## The Curious count

At first glance the applicable range or this force may seem restricted, since it forces a c ard when a number between five and ten is named But once you understand the method you will constantly encounter cases where this principle will serve vou well The Stop Trick on page 910 is an outstanding example of this, as the spectator Ls not asked to name a number at all, so the apparent, restriction Isn't noticeable. This procedure is based on an idea reported by American magician, Fred G. Taylor '...

## Rip slwfle stnng

Ifi- A 1th ,0four of the deck to specific locations in four consecutive Ae onto mS PrCal eXan,plL' a illustrate the principle The four with three .lavors S Stackt'd to fal1,0 dealer's hand during a round of poker it- Once you LersSh JSS y U'U ** 31)16,0 wa< through it the fin* time you uy a full house etc , U1(l uP y U adaijl il any hand (a pair, three of a kind, depict the Aces f phyors',n U,e accompanying illustrations, broken For U e purposes or this explanation, turn die Aces faro up on...

## Tmd in the Future

11,0 idea for this trick belongs to Scotland's Peter Duffie * It has its roots in Alex Elmsley Between Your Palms*, which lias inspired innumerable variations. It also owes something in concept and liandling to Bro. John Hamman's The Signed Card301 have reworked a few phases and marie it more analysis resistant. I think you'll like the result An unknown card is set aside. Two spectators then each choose a card. These selections are noted and lost back in the deck. The two red T vos are now made...

## How Too Colet I Turns Card

You remove the object, which you return to the middle spectator. Your Should be such that you divine die card, then draw attention to the corroding object, say,a, sc> me- thing like llus object makes U plain that you ran only ham chosen the Jack oj Hearts Pen nit me to return ytrur object. Now that the effect is apparently over, you are ready to go one step further. Interrupt the fippteUSe OStOUuIn hn> lui ned 1 cards are so closely attuned to your personalities and to the corresponding...

## The Packt Force

Here again, the force method is dependent on timing and psychology. But the factors required for its success will be described to such detail that no risk will be entailed in its performance. Tliis force, the basis of which dates back to at least die nineteenth centuiy,7 is a quick and direct technique that allows multiple cards to be forced, one after die other. Start with the force card on top of the deck Begin an overhand shuffle by pulling al> out a quarter of the deck off the top in a...

## The Enbrn stack s

Stacking with the overhand shuffle was abandoned by card cheats when, during the twentieth century, the nffle shufile became die approved method of mixing cards at dm gaming table. But for magicians, the overhand shuffle still has unlimited applications and potential, since it's the shuffle still used by many laymea This is especially true in Europe, where the riffle shuffle is often regarded as an ostentatious eccentricity. In liis seminal book, Erdnase described formulas for the overhand...

## Anneman Square Magic Trick

As with most of the switches described here, this one depends on a context that can only be created in the course of a performance. As you will see, the exchange is in essence the gamblers' switch, just described. The Jinx change gets its name from the journal in which it first appeared, in a trick by the editor of The Jinx, TVnl Annemann, who seems to have derived it from a previous similar switch.15 The handling about to be taught Ls actually the inverse of Annemann's, yet is essentially the...

## The Simple Turnover Switch

This technique was created by Dai Vernon after being asked for an alternative to the Curry turnover change by someone who found the latter too difficult. The Professor thought about it for a few minutes, then suggested the following solution. A card lies face down and sidewise on the table. You are going to turn this card face up with your left hand, which holds the deck face down and by its sides, in glide position. The deck can easily be transferred single-handedly to this position from...

## The Mikild

SSSZS Stackins but its popidarity has waned With hSdSSS . f 'Jie Verhan'1 shuffle ' gantb g circles. In the standard allowing the left mUMi * Shuffled deeply into the fork or the left thumb, most pconjp 'ivo rl7 f. ng fingere to P,lU nfr bottom card at regular inteivals. As ing variation b D Vem ** t0 atural- we recommend the follow 2. Although diis holds for all techniques, it is especially apt here Begin to prac-tice by going through each shuffle sequence slowly and carefully. Exaggerate the...

## Collet

Le s also assise the Ace of Hearts In the eighteenth position is the spectator's card although you don t know this for certain. But since it is in the primal position you c< tinue your monologue, using a questioning tone ''Your cant was a red rani ' bx)k at the spectator and nod your head with an expression of confirmation. The spectator will confirm or deny your statement. If it s denied, you can rontinue with a gag, if your style permits if Four card was not a red card Please concent rate...

## Culling

T. ,-c in-ill Tvimui s diabolical handling of a (rick by Luis Zingone. This is a wonderful JSSS experts who use i. prize it highly, for it is as powerful for t he public as it s for knowledgeable magicians-it is simply sensational. If you re wdhng to make an extra PlTort vou have the option of (along it one step further. While the cull employed could be one previously taught in d s chapter, I'll describe the trick using a simplified handling of Frdnase's cull shuffle Tliis mav seem more...

## Card College

This force was devised by Edward Mario,1 whose creations we've encountered so often in this course. While Mr. Mario's name is usually associated with skilled sleight-of-hand, his under-the-table force is easy to do and extremely direct. It beare some outward resem-blance to the Balducci force (Volume i, page 86). With the under-the-table force, however, a packet of cards is turned over once, rather than twice, making the sequence not only more efficient, but also more convincing and elegant...

## Jhc toss switch

. K t and most useful switch techniques I know. I developed Uvis , consider this one of the to*a. refinements from such outstanding cardmen * handling by rS Camev, Doug Edwards and John Mendoza The piUp(N. Bill Sinwn, Edwarf M ** wii 'be explained in the context of a practical applies and progression of the teen q up on Uie tabie and are to be exchanged for four tion. Let's assume the tourm you hold face down in left-hand dealing positi, indiffcn'iii on top of Spades and use it to scoop up each...

## What Is Turndling

All you really need to remember is that each time you reach one of the cull numbers, secretly pick up die previously shuffled cards as you run die cull card in their place, then deposit die lifted cards onto it as you continue the shuffle. Tlus automatically brings each culled card to die bottom. Pulling cards off singly plays an important role in all culling techniques. To prevent any errors in diis process, it's recommended that you use new cards tiiat slide apart easily lb be certain of...

## Deck switch

Purely direct deck switches, strictly speaking, have no external presentational reality. The deck Ls at most simply squared once or cut at die moment the switch is made. Tliis is pre-cisely why it is so difficult to find deceptive techniques in this category. In actual pra. ticc, gimmicks sire often employed, which fall outside our present focus. Every direct switch can be divided into four basic phases. First Ls placement. This Ls a problem of infrastructure and deals with the question, Where...

## The Creditcard force

Tlie principle on winch this force Ls based was created by the British innovator Tom Sellers. Edward Mario improved the design of the Seller* gimmick''and Italians Vanni Bossi and Davide Cos transferred Mario's improvement from a playing card to a mode m commonplace object, the credit card, thus giving it a very nice, contemporary dressing For an outstanding application of this idea, see The Card in the Wallet on page 807. Preparation Take an expired credit card and a playing card (say, the Two...

## The Hoftim Toy ckwg

. , m the Hofianser top change may be found in the literature of magic Althou refe c otn technique not found in Ottokar Fischer's book during the past few decaaj, Austrian master, J. N. Hofoinser.' It is, instead, SSSXS Hofeinser, as developed by the South Africa card end,, siast and film director Cy Endfield.1' In your right hand, grip the card you wish to switch out in classic top-change position (1Volume i, page 233). Hold the deck face down in left-hand dealing position, with a left...

## The Veeser Concert

The Veeser concept, named for its creator Bob Veeser,31 allows a portion of a packet to be switched. According to my friend Ronald Wohl, the following handling belongs to Dal Vernon. It uses the Erdnase break (Volume 3, page 534), allowing for a cleaner and smoother handling than a step or thumb break. Hold the four Aces and four Queens face up in left-hand dealing position, Queens uppermost Transfer the packet to right-hand end grip and, in this action, buckle the bottom card with your left,...

## Tricks with Card Switches Everywhere and Nowhere

Hofzinser's is without any doubt one of the great classics of card magi, and in some form has eventually graced the repertoire of every significant card corvjurer Hofzinser used duplicate cards in his methods.24 Since his time, many performers have attempted to achieve the same effect with a regulation deck, perhaps a borrowed one, hut generally with disappointing results, as the suggested solutions almost always weakened the effect. The only version I know thai is nearly...