1. This principle was first explained in Greater Magic and is based on the fact that in a Riffle Shuffle, the spectator is apt to retain either the top or bottom card without realizing it. If he does lose the top card in a shuffle you can estimate how many have gone onto the Key card. This Riffle Shuffle should be the Tabled Type although one done in the hands can also be followed fairly closely.
2. Assuming you know only the top card of the deck, have the spectator Riffle Shuffle the pack and estimate the number of cards that may have fallen onto the Key. From here the situation is now handled as in the Third Method.
This has little or nothing to do with Estimation but if you have done quite a few of this type of location you can throw this bluff in and it will work 100%.
2. All you do is spot the top card of the deck. Have the spectator cut and note the card he cut to. Have him cut his packet. This brings your Key below his card. Next, he is to cut the cards still on the table and place his packet into the center of the tabled cards. Have him pick up the whole pack and give it several cuts.
3. As you can see you have given the spectator so many things to do in the selection and the eventual return of the card that he will be at a loss as to how you could possibly find it. All you need to do is look for your Key card and the card to the left of the Key is the selec tion. While the method is very basic the handling is what throws them.
This one is a real miracle if it comes off, otherwise you will have to resort to your Estimation to find the card. First, put a slight convex lengthwise bend into the pack just before you hand the deck to the spectator for shuffling.
If he uses an Overhand Shuffle, the chances are good he will not take out the convex crimp in the pack. If you are not sure, Overhand Shuffle the cards yourself but in a very fair manner as you request spectator to tell you to stop shuffling at any time. When he does so, make it plain that you do not look at any of the cards but merely table the deck and square it.
2. Now tell the spectator, "Here is what I want you to do. I want you to cut the deck and look at the card you cut to, then return the cut and square up the pack." During this patter line you have also demonstrated what he is to do.
When you make the cut do so by pulling upwards, with your right thumb, on the cards you are about to cut off. This automatically straightens these cards, and when you look at the face of the cut, this also gives you a Key card. The cut is made at approximately the 26th position, of course. When you return the cut, there is now a slight crimp in the pack at the noted card.
3. When the spectator cuts he will cut to the crimp and to your noted card in most cases. This you can easily tell also by the size of the cut. If he has cut half the pack you can be pretty certain he has cut to your noted card. If he has, then after the cut is replaced, have him shuffle all the cards. As you know the card, it is an easy matter to reveal.
4. If you feel he has cut either above or below your crimp then use the First Method of locating the card. In either case you should be able to end the location successfully.
1. This follows the procedure of the previous Seventh Method but is based on the principle of the natural air pocket rather than a crimp. In other words, in a perfectly squared pack if you were to reach over and just cut the pack, providing you do not pull up or riffle the sides when cutting, the cards will break readily at a certain spot or point m the pack.
If the cut is replaced and then the cut action again repeated, the chances of cutting to the same card are very good and almost certain if you are doing the cutting each time. There may be two or three such places in the pack where it will break more readily than any other part.
2. With the above in mind, have the spectator shuffle the deck and table it. You square the deck and then reach over and just cut. The pack will break readily at some point. If it is near the top, note the card and replace the cut, make another cut further into the deck. Again it will break readily at one point. Note this card and replace it, thus you know the names of two cards. If you can remember three cards you can try for another cut at some other point in the pack.
3. The above Step 2 is, of course, covered by the patter line, "I want you to cut the deck, look at the card you cut to, then replace the cut and square up the pack. Of course, you can cut any place you like, but remember the card." Knowing the two or three cards, you also know their estimated position so you can immediately tell which of the these have been cut to or cut near to.
4. First, take a stab at naming the card you think it would have to be, based on where the cut was made. If it is, then you have accomplished your goal. If it is not the card, you do know the selection has to be near that card; therefore, locate your key and work six cards to either side of it as you ask your leading questions. End the location as already detailed in the various methods.
This makes use of the air pocket formed by the spectator as he replaces his cut. In orther words, after the usual shuffle and tabling of the deck, he cuts to a card, then replaces the cut and squares the pack. All you do is reach for the pack at the estimated position and with a very light touch merely cut at this place, then go into a table riffle shuffle. The bottom cards of the portion cut off should fall first in the shuffle while the top cards, which were below the cut, should remain on top.
2. As you are about to telescope the halves into each other, tip deck up on its side, faces towards you, and spread the cards upwards with both hands as you ask for the name of the card. You can quickly spot just where the selection is from either the top or bottom of the deck. If you cut the deck just right, the selection is on the bottom. In this case, quickly push the cards flush and let deck fall face up to table to disclose the selection. If it is not at the top or bottom but near there, handle the disclosure accordingly.
Many years ago Laurie Ireland introduced the principle of retaining a 26th Key card in its position during the course of an Overhand Shuffle. He also used it to retain a setup that may have been in the center of the pack. In the former he would start to shuffle in the usual manner, passing groups of cards, but as he neared the center he would run the cards singly till he was past the central point and then continue the shuffle in the normal manner.
In the other he would shuffle till he reached the set-up of cards and at this point he would let drop off a whole block of cards that comprised the central stack, after which the shuffle continued normally to its termination. Annemann made use of this shuffle in a Red and Black setup to keep the colors separated. An entirely different application of the shuffle, in connection with Forced Estimation, was made by Neal Elias in IBIDEM*26.
2. My only addition to the above shuffle is the fact that you do not have to run or drop off any large block of cards in order to keep a card in an estimated position, or in approximately its original position. As an example, suppose you do the Estimated Fingertip Peek on the 26th card or thereabouts. Immediately after the peek, square up the cards and go into an Overhand Shuffle which starts at the top of the deck. Now, in doing the shuffle, you do it normally all the way through the whole deck.. This means that you will be more or less chopping off groups of cards as you shuffle. These groups will contain anywhere from two to six or even seven cards and at places even more. The last few cards of about half a dozen or so are tossed on top in the last action of the shuffle. At no point during the shuffle is there any semblance of a run of cards or any actual attempt at control. Just go through the shuffle in a normal manner. You can repeat it if you like. I advise this second shuffle mentioned as it further makes it look impossible to find the card.
3. You have to try this to see that it is practical. After the two Overhand Shuffles, turn deck faces towards yourself and count to the 21st card.
Starting with the 22nd card, count over ten cards and your selection should be among these ten cards. Finish with the usual pumping procedure or you can use the Mental Stab procedure using the out suggested. See Mental Stab further in this chapter. Also see Neal Elias' Method in IBIDEM #26.
1. It is obvious that you can retain a card in a known position during a Faro Shuffle as, for example, if the card is 26th and you wish it to remain 26th, you would first lose 13 cards in an Overhand Shuffle or cut, then follow with another Faro-In Shuffle to get the card back to the 26th position. Naturally, you can repeat this as often as you like and be sure of your card being in position. The other method is to use the regular Riffle Shuffle and if it is fairly even, the same results can be had; however, it will not be as accurate as the Faro.
2. My favorite procedure, using the regular Riffle Shuffle, is to use the Fingertip Riffle Peek Estimation to the 14th card. Square up and Double Cut one card from top to bottom making the peeked card approximately 13th. Cut the deck in half for a tabled Riffle Shuffle. Do the shuffle as evenly as you can. Next cut off about 13 cards from top to bottom and do another Riffle Shuffle. The peeked card will now be somewhere in the center of the deck. Count 21 cards from the face of the deck, then spread the next ten cards as the selection should be in among these ten. From here proceed in your favorite manner to disclose the card after ascertaining which one it could possibly be.
It is a little known fact that when a spectator cuts off a small packet and shuffles it, he will resort to an
Overhand Shuffle and at the start of this shuffle he will in most cases, run off the top card first:, then shuffle the rest onto it. Even magicians will do this without being conscious of it but follow the line of least resistance.
2. Armed with this knowledge, you are in a position to perform a miracle type of card location. All that you need to know is the top card of the pack.
3. Placing the pack in front of the spectator, have him cut off a small packet of cards. Indicate an Overhand Shuffle as you ask him to shuffle the packet.
4. Watch to see if he runs off that top card first. If he does, make sure to stop him, as soon as he has completed the shuffle by saying, "Just square up the cards. Now look at the bottom card." Naturally the spectator will be noting what was the original top card which you already know.
5. After he has noted the card, have him again shuffle his packet. You place his packet into the center of the tabled cards and have him shuffle the complete deck. It is an easy matter to disclose the selection after first building up the fairness of the procedure.
6. Sometimes the spectator may shuffle off two or three top cards in a group as he starts. In this case, you can use your original top card as a Key Card in order to count from it to the card actually noted. In this case, have him merely cut his packet once after noting the bottom card. The packet is placed into the center of the deck and the pack cut several times. Proceed to find the card as usual.
7. Should the spectator be one of those energetic shufflers and lose you completely, then you can resort to estimating how many cards are in his group. Then resort to one of the effects that make use of a fairly good leeway in order to conclude. To my knowledge, the only place this "Top card to bottom' in an Overhand Shuffle" idea appeared was many years ago in the Linking Ring.
1. This makes use of controlling a known card in an Estimated Position. There are a number of advantages to this type of control. You do not have to ask for the name of the card as you already know it. Knowing its approximate position gives you a means of controlling the card in this position, yet it is impossible to follow by anyone not cognizant of such procedures.
2. Hold the pack as for the Standard Spectator Peek. Riffle the upper right corner with right 1 st finger as you ask the spectator to call "Stop". You really stop at the 14th card or thereabouts. Hold the pack open for the spectator to note his card, then release them, but obtain a break with left 4th fingertip in the usual manner. Now do a Square Up Glimpse (See Chapter 3;Fingertip Control) and after noting the selection release all breaks.
3. If you feel you had more than 13 cards, cut a few from the top to bottom to bring the glimpsed card to approximately the 13th position. Now do either a Faro Shuffle or a regular Riffle Shuffle. Again cut off about 13 cards from top to bottom and repeat either the Faro or Riffle Shuffle. The known card is now somewhere in the center of the pack.
A good use of this type of Estimation ana Glimpse is exemplified in the effect Miracle Card Stab Location, included in the effects section of this Chapter. This idea can also be used with the Overhand Shuffle.
Over a dozen years ago I came across an idea that enabled me to tell the color of a card by apparently feeling the face of it. Outside of this use as an out and out effect I had no other, but now this new approach makes it worth using. As I sent the original idea to Charles Aste Jr. of Memphis Tennessee on August 5th 1958. I will quote directly from that letter.
"Here is a method I've used for years to tell the color, red or black, of a card.
I-Deck shuffled. deck at a card.
held face down in off cards held from above by
5-Left fingertips touch or feel the face card of packet held by R.H.
are able to tell the color.
hold deck so a strong light is sure to hit the face card of packet held by right hand.
left fingers feel card naturally the packet is held rather close to the packet in L.H.
II-On the backs of the cards in L.H. you will see a slight red glow if it is a red card and none if it is a black card.
12-This applies to cards with blue backs. In the case of red-backed cards a black glow will show on the red-backed card. It will take some experimentation to get it right but the basic principle is there. Applying clear liquid nail polish to the fingertip will give the same results. Apply to the left fingertips orjust the left forefinger. Hold the card, face outwards lengthwise. You will be able to spot a red glow, or dull black, in the tip of the left forefinger. The right fingers do the feeling but the left forefinger is just around the index and you can easily spot the color if the light hits against the face of the card. Again you will have to experiment to get just the right angles."
In the above letter I had also mentioned that in using the clear liquid nail polish that you could wash your hands before doing the stunt as a sort ofthrowoff. Now, here is the way to use it as a Color Eliminator in connection with the Fingertip Peek.
1. Assuming that you will use the Eleventh Method of getting a card noted, which is to hold the pack as for the Estimation Fingertip Peek and have the selection noted at about 14th from the top.
2. Now normally you would just release the cards after the spectator notes a card but in this case you very gently ease the right forefinger forward so as to close the gap between the sections of cards normally separated during the peek.
3. As the gap is being closed, the face card, the one which spectator peeked at, is reflected in the back of the card that precedes it. In other words, you will get to know the color of the card by its reflection, providing the light isjust right, as already explained in the letter.
4. Proceed with the Eleventh Method of Shuffling or use the Overhand Shuffle if you prefer. At any rate when you come to your ten possibilities, as per any such method which may place a peeked card in an approximate position, you do not have to pump for the color of the card as you already know it. Therefore your only concern is the suit.
5. My procedure at this stage is to take a stab and name the suit. You have a fifty-fifty chance of being right. From this point the rest is easy. If you are wrong on the suit you can murmur something about the spectator concentrating a little harder.
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