Lines and Bits Humorous and Practical

General Consid&ntims m the Use of Jokes and Lines

In many years as a hobbyist, amateur, semi^rofessional and later professional performer I have found there are far more secrets to a joke or a line than just the words then^ves Having die privilege of working for many types of audiences all over this planet, Tin confronted with people who come from different cultural backgrounds Tliis dearly has an influence on die tyjx> of humor I use, since humor is culturally coded It is also influenced by age, gender, social role and environment, to name just a few factors It would be naive, then, to assume dial ¿ill items mentioned in diis chapter will work for every performer, in every situation and for every audience.

At the cone of a successful delivery is one's altitude toward the audience; and tliis is tied very much to one's attitude toward magic. If one sees magic only as a means to make money or to earn a living, the spectators are customers and, more often than not, one will treat them as such. If, on the other liand, one has kept die amateurs heart, in the original sease of die word a incur—to love, even as a seasoned professional, and if one looks at magic as an art and a science with which to express oneself, then magic will be a vehicle to communicate one's ideas and feelings to die audience. In tliis case the perfonnance of magic may became a kind of love aQair, because we as artists o|>en our minds and hearts for the audience to step inside, like a jxiinter opens his studio for a ]>erson interested in art, and the audience will sense dils and react accorr lingly. In this kind of relationship—and there are many, many ways to live this—jokes, lines and any other kind of humorous interaction are done in lining jest, never laughing at the spectators, but always laugliing widi diem If any kind ofputdown is used, it should Ix» directed «it oneself, which is tine, because as performers of miracles we are regarded so highly dial it is good to come down from time to time, i >« >ing this in a got* I humorous way not only shows greatness, but refinement of taste and communicative intelligence as welL

There are no rules, really, governing when .'ind how to use a joke or a line.

• - j tice and honest self-criticism oui indicate when to use a gag, in what situation to use .t and for wiiich type of audience- If vou think then? are a lot of variables to consider, you are nght. There is no short cut to the sucWul creation of humnmus stations, as somejoke books by to nuke v, )u believe. 11 urn-alwaj* tri„i to follow a few n de* I fee on* the« comfortable with, delivering them with sincerity and joy, never insutoigpeople, always thinking tliat the person at whom die gag is directed could be your grandfather.

_ mnrt? of these guidelines could help you, please feel fix* to apply If vou dunk that one onion. [)lindp]es whUe ddivering a line will help Z

theni toyoitrowjniwont * fadai expression and emotion in your eyes, as well as SiSthis assures diat die mere words, which might scuuid cold when ^ssl'tleofgenuinepe^^.

,»¡„db th-,1 could be said about the teclinique ofdeliveiy, I will menUonjust one, ° °T riSS i ^l-1 considerably from die «Jay. started using it. RathJ Ji^^addb^^^n^al^tMoU^whole audtence, direct itto a single spectator, at him and

SSund in my own work, and by watching many perfonneis, that Irnes directed Heento audience often feel "fabricated", made up, nin^tthe-milL There are always exceutions, of course But if a line feels as if it is feigned, it will lie less communicative; it will not involve the sjxvtatore emotionally; or if it does, it «ill be to a lesser degree. On die other hand, if the same line is addressed to a spectator at whom you look anc 1 snule, there will be a sense of spontaneitv to it, and the situation will feel "due". If you by tills next time yon deliver a line or joke, you will become immediately aware of die dramatic difference.

Below you will find a list of situatioas and lines I liave used in the past or am still using in my perfoniiancei As is so often the case when such things are described out of context, it is difficult to judge dieir effectiveness. If you Uy to imagine yourself in die situation descrilx*! and delivering the line, it might help you to understand if die line is for you, if you could diange it to fit your personality or if you should leave it alone.

As you go through die jokes and lines, please remember to deliver them with a spark of humor in your eyes and a respectful altitude.

As far as credits are concerned, 1 would like to emphasize dial I liave collected thousands of lines from all kinds of sources, including my own ix-rfomiances for the past twenty-five yeare. I liave made a sincere effort to credit all the sources Tin aware of, and liave l>een granted permission to quote here any unpublished lines; but I'm sure Fvo made a few omissions and niisallribulions. For tiiis I ajxilogize, but hojie that die tine originators, csjieciaJly tiiose alive, understand dial Tm giving the lines here not so much to satisfy my ego, but radier to help serious students by providing good comedy bits and pieces to start dieir careen? (as we all did), and dien find their own material.

Humor far Various Situations The AMBmous Card

r "rT' "v""- "Bring «« ^d cC

until lie tells you to stop. Then perfonn the effect for him ton, .to drstann

In any kind of repetitive effect, such as the Ambitious Card, do one phase in slow motion.

Put the ambitious card apparently into middle of the deck, while in reality retaining it on top. Have a spectator cut the deck TTien take the lower half and start dealing cards, ®kina somebody to c till slop. When he does, turn over the top rani of the tabled half to uveal the ambitious card. (Edward Mario)

Announcing an Effect

"1 will now show you my nmid famous XYcanl ilhisujn." When there is no reaction: "Well, it doesn V seem to be so famous heiv, ajbr alL "

"Let me show you something now. Well, it's not anything speciaL—any genius couhl ha ve thought of it" *'jHP I^^H

"7b appreciate magic fully you need imagination. It's nice to have imagination The mo)v imagination you have, the better my magic will be."

"I'm not lying, im just araggeintingopjxnlunistically—that's marketing "

"Actually, I don V need to do magic any mom—I just do it for the money."

"The next piece of magic I uvuld like to perform fij/r you was immted by someone very famous among magicians- Nate Leipzig "Take a very small glotie from your pocket, tm-n it hripflv lidwwn vnnr fincprs and mint to Europe:e'7/s cmnefirmi Swiften—that's lltl[i SUSP mtouuviuuui.v, uu.^wy _____will 1*

holding your finger over the larger ¡x ution of the turn it briefly 1x4ween your fingere and point to Europe:e "//c cmnefixnn Suxxtcn—tha, heir." Show the globe around, although no one will be able to see jinytliing. since you' holding your finger over the laiger ¡x irtion of the continent

"This is the fastest card trick in the uvM " Pause. "Would you like to sa> it again ?"

m "1 want to tdl you a seciei There air magic (fleets that look diflkvli but an-easy. And there an magic (fleets that look easy but me dffiult. I nrnld now like to show you an effect that looks very easy. "(Sid Fleischman)


When the audience applauds, it is in a show of appreciation for our magic and our penson-

aliiies. The most ignorant and inconsiderate thing one mg« do would he ton. And.h,

«pertain for: „ .plauding. 1 have often *vn this done, evvn by pn an. a few lines <lL ackncPledge the viewers reactions thanlong then, and even employing a little selMeprecatoiy humor

■ "Tliank you ve*mud. I'm glad you like this a HUleML IM *» don, n«* ,o appLrud each time you tike it—you can also Ihivw nujncy. ---------- 1387

m , „ - m]ich your cfflfotise is much appreciated. As you know, applause :n">" Z 'rl^ZZid ayou ami see, I eat u«ll.» If you tend to the heavy side

&0 are verysun, cha^e the la* line to you can see J need it"

When Only One or a Few Spectators Applaud -Iknow some magicians beevme nenvus when people aprfaud-I don I * "Please don 1 applaud individually Let's wait until it accumulates." T\iming to die single spectator who applauded: 7 agree with you., sir, but who are we among so many"

TYikp « hill from vour oocket and wave it toward the spectator who applauded: 'Thank

Look at the spectator who clapped, dien look at the nest of the audience: "My bmther" Tliis can be changed to "my mother", "my manager", etc

Bris of Business

Shuflle the cards first with the faces, then with die backs, toward the audience: 'first I shuffle the faces, then the backs."

Announce die upcoming effect (contrary to the standing rule) and say that if you fail, you will give die spectator a prize. Apparently fail, give spectator the prize, but then correct your mistake. However, leave the prize with die spectator.

Before doing something, ask two spectators to help by each holding one of your waists. Tills can be very dramatic if, for example, you perform a piece where a card is going to vanish from your liancL As soon as they grasp you, say, "But please don V cut off my cimdatimu"

After successfully locating die spectators previously selected card in an apparently impossible way (dials the only good way), take a Polaroid photo of him and his friends holding die card, and ask everyone to assume an amazed expression. Then give him the photo as a souvenir. Nowadays you could shoot a digital photo and send it to him later \ia e-mail, keeping a copy for your advertising and case liistoiy.

lire« card experiment: "A pack with f[0y-tuv dffimril ikying cards." ¡Jnng or dribble the cards from hand to hand "One... twenty-six.. f(lhj-tuv...mnvcl!" Mom often Uian not, someone from the audience wiU say somedung like "No, there are just titty-oiie. fairaediately palm the !x,ttom rani and produce it from behind a spectator^ ear or nead. You ,v rujht-hnv* the m tssing one." You «in provoke this response by looking BDmeone inlmscl-v wllik' -saying "Cornrt. "When this happens, it can be wry funny.

iSi^8" effect ,hal youVe announced as being particularly difficult, take out your pocket handkerchief and apparendy dry your hands. (lm, Searles)

Hav* an alam, doc k diat you cause to start ringing in the middle of a ami trick, "ljust wanted to mukr smv nobody falls asleep."

When two cards are to be selected, have the first . , other spectator: 'IV///, you WIL do it <1 ¡n-mvUu"V V ^^

cedure employed with die first spectator.' perforTn Precisely the same pro-

Do ail incomplete i)erfect fan) sliufllp (Vo/w/rie 3t page 689) and form a doubhMiered two-handed fan ( Vdume 7, page 179) with the telescopeddeck "Now twice as mTp^e can see Itvo times as many canls in hall'the time."

Give the deck out for shuffling to someone on your left When you take it har k, took at a spectator on your right and ask him if he would like to shuffle. If he sa>* yes, look back at die first spectator and say, "Hedoesn't hvst ^."Andifhesaysnojrxikat the fin* spec-tator. 'You must look trustworthy"

When doing a prediction effect, write die prediction on die bark of a badness caul dial

"belonged" to a famous medium.

Asking a Spectator to Take a Card

"Please take a cant—any card you want. "As soon as die spectator touches a card: Wo, not that one!" When the lauglis liave subsided, smile at him and say,"It doesn't matter

You really may take any card you like,"

Hold the deck face down in left-hand dealing position. With your left thumb, riffle down die outer left comer as you ask a spectator, "Please call stop whenever you like:" Time the riffle so tliat you complete it Ixtfore the spectator calls stop. Immediately look at him in astonishment "7bo late." As soon as die laugh subsides, apologetically say, "No, no. its my fault, 1 didn't team you. PI riffle down the amis like this and you call stop on the count of three." lift your hand to about chest height, look ¿it the spectator and start counting, "One, two, tlireel" On '1h>ve" lower your left liand as if starting the riffle, but don'i riffle the cart Is at all The spectator will almost always say, "Stop; at Oils point, whemuj x» you look at him, then at die deck with your left thumb still on top, in readiness for the riffle, then l)ack at him. With even more astonishment than before, say, Tba early."In die rare instances when he doesn't call stop, look at him and say, "Almost too eariy. "Then fi>Uow up with "Okay, US just timing-like in veal W Now riffle down slowly, so that the spectator may call stop, and give him the card heS stopped you aL

when the cart) has been taken 'Please look at the and and then single it thowughly "You, of course, are still holding the balance of die deck

"Please „member the trorf and donX forget it. I ^

memory mystif. Vxerea,v Umr things I KeepfoiyeWng. m jv.t is name,, tiu ,rv,ut isJigurvs and the third—I forget."

When Asking a Spectator to Sign a Card

. Romovetiie cap fiom fte markerand hand thespectaior the cap: "Please sign ihenmton S» » Look at Hie pen you are still holding and seem to notice your mistake, then lvmd him die pea "Maybe llùs one uwk-s better. "

l Remove the cap from the marker and, before lianding the marker to the spectator, bring its point to your nose and take a deep sniff.

I Instead of signing the card, stick a stamp on its face. Use one of those special moisture pads to moisten the stamp. But then, before sticking it onto the card, lick it! (Dick Koom-winder) Tliis gag also works with the new pressure-adhesive stamps now in common use. Peel the stamp off its backing sheet, then lick it before sticking it to the card.

I Using a stamp adds a presentational premise if the card is to travel later to your wallet or anywhere else, lb assure uniqueness, liave die spectator choose from among several different stamps, dien liave him stick it at a freely chosen spot and at a specific angle on the card Tliis makes the card as identifiable as if it were signed

Delivered tongue in cheek: "Please sign the cant; ami also put today's date and time— because you mill remember this moment for the rest of your life." (Fredo Raxon)

Look at die signed card and then say to the spectator, "I can see you aw a my orderly person. " This usually creates a laugh, because signatures on cards, being done quickly, are typically liard to read Immediately continue, "Oh, I'm not txfeiring to your signa-lure—you put the cap back on the ¡>en so jnvmptly. "(Gaétan Bloom)

"Pleasesign Ihecanl—but don't write Uvycr than the canl." ÇTàm Mullica)

Wi ien the Card is being Replaced

"Please put the mid back anywhere heiv on top. " Point to the top of the deck. When the laugh lias subsided offer him to let hitti put it back anywhere and, if the trick |permits it, liand him the deck for shuffling This gag actually emphasizes the complete freedom he lias in returning the can!. (Ideally, this is usai after a card lias been forced or crimped)

A variation of die above gag is to start spreading the deck, either on die table or in your hands. "Pleaseput the rant Ixwk anywhere you like—as long as it's heir. " Either ojjen the hand spread or point to a stifle location in the tabled spread Then liave him replace the card anywhere he likes and hand him the deck for shuffling.

Before Revealing a Seijjcted Card

You re about to divine tiieir card "Please imagine a glass sphere. Actually, it doesnl need to be made ofglass-and it nmln Ï be a sphere. "

Just before turning over a card, which in the audience's view cannot possibly lie die

*kvhon but of coun* ft is): "Not very often, bu, mther sddom, howeverJhm time to time it happens. T\im over the card

ZTrr, has,nani0<1 ^ ^look a its face, without showing it to anyone / , " ? r IT8 CaM 7 """ " «« -'-V difficult That's Why U

" over the c J with an air of relief.

When the spectator is holding a caitl you know mi w™ «r ,

Then divine his cairL (.rrmmyGrippo) ' ** ^ "' ""'sirl" "f "

(^rru^^^po^6001*^3iler ^^ ^ tt,Iltcr"(a^ glimpse f Vtonie^^^o^

Immediately After the Efffxt

<7his seems i mjxxwible, doesn't i/?"Appeartd think about it yotmslf for a moment; then say, as if the insight liad struck you, "Actually, it is!"

"Vial's only (he beginning; that's-only-thp^jinning." Speak the second part much more slowly.

After kx<iling a signed card, give it away by putting it into a specially created folder (told by Vanni Bossi); or put it into a nice little envelope dial has your business caitl in it, saying,

"Do you want o neat souvenir?"

Openers wtth Cards

Open a huge suitcase, take out a deck of cards and start perf< inning. At the end, place the deck back into the suitcase.

Have someone shuffle and cut the deck, making a point of this. Then spread the deck-less the four Aces, which you have left in the rani case—face up 011 the table: '11 us is a normal deck qffortyreight playing cards—I always keep the Aits in the bou\" Take out the Aces and go into your favorite four-Ace opener.

Bring out a rope and cut it at the center. Look at the rope, look into the audience, then I<xik back at the rope, noticing that you have really cut it. Thss it over your shoulder. "I think Id bctUnshow you a card trick." Have the deck immediately at hand

Have about a dozen decks of different brands distributed on your person. As you make your introduction, take out one deck after the other and pile them up (»11 the table. As you come to Uie last deck, look at it and say, Te* that's my bnimt" Wipe iill die other decks off die table and start your performance.

Hand someone a deck for shuffling. As he is mixing die cards, take out another deck.

'While you 7r shuffling. HI use this deck."

Around die cased deck place a wide elastic band with a safe dial attached t< 1 it. Show the deck in tills comical wrapping. "This illusion is top sccreL " Tim die wheel a few times back and forth, as if entering a combinadoa Then simply strip off the elastic hand«>pen the card rase and take out the deck: "Please lake any amiw And go into whatever effect you please. *

Swirr Gags wmi Cards

Thke out a hard-box of affWUes and ask someone. "Doyou ^^^ answer, say, -flutter do /, but /¡iny cnnL^ov"I don't, but playronk.. F* «1« the box and take out a deck of cards. (Seen in a lecture by Jell McBnde)

A Card man's humor

A Card man's humor frtinBP nvlon loops lluil ait* attached (o a irqurn snowersoap container or sluun-■ T^ke one of.)ho«tt ™ ™ a ^ case. Hold the card rase up by die loop and .say, "C

poo container and maw ^ ^ ^^ „^ {Q mp by Mdo Coloinbij an, the cards I use to pma«

■ r I^jnni damps (used by disabled people to pick up objects) to give a spec-' Use 3 ^ 'Slt^V, touch the com too »1 »<* " Retrieve it in the same^. i^dower audiences you might want to add,"/ xixmttfinito be sure Owl Idoniuee^j

,* «d toward die ceiling (Volume 1, page 175). When it hits die ceiling pre.

, When doing a translocation of one or several cards, follow the imaginary idnerary oi the ran lis) bv holding bodi hands palm down next to each other and linking die diumbs. Then move the fingers slowly up and down like die wings of a bird If you know how to form the shadow of a bird, you'll know what to do hem. Done smoothly and in silence, after announcing die invisible flight of the card, this adds ail element of poetry and elegance.

Fon-e a card, say the Four of Hearts Then ask the spectator to show it to everyone except to you As he's doing this, reach into your inner breast jiocket or hip jxx-ket, take out a jumbo Four of Hearts and show it around: "In case you can'/ see if icdl in the back."

Have a few canls selected by different spectators. After locating die selections and removing diem from die deck, disclose die identity of the cards by first asking each spectator which card he took and dien revealing it. Eventually you are left holding one card with its back toward the audience. Ask a spectator what liis card was. \V1 len he shows his surprise and answers that he didn't take a card, turn over the card you're holding, exposing its blank face. A variation: Take a card from your wallet, back outward, and ask what card a spectator chose. When he looks at you with a puzzled expression, because he liasn't taken a card, respond dial you knew thai and display die blank face.

Hold the deck lace down in lefthand dealing position. With your right hand, sliift die deck forward for most of its lengtii, but secretly leave die bottom card l)eliind in a sort of gambler's cop position (Volume 3, page 707). Make a two-handed fan (Volume 1, page 17D), which will leave the copped card below the fan. It is now an easynialtertoslide the copped card around and out of the front of the lan, where you wiggle it back and forth with die aid of the left middle, ring and litde fingertips. "Please take a card—any canL "This gag is very old, but very funny if you haven't seen it before; and most of die public liasn't.

•..«< <y//euu Hie mnisjacc up. "As you spread die cards, either on die tiible or in your lands, look at the ceiling

Say diat you are going to perform die famous Diminishing Cards. Fan the deck toward the audience, then close the fan again. Step back a few steps and repeat die fanning and ( losing of die deck Repeat by stepping back each time a few feet, until everyone gets lire


In a small envelope have, say, a Seven of Hearts with a blank back On tiiis empty back

•L- r, H ^f-ode-*** Seven of Hearts from the deck in use. W ^ you've predicted the spectators selection. Remove the card fit .m die envelope, displaying die bar code, and explain dial this means -<Wr. ,.rn - »

joke, to save your reputation, explain dun teS^ H" ^ ^ die card around to reveal its fac-e. mncnative bark design-then turn

^oV^TJZ^^r ** -vour hand toward a spec tator. I lease cutthe deck. As soon as he reaches for it, perform a Charter cut (Vol-

MM 7 page 172) snulea. d,e s,xxtatorand immecMely say, "Thank you, ,ha7^oZ

Noivadays everything is automatic."

If using one or more junilx) cards: "It's cheaj>er than buying i&U^

TJunsft^iatton of a Cahd

To Change a carcl Execute a double lift (Volume /, page 129), showing, say, the T\vo of Diamonds. Replace die double face down on the deck, then mmove the top caid (which might be a chosen one) and slip it into die can! case. I lave die spectator blow against die case, shake it slightly and dien slide the caid out of the case, mvealing its changed identity If you are a smoker, leave die box oj)en, blow smoke into it, dien shake die can) out with the smoke and show die tnmsformation. Tliis works best with thick cigar smoke.

When doing a color cliange (for example, die side-slip color diange, Volume page 730), slowly blow smoke onto die card to be transformed, then do die sleight to diange the card—usually with the odier hand—moving it into the smoke. Again, diis Is even liettei with a cigar. . > JyjDfl

When effecting die dramatic transformation of a face-down canl, say: 7 cast a shadow over the caixl." This is Francis Carlyles famous line, but many {>erformers neglect tn really do tills. Observe die source of light and dien slowly hold the hand about eight inches over the card. When you pass your hand over die card, make sure a clear sliadow is cast, which appears to caress die card. This business is as important as the line itself mlscellaneot s situation

When your Iiands are visibly trembling: "Don't uvrnj about my hands shaking It's part of tiie performance* I practice in the winter,"

If someone says, "You're using magicians cants," reply. 'The carts aw normal, but the maginan is not" r

When someone asks you how you did it, or something similar, repty "fci they asked Maik Ttvain how lie amid mine up wilh all his funny stories he said, 7 laugh out loud—then I think badewarfs.Tliis will usually draw a good laugh and nc »tiling m>ie will Ix? recpjiredL With slower audiences, you nii\v add, if you think it is neeessaiy; Hi« do it in a similar nay I put a ivry amazed look an my face and then I think what andd have surprised me that much. "Or in fast company: "Mth me it looks similar, but d is the same."

Ifil is necessary to ask someone to empty a pocket-for »to he ran placea deck or a few cards int., it-provide an empty be ,x with a l,d for hrrn to place hfeU brings discn.tiy into and later take diem out agar* Ifyou your clean liandkercliief, pressed and folded, which you untold tor nun, . Tliis shows consideration and g«xxl taste, and is worth mm a gig

, „n«hea say "And U instantly melts away tike a cheap bmnd ofmi)r

T!» a M"(M Hanis) ^ "And UfadeS mmy Uk" ° mimge "«I»»

dcs&l'sand. "(Albert Goshman)

Afler doing an elegant movement or flourish with the cards: "Die choreography is mints"

„„„ ¡r |ie may shuffle die cards, reply, "Of course you could. But the ^^^mu^noney that he insist«/ ft, a written contact that ll wythhig myself." (FrnW* flicker)

Before doing a Caitl to Pocket effect (for instance, "Homing Card Plus" in Volume 2, ^288) announce 7 will also need the use of an empty pocket. And since my pocket S be about (he emptiest in the nmn. nI use my own."

When doing any kind of Caitl Stabbing effect: "Now stick the knife any whew [pause] iuto the deck."

When about to perform a mind-reading experiment, turn to tiie spectator whose mind you aie going to read and say, "Some people Ih ink lean ivad m inds. But you don 7 need to be nfmid— l imn't led anybody.

di C U tfy W «V^. —---^ , afraid—I uvnt trtl anybody When a spectator

B ittioßraykc Notes

■ For reasons of brevity I'll refrain from giving a long list of suitable effects, but I will men-bonjust one of my fovontes: The Mystery Card" in The Classic Magic oil am, Jamil by Mike Maxwell, L & L Publishing: Thhoma; 1986, page 34. This "JÜ¡7Ä card magic from die last half oí the twentieth century.

2 Jean-Eugéne Robeit-Houdins I^s tncheries des gives deixñtén: Van dr gagner ä tons les jeiu, Paiis, 1861; later translated into English under the title Card Shanms. An exceUent account in English of the various aspects orThretM-ard Monte can be found in Whit Haydn and Chef Anton's Notes on Thiee-cml Monte, Schod for Scoundrels: Alta Loma; 2001.

;i Interesting routines can be found in the Haydn and Anton book mentioned immediately above, along with 'Three Card Monte" in Dai Vernon !s Further IrmrSecrcts qfCwd Mugir by Lewis Ganson, L & L Publishing; Tahoma; 1961, jiage 15; "Never Give a Sucker an Even Break* in Roy Walton's Vie Devil's Playthings, Lewis Davenport Limited London; i960» page 48; and later in Vie Complete Woltem Vrjlunw /, Lewis Davenport limited; 1981, page 40; and "Darwin's Tliree-card Monte" in Darwin Ortiz at the Canl 7WV/\ Kaufhian & (ireenberg New York; 1988, page 36.

1 For Trwov Lewisis original handling, see "Monte Plus (or Hallucination f in Apoc/jiypse, VoL 1, No. 6, June 1978, page 67, Loraync and Kaufman, New York. The Krenzel variation, which adds the idea of outjogging the center card, apeare in the next Issue, | «ige 81. under the tide "Monte Plus Plus".

See "Marions Card to Can) Case" in Deck Deception by Ed Mario, Magic, Incj (Imago, 1942, page 19. I iHllfl^^^H

* You can find more information on tliis elusive character in Edwin A Dawes's Ixxik, (Ttmles Bertram: Vie Court (Ynyinrn Kaufman and Company: Silver Springs li®7, Chapter a

I jage 24.

T In a catalogue fnmi around 1900, whiph advertised "Dice, Card and Novelty: one can read Uie following amusing disclaimer: "lb our customers Hie Federal ( ourt lias decided thai it is against the law to use die mail to advertise or sell marked caids, loaded dice, etc., to be used for gambling, and we cannot* and will not fill any ordere for that pun***' But LS NOT against the law to sell marked cards, loaded dice, etc, to do magical or sl.ght-oMutnd m tricks, or for die pun*** of expiring crooked gambling methodsor for your own amusentenL If you want these goods for a practical demonstration and exp^ nl the methods and devises (sic) used for the purpose of cheating at gambling or tor die slight^! hand (sic) or magical work, we will be pleased to (ill your oda* bul n-mse to fill your orders far any goods to be used for actual gambling purpose, What a nice wn> to lx> liypocritical. . 2:mSi bibliographic Notes s See diaries Jordan^ Viirty Card Mystci*, Magic Ltd: Oakland; 1919, page 25.

. , i thfe rechniuue and recorded it in my notes ui 1994. Recently I've learned that .yTir t lt « »^ derived an almost identic*! handling, which ap,,^

SSSTo«" » 5 ^ L & L ^^ ^oma; 1996. >■• The fust printed appearance of Uiis venerable sleight seems to be in Robert-HoudJ Sir rts Muring and Magic, 186a under the title "A Magic-al TWormation", page 249. ilowm'r, in the anonymously autiiored Vie Conjuwrs Repository, 18ft3 (reprinted in 19S7 by Water B. Graham, Omalia), an early, reLited form of tins transformation is described on l>age 104.

„ gpp snnkey Pauley by Richard Kaufiuan, Kaufman & Greenberg: New York; 1986, page(&

LSee Hab Zarrows "Matched Revolvers" in The Linking Ring, VoL 57, No. 7, July 1977, The International Brodierhood of Magicians: St. Louis; page 56.

1 'See John Thompson's The Translating Deck" in M-U-M, VoL 85, No. 4, SepL 1995, Society of American Magicians: St. Louis; page 22.

H See flierophant 7: Resurrection Issue; Louis Tannen: New York; 1976, page 39.

See Ottokar Fischer's Kaiienkunste, 1910, Verlag Jehoda & Siegel, Wien unci Leipzig The book was translated into English by S. H. Sharpe in 1931, under die tide of./. N. Hofziiiserb Canl Conjuring. A n?\ised and expanded edition was published in 1973 by Kail Fulvft/The Gutenberg Press, and reprinted again in 1986 by [)over Public;itions, Inc., New York

"' An interesting solution along die lines of this tiieme was proposed by French card-master Bemanl Bilis in Apocalypse, VoL 1, No. 12, Dec. 1978, Lorayne: New York; page 136, under the title of "Pair-a-noie"; and later in Bilis's liook Firnch Pasteboards, tilled "The Calculating Sandwich", Magical Publications: Pasadena; 1980, page 23.

" The lull title isroberto exlm4ighUTBC^iltfieie Kaitentridksfiir den laienbewusstensZau-beikunstler, Verlag Magic Communication Roberto Giobbi: Switzerland; 1992.

H See "Affinity in Numbers", Crown Publishers Inc., New York; 1950, page 212.

' ' The book was Hairy Blackstone's Modem Cant Tricks, ghost-written by Walter B. Utoon for the senior Blackstone. While first published in 1929, my "new revised edition"

mm Doubleday & Company, New York appeared in 1958. The trick in question Ls "Yankee Doodle, page 124

31 SeeS/"'s «Magi* LouisTannen: New York; 1950, page 97.

21B^T'T^ tm m m Vemon's ^ Peregrinating Pip", fmni Hugard and BmuesE,7** Qm/ Dr^e, thutledition, FV»ber& Fsber: London; 1950, page457.

'niret^.iif^' by F>dnk ^ Gutenberg Press: T^aneck; no data

^ n a ^rint available through Karl Fulves.


_____ ..milkjuvup men uiuuMXßUUUtey***"9"9

1 A,n<)n8 other places, this well-wom classic can be found in Hugard and Braue's Vir H<»ß Röad to < m Magic, föber& Faber: Landern; 1949, page 150,

» See "Cardicians Blendo" in Paul Harris's/y/s- Vbn* nu , w

San Diego; 1978, page 136.

1, A-l Multimedia: Rancho Cordova;.1996, page 206 oJAsUmrtnnn.t, Vol.

'■* This powerful effect, which uses eieht chosen rarric t > •

„on et tie la m^e Pans; Imprinted by SlaUdne Reprints, Geneva; 1980. ljuz des dames, page 216. And in Professor Hoflmann's English translation, Dn firm*'«Y" jurtng and Magic, George Routledge and Sons: London; 1878, page 221.

"See "Hoönsers Departure" m Rank Garcia's Die Began, Can! Magic ofRülm-Cyprian,

*Fmnk Thompson's Vie Cold Deck by Ray Goulet, The Magic Book Co.: Watatown; lffTfi pagel. ■■ ¿i gnHpHP H|

J' For readers interested in this subject, I cannot do better than refer to a brilliant essay, uRavelli's Setup Technique", by my friend, Ron A. Wohl (Raveßf), which was published in R Howard Lyons's Ibidem, Issue 28 (April 1903), and reprinted in Ibidem, Volume Hermetic Press, Inc.: Seatle; 2001, page 647. For those who read German I would refer you to Manfred Bacias excellent research done on Hie subject, which can be? found in various articles in Werner (Weny) Geisslers magazine Magische Wdt, starting with VoL 29, No I, 1980, page 15, and ending in VoL 31, No. 1,1982.

"See "Aroason's Gemini" in Allan Ackemian's 1ms Vegas Karitma, A-l MultiMedia: Ran-cho Cordova; 1994, page 20. The nx>ts of this piece, however, stretch back at least to Herb Rungie and his "Hidden Mystery" in VicJirir, No. 83, March 9,1940, jxige 535. In 1970, Karl Fulves began Iiis Impromptu Opener monograph (Fulves: Tfeaneck) with "Stopped TWice", a trick Mr. F\ilves believes "goes back prior to 1940", although that trick lias thus far eluded researchers. Shortly alter diis, Mr. Fulves included the trick in another of his l*x>ks, Mare S<li-ii <>/1cing( anl Tri( ks (Dover Publications, Inc.: New Y<uk i». i his time tif]< .i

"Gemini Twins". In this incarnation the trick gained notable popularity among itiagjdans and numerous variations have since been published

H Some of die best material in Iiis repertoire can l>e found in his books Million Dollar C ant Semis, 1972, and Super Subtle Card Mhriides, 1973, Müttern Dollar Productions New York 1 greatly recommend both books as sources of highly entertaining card magic.

® See Professional ConI Magic, Louis Tannen: New York: 1961, page 48. While (Tiff Green is shown as the author, this lx>ok was actually ghostwritten for Green by I toward Schwarz man, who is listed as "tedinical editor" on the title page.

«SeeStms of Magic, I). Robbins&Co., Inc.: Brooklyn; 1M6, page 27. TWs book unites some of the best pieces by Masters of the lWOs, mainly of the New York SchooL Any student cannot help but be affected deeply by its content.

" For more details on the aspects of stage management, see I leaning NebW and Shawmmtaiip: A Handbook for Oowm*>1'hapter 22: We IVrionner .u.d l. ^

Dm^PubUcsSona: New York; 19(39. Especially nr>te the aibch^x which details the geography of the stage, as well asaemal extent ,r fcason ^ Tnls the performance of a trick Although spedfteaUy written for stage magic, the « Hin T* applies to doecHip as welL


, ^ 4); nmvw wM Om,Hc MiUer ^ Robert Panisb, Magic, Inc.: Chicago; 1961, iii ymM published handlings drat eventually popularized this type of false Ältt in tis Future Classic monograph, Ireland Magic Co, Chicago; 1953, SSSated) page. For another handling, see that by Lany Jennings in Canl College, v Zw 3 w» (307. The handling I explain in "The Joker is a Diakka is one I devised years ago, although others may certainly have hail the same droughts.

« See "IfelUale Acts" in Dai VernonSf Ultimate Secivts of Canl Magic by Lewis Ganson, L & L Publications: Thlioe; 1965, page 49.

*1 "A Hanl Ace to Follow" in Any Second Nou >: Pail Tivo of the Professional Ca ixl Tbdm ique Of Martin A Nash by Stephen Minch, Micky Hades International: Calgaiy, 1977, page 271.

"SeeJ.-N. Ponsin'sNou ivile Magie Binnche Dei villfa, Ihme /'T, Section XVI, Reims & Paris; 1853, page 97.

" Although t>ai Vernon is known to liave had dozens of versions, only a few were published 1\vo masterful renditions can be found in Stars of Magic, "Dai Vernon's Slow-motion Four Aces", 1950, page 90. Yet another version appears in The Vernon Chwnicies, Volume One: The Lost Inner Secivts, "Aces in Excelsis", page 121.

L' Aseanio published several interpretations of litis effect in various Spanish magazines and lecture notes. At die time of titis writing these masterpieces are most easily accessible in

Jesus Etchewrry's La Mugia de Aseanio: Estudios de Caiiomaijia, Sus Fhvoritos, "Ases

Padre y Hyos" (two versions), Ediciones Laura Aviles, Päginas: Madrid; 2000, page 89, and "Ases con Amor", page 221.

" Frank Gareia's liandling titled "OT lenry (Slow Motion) Four Aces", was developed in collaboration with Al Cooper, and appeared in Super Subtle Canl Minnies, page 199. It in tum was based on Roger Smitii's "Slow Motion Ace Switch-a-roo", published in a 1971 monograph of the same name by Necromancer Press: Kansas City. However, the American Mr. Smith must share credit with Iiis British confrere TYevor Lewis, whose "Topsy-tuny or Slow Motion Plus" routine feamrcs the same surprise ending Mr. Lewis's routine appeared in New Peutngmm, VoL 3, No. 11, Jan. 1972, Supreme Magic: Bidefonl

" See Another Cord Session with Peter Kane, Kane: Manchester; 1971, l>age 8; and Neie Pentagram, VoL 3, No. 11, Jan. 1972, page S3.

1 Fl«* published in Ortiz's lecture notes, Darn,in* Theories, Ortiz New York; ca 1978, l^pSa m °'1i2 ul lhe a"T/ mir'Kiillfrn;ul 31x1 Greenbeig New Yoric mutincttfiM?; it'!in ^ Queen", also known as "Canl Flight". A*

i; I . / , . PuniisnM in English in Rollert PamQhVj

SU r TVjW/c hij Thrikai. no pu 1

imited: Oakland;


(Tbnkai Prize Committee: Tbkyo; 1970 oaee 47^ mnnnc »

47 See "Los ylses <fe mi e&^'in La Magia deAsamio, page 187. Prentice Hall General Reference: New York; 1992.

" subtlety, and six others you can choose from for use ai tlus point, can be found in

Juans Sonata: Bewitched Music, Volume 7, Editorial Fiakson: Madrid- 1980 page 85 This is a book for the island

M A overview of antique playing cards can be gained from Henry Rene D'Mema»u&

Antique Playing Cards, Dover Publications: New York; 1996.

61 See Marions "Immediate Bottom Deal", in Karl Fulves's Palllxvms Review: Second Folio Winter 1968, Fulves: Ttaneck; page 219. Mario also contributed two short applications to the March 1969 Issue of same journal, Vol 4, No. 5, March 1969, page 245. PtWtawrs Reuiew\\as been reprinted in three hardcover volumes by L & L Publisliing: Ibhoe.

Hus classic effect is found in Hugard and BrauefeExpeit Card Technique, Dover Publications, Inc.: New York; 1940, page 223. Here the authors give an excellent idea for repeating the trick, wliich is credited to Jack McMillea Another desc ription by the same authors and publishers is in Royal Road to Card Magic, 1948, |>age 48, titled "Minor of the Mind".

18 Tills trick was marketed as a manuscript by Morris "Moe* Seidenstein in 1932. See Miesel, Busby and I Boris's Moe and His Miiades with Conls, Jeff Busby Magic, Inc.: Oakland; 1986, page 9. Ki w See Paul Curry's ftiul Curry ftvsents, Curry. New York; 1974, page 7; or I lis Paul Curryb Wofids Beyond, Hermetic Press, Inc.: Seattle; 2001, page 245.

Y' See "Disassembling .Jokers" in Jon Racher! winners The Lost Pages of the KuHxita, I >anny Korem: Ricliardson; 1981, pagei)9.

M See I lis "Blushing Jokers" in Jon Iiarherimumers Kahhnln, Volume J, Louis Tannen. Inc.:

New York; 1976, page 72.

57 Published by Basic Books: USA; 1979.

« See, Henri Decremps's Dxtament de Mvme Swap* Section IV, 'Pivmir la pem* d un honvme, en mettant d'avdnce dans lejeu uue Carte choisie an I una id, au mng & an Nuni¿ix) ipie cel liomme doit rhoisir un instant apivs." (My translation: Tb predict the thought, of a man. by plating a freely selected card in advance at the position and number in the deek tiia! tliis man will chose an instant later), published 1785.

® Tliis excellent bottom deal pnxaduie, called the TN.X bottom deal was fta* described in Dai Vernon's Revelations, Magical Publications Pasadena; 1984. page il w See "Gambler at Large", ThcJhu\ No.39, Dee 1937, page 257.

« Roberto Giobbi's /1 Gambler Divoms-Dei- Thrnm ebm ^^^^^ 19tt Translations followed in F^nch (U ift* du tricheur, translated by Richard Vollmer,


.. cs^iado Strasbourg; ^ translated by

Editions d . ^ , 1986)and Italian (7?stxjno del baw, translatedbv

, . irl, vj vemon's 7&l Super Cairl Pivblems, Vernon: Wichita; 1933, page ft ;" ^ SSiSrCtu-, No. 311, July9,1954, Jay Marshall: New York-. p^ ^ Tr^^ Magio, Ine, Chicago; 1962, page 2(3; and in 77,e A,/ Ife« ** o ftSSSi^^ 1957, page 221.

« Tlip title The Poker Plover's Picnic" was given the hick by Hugaixl and Braue in theirTto^y ln rati Magic, Dover Publications, Inc.: New York; 1949, page 30. These authors, like nam- before and since, failed to mention the inventor, Stew Belchou Mr. Belchou's trick was first descrilxxl by Oscar Weigle in his Themes and Schemes" column in Dragon, VoL 8, No (x lune 1939, jwge 7. It was given no title there. However, in the previous issue of that journal (May 1939) the same trick was run, using four selections in place of the Aces, under the title The Million to One Trick" by Steve Belclran In the following October issue, editor Vemon Lux apologized for this editorial lapse and for misspelling Mr. Belchou's name. This initial laxness seems to liave presaged a near total erasure of Belchou's name by the dozens, if not hundreds, of authors who have redescribed Iris cunning trick.

,r See Encydopedia of Cant Dirts, revised and edited by Jean Hugard with John R. C'rinv mii\s, Dover Publications, Inc.: New York; 1937, page 373. If you need a book for an Island, look no further, because this will keen von occnoied for vears -lost npnipnihor tn tnlro a f«»-

irons, Dover fubitcauons, inc.: New iorK; nvi, page ö(ö. it you need a book tor an i look no further, because this will keep you occupied for years. Just remember to take decks of cards with you.

" Tliis version of the tmly ancient paddle move, adapted to cards, lias been attributed to Francis Carlyle, &om its use in a popular trick with a business card titled "C'ariyle's Card" in Die Phoenix, No. 48, Nov. 19,1913, page 196. However, the sleight was not original with Carlyle, and seems to be the invention of Douglas Dexter. See "The Mystic Star" in Will Goldston's Great Magicians' Dicks, Goldston: London; 1931, page 203.

Edited by Jon Racherbaumer, Louis Irinnen: New York; 1976. On page 27 of this joumal-lxx>k you will find the Vemon-Cervon liandling, as well as the interesting story of a Vietnam soldier who is said to have sent the original idea to Vemon.

'"See "Amazing Prediction" in Hany Lorayne'sRim Shots, Lorayne: New York; 1973, page62.

I«or a more straightforward version, see "Impossibility" in Lorayne's Close-up Card Magic, D. Robbins & Co., Inc.: New York; 1962, page 67.

miS"in his book 7b'"s llr teiies AurUyma-LUptes, Editions du Spectacle: Strasl)ourg; 1984, page 1.

Zu^^'fl tho"ght'ofcaid ™ ^ found in various sixteenth century Italian works, S™;GaL'^,s <H carte beUissimi Hi ivgola, e di memoria, Venice. 1683 l hy Ikdy's Vaimi 00881 «PPeared in 2001, published by Asclepio

An Cnghsh-language edtüon Ls cum>ntly in preparation

T^ifee R0""/mimWs" °fQ,nl »aW by Lewis Ganson, L & L Publishing HÖÖ " -rz


w See "Out ofSiglit and Mind ir iii Thr Vernon Clnrmiri^ \ju c. ,; 1988,page32;andI^C ^ofZ^ r^l^L * L

in Genii: The Cortfltrorb Magazine, Vol 61 No 21)1 ^ ?

inner left Index be sighted. However, I tod my left index finger obstnicts dSview, so 1 Z-

fer to glimpse die outer nght index, a practice that also tequfcs the top packet to be tilted even less.

14 Paris, 1789. See Section IV, page 99.

* See Mecyihd-Khan Rezvani and Jean Metayers Les Seem du Sorrier, "Manipulation permeUmd de forcer une carte ou de prédire celle qui sera prise par le sûectateur' Paria 1954, page 27. 1 ^

* Regrettably, there seem to I* no lx>oks written in English on RoL However, hen? are a few Italian tides that contain some or the amazing stories about RoL Remo Luglfo OustavQ Rol: una vita dipnxligi, Edizioni Mediterranee: Rome, 1995(OTitainsanaudiocas9ette with Hols voice); and Renzo Allegri's M: il misteiv, Musumeci Editor?: Italy. 1993. These Ixwks are worth reading as they show how educated and intelligent people can nevertheless believe a lot of irrational tilings. For instance, Allegri, a renowned Italian journalist, dos<Tibes how Rol performed "minor miracles", as he called them, merely to entertain liis friends from time to time. As an example he describes how Rol did a simple version of Coin Through Table The i nost amazing thing, however, is that he adds, "This is very similar to a trick conjurers rlo, biit Rol does it differently, he uses the power of his mind"

77 See "Dai Venions Colour ( liangmg Pack* in Da i Vernon s Inner Secrets qfCard Magh' by Lewis Ganson, L & L Publishing: Tahoma; 1959, page 25.

78 See 'Sirtfbrita en color'9 in Trucki-<ni1o-magia: tcoria y pniclica de las aulas trucadas, Editorial CYMY& Barcelona; 1970, page 68 Tl\is is a wonderful book, and il s a pity it Is available only in Spanish.

* See Cuny'sSealed Mimdes 1: Probability Taw & Vie ( Wort hanginq fieri;, Curry: New York; 1944, page iv.

Arturo de Ascaniofc Navqjas y dtjllonisnio: magia de las natxtfas, Sodedad BspaAola de Dusionismo: Barcelona; 1958 Fortunately for all those among us who cant read Sjan-isli, José de la Torre, lûmself an accomplished conjurer of great talent, translated much of Ascanios seminal thinking from tills book into English in AscantoS World oj Knives, Jos s Studio: New Jeisey, 1975. See Chapter V: Psychology, page 65. 'nils book not only details some of (lie very best ideas for the color<-lianging knives to date, if is als< i a o .mpendium c .1 eaiiy Ascanian thinkinft which would stx.ii prove to have tremendous influence on magic in

Spain and later all over die world

« See "Chicago Opener" in GsM Million DcMar Card Seen is Million Dollar PJo^ctioi« New York; 1972. page 13. The mutine, till«! and property credtod m A '

Mama'", later append in Jiv, Ryan Close*,*, î>«« AiMnn.ivi oni Qu«ta<* I» Rubp

Bibliographic Notes

* Mwdorafc kl« (rick was released by Abbott's Magic Company some years ago. por HinareJIi's laier treatment, see "Latin Lover Opener" in IiisPlaymagic lecture notes, Binary Rome, 1976, no paginatioa si ettssi,. -C'aid to Card Case" from Iris booklet Deck Deception, Magic, Inc.: Chicago; 1942, page 19.

[ ^published, from the Italian underground (roughly My yards below sea level).

* Tliis routine, in a rough fomi, was first publislied in Pabular, Vol. 8, No. 4, Feb. 1984, 1203 An improved and more elaborate description appeared in my first hardcover book in Gemian, CairlPeifect, "Joker Power", GiobbL- Basel; 1987, page 29.

See "Mercury's Card" in Hugard and Braue's Eijwil Cant Technique, Faber & Paber London; 1940, page .'305.

* See "Moriockis Revenge" in Ricliarrl Kaufrnan's The New York Magic Symposium Collection 2, New York Magic Symposium: New York; 1983, page 56. Jennings, in tum was building on Roy Walton's "TYavellere in Time" from Iiis Ijooklel Canlboani Chamdes Davenports London; 1971, page 22; reprinted in The Compete Walton, Volume One Davenports London; 1981, j>age 16. It was Edward Mario, though, who first applied the time-traveling theme to a card presentation, in Iiis seminal "Time Machine" published in Ibidem No. 7, Sept 1956, jxige 128; reprinted in Ibidem, Volume 1, Kaufman and Greenberg: New-York; 1993, page 120.

* Originally published in German See "Die Zeitmaschine" in Roberto Giobbi's Ca nl Stories GiobbL Switzerland; 1984, page 16.

® See "Canls in a Sealed Envelope" in The Caixl Magic ofLePaul, Tannen Publications: New York; 1949, page 213.

See VoL 8. No. 2, Nov. 1983, Nick Boltoa- London; page 1179. w See The Las Vegas Lecture Notes, GiobbL- Switzerland; 1996, page 6.

i'n^i? 'he ****** "TI,P of False Solutions and the Magic Way", m lirs book The Magic Way, Editorial FYakso,,- Madrid; 1988, page 13.

See MAGIC Magazine, VoL 4, No. 1, Sept. 1994, page 64.

Cumulative index

above4hespread cull (V4) 901-903 accessories for learning (V2) 481-483 Ace-capatles (V4) 1056-1056 Aces Offtlie Cuff (V2) 265-268,429 Ackemian, Allan (V3)771, (V5)1192 Acrobat Family, The (VI) 123-124,

(V2) 395,421,429 Acrobatic Aces, The (V3) 604-697 active techniques (V2)447 aesthetic (VI) 4

affas-gaffas false cut (V2) 391-392 AlTinity in Numbers (V5) 1153-1156 .47 Bdkefs Second Book (V3) 679 Alfonso (V2) 324 all-around square-up (VI) 20 all-iiround squareup lap (V4) 963 all-around square-up turnover

(V4) 1045-1046 Allerton, Bert (V2) 476, (V4) 815,1016,1010 Allerton clrange (V4) 815-816 All's Wells That Ends Wells (V5) 1361-1366 Ambitious 1-2-34 (V3) 568-570 Ambitious Card, Tlie (V2) 337-343,421,

428,429,4'30 ...Anda Puckqf Cards (V4)844 Anderson, Gene (V2) 482, (V4) 1065 Andra, Rolf (V5) 1149 Andrus, Jerry (V4) 1022 Annemann, Theodore (VI) arii.7,133,228, (V2) 374,440, (V4) 845,924,944,946 Aronson, Simon (V5) 1192 "as if' principle (V2) 42<M27 Ascanio, Arturo de (VI) ji, rii, 7,2)6, (V2) 271,317,321,409,427,448,457, 477,480, (V3)an:iv,xxwmi, 605,508, 600,612,643,759,(V4) i, 853, 997,1017, 106a 1059, 10(52, (V5) 12139, 1246, 1342

Ascanio spread (V3) 505-508 Ascanio spreul fan (V3) 598-509

Balducci card wallet (V2)470

BalduccLEd (VI) 86

Balducci wallet (V5) 1:375

Bannon, John (V4) 803

Bamliait, Russell (V4) 1037

Baxter, Ian (VI) 114

Belchou, Steve (V5)1298

Benatar, Rafael (V3) 533

Benzais flourish spin cut (VI) 116

Benzais,John (VI) 116

Bertram, Charles (VI) 7

best way to leam from this book (VI) 2

Biddle, Elmer (V3) 507

Biddle steal (V3) 507-509

Bilis, Bernard (V3).ixwi, 616,617,733,

(V4) 1033 Bills transfonnation (V3) 617-618 Binarelli, Tbny (V5) 1344 Blavatsky, H. P. (V5) 1220 block push-off (V4)Rri) block pusli-off, Mario's (V4)R>I

block transfer (V3) 618

Bloom. Gaetan (V2) 438. (V5) 1300 bluff CUt (V3)514 bluff multiple slrift (V3) 668-660 bluff pass (V3) 555-558 body language (V2) 412-413 443 Book of Thoth, The (V5) 1253 Books of Wonder, Tlir (V4) 1069 boomerang card (VI) 175-176 Borer, ( hristoph (V3) 516. (V4) 1000 Ikssi, Vanni (V1)7,(V3)73I, 755. (V4) 797,798. 807, (V5) 1:3-14,1301

bottom bluff force (V4) 808-804

Iwttom card all-around squaixnip glimise

(V2)357 bottom-card lap (V4) 961-962 bottom deal (V3) 586, (V4) 940-942,

(V5) 1280-1281 bottom palm, left-hand (V3) 713-716 bottom palm, right4iand (V3) 717-720 bottom palming multiple cards in your riglit liand (V3) 720-722 Braue addition (VI) 204-206 Braue, Frederick

Cmxii, 7,49,51,101,125,204, (V2) 341,350, 367. (V3) 580, (V4) 973 Braue reverse (V2) 367-368 break (VI) 28432

break, covering transfer of (VI) 198-200 break, techniques with the (V3) 529-534 break, traasferring from thumb to little finger (VI) 198 break, transferring from thumb to heel of thumb (VI) 197 break, wedge (V5) 1322 bridge control (V3) 562-563 bridge-size decks (VI) 10-11 bringing the bottom card to the top (V2) 253 broad onehanded fen (VI) 181-182 Brooke, Ken (V5) 1349,1381 Bruce, Gordon (V3) 580,722,766,

(V4) 1035 bubble peek (V4) 993 buckle (VI) 212-213 buckle count (V2) 318-319 Buckley, Arthur (V3) 759 Biihler, Max (Cherry Maxim) (V5)1149 Burger, Eugene (V2) 435,478 Burgess, Clinton (V4) 984

Call Your Hand (V4) 944-946 Calvino, Italo (V3).vawi

C airl Catcher CV2> 360-362 Card Collection (V4) 1002-10i)5

card decks (VI) 10 Card in Card Case (V5) 1108-1109 Card in the Glass, The (V3) 731-732 Card in die Wallet, The

(V4) 797,798,807-808 Canl Magic of LcPaul, 77ie (V3)694

card-spread switch (V4) 814-815 Caitl Tliat Wasn't There, The (V3) 775 Card Tlirough Ilandkercliief

(V2) 305-307,431 Cardano, Girolomo (VI) 6 Cardini (V3) 671 Cardini's overhand multiple shift

(V3) 671-672 Cards Across (V2)292 Cards ofCapistrano, Tlie (V2) 292-294,422,453 Cards of Destiny, The (V5) 1192-1198 Cardsharp, The (V4) 873-874 Carlyle, Francis (V2) 288, (V3) 740, (V4) 801

Caniey, Jolin (V3) 529,673,674, (V4) 840 Carney's natural multiple shift

(V3)673-674 Carré, David (V3)766 Carroll, José (V2) 448, (V4) 855 cascade, the (V2) 399-400 Catch 22 (V4) 990-992 center-canl glimpse (V2)359 Cervon, Bnrce (VI) 114,116,

(V3) 631,693, (V4) 1045, (V5) 1311 Cervon pi\'ot revelation (VI) 117 Chamberlain, Kenneth (VI) 228 clianges (VI) 232 Charles V, Emperor (VI) 6 Cliariier (VI) 172, (V5)1110 Chariier cut (VI) 172-173 Cliariier shuffle (V5) 1110-1112 Chelman, Cliristian (V4) 949 Cheops, Fernando (V4) 953 Clieops's Dunbuiy Sandwich (V4) 953-954 choosing material (V2) 476-^477 Clirist, Henry (V3) 700, (V4) 98a (V5) 1129,1207

Christtwist (V4)988-989

classic force (VI) 217-224

classic pass (V2) 297-299

Cliff Greenes double lift (V4) 822

close-up pad (VI) 12

closed riffle shuffle (VI) 3

Coalaces (V5) 1178-1180

colckleck cut, Dai Vemon's (V2) 389-390

Collected Worts of Alex Elmseiy,

Volume II, The (V3) 69:3 Collias, Stanley (VI) 206, (V4) 814 Colombini, Aldo (V5) 1388,1392 Color-cl tanging Deck, The (VB) 1333-1343 combination false shuffle (V3) 645 combination false shuffle and cut

(V3) 646-647 complete cut (VI) 21 concealing palmed cards in liand « (V2) 277-285 coi^urerfe choice (V2)440 Conradi-Horster (VI) 7,60 coastruction (V2) 426-432 construction of a program (V2) 429-432 coastruction of a routine (V2) 428-^129 construction of a trick (V2) 426-428 control of the bottom card

(overhand shuffle) (VI) 43-14 control of the bottom stock

(overiiand shuffle) (VI) 47-48 control of the bottom stock (riffle shuffle) (VI) 109

control of the top card (overhand shuffle) (VI) 43

control of the top stock (Overhand shuffle)

(VI) 44-46 control of the top stock (riffle shuffle)

(VI) 109 controlled riffle shuffle (VI) 10 controlling the entire deck: die G. VV. Hunter shuffle (V2) 259-260 controlling the entire deck the optical shuffle (V2) 260-261 controlling the top and bottom stocks (V2) 254-256

controlling the tap stock with a riffle shuffle

(V3) 645-646 convincing control (V3) 551-554 convincing control palm (V3) 771-772 (orinda, Tbny (V2)460

Cornelius, John (V4)904 Costi, Davide (V4) 797 Cou6, Emil (VI) 125 Cou£Tfest,The (VI) 125-126, (V2) 415,420,428,431,436 count switch (V4) 853-854 Countdown Stop (V5) 1170-1173 counting cards in a fan (V3)609 counting cards while spreading them between die hands (V3) 510-511 Counts, Cuts, Moves and Subtlety (V2)310 Court Card Conclave (VI) 63, (V2) 429 cover pass (V4) 984-985 cover-up cut (V2) 326 credit-card force (V4) 797-798 credits (VI) ¿mi crimp (VI) 79, (V2) 346-348 crimped card, cutting to a (V2) .'349 crimping with an overtimed shuffle (V2)348 crimping with the heel of the thumb

(V2) 347-348 aimping with the index finger (V2)347 crisscross force (VI) 85,224 crocodile technique (V3) 510,531 cull (VI) 186

cull, Grismer (V4) 807-80B

curious count (V4) 799

Curry turnover cliange (V4) 811-813

cut force (V4)796

cut, true ninning (V2) 386-387

ait, tine, single tabled (V2) :381-383

cut, up the ladder (V2) 388

(V5)120O Dad Stevens, King of the Canl Cheats (V3) 657-660

Dai Venions colcMeck cut (V2) 3894390 naJev, Dr. Jacob (VI) art,

(V2) 86$ 370, (V3) 641, (V5) 1170 LVAmico, Carmen (V2) 3(30, 396,

(V3) 611,670, (V4)822 D'Amico spread (V3) 611-612 D'Amicos double lift (V2) 396 Dance of die Cannibals, The (V3) 619-626 Daiyl (V2J46I, (V3) 560, (V4) 1000,

(V5) 1289 Davis, A. J. (V5) 1220 Day Trippers (V4) 857-858 de Courcy, Howard (V2) 401 de Ferara, Giovanni de Jasone (V 1 ) 6 de Gebelin, Court (V5) 1253 De SiUilUate (VI) 6 dealing cards (VI) 24-25 dealing cards face down (VI) 25 dealing cards face up (VI) 26 dealing position (VI) 15-16 deck switch in the context of a trick

(V4) 868-875 deck turnover reverse (V2) 372-373 Decremps, Henri (V5) 1276,1326 Design for Laughter (VI) 125 Dhotel, Dr. Jules (VI) 7,178 Diaconis, Persi (VI) 113, (V4) 1024 diagonal insertion (VI) 69-71 diagonal insertion and fan (V3) 510 diagonal palm shift (V3) 767-771 Dingle, Derek (VI) 7 direct deck switch (V4) 865-868 direct load (sandwich) (V4) 950 direct overiiand shuffle control

(V3) 559-560 direct Zarrow slmffle (V3) 634-636 directing attention (V2) 434-445 disasters (V2) 461-464 Discoverie ofWitchnml (VI) 7 display load (sandwich) (V4) 949 display pass (V4) 985-036 displaying all the rands as identical

(V3) 610-611 disturbances from the audience (V2) 464-474

double-crossing die gaze (V3) 728

double cut (VI) 95-96

double deal (V4) 934-936

double lift (VI) 7,129-130

double lift, Cliff Green's (V4) 1009-1010

double lift, D'Amico's (V2) 396

double lift finesse (V3) 584

double turnover from a spread in the liands

(V5) 1129-1132 double lift from the center (V3) 575-577 double lift reverse (V2) 368-369 Double Rise (V3) 590

double turnover rcveise (V2) 370-371

Dowd, Tbnuny (V3) 724

dowr\jog aill (V4)8i)9-901

Downs cliange (V3) 753

draw method of dealing (VI) 25

dribble break (V3) 529-530

dribble pass (V2)301, (V3)547,

(V4)982-983 dribbling cards (VI) 24 Driebeek, Bob (V3) 755 drop jog (V3) 540 Duffie, Peter (V4) 834 Dunbury Delusion, Tlie (V3) 565

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