METHOD 5 December 1 1973

Casino Destroyer

Casino Destroyer System

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This method was created in an effort to duplicate the effect of "Holdout Holdup" while standing. In that sense, it was developed more to explore the challenge of doing so than to find an approach that is in itself compelling. I got more than I sought, as you will see.

Begin as in Method 1, Step 1, by openly removing the Kings from the deck while secretly culling the Aces. Have the Kings signed but, before doing a Double Cut to transfer the Aces to the bottom, crimp the bottom card in whatever way gives you a crimp you can easily locate by feel. With a Double Cut, move the Aces to the bottom but do not include a cover card.

tpFollow the procedures described in Method 1, Step 2, but set the deck face down 9m on the table before you pretend to place the Kings into your right sleeve, stealing giS them out in Gambler's Cop. Before taking the Kings into Cop Position, turn them over under your jacket, so that they lie face to palm.

With your right hand, sweep the face-down deck off the table and into your left hand, adding the face-down Kings to the bottom. Reorient the deck on the table for a riffle shuffle.

4 Pretend to stack the deck but merely retain the bottom nine cards (four Kings, C four Aces and the crimped card) in place. You can add the three-to-seven-hand request feature if you like, with no need to deal Bottoms or to riffle stack. Simply deal the cards honestly. It is useful, however, to establish the break above the lowermost eight cards before you begin dealing. This is easily done thanks to the crimped card.

NOTE: For those who insist on preserving Pat's requirement of allowing the hand to come from the jacket empty, it is easy to slip the four Kings into your lower left sleeve while they are under the jacket. They can later be retrieved, as you put the pen back into your inside jacket or shirt pocket.

You will now perform a version of the Daley Switch mentioned in Method 1 or the switch described in Ian Baxters book Ten on Deck (1970, page 6), which is essentially a refined version of the Daley Switch. Those familiar with the Daley technique will realize that normally it switches four tabled cards for the bottom four cards of the deck, or a five-card hand for another five-card hand. The Baxter switch usually accomplishes the same end. In this handling, you'll switch the four indifferent cards you've dealt yourself for the bottom eight cards. I don't recall where I first learned the basis for this handling of the Daley Switch. It is not solely my creation, merely my refinement. I do not believe it has been previously published, though I've been using it lor years. It is not completely logical, but if handled casually, without undue attention, it should appear that you've merely tabled the deck and picked up the tabled hand with the same hand. Proceed as follows:


With the deck held in Overhand Grip by the right second, third and fourth fingers at the front and the thumb at the near end, move the eight-card block on the bottom of the deck to the right for about half its width. Your left fingers can easily accomplish this repositioning as the deck is transferred from the left hand to the right. This transfer must, however, be handled smoothly, quickly and without fumbling. During and after the transfer, the block of cards should be screened by the right fingers at the front, but your grip on the block should be between the right fourth finger and thumb. The right first finger should be curled above the deck but you should be able to extend it around the left side of the deck, since you will need to do so in a moment.

Move the deck toward the tabled four-card hand and bring the deck down onto it so that the tabled cards are apparently aligned to the right of the deck for about a quarter of their width (Figure 111). Extend your right first finger around the left side of the deck until it contacts the table surface.

You will not actually add the tabled packet to the deck in the side-jogged position, though it should appear that you have. Rather, slide the deck to the right and forward, sliding the tabled cards along under the deck until you stop moving, about three inches forward and two inches to the right of where you first contacted the table. The tabled cards should align roughly with the deck, stopped by the right first finger at the left side, the other right

fingers at the front and the thumb at the rear. In Figure 112, the right side of the deck is shown raised to clarify the configuration. In practice, the deck lies flat on the tabled packet. Release the deck onto the original tabled packet and, without pause, draw the eight-card block back toward you (Figure 113). Transfer it to left-hand Dealing Grip. The switch is done and it should appear that nothing untoward has occurred. The key to making the technique deceptive is to look at the tabled cards briefly as you begin to approach them, then immediately look up to rhetorically ask something like "Is there any way these cards could be the Kings? I don't think so."

Keep the packet squared and the edges screened throughout the switch and the extra thickness will not be noticed. Remember, the eight-card packet is in motion from the time you release the deck onto the tabled packet until it is in the left hand.

6 Turn the eight-card packet face up, so the audience can see the faces as you count the cards. Count the packet as just four Kings, keeping the last five cards squared as one. During the count, in-jog the third King. Flip the packet face down and square it, forming a break above the jogged card. Pull down the card just above the break, adding it below the break, as you say, "I guess that's what I get for trying to hold out on you people." What all this jogging and break shifting does is give you a break between the top four cards (the Aces) and lower four cards (the Kings).

7 Continue by moving the four Kings into Gamblers Cop as you say, "Magicians don't use Kings, they use Aces." Turn the Aces face up as a group, fan them and use your right hand to drop them onto the table, face up. As you do so, your left hand swings naturally downward and moves the cards from Gambler's Cop to Gambler's Flat Palm. Immediately bring the left hand back up to waist level. This palm adjustment occurs rapidly without the left hand ever coming to rest. If the angles require it, you can duck the hand behind your left thigh, briefly, to help screen the action.

8 Perform Mario's Lapel Load, adding the Flat-Palmed cards to the inside of your jacket on the left as you grab your jacket near the lapel. As the right hand enters

the left side of the jacket it takes the cards from the left hand and continues to load the wallet as discussed in Method 1. End, as you have in the other versions, by removing your wallet from your pocket and the Kings from the wallet.


I passed this last version on to Pat the following day, December 1. My work on the effect ended at that point. I've performed it less than a dozen times for audiences, but I like the reactions I've obtained. It is a novel routine with a number of elements that should appeal to those who like to perform effects with a gambling flavor. The fact that the routine can be performed either seated or standing gives it greater flexibility than is typical for such routines. I believe more could be done with the presentation to add clarity and strength to the effect but such emendations will best be developed from performance experience. While Pat's goal was to create a routine that would fool magicians, I'm persuaded by my experience that the routine will play very well for card-playing lay audiences. Enjoy.


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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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