Nclusion of a previous effect or in an ilip rtutis fare up a auran casually make die necessary rihbon spread H1 displayed for you member tlus suit order

Start by spreading the deck face up in your liands as you explain dial the four Aces will play a major role in die following piece. Hold die cards tilted slighUy toward die spectators, so dial diey can clearly see the faces as you spread through tiieni. When you arrive at the first Ace, die Ace of Spades, separate your luuids to display it on the face of die left hand's jx)i1ion. Slowly and clearly lake it beneath the right liand's ix>rtion.

Move your right hand directly in front of you over the table (we will call diis six* Position A) and...

...with die help of your right fingers, flip die Ace over to die left, so dial it lands face down on die table. '71m Ace qf Spades has the ami company& logo on it It is alivays the laiy-est and mast important Ace; so I'll ¡Me it right here injnmt of me. " Whatever ypu say, die idea is to make them remember die jx®-don of die Ace of Spades and to establish il as die point of reference for the positions the <rvk w othpr I*1"* Aces will occupy.

I nis sequence is described in df i l

¡he way the Aces a«, handled Stî,8*™* 38 UlP conditioning diat establish« Note that the handling here on lvto ,K',ler °°ver an upcoming Kaps switch, «^fared fmni the I,ft hanS^T^°f tho ^ ^ch, in L die curl is

Wad 10 «hen Ls flipped over, rather than die right

handI turning palm down, as it will in the next step. This two*ep appn»ch unobtrusively conditions die; au<to for an action that take* place later, making for mpnSS die clearer a situation can be made, die doubt will arise over its he J*y

Reunite the two portions of the deck and continue to spread tiirough the cards until you reach die Ace of Hearts. Continue to condition die audience to your actions by again sejiarating the spread in your hands, displaying die Ace of Hearts for a few seconds on the face of the left hands portion. Briefly bring die left hand over your heart, toucliing die Ace of Hearts for an iastant to your chest. 'Ihe Ace of Hearts is easily remembered, txrause if is like my heart— and il goes heir, to my lejl"Thke die Ace, as before, lx-neadi die right hand's spread, keeping most of its face in view. Tlim your right hand i>alm down, turning its spread face down, and place die top card, die Ace of Hearts, face down to your left, at Position D.

Resume spreading die cards face up in your liands until you reach die Ace of Clubs. Your actions simulate those youVe now established, your liands actuating die spread and briefly displaying die Ace of Clubs on die face of die left hand's portion "And the Ate qf ( Inbs is a Mack Ace, so it goes exactly ojiposite to the other Mack Ace—remember the Ace Qf Spades. " Execute the Kaps switch ( Volume 4, page 816), apparently taking the Ace of Clubs beneath die right hand's spread, but really taking two cards, dien placing the indifferent canl face down, forward of die Ace of Spades, at Position C. As you say, "..reimfàber the Ace of Spades "your left liand, still holding its partial spread, flips die Ace of Spades face up, reinforcing the picture of the Aces on die table in die minds of die spectators.

With die same left-liand action, flip die Ace of Spades face down again. Then join the two ¡xirtial spreads widi the intention of looking for die last Ace. As the cards an* brought together, the right middle and ring fingere slide the Ace of Clubs a bit to the right, so dial the right edge of die left liand's spread can easily be fed between it and die rest of die deck. Tills action is shown from below in the illustration. This is close to, and feels very much like, doing die spread cuD CVolume /, jiage 187).

ContiniH

iris face up between your hands until you reach die last Ace the spt^^^^ qf Diamonds <>PPosile the other ,vd Ace, so thnt ft fc v ^ • , ovn iJ/i/v (¡10/we tyf — ''

Ace or Diamond. / // /*'' ^ ^ Ace of Diamonds underneath dle right harufe to »""'"' J" mes before With dip other Aces. In reality you again execute ^^^tc lS^tAv-o cards and placing die indifferent top ohe face dOwn to your right on the table at Position B.

, ' «mis beneath the left's, in an in-transit action to free the right liand,

^SlXSS^^ then replaces it fac do., at Portion D. TlJ actions are timed to fit the above sentence.

_ , iirlIV nhase of the routine is finished. The cards at PosiUoas A and D are die Acts ^¡SSXSZ^ die cards at Potior, B and C are indifferent ; t ' | |n be tbe Aces of Diamonds and Clubs. Hie position of each Ace has been anchored by simple mnemonics, mid the whole purpose of this expository sequence Is to convince the audience that the cairls on die table are the Aces.

You immediately proceed to die next phase, which begins by reinforc ing die position of die Aces. 'Tin gofag to place any three cants hnv on the Ace of Spades." Without reversing dieir order, deal the top three cairls of the deck into your right hand, which takes them and moves inward the Ace of Spades. As die left thumb paslies over die last of die three cards, it Is an easy matter to push another two, which are pulled back as the right hand moves away, so that the left little finger can catch a break beneath them. It tiien occure to you tiiat the spectators might not be sure of die position of the Aces, which gives you a reason for briefly replacing the three cards, just taken, onto the deck in an in-transit action, thereby freeing your right hand, which (lips the card at Position A over and leaves it face up on the table, displaying die Ace of Spades. "Remember, that's this one."

Bring your right liand bark to the deck and flip all die cards above the break over sidewise and face up on top, die left little finger regaining a break between tills live-card packet and the n'st of die deck (as taught in the double turnover in Volume 2\ see page .'132). "It isn't nmessanj to remember these cards—they'iv random recruits."

»tell die first two cards into your right hand, taking one under the other, which displays die indifferent faces of die diree visible cards. In a smooth continuation of dus counting action, which Is more of a ««splay, since you dont count out loud, the left thumb pushes die diree remaining amis above the break as one to die right, where diey are taken under the right liand's two •-mis. Possible misalignments are covered by the carrls being in constant movement immediately tap die left side of the right hands cards roughly square on die top of the dec k

Stiholding tfiem lace up, start to place them onto the Ac*, when you notice that the latter is still face up. Bneily replace die right liand s cards on die deck by ffippirigtheii\ face r lr >wn Your right hand then turns the Ac. of Spades toe do^t on the table Z IZ^l^Z diree amis apparently just sliowa Actually, you take the top two cards singly, one below the cidler, and then push Over two cards as one with your left thumb (Volmnr 1.pa* 211), taking die double below the right liandspair. Smoothly proceed to tap their left sides .square against the toil of the deck and drop the packet onto the Ace of Spade* Well call this the leader pile.

Aid lough the dealing of these three cards lias taken some space to describe, the entire pn> cedure is a matter of just a few seconds. However, in die praass you have reinforced the position of the Ace of Spades in the minds of the* spectators, and implicitly the positic »its c jf the other diree Aces, since they are all linked to it nuienionically. SI lowing the tr »|) thn * c^an Ls to lie clearly indifferent ones is important, because it will make die impending transposition of die Aces more surprising and magicaL

You continue by placing die next diree cards of the deck onto what die audience telieves is die Ace of Diamonds. For d lis you will employ almost the same handling used with the carets placed on the Ace of Spades. You will not, however, show the Ace in die process, and you will accelerate the pace. Because these actions are tree of trickery, tlvey retrospectively confinn the innocent nature of tiiose going before.

I lere we go: Push off the top three canis into die right hand, taking them one benealh the odier. Smoothly flip the cards sidewise and (ace up onto the deck Then deal them face up into your right hand* as you pbinti out dial these cards, too, are completely random and need not be memorized The third card will be one they have previously seen, but you need have no fear of its reappearance being noticed It was shown with two other indifferent cards, and is now ¿it the back of a tan with another two indifferent cards.

Flip the cards face down on the deck, deal them again inti > your nght hand and, after tapping their left sides muglily square against die top of die deck, place them onto the face-down card in Position B. _____

Transfer the lialance c if die» deck to your right hand, which takes it in end grip and places it face down a bit to the right of the leader pile and toward yourself, canting it ai an angle of alxiut eleven o'clock. liight now, neither the lialance of the deck nor its ixjsition matter, but this detail again conditions a circumstance dial will later promote t rickery.

You are now going into a ritual dial will beanie associated with the ir^^um of the bSrtv * waring die two Ace pUes with the tips of your linger, but dc >n, pick

few inches above each pile and gently wave them over ^ °J

magically oitmdBl by the mast important Ace, the Ace qfSpadB*.

First show Uiat the Ace of Diamonds has n\vsteriously vanished from its pile, ttoing tliis in a dean way, with an unobtrusive flour-ish, adds style to ¿in action otherwise merely functional, makes the handling more inter-esting and ultimately increases the magical quality of the effect The left liand approaches the pile from above and presses down with the middle fingertip on the left side of the pile, near center. Due to the give of the mat, the right side lilts up slightly, just enough for the right middle finger to dig gently under line right side of the pile and grasp it with the help of the other right fingers and thumb.

The right thumb pulls to the right as the remaining fingers push leftward, resulting in the four cards being spread. Meanwhile, the left I land lias clianged position and grips the bottom two cards of the spread, as the right hand holds onto the top two cards.

Immediately separate your liands and let the left side of the right hand's bottom card touch the tabletop. By moving slightly to the left you can flip the card over sidewise and lace up.

This is the first principal effect By deduction the audience will already assume the Ace of Diamonds is now in the pile with the Ace of Spades. Since the next phase lias merely the character of proving this assumption, it can be performed at a slightly brisker pace, without losing clarity, of course.

Pick up the pile at Position A in right-hand end grip, turn it face up and take it into letthand dealing position. Deal the Ace of Spades into the right hand, then take the next indifferent card under it, spread slightly to die left. As the right hand swings back to take the next canl. the left fingers gently buckle the bottom card of its three, and a double canl is taken beneath the first two, also slightly spread to the left.

Smoothly follow this by letting the riglu side of the left liands top card contact the table and flip it over, so that it lands oflset behind the previous card.

Continue the action fluidly by flipping the right hand's remaining canl face up behind the two on the table—and use the spin revelation and display (Volume 3, page 512) to show tliat the last card is no longer the Ace of Diamonds, but lias mysteriously changed to an indifferent card

Tills leaves the Ace of Diamonds in the left hand, single and free to l)e displayed without deceptioa Advance the left hand a little, to emphasize the effect spatially, but also to direct attention away from the double canl in the right hand

You will now use an exquisite doublecatd handling* shown to me years ago by Artum de Ascanio and unpublished until now. The left hand returns to the right hand and replaces the Ace of Diamonds under the other cards, spread to the left.

Immediately the liands enlarge the spread of the canis. Tliis is done through two motions: Hie right hand moves to the right as the thumb pulls the Ace of Spades slightly to lite right and the fingers push the indifferent card beneath it slightly to the left. The left hand simultaneously performs a similar action, the only difference being tliat the tip of the left thumb, being placed at the left edge of the double card, pushes it to the right. As the left thumb glides to the right, its pad remains in contact with the face of the Ace. The illustration shows the moment of widest spread, a position (held for about two seconds) thai allows the audience to appreciate the transposition once more, in a single image. The cards remain in contact with each other at all times. Tills handling looks extremely fair and, properly executed, will assure tliat no one suspects, let alone sees, a double card

Eventually dose the spread, both hands pushing the cards together in an action tlial reverses the opening display, and flip the canls sidewlse and over, letting them land face down in left-hand dealing position

The entire display lasts about five seconds from the buckle count to the final squaring ofUie canls. It should look as if the cards, liavingsome kind of elastic characteristic, open and close as if by an invisible force.

Veiy briefly square the packet by bringing the right hand over the cards and taking them momentanly into end grip as you perform a gest ure with your left hand, pointing at the card m cjsiuon C. '7lie mi Ace is the Ace of Clubs."The left hand grasps the leader packet at as leu ade and returns it to its foimer spot on the table, as the right hand (Hops to pick up me neck /Ml these actions are honest, but seive to condition the audience for those of the transfer move, which will occur shortly.

onto ^assumed Ace of Clubs, using actions 01* ^SZTV**? ? ** ,)Iwious two townees, but increasing the pace without . V * tne dec k at its former eleven o'clock position ori the table.

Grag) the, »do ai c and show that the Ace of Clubs lias vanished, another card having taken i8** For ,Jf you same handling described lbr the vanish of the Ac tTofl )ia-

monda Leave these cards face up on the table as you did those fmm the (fast pile.

Pick up the leader pile in righUiand end grip. At this point I will mention that each time you pick up a pile or the deck, you should dc, so by first biking the amis into right-hand encI grip and then doing whatever is necessary. You want to accustom your audience to this maflfterof picking up cards, winch biter makes the execution of the transfer move "invisible".

At this point, show the Ace just vanished to have joined die leader. IX) this liy turning the packet (ace up and dealing the Ace of Spades into die right liand. Immediately push over die two indifferent cants as one and take the double tielow die Ace of Spades, tb do this you can use a double buckle (Volume /, i>age 212) or die handling for a small packet double litl

(Volume 3, page 577), which is smoodier but less precise.

Immediately spread die remaining two cards, revealing the Ace of Clubs over die Ace of Diamonds. Without a pause, shitl the Ace of Diamonds onto the Ace of Spades and display the Ace of Chilis for a few seconds. Then lay it on top of die right [land's cards and show everything again using Ascanio's open display (Volume .i, jxige 509). The illustration shows die posi-tion at diis point, wliich is held for only a second or two. uT)nn> Aces and one indif femU rani—with one Ace to go—the Ace of Hearts. "As you pronounce diis sentence, accomp&ny it with the following actions:

Place the right (land's cards onto die left's, imperceptibly picking up a left little-finger break between die Aces and the double canl as you square them. < irasp the cards in right-hand end grip and turn die [>acket sidewlse and face down. Because of die break and the gende pressure of the left little finger, die Aces will \ye stepped to die right as shown here. (Tliis pivot step dynamic was first published by Tfenkai* one of the great |>ast masters of Jajiaa1*) • tah

Immediately retake the partis in rightW end «rip, press»« «he M of the rigW^jb against «he slightly pn XnKlir* inner left œmer of the stepjxd au*. and Q^U A the ntfd SCrS ho diagonally opposite comer. n,Ls .trtn * the An* ajpn-,^on

hand, the left hand go^towaid the WH^^

i,« >1« two inilUtaHil ranis »1 » "l<>n <=*,md u>™ al I'osiUon A

four cards—ju^ follow along.

transfer the deck which you just picked up, to left-hand dealing position and i,« >1« two inilUtaHil ranis »1 » "l<>n <=*,md u>™ al I'osiUon A

four cards—ju^ follow along.

transfer the deck which you just picked up, to left-hand dealing position and show all the —,7 . , . n lx , i ^ "'r

SKI? ¡1 this is still the Ace of Hearts." Replace the four cards bnefly on the deck in an in-tran-

sit action, and use vour rig)it liand to pick up and display the Ace of Hearts to your elected doubter Then drop it back into place, face down on the table. Rememl>er Dai Vernon's advice in such eases It's better to look at one pen*m rather than at the entire audience, allowing the ethos who had the saine thought to think, "Oh, how could he have been so stupid as to tliink that that card isn't the Ace. "

Taking advantage of the relaxed moment created by tiiis mildly humorous situation, use your left thumb to push over the top tliree cards, so tlial they are, for a few seconds, resting spread to the right in a small fan When the right hand openly takes them as a fanned unit, it will look very clean and fair. Drop these cards, clearly fanned, onto the Ace of Hearts. The audience sees the facts in one complete pi<&ire 9

As attention is on the right hand s actions, execute a double buckle to obtain a left little-finger break above the bottom two canls of the deck. TSake the deck into right-hand end grip, use your left little finger, near the inner right comer, to angle the two bottom cards, and grip them by their diagonally opposite comers between the right little finger, and thumb, in readiness for the transfer move. This shifting of the deck is interpreted as an in-transit action, the main action being performed by the left liand, which in turn |*)int*s to the face-up cards at Positions Band (as you explain, 'TheAoetfHearts will go just like the Ace of Diamonds and the Ace of Hubs r/?Vi..." Without pausing your left fingers grip the balance of the deck, minus the two stepped cards, at its lefl side and set it onto the table, a little to your left. At the same time your right hand executes the transfer move, adding the two stolen canls with the two cards thai have been holding the fort as the leader pile. Immediately pick up the pile and spread it with a light touch between botfi hands, unobtmsively but dearly displaying four face-down canls -toftin the packet with WAce qfSpades." Return the leader pile to its place.

Il ls obviously important to synchnmize perfectly the woixis and actions given in these last paragrapte to obtain the < l«àred nKMral mut n,.,., ^ m*mrthinë

Il ls obviously important to synchnmize perfectly the woixis and actions given in these last paragrapte to obtain the < l«àred nKMral mut n,.,., ^ m*mrthinë

tab e Repeat the magic gesture. Then immediately pick up die top card of the leader ofle look at it and slowly turn its face toward die audience, revealing an indifferent ranL »nip it face up onto die table, in front of the odier three, which you then proceed to deal fere up in a diagonally overlapping row on the first card. The audience sees four indifferent cards The

Acesaregona

Pause a beat; dien pick up the pile at D, flipping it face up into left-hand dealing position and tilting it so tliat the audience can dearly see die face of the Ace of I Iearts. Subsequently lake one Ace :iller the other from die face, starting with die Ace of Hearts, and sail them face up onto the table in die general area of Position D. The Aces have mysteriously vanished torn the leader position and have joined die Ace of Hearts!

On top of tills surprise, die cards are absolutely dean: The Ace packet contains just die four Aces, die ¡xackets on the table consist of just four indifferent cards and diere are no duplicates anywhere.

Final Notes

1. For die initial layout of the Aces you may substitute almost any of die known methods, but I invite you to understand tile reasoning beliind my choice. Wliy not take the Aces directly from the deck and place them immediately into the required portions» rather than displaying diem oncv more (because it is niediod-olpgicaDy necessary in outer to switch them) and then i »hiring thern down?

2. If you liave already produced die Aces and they are resting on the table, I suggest you secretly add two face-down cards below the faceup Aces, and then use the Braue addition (Volume 1, page 204) to acliieve the necessary layout In this case you are still able to emphasize the positions of die Aces of Spades and Hearts, but not the other two. Compensation can lie made by miscalling each Ace just before it goes.

a A few words on die script Although Tve given bits of my presentation where I thought it important to die understanding of elements of timing and misdirection, for reasons of spa* v and clarity 1 have refrained fanii integrating my entire script into the explanation. So I would now like to suggest a few ideas dial you can use to stag? this piece. If d lis Is your cup of tea, you cxx lid tell your audience, 7// magic there are. different disciplinesJcrizxiMple, nuxmpulatioiu, mnitalisnu luirje-sralr stage illusions (nul magic done very dose. And within each discipline thnr an instruments mugirions use to inlaptvt sj>t'ific lflots. Perhaps the most versatile instill-ment is a da * of ¡toying anils, with which some Qf these plots hate been jx'ifnnnnl by d(ffrnnt (jcuenitians, in different cultures and at d{ffnvnt times, all oner the world Such ¡dots lata' txrouw founni as the (lassies ot magic, and I would lib to show you my /jersonnl intnpn latum qf urn of the (lassie plots in the nnlm qf and magic, which thcfpait hvmii amjunr Rdbertrlbnulin aillai 'le tour des quatre a&M' A different idea com« from Artum <k> Ascankx He told of the trick he had to perfbmt for Ills entry exam to die magfc society in Madrid* A beautifiil kto*

4. Hie FbuMce Assembly is one of the true classics of card magic for reasons mentioned in die presentational idea above This test of time is the ultimate proof that it works, in every sense of the word—period The version just taught retains the classic fonnat of placing three cards onto tlie supposed Ace and tlwe cards onto the leader Ace: some-thingthat lias l>een critically commented on, especially by modem-dqy magi-nana Some have claimed tJiaL, if the Ace naljy vanned, (lie packet initially consisting of four ranis should then Ik? reduced to three. Others criticized the fad that cover cards are used at all, and tliat if one could really do what one pretends to, just the Aces and no cover cards should Ik? used All these criticisms have produced a few excellent versions of the Four-Ace Assembly, and many less admirable ones. I laving said this, I insist tliat the classic manner of doing the Act? Assembly lias remained popular over hundreds of years, to this very day, whereas more modem and "logical" versions have never attained the same recognition, either with the public or with magicians. I think this should tell us s< uuething.

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7heseaet of great magic: practice, meditation ami passion.

ArturodeAscarao

The History of Playing Cards

The theories and stories about the genesis of modem playing cards an? as manifold as the ones about the Easter egg However, some of them are definitely more spicy, more romantic and just more fun to believe in, although they are at least as apocryplial as all the others.

Follow along.

The first step l)ack into history from modem times is one that elicits the fewest qualms: Scholars once believed that modem decks, be they with thirty-two (France and Germany), thirty-six (Switzerland), forty (Italy and Spain) or fifty-two cards, were derived from the Minor Arcana of die full Tarot deck, which consists of seventy-eight cards (fifty-six cants in the Minor and twenty-two cards in the Metfor Arcana). However, more recent liistorical research lias reversed tliis linage.

A more controversial point arises when discussing the sources and roots of Tarot cards. It is here tliat historians over many centuries haw tried de corriger la fortune, fitting the facts to their theories and using imagination to create a bridge over gajis in our knowledge. Hie following story is so good, its a pity it's probably not true. Read on-

In 1781, Court de Gebelin, a FYencli archaeologist, wrote an important book on the subject titled IjC rnondeprim ilive. In it he delineates (lie claim tliat Tarot cards are over six thousand yeans old He takes us back to the times of ancient Egypt and a culture tliat worshipped many gods. One of these was Thotli, who was said to be the god of knowledge. Egyptian priests, who were the link between the human and the divine principles, as one of their activities, recorded ¿ill metaphysical information related to human life and the afterlife. All tliis information went into a book known as The Book ofThoth. Some scholars contend that tliis book was also called 7far/to, which in Egyptian means "royal path" Alia!

It is said that tliis book was kept secret from the public and was passed on from one generation of priests to the next Then, after nearly tliree thousand years, a nomadic nil* from India called the Rom migrated to Persia and Egypt, where they obtained knowledge of The Book of \llioth, Many hundreds of years later this tribe spread to different parts of Europe and were called "gypsies". (The English wonl gypsies, through a simple phonetic distortion, seems a clear indication of tliis people* Egyptian origin) The legend claims thai the Rams interpreted the contents of Vie Book ofThoth into a set of symbolic pictures that became known as the Tfcn>t deck Tliis fits nicely with the fact tliat gyi*des have been involved ui various types of fortunetelling, up to modem times.

Of course we know tliat playing cards were used in Europe before the gfflries animi, but the story is good And here com« die first element of a link to the am I effect soon to follow: The Minor Arcana, originally consisting of flfly«fc autls. was adjusted at various

, *m*pnr countries to contain thirty-two, thirty-six, forty or fifty-two carta

(ines and in cLUerera fflftv^v0 ranis cany some amazing numerical resemblances i„

r 7 ¿K^iSm ^ ^ f°ur ,o represente tJie four seasons- nnv4wo

,he ftpfam pnnnr *£ ^ ^ hLs wonderfiU book Mar Maven's Book

^i^SSom.aiion forthe first part of this article wasdra*^ ffSSS£ toCi known fact that if you .spell the value of each can. you2

ta^us* For instance, follow along in English, with a deck in hand, dealing one canl for jsierSvo^Fbur-J*^

Oh the <7 in' King you «ill deal the last tan! of the flfty-twocard deck-interesting. Tty it in

( fllUlll/UllM^j ___o^v Oiirf,^./! M ie rnnciHomH o .

German!

Spanish y-mevB-Diez-rJota—Vcnna-iiey. aho ii wui «awrnaiuidi H

But there is more. If you put the tlrirteen heart cards in order on top of the deck and execute two out-faros, (lie top card will Ik* an Ace and every foiuth can! will then lie a heart. S|x?ll each value, creating a small pile for each one. By using false deals, secret transfers or open ones of cards fiom top to bottom or vice versa, you can first show that die deck Is Hilly consumed by the spelling and second turn the top card of each packet face up to reveal all the heart can is from Ace to King.

Ld me now explain how 1 liave adapted the above information to succeed with this effect in English.

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