U rpnsored for the benefit of the nervous although the expletive r „
^g belongs to Bob Read who uses it in his l-Shin ^
Out of Order
This is a thought-of card location based on Dai Vernon's Out of Sight Out of Mind routine from Ganson's More inner Card Secrets. You can, if you wish, end the routine in the manner described by Ganson. The preliminary handling described here is not intended as an improvement on Vernon's. I can only say that it works for me and hope that it will be of interest to the reader.
After having the pack shuffled by a spectator, explain that you want him to think of a card as you pass cards before his eyes one at a time. Do this by removing cards singly from the top of the pack: displaying each one briefly. After you have mentally counted off nine cards, say 'You must have one firmly in your mind by now, yes? ' The spectator should reply that he has. Replace the nine cards on top of the pack and false shuffle, retaining them on top.
Emphasize that you have not seen any cards in the pack so far: that you won't look through the pack during the trick; and that you could not possibly know which card the spectator is thinking of. While making these statements and looking directly at the spectator, execute the following actions. Double Undercut the top three cards of the pack to the bottom but execute Ed Mario's Little Finger Pull-Down on the bottom card during the cuts so that the three cards end up second, third and fourth from the bottom of the deck.
Next, Slip Cut the top three cards to the centre of the pack and hold a left little finger break above them. The spectators will assume that you are merely cutting the deck. Don't try to make this a secret action. Turn the pack face-up by hinging it over sideways and to the right. This will cause the pack to step slightly at the break, which will enable you to peek at the card originally above the break, say, the Ten of Hearts. In a continuing action the right hand carries the pack forward to the table as you turn your head away from the spectator.
Again, as part of a continuous action, the right-hand ribbon spreads the face-up pack across the table with this exception: start the spread approximately four cards from the bottom of the pack and when finishing the spread action do not spread the top (face) four cards. The rest of the spread, however, should be made fairly wide and even. In other words the top and bottom few cards are bunched together. The spread should be made as casually as possible. As you make the spread, and with your head still turned away, say, 'Look over the spread and make sure your card is still there. '
When the spectator replies, turn around and gather up the pack. However, first glimpse at the spread; if it has been more or less untouched, you know that his selection is one of the three directly below your key-card (Ten of Hearts).
if the spectator has spread over the top (face) few cards, you know it is one of the three below the face card. If the spectator has spread over the bottom few cards it is one of the lowermost three cards. His actions can be observed as you told him to make sure his card is still in the pack. He must spread through the cards unless his selection is already visible in the centre of the deck.
, „♦ hesitation - don't stare at the spread as if you were looking for som,,u
Gather up ¡he pack — h- ,he pack t0 bring your lhree .n, rrS Sues in order front the top.
Mtnr that vou have his card on top. Request him to name his card and, since you k„ft
D0ub,G °r TnplC Uft t0 reVCal thC mCntal Se,eCti0n"
Of all my own routines, this is my favourite and strongest in terms of audience reaction. The method is similar to a routine in Contemporary Card Magic, but the presentation is different. You will require, in addition to a pack of cards, a wallet to receive palmed cards. I believe the best wallet on the market is the Fred Kaps Wallet and this is the one I use.
With the wallet set in your inner left jacket pocket, commence by removing the four Kings from the pack secretly culling the four Aces to the top as you do so. Alternatively, you can set the four Aces on top prior to performing. Openly position two Kings face-up on top of the pack, and the other two face-up below the pack. Ensure, however, that the Kings at either end of the pack match in colour (illustration 1).
Explain that the Kings have a special talent for finding chosen cards and offer to demonstrate this by asking a spectator to call 'stop' as you run through the cards. So saying, square up the pack and dribble the cards from the bottom of the pack into the left hand. When the spectator stops you, raise the right-hand section of cards for him to remember the face card of this portion. Replace the right-hand section on top of the left, executing the Kelly Replacement/Ovette Master Move so that the selection is secretly transferred to the bottom of the pack, below the two face-up Kings.
You now execute a Riffle Pass in the approximate centre of the pack saying that the Kings will now find the spectator's card. Immediately spread the cards between your hands to reveal the four Kings face-up in the centre, with a face-down card trapped between them.
Ask the spectator to name his card and, as he does so, execute the following actions. While the pack is still in its spread condition between your hands, obtain a left little finger break four cards below the
, i e below the Aees. Roughly square the pack, lifting off all the cards above the Kin. ^St^ depositing this section on the table. Tj "J
* „m hand over to the portion in your left (you have a left little finger break below the tn* BHng y°,Ui; ^ Insfer the break to the right thumb as you take the complete packet into the > ZmI^^s below the break to drop on to the tabled portion. This leaves a packet in the right hand which you then transfer to the left hand.
When the spectator names his card, spread the packet between your hands as five, keeping the lowermost five cards (a face-up King followed by four face-down Aces) squared as one. The right hand immediately lifts off the top three cards (two face-up Kings followed by the face-down selection, still in their spread condition and raises them to a vertical position to bring the face of the chosen card in line with the spectator's view. /j
This concludes the first part of the routine and is in fact just a handling of Roy Walton's Mission Accomplished. Note that by raising the right hand, the spectator's eyes follow the chosen card, thus taking any heat off the four-card block below the two face-up Kings in the left hand. The effect appears to be over, but you now continue with the following switch which takes place as you replace the right-hand cards on top of those in the left. To do this, simply replace the three right-hand cards on top of the two (?) in the left. As you square the cards palm the top four cards in the right hand In a continuous action, the right hand deposits the lower block of five cards on the left side of the table
These actions are really very easy and take place in one continuous movement. The spectators will assume that the cards on the table are the four face-up Kings with the selection face-down between them and will believe that the trick is now over. The real situation can be seen in illustration 2 Pause for a beat, then reach into your jacket pocket loading the four palmed cards into your wallet.
w:r^7aying that the ,King Wil1 n0W perform S0methins even more Hand the
CarefuHv nick im thp ? T^T* ** ^ * h°ld ft by °ne end 50 that is Para,lel wiih the <able t0P"
Ask the spectator if he thinks it's possible to 'Make the Kings and your card transfer themselves i,,visibly into the wallet.' Whatever his reply, execute the Snap Over Change under the wallet and remove the cards spreading them out to show four face-up Aces, keeping the lower two cards squared as one (face-up Acc and face-down King). As you perform these actions, say. It's really very easv since the Kings are actually Aces: the real Kings are already in the wallet.' In line with your second statement, take the wallet from the spectator (you have squared up the Aces and deposited them on the table) and slowly open it, showing your hands unmistakably empty.
Remove the four cards from the wallet as a block. They should emerge with a face-up King on top. Leave the wallet on the tabic and execute a modified Jordan Count, as follows. Counting from the left hand to the right, peel off the first two cards (Kings) followed by a face-down card which you forward-jog on the two Kings in your right hand. As you place the final King from the left hand onto the right-hand cards, do a Block Push-Off taking the top three cards of the four card packet as one into the right hand leaving one King in the left hand which can then be counted onto the top of the packet.
Finally, remove the face-down projecting card and show that it is the selection.
To clean up, turn the three - supposedly four Kings face-down and use them to scoop up the Ace packet on the table. This effectively adds the Kings to the fourth one already below the Aces.
A final observation: the face-up Palm Switch is made easier by the two Kings of the same colour being at opposite ends of the packet.
TD' Amico's Pick-Up move from Buckley's Card Control which is a very his routine uses C armen . ^ ^ identical Jokers which you openly remove from the useful, though rarely seen, mo ^ ^^ tQ a position 5elow the top card of the pack u nn in the-hands cut, maintaining a break between the halves on completion (above the Oueens) Execute a Riffle Force, stopping at the break, then cutting at that point. Double Lift to show, say, the Queen of Spades, the spectator's choice. fig^m
Turn the double face-down and deal the top (indifferent) card to the table. Pick up the tabled Jokers with the right hand and display them face-up on top of the pack obtaining a break below the Queen of Spades as you do so. Now perform the standard Braue Addition, turning the Jokers face-down and loading the Queen of Spades between them.
Drop the pack face-down atop the tabled selection (?) then snap your fingers for magical effect. The right hand now picks off the top card of the pack by the ends and releases it into the left hand, snapping it off the right second finger to emphasize a single card. Repeat this action with the next two cards of the pack.
The reason for lifting off cards in this manner is so that the action will be consistent with the D'Amico Pick-Up move later.
Turn the three cards now in the left hand face-up; display them to reveal that the Queen of Spades has somehow risen through the pack and is now between the two Jokers. Square the three cards and turn them face-down, dropping them on top of the tabled pack. Pick up the pack and execute a Double Turnover to show the Queen of Spades. Turn the double face-down and deal the top card to the table.
Hhl™°rr thC iP !W° °ards takin§ them int0 a right-hand Biddle Grip and. using the standard dlSplayuthem as two ^kers as you peel them back on top of the pack. The "second now read le°We7c below the P^ious one. The order from the top of the pack should apparently Ae ^een of Spades^61"' ^ ^ ^^ °n lhc tab,C * * ^^ ^
priw tithe Double LiftaHny " moves< since the Queen of Spades was between the Joke*
To continue drothe §° Unn°tiCed ** * ** 8ubscquent diSpby °fthe J°
Jen appear to lift ottZtflT^ Pack °nt0 the tabled Queen (?), snap your fingers for ^ Pick-Up move on the first mA tu- f s using the actions as before but really execute the D • *w one by riffling up with .he right thumh^k ™S is si««P'y »fting off, he top two cards of <he P-^ THe n8h' hand ,if,s off ? "ear end of'he pack until the top two cards can be g*S«
At the conclusion of th a(s) and snaPS them into .he left hand off .he second fmS"
m°VeS yOU wi" ^ left with five - apparently .hree - cards in .he 1=« ^
,hc order reading Queen. Queen, Queen. Queen of Spades, Joker from the top. Turn the packet faceup and position it in he nght-hand Bridle Grip. The left thumb peels off thence Joker intotheleft hand then peels off the remaining nght-hand block as one, stealing back the left-hand Joker into the right. Finally, take this Joker on top of those in the left. This is simply the Hamman Switch and is used to display the Queen of Spades apparently between two Jokers.
After this second surprise, turn the packet face-down and deposit it on the table, first Bottom Palming the lowermost two cards - the Queen of Spades and the Joker - into the right hand. In a continuing action, pick up the tabled pack, adding the palmed cards to the face, and transfer it to the left hand
Riffle the far edge of the pack above the three cards on the table, saying that you will cause them to travel magically back to the pack. Turn the pack face-up performing a Turnover Pass at the approximate centre and spread it between your hands to show the Joker sandwich in the middle of the pack.
Turn over the tabled cards saying, Of course, these are the other three Queens.'
T three card location using Ken Krenzel's On the Up and Up and H-
his routine began as; a ^^ after showing the routine to my friend Gordon BrW
Lorayne's It's a joint effort and I thank Gordon for allowing me t0
1- Four spectators each select a card.
9 Make a Pressure Fan and have each card returned to different positions in the fan. Execute a Multiple Shift controlling the selections to the top of the pack.
3- Position the pack for an Overhand Shuffle. Begin the shuffle by running the top three cards deeply into the left hand. Run the next card on top of these but obtain a break with the left little finger between this card and the three below it. Shuffle the remainder of the pack on top of the four selections.
4: Undercover of squaring the pack with the right hand, use the left little finger to side-jog the card above the break (a selection). nfl^^^J
5: The right forefinger now Swing Cuts the top half of the pack into the left hand, and the remaining half is put on top. A new left little finger break is obtained between the halves as they come together. At this point the four selections are in the approximate centre of the pack immediately above the break. The one furthest from the break is side-jogged to the right.
6: The left little finger now side-jogs the selection immediately above the break in line with the other side-jogged card.
• The left fingers square the outermost corners of the side-jogged cards into the deck so that only ne inner right corners project (illustration 1). Remember that the joss and positioning are all done under cover of the right hand.
Eric^Isltclrddst ^ ^ hand vertically>face Awards the audience for the Fred Robinson
10: The llo SdeCti0n " ^^ ^ ** Card nearCSt the pa,m with the right ^ ***
Up tcch^c¡^R^efhetin T^ Chan§inS the first selection usins the Krenzel On the Upanj left to right. For a detail^! SCleCtl0n in front of the first under cover of waving the dec
1 h To produce the th 7 " ** KrenZe' ™nuscript.
(¡'^ration 2). then twisuhe Eft" ^finger at the outer end ofthe projecting double^
"t ,n,° 'he pack. TWs Win ^^ P^h-through Change. Simply push thept^; listing action the naelf l 11 "> the two centre selections being out-jogged 01,
" be tUrned ar°nnd and the projecting double will be at the outer^
12: Snap the right fingers for effect. Remove the double carA r tUrn it face-up on top of the pack. The card will appear to hZ.T theJcentre with the right hand and selection. PPCar have changed again; this time into the third
13: Flip the double card face-down, snap the top card for effect .nHf.- • r changed into the four selections. "ect and fl,P't face-up to show that it has
A detailed description of the Card Rise and Colour dim u r the Up and Up. Plunging two cards, instead of one enablefvnnl Td T th° KrenzeI bookl* On and I am grateful to Gordon Bruce for this addition. P 6 °Ur Cards instead of ^ree
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