My Name is Kerr

The spectator's selected card appears at a freely chosen position in the pack. The card that previously occupied that position is found reversed in the pack.

1; With the deck in the left hand, have a card peeked at by a spectator in the standard fashion but contrive to have the peek taken somewhere in the centre of the pack. In the usual manner, obtain a left little finger break below the peeked-at card.

2: Turn the pack face-up in the left hand, maintaining your break in this action, then Half Pass all the cards now below the break. Thus, the approximate bottom half of the pack is face-down and the very bottom card is the selection.

3: Ask the spectator who noted the card for a number between ten and twenty. Let's assume he says thirteen. Count off twelve cards from the face (top) of the pack without reversing their order, out loud, so that the counted cards form a spread in the right hand. Call attention to the face card of the left portion the thirteenth card, and ask him if this is the card he chose. He will, of course, say \Ya '

4: Replace the spread of twelve cards on top of the pack, secretly executing Roy Walton's Spread Half Pass with all the cards below the replaced twelve. If you do not know this particular move, any position after the first count twelve face-up cards nominated card remainder of face-up cards face-down cards chosen card at bottom position after the first count twelve face-up cards nominated card remainder of face-up cards face-down cards chosen card at bottom

Ha.f Pass will do. A description of the Roy Walton Spread Half Pass was published ina k , ■

bookieton the subject, entitled 7ft< W a *ar, ^

5. Say 'If I snap my fmgers, your card will now appear at the thirteenth position .

count off twelve cards as before and the spectator should be surprised to see his card L, 0 S°' ^

ofthe left-hand packet (the thirteenth card). You can now spread a few cards past thetZ^the as a casual gesture, if you wish. neenth Card

6: Casually slip the twelve cards in your right hand below the pack, secretly executi Little Finger Pull Down Move on the lowermost card ofthe pack as you do so The ? brio's inserted in the resulting gap so that the bottom card remains in position. VVelve cardsare

7: 'Let's see if we can find the-of-again. ' Here you name the card th thirteenth position earlier and which is now on the bottom of the pack. As you talk h Was at 'be the natural division of face-up and face-down cards which is nearer the top ofthe k a brsaJ( at face-down executing a Turnover Pass at the break point. P • thepacjj

8: Spread the pack face-down between your hands to reveal the named card f centre point. Spread no more than approximately eight cards past this point r°Ugh,y^ove section of face-up cards at the bottom. r you expose the


^^abular saw the first appearance of this routine. The spectator selects a card and returns it to the pack which is then shuffled in a peculiar way, some of the cards face-up and some of the cards facedown. The pack is cut into two portions and the performer gives it a magical shuffle. At first glance this appears to do nothing at all, but when the two packets are spread it is seen that one consists of face-up cards and the other face-down cards. Furthermore, the spectator's selection, the Queen of Hearts, is reversed in the middle of the first packet. The second packet also contains a reversed card, well three to be exact, the remaining three Queens.

1: With the four Queens secretly stacked on top of the pack, begin the routine by forcing one of them on a spectator. To do this, cut the pack and hold a left little finger break between the sections as the cut is completed. With the pack face-down in the left hand you execute the Riffle Force, running the left thumb down the outer left corner of the cards, requesting the spectator to call 'stop' as you do this. When he does, cut off all the cards above the break with the right hand. The left hand thumbs over the top card of its packet and the spectator is asked to take and remember it.

2: Have him replace his card (a Queen) on top of the left-hand portion. You now replace the right-hand portion on top of all, keep a break between the sections and then execute a Double Cut to control the selection, say it's the Queen of Hearts, to the top. The other three Queens are directly below it.

3: Explain that in order to find his card, you will have to give the pack some strange shuffles. So saying, place the pack face-down on the table in preparation for a Riffle Shuffle. Now undercut the approximate lower half of the pack to the right, turning this portion face-up.

4: Execute a Zarrow Shuffle under the top four cards (Queens) of the face-down left packet. As you do this, say, This is an Irish shuffle . . . mixing the cards face-up and down . . . As you complete the shuffle, obtain a right thumb break between the portions as they square together.

5: Now cut at the break for a second Riffle Shuffle; the lower half is cut to the right and turned faceup. Execute another Zarrow Shuffle, this time under the top card of the left portion (Queen of Hearts). Again, secure a break between the portions as they come together.

6: 'Now,' you say, 7 7/ give the pack a cut.' As you deliver this line, cut off about half of the cards above the break and drop these on the table in front of the talon. Next cut off the remainder of the cards above the break and drop these on top of the first portion. Now cut off about half of the cards from the top of the remaining half. Drop these on top of the first two combined portions. Finally, pick up the remaining portion and drop this on top of all. During this running out, the spectators will see faceup and face-down cards. At the same time you are setting things for the climax. This part of the shuffle sequence was worked out by Roy Walton, to whom I am (as always) very grateful.

7: Split the pack in two, at the natural break in the centre, as if for another Riffle Shuffle. Place the top half on the right, the lower half to the left and separate the packets so that thev a apart. Riffle up the near side of the packets with the thumbs (do not actually 1utsi*inch together), saying, this is the Scottish shuffle . . . saves wear and tear on ,i ffie th« haIves itie cards''

8: Snap your fingers, saying, That was the Magic Shuffle . . . look, ' Spread o reveal that they now all face one way except for one face-down card in the * 'cft Packet to show it is the Queen of Hearts and have it acknowledged as the selected CCntre'1 Tjrn this ov^ make sure... Spread out the right-hand portion to show they are all face-^ ^

in (he centre. Turn these over to reveal the other three Queens * CXcePt for three '»JUSt

Something's Up!

IThis routine is based on my handling of Jack Macmillen's Plunger Card Rise, which I published in Pabular. Three cards are selected and shuffled into the pack. The first two are found quickly. The third rises majestically from the middle of the pack.

1: Have three cards chosen and remembered. These are replaced as follows:

2: Approach the first spectator as you Overhand Shuffle about half the pack into your left hand. Request him to replace his card on top of the left-hand portion. Slightly in-jog this card with the left thumb as you shuffle off the remainder of the right-hand section on top. Undercut to the in-jog and throw the packet on top. Card no. 1 is now on the bottom.

3: Approach the second spectator and shuffle off about half of the pack from the top into the left hand. Card no. 1 is retained on the face of this portion by the left fingers (familiar Slip Shuffle action). Card no. 2 is replaced on top of the left portion. Shuffle-off on top of this, in-jogging the first card. Now undercut to the in-jog and throw on top, still retaining the original bottom card by the left fingers. Card no. 1 remains on the bottom while no. 2 is now on top,

4: Approach the third spectator starting another shuffle: peel off the top and bottom cards into the left hand, and shuffle off about half of the pack onto these cards. Have the third spectator replace his card on top of the left portion. Shuffle-off by running the first card square, in-jogging the next, and shuffle off the remainder. Undercut below the in-jog retaining the bottom card with the left fingers, and in-jog the first card for at least half its length. Run the next card square, then in-jog the next for about half its length, in line with the first in-jogged card.

5: Now shuffle-off the remainder ensuring that the last card of the right-hand stock (card no. 2) falls last, i.e. on top of the pack.

6: You are now set for the plunger finish as follows: turn the left hand a quarter-turn to the right, bringing the outer end of the pack in line with the spectators and the backs of the cards uppermost. The pack is gripped in this manner from above, four fingers at the left side, thumb at the right. In this position, the right hand approaches the pack from the front end and pulls off, and forward, the top and bottom cards of the pack with the right thumb and fingers respectively.

7: So far, the in-jogged cards have been masked by the back of the left hand. Now they will be covered by the two right-hand cards.

8: Once the two cards (the selections) are free of the pack, the right hand makes a quarter-turn to bring its thumb side towards the audience, and the two cards are brought to a vertical position backs towards the audience, held at their lower ends. These two cards are spread apart slight!) to form a WV% formation.

O At the same time, the left hand now turns to bring the pack also to a vertical position ^ of the pack is towards the face of the right hand cards, left thumb at the right side, fino'° he f* and the left little linger extended below the pack, resting agamst the ends of the in-jo^ ,he 'eft. the illustration). "0 Cards (see

10: Once the hands have reached this position (they are about three inches apart) th • waves, or fans, its cards in front of the pack. The left little finger pushes upwards on th nght hand cards, thus causing card no. 3 to rise. At the conclusion of the rise, pause and say -w U> 'n~j°gged the cards '' After receiving an affirmative reply, snap over the right-hand cards S l ^ 'his°ne°f these must he the other two. . . ' Note that during the rise, the right-hand cards co > ' ' ' then


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