Strip Out Cuts

7.6 LONGI TUDINAL Cut—The deck is in position for a longitudinal strip-out. I don't often use this approach but it does have its place. I have used three variations. I don't claim any of them as original. The first is to split the cards as you would for a Faro Shuffle. The second is to split them in the hands for a cut to the table. This looks like an honest cut. The third variation is for tabled use. In effect the action is like the strip-out after a Push-Through or Strip-Out Shuffle. All three are, in my opinion, valid one-cut Strip-Out Shift endings.

NOTE: In "The James Gang' you use a Longitudinal Cut to strip-out and immediately follow with a Faro Shuffle. The longitudinal cut thus appears to be a split before shuffling. Such a splitting of the deck is not perceived as a cut at all. If you use this approach, you would then perform an In Faro. This leaves one indifferent card above the "Collected" cards, which may be disposed of with a Slip Cut or Double Cut. The problem is dealt with in another way within this effect.

7.7 If you wish to use a Swing or Swivel-Out Cut, you will need to perform the following additional preliminary actions: Move your right thumb to the near left corner of the in-jogged cards and aligned block. Pivot them, as a unit, to the right as your right second, third and fourth fingers move to Overhand Grip (Figure 59). The left thumb and second finger still control the deck. This allows the right thumb to move to the protruding inner left corner of the jogged block. Push that corner toward the deck until the jogged block is nearly flush. The corner will remain in contact with the right thumb (Figure 60). This gives the right hand independent control of the deck and the jogged block. This condition is necessary so that the left hand can move away from the deck in preparation for the Swivel or Swing Cut.

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SWIVEL—Move the left hand away from the deck and turn it palm toward the audience, fingers pointing up. Place the left second finger on the left edge of the near left corner of the deck and the left first finger at the near edge of the near left corner of the upper packet (Figure 61). From this position it is a simple matter to swivel this packet around the right second finger as the left hand moves forward and left, turning palm up as it does so to receive the clockwise-swiveling packet. You have openly swiveled off the upper portion of the deck, but you have secretly stripped out the desired cards as well. Complete the cut by adding the right hand's cards onto the left hand's. The selections will be together, in order, on top of the deck. This action is also useful for the strip out after an in-the-hands Strip-Out or Push-Through Riffle Shuffle.

SWING—-The left hand releases the deck in preparation to carry the upper packet away to the left. This packet, however, is swiveled out by the right first finger, stripping the upper block away from the still-interwoven target cards. The right fourth finger performs a most critical duty here. It is the fourth finger s function to maintain control of the selected-card block. It does this by pressing on the right front end. This allows the right thumb and fourth fingers to control the selected-card block while the right first finger wraps around the left front edge of the upper block and swings it to the left, pivoting it on the right thumb (Figure 62, exposed from below). This may seem ^

difficult at first. The right fourth finger requires a ~

bit of strength and the right first finger needs to be accurate in swinging over only the upper portion. It gets easier with practice. To complete the sequence, the left hand takes the cards swiveled by the right first finger into Dealing Grip. The right hand then completes the cut. The selections are left on top of the deck. This is essentially a Neal Elias idea (see Mario's Multiple Shift, page 9).

NOTE: That completes the Mario-James Multiple Shift, along with four one-cut endings. Many other techniques may be combined with those described to produce incalculable permutations. It is my contention that little would be gained by publishing these variants. I justify the publication of my additions and emendations to the Multiple Shift with the Block Alignment procedure it includes. I believe it to be new, novel and a

ii m so contribution that can be well and easily applied to other Jog-Through and Strip-Out handlings. Try it with your favorite techniques. You may find yourself adopting it.

|§f If you performed a longitudinal cut, complete the cut and adjust the break gS that the cover card above the three Queens is moved above the break. The three selections will be on top of the deck while the three face-up Queens will be the uppermost cards below your break. Turn the deck over, face up, side for side, by pivoting the deck around the break. If you keep the flesh of your fourth finger in the break during the turnover, it will cause the break to become a step at the X<§ near end of the right side.

HISTORICAL NOTE: This pivot-step idea was discovered by Tenkai in the 1940s or earlier (see "Card Flight" in Robert Parrishs Six Tricks by Tenkai, 1953; and again in The Magic of Tenkai, 1974, page 130) and popularized by Mario (see his Control Systems, 1952, page 32) in the U.S. At the time of his publication of the idea, it is unlikely Mario knew ofTenkai's work, which was one-handed and more related to platform performance.

Cut at the step and perform an Out Faro from the bottom up. The Faro interlaces the selections with the Queens. At the completion of the Faro, the lowermost face-down card will be Selection Number One. Turn the deck face down and your alternating set-up is on top. There is an alternate approach,

¡SB based on the Swing Cut, which I use occasionally Substitute a Swing Cut for the Faro split and form a break between the packets. Then cut at the break in preparation for the Faro. As previously noted, a Slip Cut can be used to get rid ySf of the extra card above the third selection after the Faro Shuffle.

9 Once you take the deck back into normal Dealing Grip, the rest of the handling is evident. Pick up the Queen that is under the box as though it were all four Queens. Drop that Queen on top of the deck and immediately spread off the top seven cards. Conclude by removing the face-down cards, one by one, revealing them to be the selections.

NOTE: I have an alternate ending that I've used from time to time. It replaces Step 9. Instead of picking up the tabled Queen and adding it to the deck I palm the top six cards from the top of the deck. I use the Buckley Multiple-Card Top Palm (from Arthur Buckley's Card Control, 1946, page 70) as I explained it in The Magical Record and Thoughts of Wesley James (1997, page 78) under the title "Action Palm Variant" but with the insertion of a card as cover eliminated. You can also use Maurice Rooklyn's Top Palm from Dai Vernon's Ultimate Card Secrets (1967, page 161 of the Supreme edition, or page 120 of the L&L Publishing edition) or your favorite multiple-card Top Palm. I then transfer the palmed cards to left-

hand Gambler's Cop with an action like that described in my James Palm Transfer (page 188). This consists essentially of placing the cards from the right palm into left-hand Gambler's Cop with appropriate cover. I pick up the one tabled Queen and secretly add the cards in Gambler's Cop below it. 1 then spread the Queens, revealing the three selections trapped between. This adds an extra dimension to the effect (isolation from the deck) and makes conceiving of a method nearly impossible for a lay person.

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