Explain that you will remove a few more and do so but from the outer section. In fact you remove a number that will give you the same amount as the spectator. It only remains for you to count your handful into the glass and she count her letters and it is seen that you have somehow removed the same number.

Finally you reveal the three letters that are being thought of.

This is in fact the Doc Daley (ALSO DAVID HOY.) subterfuge of the tossed out deck. You simply name the three letters represented in your force section O, N and E. Obviously all three spectators will sit down and the audience thinks that you have named the actual letters that all three spectators were thinking of, which in a way . . . You have!

The presentation gets away from cards and ESP symbols and the routine leaves a lot of scope for showmanship. Up to 300 people can be entertained with props you can parry in your pocket. (Fig: A depicts the construction of the bag.)


The basic idea of this effect was shown to me by my good friend Kurt Freitag of Vienna in Böblingen (January 1983). He credited it to Trevor Lewis.


— ..'in Ed Balducci wallet, also known as the Kaps wallet

— a sheet of stickers, inside the wallet

— an ordinary deck of cards with a corner short (CS)


Stickers and bill are placed in the wallet. The latter goes into the left inner pocket of your coat.

Management and handling:

1) Hand the deck to a spectator to your right for shuffling. Take it back and as you address your audience with some introductory remarks on the effect to follow cut the CS to the bottom:" This may easily become your favorite card effect of this evening . . . because you have the possibility to win 20 pounds!"

2) Take out the wallet and take out the note showing it. Take out the sheet with the stickers and place it in front of a spectator on your left. Replace the bill and place the wallet back in your pocket pulling up the loading device. Beforehand you have handed the pen to the spectator with the stickers and asked him to sign one of them. The attention will therefore be on him as you pull up the gimmick.

3) Spread the deck face down on the table and have the spectator on the left take any card, show it to everybody and eventually have him put the sticker on the face of his selection. Request him to check that the sticker cannot possibly be removed nor slid off.

4) As he is doing all this, gather the face down spread in left hand dealing position. The right hand seizes the deck from above in biddle position and immediately spin cuts the top quarter into the left hand. Ask him to replace his card on the packet in the left hand. Drop the remainder of the deck from the right hand on top of all and instantly ribbon spread the deck face down on the table.

Gather the cards face down in left hand dealing position.

5) Tell them that you will now explain how the spectator can win the 20 pounds. "I will afterwards hand you the deck whereupon you will cut it into four portions approximately alike. You will then have to decide on any one of these four packets. If your selected and signed card happens to be among the cards of this packet the 20 pounds will be yours. You don't risk anything and if you loose you can always say you tried it and we had some fun together, O.K.?

As you are saying this cut the top quarter of the deck to the left on the table. Then cut about a third of the remaining cards from the top and place to the right of the packet which has already been tabled. Cut at the CS and place this packet to the right of the other two. Finally

drop the last packet to the right of all. The selection will now be on top of this last packet. All this serves apparently as a demonstration of what the spectator has to do. Actually it allows you to control the selection in a subtle way.

6) "Is this fair?" As you ask him this question pick up the packets from right to left — the selection will now be on top. As you casually square the cards palm the top card in the right hand and immediately hand him the deck in order to be cut into four packets. Withdraw the right hand and rest it on the edge of the table (if you are standing or sitting at a club table rest the hand on the hip, leg etc.). As he is cutting the packets take out your wallet loading the palmed card in the process. Turn to a spectator on your right: "May I hand you the wallet with the money for safekeeping?" Request him to place the wallet in the inner pocket of his coat. The revelation of the signed card will be greatly enhanced in this way because the wallet has apparently been all the time in a spectator's pocket.

7) Have the spectator on your left choose any one of the four packets. Pick it up and start to deal the cards which you are holding face down in left hand dealing position face up in a row on the table. When you have dealt approximately half of the card deal one face down but immediately deal the next card face up. All cards must be visible. This should bring a laugh because they think the face down card is or at least, might be their selection. Let the audience react and after some byplay turn the card face up revealing of course an indifferent card.

8) Tell them that you couldn't afford to loose, this is why you had to cheat a little. "You know, quiet honestly, I cheated ... do you really think I can afford to lose 20 pounds!" Have them name their card. Look at them. "I thought you were going to take the (name of card) . . . that's what happened to me the other night and I lost my 20 pounds . . . that's why . . .' Start to look for your wallet in your pockets, then look up and apparently remember that you gave the wallet to a spectator to hold. "... oh, I gave you my wallet before we started* . . . please take it out and open it. . ."

9) Wait until he has opened the wallet. " There is a zipper compartment. . . here, may I show you ..." Take the wallet from him. You must give the impression that he could have done everything, but you just want to make things easier for him. Act accordingly. Open the zipper compartment and draw out the card until the index shows. Pause. Take out the whole card and keep it motionless for at least three seconds as near as possible to the zipper. Let them see the signed sticker. Patter: "What was your card . . . I thought so, that's why I removed it before I started to perform this experiment for you . . . but what I don't understand . . . how did you signature get on this card!"


This is the grip devised by Mario for false deals. The grip enables you to, with the minimum of movement, shift the positions of your fingers ready for the various deals.

Most of these positions necessitate a movement of the forefinger along the front edge of the deck from the mechanic's grip, at one extreme, to the natural dealing position at the other.

It is also necessary that the inner end of the deck be raised or lowered for the various deals. The Master grip will enable this to be done inconspicuously, with minimal finger movements.

The grip can be shifted without any change in handling being apparent to the onlookers.

I have modified Mario's grip very slightly to suit my own needs. I think it important to realise that people's hands do differ in size and shape.

It follows that a grip, which is perfect for Mario, may not be right for everyone else. One should always look at the basic thing described and then make any adjustments that may be required in order to adapt it to the size and shape of your own hands.

To quote Vernon, "Use your head." Do not always try to slavishly copy the original. For the sake of clarity, I am going to describe the original Master grip and later detail my own modifications.

In usual descriptions of the grip, you are told to place the inner left corner of the deck just below the base of the left thumb.

In Mario's grip, this same corner is brought down to a lower position, nearer the edge of the palm itself. The deck is placed down into the left hand so that the two diagonal corners of the bottom card touch the lower base of the palm and the tip of the left first finger.

The left thumb lies diagonally across the deck with its tip near the outer right corner. The tips of the remaining three fingers press against the right side of the deck. The tips of these three fingers should be low enough to allow the top card to pass over them during the deal.

This, so far, is the Mario Master grip position. To change this to, what I call, the modified Master grip, the left forefinger, which is at the outer right corner of the deck, presses down slightly.

This causes the inner left hand corner to be slightly raised, into the Mechanics grip position.

I have spent some time explaining this grip as I find it extremely useful for second dealing, centre dealing and bottom dealing and also for the pull back count.

A consistant grip is maintained throughout. It is suggested that anyone wishing to pursue the matter further, should study Mario's 'SECONDS, CENTRES AND BOTTOMS.' This book details many applications for the Master grip.

Editor... Roger's variation is extremely slight as he points out but it is often the finer points that make a move, routine etc. workable!!

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I loved Jarry Sadowitz's "Prone To Live Dangerously" in Pabular Vol. 7 no. 9, and now use it as part of a three phase routine. Although this routine contains nothing original it may be of interest.

What Happens:

A card is chosen and returned to the pack. A second card is introduced as a locator card. The spectator, while holding the cards behind his back, inserts the face up locator card into the pack. It is found that he has inserted it next to his selection. The performer offers to repeat the effect and to show what happens behind the spectator's back. A second card is selected and returned to the pack. Using the same locator card go into "Prone To Live Dangerously". After offering to repeat the effect a third, time the locator card changes into the spectator's card while he holds it in his hand!

Credits, sources, methods, etc:

Credit for the first part goes to Annemann. I cannot remember where the effect is in print but I know it is Annemann. Briefly, the selected card is controlled to the top. A locator card is introduced and placed face up on top of it. As you place the pack behind the spectator's back for him to hold, you do a Charlier cut bringing the selection and locator card to the centre of the pack. He places the top card into the pack and loses it, thinking it to be the face up locator card. The rest is self explanatory. For the second phase look up "Prone To Live Dangerously", and use the same locator card as in the previous phase. At the end of this phase, shuffle both the selection and locator card back into the pack and relax for a moment as if you had finished.

Thank Ted Annemann again for the third phase. "A Card in Hand" can be found on page 98 of "Annemann's Card Magic", or in a copy of "Annemann's Miracles of Card Magic.

Follow "A Card in Hand" up to the point the selection is on top of the pack. Ask the spectator to stick the locator card into the pack. He cannot comply because you have shuffled the cards. Double turnover the top card and say this card will be the new locator card. Double turnover again and give the spectator his own card to hold face down, asking him to insert the card into the pack but keep hold of it. After checking the cards either side you ask him to name his card. You than ask him to turn over the card he holds exclaiming that you cannot get any closer than that!!

The three effects go together beautifully and always get a good reaction. If you take the trouble of looking up "A Card in Hand" and try this you will see it does not weaken Jerry's effect but builds on it.

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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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