repeated with the next two nines, each being pulled squarely onto the top of the deck-Finally, the last nine in the right hand along with the cards underneath it are placed onto the deck.

Basically you are dropping off the indifferent card held beneath the right thumb break. Continue to hold the break above this indifferent card with your right thumb as you pretend to square the deck with your right hand.

After squaring the pack, pick up the cards above the break with the right hand. Make sure the deck doesn't move for a second so that the audience can see the top face down card of the deck. They think this is the original top of the pack which they saw a moment ago. Perform a wrist turn with your left hand, placing the deck face up on the table.

Attention is now directed to the nines you now hold in your hand. Actually you are holding, in order from the face of the packet, the nine of diamonds, followed by the sixes of spades, hearts, clubs, and diamonds. The other three nines are beneath the indifferent face down card which are now at the bottom of the face up deck.

The packet is now held from above in the right hand. You are now going to steal the six of diamonds off the bottom into the Tenkai Palm as explained in the "Mirror Change". The packet is held in the left hand between the thumb on top and the second finger on the back. The left little finger is curled along the bottom edge to keep the packet square. This position is shown in the illastration.

The curled little finger now mcves out of the way so that the cards are held by the left thumb and second finger. The right second finger now contacts the upper left index corner of the card and causes the card to rotate end for end, pivoting on the thumb and finger. This motion is similar to a clockwise propeller.

The right hand rotates the card exactly 180 degrees. At the conclusion, the left fingers return for a moment to the bottom short edge to square the packet. The above sequence can then be repeated with the right second finger again rotating the card. See the patter section below to see how the patter explains this action. You are explaining how turning a nine upside down changes it into a six.

When ready for the change, the hands imitate the exact same rotating movement. However, as the right second finger comes ewer to spin the card, the left thumb lifts up slightly. This allows the Tenkai Palmed card in the right hand to come to rest squarely on top of the packet.

The curled right fingers ccwer this action from the front. During the placement, the left forefinger helps to support the packet underneath as well as the little finger at the near short end. As soon as the six is squarely on top of the packet, the left fingers open up ---

all but the second finger and the thumb. They do this in readiness for the final spin. The right hand now spins the card around as before. This time, the nine on the face of the packet will have changed into a six.

You are now going to make a pressure spread to show that you are holding four sixes. The packet is grasped from above in the right hand. The open left fingers come to rest on the back card of the packet. They draw it out to the left about an inch. As soon as the first card is drawn out an inch, the fingers bring the next two cards out fanned. This shows a fan of four cards. The last two (the top two) are held together as one by the right hand.

The right hand now takes this double card out of the spread which is now held in the left hand and brings it to a position about three inches above the face up tabled deck. The card is held perfectly level. The card is allowed to drop onto the top of the pack. If the cards are held le/el, they will fall squarely onto the top of the deck without spreading.

The drop is now repeated with each of the three remaining sixes. The timing is important here. Each card should be dropped exactly as the first and with a definite rhythm.

Routine. This trick can be presented exactly as above with any two four-of-a-kind packets. However, to separate it from the run of the mill changes, I decided to capitalize on the fact that the "9 6 Change" turns the cards end for end. In fact, I originated the change especially for use with this routine.

I tell the audience that I am going to teach them a trick. First, I will perform it for them. I tell them I am going to change the nines into sixes. I hold the packet in the left hand in dealing position. "You can tell these are nines by looking at the index", I say as I point to the index closest to me. Note that the index closest to them is an upside down nine, a six. "If you don't trust the index, you can count the pips on the card." At this point, I use my right forefinger to quickly point to the pips as I count them for the audience. You are setting them up for what is about to happen.

"However, if I shake the nines, you can see that they change to sixes." At this, I take the packet in the right hand with the thumb on top and the fingers on the bottom. The thumb covers the nearest index as well as three of the pips. I give the packet a violent shake as if something magical is happening. When I finish, the spectators are wondering what is happening.

Since they obviously doubt the miracle I am claiming, I now prove to them the nines have changed. "You can tell they are sixes by the index in the corner which is a six." At this, I use my left forefinger to point to the index closest to the spectators. "If you don't trust the index, you can count the pips." At this, I point to the six pips which are not covered by the right thumb as I count them aloud.

"The hardest part is to change the sixes back to nines." They realize what is about to happen as I take the packet into the left hand and immediately start shaking it as if something magical were going to happen. When you stop shaking the cards, they have changed back to the nines.

"Now, I told you at the beginning that I would show you how to do this trick. Well, the trick is very simple. When I started shaking the cards, all I did was turn them end for end. I just turned the nines upside down. And what happens to a nine when you turn it upside down? That's right. It changes to a six." (During this patter, I am Tenkai Palming the six as I transfer the cards to the left hand.)

"So, to perform this trick, all you have to do is to take a packet of nines... and turn them upside down... and they turn to... sixes." (Execute the change.) Deal them to the deck as you finish with, "And that's all there is to it. I hope you'll show it to your friends."

Steve Beam

Okay, iny timing is off for this holiday trick. But, I had some fun with it this last Christmas when I got roped into putting the lights on the Christmas tree. It's seasonal (ergo topical) and it's a great little mystery«

Picture this. You are entertaining some guests in your house during the holiday season. You are no doubt using the Christmas playing cards I told you about in Issue #2, page 3 6. You are ready for the miracle. You have a card selected, signed, and returned to the deck.

Call attention to the tree and the nice way in which it is decorated. When ready for the revelation,, clap your hands twice and the lights on the tree go out. All, that is, except for lights which repeal the name of the selected card.

As if that weren't enough, the magician remembers that under that same tree is a present for that particular spectator. He reaches for a small wrapped present and unwraps it. He opens the small sealed gift box within and a folded playing card is seen inside. This card is opened and it is the signed selection. The magician starts his own applause --- which also causes the lights on the Christmas tree to come back on.

The Work. While putting the lights on the tree, the idea occurred to me about using them to reveal a chosen card. This became a reality with a little device rigged up for me by an electrician friend. It is the same thing that is sold in hardware stores (check Ace and True Value) under the name of "The Clapper" (R).

This is a sound activated d®/ ice which plugs into electrical outlets. Other da; ices, such as tels/isions, lamps, and radios can then be plugged directly into the d®/ ice. Then, by clapping twice loudly, you can cut the appliance on and off from anywhere in the room.

Start by running a strand of lights which gives either the shape or the spelling of the chosen (forced) card. I used a strand of 50 little lights so that the rei/elation is very clearly a playing card. If the strand doesn't have enough lights, you will have to use them sparingly and it will not have quite the same effect.

This strand is plugged into The Clapper. Now place the rest of the lights on the tree as you normally would, being sure to camouflage the selection as much as possible. These lights are plugged directly into the regular outlet.

The wrapped present is simply an adaptation of the Card To Tobacco Can. Fold a duplicate of the playing card to be forced in fourths with the back out. Fold it so that part of the index shows so that a brief glance at the card will show its value. If you want to use any card here, fold it so that the none of the face shows. Glue it to the inside bottom of a small gift box. Wrap the box in Christmas paper, place it under the tree, and you are ready to perform.

Force the force card and have it signed. When it is returned, control it to the bottom of the deck. Place the deck down. Direct attention to the Christmas tree. Clap loudly twice to reveal the chosen card.

While they are marveling at the tree, pick up the deck and execute your favorite card fold. My favorite is John Rigg's "Cold Fold" from issue # 6, page 92. This leaves the card folded in fourths in the left hand.

Ask someone to hand you the present from under the tree. Unwrap it, being careful not to flash the palmed card„ When unwrapped, hold the box in the left hand, on top of the palmed card. Remove the top with the right hand and place it on the table. Transfer the box proper to the right hand, doing a clockwise wrist turn with the left hand to cover the palmed card.

Display the contents of the box with the palm up right hand. Apparently the trick is over. This takes the heat off what is about to occur„ The right hand now turns the box top over onto the left hand which turns palm up to meet it. The left hand pushes the palmed card into view as the right hand places the box inverted on the table top.

The card is handed to the person who selected it to open and display to the audience. Meanwhile, while the heat is off, assemble the box and put it in a coat pocket to get it out of the way. Don't rush this. If you have presented this properly, all emphasis is on the tree and the opening of the folded card.

Regurgitations. Next year I want to try using two clappers and lights with a three or five way delay. The regular lights will be on and plugged into the first Clapper. The strand with the message will be on but with The Clapper not tripped. When I clap my hands, the regular lights will go off and the message will come on. In sequence, it will map out the design of the chosen card. The sequence lights will help to take the heat off The Clapper as the method of operation. .1 will let you know how it goes. We may put up our tree in August so that I can get a lot of use out of this one.

Steve Beam Rhett Bryson

Over The Top

This is a comic bit for those of you who do card manipulations. It hinges on the cascade, a flourish where the card drop from one hand to another in ribbon fashion. Those of you who use the electric deck (cards strung together) can also take advantage of this „

I have always used the ancient bit about showing Niagara Falls as I drop the cards faces to the audience while I am facing the right. Then I ask them if they would like to see Niagara Falls from the Canadian Side. When they reply, I turn to the left and repeat the same drop., this time with the backs toward the audience.

About fifteen years ago, I started taking advantage of the fact that there's a town in South Carolina that most people in my part of the state make fun of. Clemson, as in Clemson University, tends to bring a strong reaction in the entire state. When I lived in Coluntoia, home of THE University of South Carolina, the USC fans outnumbered the Clemson Fans. I figured that there was safety in numbers and started using the follow up gag. And, a Clemson gag in Columbia is a definite applause getter.

I would ask if they would like to see the Clemson Falls. I would pause for a moment for them to realize they were about to hear a Clemson Joke. I would then drop the cards in a block (as opposed to a ribbon) from my right hand to my left. After seeing two cascades from my right hand to my left, the dropping of the block always got a laugh.

When I moved close to Austin, Texas to finish high school, I used the same gag. Since they had never heard of Clemson (no doubt a blessing) I substituted Texas A & M. Those who have e;er been in Texas are familiar with the butt of the "Aggie" jokes.

The gag took on a new life when Rhett & Pat Bryson were spending the weekend with us not too long ago. I used the gag on Rhett and he suggested an alternate ending. Use the same block dropping but substitute the statement, "Here's Niagara Falls in the winter." The joke is that it is a block of ice going ever the falls. You don't have to explain this to audiences over 12 years of age. They pick up on it on their own.

Terminal Tricks w -1

Steve Beam

This is my favorite of the computer card tricks which I've been publishing and advertising. It is also the most eye-popping of the lot. The climax makes wen the most stubborn of audiences laugh in surprise. Even programmers have a hard time discerning the method.

I expect that this will also be the last of the computerized card tricks I will publish in The Trapdoor. It certainly is not for lack of interest. I appreciate the enthusiasm which has greeted these program listings. I just don't think I want to inundate the magazine with them. (Realize that this is subject to change if I stumble upon a miracle with the computer.)

This view also recognizes that not all magicians in the data base, I mean the subscription list, own a computer. Howe;er, I don't feel guilty about this any more than I would about publishing three tricks with a locking $2.85 trick

--- knowing that a lot of magicians don't own one. The computer is simply another prop used to accomplish an effect. Howler, to keep from using up too much space with the tricks, I printed the two pr& ious program listings in twenty page issues.

Danny Smith wrote and asked why I use the BASIC Language as opposed to one of the less wordy computer languages. After I canceled his subscription, I answered him by return mail. First of all, I am proficient with BASIC. More importantly, this language is furnished for little or nothing with most personnel computers sold in this country. If the readers aren't familiar with the language, they more than likely know someone who is and can help them.

As I stated in pre; ious issues, if you don't want to key all of this, you can send $25.00 for the Disk which has interactive menus, three tricks, and four forces. In addition, it has online help screens with detailed effects and instructions. It works on IBM's and true Compatibles and the disk has the tricks in .EXE format (compiled) which means they run faster than when run with BASICA (interpreted) BASIC.

In effect, the magician has a spectator sit at the computer. He is requested to type in something such as "RANDOMCD" which might be considered an abbrev iation for "Random Card". After hitting the carriage return (interesting since the keyboard doesn't have a carriage) random cards start appearing on the screen. They are being "dealt" across the top of the screen, overlapping one on the other.

As soon as the spread has reached the right of the screen, another spread starts, immediately beneath this spread. This is repeated until the entire screen fills with playing cards. When this occurs, the screen is cleared and the cycle is repeated.

The spectator is told that he may stop the dealing temporarily at any time by pushing the function button [F2]. It is also emphasized that they truly are random cards. "As a matter of fact, if we were to take a slow taxi down to RDU (local airport) hop aboard a twin engine plane with one engine out, fly to Silicon Valley for a quick two week vacation, and then walk back taking the scenic route through New Zealand, this computer would still be dealing cards on the screen when we returned."

After the spectator stops the dealing several times by hitting the [F2] button, the magician explains that when he is ready to make his final selection, he is to press the [Fl] button. When this is done, the computer stops at the last card dealt. This is the chosen card (assume the four of hearts).

The magician explains that had he stopped the computer a fraction of a second earlier, the spectator would have chosen the king of spades, or the nine of diamonds (calling the cards immediately to the left of the chosen card).

However, as the spectator thinks so much of the four of hearts, the magician is going to give the spectator a souvenir to take home with him. At this the magician reaches up to the screen and removes the four of hearts and hands the spectator a real four of hearts. The four on the screen is no longer there on the face of the spread. This is the eye-popper!

The Work. For this, you need a computer, a miniature of any card, and a spectator. It is virtually self-working, leaving you time to build on the presentation.

Key the BASIC program listing in this issue. Save it under the name of your choice. We will assume the program is named "RANDOMCD". Start by palming a four of hearts from a miniature deck in your right hand with the face toward the palm. With a card of this size, you are pretty much just fingerpalming the card.

Run through the abcve routine by starting the program and explaining it as the cards are dealt by the computer. When they finally hit the [Fl] button, the four of hearts will come up on the screen as if the computer just dealt it. You have several seconds (you can vary the speed) to point out that they could have chosen any of the cards on the screen, but they chose the four of hearts. This gives them the false sense that they had a choice of a card. Actually, they only had a choice of when to push a button.

After a delay (which you should experiment with to make sure you have the timing properly) bring the hand up to the screen and pretend to be prying the card off the screen. As you are standing to the left side of the screen, you can see under the hand. As soon as you see the four vanish from the screen, bring the palmed four into view.

You should have your timing down,so well that you shouldn't have to delay more than a second or two from the time your hand meets the screen. Any longer than that ruins the visual effect of removing a card from the screen.

Note that you can choose your force card from any of the 52 cards in the deck. Simply change lines 590 (the value) and 1 ine 600 (the suit). After experimenting, you will decide how much time you need from the time the [Fl] is






BO Din SSC3E:i , USC75D


100 LET U$ ="A 234567B9 10J □ K " 110 LET 01$=" A234567B 910 J Q K" 120 LET U= I NT C RND* .14 ) : LET S=I NTCRND*5) 130 IF 0=0 THEN GOTO 120 140 IF 9 = 0 THEN GOTO 120 150 LET 01 =U:LET U=CU*2)-1


200 REM *** ERROR HANDLER *** 210 LET A=A~3 220 GOSUB 410


240 IF Fl = 10 THEN LOCATE B + l,A + l:PR I NT "10";

250 IF Fl-11 THEN LOCATE E+l,A+l:PRINT "J";

260 IF F1=12 THEN LOCATE E+l ,A+l:PRINT "Q";

270 IF Fl = 13 THEM LOCATE B+l,A+l:PR I NT "K";




320 IF Fl=10 THEN LOCATE B+5,A+B:PRINT "10"

330 IF Fl-11 THEN LOCATE B+5,A + 9:PR I NT "J"

340 IF F1 = 1B THEN LOCATE B + 5,A+9:PR I NT "Q"


360 IF Fl = l THEM LOCATE B+5,A + 9:PR I NT "A"

0 0

Post a comment